From fall 2012 through summer 2021, Home & Family graced living rooms five days a week, two hours each morning. I was there from day one, earning three Emmy nominations and keeping the Avid smoking hot until I finally remembered to go home.
The show never lost its Muppet energy, and it always had a “let’s put on a show and save the theater” spirit to it. Most mornings on set were a sprint: we’d film anything that couldn’t happen entirely live, which meant fast cuts, quick turnarounds, and pieces that were sometimes still being finished as on-camera talent began introducing them. Although the show was produced live-to-tape, the final 83-minute, 30-second broadcast was edited to the frame within a very short window after production wrapped each day.
Below is just a small sample of the pieces I edited, produced, directed – or some combination of the three – over the course of more than 1700 episodes.
© 2026 Michael Hinkley
Director, Editor
Producer, Editor
Producer, Editor
Director, Editor
Selling LA was produced to look like a multi-camera docu-series, even though it was mostly filmed with a single camera. Scenes were constructed more like scripted TV, utilizing lines and angles from multiple conversations in situ.
One of many character profiles produced for Great American Media.
Hallmark Channel’s Holiday Home Decoration Sweepstakes was in its second year, and the big reveal aired in primetime amongst their classic holiday movies. That’s TV’s Ken Wingard leading the way.
Producer, Editor
Producer, Editor
Executive Producer, Editor
From a time before Disney owned every IP in the history of imagination; Today, based on the budgets presented, the show would end after each family was handed a sandwich and told they were now out of money.
Producer, Editor
Producer, Editor
Director, Editor
In the early to mid twenty-teens, a lot of people hated a lot of areas of their homes. Here are some of those people.
A conversation about how there WAS NO MURDER it was JUST ACTING.
A sample of one of the many series I produced for Great American Pure Flix’s premium tier.
Do you know how many home makeover’s I’ve edited? Me either. I’m Gen X, and Sesame Street didn’t teach counting that high.
*Based on a number I made up by hitting the numeric pad with multiple knuckles.
In editing the Brand Titans USP Master Video Sessions, not only did I become a better brander, but I got to freely invent visuals to cover the talking points. A few of my favorites in this series are seen here, including the collection of fake commercials I built from some simple graphic design and basic stock footage. Also, let me know if you need a fake name for your fake product.
Speak Sis was fairly straightforward multi-camera studio show that found a way to create unique challenges. The entire post process was done remotely through a virtual desktop. The pilot turn around time was 3 days from first cut to air. Most tricky: the set included a central monitor displaying remote guests and the series logo. Due to audio sync issues and a series title change, I had the unenviable task of manually masking out the video screen and tracking in the new video overlay. Cameras were a little loose on their sticks and, in this act, one of the speakers continually moves in front of the monitor, necessitating some clever compositing and some digitally-created limbs.
Originally, I was brought on to executive produce three national spots for RedPocket Mobile, but I eventually inherited the offline edit and some of the GFX work in order to hit our :30 and :15 targets. This was my favorite from the campaign.
Everyone is switching to RedPocket! And I know this because I said so in this spot.