Video editor, colorist, and director. Short-form specialist behind the brand Vamppsych. You're looking through my viewfinder. I write, direct, shoot, cut, grade, and design end to end.
Four-plus years cutting daily. I built Vamppsych from zero into an audience by writing, shooting, editing, grading, and designing every post myself. I am fast, I finish, and I do not need hand-holding anywhere in the pipeline.
A.S. in Digital Cinematography, Full Sail University, B.S. finishing 2027. I wrote, directed, and edited the short film VOLUME. Based in San Antonio, available for staff, freelance, and crew work in SA and Austin, and remote anywhere.
Pulled and graded from my live stadium coverage. Click to view full.
SOURCE
GRADED · EDITORIAL SLUDGE
Left of the line is what the sensor saw. Right is the finished grade, an in-house look built as a DCTL and run through my Resolve color pipeline.
Club nights, bar nights, house shows, showcases, touring rooms, a wrestling ring, an arcade bar, a goth rave, a backyard party in San Marcos, and the shops and night markets that keep the same street alive in the daytime. Compact rigs so nothing is in anybody's way, flash that does not flatten a face, and a grade built for that specific room. A red stage and a green dive bar are not the same problem, so they do not get the same look.
ONE NIGHT, 195 stills and 32 clips, the edit in the venue's inbox the next morning. The club look was picked by measuring five rooms against five candidate grades, not by eye. Flash-lit portraits in the black room were split onto a second, quieter look so no face blows out and no corner turns to murk.
A dive bar lit almost entirely in neon and one green flood. 159 frames plus the full set on video, cut into a venue reel, a carousel, and a set of 3000px square album grabs pulled off the graded master so the artist can use them as cover art.
An outdoor market that opens in daylight and ends in the dark, so one night asks two different things of the camera. 301 frames, each one graded on its own instead of off a single preset, delivered in three versions: clean, black and white, and a print look. Vendors, crowd, and walk-up portraits, all on a compact rig so nobody had a lens in their way. The whole night is up as a public gallery so anyone who was there can find their own photo and save it full size.
A working tattoo shop on North New Braunfels, shot in one afternoon while he was actually tattooing. 27 stills in three looks, plus the sit down interview on video. The room is small, lit by one window and the lamp over the chair, so the grade is solved per frame off the skin in that frame instead of off the room. The black and grey set is a real editorial monochrome, not a desaturation, because his line work reads harder without colour in the way.
A horror themed night that lit itself in two halves, so the grade follows the room instead of flattening both into one house look. The red rooms keep their red while a compressor pulls saturation off everything except skin, so faces climb out of the wash. The fog rooms get ash desaturation and the haze is held down rather than lifted, so it reads as fog instead of milk. 165 frames, each solved for its own exposure and white balance off the skin in it, delivered in three looks. Nothing clipped, no frame with pure black in it, checked frame by frame rather than by eye. The selects are up as a public gallery.
A Filipino rap legend on a US tour date, covered on a media pass. 196 frames in three looks plus 33 vertical clips and a set of frame grabs, in the promoter's hands the next day. The stage is lit hard in red from one side and blue from the other at the same time, which is the case a single house look cannot solve, so every frame is solved for its own exposure and white balance off the skin in it. The LED wall behind him stays readable instead of blooming out into the faces in front of it. Promoter: REM Entertainment & Productions.
The morning after the show he sat down for a sit down at Sari-Sari, and the two jobs are one weekend of the same subject. 30 stills in three looks and 12:46 of interview, cut long for the client and into short single-question pieces like the three above. Two bodies rolling: one for picture, one parked for sound, because the better audio was not on the better camera. They landed on opposite sides of his eyeline, so cutting between them would have crossed the line, and the whole cut is built instead from one 4K angle reframed into three sizes with no upscaling. The cameras also disagreed about what time it was, so the sync was solved by measuring the two audio tracks against each other rather than trusting the file clocks. The question you see burned into each frame was asked off camera and stays on screen, so nobody has to be told what he is answering. Full set of six at 0FF THE PRINT.
Both days as one arc, with his own answer about San Antonio running underneath it. Saturday's stage and Sunday's dining room are two completely different lighting problems, so the point of the cut is that they sit next to each other without one of them looking wrong.
A DIY clown-themed vendor market that turned into a stage show and then a live band, in a room walled and lit almost entirely in red. Red is the strongest channel in 146 of the 154 frames, so warm tells you nothing here and the scenes are keyed on how much green and blue survive instead. The harder problem is that half the faces are white greasepaint, which a skin key built for warm skin will not find, so the target became a readability floor per face rather than a colour. 154 frames in three looks, 20 clips, and 510 frame grabs pulled at full resolution, plus 40 selects. The public gallery is up at 0FF THE PRINT.
