I tell the story.
In whatever cut it takes.

Mickey & Minnie's Runaway Railway

Hosted a three-POV ride-through of Mickey and Minnie's Runaway Railway at Disney's Hollywood Studios — science of the cartoon world with an Imagineer, a musical spin on the soundtrack, and a hidden-object boss battle against the Imagineer who built it. Shot on-property with talent Preston, Leigh, and Meg, cut to keep three competing energies clean and the gags landing. The scavenger hunt loses on purpose — sets up the "can we go again" button. Disney-branded segment work; not a Disney employee.

Glamping in Pandora at Animal Kingdom

Behind-the-scenes documentary on a never-before-done overnight glamping experience inside Pandora — World of Avatar at Disney's Animal Kingdom, with one couple given the empty park after hours. I produced and shot the piece around the bioluminescent Valley of Mo'ara, a private Na'vi River Journey, a custom Na'vi avatar fitting, a Flight of Passage ride, and a closing drum circle under the floating mountains. Worked on this Disney Parks-branded story as part of the in-park production team — capturing rare access without breaking the spell that makes guests forget they're on Earth. The kind of night most fans only dream about, on camera.

Bucket List Family - 30 Days at Disney World

I built a Disney Resort series for the Bucket List Family — a 30-day, 30-stays travel doc shot across Walt Disney World, from Port Orleans Riverside to All-Star Sports, Art of Animation, Beach Club Villas, and the Fort Wilderness cabins. Cinematography leans into kid-POV reveals, the daily clue-bag unboxings, and quiet emotional beats — a mom tearing up at the parade, a son finally clicking with swimming at the Cozy Cone. A franchise-scale family travel piece for a Disney-branded property, built to make every resort feel like its own destination.

PrestonPlayz at Galaxy's Edge

Spent a day inside Star Wars Galaxy's Edge with the Play Disney Parks app running the whole time — hacking outposts for the Rebellion, translating Aurebesh signs, and scanning crates to unlock in-app gear. Built a custom green-kyber lightsaber in the assembly room, assembled a droid at Droid Depot, and ran the Oga's Cantina menu front to back with the crew. Met Chewbacca and R2-D2, hacked DJ Rex, and got pulled into a Millennium Falcon mystery before the night was over. Batuu the way a kid actually wants to see it.

Zach King @ Walt Disney World

Shot on a Disney park run while hunting down Buzz Lightyear merch with the family — pure handheld, no setup, just chasing the moment a kid lights up at "to infinity and beyond." Cut tight to land the punchline on the toy reveal. The kind of micro-doc instinct I bring to every shoot, branded or personal.

Chip and Dale decorate for Christmas

Chip and Dale string lights, hang ornaments, and turn Animal Kingdom into a Christmas wonderland — chipmunk-style. Produced during my run at Disney, this short leans into the chaos and charm those two have been getting away with since 1943. Short, festive, and exactly as ridiculous as it sounds.

WDW — Now More Than Ever (Influencers)

A 3:30 AM wake-up, a Magical Express ride, and a full-tilt original party track scoring the whole trip. I cut this Disney World vacation video as a music-driven hype piece — every lyric, every beat, every M-I-C-K-E-Y chant landing on a smile, a ride drop, or a fireworks pop. Family memories, edited like a single.

WDW Thattaway — Karan & Miranda

Disney Channel stars Karan Brar and Miranda May loose in the Magic Kingdom for a day — rides, churros, character run-ins, the whole park. Produced for Disney's branded social rollout, edited to play in the scroll without losing the spark of two friends actually having fun. Hit play.

WDW Night Mode — Swag

Glow-up merch built for the after-dark crowd at Walt Disney World — light-up ears, LED wands, illuminated drinkware, and the rest of the kit twentysomethings actually post about. Producer credit on the Disney-branded campaign rolling out the Night Mode swag line across parks. Cut moves fast and leans into the neon energy the product was made for.

WDW Happy Place — Must-Dos

Five Walt Disney World musts curated for the 20-something crowd — produced for Disney's official Happy Place vertical. Tight pacing, on-property shooting, and a hit list built for travelers who want the park beyond the postcard. Hit play for the shortlist.

Andy Night at Toy Story Land

Fifty guys named Andy take over Toy Story Land after hours at Disney's Hollywood Studios — celebrity Andys included. Produced the night end-to-end: guest wrangling, ride buyouts, capture plan, the whole bit. The footage is exactly as weird and joyful as it sounds.

Cache Bunny — Wall Spin

Cache Bunny rolls into Walt Disney World to flip a single wall into an iconic piece of video art. Produced the shoot on the Disney side — locations, crew, clearances, the works — so the artist could focus on the spin. Quick, weird, joyful. Hit play.

Adventurer Ed Stafford at Animal Kingdom

Discovery Channel explorer Ed Stafford trades the jungle for Disney's Animal Kingdom in a behind-the-scenes adventure through one of the most ambitious theme parks ever built. Produced for Disney's in-park content team — part travelogue, part wildlife doc, part love letter to the place where storytelling meets conservation. Hit play.

