I'm a producer and post supervisor based in New Orleans and Los Angeles.
Post is where indie films live or die. I'm here to make sure yours lives.
I've spent fifteen years getting dailies right on shows like The Queen's Gambit and White House Plumbers. Now I bring that same judgment to productions that don't have a facility behind them.
15+
HBO & Netflix
PBS
160+
Every engagement starts with a clear scope and a clear price, so you know what you're spending before we begin. The expensive mistakes usually get made before anyone calls post, which is why the free call only happens before production starts.
Bring your camera plan and your delivery specs, and I'll tell you where post is most likely to bite you. It only works before you shoot, because after that I'd be describing damage instead of preventing it.
Before you shoot, I map your whole path from camera to final delivery, including formats, dailies, editorial handoffs, color and deliverables, plus the budget lines that usually get missed. You walk away with a plan your post team can actually run.
From the first day of dailies to the final deliverable, I'm the person who catches problems while they're still cheap to fix. You get a standing weekly check-in and a direct line for the days when something breaks.
Not sure which one fits? That's what the free call is for.
When I do this job well, nothing happens, and nobody tells that story at the wrap party. Right now it means keeping a 70+ TB-a-day ingest running on Love Is Blind without the edit ever feeling a hiccup. Here's what it looked like before that.
Dead Bloom, where I was associate producer and DIT
On this indie feature I was associate producer and DIT, and I helped guide the whole post path. I held pre-calls with the camera team before anyone rolled, then worked on set with the decision makers to lock the looks. That let me set the editor up on an all-Resolve workflow, and post ran about as smoothly as post ever does. It's streaming on Prime Video now.
This is the workflow plan in practice.
White House Plumbers on HBO
I caught multiple corrupt cards and recovered the footage, which would otherwise have been missing from several scenes.
An unscripted competition series
I put a brand-new tool, Resolve's AI transcription, to work so producers could find a potentially game-changing moment between two contestants.
Psycho Killer at Assembly
I built the dailies department from the ground up and co-designed a mobile rig that held 250TB of media with dual LTO backups, handling color and transcoding on board.
Tokyo Vice and other remote shoots
I've piloted workflows fresh out of the box that let a show shoot in one country and cut in another. As a dailies producer during the 2020 pandemic, I organized sending an operator and a full system to Tokyo for Tokyo Vice, so the media could still reach post teams in Los Angeles and New York. When a system went down on a shoot in the Dominican Republic, our team had a workaround running within a day, and the client never felt it.
The Queen's Gambit on Netflix
I worked hands-on with Scott Frank and Steven Meizler on review reels that let Netflix executives see what the show could become.
One of my favorite requests
Someone asked if I could make a shot look like a Douglas Sirk painting. I said sure, quietly looked up who that was, and made it happen. I still think about that one.
Before any of this was a business, I spent eight years running the 48 Hour Film Project in New Orleans and fifteen years in post, from telecine on 12 Years a Slave to dailies on The Queen's Gambit. The whole story is on my About page.
What I'm really selling is judgment, mostly about where your production is going to break before it does.