Meet our team

I got into filmmaking through documentaries, and that's still how I see directing: my job is mostly to pay attention. I'm studying Film at Concordia, and I care far more about catching a real, honest moment than about anything looking slick.

At OtterS I help shape a project from the first idea through the shoot. I'd rather earn a genuine moment than stage a big one, and I love that here every decision gets made together - it never feels like it's only mine.

When I'm not on set, you'll find me rewatching the long, patient films that made me want to do this in the first place. I still think the best directing is mostly listening: to the actors, to the room, to the small accidents that turn a planned shot into something alive.

I shoot mostly with natural light. I came to the camera through still photography, and that's still how I work: one frame at a time, nothing wasted. Montréal winters taught me how much you can do with the light you're handed.

Before we roll, I like to ask what a place or a person already has to say, then let the camera listen instead of forcing anything. I'm happiest scouting a location at the wrong hour, watching how the light moves across a wall before anyone else shows up.

On set I try to stay quiet and deliberate, and I'm a little allergic to any camera move that isn't earning its place. Most of what I know I'm still working out on real shoots, which is honestly the whole reason I'm here.

I spend more time in the timeline than just about anywhere else. I really believe the edit is where a film figures out what it's actually about, so I cut for rhythm and try to trust silence. I work in DaVinci Resolve and Premiere Pro.

What I leave out matters to me as much as what I keep. I'm always chasing the cut you don't notice, the one that just feels right, and I love getting to test that on real OtterS projects.

Editing, for me, is mostly patience: watching the same footage enough times that its real shape finally shows up. I keep odd hours, cutting late when the room is quiet and the rhythm comes easiest, and I'm usually the first to notice when a scene is fighting itself.

I'm the one keeping every OtterS shoot on the rails. I handle the schedules, build the relationships with clients and locations, and make sure a big creative idea can actually happen on a student budget and a tight calendar.

My background is in community organizing and arts admin, so I'm comfortable moving between the creative side and the logistics side. Producing is creative too: knowing which battles protect the vision and which ones cost more than they're worth.

I'm the person who reads the fine print, books the van, and remembers that the crew still needs to eat. I genuinely love the puzzle of it, and I'd rather everything run smoothly so everyone else gets to stay focused on the work.

I work across stills and motion, always chasing the decisive moment. Photojournalism trained my eye, and you can see it in the way I shoot: spontaneous, economical, and a little allergic to the obvious frame.

At OtterS I document our shoots as they happen and make standalone images for each project. I love that a single still can outlast the film it came from, still going around long after a project wraps.

I carry a camera almost everywhere, more out of habit than any assignment, and the best frames usually show up when nobody is performing for the lens. I think of photography as a kind of memory work: holding onto the texture of a day after everyone has moved on.

I treat sound with the same care most people save for the image. I work across field recording, Foley, and original composition, and I think of a soundtrack as a second story running under the picture, sometimes backing it up, sometimes quietly arguing with it.

I trained in classical music before film pulled me in through its sound, and I love adding the layers of texture that turn a plain recording into something you actually feel.

I collect sounds the way other people collect photos: a recorder left running on a walk, a room tone saved for later, the particular hum of a métro platform. Mixing, for me, is slow subtraction, clearing space until the few sounds that really matter can finally be heard.

I'm usually the last person to touch a film, and I look after how the whole thing holds together and feels. I grade in DaVinci Resolve, balancing a natural warmth against the precision an OtterS project asks for.

I keep my colour pretty restrained. I try never to add what isn't already in the image, just to clarify what is, so the work feels considered and inevitable, finished without ever looking processed.

I think of the grade as the film's last rewrite: a final chance to guide your eye and set the temperature of a scene. Most of it happens in a dark room, comparing one shot to the one before it until the whole sequence breathes as one. I'm quietly stubborn about skin tones and patient about everything else.