I’m a filmmaker, editor, shooter, producer, photographer, writer and visual storyteller — with experience working across documentary, legal storytelling, branded content, corporate communications, editorial, events and commercial production.In practical terms, I can often take a project from idea → story → production → footage → edit → finished piece without needing to hand off every stage to a different specialist.My specialty is knowing how all of those pieces fit together.

Because my work doesn't fit neatly into one creative job title.A polymath is someone who develops meaningful expertise across multiple fields rather than limiting themselves to a single discipline. My career has developed that way organically: filmmaking led to editing, editing informed how I shoot, documentary work strengthened my storytelling, photography sharpened my visual instincts, and years of working with clients taught me how to translate complicated ideas into clear stories.I don't see those disciplines as separate. They make each other better.

I am all the above.Those aren't mutually exclusive roles.Depending on the project, I may be the person developing the story, producing an interview, operating the camera, recording sound, photographing the event, editing the footage, writing the copy or helping determine what the finished piece needs to accomplish. Or all of them.For larger productions, I also know when a project needs additional specialists. Being a polymath doesn't mean trying to do everything myself. It means understanding the entire ecosystem well enough to assemble and lead the right team when necessary.And my expertise isn't just in film: I studied fine art and design, worked in luxury retail, hospitality, built furniture, have worked with dogs, you name it... I've probably dabbled in it at the very least. Curiosity is my main motivator, knowing how and why things, systems, and people work is forever fascinating to me and will forever drive me.

Sometimes you shouldn't.If you need a highly specialized VFX artist, colorist, sound designer or animation studio, hire the specialist.But there are many projects where the biggest challenge isn't performing one technical task. It's figuring out what the project actually needs.That's where a multidisciplinary creative can be valuable.When the same person understands the story, production and post-production, decisions can be made with the finished piece in mind from the beginning. A good editor knows what footage needs to be captured. An experienced shooter knows what an editor will need. A producer understands the constraints that affect both.That integration can save time, reduce unnecessary production and result in a stronger final story.

Storytelling through imagery.My strongest concentration is documentary filmmaking, video production, shooting, editing, and still photography — particularly projects where the material is complex, the people are important, and the story needs to be discovered rather than simply illustrated.That includes long-form documentary work, legal storytelling, interviews, branded and corporate films, editorial video and other narrative-driven projects.

I think it does — it changes what I look for while I'm shooting.David Lean is one of the most influential film directors of all time. He is best known for large-scale epics such as Lawrence of Arabia, Brief Encounter, and Doctor Zhivago. Studying him taught me that editing is key to filmmaking:[on his background as an editor] "It’s everything. I often wonder at directors who’ve never been editors. I just don’t understand how they go to work. I kind of piece it together as we’re making it. And editing is one of the, if not the, chief of the tools of my trade."I don't just capture something because it looks good in the moment. I'm thinking about how the footage will cut together, what information the audience needs, where transitions can occur, what coverage is missing and what will make the story work in post. That “edit in your head while you shoot” approach is particularly valuable for documentary and interview-driven work.

No.Documentary storytelling is a major part of my work, but the underlying skills transfer to many types of projects.I've worked across documentary, legal and litigation media, corporate and branded storytelling, interviews, promotional content, editorial projects, events, photography and other forms of visual communication.The common denominator is always storytelling.

Yes.I've developed a specialized practice creating documentary-style films and visual storytelling for plaintiff attorneys and litigation.That includes settlement documentaries and mediation-focused storytelling through Trial Preview Films™ (you can see that here), as well as other litigation media and documentary projects.Legal storytelling is a specialized application of the broader skills I've developed as a filmmaker: interviewing, documentary production, narrative structure, visual evidence, character-driven storytelling and editing complex material into something an audience can understand and remember.

No.Law firms are an important part of my specialized practice, but angeladee.com is broader than my legal-media work.I also work with companies, brands, agencies, production teams, editorial clients and individuals who need a filmmaker, editor, photographer or multidisciplinary creative partner.

Yes.In fact, editing other people's footage is one of the clearest demonstrations of editorial judgment.The job isn't simply to assemble the shots you would have captured yourself. It's to understand what the footage contains, identify the story within it, determine what is missing, and construct the strongest possible narrative from the material available.I regularly approach a project from that perspective.

Of course!I can shoot to an existing creative brief, visual treatment or editorial plan, and my editing background means I can also anticipate what the post-production team will need.That can be especially useful for interviews, documentary coverage and projects where the footage will ultimately be assembled by another editor.

Yes.I take on freelance, contract, project-based and select longer-term opportunities depending on the scope and fit.For production companies, agencies and creative teams, I can function as a shooter, editor, producer or hybrid creative depending on what the project requires.

Yep. I'm always open to the right opportunity.My background is unusual in that I can contribute across production and post-production rather than occupying only one narrow role. For organizations that value experienced, adaptable creatives who can operate independently and collaborate across departments, that can be particularly useful. And I am always learning and growing, so I often take interviews for full-time work with companies that particularly excite me.

Yes. I love traveling for work!I travel for productions, shoots, documentaries, interviews, events and other projects. For documentary and location-based work, travel is often part of the job rather than an obstacle to it. I've been lucky enough to travel all over the world and never find it a hindrance to the right project. There's no reason we should be relegated to one city when people everywhere deserve access to expert creatives.

My primary editing tools include Final Cut Pro. With Adobe Photoshop and Lightroom for image work.I have working experience with Adobe Premiere and Davinci Resolve and use them when needed.More important than the software itself is understanding editorial structure, visual storytelling, production workflow and how to get a project finished.Software changes. Storytelling principles don't.

Yes.Photography has been part of my creative practice alongside filmmaking and video production for ever - in fact, I studied it at the London College of Fashion (now the University of the Arts, London).I work in event, editorial, portrait, behind-the-scenes, street, and other photographic contexts, and photography informs the way I approach composition, lighting, people and visual storytelling in film.

Yes.I've always been a writer. In fact, I won two creative awards as a child one for fine art and the other for creative writing.Writing is the pillar of the storytelling process. It's as old as humans.Depending on the project, that can include interview questions, treatments, scripts, narration, website content, creative concepts, documentary development, marketing copy or other editorial material.Good visual storytelling often begins before a camera is turned on. I am also a screenwriter and have written features, TV pilots, web series, and comedic sketches. My TV Pilot Rack & Ruin won a Virgin Produced Award at SeriesFest in 2017.

Yes.I was a professional on-camera and voiceover actor in NYC for many years. Some of my credits include The Coca Cola Company, Simple Skincare, Land Rover, Alice Through the Looking Glass, Blue Bloods, Beauty and the Beast, Men in Black III. That broader production experience also means I understand what happens on both sides of the camera.

That's completely fine.You don't have to hire me for my entire skill set.If you need an editor, hire me as an editor. If you need a shooter, hire me as a shooter. If you need a documentary filmmaker, hire me as a filmmaker.The advantage of working with someone multidisciplinary is that you get the additional perspective without having to buy additional services.

I'm particularly well suited to projects that involve:Complex or sensitive subject matterReal people and real storiesInterviews and documentary footageLarge amounts of source materialStory discovery and editorial judgmentProjects that need both production and post-production thinkingClients who need an experienced creative partner rather than someone who simply executes instructionsProjects where the story matters as much as the visuals