Simon Barreto

Worked within a team of compositors to construct final scenes by combining layers of previously-created material. Worked at the end of the production process, receiving materials from various sources including 2D animation, rendered computer generated animation, special effects, and static background plates in order to piece together shots that fit stylistically and tonally with the standards set for each episode of Amazon’s Niko and the Sword of Light.

Managed a team of editors to produce animated content for theaters, TV, and Web. As an animation editor I was tasked with establishing the story in conjunction with the director from the very beginning. Taking the storyboard panels themselves and editing them together to make a moving and flowing story that the animators can then animate to. My edit team was the first ones on and last ones out on our productions, making sure that all storyboards, animations, and composting exports conformed and flowed with the story that we had established originally before making final delivery exports for the appropriate production companies. Within a year I produced a feature short for Hanazuki Full of Treasures (Hasbro) that played in front of the My Little Pony Movie as well as the second season for the same show for their Youtube presence. I simultaneously edited the first season of the Adult Swim show Ballmstrz 9009 establishing its tone and pacing with Christy Karacas, the creator of Superjail. While working on two full seasons I worked with the creators at Titmouse to edit and deliver pitches for numerous yet to be announced properties. I maximized my productivity by using my talents in producing, project managing, editing, compositing, and color correction (Premiere and Flame) to make sure that even in tight deadlines we were able to deliver all things in production quality and on time.

Managed a team of editors to produce animated content for theaters, TV, and Web. As an animation editor I was tasked with establishing the story in conjunction with the director from the very beginning. Taking the storyboard panels themselves and editing them together to make a moving and flowing story that the animators can then animate to. My edit team was the first ones on and last ones out on our productions, making sure that all storyboards, animations, and composting exports conformed and flowed with the story that we had established originally before making final delivery exports for the appropriate production companies. Within a year I produced a feature short for Hanazuki Full of Treasures (Hasbro) that played in front of the My Little Pony Movie as well as the second season for the same show for their Youtube presence. I simultaneously edited the first season of the Adult Swim show Ballmstrz 9009 establishing its tone and pacing with Christy Karacas, the creator of Superjail. While working on two full seasons I worked with the creators at Titmouse to edit and deliver pitches for numerous yet to be announced properties. I maximized my productivity by using my talents in producing, project managing, editing, compositing, and color correction (Premiere and Flame) to make sure that even in tight deadlines we were able to deliver all things in production quality and on time.

Set the tempo for the season by creating polished and effective animatics and taking the episodes to completion. Worked with two other editors to make sure that all episodes worked according to the standards of Titmouse Animation.

As a Post Production Specialist, coordinated with high energy, highly motivated creative development teams in 10 studios across 8 countries to animate, composite, and edit premier quality animatics for high profile global clientele. As Editorial Director, collaborated with Audio Director to establish a top notch client service department in the flagship New York office allowing clients from around the world to feel welcome and comfortable during in-house editing sessions to guarantee all spots are produced to the expectations of quality and messages are conveyed in a way that surpasses consumer testing standards, including the 2017 Bud Light and Budweiser Super Bowl commercials. Organized and executed several tasks simultaneously, switching between animation, compositing, editing, creative directing, and producing on between 10-15 ads each day. Provided post producing, editing, and art direction for full production commercials, through sister company, We Fly Coach. Clients: Budweiser (Super Bowl LI), Bud Light (Super Bowl LI), E-Trade, Pepsi, Frito Lay, McDonalds, Burger King, Katy Perry, Mercedes Benz, Disney, Fidelity, Cover Girl, Banco de Chile.