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Born in Tokyo, raised in Germany and the UK, with a stint in Kenya, Mari is working as self-shooting Producer-Director on pieces of video journalism, short documentaries and arts films for online platforms worldwide. As an artist, Mari makes hybrid documentaries where she shoots solo in an observational style and adopts an artistic spin the edit. She is currently in post-production for a film on sumo wrestlers expected to premiere with NOWNESS, and her portrait of Greek town Eleusis that contributed to winning its bid to become 2021 European Capital of Culture. As a projectionist for an opera on Wikileaks cables written by Sebastian Lakowski, Mari developed the concept of audience surveillance through the use of live videography and audience participation of social media projected on walls - which premiered at Tete a Tete Festival in 2014 and supported by Arts Council England. Mari gained an eye for observational news footage whilst at Associated Press Television News headquartered in London, where she worked as Deputy News Editor, Media Manager and Producer for over three years. She has since shifted into shooting mini-documentaries around the UK for digital platforms AJ+, Fusion and Viral Thread. She has written on human rights issues for Washington Post, New Statesman, Index on Censorship and VICE. A self-taught filmmaker, Mari started directing films after winning grants through BFI Future Film with which she directed Break-Away, a short 3D documentary about a contortion break-dancer. She studied her BA in Music at St. John’s College, Cambridge.Locked Pro Plan feature
• Filmed, conducted, researched stories and locations, monitoring sources, cleared accreditation, updated newsroom on developments, editing video on Final Cut Pro or Adobe Premier, writing shotlists and story lines on location, sending FTP files to London MCR using DropDat. • Covered breaking news stories for AP London bureau including Japanese ministers for meetings on IS hostage crisis, death of Margaret Thatcher, UN hearings by North Korean defectors, ongoing updates on British Queen’s health, analyst reactions to ongoing conflicts. • Based at Kiev bureau during referendum on Russian sovereignty in Crimea, edited rushes sent in by AP video journalists in Ukraine, verifying editorial content with AP producers based at the bureau to script storylines for the London newsroom. • Solo video journalist filing features - stories include Japanese Snow Monkeys (No.1 Horizons story 7-14th January), Malian Blues from war-torn Timbuktu, selfie stick ban in museums across Europe. • Output/Post-Production: Finalised agency video edits brought into the newsroom. Turned around up to 15 agency video stories a day to make clips and scripts available for clients through a digital web portal and hourly news bulletins. Shaped copy to AP standards, liaised with field producers to verify information, checked translations and ensured storylines correspond with AP wires.
• Overseeing intake of international news video alongside the Editor of the Day (EOD) and Intake Editor, driving daily editorial agenda with AP bureaux across the globe. • Liaising with staff and freelance video journalists around the world on latest developments of breaking international stories, vetting pitches, guiding and assigning stories as events unfold on the ground. • Responsible for monitoring video and wires produced by competitors, strategising with field producers on delivering breaking news video ahead of competition without compromising editorial standards. • Managing Eurovision desk by advising field producers on editorial content of packages for European Broadcast Union's news exchanges, cutting from live signal for immediate broadcast via EBU headquarters in Geneva and sub-editing scripts for immediate publication on the EBU website. • Responsible for writing daily news log distributed around the company assessing quality of stories highlighting top video, comparison with competitors and collecting data on client usage. • Liaising between Live Content Managers and Output Editors on bringing both recorded and live video into newsroom, prioritising transmissions according to client demand. • Discussing with Photo Editors on incorporating still images for video packages and screen capturing user generated video, particularly on graphically sensitive content where running the clip would not be acceptable under AP standards.