Videos
Custom visuals
for every track
I’m not big on flashy transitions. Timing matters more. I look closely at how long a shot stays on screen and where the next cut lands. If the edit loops, I want the last frame to lead back into the first without making the seam obvious. I use licensed footage, footage from filmmakers, animation, and sometimes my own photography.
How I got here
Where the edit came from
Photography first
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
Taste over tools
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
100+ videos
Newest first. Tap any cover to play it here. Anything marked joint Instagram post went up on both my page and the artist’s. Everything else is a self-initiated edit. The archive lists the catalogued edits by year and where the artist is from.
2026
Licensed footage, filmmaker collaborations, and visuals drawn from cinema and games.
724K views · 13K likes · 17 Instagram posts measured
2025
The catalog widens: phonk, post-punk, Khmer psychedelic rock, and everything between.
7.4M views · 105K likes · 40 Instagram posts measured
2024
Where it started. Lower fidelity, but the point the work began taking on new shapes and themes.
3.6M views · 266K likes · 26 Instagram posts measured
Not a music video
Rabbit on the Moon
An animated retelling of the Aztec legend of the rabbit on the moon, made with Character Animator, Illustrator, and After Effects. The full project breaks down the storyboards, animation process, and final film.
Thank you
To everyone who said yes
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.