Motion & Video

A high-energy broadcast spot built for a potential Gasparilla Bowl placement — pulling clips from existing product videos and pairing them with a music bed lifted from another campaign to build a faster, more intense edit than any single source could carry alone. The placement ultimately didn’t happen, so the ad was never used, but the cut itself stands as a real edit under real constraints: no new footage, no new music budget, everything reassembled from what was already available.

A 2-minute motion graphic explaining Pinnacle’s data-driven reliability framework — cutting together client-provided footage and layering original After Effects animation on top to visualize the underlying systems (reliability engineering, data operations, technical software).

A vector-based logo animation for a professional identity — clean, precise, timed to make the mark feel intentional rather than decorative. Built entirely from a static logo file, with the motion designed to reinforce the shape and reveal of the mark rather than compete with it.

A personal project directing a multi-model AI pipeline — Runway, Seedance, and ElevenLabs among them — to build a 30-second Toyota Supra Heritage montage. I directed every stage: casting the narration voice, revising a Gemini-drafted script for pacing, rejecting and re-generating shots that didn’t hold up, and scoring the transitions. When early generative outputs shifted away from my original jump-cut concept, I pivoted the creative direction on the fly, adapting the visual strategy to tell a chronological story instead and intentionally framing the modern GR Supra as a worthy successor to the Mk4 rather than a flashy sequel. The final cut was assembled and edited by hand in Runway’s timeline editor.

Not client work — self-directed · first time using Runway: one day, one pipeline, start to finish