Do you really want to delete project Network Rail?
Do you really want to delete project Liddle's World?
Do you really want to delete project Yes, My Lord?
There are over 2 million people employed in creative jobs across the UK, which makes finding your next employee exciting and just a little bit daunting. I have dedicated my entire career to the creation of videos, animations and design. There’s an extremely good chance that you’ve seen my work, too. Whether it was one of the many TV programmes I worked on, like Derren Brown: The Heist, or perhaps a TV or cinema commercial - Gü Chocolate Puddings, for instance. I offer my services to you as a CREATIVE PRODUCER. I’m happy to pitch for your commissions directly or work within your company with the rest of your team. Above all else I am happiest producing high quality work that is seen by the world.
The Aged Care Channel broadcast to over 90% of Australia’s care homes. Sharing the same language a small team arrived on the shores of Great Britain to roll-out coverage across the UK. My aim was to help the company become a UK success story. We grew our subscriptions and the four person team became a larger corporation, hiring additional creatives, sales staff and a new CEO. I helped lay a strong UK foundation and many of my streamlined workflows were adopted by our Australian counterparts.
In 2004 every major post-house had an Avid DS - a high-end video editing and finishing system. If a production needed the absolute top-quality grading, graphics and visual effects they headed into an Avid DS suite. During these years I finished and colour-graded programmes, promos and commercials at nearly every post house in Soho. I worked on feature films, including Hot Fuzz and Stardust. I created commercials for Reebok, while a Skype for iPhone spot went viral. The Spice Girls Reunion press kit had to be kept secret as did the keynote films for the Nokia N800 and Ford Mondeo. And in between I finished prime time TV programmes for every major broadcaster.
Sanctuary Post was an editing and audio-mixing facility situated in Soho, owned by Sanctuary Records and well-accustomed to famous people sitting on the sofas of the edit suites. Attention to detail was the order of the day here, keeping the image-conscious clientele looking and sounding their best: Morrissey, The Who, Donny Osmond, Iron Maiden, Busted, Girls Aloud, Jools Holland, Anastacia, Incubus and many more.
Portland TV produces over 120 adverts a year. Their parent company is Northern & Shell, who owns four national newspapers with a readership of 10 million people a week. My experience with high-end editing and graphics systems was called-upon to increase the amount of TV advertising the company was capable of producing. During my time there the BACC confirmed that we created more TV advertising for that period than any other agency.
BDP Media was a fast-growing company producing programmes and promos for Carlton Food Network, National Geographic, Discovery Channel, Channel 4 and Granada TV. They also had a very successful multimedia learning product called Skill Boosters. BDP liked my ideas and they were excited and enthusiastic about letting me experiment with their equipment. I was given a free rein to push the creative boundaries of what they could offer to their clients, which helped them win new contracts with other broadcasters and advertising agencies.
Boondox was my skateboard shop, situated on the high street of Harrow-on-the-Hill. We employed a store manager, sales staff and sponsored a team of skateboarders, who travelled the country to compete in events and perform demos - myself included. Along the way I produced a series of very successful skateboard videos. One video launched Dirty Sanchez into international fame on MTV, my Saturday-boy, Jeff Leach, became a TV Comedian and I was also commissioned by Flip Skateboards in Los Angeles to produce videos for them.
Quantel ranked in the world’s top four broadcast vendors, with offices all over the world, selling systems costing close to £1,000,000. Anyone interested in buying one would be picked up in Quantel’s private jet or helicopter and schmoozed at the corporate headquarters in Newbury. My purpose was to assisted in the sales of these £1 Million video editing systems by explaining how they integrated with other systems, including Lightworks. I conducted technical sales demos, trained editors new to the equipment and presented demonstrations at trade shows around the world, travelling to Hong Kong, Singapore, Moscow, USA and most European countries.
Lightworks Editing Systems was a small British company of editors and computer programmers that designed a revolutionary computer-based film editing system that took Hollywood by storm. All the greatest feature films of the 90s were edited using a Lightworks editing system. My enthusiasm for helping editors new to Lightworks became well-known in the north of England which led to Lightworks offering me a job as a field support engineer. I visited broadcasters, facilities and studios all over Europe, including Pinewood, where I supported feature films Event Horizon, The Avengers and The Borrowers.
Andrew Sumner opened a three-roomed editing facility based on the new computer-based editing system Lightworks. Before long he had built-up the largest post-house outside of London. I joined right at the beginning, making tea and answering the phones. He promised to let me use his edit suites if I read the manual. Just one week later I’d read the manual cover-to-cover and became Manchester’s go-to person for questions on how to use it. Drama editors from Granada TV would call up to ask me how specific functions were performed. It wasn’t long until I was promoted to Andy’s assistant editor.
General Media Production Techniques