Valuetainment is Patrick Bet-David's media empire: its flagship YouTube channel nears 6 million subscribers and the PBD Podcast ranks among the most listened-to business podcasts in the world, with presidents, sports legends and billionaires sitting down in front of its cameras. Across all its platforms it adds up to tens of millions of followers and billions of views: one of the most influential business voices on the internet.

• On-site production of the content: interviews, executive messages, podcasts and event programming, with DSLR/ENG cameras, lighting and audio cared for like a television set.
• Short and long-form editing in Premiere Pro and After Effects: motion graphics, sound cleanup, color correction and finishing tailored to each platform, from the full episode to the one-minute clip.
• Fast-paced, high-volume production and post-production: in a content newsroom that never stops, pieces were shot, edited and published holding brand and technical standards on every delivery.
• Editing with a storyteller's judgment: finding, inside hours of conversation, the exact moment that becomes a clip, without betraying the idea or the speaker's tone.

Scott Bursor is one of the most respected and feared consumer class-action attorneys in the United States, and Bursor & Fisher, the firm he founded, has taken on some of the country's largest corporations on behalf of millions of consumers. An elite boutique firm, with results that place it in the big leagues of American litigation.

• Content creation for Scott Bursor's firm: full coverage of its Halloween party, the firm's signature social event, with photography and video designed from the start for social media.
• Vertical-format, social-paced content: a hook in the first seconds, cuts on the pulse of the night and pieces ready for the firm to share the next day.
• Event storytelling: turning one night of party into a story with characters, moments and a closing, not a folder of loose photos.
• A brand asset for the firm: material that keeps working months after the event, showing the world of Bursor & Fisher from the inside.

Cardone Ventures is Brandon Dawson's firm, Grant Cardone's partner in the 10X movement: a consultancy devoted to scaling businesses, with programs, conferences and content reaching thousands of business owners. Dawson built and sold his previous company for 151 million dollars, and at Cardone Ventures he teaches others to do the same.

• Production and editing of high-volume audiovisual content, short and long form, for studio programming, marketing and Brandon Dawson's executive initiatives.
• Multi-camera studio productions: podcasts, webinars and interviews, supervising camera, lighting, audio and the set's technical workflows so the recording came out ready to edit.
• End-to-end ownership of his own projects (production, editing and delivery), raising output quality and volume by approximately 25%.
• Production project management: calendar, crew and deliveries for a constant flow of multi-camera content, with shows to shoot, edit and publish every week.
• Executive storytelling: translating business briefs into content that communicates authority, turning Dawson's experience into lessons his audience can apply.

Sony Pictures Television is one of the largest television studios on the planet: it produces and distributes series and formats seen in more than 180 countries. It owns Shark Tank worldwide, the most successful entrepreneurship format on television, adapted in over 40 countries; in Latin America its versions are produced with regional teams, Geo's among them.

• Production and editing of broadcast and digital entertainment content for regional and international markets, under the standards of a global franchise.
• Complete editorial workflows, from receiving the material to on-air delivery, caring for creative intention, technical precision and Sony's brand standards.
• International formats produced with a crew of more than 40 people: post-production running in parallel with the shoot to make the weekly schedule.
• Post-production supervision of international formats: franchise standards, delivery times and broadcast finish verified episode by episode.
• Storytelling that travels between cultures: the same format, told for each market, adjusting rhythm, tone and references without breaking the franchise rules.

CMO Producciones, Clara María Ochoa's company, is one of Colombia's most awarded production houses: its series rule Caracol Televisión's prime time and then travel the world. La Niña reached Netflix and won the India Catalina award for Best Editing; Tarde lo conocí was sold into multiple countries. World-class Colombian production.

