Kelsey Haley is a textile and fashion designer in Portland, Maine. I met her through friends a few months back, but didn’t find out what she did until more recently. I found myself immediately drawn to the tactile, physical nature of her work, which is so far removed from the work I do.
I had to learn more!
I sat down with Kelsey for a few hours to talk about her work and to explore her studio. Again, the contrast was striking. Her space is a bright, loud, vivacious studio. It covered with great, beautiful things: patterns, fabrics, paints, examples. It stands in stark contrast to the dark quiet of the editing bay.
It’s always a blast to explore another’s art: take a peek and find out more!
I worked with WEX’s health and wellness team to put together this short piece around a large donation they made to the global charity UNICEF. They needed a quick turnaround on this piece, so we kept it simple: one naturally lit interview with a key expert, and an hour of b-roll filming off-site.
One of my favorite new freelance gigs has been with a four-person folk outfit in Portland called SnugHouse. While a relatively new band, they have doubled down on their intention to make music their career, and, as such, needed a social media push before the debut of their first, eponymous EP.
Working with Nikhil Dasgupta, their lead singer, we created two videos to accompany songs off this album, as well as an album cover that resonated with their pared-back acoustic sound.
Two days ago, they dropped the announcement of their EP, and within 48 hours had accrued more than 2,100 impressions and 100 engagements through either likes or shares, on a budget of, wait for it… $20. They also saw 11% growth in their overall followers during that same time period.
That’s pretty impressive for just the first touchpoint in this mini-campaign. I’ll be excited to see what the next steps bring.
Non-profits will always be near and dear to my heart. I cut my teeth doing work with these organizations, who gave a young, inexperienced, eager videographer the opportunity to get his hands dirty, make some impressions, and try out techniques that may not have flown with agencies and corporations.
Whenever I get the opportunity to tie my work back to non-profits, I invariably say yes.
The stories are so easy to tell. They are stories of hope, of success, of grit and determination. They are stories of underdogs and overcoming tremendous odds. The are stories that always, always work. They hit hard, have true emotional roots, and have to the power to substantially improve lives.
Last week, I went out to Cow Island with WEX to film their work for Rippleffect, a fantastic local non-profit, which I attended nearly fifteen years ago, that brings kayaking and outdoor, experiential learning to students in Maine. It was a blast to spend a gorgeous day with a group of passionate people helping strengthen a program that I strongly believe in.
Check out their site, consider sending your kids, and maybe even donate!
Apropos of the political situation around healthcare, it’s about damn time someone explained the proliferation of acronyms: HSA, HRA, COBRA, it’s all a little daunting. Back in April, I worked with WEX’s Health line of business to record interviews with industry experts to explain some of these new healthcare trends.
Check out this, the second episode, wherein HRAs are explained.
For the last three years, I have been fortunate enough to take part in the United Way of Greater Portland‘s Day of Caring. The UW brings together employees from some of the largest organizations in Southern Maine to provide a day of community service.
At work and at home, I live in the Adobe Suite. There is hardly a brand I respect more for their product line, their culture, and what they do in the creative community. Today, I stumbled across this video for some of their visual branding around MAX, their annual creative conference. MAX acts as a showcase of future-tech, a demo of product capabilities, and a convention for creatives across the globe.
What stood out to me about this video is how perfectly it encapsulates the reason why practical effects will always be my preferred execution method. Sure, many of these effects could be replicated as 3D renders, but the cost would be substantially greater, and the effect far lesser, that by trying out these fantastic physical demonstrations.