I edit videos that keep people watching.
Short-form and long-form — TikTok, Reels, YouTube Shorts and full-length YouTube videos. I take raw footage and turn it into content that grabs attention in the first few seconds and holds it all the way to the end.
Three-plus years in Adobe Premiere Pro and After Effects, working with creators and brands who want their content to look sharp and actually perform — not just look nice.
I don't just cut clips together. I build the reason people stay.
Most videos don't lose viewers because the footage is bad. They lose them because of pacing — a slow opening, a beat that lands a second too late, a story that never quite finds its point. That's the part I obsess over.
Over the past three-plus years I've sat in the timeline with all kinds of footage: messy phone recordings, multi-camera event shoots, podcast episodes, product launches, and creators filming themselves in their bedrooms. Different sources, same job every time — find the story, tighten the cut, and make it worth finishing.
I work with people who care about how their content performs. Fast cuts, clean pacing, and edits that feel natural to how people actually scroll.
Three years ago I opened a timeline and never really left it.
I started editing because I wanted to understand why some videos hold me and others lose me in five seconds. That question turned into a craft. I learned Premiere Pro first, then After Effects, then spent a long time learning the less glamorous things — sound balancing, caption timing, colour consistency, export settings — because those are the details viewers never notice but always feel.
Since then I've worked across the formats that matter most right now. Vertical Shorts and Reels built around a three-second hook. TikTok edits that feel native to the app instead of repurposed ads. Longer documentary-style YouTube videos where the challenge isn't grabbing attention, it's keeping it for fifteen or twenty minutes.
The work that taught me the most was the long-form stuff. When someone hands you four hours of interview footage and expects a story, you learn quickly that editing is really writing — deciding what matters, what gets cut, and in what order the pieces land hardest. Short-form taught me speed and instinct. Long-form taught me structure. I use both on every project.
Today I work with creators and brands who want content that looks sharp and performs well. Some send me a folder of raw files and a deadline. Others send a rough cut that isn't working and ask me to save it. Either way, the goal is the same — footage that becomes something people can't scroll past.
Four things I get right on every project
These aren't buzzwords. They're the checklist I run through before anything leaves my timeline.
The first three seconds decide everything
On short-form, you either earn the next ten seconds or you don't. I front-load the hook — the strongest frame, the sharpest line, the moment that makes someone stop.
Sound carries more than picture
Clean dialogue, balanced music, a bit of foley where it matters. Bad audio kills good footage faster than anything else, so it never gets skipped.
Pacing is the whole game
Every cut has a right moment. Cut too early and it feels frantic; too late and it drags. I tune that rhythm so the edit feels effortless to watch.
Built for the platform it lives on
A TikTok isn't a Reel with a different crop. I edit for the way each platform is actually watched — aspect ratio, captions, safe zones, sound-off viewing.
What I work with
The software is just the instrument. But knowing it deeply means faster turnarounds and fewer compromises on the details.
Editing & Motion
Audio
Colour & Finishing
Delivery
Different clients, same standard
I take on work where the edit actually matters — where someone is trying to grow an audience, sell something, or tell a story properly.
Creators
YouTubers, podcasters and personal brands who post consistently and need edits that keep viewers past the drop-off point. You film it, I make it watchable.
Brands & startups
Product videos, social ads, testimonials and brand films. Content that has to look polished and do a job — not just sit on a website.
Agencies & teams
Overflow editing support when your in-house team is stretched. I slot into your workflow, match your style guide, and hit your deadlines.
Got footage that needs to become something people can't scroll past?
Tell me what you're working on — the platform, the goal, the deadline. I'll come back with a plan, a price and a timeline, usually within one business day.
No obligation. Send a clip, see how I'd cut it, then decide.