I always tell people that I am an “instantaneous editor.” I edit the show as it happens. My day-to-day responsibilities include keeping the switcher up to date and cleaned out, building effects for the show and switching the show. […]
“I read scripts submitted for consideration, providing a synopsis and my analysis of whether they are a good bet for the studio — the pros and cons of premise, character, storyline, dialogue, etc.” […]
“I always loved the challenge of creating emotion, blending photography and telling stories within a single image. With a college degree in photojournalism and art, I started photography freelancing with the Minnesota North Stars (now Dallas Stars) pro hockey team.” […]
“As a Foley artist creating sound effects on a sound stage, I am responsible for bringing a natural human element to a sound track by re-creating the movements of characters as seen on screen: footsteps, clothes, props, etc.” […]
“I discovered audio post while in school for audio engineering. Having always loved film, it seemed like a perfect fit artistically and, to be honest, a good way to make a living.” […]
“I am incredibly proud to be part of the ‘Chicago Med’ family. They also took a chance on me because I had no scripted experience, but I had a couple of friends there who vouched for me.” […]
I prepare localization assets for worldwide digital distribution and streaming. That involves collecting and creating localized picture elements — including main titles, locators, end credit sequences for live action, actual scene or background changes with text or images that are in the local language for animation […]
Some days I go through the dailies of a television show looking for stock footage that can be sold to another show. Other days I help with film clip research requests by scrubbing through a dozen movies looking for that perfect iconic moment. […]
As a rare Japanese sound editor here, I hope I will survive in this industry with few female sound editors in general and even fewer female SFX editors. […]
Time is a huge challenge, with schedules for episodes getting shorter and shorter. I think it’s key to be honest with producers and post supervisors — if you’re drowning in material and feel you need extra support, say it! […]
©2016-2019 Motion Picture Editors Guild