The brief.

An animatic is the bridge between a script and a finished animated episode — the moment when a story stops living on the page and starts living on the screen. As an animatic editor, my job is to take storyboard panels, scratch dialogue, temp music, and rough sound effects, and assemble them into a working draft of the episode. Timing, pacing, comedic beats, emotional rhythm — all of it gets shaped here, before a single frame of final animation is drawn. It's part editor, part dramaturge, part technician.

The shows.

Across two studios and three series, the work was the same craft applied to very different audiences — from preschool adventure to teen fantasy.

Dora the Explorer
Nickelodeon · Animatic Editor · Preschool (ages 2–5) · Broadcast in 100+ countries 2012 – 2014

Dora and Friends into the City
Nickelodeon · Animatic Editor · School-age (ages 5–8) · Broadcast in 100+ countries 2014 – 2015

High Guardian Spice 
Crunchyroll Studios · Animatic Editor Crunchyroll's first American animated original 2017 – 2019

What I did

• Cut storyboard panels to scratch dialogue, building the first working draft of each episode
• Shaped timing, pacing, comedic beats, and emotional rhythm before final animation began
• Integrated temp music, sound effects, and voiceover to deliver broadcast-ready animatics
• Guided final animation and voice performance through clear, well-timed editorial drafts

The work.

StoryCorps is built on a single premise: that everyone has a story worth preserving. My role was to make the conditions for that to be true on any given day, in any given setting — a cancer ward, a memory care unit, a community center, a mobile recording booth. I conducted interviews, produced in the field, and edited deeply personal narratives on identity, health, illness, and lived experience.

What this required

• Building immediate trust with subjects, often around vulnerable subject matter
• Patient, empathetic interview craft
• Editing for emotional truth, not just narrative tidiness
• Translating long-form sessions into broadcast-ready short stories

Listen and watch.

A selection of audio pieces and one of the StoryCorps animated short films I had the chance to contribute to.

The brief.

Public media fundraising lives on credibility. The campaigns can't oversell, can't underwhelm, and can't break the trust the station has built with its audience over decades. My role was to lead post-production for the on-air fundraising department — managing a team of editors, modernizing the workflow, and producing campaigns that worked across every channel KPBS reached its audience through.

The approach.

Team leadership

Led a team of editors to streamline post-production workflows, maintain creative quality, and mentor junior staff. Built systems — asset archiving, review cycles, technical standards — that outlasted any single project.

Multi-platform campaign design

Designed and executed multimedia fundraising campaigns across TV, radio, online, and social media, delivering cohesive brand messaging and driving donor support.

Workflow modernization

Developed and implemented a comprehensive media asset archiving system that improved retrieval speed and minimized project delays. Pioneered adoption of emerging editing technologies that increased workflow agility across formats.

Selected video work.

Examples of the fundraising and brand work produced during this period.

Selected audio work.

Radio fundraising spots produced during this time. 

The practice.

Visual identity isn't decoration — it's how an audience recognizes a voice. Across two decades I've built cohesive branded systems that strengthen donor recognition at fundraising touchpoints, translate complex educational concepts into accessible visual language, and give long-running series a consistent visual signature. Below is a selection of that work.