How I work

Everything starts with understanding your game — its tone, its audience, what makes it different. Depending on your needs and budget, I can either capture the footage myself directly from the game build, or work with raw footage you provide.

The more context you give me about what you want people to feel, the better.

When I capture, I don't follow a shot list. I put the music on and let the game tell me what it wants to show. I'm looking for the shots that already carry the game's personality — the ones that feel like the game, not just footage of it.

I build two rough cuts around different tracks — no scripts, no animatics. Just pacing, tone, and the feeling I want to chase. The direction is usually clear from the first cut.

That obsession with sync — between beat and image, between music and the spirit of the game — is what drives every decision I make in the edit.

Once we agree on a direction, we refine. Three rounds of revisions are included — enough to get it right without losing momentum. I'll always be honest about what I think isn't working, but your vision is the one that matters.

Final files are delivered once everything is approved. I keep project files for three months after delivery in case you need adjustments post-launch.