I didn't come up through film school. I came up in a kitchen brigade.

Four years cooking professionally while earning a degree in Restaurant and Foodservice Management at UCF's Rosen College of Hospitality Management. Every shift was a masterclass in pressure, efficiency, and teamwork — eight to twelve hours on your feet, managing a line, reading a constantly changing environment, never letting the chaos show on the plate. You either learned to think fast and execute clean, or you didn't last. My kitchen brigade foundation is still my most valuable experience.

EVERY SECOND COUNTS.

That wiring didn't leave me when I walked into my first edit bay. I started at NASCAR Productions in 2013 as a Technical Operations Specialist — the liaison between creatives and their technology. Day to day meant fixing workflow problems, building new ways to work, and making sure editors could do their jobs. A difficult, thankless role that taught me exactly how production breaks down and why. I worked my way into the creative side over five years, eventually producing and editing content for the IMSA series as an Associate Producer — on the road, sleeping in edit bays, carrying most of the editorial load on a three-person team. Two Sports Emmys for the Fox Sports 100,000 Cameras documentary franchise came out of that era. So did a fundamental shift in how I think about production — from how am I going to do this to how are we going to do this.

That led me to building StringOut.

The name isn't arbitrary. A stringout is a foundational editorial task — laying all the footage end to end so every collaborator can see everything at once. Organization, transparency, and collaboration. I named the company after it because those three are non-negotiable on every job.

Since going independent I've worked as an Editor, DIT, and Post Production Supervisor on projects for Netflix, Prime Video, Fox Sports, Red Bull Media House, Ferrari, and NASCAR Studios. I rebuilt NASCAR's entire post infrastructure over a 2.5-year consulting engagement — 50+ people, five departments, a pipeline that directly enabled a feature documentary on Prime Video. I've cut same-day recaps from pit lane and delivered HDR feature docs through fully remote finishing pipelines spanning three cities.

I specialize in the hard jobs. The tight timelines, the complex camera packages, the first-of-their-kind deliveries. StringOut is a small operation today and an intentionally growing one — I'm building toward a team that can take on larger pipeline work from the ground up.

If that's the kind of partner you're looking for, let's talk.