It usually starts with me reading the script or the scene and really understanding the product. What it is, who it’s for, what makes it different. From there, finding the right location is huge. That’s one of the biggest pieces, honestly. Then it’s casting: figuring out how many actors we need and who actually fits the product and the company.

Once that’s set, I storyboard the shots before we ever roll. That’s the part that makes everything on the day go smooth. I like showing up prepared. Then I figure out the schedule, whether this is a half day or a full day, and we shoot.

When it comes to the edit, I keep an open mind. It’s your product, so I want to understand what you’re going for. When you send notes on revisions, I listen and I follow them. The goal is that you end up with something you’re proud to put your name on.

I can absolutely come up with the creative concept. If you already have a vision, great, I’ll run with it and build it out. But if you’re coming to me with just a product and a goal, that’s fine too. I’ll handle the ideas, the look, the story we’re telling, all of it. That’s the part I love anyway.

Either way, you’ll have less to worry about. You tell me what you want people to walk away feeling, and I’ll figure out how to get them there.

I shoot on a Sony FX3 and a Sony a7 IV. For glass I run NiSi lenses, usually a 14mm, a 35mm, and a 50mm, which covers just about everything from wide establishing shots to tight product work.

On the lighting side I own my own kit. Amaran, Aputure, and Nanlite, plus all my own C stands, so I’m not renting or waiting on gear to show up. And I bring on a dedicated sound guy for every commercial, because good audio is half of what makes a spot feel professional.

I edit everything myself. I cut and color in DaVinci Resolve, handle audio in Logic Pro, and pull music and licensing through Artlist.io. If a shot calls for it, I’ll bring in AI video as well, specifically Seedance and Veo 3, so we can get something on screen that would otherwise be out of reach on the budget.

It depends on the project, but usually anywhere from 3 to 7 days. I edit fast. Cutting, color grading, and sound design all move pretty quickly for me, so you’re not waiting weeks to see something.

The one thing that shifts the timeline is revisions. However many rounds of notes you want, we’ll work through them. But that first cut, the one I hand over to you, is typically three to seven days.

Yes, 100%. Writing scripts for commercials and products is a specialty of mine.

Before I write anything, I like to sit down with your media team or with you directly to really understand the product that’s being sold. That conversation shapes everything. It tells me what locations we need and what kind of actors actually fit. Once the script is done, I send it over so you can look it over and make sure everything is right before we go any further.

Then comes storyboarding. I map out what shots are best for each moment and what lenses to use on each line. That way when we get to set, everything moves smoothly and we’re not burning time figuring things out on the day.

Yes, I take care of both.

Music comes through Artlist.io, which gives me a massive library of tracks and sound effects that are fully licensed and cleared for commercial use. That means your spot is safe to run anywhere. YouTube, Instagram, TikTok, LinkedIn, and beyond that into commercials airing on streaming platforms like Disney, Hulu, and Amazon.

Sound design is the same deal. I build it out myself. A phone going off, someone grabbing a bag, a door closing, a car door shutting, all of it gets placed and mixed so the spot feels real and not flat. That whole side is handled.