WDW Birthday Greeting

Birthday greeting that played for Walt Disney World guests celebrating in the parks — a one-to-one moment turned into a daily broadcast across thousands of birthdays. Produced the piece during my run on the Disney parks creative team, balancing brand warmth with the kind of personal touch that makes a guest feel seen. Six years on rotation, and still the cue that makes a kid lose it at the table. Hit play.

Orlando City Soccer Club × Toy Story Land

Sarge drills Orlando City SC like a fresh squad of green army men in this Disney/Toy Story Land crossover spot — boots, barked orders, and big-league branding collision. Produced inside Disney's in-house team, the piece threads the parks IP into a real MLS partnership without losing the joke. Hit play to see pro athletes take orders from a plastic sergeant.

Sean & Olivia at the Mad Tea Party — Disneyland

A behind-the-scenes promo with Sean Giambrone and Olivia Rodrigo riding the Mad Tea Party to hype the Disney Christmas Parade — produced on the ground at Disneyland. Tight turnaround, two young leads, one spinning teacup, and a holiday tune-in to land. The kind of segment where the magic only works if the day runs like clockwork.

Disney Family's Backyard Theater

Backyard Theatre — a Target-sponsored Disney Channel interstitial where kid-sized toys reenact the Woody-versus-Buzz bedroom showdown in a real backyard. I cut the spot to land the iconic beats fast: the spaceship-in-my-spot jab, the to-infinity launch, the soft handoff to Target's creativity tag. Tight pacing, clean rhythm, brand sign-off in under 30. Press play.

WDW Thattaway × Zombies

Directed an Instagram-driven choose-your-own-adventure at Magic Kingdom with the leads of the Disney Channel Original Movie Zombies, letting the WDW Best Day Ever audience vote in real time on outfits, characters, and rides. Built around four live polls — Minnie ears, green hair, Cruella vs. Dr. Facilier, Haunted Mansion vs. Pirates — that paid off in-park with a Cruella meet-and-greet and a zombie-brother reveal inside the Mansion. Tied the whole day to a hard launch beat for the February 16th premiere on Disney Channel.

EPCOT — Mariachi Cobre

Mariachi Cobre at Epcot — 38 years in residence at the Mexico Pavilion, told by founding member Steve Esteban Carrillo. From flying on Walt Disney's plane as kids with Tucson's Los Changuitos Feos, to opening Epcot in 1982, to defining the genre with vihuela and guitarrón. A short film about heritage, legacy, and the songs strangers recognize from their grandparents.

April Fools — Snears Video (2019)

An April Fools' bit dreamed up inside Walt Disney World — snack plus ears equals snears, the must-have park accessory nobody asked for. Directed and produced as a straight-faced product launch, complete with hero shots, testimonials, and the kind of earnest voiceover that sells the joke. Watch how long it takes before you realize it's not real.

Tsum Tsum Disneyland Parade

A stop-motion Tsum Tsum parade winding through a miniature Disneyland — every float, lamppost, and crowd reaction built and shot frame by frame. Directed and produced for Disney's social channels, where the goal was to make scrolling thumbs stop. Plush characters, real sets, zero CGI shortcuts.

Vine — Johnny Tsunami × Oh My Disney

Disney Channel icon Johnny Tsunami trades the board for a cubicle in this Oh My Disney Vine — six seconds of premium nostalgia bait built for the scroll. Directed and produced during my run on the Oh My Disney social team, where the brief was simple: make the internet feel something fast.

Disney Acapella Sing-off (Sponsored by Alamo)

Shot and edited a Jungle Book-themed musical bit at a TSA checkpoint — agent asks for ID, scene cuts straight into a full I Wan'na Be Like You performance with choreography, beat drops, and scat breaks. Handled camera, cut, and timing to land every lyric on the action. Disney parks energy, airport security setting, zero chill.

Disney Store Surprises Holiday Shoppers — Share the Magic

Goofy Plush Runs From Crazy Cat — Tsum Tsum Kingdom Episode 1

Nature-doc parody following a Goofy tsum tsum through the wild — until a very real cat enters the frame. Cut as a straight-faced wildlife episode, complete with hushed narration beats and slow push-ins, then derailed by a predator with claws. Part of the Tsum Tsum Kingdom series I edited during my Disney years. Press play before the chase starts.

Making an Olaf Disney Infinity figure — Unboxing Frozen

Behind-the-scenes look at how an Olaf Disney Infinity figure goes from raw sculpt to retail shelf, cut for the Unboxing Frozen series. Tight pacing across modeling, paint, and packaging beats — the kind of process reel that makes you want to see every figure get the same treatment. Edited during my run on Disney-branded content.

Walt Disney World - Guestimonials

Guest interview piece capturing reactions to Walt Disney World's 50th anniversary celebration — Harmonious, Enchantment, and the emotional pull that brings families back across closed borders. Shot and cut as part of the on-property content team covering the milestone, blending candid testimony with the nighttime spectaculars guests came to see. The kind of footage that reminds you why people plan years around a single trip.

