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Carpentry. Editorial. Photography.

Peter has worked at the highest levels of Post-Production in film and television from the largest IMAX films for Hollywood Studios, to the most intimate market focused web-spot for Fortune 500 companies. He has edited, mastered, or post-supervised projects from documentaries to commercials, to sizzle reels and trailers for clients such as Disney, WGBH/NOVA, National Geographic, Dreamworks, Discovery Channel, Lifetime, ESPN, USA Networks, Showtime, Madison Square Gardens, Intel, GE, Microsoft, AT&T, IBM, Lindblad Expeditions, Teen Vogue, Ben and Jerry’s, CA Technology, The Annenberg Center for Photography, Andreessen Horowitz, and the Harvard Business School.

Starting out in New York City, Peter worked as a First Assistant for star LIFE MAGAZINE photographer, John Dominis, PEOPLE MAGAZINE photographer, Peter Serling, and Commercial/Fine Arts photographer, Chip Forelli, who’s work is featured as some of the default Black and White background screens on the Apple® Mac— the pier jutting out into the misty ocean, being one of them.

Peter began his producing and post-production career as an Associate Producer, and Director of Acquisitions, for Troma, Inc.– “Home of the Toxic Avenger”.   

From Troma, Peter went on to work as a VFX Coordinator on a multi-film-format visual effects project, “Secrets of the Luxor Temple”, for Douglas Trumbull (2001: A Space Odyssey). Visual Effects Supervisor on the project was Joel Hynek, his assistant, John Gaeta– both were future VFX Academy Award® winners for “What Dreams May Come”, and “The Matrix”, respectively. 

Peter studied film production and photography at Hampshire College in Amherst, MA with Independent filmmaker, Abraham Ravett, and famed “Photo League” photographer, Jerome Liebling, noted for being a guiding force in Ken Burns’ early studies.

As a carpenter, Peter's experience has been life long. Before he saw a lick of film stock, or a timecode burn-in, he had already been cutting wood and building projects from simple furniture to whole theater sets. Cutting is cutting. Regardless of the medium.