“A storyteller at heart, a problem solver, and a family man through and through. I started Rubber Sole Creative in the middle of the pandemic with a third baby just born. Not exactly the “safe” move. We went fully remote from day one, ditched the industry’s old billing tricks (no OT, no revision fees), and leaned into making work that excites us. Since then, we’ve cut Featurettes, Multi-Title Creative, trailers, and promos for most major studios and streamers. Along the way, we picked up a few Telly Awards, Clios, Promax, and GTAs. But really, it’s all about getting audiences excited about the next best show.”

How many years have you been a judge?

1-3 years

What was your first job in the industry? What did it teach you?

I was an editor at Sony Pictures. That job taught me patience, precision, and the power of a single frame. It also taught me that collaboration is everything, as the best ideas don’t come from one person; they come from the room.

What project are you most proud to have worked on?

The Pay1 sizzle – Netflix. It was a high-stakes endeavor, with no blueprint, and we had to set the tone for a whole new era of content. It was risky, but it landed, and that made all the late nights worth it.

What’s the most challenging part about your job and/or the industry?

I think there are a few challenges; on my side, matching the right editor with the right project has always been the magic sauce to elevating the work. On the industry side, timelines and budgets are crucial. Both have been cut. But the craft still matters. Finding the balance between speed and quality is the constant challenge, and also the fun part.

What do you look for to determine excellence in video and television?

Bravery. If the work takes a risk, surprises me, and still connects emotionally—that’s excellence.

How do you unwind from work mode?

Family first. I have three kids, so unwinding often means attending soccer practice, dance competitions, and simply lying on the couch to watch a movie.

Do you have any specific practices you lean on to fuel your creativity?

Music is the key to most great things. A single track can inspire an entire cut. Additionally, stepping away from the screen, walking, traveling, or simply scribbling on a notepad usually unlocks the solution faster than staring at Premiere timelines for hours.

When did you know that this career is what you wanted to do?

I always wanted to be a film director. I had the pleasure of directing two feature films and several shorts, but I quickly understood that there are many ways to tell stories.

What inspired you to join the field and create the kind of work you do?

Movies were always my escape. Trailers felt like the purest form of that – two minutes of concentrated storytelling. Once I realized I could help create that magic, there was no turning back.

In your experience, what is a significant change happening in the video and television industry, and what insight can you share about how to navigate it?

Fragmentation. Audiences are scattered across platforms, formats, and attention spans. The trick is to find the core story and adapt it without losing the essence. It’s not about making one thing fit everywhere, but rather it’s about tailoring the same heartbeat across screens.

What’s a work tool you use every day and what’s one that is obsolete that you wish still existed?

Every day: Adobe Premiere Pro – it’s home base.
Obsolete: I don’t look back.

What are your current roles and responsibilities and what do you love most about your job

I guide creative and strategy, but I still jump in to cut, pitch, and collaborate. What I love most is the freedom to take risks. We built the agency on breaking the “rules” – no hidden charges, no layers of bureaucracy, so that we can focus entirely on the work.

What initiatives or projects are you working on now that excite you?

We recently delivered the opening reel for Sony’s LA Screenings and are cutting a BTS campaign for Daren Aronofsky’s new film. I love working on those big Sizzle Reels, especially the ones that are shown in theaters in front of a huge live audience. The excitement is tangible.