You shot it. I'll cut it.

Selected work

I have been on the other side of the camera.

I've built spots from an empty room. Set design, lighting, camera, the whole production, then the edit. That background is why I can look at what you handed me and tell what you were going for.

If you shoot for a living, that probably reads as a threat. Fair. So here it is up front, and in writing further down: I will not approach a client I met through your job. If one of them comes to me, I point them back to you. Your work goes out under your name, not mine, and I do not tell anyone I touched it. You are hiring hands, not a competitor with a foot in the door.

Play the reel

Podcast episode

Brooke and Adam

A full interview episode, shot and cut for our own channel. This is my show, which is why I know what a weekly episode actually costs you. Watch the episode.

Product film

Axil

A cinematic demo and unboxing series for an outdoor audio brand. Set design, lighting, cinema camera, drone, and the full edit.

Sports performance

Neurobounce

Cornerstone VSLs plus 100 ad variants for a high ticket athletic program. The campaign closed Utah Prep.

Local medical

Smile Art Dental

Brand package, testimonial VSL, and direct response cuts running on the practice's site and social.

Stuck on one thing

Sometimes you do not need an editor. You need 40 minutes.

The multicam will not sync. The audio drops every time you cut to the second camera. You have watched four tutorials and it still will not do the thing, and the project has been sitting there for a week.

I will get on a screen share and sit with you until it works. You keep the project, you keep the client, and you learn the fix so it never eats another week. Most of these take under an hour, and I bill by the hour with no minimum beyond the first one.

If it turns out to be faster for me to just do it, I will say so instead of running the clock.

What I cut

4 things, done properly.

I work in DaVinci Resolve and Premiere Pro, and I can pick up your project file instead of starting over. Editing for other producers and studios is normal here, and it's white label by default. The policy is written down below so neither of us has to guess.

What it costs

Depends on what you shot, and I would rather look before I answer.

A one-camera interview with clean audio and a four-camera shoot with a separate recorder are not the same job, and pricing them the same would mean overcharging one of you. So there is no rate card here on purpose.

Tell me what you have in plain words. How many cameras, roughly how long, what you want out the other end, and when you need it. You get a real number back, usually same day, with what is included spelled out so nothing shows up on an invoice you did not agree to.

Standing work prices differently than one-offs. If you are running a weekly show or cutting a batch of clips out of one shoot, say so and I will quote the block.

Whatever the budget turns out to be, your project gets the same standards I put on work people paid real money for. There is no cheap tier of effort here.

How it works

1. Tell me what you shot. One sentence is enough. 2 cameras, an hour of interview, need it Friday.
2. Send the footage. Frame.io, Drive, Dropbox, or a drive across town. Whatever you already use.
3. Watch it come together. You don't wait in the dark.
4. Get it back. Cut, colored, mixed, captioned, in the formats you need.

Working white label

If you're bringing me your client's footage.

Here's how it works, in writing, before you send anything.

• It goes out under your name. Your client hired you. The deliverable is yours. If you want me credited, that's your call to make, not mine.
• Nothing of yours goes in my portfolio without your written OK. Not a frame, not a still, not a "recent project" mention.
• I won't approach a client I met through your job. If one of them comes to me directly, I'll point them back to you.
• Your project stays private. Files, names, and what you paid me.

Ask for any of this in writing and I'll put it in writing.

Turnaround and revisions

Standard turnaround is 5 business days from the day the footage lands. Rush in 48 to 72 hours is available and costs more. If anything on my end would put your deadline at risk, you hear it before you book, not after.

2 rounds of revisions are included on every project. Round one is notes on the cut, round two is polish. You leave those notes as markers on the video, not as a written list. Anything past 2 rounds is new scope, and I'll tell you before the meter starts.

On a recurring show I keep your settings, your template, and your preferences on file. You shouldn't have to explain your lower third twice.

You own the finished files. I keep a backup for 30 days in case something goes wrong on your end.

Get your project moving

3 ways to start.