Video has been a substantial part of my creative and production work, even when the final output was previously filed under music, archival media, or technical review. The work spans two different environments: public music videos built around my own compositions, and high-volume film editing and restoration performed inside a production department.
For the music videos below, I worked primarily with gathered or commissioned footage rather than presenting the work as original cinematography. My role was to build the visual narrative: select and arrange scenes, adjust playback speed, duplicate and reshape loops, synchronize movement to the music, and tune every cut and transition by hand. Both pieces were completed before current AI-assisted video workflows.
Released Music Videos
Story, Timing, and Manual Editorial Control
Magical began with a detailed story chart tied to the composition. I worked through footage selection and revisions, then assembled a continuous visual progression around the music: a funeral, ashes entering the ocean, human history, the expansion into space, and a final return to new life. The edit uses scene order and scale to carry the emotional arc rather than treating the footage as a background montage.
Waiting for the Light takes a more atmospheric approach. I matched landscapes to the orchestral pacing, changed clip speeds, duplicated and adjusted loops where a shot needed to hold through a phrase, and shaped each transition around the movement of the piece. In both videos, the timing was built cut by cut in the editor.
Premiere Pro Film Editing and Restoration
In a film-review department, I accumulated thousands of hours of hands-on work in Adobe Premiere Pro with digitized, often decades-old film reels. Review required more than checking whether a file played. I synchronized picture and audio, spliced or restructured footage, identified incomplete or defective captures, and made the call when material needed to be reingested.
I also developed and refined a reusable Premiere preset library around real reel failure modes: red or blue bleed, yellow and magenta casts, flat contrast, and uneven tonal balance. Layered corrections, Lumetri adjustments, levels, and broadcast-safe controls made recurring problems faster to address without pretending every reel needed the same treatment.
The workflow extended into audio mastering presets, multichannel timelines, overlays, keyframe automation, export standards, and customized hotkeys and workspaces. I helped establish the review process, served as a senior technician and trainer, and cross-trained in film ingest so editing decisions were informed by the complete reel-to-screen pipeline.
Motion Graphics and Animated Subtitles
I created animated subtitles for a publicly released rap track that I had also helped produce earlier in its development. Rather than place a static caption track over the finished song, I treated each lyric line as its own animated unit—keyframing position, scale, motion, and transitions around the vocal phrasing.
Additional work in After Effects and Premiere included title and logo animation studies, visual effects experiments, and music-video project builds. Those projects strengthened the connection between frame-level motion, musical phrasing, and the larger edit.
Visual Preproduction
Not every concept reached release, but the planning work is still part of the practice. For Requiem, I built an eighteen-stage visual timeline around water, growth, daylight, storms, cities, desolation, and renewal. Another treatment mapped an urban narrative from isolation and tension toward connection and a visibly changed city.
I distinguish those planned pieces from the completed videos above. They demonstrate how I develop a visual language before opening the timeline: narrative beats, image motifs, transitions, pacing changes, and the relationship between the score and the screen.