• Senior editor of La Niña, the Caracol Televisión series that reached Netflix: the story of a girl recruited by the guerrilla trying to rebuild her life, told episode by episode in prime time.
• India Catalina Award 2017 for Best Editing, in a team with Diego Narciso: the Colombian industry's recognition of the series' editorial work.
• Editing as storytelling: building the arc of a girl coming back from war to life, episode by episode, holding tension and emotion without letting the viewer go.
• Senior editor also on Tarde lo conocí, Patricia Teherán's biopic series: editing steeped in music, where every cut had to breathe to the rhythm of vallenato.
• In the room with direction and production: versions, notes and episode closings under the pressure of a daily prime-time schedule.

Señal Colombia is the national public channel, the cultural screen of an entire country through RTVC: its formats reach every corner of Colombia and shape new generations of viewers and of editors. Geo was trained in its short-format studios, in television made with a public calling.

• His first years as an editor were spent on the Colombian public channel's cultural and youth formats: short-form shows where you learned by doing, with few resources and plenty of inventiveness.
• Editing on Así Somos, Qué Camello and Bichos: three different formats (regional identity, trades, and wildlife for kids) that each demanded a different editing language.
• Formats with identity: telling Colombian culture to young people in their own language, with the rhythm of the street and not of the official bulletin.
• The short-format school: solving in minutes what other formats take an episode to do, the foundation of everything that came later in his career.

Fox Telecolombia (now TIS) was for years the largest series factory in the region: from Bogotá it produced for the continent's most demanding networks. Its studios delivered Celia, the 80-episode superproduction on the life of Celia Cruz for Telemundo, a phenomenon seen in prime time across the United States and all of Latin America.

• Editor of Celia, Fox Telecolombia's superproduction on the life of Celia Cruz, aired by Telemundo in the United States and by RCN in Colombia.
• Editing of full episodes of an 80-episode series: dramatic structure, character continuity and episode endings that left the audience waiting for the next one.
• Cutting the musical sequences: the Queen of Salsa's life is told through her music, and every musical number was edited on the pulse of salsa, caring for performance, rhythm and emotion.
• Working with period material: rebuilding five decades of history (Cuba, New York, the Fania era) while keeping verisimilitude and visual continuity across scenes shot at different times.
• Post-production flow of an international production: weekly deliveries under Telemundo's technical and content standards, in coordination with direction, production and the rest of the editing team.
• Episode finishing and polish: rounds of network and production notes, applied without losing the delivery rhythm of a daily prime-time series.

Norwegian Cruise Line is one of the largest cruise companies on the planet: a fleet of ships that are floating cities, millions of passengers a year and routes through the Caribbean, Europe, Alaska and the Panama Canal. It invented freestyle cruising and runs an entertainment and content operation at global scale.

• Production and post-production of audiovisual content for the cruise line: entertainment and communications for passengers on board and for the brand's digital channels.
• Pieces on the Panama Canal and the Caribbean destinations: showing the experience of crossing the canal and arriving in port as moments that sell the voyage before it sails.
• Content that sells the experience: turning a destination, a ship or an onboard show into a desire to buy, with rhythm and a commercial finish.
• Deliveries in several formats and languages for a global operation that publishes across every time zone.

RCN Televisión is a powerhouse of Spanish-language television: one of Colombia's two major networks and a historic exporter of stories. RCN created Yo soy Betty, la fea, the most successful telenovela of all time according to Guinness, adapted in more than 20 countries; its productions sell into dozens of markets and its prime time is watched by millions every night. Geo's RCN series (La Pola, El Joe, Dr. Mata) are part of that world-traveling catalog.

• The leap to long form: after the short formats came editing the series and novelas that defined Colombian prime time and were watched by millions every night.
• Lead editor and senior editor on four period and biographical productions: La Pola, El Joe: La Leyenda, Dr. Mata and the productions that marked that era of the network.
• Editing of full episodes: opening every episode strong, sustaining the arcs of dozens of characters and closing with the hook that brought the audience back the next day.
• Rebuilding eras in the edit room: La Pola is set during independence and Dr. Mata in 1940s Bogotá; the editing made sure wardrobe, streets and customs felt of their time.
• Long-haul storytelling: sustaining historical and biographical arcs across dozens of episodes without losing tension or truth, in a team with direction and each production's other editors.