Cut theSignal.
I'm Chris Shaw. I cut, colour, sound-design and finish video with a controlled Visual Vomit edge. Music videos, brand films, social, and the experimental work in between. Send the footage, you get a point of view back.
The reel, in full. Or browse the archive.
- 19
- Live clips in the reel
- 18
- Archive contact sheets
- 6
- Disciplines under one roof
- 24h
- First-pass direction
Six disciplines, one cut
Most projects need an editor, a colourist, a sound person and someone with taste. You can hire four people, or send it through one room that does all of it.
Music Videos
concept → release
Performance edits that move on the beat and breathe between it. I cut for the artist, the hook, and the moment a crowd would lose it, then carve the social cutdowns that feed the algorithm after.
Creative Direction
look, mood, world
Before a single frame is cut, somebody has to decide what the thing feels like. Visual identity, wardrobe language, reference boards and the rules the edit will live by. I build the world, then I shoot the signal through it.
Video Editing
shorts to long-form
The actual craft. Assembly, rhythm, story, the ruthless trims nobody notices and everybody feels. Brand films, trailers, vertical cutdowns, long-form features. Same obsession at every length.
Colour + Finish
look development
Base stays black and white until the image earns its colour. Grade, look development, skin and sky, the final polish that makes footage feel deliberate instead of captured. Delivery-spec clean.
Sound Design
impact & transitions
Picture is half of it. Risers, impacts, sub-drops, room tone and the transitions that hit you in the chest. I build the sonic edge and prep a clean mix-ready bed for the final pass.
AI Media
generated + editorial
Generated video, frame studies and prompt direction, folded into a real editorial system rather than dumped in raw. Used as a tool, kept on a leash, finished by hand. The future without the slop.
Selected cuts
I don't make footage pretty. I make it mean something, then I make it hit.
Anyone can drop clips on a timeline. The job is rhythm, restraint and the nerve to cut the thing everyone else would keep. That is where a video stops feeling captured and starts feeling decided.
Controlled chaos
The Visual Vomit edge is not mess for the sake of it. It is damage placed on purpose, where the track or the brand can take it.
Colour is earned
The base stays black and white. A frame breaks into colour only when the image has done the work to deserve it.
Source-safe, always
Organised, logged, async-friendly. Your masters and projects never go missing between rounds, and handover is tidy.
How a project moves
No mystery box. Five steps from raw footage to spec-clean delivery, with clear versions and timecoded notes at every stage.
- 01
Signal in
You send the footage, the track, the brief, the half-formed idea. I send back a fast first-pass direction so we agree on the feeling before anyone burns a week on the wrong cut.
- 02
Assembly
Everything organised, source-safe, logged. The skeleton edit goes up first: structure, story and pacing, no polish. We lock the bones before we decorate them.
- 03
The cut
Rhythm and damage. This is where the edit finds its pulse, the trims get ruthless and the transitions start to hit. You get clear versions with timecoded notes, not a mystery box.
- 04
Colour + sound
The base stays black and white until the image earns its colour. Grade, look, then the sound design that puts it in your chest. The piece stops looking captured and starts looking decided.
- 05
Finish + deliver
Spec-clean masters, every aspect ratio you need, organised exports and a tidy handover. Master, teaser, vertical, stills. Ready to ship, nothing left loose.
Cut on / finished with