I’m a filmmaker, editor, and performer based in Los Angeles. My editorial work spans narrative short film and theatrical promotion — cutting with a director’s eye for pacing, emotional rhythm, and story logic.
Rhythmic parallel editing that cross-cuts between a slow piano close-up and a rapid-fire character montage. Pacing accelerates to mirror the increasing tempo of the music — hard cuts timed frame-accurately to individual piano notes — before dropping suddenly into a slow, held final shot. The goal was controlled disorientation: urgency followed by unresolved tension.
Dialogue-driven narrative editing using shot-reverse-shot continuity with a 35mm-style shallow depth of field to isolate performances against an industrial background. Pacing follows the natural cadence of the actors’ speech — patient, rhythmic cuts that let the dialogue breathe — with a deliberate beat before the “2 million” reveal to heighten dramatic tension. A color grade shift at the moment of tension signals the emotional turn before a smash cut into a high-tempo title sequence, where text overlays are timed frame-accurately to musical beats. The sequence moves from static and observational to kinetic and graphic in under seven seconds.
A metric montage cut to a cyclical music track, structured around hard cuts that punctuate live monologue footage against full-screen text review cards. The edit deliberately fragments the performance into isolated emotional beats — using text cards as both visual breathing room and a rhythmic metronome. Tension builds through repetition rather than escalation.