Editorial
Editorial is writing in post, where good footage becomes a piece that sings, or doesn't. Every clip on this site went through my cutting room. Twenty five years of commercials, documentary and broadcast, and what clients come back for is an editor who finds the version that works and knows when it is finished.
A fistful of edit decisions
Pick any piece above for my audition. A show can be many hundreds if not thousands of decisions, meant to feel invisible to the viewer: which take, where the cut lands against the music, what the first shot promises, and where to let a shot breathe.
MGMT gave me 45 minutes of footage of a man who had spent twenty years on the winding floor, but the video had room for 45 seconds. The cut gives you those 45 seconds that make you feel the other 44 minutes. 15Five gave me library footage from several buys that had to pass as one shoot. Lieberman gave me direct response at volume, where a cut is judged by what it sells. Second chair editors assisted with scenes under me while I shaped and polished the piece.
Twenty five years of commercials, documentary and broadcast, and the discipline has not changed: find the version that works, then stop cutting. What you get is a first assembly with a shape you can react to, and every version after it cut for you.