A fundraiser house show at New Guild Co-op in Austin, and every room in the house was lit differently: tungsten living rooms, a magenta porch, a green dance floor and a flash-lit graffiti alley out back. The scene rules I brought in only knew blue over green, so every purple frame read as a dark room until magenta got its own rule, keyed on green going missing while red and blue stay alive. 202 frames in four looks and 8 clips: Pulp Fiction and Tenet, a Project X party look, and a Brainrot look whose false colour was sampled straight off the night's own flyer. The grain is a real Photoshop layer, measured so it never competes with detail. The public gallery is up at 0FF THE PRINT.
The night before B.I.L.L.Y dropped, in a sports and arcade bar lit by cabinet screens and fifteen televisions, which means the key light changed colour frame to frame. On-camera flash reaches whoever stands closest and falls off behind them, so every face was relit on its own, the dim ones brought up to match and the lit ones left alone, and the frames lit by a single arcade colour had their dead channels rebuilt so nobody stayed a silhouette. 121 frames in two looks and 10 clips: Jackie Brown as the clean hero print, Kill Bill Vol. 1 as the loud one, both calibrated against 465 measured pairs. The public gallery is up at 0FF THE PRINT.
An outdoor ring in the backyard of a lucha libre bar, tungsten string lights and floods, no gels and no flash. Two matches in fifty minutes on the Luna Ultra with a GO Ultra clipped in at ringside. The video was pulled for its best frames the same way the stills were scored, one per moment, so the grabs sit with the photographs. Three looks: a custom Lucha Night print, tungsten gold with the red masks pushed; Reservoir Dogs, the truest colour of the three; and Death Proof, a grindhouse print with the greens muted. The public gallery is up at 0FF THE PRINT.
Flash portraits in a room with the biggest LED wall in the city and everyone in black: red neon on one side, blue and magenta LED on the other, hookah on the tables. The scene classifier keyed every frame on its LIGHT, not the clock, and the gel-lit frames had their starved channels rebuilt so faces stopped being silhouettes without the room losing its colour. Five looks: DEMON TIME, a custom print named off the club's own sign, plus Tenet and Pulp Fiction, then HELL THERMAL and BLACKLIGHT UV built in Photoshop as real layers, a solarised thermal ramp and a violet room where the whites glow. The grain is a real layer, measured so it never competes with detail. The public gallery is up at 0FF THE PRINT.
A vendor market under the skylights at five, then a burlesque show on a red velvet stage under a red wash, which is close to monochrome: on five of the eight stage clips the green and blue channels sit at one to five percent of the red. Readability was judged on the red channel alone, the only one carrying information, and the face detector was taught to ignore the painted portraits and dolls on the vendor tables. Every portrait got a retouch pass in Photoshop on real layers before the grain; the stage frames were left exactly as lit. Four looks: RED VELVET, the room's own print; Insomnia, the one cool grade of fifteen tried that clips nothing; and two dark prints made on purpose the morning after, OXBLOOD and OXWULF, the second crossing OXBLOOD with the orthochromatic look of Robert Eggers' Werwulf. The public gallery is up at 0FF THE PRINT.
A Thursday that started at Club 212 on the River Walk, found the room dead and moved: the 212 rooftop, then Bar House on North Alamo, then a blue-LED club at ten to three. Nothing in a night like this repeats, so nothing was graded as a batch: every frame solved its own white balance off something neutral on the subject, exposure moved only where a face fell under a readability floor, and the seven long-exposure light paintings were left exactly as drawn because on a long exposure the trail is the photograph. 39 frames in two looks, from two cameras: corrected, and a Tarantino print picked for this night by a measured bakeoff of eleven candidates, on newsprint. The public gallery is up at 0FF THE PRINT.
The September Third Friday night market, which is in Historic St. Paul Square and not in La Villita whatever the internet says. A market at dusk is five lighting situations in twenty minutes: open sky, balcony shade, tungsten shopfronts, a magenta LED room and a blue one, plus thirteen frames the camera had already tone mapped locally, which no single curve can match, so those were tone mapped again by hand. 50 frames in two looks: corrected on matte uncoated paper, and HAUS INFRARED, colour infrared film thinking that prints every tree in the square crimson and pushes every cool tone that is not a gel to the Zen Haus cobalt, with skin, blonde hair and bulbs keyed out and green dyed hair put back by hand. The public gallery is up at 0FF THE PRINT.
A goth rave at The Deco with a dress code of nuns, priests, angels and demons, in a room lit almost entirely red. Red LED is nearly a single channel, so every automatic tool fails at once: the white balance chases a wall, the face detector finds nothing and the meter darkens the person standing in front of the bright wall. Everything was developed from the RAW files on a hue-true curve fitted from this card, white balance read only off something neutral on the subject, and exposure moved on seventeen frames all night. 60 frames in two looks: corrected, and RELIQUARY, a silver gelatin plate with blood, rose and lapis inks laid back over it in Photoshop as real plates, because keyed per pixel the ink speckled on flash-lit skin. The public gallery is up at 0FF THE PRINT.
