I started my career in photography in San Francisco in The 90's. As the city began to change and old army bases turned into movie sets, so I then made the transition from still to moving pictures. I started as a Production Assistant working on many films and with various actors.
While working for Don Johnson on the set of Nash Bridges, I began to get more involved with set production and began working with the stagehand union (I.A.T.S.E., local 16). Being a stagehand proved to be more exciting as I worked on such films as Patch Adams, Flubber, What Dreams May Come, Bicentennial Man, The Bachelor, Rainmaker, Sphere, Ed T.V. and James & The Giant Peach. But I didn't find much stimulation even though I got a vast amount of varied experience working as a grip, set builder, prop maker, in special effects and rigging. It was a blast; I was building sets and tearing them down months later. I was working on cherry pickers and climbing on trusses. Although very exciting, the lack of creative input left me with an empty feeling. I loved the physical work but I wasn't getting the experience I was looking for by working on the sets.
It was then that I found film editing, which was a total and perfect combination of all the things I appreciated. With my love of photography, music and storytelling, editing was a natural progression. I made the transition to Post-production as an assistant editor in San Francisco at Pomegranit Editorial. After taking on this task in early 2000, I decided I needed to step it up a notch and moved to New York City with my then pregnant wife. My goal was to get to know as many people and companies as possible so I began freelancing at a majority of the major post houses in the city such as Cosmo Street and Final Cut and eventually took a staff position at Red Car Editorial.
Being in the capital of the advertising world, I found working for the post houses that specialized in high-end TV commercials the most interesting. It was challenging taking a concept from the advertising agency and turning it into a 30 second story. During these years, I developed strong relationships with various clients such as GMC, Toyota, TLC, Burger King, and VH1 among others. I began to perfect his skills and it was then I began Giant Editorial. While focusing on commercials, I am also focused in long format, television, film and videos for various websites. I am really excited about the future of editing for the web; the web really opens up lots of possibilities. We are no longer tied to 30 seconds or 60 seconds. This creates the opportunity for more creativity in editing, also the work has to be good or nobody is going to watch it.
Although the business is changing and commercial budgets are getting smaller. More and more advertising is being done on the web but the budgets have not gotten much bigger. As a result am trying to diversify my client base and get in touch with a larger group of people. As well as thinking about different business models.