Manage sequence and shot turnovers to VFX, including all VFX elements and reference plates. Cut in rendered versions in progress and finals into master cut sequences, confirm timing and line-ups. Create and maintain projects in Shotgun database. Update sequences with any changes to the cut and communicate changes to the VFX team. Conduct any necessary VFX editorial review for supervisors, as well as artists, producers and clients.
Summary
I have worked in post-production for several years. I am proficient in the operations of coordinating and scheduling projects from start to finish including overseeing deliveries of the final product. Thank you for taking the time to go over my resume.
Credits
8/14 – 10/17
Visual Effects Editor (Premiere Pro, After Effects, DaVinci Resolve)
Staff Position — Engine Room Details
8/14 – 10/17
5/13 – 10/13
Post Production Coordinator – Raising McCain (Season 1)
Pivot — TV — Go Go Luckey Productions Details
5/13 – 10/13
Assisted Post Supervisor with deliverables, schedules, cut distribution, show clock sheets, shipments, invoices, media logs, finishing and transcripts. Process delivery paperwork. Distribute post-production schedules.
10/12 – 2/13
Post Production Coordinator – Cable Network
Ovation — OVATION TV NETWORK Details
10/12 – 2/13
Oversee the graphics and edits of all promos, billboards, interstitials, development reels and programming reels. Provide quality control for all elements being delivered on tape and through Aspera. Creating, tracking and distributing status spreadsheets. Managing all elements with master control being delivered for air on a daily basis.
5/11 – 4/12
I/O Coordinator – Covert Affairs (Season 2)
USA Network — TV — Master Key Visual Effects Details
5/11 – 4/12
Transcode 5D, XDCam, P2 and RED files into DPX files. Convert media to various formats, codec’s and resolutions. Inspect RED meta-data values in RedCine-X Pro for transcoding. Monitored disk servers and incoming/outgoing FTP data transfers. Generate ProRes 422, Avid DNx QuickTime’s and Avid MXF’s of composite shots.
5/11 – 4/12
I/O Coordinator – Justified (Season 3)
FX — TV — Master Key Visual Effects Details
5/11 – 4/12
Transcode 5D, XDCam, P2 and RED files into DPX files. Convert media to various formats, codec’s and resolutions. Inspect RED meta-data values in RedCine-X Pro for transcoding. Monitored disk servers and incoming/outgoing FTP data transfers. Generate ProRes 422, Avid DNx QuickTime’s and Avid MXF’s of composite shots.
5/11 – 4/12
I/O Coordinator – Suits (Season 1)
USA Network — TV — Master Key Visual Effects Details
5/11 – 4/12
Transcode 5D, XDCam, P2 and RED files into DPX files. Convert media to various formats, codec’s and resolutions. Inspect RED meta-data values in RedCine-X Pro for transcoding. Monitored disk servers and incoming/outgoing FTP data transfers. Generate ProRes 422, Avid DNx QuickTime’s and Avid MXF’s of composite shots.
5/11 – 4/12
I/O Coordinator – Scandal (Season 1)
ABC — TV — Master Key Visual Effects Details
5/11 – 4/12
Transcode 5D, XDCam, P2 and RED files into DPX files. Convert media to various formats, codec’s and resolutions. Inspect RED meta-data values in RedCine-X Pro for transcoding. Monitored disk servers and incoming/outgoing FTP data transfers. Generate ProRes 422, Avid DNx QuickTime’s and Avid MXF’s of composite shots.
10/08 – 5/09
I/O Coordinator – Kings (Season 1)
NBC — TV — CBS Digital Details
10/08 – 5/09
Coordinate media management, back ups, restores, archives and tape outs. Digitize footage using Max-T Sledgehammer for 2d and 3d compositors. Troubleshoot, tape errors and I/O issues. Prioritizing multiple requests in a fast-paced environment, providing customer-service to shows in production. Streamlining the existing backup procedures.
Recos
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