A Sunday at a lounge on Perrin Beitel that dresses itself as a Chinese takeout: a lucky cat on the sign, red takeout boxes on the shelf, the name painted across the front. Shot from a quarter to four, while the room was still a shop, to the group photo out front at dusk. The look was printed on the flyer before anyone graded anything. 19 frames in two looks: corrected, and CHILL & SMOKE, built off the flyer's emerald, cream, takeout red and gold, with the plants keyed to the emerald, the whites capped so they print like cream paper, and the blacks kept the flyer's warm ink, because the first try tinted the shadows green and turned every black tee in the room teal. Every frame was developed from the RAW and colour denoised, since this camera's RAW carries about four times its own JPEG's shadow colour noise at every ISO. The public gallery is up at 0FF THE PRINT.
Four bands on the Paper Tiger side stage, Streetlamp, Midnight Dawn, Black Nail Polish and GABO, under one near-monochrome red wash all night, shot on three cameras: a Luna Ultra on the stage edge, an Ace Pro 2 in the pit rendered back to its framing from the RAW through the lens model stored in each file, and stills pulled from an X6 360. The ask was skin back under the red, so faces carry colour transferred from the night's own skin, measured on people standing outside the gel, and only faces: the room, the haze and the crowd stay as red as they were. 62 frames in two looks: SIDE STAGE, a restrained concert grade made for this room after all 59 cubes in the library were run on it, and HEAVEN LIGHT, the red re-voiced as the sunset gold on the flyer with a god-ray glow on the lights. The public gallery is up at 0FF THE PRINT.
A Friday in a San Marcos backyard: string lights in the trees, eighteen and up, bring your own, a DIY slip n slide on the flyer, and the flash doing everything else. The camera shot RAW until half past ten and JPEG after that, so the night was graded as two cards, every RAW frame developed through the gain map the camera writes for it, on a tone curve fitted to this card because the usual model failed on it. 45 frames in four looks: CINEMATIC, the corrected night; WAP, the flyer's palette pushed; RISO 2-INK, every frame printed in pink and blue as if it came off a risograph; and FUNSAVER, a disposable camera with the orange date stamp in the corner. All four carry a real texture made in Photoshop as live High Pass layers, pulled back by half after the first pass put canvas weave on skin. The public gallery is up at 0FF THE PRINT.
I was the alt-weekly's on-the-ground event unit during my Fall 2024 internship. Sent solo into Riverwalk cocktail nights, beer festivals, emo night, the DoSeum. Shot photo and video, cut it the same night, handed back organized 1080p and 4K packages ready to post. Ran posting too, five-plus a week across IG and TikTok.
FULL ASSIGNMENT LOG: Top Shelf · Beer Festival · Doseum · Revolutionary Wings · photo + video coverage, same-night edit turnaround, organized delivery, posting and captions.
TWO SESSIONS + ONE NIGHT OUT · my own FX6 lighting package · subjects lit, relit, and graded in-house.
TWO SUBJECTS, EIGHT FRAMES · Alameda Theater to the downtown rooftops · styled, lit, and graded in-house.
ONE AFTERNOON, 53 FRAMES · Insta360 Luna Ultra · subject masked and graded in-house on a custom look, REDEMPTION, that lights wardrobe, skin, and arcade as three separate keys.
A black and grey shop on N New Braunfels with burglar bars across the front, an Aztec calendar plate on one wall and a shelf of santos on another, so the room was always going to carry half of this. It is also a dark room with black walls, and black and grey ink goes green the second the white balance drifts, which is why nothing here got a batch preset. Day one was the room first and then the man working in it: 51 minutes on two cameras, the FX6 on the shop and the street and a compact rig for the vertical work, 36 clips and 27 stills, each frame graded on its own and delivered in three versions. The sit-down is its own day and it has not happened yet.
Four of the 26 vertical clips, six seconds each and muted for the page. The shop was shot empty before anybody had to stand anywhere, which is the part that makes the rest of the day easy.
Not just the footage. Posters, collage layouts, and whole sites for real San Antonio nights, drawn end to end: type, cutouts, halftone, code, and the grade, all mine.
ONE EVENT POSTER, THREE COLLAGE TREATMENTS of a single shoot: candy decora, y2k chrome, goth xerox. Type, cutouts, halftone, and grade built end to end.
A San Antonio media house I design, build, and run: identity, the site, the photo dumps, and the member timeline. Live at 0fftheprint.
Three clips. The short film I wrote, directed, and edited, plus the two-part behind-the-scenes of how it got made.
Reels straight off my Instagram, plus the account they live on. Previews loop on their own; tap any monitor to open it on IG.
FX6 coverage, a custom Resolve grade, delivered on deadline. Every price sits next to the San Antonio market range so you can see where it lands.
The unit is the set, never one logo at a time. Base license covers screen use and print you run yourself; selling merch adds the stitch pack. Layered working files stay with me.
