CREDITS
Visual Effects Editor | |||
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Time Bandits: Season 1 | TV Series | 22 - 24 | |
The Lord of the Rings: The Rings of Power | TV Series | 20 - 22 | |
Shadow in the Cloud | Movie | 19 | |
Ash vs Evil Dead: Season 1 - 3 | TV Series | 15 - 18 | |
Beyond the Edge | Movie (3D) | 13 | |
Spartacus: Season 2 - 3 | TV Series | 12 - 13 | |
Power Rangers: Samurai | TV Series | 11 | |
Assistant Editor | |||
Creamerie: Season 1 | TV Series | 20 | |
Ablaze | TV Movie | 19 | |
The Dead Lands: Season 1 | TV Series | 19 | |
The Brokenwood Mysteries: S5 | TV Series | 18 | |
All or Nothing: NZ All Blacks | Mini-Series | 18 | |
Filthy Rich: Season 2 | TV Series | 17 | |
Why Does Love? | TV Movie | 17 | |
Tatau | TV Series | 15 | |
Marco Polo: Season 1 | TV Series | 14 | |
Step Dave: Season 1 + 2 | TV Series | 14 - 15 | |
What Really Happened: Waitangi | TV Movie | 11 | |
The Almighty Johnsons: Season 1 | TV Series | 11 | |
Hunger for the Wild: Season 3 | TV Series | 08 - 09 | |
Editor | |||
Estrada | Short | 18 | |
At Home Child Care | Promo | 16 | |
FXP | Showreel | 14 |
Bachelor of Fine Arts - Film | |
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University of Canterbury | 04 - 07 |
ABOUT
I am a VFX Editor with 10+ years experience across TV & Film. Working Remotely over the last 2 years on major productions, I can offer my expertise New Zealand wide.
REMOTE
I shifted to a Remote only workflow in 2021 to help support my son’s disability and have pressure tested this on two major productions with great success. I’ve mitigated the drawback of being off-site by leveraging support from fellow workmates, maintaining a steady flow of communication channels and utilising Moxion Rooms to facilitate sequence reviews over a shared Avid stream. In working remotely, I’m able to take advantage of higher productivity, increased focus and extended access, leading to a faster response to time sensitive issues.
Home (Client): Mac + monitors
VPN for Server Access
Post Facility (Host): Mac Pro + Avid
SKILLS
Overview: With over a decade working in Lead and Solo VFX Editing roles on a wide range of productions I have developed a set of skills and processes that ensure the highest level of accuracy in all facets of the role. I thrive with the responsibility of serving as a critical link between Editorial and VFX Production.
Team Work: I show strong leadership with a team focus, overseeing VFX Editorial teams of up to 4. I’m a firm believer of up-skilling, maintaining workloads by delegation and a steady stream of clear communication.
Workflow: I have the foresight to identify and solve problems early by testing and optimising workflow. Saving time by scripting repetitive tasks in FileMaker with importance placed on preserving metadata.
Temps: I can produce quality, fast turnaround, comps to help guide timing, storytelling and offline preview. By leveraging Avid’s default tools they can easily be adjusted on the fly without additional delay.
Cut Tracking: I use a robust system to meticulously track VFX cut changes and report these in a timely fashion.
Breakdowns: I have the ability to generate detailed sequence breakdowns for VFX and Non-VFX shots alike, along with Bid QTs to assist in work callouts and bidding.
Databasing: With experience using both FileMaker and ShotGun I can create and manage high volume VFX databases, leaning on FileMaker scripts to automate a range of functions.
Turnovers: My wider knowledge of compositing ensures Vendors receive all relevant plates and reference pulled to frame accuracy along with supporting material including QT Refs and detailed Count Sheets.
Returns: By passing Vendor submission data through FileMaker I’m able to validate counts and provide direct access to version metadata in Avid. Full control of metadata allows for faultless flow through to Conform.
Reviews: I can facilitate a wide range of reviews, whether it be dailies, sequence review, plates selects, or preparing and driving VFX shot reviews from Avid or RV with exceptional attention to detail.
DI: I perform streamlined checks of Final Version delivery to Conform and validation of receipt and DI notes.