When Kelly Slater and his team approached me to help create a launch film for a new surfboard called The Great White Twin, I was immediately excited—and honestly, a little challenged in the best way. I wanted to figure out how to make the idea of a shark feel exciting rather than scary, and how to visually connect the shark, the surfboard, and Kelly in a way that felt unique and intentional. That question led me to think about how water refracts—how light bends on the ocean floor, or across the surface of a shark’s body. That’s when it clicked. I realized I could recreate that look and feeling in a studio environment, using light, texture, and movement to echo what you’d experience underwater. The result was a visually driven piece that ties performance, design, and storytelling together—without leaning into fear, and instead leaning into energy, precision, and flow.
For this project with Eero and the World Surf League, I set out to tell a cinematic, documentary-driven story about something you rarely see: reliable connectivity working quietly behind the scenes at live surf events.
My goal was to help bring the invisible to life. Wi-Fi isn’t something you usually notice—until it fails—so I wanted to find a visual language that made it feel present, human, and essential. That led me to explore a first-person point of view from the device itself, paired with helmet-cam footage and on-the-ground moments that pull the viewer directly into the experience.
I led the creative from concept through delivery—creative direction, direction, cinematography, and editorial—filming in real-world environments like Lowers and the US Open of Surfing. By focusing on real voices, authentic moments, and immersive perspectives, the film shows how connectivity quietly supports athletes, broadcast teams, and fans in fast-moving, high-pressure conditions—without ever getting in the way.
On the Puma + Dixie D’Amelio shoot, the experience on set mattered just as much as the visuals. The talent hired to play Dixie’s friends didn’t know they’d be filming with her that day, so when they arrived on set, they were understandably star-struck—stiff, quiet, and a little awkward.
Before rolling a camera, I hit pause. I made a joke, had everyone introduce themselves, and gave them a moment to actually connect. You could feel the shift almost immediately—everyone relaxed, started laughing, and the energy changed.
Once we started shooting, the dynamic felt natural and fun, and that translated directly to the footage. Creating that space for people to feel comfortable ended up being just as important as the lighting or camera work—and it’s what made the spot feel authentic rather than forced.
For Surge Iconics, I wanted the products to feel like the star of the show—as if they were the artist on stage, performing for the audience.
I led the project from creative direction through edit, and started by asking how to give inanimate objects presence, energy, and intention. That led me to source and use a 360-degree camera rig that could spin fully around the products, allowing movement, rhythm, and perspective to drive the visuals. I paired that with a carefully designed set and refined lighting to create something immersive and distinctly one of a kind.
The result is a sleek, performance-driven piece that positions Surge Iconics as a force of creative and technological innovation—letting the products speak for themselves through motion, precision, and design.
“We’ve had a fantastic experience working with you. You understood and elevated our vision to a whole new level… The results are absolutely fabulous, and that’s unanimous feedback from all our stakeholders.”
— Pam Crain
This Sharkbanz project pushed me outside my comfort zone—in the best way. I’d never creatively directed an animated piece before, and the original plan was a simple 2D illustration approach. But I wanted to challenge myself and see if we could elevate the idea without blowing the budget.
I wrote the script, developed the concept, and fully storyboarded the entire piece. Instead of starting from scratch in 3D, I sourced a high-quality stock 3D shark as the visual foundation and built the creative around it. Once the visual language was clearly defined, I brought on animators Casey McPerry and Victor Abramovskiy to help execute the vision.
By doing the problem-solving up front—locking the look, pacing, and storytelling early—I was able to guide the animation process efficiently and keep the final film cohesive, clear, and true to the original idea. It was a creative stretch, but one that reinforced how curiosity and preparation can open the door to better solutions.
For Ian Calderon’s announcement video for his run for Governor of California, I had just one week to concept, film, and edit the entire piece, so getting to the heart of who Ian is was essential.
Rather than approaching it like a traditional political ad, I focused on making the film feel authentic and genuine, more like a conversation than a campaign spot. The goal was for it to reflect Ian’s values, character, and intent without the polish or posturing that often comes with political messaging.
I directed, shot, and edited the piece end to end, shaping a clear and intentional narrative that introduces Ian as a real person first, someone you can listen to, understand, and trust.