Fluent in the Tools

I’m proficient in Adobe Premiere Pro, Avid Media Composer, DaVinci Resolve, and After Effects. But for me, the value of those tools is really in knowing where each one shines, and how to use its strengths to serve the project.

On a series like Deadliest Catch, Avid Media Composer is exactly where I want to be. It’s built for scale, and that matters on a show with massive volumes of footage, long-form episodes, and multiple editors and collaborators working inside the same larger post ecosystem. On that series, my job was to shape the raw intensity of life at sea into clear, emotionally driven storytelling, all while balancing chaos, character, and pacing inside a workflow that had to stay stable under pressure. That kind of work rewards strong organization, reliable media management, and an editorial environment that can handle complexity without slowing down.

Premiere Pro has been especially valuable on projects that ask for a more design-forward and flexible editorial approach. On The History of Home, where I served as Supervising Editor, Colorist, and Motion Graphics artist, the series combined rich visuals, stock footage, historical material, and a playful tone that benefited from fluid integration between edit and graphics. It’s a great example of the kind of project where Premiere and After Effects work beautifully together. It enabled integrating graphic ideas directly into the editorial process, and creating transitions that feel expressive without pulling attention away from the storytelling.

Resolve is a tool I value when image quality and finishing sensitivity become especially important. On The Secret Lives of Big Cats, I was credited as Supervising Editor and Colorist across all seven episodes of the series. That project combined breathtaking wildlife cinematography with scientific storytelling, and it demanded a careful balance between narrative clarity and visual richness. Resolve is incredibly strong when color is helping shape mood, preserve detail, and elevate large-format natural history footage while keeping the final image feeling polished and cinematic.

After Effects is often where I extend the editorial language of a project. Sometimes that means motion graphics, sometimes compositing, sometimes subtle visual support that helps connect ideas more elegantly. On The History of Home, that meant helping blend storytelling, design, and motion into something cohesive.

What matters most to me is not just being able to use the software, but understanding how each platform fits into the larger post-production process. Avid for scale and collaborative long-form editorial. Premiere for flexibility and integration. Resolve for image-sensitive finishing and color. After Effects for motion, compositing, and polish. The software changes depending on the job. The goal doesn’t: build the strongest possible workflow, and use the right tools to make the work better.