Cutting for the Format

I’ve worked across long-form broadcast, streaming, branded content, and social deliverables, and I’ve always liked the challenge of understanding what each format actually needs.

Some stories need room to breathe. Others need to land in seconds.

My work spans series and specials like Deadliest Catch, The History of Home, The Real Wild West, Camo Sharks, The Secret Lives of Big Cats, Jay Leno’s Garage, Ice Road Truckers, and Jungletown — projects built for broadcast and long-form viewing, where structure, pacing, and narrative control really matter. I’ve also cut shorter-form and digital work including AIDSVu: The View From Here, Top Science Stories, and pieces for Munchies, where the edit has to move faster, communicate instantly, and hold attention right away.

That range has made me comfortable shifting gears without losing the point of the piece. Broadcast asks for patience and architecture. Social and short-form work demand immediacy, precision, and a strong instinct for what will connect quickly. I enjoy both.

For me, working across formats isn’t just about creating shorter or longer versions. It’s about shaping the cut for the way it will actually be experienced — and making sure it feels sharp, intentional, and built for the platform it lives on.