// FEATURES
2024
THE LONG FIELD
directed by M. Corvalho — 104 min
Four seasons at a cooperative farm in the northern
highlands, and the argument — running underneath
everything — about what to do when one of the founding
members leaves. Shot across three years on two cameras,
~410 hours of dailies, 68 hours of sync audio from lavs
and the kitchen boom.
We cut from a 22-minute radio edit first. Structure took
seven weeks; the first screenable assembly ran 3:48. The
film’s spine turned out to be a single walk between the
upper barn and the lower pasture, which we return to in
every season. Currently locking picture.
Credits: editor. — Assembly began Oct 2023.
— AVID MC 2024, 1080p offline proxies.
— Director in residence: 14 weeks, not consecutive.
2022
HOUSE WITHOUT WALLS
directed by J. Kestrel — 87 min
A portrait of a hospice chaplain and the twelve people
she accompanies through their last year. We built the
film around silences — there are twenty-three holds
longer than eight seconds in the final cut, and none of
them are accidental. The hardest edit I’ve done; also
the one I’m proudest of.
Kestrel and I used a card system on the north wall for
six months: one index card per visit, color-coded by
chaplain’s note. When we moved a card, we moved the
scene. When we tore one up, we cut the scene. There are
four cards still pinned there that we never resolved;
they’re on the wall in place of what the film chose
not to show.
Credits: editor, additional sound design.
— Screened at three festivals I’m not naming here,
won one prize I’m prouder of than I should be.
2021
EVERY OTHER SUNDAY
directed by A. Reyes-Oduya — 92 min
A family’s biweekly dinners, across eleven years,
through a divorce, a death, and a homecoming. Archival
home video interwoven with present-day vérité. We locked
structure first (a year per reel, roughly), then let the
scenes breathe into it.
The technical problem was standards: Hi8 from 2010,
MiniDV from 2013, 5D Mk II footage from 2016, and Sony
FX6 for the last two years. We built a LUT stack that
didn’t try to make them match — it tried to make them
honest about being different years. That decision saved
the film in the edit and, I’m told, in color.
Credits: editor. — 94 hours dailies + 37 hours archive.
2019
THE RIVER, PART ONE
directed by S. Gottlieb — 58 min
Pilot of a limited series on a contested watershed.
Industrial archive, sworn testimony, landscape. I cut the
pilot; a colleague took the remaining three. The handoff
bible — the structural logic we agreed the series would
follow — is the cleanest document I’ve ever written.
It’s on the shelf above the bench, in a blue binder, if
you ever want to see how that gets done.
Credits: editor (pilot), consulting editor (episodes 2–4).
// SHORTS & OTHER
2017
NINE HUNDRED DAYS
directed & edited by P. Bishop — 24 min
My own film. A diary-format piece about my father’s
recovery from a stroke. Shot on a consumer camera he
could eventually learn to operate himself. The one time
I’ve stepped out from behind the bench. I don’t plan to
do it again, but I understand directors better for having
done it once — especially the particular loneliness of
the week after you deliver.
2015
SMALL WEATHER
directed by R. Okafor — 18 min
A hand-processed 16mm essay on a coastal community’s
relationship with fog. Short, slow, and strange. Toured
festivals for two years. Cut on film first, then transferred
and conformed — the only time I’ve worked that way, and
the only time I’ve cried over a splice.
2012 — 2018
ASSISTANT & ADDITIONAL EDITOR CREDITS
various
Seven features during my apprenticeship years, working
under editors I still call when I’m stuck on a scene.
Two of them are now close friends; one is the reason I
moved north. Titles available on request through a
shared director; most are not on the internet, which
seems about right.