I have a BA from USC cinema/television with a directing/editing emphasis I have been cutting on AVID since the mid 1990's (and editing for a decade on tape before that) and have become one of the fasted and most polished editors around. This skill has led me to become a lead editor on a wide variety of shows, and a specialty editor for some very demanding talent. From Nigel Lythgoe, to Ellen Degeneres, to Tyler Perry, I have successfully worked directly with some of the greats of today's TV. I specialize on making sense of disorganized or incomplete material. I am also prized for my uncanny ability to make scenes work that other producers or editors simply gave up on. And, what took them weeks in some cases, I often pull together in a day or two. I am best working on shows that require character arc, story development, and passion. I have cut literally thousands of segments, hundreds of hours of programming, and have single handedly created programs from short sizzle reels to feature-length documentaries and dramas. Perhaps the biggest gift I offer with my editorial services is my track record of creating high ratings. My ratings have been analyzed and proven to be consistently the highest on a given series. Though no artist can guarantee box office, I seem to have a pretty good handle on getting the biggest possible audience and keeping them there to the end of the episode. I am AVID certified with about fifteen years of AVID experience, and also have well over a decade of experience on Final Cut Pro. I am very skilled at sound design, and often my off-line sound work comes in more complete and polished than a ProTools sound designer. MTV called my music editing among the best they had every heard, and my style of music editing -- from pop songs to re-orchestrating scored tracks -- is seamless, driving, and invisible. I work in After Effects as needed, but am much stronger building effects and graphics right in the editing application. For instance, on AVID, there is virtually nothing I can't do -- and I do it lightning fast and on-line friendly. In fact, some of my effects techniques which I came up with on my own soon grew to become industry standards. Did I invent them? Who knows, but soon after I come up with a new techniques, they spread across the television and even cinema lexicon. I certainly can and often do work with scripts (and am very fast at getting the exact results written) -- but I am even more valuable with NO script. In fact, while story producers spend hours with the other editors, in my case, they often smile and usually simply write down what I did. I guess I make their jobs easier because they almost always promote me right away to lead, or at least the head creative editor. "Do what Richard did" is a phrase I hear more often than I can count. I think I am pretty humble and have great respect for other editors, but I appreciate the words of praise I get everywhere I work. Please don't take this as egotistical, but Tyler Perry, upon first meeting me and seeing what I had done for his show, clapped me on the shoulder and proclaimed "Finally, a real editor!" Last, and actually most importantly on some level, I've been doing this since I was 13 years old. I am a born filmmaker, and if I didn't do this for a living, I'd probably have to invent some new technology to answer my storytelling drive. Film making is in my blood, I've seen it all, and no challenge is too great in my experience. You can view my webpage of samples at If you want to read some fan's comments on my YouTube page (with over 1.3 millions hits), please visit and, last if you want to download my resume, you can either go to my webpage, or simply click here: |