Client:

Hulu

Project Name:

Only Murders in the Building - Season 5

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and evertyhing in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailer for this season using dailies as the source for the cut.

• DOP provided LUTs per day of shooting that were used to give a starting point for each grade.

• Applied company branding to comply with their internal standards for all deliverable types and specs.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

ABC

Project Name:

High Potential - Season 2

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and everything in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailer for this season using a mix of final, semi final, and RAW sources.

• Trailer required extensive grading and color matching within scenes since it was predominantly RAW sources.

• Applied company branding to comply with their internal standards for all deliverable types and specs.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

ABC

Project Name:

RJ Decker - Season 1

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and evertyhing in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the EPK interviews for this season using dailies as the source for the cut.

• DOP provided LUTs per day of shooting that were used to give a starting point for each grade.

• Applied company branding to comply with their internal standards for all deliverable types and specs.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

ABC

Project Name:

Abbott Elementary - Seasons 4 & 5

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and everything in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailer for this season using a mix of final, semi final, and RAW sources.

• DOP provided a basic ARRI LUT that was used to give a general starting point for each grade.

• Applied company branding to comply with their internal standards for all deliverable types and specs.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

ABC

Project Name:

9-1-1 Nashville - Season 1

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and evertyhing in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailers for this season using dailies and early color prints as the source for the cut.

• DOP provided custom LUT which was used for the majority of grading as a starting point besides things captured outside the A camera on drones or other less flat formats.

• Graded Sneak peak spots that were full uncut scenes from dailies.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

Hulu

Project Name:

Tell Me Lies - Season 3

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and evertyhing in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailer for this season using dailies as the source for the cut.

• DOP provided LUTs per day of shooting that were used to give a starting point for each grade.

• Applied company branding to comply with their internal standards for all deliverable types and specs.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

Hulu

Project Name:

Murdaugh: Death in the Family - Season 1

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and everything in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailer for this season using a mix of final, semi final, and RAW sources.

• Applied company branding to comply with their internal standards for all deliverable types and specs.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

ABC

Project Name:

9-1-1 - Season 9

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and evertyhing in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailer for this season using dailies and early color prints as the source for the cut.

• No LUT provided so we used the standard ARRI SDR LUT for this as our rough starting point before applying extensive grading.

• Graded Sneak peak spots that were full uncut scenes from dailies.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

Hulu

Project Name:

Paradise - Season 2

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and everything in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailers for this season using a mix of final, and semi final sources.

• DOP did not provide a LUT so we created our own custom one for internal colorists

• Applied company branding to comply with their internal standards for all deliverable types and specs.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

Hulu

Project Name:

The Twisted Tale of Amanda Knox - Season 1

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, or to color grade any source that were not final to match the show look. Sources could range from final sources to dailies and everything in between. Once the footage was handled I would also add company branding, and GFX to create final the final spot and make all needed iterations based on internal specs. This also sometimes includes making small creative fixes or reformatting spots for social aspects.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them in Adobe Premiere.

• Handled all Color work on the Main Trailer for this season using a mix of final, semi final, and RAW sources.

• DOP provided a custom ARRI LUT that was used to give a basic starting point for each grade.

• Applied company branding to comply with their internal standards for all deliverable types and specs.

• Made all final Deliverables for the main trailer and subsequent cut down spots in varying specs and CTA’s.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

Hulu

Project Name:

Malcom in the Middle: Life’s Still Unfair - Season 1

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Did minor color work on some shots ranging from raw footage to partially graded footage to all match the shows final look.

• Applied company branding to comply with their internal standards for all deliverable types.

• Created social resizes based on preps from creative vendors, including subs that sometimes needed edits.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

ABC

Project Name:

Scrubs: Reboot - Season 1

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Some shots required complex UPRES’ing and noise reduction procedures.

• Handled color on early spots before creating a workflow with their vendor to easily exchange color and shots for VFX needs.

• Applied company branding to comply with their internal standards for all deliverable types.

• Created social resizes based on preps from creative vendors, including subs that sometimes needed edits.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2025

Client:

Hulu

Project Name:

All’s Fair - Season 1

About the Project:

As one of the in house Finishing Editors & Colorists for The Walt Disney Company, it was my job to receive edit preps then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Built all sequences from only an XML and had to over-cut all sources since it was made in Avid and finished in Premiere.

• Applied company branding to comply with their internal standards for all deliverable types.

• Created social resizes based on preps from creative vendors, including subs that sometimes needed edits.

Personal Credits:

Finishing Editor

Year Released:

2025

Client:

Netflix

Project Name:

Emilia Pérez - Main Trailers

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes or color tweaks, along with making the needed changes for social resizes of the wide trailer.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Handled complex speed changes using the Twixtor Plug in.

• Applied company branding to comply with their internal standards.

• Assembled Cinema versions of spots with compliant audio and sequence formatting.

• Created social resizes based on preps from creative vendors.

• Created all final deliverables that were supplied to Netflix.

