This is a visual summation of work I've produced and/or edited highlighting the adventure content I enjoy along with clean visual cuts and custom sound design. Anybody can drown footage with plug-ins, VFX, and oversaturated color filters, but I think it takes discipline and creativity to not oversaturate a nice shot with too much of that. Don't get me wrong—I enjoy creating VFX—but I didn't want to make it the focus in this reel. My intent is to keep someone engaged with my editing of rhythm, sound, imagery, story, and style, from a scenic shot of where I grew up, through the intensity of 50-foot waves, human flight, and the beauty of Adriana Lima on the catwalk.
Call: 424-410-9149
Email: Stan@ChopShopMedia.Tech
Explore My Work
From long-form television programming to short-and-sweet promotional videos you can
publish to your website and across all of your social media platforms.

 Full Time
 Part Time
Stanley M.R. Rosario
  • Custom MacPro: 2.7GHz 12-Core Intel w/ 30MB L3 cache, Xeon Turbo Boost 3.5GHz
  • 64GB 1866MHz DDR3 ECC - 4 x 16GB - 1TB Solid-State Hard Drive (Local) 
  • Dual AMD FirePro D50 with 3GB GDDR5 VRAM
  • Three 27 Inch 5K Apple Monitors with a 4th Panasonic 4K Client Monitor
  • Mackie Big Knob Studio Command Center
  • Yamaha MSP5 Studio Monitor Speakers  
  •  ISIS-5500 64TB Scalable
  • PROMISE Pegasus3 R8 32TB (8 x 4TB) Thunderbolt 2 RAID System
  •  AVID Media Composer
  • ADOBE Creative Suite (Premiere, After Effects, Photoshop, Illustrator, Audition, etc.)
  • FCP 7 - X Suite (Motion, Soundtrack Pro, Logic Pro)
  • DAVINCI Resolve
  • ​Other Standard Post Software
 Growing up on an island in the middle of the Pacific Ocean, I knew no one in the film industry, nor did I have connections to anyone who knew anything about getting into film. Not knowing I was homeless (or houseless as we say in Hawaii) the beach and the jungle was my theatre. I was never really exposed to television or movies and didn't start going to the theatre until my aunt started working at one when I was around 10. We'd have family days where my cousins and I could watch movies for free. That's where the obsession with big giant screens, Dolby theatre surround sound, cinematic imagery, and stories began.

From then on, I became fixated on electronics. If I wasn't surfing or being a troublemaker, I was hanging out in Radio Shacks, Rent-A-Centers, and Circuit City. Tinkering with the functions of musical instruments, computers, stereos, and home theater systems was how I discovered the general grammar of digital technics. Studying visual cues as sound design traveled in sync all around me while viewing display movies until store closings were my film lectures. Watching films on big screens with surround sound, was lightyears away from the experience of seeing broadcasts out of a round box knob turning tinfoil antennae machine that caught four channels. Scrambled snowy sitcoms, westerns, and the evening news of a society synced into the same programming was the analog experience. Any TV sets or speakers people threw out, or car stereos I could wrench from a scrap yard I'd collect, strip down, and put back together. I'd nerd out on circuit boards and connect anything with wires, sometimes tripping the circuit breakers. I would create my home theatres with a daisy-chained wall of 6x9s and 15-inch subwoofers. For fun, I'd power my systems with car batteries, a 1000-watt Pioneer amp, and a Clarion car stereo tape deck that I'd Jerry-Rigged with a CD Walkman. I would bump everything from Bone Thugs to Metallica on that setup. It rocked the neighborhood, and it was awesome!   

Eventually, I was able to create decent home theatre systems from scraps. One day my uncle Thomas, a grouchy fisherman, was throwing out his family's Commodore 64, and I had to have it. For those of you younger millennials that don't know what that is its a computer. Up until that point, I hadn't come into much contact with computers. Aside from the ones in stores, at a friend's house, library class, or my aunty Patty's weird husband's Acer Aspire. "Hackers" had come out on VHS at this point, and I had a dubbed bootleg version from one of my childhood friend's mom who'd rent movies and (tape) them for her kids and neighbors.  'Angelina Jolie' convinced me that "The Net" was the future so I couldn't wait to plug in my hand me down Commodore 64 and start hacking "The Net." Of course, that's not how the internet worked back then, but I did get to play some Pac-Man.

Not really knowing how computers worked or how films got made, I imagined that someday I'd make a movie come out of such a thing. I went on to become an Oregon Trailblazer, Scorched Earther, DOS Gamer, and a pretty decent Napster user. Y2K didn't happen, and a few more years went by until I finally started to think about filmmaking. I remember one day after football practice, my sisters had to go to Walmart, and this was back when there used to be Borders Bookstores. I'd hang out and read for hours or listen to music while the girls did their thing. I went to the photography and film section of the store and looked for books on screenwriting. At the head or tail of a tv show, or film I'd see, script by, screenplay by, or written by, in the credits and it stood alone like a director's credit. Things start on paper, so I thought that writers made movies. I found a book that seemed like it would make me into a Hollywood buff and bought it. I don't remember who the author was, but his book was about to change my life. It was in the preface of the book, the very first paragraph that the writer said, "If you want any control over what a film looks like, don't be a writer. Be an Editor." I put the book down and never read another page.  

~ See resume for bullet points, projects, and explore my portfolio.
This is what my clients say about our work together.
Stan consistently delivered incredible work in a timely manner. Stan can shoot, edit, mix and do graphics, but most importantly, he does it all with a producer's mindset so he's able to "nail it" the first time around. He doesn't waste time shooting or editing things that just aren't relevant. He cuts to the chase, gets the job done, and always impresses with his work.

In 20 years of production and post I've built up a very short list of creative professionals that I trust completely. Stan is on this list." 

Nathan Adams
Director, Digital Media - Warner Bros Worldwide TV Marketing
Stan, you are the MAN! You went above and beyond for the Air & Style project. It was much appreciated."

Erica Ciccone Clancy
Head of Production - Transition Productions
I worked with Stan on a seven day documentary film shoot with ridiculous hours, tough conditions and pressure. He demonstrated the highest level of professionalism and good humor for the duration of the production. Stan is someone I would be delighted to work with again.” 
Ian Adamson
President, World OCR, Fédération Internationale de Sports d’Obstacles (FISO)

Hard work. You are the hardest and most dedicated person I have worked with when it comes to your projects. Whether it is in your garden or editing a million dollar documentary you are obsessed with perfection. I admire the fact that when I give you a project I know that when it is finished, YOU say its finished.” 
Evan B. Stone
Producer - Expedition Unknown
Stan is one of the most talented editors I have ever worked with. He knows how to lay out a solid story and cuts great action sequences. Stan is also very savvy on the technical and organizational side, which is a must for a smooth work flow.”

Mike Hatchet
Film Director / CEO Standard Films

I've had the opportunity to work with Stan in over 2 dozen projects. Having his support is absolutely paramount knowing that he can handle and execute the plays that production throws at him. There's no other editor I trust or rely on more. Especially with the rising demands of Social Media Content." 

Danny Alaniz
Director of Photography
I.A.T.S.E. | Local 600 | SOC

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Email: Stan@ChopShopMedia.Tech
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