Walter Biscardi, Jr.

Colorist for the series. The challenge comes from the myriad of camera formats used by the many field producers and camera operators. Each story has to have its own look and meet the exacting standards of PBS.

Oversee and edit story scripts for content in Post Production. Oversee all aspects of Post Production to ensure quality storytelling is matched by proper technical specifications met for PBS' exacting standards.

Oversaw story assembly with over 100 hours of raw materials including many hours of archived materials. Oversaw all aspects of Post including Editorial, Graphics, Color and Animation through to final delivery to PBS.

Created the trailer for this documentary project from many hours of raw materials, archive photographs and original music. Wove together many elements to create a stirring trailer for this unique story of an original opera that debuted in two different countries.

Colorist for the series. The challenge comes from the myriad of camera formats used by the many field producers and camera operators. Each story has to have its own look and meet the exacting standards of PBS.

Editor and storyteller for many of the stories in Season 1. Stories were all cut documentary style with an emphasis on natural sound, minimal narration and minimalist editing.

Oversee and edit story scripts for content in Post Production. Oversee all aspects of Post Production to ensure quality storytelling is matched by proper technical specifications met for PBS' exacting standards.

Creator and Director of this pilot that brings "paint by number" to party planning! An unscripted show, the series shows homeowners how they can throw an amazing party for up to 100 folks without breaking the bank and buying a bunch of useless party decorations.

Co-Creator, Writer, Camera and editor for this original travel series pilot. Featuring Bobby Rivers (VH1, FoodTV) the series takes you to film and television locations on Main Street USA.

Molded over 100 hours of raw materials of a unique pilot AIDS testing program in Kenya by Vestergaard Frandsen into a one hour documentary. The film takes the audience on a journey to a program that combats the stigma of AIDS in Africa in a very simplistic way with spectacular results.

Colorist for this unique art series that traveled to the actual sites where master works were painted, and today's artists make their own works in the same locations. Challenge was the myriad of locations under varying lighting conditions.

Created quirky animations for most episodes in Season 11. Using a combination of vintage artwork and photographs of the Good Eats crew, the animations were created using a combination of Photoshop and After Effects. Some animations got rather complex with upwards of 2000 or more layers of elements in After Effects.

Edited Season 11 in high definition in Final Cut Pro. All Color Grading for the series was done in Apple Color.

Oversaw the scripting and story assembly from over 250 hours of raw materials shot over a 4 year period and an additional 100 hours of archived materials spanning 25 years.

Colorist for the feature length horror film. Was tasked with creating five primary looks for the film helping to push the story as it moved from location to location and represented the growing stress upon the kidnapped victim. Normal reality, trapped basement, trapped barn, trapped outdoors and dreaming.

Editor for 3 of the 5 episodes of the series. Each episode was a 30 minute unscripted documentary that was molded from upwards of 70 hours of raw material per episode. The series covered environmental issues across the globe.

Oversaw story structure and editing of this 5 part series. Each episode was a 30 minute documentary on an environmental issue around the globe. I managed all aspects of Post Production through to delivery to Al Jazeera.

Created quirky animations for most episodes in Season 10. Using a combination of vintage artwork and photographs of the Good Eats crew, the animations were created using a combination of Photoshop and After Effects. Some animations got rather complex with upwards of 2000 or more layers of elements in After Effects.

Edited Season 10 in high definition in Final Cut Pro. All Color Grading for the series was done in Apple Color.

Created quirky animations for most episodes in Season 9. Using a combination of vintage artwork and photographs of the Good Eats crew, the animations were created using a combination of Photoshop and After Effects. Some animations got rather complex with upwards of 2000 or more layers of elements in After Effects.

Edited Season 9 in high definition in Final Cut Pro. All Color Grading for the series was done in Apple Color. Worked with Food Network Engineers at the conclusion of Season 8 to assist the series in transitioning from SD to HD.

Created quirky animations for two episodes in season 8, "Sprung a Leek" and "Dr. Strangeloaf" Using a combination of vintage artwork and photographs of the Good Eats crew, the animations were created using a combination of Photoshop and After Effects.

Editor and graphic artist.

Planned and oversaw construction of a multi-million dollar post production facility and upgrade of all field production equipment. Took a team that produced around 100 projects the year before to over 300 my first year as manager. Introduced a new non-linear editing workflow to the production team vastly increasing efficiency and productivity.

News and Feature Video Editor for CNN and the series "Network Earth" for TBS. Pioneered the use of Avid for the network. Long form feature editor on many shows. Part of a national Emmy Award in 1993 for a special on the Mississppi river flooding.