Personal Credits:

Finishing Editor

Year Released:

2024

Client:

Netflix

Project Name:

A Family Affair - Main Trailer

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes or color tweaks, along with making the needed changes for social resizes of the wide trailer.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Applied company branding to comply with their internal standards.

• Assembled Cinema versions of spots with compliant audio and sequence formatting.

• Created social resizes based on preps from creative vendors.

• Created all final deliverables that were supplied to Netflix.

Personal Credits:

Finishing Editor

Year Released:

2024

Client:

Amazon Prime Video

Project Name:

The Boys (Season 3 - 4) - Main Trailer’s

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes or color tweaks, along with making the needed changes for social resizes of the wide trailer.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Handled custom ad spots from dailies for Liquid Death & Postmates.

• Handled two complex EPK BTS trailers that focused on Stunts & VFX and featured a mix of interviews, BTS footage, WIP VFX Comps, and final Episode footage.

• Applied company branding to comply with their internal standards.

• Assembled Broadcast versions of spots with compliant audio and sequence formatting.

• Assembled Cinema versions of spots with compliant audio and sequence formatting.

• Created social resizes and handled all key-framing and content repositioning to fit 1x1, 4x5, 9x16, and TikTok deliverables.

• Created all final deliverables that were supplied to Amazon.

Personal Credits:

Finishing Editor

Year Released:

2023 - 2024

Client:

Amazon Prime Video

Project Name:

The Second Best Hospital In The Galaxy (Season 1) - Main Trailer

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes or color tweaks, along with making the needed changes for social resizes of the wide trailer.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Handled custom ad spots from dailies and and two BTS Featurette’s.

• Applied company branding to comply with their internal standards.

• Assembled Broadcast versions of spots with compliant audio and sequence formatting.

• Created social resizes and handled all key-framing and content repositioning to fit 1x1, 4x5, 9x16, and TikTok deliverables.

• Created all final deliverables that were supplied to Amazon.

Personal Credits:

Finishing Editor

Year Released:

2024

Client:

Netflix

Project Name:

Rustin (Film) - Main Trailer

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes or color tweaks, along with making the needed changes for social resizes of the wide trailer.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Applied company branding to comply with their internal standards.

• Assembled Broadcast versions of spots with compliant audio and sequence formatting.

• Assembled Cinema versions of spots with compliant audio and sequence formatting.

• Created social resizes based on preps from creative vendors.

• Created all final deliverables that were supplied to Netflix.

Personal Credits:

Finishing Editor

Year Released:

2023

Client:

Freevee

Project Name:

Monumental: Ellie Goulding at Kew Gardens (Film) - Main Trailer

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This project required extensive color work due to the clients discontent with the graded shots we were provided for finishing.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Applied company branding to comply with their internal standards.

• Created social resizes and handled all key-framing and content repositioning to fit 1x1, 4x5, 9x16, and TikTok deliverables.

• Created all final deliverables that were supplied to Freevee.

• Handled Color duties across all shots in the main trailer and subsequent cut downs.

Personal Credits:

Finishing Editor & Main Colorist

Year Released:

2023

Client:

Amazon Prime Video

Project Name:

Jack Ryan (Season 3 - 4) - Main Trailers

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes or color tweaks, along with making the needed changes for social resizes of the wide trailer.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Applied company branding to comply with their internal standards.

• Assembled Broadcast versions of spots with compliant audio and sequence formatting.

• Created social resizes and handled all key-framing and content repositioning to fit 1x1, 4x5, 9x16, and TikTok deliverables.

• Created all final deliverables that were supplied to Amazon.

• Handled Color duties on select shots that went to final.

Personal Credits:

Finishing Editor & Colorist

Year Released:

2022 - 2023

Client:

Freevee

Project Name:

Jury Duty (Season 1) - Main Trailer

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes or color tweaks, along with making the needed changes for social resizes of the wide trailer.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Applied company branding to comply with their internal standards.

• Assembled Broadcast versions of spots with compliant audio and sequence formatting.

• Created social resizes and handled all key-framing and content repositioning to fit 1x1, 4x5, 9x16, and TikTok deliverables.

• Created all final deliverables that were supplied to Freevee.

Personal Credits:

Finishing Editor

Year Released:

2023

Client:

Freevee

Project Name:

Jeff Lewis: Hollywood House Flip (Season 1 - 2) - Main Trailer’s

About the Project:

As one of the in house Finishing Editors for Pixwel, it was my job to receive edit preps from creative vendors and then rebuild using final source material, along with adding company branding, and creating social resizes / final deliverables. This also sometimes includes making small creative fixes or color tweaks, along with making the needed changes for social resizes of the wide trailer.

Responsibilities:

• Received Preps from Creative vendors and faithfully recreated them using final source material.

• Applied company branding to comply with their internal standards.

• Created social resizes and handled all key-framing and content repositioning to fit 1x1, 4x5, 9x16, and TikTok deliverables.

• Created all final deliverables that were supplied to Amazon.

Personal Credits:

Finishing Editor

Year Released:

2022 - 2024