Performance first. Hold the face through the shift, cut on the action, and let sound lead the picture in and out.
A young man alone in an apartment, surrounded by newspaper clippings he can't stop reading. The edit leans on silence, slow pushes, and hard cuts to black to keep the viewer inside his head.
In post-production
Shot over two days with dual-system sound. I lit and shot it, then cut it with Eggers' Brothers as the reference: long holds, withheld reveals, few cuts that each mean something.
Mini documentary
A short documentary set in a college hockey rink. I helped shoot it and edited it.
Short-form edits built to stop a thumb: hit the beat, land the graphic, get out before the viewer scrolls.
At Vayner Sports I cut social content for the agency's athletes: signing announcements, welcome edits, and highlight packages delivered vertical for Instagram and TikTok.
The AI I'm building to run small businesses on its own. It lives on a server, takes orders from my phone over Telegram, and does the busy work of a post house: syncing sound, building rough cuts, rendering graphics, grading footage, writing outreach. It asks before it spends a dollar.
Jarvis listens to the music, finds the hits, and marks where a cut should land. Click the waveform to scrub. This runs in your browser on my real edits.
FlatGraded
I shoot, I edit, and I build software that takes the repetitive parts of post-production off my plate.
I'm a film and television student at Boston University and an AI product manager in the making.
My work sits where AI's speed meets a filmmaker's eye. The machines handle the busywork at scale, and the taste, the timing and the final cut stay mine.