Building Wild - Hunting Cabin

Raised a 12-person hunting cabin on Mike Carney's farm using Amish-style timber framing — no cranes, just eight guys, gin poles, and a lot of weight we underestimated. Pegged the joinery with 150-year-old locust pegs slicked with soap to seat them, an inch on the bottom and an inch and an eighth on top. Caught the whole thing on camera, including the moment the frame nearly got away from us.

Building Wild — Deconstructing the Barn

Hand-deconstructing a pre-1850s mountain barn to rebuild it as a cabin for the Dirty Dozen — every board pulled gently, every nail backed out by hand because the originals were valuable enough that settlers once burned houses just to recover them. Salvaged a rare livestock windlass on the way out, the kind of pulley rig you almost never see intact. Tight clock, fragile material, no shortcuts. Watch the barn come apart one nail at a time.

Our Wild Hearts - Hallmark Movie

Feature-length editor on the Hallmark family film *Our Wild Hearts* (2013, dir. Ricky Schroder, starring Ricky and Cambrie Schroder). Long-form narrative editing with broadcast finishing.

Starting Strong - US Army

Backstage-pass episode of an Army recruitment series following D'Angelo Murray, a 19-year-old ROTC cadet and honor student weighing enlistment as 11 Charlie Mortar Infantry against staying home for his mom and sister. Shot at Fort Drum with a 10th Mountain Division mortar platoon, the half-hour follows him from family kitchen-table conversations to live 120mm fire on the gun line. Real recruit, real decision, no actors — and at the end of the week, he picks a path.

Calendar Jockeys — a Form Films comedy series

I direct Calendar Jockeys, a short animated comedy series from Form Films. Gus and Wendell co-founded a production agency, and they'd make great things all the time if the meetings ever stopped. Calendar jockeys are "the people between you and the work": fluent in follow-up, allergic to decisions. The running joke is that the meeting was the work.

Beauty and the Beast — Tree Sound Studios cast recording

Behind the scenes at Tree Sound Studios as the high school cast tracked songs from Beauty and the Beast for the school's stage production. Produced and edited the doc piece for the school's social channels — close-mic vocals, headphone takes, the look on a kid's face when they nail the chorus. Real studio, real nerves, real performances.

The Little Mermaid - Promo

Cut a hype piece for a high school staging of The Little Mermaid — built to fill seats, shared across the school's social channels. Produced and edited the spot, pulling rehearsal footage and cast moments into something that earns a click. Hit play to see how the show sells itself.

Big Fish Promo

Cut a high school theater promo for Big Fish — produced and edited the spot to drive ticket sales and build buzz around the show. Pulled rehearsal footage and cast moments into something that actually felt like the musical, not a slideshow. Made for the school's social channels, where it ran ahead of opening night.

STAND BY ME (2025) — Dance & Film music video

Dance film made with my high school Choreo Club II and Production Club, shot inside a quiet theater on a single set. The piece tracks one girl who starts alone in the empty house and gets pulled into the rhythm as the room fills around her. I directed and shot it as a continuous emotional build — sparse frames at the open, full ensemble by the final chorus. A student crew, a Ben E. King standard, and a reminder nobody was built to stand by themselves.

BEHIND THE SEAS — Tech Week on The Little Mermaid

Feature-length behind-the-scenes documentary following Artios Academies of Sugar Hill through the build of their Little Mermaid stage production. I shot and cut the long days, late nights, and backstage chaos into a single throughline about why this show is the high point of the Artios year. Heartfelt moments, cast shenanigans, and the grind that turns a school theater into a spectacle. Press play for the part the audience never sees.

Making a Sled Dolly for a Marvel Film

Built a custom sled dolly for a Marvel-branded film shoot — a quick build doc from my personal YouTube channel showing the rig coming together, the problem it solved on set, and how it held up under a real production day. Shot, narrated, and cut by me between gigs at Disney. Practical filmmaking, no fluff.

Dangerous Calling

Indie psychological thriller where a new pastor and his wife move into a controlling church matriarch's isolated North Georgia home while the parsonage is renovated — and the previous pastor's death starts looking less like a gas leak. Owes more to Psycho and Misery than to anything in the faith-film aisle, with a sheltered adult son, fourteen rattlesnakes, and the only working phone hidden in a chicken house. Tense, dryly funny, and genre-confident — small-town church politics played as a slow-burn stalker movie. Watch how fast the welcome curdles.

Missing in the Mansion

A found-footage horror short staged inside Disneyland's Haunted Mansion, where a Club 33 proposal and an Imagineering internship audition unravel into a disappearance caught on a single camera left in Lost and Found. I co-wrote and shot it guerrilla-style on the live attraction, leaning on the ride's own scares and a local legend about a child's ashes spread on the track. Three friends went missing on July 6, 2012 — this is the tape they left behind.