I’m an experienced offline editor with 15 years working across broadcast, branded content and feature film. I’ve worked on productions for the BBC, PBS, Netflix, Apple TV+, National Geographic, and Roku, across projects ranging from premium natural history and documentary to sport, factual entertainment, lifestyle, competition formats and feature film. My credits include BAFTA, Emmy, RTS and Jackson Wild-winning productions.
My background is in high-end broadcast, so I bring a strong sense of what makes an edit work at a professional level: clear structure, controlled pacing, emotional rhythm, strong story decisions and a polished finish. I’m used to working with complex material, large volumes of footage, tight deadlines and changing creative demands without losing sight of the audience.
I’m particularly drawn to shaping narrative through pacing, tone and emotion. Whether the project is a documentary, branded film, social piece or longer-form story, I bring calm editorial judgement, collaborative problem-solving and solid post-production craft.
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- Conducting competitor analysis and identifying gaps in the market.
- Developing a clinic-first content approach while establishing the lead doctor as a credible on-screen expert.
- Creating a publishing schedule optimised for YouTube’s algorithm and patient engagement.
- Advising on video concepts, formats, and scripting to maximise audience retention and conversions.
- Outlining best practices for thumbnails, titles, and descriptions to improve discoverability.
- Planning cross-platform content repurposing for Instagram, TikTok, and other channels.
I developed a comprehensive YouTube and social media growth strategy for a hair transplant and aesthetic treatment clinic, focused on revitalising its existing 100K subscriber base while attracting new audiences and improving viewer engagement.
The work included:
This strategy aimed not only to capitalise on the channel’s existing audience, but also to educate potential patients, address common concerns, and build long-term trust — laying the groundwork for sustainable growth and stronger brand authority.
Edited different versions of an A-list fronted, feature documentary
addressing nature finance. Created for presentation at COP30 to world
leaders, financial institutions, NGOs, highlighting urgent priority actions.
A narrative short set between Afghanistan and the United Kingdom,
exploring grief, survival and connection. Heavily involved from early
development, contributing to core creative decisions across story,
structure and tone.
I cut key blue-chip and presenter-led sequences for this Emmy award winning documentary series. I worked closely with producers and execs to develop character and behaviour arcs.
As an editor across multiple series of The Watches franchise, I was responsible for cutting VTs and designing motion graphics to support various segments.
In this clip, I edited and created the motion graphics for an explainer about stinging nettles:
https://www.twine.net/signin
Editor across multiple episodes of this fast-paced digital-first series combining sport, competition and reality-style storytelling.
Cutting the show’s behind the scenes footage for all three episodes, as well as additional editing for episode two.
Editing the second season of a returning format for an American streaming platform, the film is character led and focuses on the role of mothers in the natural world showcasing the different challenges they all face.
Using footage shot on location for Blue Planet Live, I edited this special for the BBC and Worldwide.
Editing multiple episodes for series two, including its debut, the schedule was incredibly tight and so making sure I hit the brief from the commissioners was paramount. I received excellent feedback from the edit producers, series producer, executives and the commissioners throughout the process.
Cutting making-of style content for Netflix’s YouTube channel consisting of a mix of programme Ins, specially shot footage and behind the scenes content. The content targeted a different audience and so had a different style to traditional, natural history, broadcast television.
On this project I was responsible for doing the first cut of the film in order for it to be submitted to the SXSW Film Festival. I worked closely with the directors in order to fulfil their vision for the film while working to a very tight deadline. This experience, working on a drama, was new for me but I felt that I was able to effectively utilise my skills as a storyteller from working in natural history documentaries. Being aware of the key elements to a scene was an important skill to grasp and I feel that my time on this project has helped to develop my storytelling skills even further.
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