I've edited many main titles for TUF, but this is one of the most recent and one of my all time favorites. We don't get a ton of room to play, but it's still possible to put our own creative stamp on it.

This is my favorite of all the main titles I've edited. I cut it from scratch in two and a half days. All of the VFX and SFX work was done by me, although of course some things were changed in online.

The crash in this sequence is another example of how seriously I take sound design. I spent a long time adding breaks noise, tires, the car going through the grass, rocks hitting the window, and pretty much everything else. I actually thought they didn't play it up enough in the final mix.

I've been editing TUF for a long time, and this is one of my absolute favorite scenes. It's an action-packed challenge with lots of drama that was a blast to edit.

After editing all five seasons of Top Shot, this team challenge from episode 203 remains my favorite. It's one of the largest in scope, it is fast paced, has a ton of drama, and ends with the biggest explosion the show ever had. It's also my favorite because I know where it started from. The challenge was actually shot two and a half times, on different days, because so much of the drama in the middle was off camera, and half of the targets never exploded. I was responsible for all of the editing, the music, GFX and SFX.

This is one of the most famous scenes in all of The Ultimate Fighter. It isn't just an argument between coaches. Everything leading up to the argument, to it's eventual aftermath contributed to the reshaping of the UFC's lower divisions. I was happy to have gotten the opportunity to edit it.

I find it's always hard picking "standard" reality scenes for a reel. This scene is a truly open and honest discussion about Tom Sizemore's past and future, and even though I cut it while I was still an assistant, I think it holds up. The music might stand out a bit, but over all I really like it.

Many people outside the industry don't understand what it is we do. In reality, this event spanned over an hour of back and forth, back stories and tangents that would have made it completely uninteresting. Our job is to get to the essence of what the scene really is.

While this is another competition scene technically, it's also just one of my favorite moments. George was in many ways the loud mouthed bully of season 2. But where most reality competitors go out of their way to screw each other over, the competitors on Top Shot proved honorable and selfless.

I was a late edition to the Street Outlaws team, and after two months of working on it, I was tasked with cutting the last three acts of the Finale from scratch in seven days. Not only did I succeed, but I receive a grand total of one note from the supervising producer, the executive producer, and all of the network executive's passes combined. I'm pretty proud of that.

The Network made some very strange decisions when they shot the opening for Top Shot 4. I ended up having to rewrite the script and have the host record VO that would fit in with his on camera lines since no re-shoots were possible. Once I finished all of the editing and sound design, I think it turned out very well.

This is by far the most spectacular crash I edited while on Street Outlaws, and it's a good example sound design work.

Between July and October of 2007 I worked with an independent producer Russ Popick on a bunch of TV spots for Lifetimes Fall programming line up. This is for a Lifetime horror / thriller called "The Gathering." It was a very interesting project because the movie was being cut at the same time as the spots. So we had to make a lot of guesses as to what was actually going to be in the film.

When I was working for Russ Popick in 07, we worked primarily on material for Lifetime, but this was a happy little diversion / side project. I think we banged out 5 spots in one day.