WHITE NOISE — 114 stills, 27 seconds

Twenty-seven seconds cut from 114 stills — a self-initiated study in edit rhythm. No footage was shot for this. The piece is built entirely from still frames, so every cut had to carry the motion: frame length, direction of travel, and the beat the eye lands on. The grade is one curve across the whole film, so the sequence reads as a single take rather than a slideshow. What this shows a commissioner: pacing against a track, cut density that rises without losing the frame, and colour held consistent from first frame to last — the same decisions I bring to a lyric video, a sizzle reel or a release edit. Delivered remotely. Direction is agreed before production starts, so revisions stay small and release dates hold.