Jake Sullivan

Commercial Editor for FPW Media. Asset Management, planning of best shots, pre-editing for story, refining of edit, additional After Effects work, color grading of R3d log files, export.

General After Effects Animations for Corporate commercials through FPW Media. Typically included asset management, proper scaling of assets to be used in 4K commercials, Animation, and rendering/export for revisions as directed by FPW management.

Editing and animation of the Show Holy Sh*t included a significant amount of green screen keying, as well as designing the look and feel of each shot in After Effects. Working with essentially no budget meant that I was placed in a position where I had to work extra in post to achieve the Director's vision to the extent she desired. As editor as well as DP, I had much of the creative control over the look as well as style in terms of storytelling and the final outcome of each of the 4 episodes from start to finish.

Editor was the primary role I held during the creation of this show, although I did also direct, run sound, and occasionally held the role of PA as needed. Responsibilities included providing rough cuts of each episode every other week, and a finished piece every two weeks. Often, I would provide one copy edited specifically for local broadcast that needed to meet very specific time and export requirements, as well as one for local screenings in the University of Oregon School of Journalism and Communication which was typically a bit more long-form.

DOCUMENTARIAN was a documentary I shot and edited featuring local Documentarians on the University of Oregon campus, including Journalism, Photojournalism, and Psychology professors, and their experience in this field of work. This was a three-person effort, including two Journalism students who did much of the producing and directing while I handled most of the technical side of things.

I, alongside artist Minna Pang, created the introductory animation sequence for the film Waldgeist. She did the digital drawings, and it was my duty to animate them to the specifications of the Director as well as the Composer of the film's music. We spent hours doing shot planning for each mini-scene as well as animating and providing rough cuts on occasion for further feedback and corrections to be made at the Director's discretion.

As Editor of #Blessed, I worked very closely with the cast and crew on set to ensure I would be given exactly what I would need to create a cohesive storyline. As a result, I was an editor as well as PA, Sound Recordist, and Gaffer when needed. I produced animations for the introduction, as well as designed the credit sequence animations. I also helped with producing at times, and gave feedback when needed to help the cast get the optimal performance. I did all of the editing of the show, including basic editing, sound design, and color grading.

As both DP and Editor of this show, I had most of the creative control over the look and how the story itself was told. I worked closely with the cast and crew to ensure the best possible product we could produce on no budget was achieved. All of the shooting and lighting decisions fell to me as DP, which I experimented with to produce the best image quality and to compliment the feel and look of Holy Sh*t.