Welcome to my portfolio site! I am a Seattle-based video artist with a focus on creating custom, one-of-a-kind visuals for live music performances. My creative process involves filming original footage, transforming it into abstractions edited to match the dynamics of each song, then projecting during the live music performance.
I've been fortunate to have had clients put their complete trust in me for the creative vision, which has allowed for a lot of great experimentation. Trial and error is where you find the good stuff! I've stuck a GoPro camera on the side of a canoe and on the hood of a car (J GRGRY's "Erase the Shore" and "Floodlands", HWOIG's "Nightshade"). Created an animation from a single image (HWOIG's "Magazina"). Put a pint glass over the lens of my camera and filmed Christmas lights (J GRGRY's "Rare Poisons"). Set up my camera in the middle of a merry-go-round in my neighborhood playground to film the rotating trees and streetlights (J GRGRY's "Rolodex"). Positioned a small spotlight on some dandelions one summer night, and filmed the seeds gradually being blown away (J GRGRY's "Ships"). Stumbled upon a small palm at the corner of a busy intersection dancing in the wind while rays of sun bounced through its fronds, which became visuals for HWOIG's "Paralyzer". You never know when creative inspiration will strike. I often just walk out into the world and find interesting things to film and abstract during the editing process.
Although I'm specializing in augmenting live music experiences, I'm certainly open to other related projects that could include experiential marketing, fine art installations with emerging technologies, projection mapping, and more. Feel free to contact me to discuss the possibilities.
My process often starts with listening to a song repeatedly to get a sense for its mood and narrative. Then, I step out into the world and record footage based on that feeling, sometimes with the song playing in headphones while I'm filming. Next, I edit the footage to the recorded track, abstracting the image with layers, filters, color, and motion adjustments. Then, I'll attend a few rehearsals and tweak the visuals to the live performance. Finally, I'll project them during the live performance (or feed into an LED wall). This process works best if a click track is involved. However, I can do live mixing in Resolume for more flexibility.
Some projects require fast turnaround, which limits the time for seeking out dedicated footage. So, I'm open to licensing stock footage or pulling from the public domain. The same customization and abstraction per song would apply during the editing process.