Videos
Immersive edits. No fancy transitions. I cut closely to the music, with every shot placed intentionally around the beat and rhythm of the track. I also like finding ways for the ending to fold back into the beginning so smoothly you barely notice it looped.
I pair each track with visuals that tell a story of their own while still feeling connected to the music. A lot of the process is finding the right footage, knowing when to hold on a shot, and when to move on. I keep refining until the video feels like it belongs to the track and still holds up after more than one watch.
How I got here
Where the edit came from
The style really started with photography. I’d shoot a full set of photos, find a song, and cut the stills so each image landed exactly where I wanted it in the track. That’s where I learned timing. I still shoot whenever I can, and I usually come back to photography when I need to slow down and reset.
Then and now
Generative visuals came in while I was still figuring out what I liked and what kind of work I wanted to make. They gave me a fast way to experiment and test ideas. Since then I’ve moved into more licensed footage, filmmaker collaborations, animation, cinema, and my own photography. I’ve been editing in some form since I was a kid, so the tools keep changing. My taste is what keeps it all connected.
The wall
Newest first, all the way back to where it began. Tap any cover to play it here. Anything marked official collab was posted jointly with the artist. The full archive has everything organized by year and where the artist is from.
Licensed footage, filmmaker collaborations, and visuals drawn from cinema and games.
724K views · 13K likes · 14 posted
The catalog widens: phonk, post-punk, Khmer psychedelic rock, and everything between.
7.4M views · 105K likes · 40 posted
Where it started. Lower fidelity, but the point the work began taking on new shapes and themes.
3.6M views · 266K likes · 26 posted
Not a music video
An animated retelling of the Aztec legend of the rabbit on the moon, taken from shot list to final render. For this project, I learned how to anatomically rig vector characters licensed through Adobe Stock, working between Illustrator and Adobe Character Animator before bringing everything together in After Effects. I also built out the scenes with a multiplane effect to create more depth and movement across the 2D environments. It’s the piece I’m proudest of and one of the best examples of how I use visual storytelling beyond music videos. The full project breaks down the storyboards, animation process, and final film.
Thank you
I’m grateful to every artist who trusted me with their music and gave me the freedom to take it somewhere they might not have expected. That’s a big reason this catalog covers so much ground, from phonk and post-punk to Khmer psychedelic rock, with artists from the United States, Canada, the UK, Germany, Ukraine, South Africa, Brazil, Japan, Australia, New Zealand, Sweden, Cambodia, Kazakhstan, Egypt, and India. I’m also thankful for the videographers and filmmakers whose licensed footage helped bring so many of these edits together.
If you make music and want visuals for it, send me the track.