Film

My work as an editor is primarily digital, but I maintain active practice with film. I’ve worked with 16mm, 35mm, and 70mm formats across projection, splicing, and archival handling.

A cozy living room with a 16mm projector set up on the table, 16mm film reels on the table such as Tom and Jerry, Abbott and Costello, home movies and more. A projection screen is set up on the other side of the room.

My experience includes training on 70mm platter projection systems, as well as reel to reel 16mm projection, which I continue independently through small community screenings hosted at home.

These screenings are organized to share films with friends and others who are interested, with the goal of keeping interest in analog formats alive and giving people a chance to experience and learn about film projection close up.

Six black-and-white nitrate negatives of a woman in a room, carrying a bag and wearing a dress and wide-brimmed hat, laid out on a white table with some equipment nearby.

In my work at the Sherman Grinberg Film Library, I handle and preserve archival newsreels including nitrate film. This involves inspection, cleaning, repair, winding, and digitization.

This experience has deepened my understanding of film as a historical artifact and a living medium that requires ongoing care and stewardship.

Photo of a 16mm filmstrip showing multiple frames of a 1976 Arsenal FC match, including a goal and a player celebrating.

Working with film has directly shaped my approach to editing. The constraints and intentionality of physical cutting inform how I think about rhythm, structure, and decision making, even in digital workflows where splices aren’t permanent.

Close-up of a film projector with reels of film, gears, and mechanical components.