Video & Original Score

One Another · 4K Short Documentary

A short documentary about a community and its relationships, produced for premiere on a large-format projection and then distributed digitally. I conceived the project, identified and coordinated with participants, conducted the interviews, shot all footage in 4K, and handled the complete post pipeline: editing, color grading, audio mixing, and titling.

The interviews were shot with available light in participants' homes, which meant managing position and exposure to hold a consistent look across very different rooms. The edit balances interview audio against environmental footage to build a rhythm that sustains attention without narration or graphics. It had to work in both contexts—holding a room of 300 people, and holding up on a laptop at home.

There's no second take on a genuine emotional moment. The skill isn't just technical—it's managing every production variable in real time while keeping non-professional subjects at ease.

The Countdown Practice

Every service opened with a five-minute countdown film—edited, graded, and scored to arrive at zero exactly as worship began. Each one belonged to a teaching-series identity and put that identity in motion. The constraint was unusual and clarifying: the piece has a fixed length, a known ending, and has to hold a room that is still arriving.

The Galatians film tracks its series' own metaphor. An original score opens sparse—one instrument, open space—and builds as raw clay becomes a vessel, arriving at full arrangement precisely as the timer reaches zero.

The music isn't background; it's structural. It creates the emotional trajectory that makes a five-minute countdown feel like a story rather than a timer.

Not every film was built from its series artwork. The Tension countdown cuts weaving, ballet, rowing, lab work, and solar installation into one quiet argument about human work—the Lenten series' held opposites, carried by edit and score rather than type.

Range Across the Calendar

The practice ran year-round, and the register changed with the season:

• The Gospel of John — the celestial series identity set in motion.
• Ordinary Time (2022) — a single sunlit forest held for five minutes while the score builds from near-silence to full arrangement. The most disciplined score of the set.
• Advent (2022) — stripped back to fog and mountain silhouette, letting the season's restraint set the tone.

Instructional & Contemplative

A third register, and a different problem to solve. This Lenten prayer practice guides a viewer through folding, cutting, and unfolding a single sheet of paper until it opens into a leaf-shaped diamond—a tactile meditation on restoration, followed along at the viewer's own table.

The production problem is unusual: the camera has to serve comprehension—hands and paper legible at every step, which is why it's shot multi-camera including a top-down angle—without ever breaking a contemplative pace. And because the narration leaves long deliberate silences, the score has to hold those gaps without filling them.

Credit where it's due: the liturgy and script are not mine. I composed the original score and handled all video production, pre- through post.

What This Demonstrates

End-to-end moving-image production by a single producer: concept, cinematography, edit, color, sound, and original composition. For roles where video is part of a broader communications function, this shows I can run the full pipeline without a production team—while also knowing when a project warrants one.

It also shows range within the medium. A documentary asks for trust and patience with real people. A countdown film asks for structure, timing, and music that does narrative work. An instructional piece asks the camera to serve comprehension without breaking the mood. All three are here.