POST

Post-production is where intent becomes impact! Trailer cuts, promo habillage, motion design, multicam assembly — and on the longer end, corporate films and interview-driven edits where structure and pacing do the heavy lifting. Twenty-five years cutting for TF1, Canal+, Arte, and a roster of corporate clients who expect broadcast standards regardless of the format. The kind of work where every cut is a decision, every transition earns its place, and the final sequence feels inevitable. From a 30-second promo engineered to convert attention, to a 10-minute institutional film built to last — the tools change, the rigour doesn't. Same standards, whatever the runtime. Same obsession with the frame that makes it land.

Trailers

Editing

Graphics

Documentary

Trailers

The 30-Second ROI: Converting Attention

In the attention economy, a trailer is a conversion engine. With 25 years of expertise for TF1, Canal+, and Arte, I engineer short-form content that turns passive viewers into captive audiences. From Prime Time mass-market hits to high-end documentaries, I bridge the gap between artistic precision and broadcast performance.

Massive Reach & Zero-Defect Standards

Managing campaigns for audiences of million viewers demands a "zero-defect" protocol. Every frame is a strategic investment. Whether it’s high-pressure national live events or brand identity, I ensure total technical and editorial integrity, delivering a flawless visual promise that secures ratings across all platforms.

Lead Production: From Set to Screen

I don’t just process footage; I supervise the entire visual craft. Combining studio direction with broadcast-grade post-production, I provide a premium, agile service. I master the chain from the first light on set to the final delivery, ensuring your brand’s prestige stays bulletproof and impactful.

QUELLE HISTOIRE !

CLIENT: ARTE FRANCE

JOB: EDITING & POST

MEDIA: STREAMING

PROGRAM AUDIENCE: 4.5 MILLION

CRIMINAL MINDS

CLIENT: TF1

JOB: TRAILER CONCEPT & EDITING

MEDIA: BROADCAST & SOCIAL

PROGRAM AUDIENCE: 2.1 MILLION

SURVIVOR (KOH LANTA) FINAL

CLIENT: TF1

JOB: TRAILER CONCEPT & EDITING

MEDIA: BROADCAST & SOCIAL

PROGRAM AUDIENCE: 5.3 MILLION

SHORT FILM FRANCE SCREENING TOUR

CLIENT: ACADÉMIE DES CÉSAR

JOB: TRAILER CONCEPT & EDITING

& POST

MEDIA: CINEMA

MISS FRANCE CROWNING NIGHT

CLIENT: TF1

JOB: SHOOTING & TRAILER CONCEPT & EDITING

MEDIA: BROADCAST

PROGRAM AUDIENCE : 7 MILLION

Editing

Editorial Architecture: The Art of the Cut

Editing is where the narrative is forged. With 25 years of mastery in Avid, Premiere Pro, and FCPX, I transform raw footage into high-impact content for leaders like TF1, Canal+, and Arte. I treat every frame as a strategic asset, ensuring the pace perfectly aligns with brand’s prestige and audience engagement.

INTERVIEW WITH EVGUENY MOROZOV

CLIENT: RÉSEAU CANOPÉ

JOB: EDITING

MEDIA: SOCIAL & CORP. WEBSITE

UNDER THE POLE

CLIENT: Z E D

JOB: SEQUENCE CUTTING FOR PARTNERS PREVIEW

MEDIA: MOBILE

AUDIENCE: INTERNATIONAL BUYERS, ARTE FRANCE

PRIX PATRICK BOURRAT

CLIENT: LCI

JOB: EDITING

MEDIA: SOCIAL & COPRORATE TV

AUDIENCE: JOURNALISTS

SOPREMA’S XXth CENTURY ODYSSEY

CLIENT: SOPREMA x IRIS PRODUCTION

JOB: WRINTING, EDITING & POST

MEDIA: STREAMING & CORPORATE TV

AUDIENCE: ANNUAL CONVENTION & SOCIAL

Broadcast Standards & Professional Training

As a Senior Editor and INA Instructor, I architect. I specialize in the "zero-defect" standards of national networks, where technical integrity is non-negotiable. Whether crafting sharp segments or complex corporate stories, I bridge the gap between broadcast rigor and cinematic aesthetic.

LES RENCONTRES DE L’UDECAM

CLIENT: TEAM MEDIA — LES ÉCHOS

JOB: EDITING & POST

MEDIA: CONFERENCE SHOW

AUDIENCE: ADVERTISERS

HORS ANTENNE — GAUTIER CAPUÇON

CLIENT: RADIO CLASSIQUE

JOB: EDITING & POST

MEDIA: SOCIAL

CLIENT CONFIDENTIAL

MARTIN BOUYGUES INTERVIEW

TF1’S 40th ANNIVERSARY

CLIENT: TF1 CORPORATE

JOB: MULTICAM EDIT

MEDIA: INTERNAL TV

AUDIENCE: COMPANY EMPLOYEES

Motion
Graphics

Graphic post is as much about vision as it is about supervision. Briefing motion designers, directing colorists, pushing compositors — every step of the graphic pipeline requires the same thing: a precise creative eye and the authority to enforce it. The result is a visual identity that holds, frame by frame.

CUSTOMER INTERFACE

CLIENT: PITCH IMMO

JOB: GRAPHICS SUPERVISION

MEDIA: SOCIAL & CORPORATE

AUDIENCE: CUSTOMERS

LE CLUB

CLIENT: ALTAREA COGEDIM

JOB: GRAPHICS SUPERVISION

MEDIA: CORPORATE

RECRUITING CAMPAIGN

CLIENT: PROFS DU MONDE

JOB: GRAPHICS SUPERVISION

MEDIA: SOCIAL & CORPORATE

Pitching
Documentaries

Documentary development lives at the intersection of craft and commerce. Cutting a pitch trailer or a proof-of-concept is not an editing job — it's a sales tool. Every sequence is engineered to trigger a commissioning decision, secure a co-production deal, or open a broadcast window. From fund prospecting to market-ready packages, this work has been built for the rooms where it matters: MIPCOM, Sundance, and beyond. The edit is the pitch.