I moved to San Francisco for film school, fell in with the indie bike film scene. That led me to an opportunity working at Beast Editorial San Francisco where I spent my twenties working on editing videos for ad agencies — Goodby, DraftFCB, DDB — and direct brands — Google, Levi's, EA, Ubisoft, Facebook. I was fortunate to learn from some of the best in the industry and even won a Cannes Lion for my work on the "Dead Space 2" ad campaign. Since I loved all aspects of filmmaking, not just post-production, I also directed spots for Ubisoft and a handful of Bay Area agencies. With Salesforce as one of my clients, they made me an exciting offer to help build their post-production department in 2014, which started off as just a single Mac Pro in a boardroom. Through the years, I helped develop post-production into a proper film floor with edit bays, I co-founded the in-house 3D team, built their global Media Asset Management system, and am currently helping revolutionize the way we work with AI.

In 2024, I started building AI tools, not because I was chasing a trend, but because I had a documentary that needed to get finished and exactly zero spare hours to finish it. So I built the hours. The tools I made for myself — grant seekers, editorial assistants, research agents — turned out to be the same things we needed at enterprise scale too. That's how Portland Picture Works came together: the instincts I learned from the edit room and the systems thinking from the engineering side, coming together in the same place.

I'm not a production house. I'm a filmmaker and creative engineer who's spent twenty years doing both sides, and I can usually tell you in about thirty minutes whether the thing you want to build is worth building.