Film & Motion
Film and motion work have always been a parallel creative outlet for me. Editing, pacing, and visual storytelling influence how I approach design, just as design influences how I structure film. Working across these mediums keeps my instincts sharp and reinforces the importance of rhythm, restraint, and clarity in visual communication.
Narrative &
Visual Storytelling
My narrative film work centers on psychological tension and visual restraint. The Great and Terrible Day of the Lord is a feature-length psychological thriller I directed and edited — the project that earned festival recognition for both. It's a film that operates more on atmosphere and dread than on conventional horror mechanics, which pushed me to think carefully about how pacing, framing, and sound work together to carry a viewer somewhere they didn't expect to go. That discipline of using less to say more carries directly into how I approach design work
Cinematic Marketing
& Video Profiles
The same attention to pacing and intention in filmmaking shapes how I approach commercial and marketing video. The context changes, but the instincts don’t. The pieces shown here were produced for Hilton Hilton such as agent profiles, leadership messages, and property features that needed to feel personal and elevated without losing authenticity. Rather than relying on standard promotional formats, I focused on conversation, atmosphere, and pacing. Interviews and profile pieces were approached with the same attention to framing, lighting, and narrative structure you'd expect from a short documentary. The goal was marketing content that earns attention rather than demands it.
Motion Graphics
& Editing
Not all motion work starts with a camera. Motion graphics operate on a different set of instincts, but the underlying discipline is still shared. The motion graphics and social pieces shown here were produced for Hilton Hilton and Sotheby's Realty used primarily for social campaigns. I use motion to reinforce ideas rather than distract from them. Timing, restraint, and structure are usually more important than complexity, and the best motion work tends to be invisible, and much like editing, is most successful when it is felt rather than noticed primarily.
