A mixed-media project I worked on involving 3D modeling and green screening. I first created the Backrooms backdrop myself in Blender, then filmed both my friend and I in front of a green screen in order to key us in as well as edit the footage within Premiere Pro. It was an altogether exciting and unique project to take on.

A quick edit I made capturing the atmosphere and aesthetic of an incredibly rainy day.

This is a project I worked on that layers 3D modeling atop footage I took of myself. The process pushed me to my limits, forcing me to learn new techniques both in Blender and in Premiere Pro in order to see through the creative vision I had. It's gothic, it's eerie, and I'm proud of how it turned out.

I visited my home in the U.S for the holidays in December of 2025, bringing my camera and taking shots of friends, family, scenes and environments. I wanted to capture the calm of being back in the dead of Michigan winter, and the warmth seeing my friends and family gives me in those cold months It was a very personal project, not necessarily made for any degree of algorithmic attention. A slow Sinatra song, Mood Indigo, that holds sentimental value, as well as a long intro segment from one of my favorite childhood Christmas specials. This was an incredibly healing project to create.

I produced and directed a 5-part, hour-long documentary series for Blast Galaxy, an Amsterdam-based retro arcade and cultural space dedicated to preserving Japanese arcade gaming history and culture.

The series explores the origins of Blast Galaxy, the influence of Japanese arcade culture on its founder, and the process of importing, restoring, and maintaining authentic Japanese arcade cabinets in Europe. Through interviews, documentary storytelling, and stylized retro-inspired visuals, the project highlights the intersection of gaming history, preservation, and cross-cultural exchange between Japan and the Netherlands.

I handled the project independently from start to finish, including pre-production planning, interview development, cinematography, lighting setup, audio recording, editing, motion graphics, and post-production. The visual direction drew heavily from vintage arcade aesthetics and 8-bit culture, incorporating retro-inspired graphics and documentary-style storytelling to match the identity of the brand.

The final product consisted of five fully edited episodes created for online release and social media promotion, designed to strengthen Blast Galaxy’s brand identity and document an important niche gaming culture for a broader audience.

I watched The Last Unicorn for the first time a couple months ago, and I adored it right away. I racked my brain for a song I could use for an edit, as the movie has such a distinct tone and atmosphere that it seemed so ripe for a well-fit, well-made edit. Ultimately, "Goddess" by Laufey ended up being the winner, and goodness what an apt choice. The lyrics were practically written by Amalthea herself! This edit was incredibly fun and satisfying to make.

I'm not sure what this is, necessarily. I do know I was big into Chainsaw Man at this time.

Another quick edit, and a sort of sequel to the room tour video as I took them at the same time as those room clips & with that same Canon R50 camera. I like the different vibe it captures than the room tour video (much with the help of Kensuke Ushio's "Chainsaw Man" score), as well as the autumn colors.

I got the chance to tinker around with a Canon R50, so naturally I took a couple of shots around my room and made this cute little edit from them. Nothing crazy, but enough to capture the atmosphere. I hope you like!

I love Dead Poets Society. I love Jeff Buckley. I love Neil Perry. This edit was inevitable.

My room serves as an extension of myself in a variety of ways, acting as the museum of my brain. There’s so many knick-knacks and trinkets that have incredulous amounts of lore behind them. So, I figured why not film a room tour to post on my socials, showcasing one specific section of my room? That could be interesting in its own right, sure, but I wanted to take it a step further and edit it like some old, 8-bit arcade game. No After Effects, no Blender, just one Premiere Pro project.

This was pretty rewarding to make, but also the most complex. This was the first time I experimented with fog/mist, and it wasn’t easy. I’d mimic YouTube tutorials and something would still go wrong on my end, and I’d need to dig through my software to find out exactly why. Regardless, the end product was exactly how I pictured it in my head, and I’m quite proud of it. It’s eerie, liminal, and gothic. My favorite details are the purple moon and background music, as they just match the atmosphere incredibly well.

Recently, upon rewatching one of my favorite movies of all time, A Silent Voice, I felt a strong urge to make a quite informal video essay explaining why I think it’s so great. The visuals are nothing spectacular, as I just used appropriate clips from the movie depending on what I was saying. I find this one to be more of an auditory experience, really.

The ".mp4" in the title is intentional, let the record show. But yeah, I've got a thing for liminal spaces. This was more a practice run for me in order to test wind physics + moving backgrounds in Blender, though I liked the end result nonetheless.Yeah, I got a thing for liminal, dream-core stuff, as you can see. This was relatively simple to make, but it turned out wonderfully nonetheless. It was my first time experimenting with grass and wind effects, too, so that was quite exciting, if not also a bit intimidating.

Seemingly the most popular video I've ever made, as it's currently sitting at over 30K views on TikTok. I adore the Chimera Ant arc, and I adore ABBA. A match made in heaven.

I was incredibly enthusiastic about this project when I finished it, and I still am to this day! It's strange and it's curious, and ultimately looked exactly like what I had in mind when I began.
Very Severance-y, too, it would seem.

This was the first ever scene I made in Blender! I had tinkered around with titles and the like previously, but never entire environments and scenes before this one. It's short, but I liked the atmosphere and overall look.

While the video essay itself is well-assembled and informative, the section I’m proudest of in this project (created for a Film Analysis course) was the first five seconds of the video – the title card. For whatever reason, I had the ingenious idea to create a 3D animated title in the same style as the Incredibles film, to really capture the attention of my fellow classmates. It was a real return-to-form for me, as I hadn’t dabbled in After Effects in years, but I was excited to be back. So, just like the old days, I found a YouTube tutorial and followed it closely, until I got the result you see here. Did it take many hours, getting me to stay up all night so that I could perfect it before presenting it that same day? Yes. Did anyone in the room take notice? Probably not. Was it worth it? Probably not, once again. But I maintain that it looks pretty good all things considered, hence why I am now forcing you to watch it, too. Are you impressed yet? You have to say yes, or else what was all this even for?

A documentary selected for the 2023 Amsterdam Student Film Festival. AT LEAST I HAVE ACTA, directed by Eva Cain, is about a fascinating student housing building located in Amsterdam that is expected to be torn down in the near future.

A short film made with the intention of emulating film director Tim Burton's style. Edited using Adobe Premiere Pro.

Every time I was watching the series The Chilling Adventures of Sabrina, this lovely song would play called “Sabrina and Harvey” anytime those two characters were onscreen together. Seeing as I think Tangled is one of the most romantic movies ever made and how much I adore the lantern scene specifically, I figured it’d be nice to make a cute edit with the two.

First off: Massive spoilers for Attack on Titan! Now that that’s out of the way… I love Commander Erwin’s character. He’s so profoundly complex and tragic that I only thought it right to put it alongside the score from one of the most complex and tragic fight scenes in a different series — Avatar: The Last Airbender. The edit itself isn’t groundbreaking, but it isn’t really meant to be. It’s merely an attempt to encapsulate a solid portion of Erwin’s character using his most crucial scenes in the series. I , too, would charge to my death for him.