I am a musician and filmmaker based in Louisville, Colorado — a creative crossroads tucked between the Flatirons of Boulder and the electric hum of Denver. Driven by a restless curiosity and a stubborn love for both sound and image, I’m building a body of work that seeks to leave a mark on the intertwined worlds of cinema and music. My aim is not just to make beautiful things, but to dig into the porous boundary where music shapes cinema and cinema reshapes music, exploring how rhythm, tone and silence can inform visual storytelling and how cinematic pacing can reframe a song.

I have been a musician since 2010, first learning saxophone before drumming followed. In the time between then and high school graduation I played with numerous acts over many places across the Boulder-Denver scene while also pursuing both instruments in my High School Music Programs. I was lucky enough to work with the music faculties at the University of Colorado, University of Denver & Stanford University to learn more along the way. Filmmaking started to come into the picture around 2014.

My filmmaking journey began in high school and has been shaped by hands-on, collaborative experiences from the start. My first significant role was as cinematographer on a short called Old New Love, a project that became part of the UCLA Film School’s 2017 Summer Program. That early exposure to thoughtful, formal training sparked a fascination with the craft of image-making and the ways light and lens can translate emotion.

I pursued Jazz Studies (with a Minor in Film) at the University of Northern Colorado in Greeley, where the two disciplines—music and film—often folded into one another. While studying Jazz Drumming under Jim White, I was able to further refine my drumming process and technique. As a student I routinely shot and edited live performances for classmates and colleagues, learning to capture the spontaneous energy of improvisation while balancing the discipline of cinematic composition. These gigs taught me how to think fast, how to anticipate musical dynamics with the camera, and how to shape a performance into a coherent visual narrative.

After graduating in May 2023 I moved deeper into independent filmmaking, directing, producing, shooting and editing multiple music videos characterized by a guerrilla ethos. My approach is scrappy and resourceful: minimal crews, real locations, intense planning paired with on-the-fly problem solving. This lets me preserve the rawness and immediacy of live music while applying cinematic techniques—careful color palettes, layered sound design, and deliberate framing—to elevate each piece beyond mere documentation.

So far my primary work has been in live concert and music video production, but I’m soon to foray into narrative shorts and features. I’m drawn to stories that wear their moods like costumes—films with complex thematic undertones wrapped in dreary, stylish atmospheres. I favor narratives that reward patient viewing: slow-burn character studies, morally ambiguous protagonists, and visual motifs that repeat and mutate like musical themes across movements. My aesthetic leans toward brooding palettes, textured grain, and soundscapes that feel tactile; I craft visuals that echo the way a jazz musician might approach a solo—measured, conversational, and open to improvisation.

The post-college graduation era led me to work on cruise ships as a drummer from 2023-26. During this time, I was lucky enough to travel the world and gain as much experience as possible by giggling live 6 days a week. After working on cruise ships I have started working as a session musician, drumming for artists primarily in the Front Range Corridor and Rocky Mountain Regions. I have also began working on my foray into musical composition in both film, progressive fusion and jazz.

What I bring to projects is a hybrid sensibility: a musician’s sense of timing and arrangement combined with a filmmaker’s eye for composition and narrative flow. I enjoy collaborating with artists across disciplines—composers, performers, cinematographers and editors—to build work that feels cohesive and alive. My process is iterative: I sketch ideas through demos and storyboards, then test them in low-fi shoots, refining until the core mood and message survive each pass.

Long-term I’m committed to making films and music that interrogate mood and memory, that fold sound into image so tightly it’s sometimes hard to say which came first. I want to make films that haunt and songs that move images; that live in the same headspace as a midnight drive through an empty city or the hush after an improvised solo. Grounded in the Denver–Boulder scene but thinking far beyond it, I’m ready to collaborate, experiment, and push toward narrative features and interdisciplinary projects that blur the lines between concert film, music video and cinematic storytelling.