While editing a daily news segment with a one‑hour turnaround, I received multiple camera angles and separate interview audio tracks.

I needed to sync all footage accurately and quickly to meet the broadcast deadline.

I used timecode metadata where available and, for clips without it, aligned waveforms in Adobe Premiere Pro, creating a reusable sync preset. I then batch‑processed the clips into a synced sequence.

The final package was delivered 30 minutes ahead of schedule with zero sync errors, allowing the anchor team extra time for graphics.

On a short documentary, we shot with both RED and Sony cameras, resulting in noticeable color mismatches.

My goal was to achieve a uniform look that supported the narrative tone without extensive re‑shoots.

I first created camera‑specific LUTs based on raw footage analysis, then used DaVinci Resolve’s color match tool to align the shots to a reference still. I established a shared node structure for primary correction, secondary grading, and look‑up, applying it across the timeline.

The final edit presented a seamless visual style, received praise from the director for its consistency, and eliminated the need for costly color‑grade revisions.

During post‑production of a feature‑length drama, early test screenings indicated the middle act felt sluggish and confusing.

I needed to restructure the narrative to improve pacing and clarity, even if it meant cutting a beloved subplot.

I convened a meeting with the director, writer, and producer, presented audience feedback data, and proposed removing the subplot while strengthening the main character’s arc. We re‑ordered several scenes and added transitional B‑roll to maintain continuity.

The revised cut received a 25% higher audience satisfaction score in subsequent screenings, and the film was selected for a major festival lineup.

In a fast‑cut music video project, the client wanted high energy throughout but risked overwhelming viewers.

I needed to balance rapid cuts with moments of visual relief to keep the audience engaged.

I mapped the song’s waveform to identify peaks and valleys, then aligned cut points to musical beats for high‑energy sections and inserted slower, atmospheric shots during bridges. I also used rhythmic audio‑visual sync to create natural breathing spaces.

The final video achieved a 15% higher average watch‑through rate on the client’s platform compared to previous releases.

On a commercial spot, the director wanted a gritty, handheld aesthetic while the producer demanded a polished, brand‑consistent look.

My challenge was to blend both visions into a cohesive final edit that satisfied both parties.

I created two parallel edit drafts—one emphasizing handheld movement with natural lighting, the other with stabilized shots and brand‑color grading. I then presented a hybrid version that used handheld shots for the opening narrative and switched to stabilized, color‑graded frames for the product reveal, explaining the narrative rationale to both stakeholders.

Both the director and producer approved the hybrid edit, and the spot achieved a 20% higher click‑through rate than the previous campaign.

Our post‑production schedule for a TV series required tight coordination among editors, VFX artists, and sound designers.

I needed a system to track progress and ensure everyone met their deadlines.

I set up a shared Google Sheet with milestone dates, assigned responsibilities, and a color‑coded status column. Weekly 15‑minute stand‑up meetings were held to review blockers, and I integrated Slack reminders linked to the sheet for upcoming deadlines.

The series stayed on schedule, delivering each episode two days ahead of the network’s delivery window, which saved the studio $10,000 in overtime costs.