The track comes first. Always. I don’t choose a routine and drop it onto music — I choose the track, live with it for a week, and let the routine come out of it.
Somewhere in that week I mark the structure. Breakdowns get slower, closer shots. Drops get wide, fast, dangerous. The kick of a bassline has to land on something visible — a strike, a spin, a flare. If the drop lands and nothing happens on camera, the whole edit dies.
Most of the tracks I work with come from artists and labels I’m supporting on purpose. New growth talent, underground labels, artists who don’t have marketing budgets but have tracks that deserve eyes on them. If the fire brings attention to their music, the whole thing worked.
The promo goes up on whichever platform the artist wants pushing. My job ends when the crossfade into the drop stops feeling like two things and starts feeling like one.
