Film Editor —
Raleigh, North Carolina

An Editor Who Knows This State

The Research Triangle — Raleigh, Durham, Chapel Hill — is one of the most education-dense regions in the country, home to NC State, UNC, Duke, and the North Carolina School of the Arts. That means a working film community: student productions, independent filmmakers, documentary crews, and an expanding base of branded content and docuseries work driven by the region's tech and research industries.

I'm a Southeast-based editor with established credits on Netflix, Amazon Prime Video, A&E, ESPN, and Peacock, and a body of award work rooted in North Carolina — Best Editor at the Asheville Film Festival, Best Editing at the Southern Shorts Awards. These aren't national awards that happened to land in the Southeast; they reflect years of genuine investment in regional projects alongside network television work.

North Carolina also offers one of the more competitive film incentive structures in the South: a 25% refundable tax credit on qualifying production expenditures. Productions shooting or posting in-state have a real financial reason to use North Carolina-based crew. A local editor is one of the cleaner line items — no relocation, no per diem drag, immediate availability for on-location cutting rooms in Raleigh, Durham, or anywhere else in the state.

My current work includes The Gotti Files — Co-Executive Editor on an eight-episode true crime docuseries for A&E, produced by Propagate Content and Lady Moon Entertainment, showrun by Rory Karpf. On the narrative side, my feature debut Grace Point (dir. Rory Karpf, starring Andrew McCarthy, John Owen Lowe, and Jim Parrack) premiered as an Official Selection at the 2023 Santa Barbara International Film Festival. Both strands of that work — documentary instinct and narrative structure — came out of the same editorial practice, and both are available to Triangle-area productions.

Short narrative film is a consistent and serious part of this practice — not a stepping stone, but a format with its own editorial demands. I've won Best Editing at the Southern Shorts Awards and Best Editor at the Asheville Film Festival for work in this category.

What Documentary Training Does to a Narrative Editor

The best narrative editors understand performance the way documentary editors understand interview footage — not as a record of what happened, but as raw material for a story. That instinct is trained, not assumed.

Most of my television career was built in documentary and docuseries — Dominique Belongs to Us (ESPN), Joe Montana: Cool Under Pressure (Peacock/NFL Films), Shaq Life (TNT/HBO Max), Coach Snoop (Netflix), and the Sports Emmy-nominated UFC 25 Years in Short. That work trained a specific skill: finding the emotional center of a scene in footage that wasn't designed to have one, shaping story from hundreds of hours of material without a script as a map.

When that transfers to narrative film, it changes how you approach an assembly. You're not just matching the shot list; you're reading the performance across every take and asking which one is true. You're building tension the way a documentarian builds it — through juxtaposition and rhythm, not just coverage. The result is a cut that earns its emotional beats rather than marking them.

For Research Triangle productions coming out of UNC's film program, NC State's media design department, or Duke's documentary initiatives, the crossover is directly applicable. A documentary production that wants narrative sharpness and a narrative production that wants vérité instincts are both asking for the same thing: an editor who has worked across both modes and knows the difference well enough to apply each one intentionally.

Currently: Co-Executive Editor on The Gotti Files (A&E, 2027) — an eight-episode true crime docuseries featuring rare home movies, prison and wiretap audio, and interviews with John Gotti Jr. and John Gotti III. Produced by Propagate Content and Lady Moon Entertainment, showrun by Rory Karpf.

Working Inside NC's Production Incentive Structure

North Carolina's Film and Entertainment Grant provides a 25% refundable tax credit on qualifying in-state expenditures. For Raleigh and Triangle-area productions, a locally based editor is a clean qualifying expense — no travel, no relocation, no displacement costs built into the rate.

The Triangle's combination of university infrastructure (NC State, UNC-Chapel Hill, Duke, NCSA in Winston-Salem) and a tech-driven economy makes it an increasingly active production environment — particularly for documentary, branded content, and research-driven long-form work. Productions that need to maximize North Carolina spend benefit from working with crew who are genuinely based here, not visiting.

I work in both Avid Media Composer and Adobe Premiere Pro, and I'm available for on-location cutting rooms anywhere in North Carolina, as well as remote collaboration for productions that prefer to work that way.