Talking-head & cinematic vlog editor — motion graphics, pacing, SFX
Private informationDescription
I taught myself video editing the way a lot of the best editors in this space do — not through film school, but through the internet itself. I grew up online, started earning through digital work early, and treated every project as a chance to reverse-engineer what makes content actually hold attention. That self-taught, internet-first background means I don't just know editing software — I understand platform behavior, retention mechanics, and what makes someone stop scrolling.
Over the past four years, I've specialized in talking-head videos, vlogs, ads, and short-form content, most notably spending two years as the editor for a well-known creator in the business and self-improvement space. That work sharpened a specific skill set: building motion graphics and animated call-outs that make dense or technical points easy to follow, pacing long-form videos so viewers stay locked in rather than clicking away, and mixing SFX and audio — layering music, sound design, and voice levels — to give cinematic vlogs real atmosphere and give talking-head segments punch and rhythm.
What I think makes me different is that I've always sourced my own clients rather than relying on freelance platforms — which means I'm used to understanding a creator's voice and goals directly, not just executing a brief. I'm just as comfortable with fast, high-energy retention editing as I am with slower, more cinematic storytelling, and I like moving between the two because it keeps my instincts sharp. I'm at a point now where I'm looking to bring that same level of craft and ownership to a new creator or team — someone who wants an editor who treats their channel like it's my own.
Portfolio:
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How to make your first $100k/month (Really)
about 2 years ago • 4.05K views
Luke Alexander
45.7K subscribers
Video Editing and Animating throughout the entire video
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A 10-minute talking-head video breaking down Luke Alexander's framework for making a first $100K, edited solo from raw footage to final master. I handled every stage of post: cutting dead space and tightening pacing to keep a dense, advice-heavy script moving without losing the message; scoring and placing music to build energy through key sections; sound design and SFX mixing to punch up transitions and key moments; and every motion graphic — built from scratch in After Effects in the Iman Gadzhi–style aesthetic (animated text cards, dotted-line call-outs, dynamic overlays) rather than pulled from presets, so each graphic was custom-timed and designed to match the specific point being made rather than dropped in generically. The result is a full-ownership edit: one editor, one video, every creative decision from rough cut to final export. -
Week In The Life of Nate Belmar In Miami
about 1 year ago • 14.5K views
Mr Belmar
24.1K subscribers
“Week in the Life” — Nate Belmar, Miami
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A 16-minute cinematic vlog capturing a week in Nate Belmar’s life in Miami, edited and color graded solo from raw log footage to final master. Beyond cutting and pacing, I handled the full visual identity of the piece: building a custom color grade from scratch off flat log footage — rather than applying a preset LUT — to give the vlog a cohesive, cinematic look tailored to Miami’s light and Nate’s personal brand. I also composed/placed the music and handled sound design and mixing to match the tone scene to scene, shifting between more atmospheric, reflective moments and higher-energy sections as the week’s pacing demanded. Every creative decision on this one — color, sound, structure, and pacing — was mine end to end, making it a strong example of full-ownership, brand-level vlog editing rather than a straightforward cut-and-export job. -
How Whop helps me make $100k/month online
over 1 year ago • 9.33K views
Luke Alexander
45.7K subscribers
Video Edited from scratch: Whop Helps Me Make $100K/Month” — Luke Alexander
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An 11-minute talking-head video for Luke Alexander breaking down how he uses Whop to generate $100K/month, edited solo from raw footage to final master in the Iman Gadzhi–style aesthetic. This one leaned heavily on motion graphics — nearly every key point in the video is reinforced with a custom animation built from scratch in After Effects rather than a preset: animated text cards, dotted-line call-outs, and dynamic overlays timed precisely to the script to keep a dense, numbers-driven explanation visually engaging rather than just spoken. Alongside the animation work, I handled the full edit — cutting for pacing, music, and sound design — so the video moves with the same energy and rhythm the audience expects from this style, while the volume of custom graphics work makes it a strong showcase of animation-heavy, from-scratch After Effects work specifically.