ABOUT / REGI ALLEN
I’VE BEEN IN THE ROOM SINCE I WAS 13.
I’VE BEEN IN THE ROOM SINCE I WAS 13.
I’VE BEEN IN THE ROOM SINCE I WAS 13.
REGI ALLEN / AGE 13
REGI ALLEN / AGE 13
REGI ALLEN / AGE 13
I started editing when making pictures meant tape, machines and decisions you couldn’t undo with a keystroke.
I started editing when making pictures meant tape, machines and decisions you couldn’t undo with a keystroke.
I started editing when making pictures meant tape, machines and decisions you couldn’t undo with a keystroke.
I’ve watched the craft reinvent itself ever since—from tape to early digital, linear editing to Avid and non-linear, from Avid to Premiere, and now into generative AI and entirely new ways of creating images, sound and stories.
I’ve watched the craft reinvent itself ever since—from tape to early digital, linear editing to Avid and non-linear, from Avid to Premiere, and now into generative AI and entirely new ways of creating images, sound and stories.
I’VE NAVIGATED EVERY SHIFT.
I’VE NAVIGATED EVERY SHIFT.
I’VE NAVIGATED EVERY SHIFT.
Not by chasing technology, but by staying curious enough to understand what changed—and experienced enough to recognize what didn’t.
Not by chasing technology, but by staying curious enough to understand what changed—and experienced enough to recognize what didn’t.
STORY. RHYTHM. EMOTION. TASTE. THE CUT.
STORY. RHYTHM. EMOTION. TASTE. THE CUT.
STORY. RHYTHM. EMOTION. TASTE. THE CUT.
That instinct has carried me through more than 25 years of work across entertainment, advertising, documentary and culture—from MTV, HBO and Sesame Street to nearly two decades at Warner Bros. Discovery, and into films like Going to Mars: The Nikki Giovanni Project.
That instinct has carried me through more than 25 years of work across entertainment, advertising, documentary and culture—from MTV, HBO and Sesame Street to nearly two decades at Warner Bros. Discovery, and into films like Going to Mars: The Nikki Giovanni Project.
Along the way I’ve won two Emmys, worked across some of the world’s biggest entertainment brands, explored the intersection of fine art and moving image, and helped creative teams adopt new ways of working as the technology changed.
Along the way I’ve won two Emmys, worked across some of the world’s biggest entertainment brands, explored the intersection of fine art and moving image, and helped creative teams adopt new ways of working as the technology changed.
NOW WE’RE ENTERING ANOTHER SHIFT.
NOW WE’RE ENTERING ANOTHER SHIFT.
NOW WE’RE ENTERING ANOTHER SHIFT.
An editor no longer has to arrive at the end of the process. We can begin with the idea—develop the concept, create the images, shape the performance, build the world and carry it through editorial, sound and finish. For me, that doesn’t feel like leaving editing behind.
An editor no longer has to arrive at the end of the process. We can begin with the idea—develop the concept, create the images, shape the performance, build the world and carry it through editorial, sound and finish. For me, that doesn’t feel like leaving editing behind.
An editor no longer has to arrive at the end of the process. We can begin with the idea—develop the concept, create the images, shape the performance, build the world and carry it through editorial, sound and finish. For me, that doesn’t feel like leaving editing behind.
IT FEELS LIKE EVERYTHING I’VE BEEN DOING SINCE I WAS 13 LED HERE.
IT FEELS LIKE EVERYTHING I’VE BEEN DOING SINCE I WAS 13 LED HERE.
IT FEELS LIKE EVERYTHING I’VE BEEN DOING SINCE I WAS 13 LED HERE.
THE CRAFT TO KNOW WHAT WORKS. THE CURIOSITY TO FIND WHAT’S NEXT.
THE CRAFT TO KNOW WHAT WORKS. THE CURIOSITY TO FIND WHAT’S NEXT.
LET’S MAKE SOMETHING.
LET’S MAKE SOMETHING.
LET’S MAKE SOMETHING.
Have a project, a brief, a product—or just the beginning of an idea? Let’s talk.
Have a project, a brief, a product—or just the beginning of an idea? Let’s talk.
START A PROJECT ↗