My role involved working effectively to tight deadlines, collaborating with a massive team of creatives across many departments and disciplines, and staying up to date on industry trends and technologies in order to deliver the best results possible.
The bulk of my time was spent on Online editing/deliverables and Offline edit support, but I helped out the motion department with amends for graphics and visual effects on a daily basis, including for the
Times Square billboard for Netflix series 'Apple Cider Vinegar'
(those are my keyframes up there!)
Earlier this year I got to edit as well as animate the illustrations for
6 episodes of Dr Naomi Koh Belic's "Bimbo Biology: Body Breakdown" online educational series. I'm so glad I can add 'sperm wrangler' to my motion GFX resume!
Dr Naomi also brought me on to edit 5 x 20 minute episodes of
Dr Esme Louise James' upcoming web-series SexTistics which I'll also be handling the sound mix, colour grade and motion GFX for.
Every production has its unique challenges and different workflow requirements to consider, so I'm always keen to learn new things to bring with me to the next project (especially keyboard shortcuts!)
I'm used to bouncing between Avid Media Composer, Davinci Resolve,
Adobe Premiere Pro, and After Effects, and I love exploring tools and applications outside of my usual wheelhouse, such as this website!
(also I can make a 3D render of a donut in Blender!)
I've also been lucky enough to learn a huge amount from working at companies like Intermission Film, an international AV and Key Art creative film and television agency.
Over my 2 years there as a Senior Assistant Editor, I got to work on assets for some of the biggest media companies in the world, including Netflix, HBO, Apple TV, Disney and Amazon Prime Video.
From iMovie to Avid, I've spent more of my life looking at editing timelines than is probably healthy...
Having an in-depth understanding of what it takes to turn raw material into a polished product has been so valuable across all the work I've done, informing many of the decisions I make on set and even when writing.
Over the years I taught myself most aspects of post-production out of necessity, including data management, colour grading, sound mixing, motion graphics, and visual effects, in addition to learning to cater my edits for a wide variety of formats and audiences.
post-production.
In Perth, I worked on Discovery Channel series "Aussie Gold Hunters" for Electric Pictures as their Post-Production Co-ordinator and Senior Assistant Editor for 3 years. Aside from the hands-on processing I did of the mountains of footage required to make 15 hours of documentary television a year, I also got to help create edit schedules, liaise with external vendors, and manage priorities for the edit assist team each week.
When freelancing in between seasons, I also got the opportunity to work as the DIT for a local shoot of ABC's "Kitchen Cabinet" and on the Screenwest funded West Coast Visions feature film "BIRTHRIGHT".
From iMovie to Avid, I've spent more of my life looking at editing timelines than is probably healthy...
Having an in-depth understanding of what it takes to turn raw material into a polished product has been so valuable across all the work I've done, informing many of the decisions I make on set and even when writing.
Over the years I taught myself most aspects of post-production out of necessity, including data management, colour grading, sound mixing, motion graphics, and visual effects, in addition to learning to cater my edits for a wide variety of formats and audiences.
I'm used to bouncing between Avid Media Composer,
Davinci Resolve, Adobe Premiere Pro, and After Effects, and I love exploring tools and applications outside of my usual wheelhouse, such as this website!
(also I can make a 3D render of a donut in Blender!)
I've also been lucky enough to learn a huge amount from working at companies like Intermission Film, an international AV and Key Art creative film and television agency.
Over my 2 years there as a Senior Assistant Editor, I got to work on assets for some of the biggest media companies in the world, including Netflix, HBO, Apple TV, Disney and Amazon Prime Video.
My role involved working effectively to tight deadlines, collaborating with a massive team of creatives across many departments and disciplines, and staying up to date on industry trends and technologies in order to deliver the best results possible.
The bulk of my time was spent on Online editing/deliverables and Offline edit support, but I helped out the motion department with amends for graphics and visual effects on a daily basis, including for the
Times Square billboard for Netflix series 'Apple Cider Vinegar'
(those are my keyframes up there!)
In Perth, I worked on Discovery Channel series "Aussie Gold Hunters" for Electric Pictures as their Post-Production Co-ordinator and Senior Assistant Editor for 3 years.
Aside from the hands-on processing I did of the mountains of footage required to make 15 hours of documentary television a year, I also got to help create edit schedules, liaise with external vendors, and manage priorities
for the edit assist team each week.
When freelancing in between seasons, I also got the opportunity to work as the DIT for a local shoot of ABC's "Kitchen Cabinet" and on the Screenwest funded West Coast Visions feature film "BIRTHRIGHT".
Earlier this year I got to edit as well as animate the illustrations for 6 episodes of Dr Naomi Koh Belic's "Bimbo Biology: Body Breakdown" online educational series. I'm so glad I can add 'sperm wrangler' to my motion GFX resume!
Dr Naomi also brought me on to edit 5 x 20 minute episodes of Dr Esme Louise James' upcoming web-series SexTistics which I'll also be handling the sound mix, colour grade and motion GFX for.
Every production has its unique challenges and different workflow requirements to consider, so I'm always keen to learn new things to bring with me to the next project (especially keyboard shortcuts!)
post-production.