Editor / Producer / Post-production
Film & television
I was seven or eight when I skipped school to see Raiders of the Lost Ark at a second-run theater. At twelve, I began in community television at American Cable Systems in Hull, Massachusetts. First came the love of film. Then came the room where I could begin learning how pictures were made.
Television taught me to think in time. Not time as an idea: the running time, the air date, the delivery hour, and the fraction of a second that lets a reaction register before the next line takes it away. I moved among performance, reporting, production, and editing, and eventually took responsibility for the room and the delivery. I liked the pressure. It made judgment visible.
Community television / Interactive media / Regional sports / Live transmission / Studio campaigns / Cable series / Educational media
01 / Reel
The work in motion
A reel cannot carry the whole record, and it should not try. This one is a short view of the work moving: performance, timing, information, tone, and finish. The documented record follows below.
The reel is hosted as a public Vimeo showcase. If you are looking for a particular program, campaign, or kind of work, ask me directly.
02 / How the work developed
The screen kept changing shape
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1986-1993
Community television, from every side
I began at American Cable Systems in Hull. After moving back to Somerville in 1989, I chose Arlington Community Television because it had the better equipment and studios. I acted in sketches, reported news, made documentary and entertainment tapes, wrote scripts, and produced original programs including The Missing Tooth. Before I was eighteen, the work had brought a program award and a CableACE nomination. I also performed in the Massachusetts High School Drama Festival and placed fourth in the state monologue contest.
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1993-1996
Picture, sound, language, choice
At D.C. Heath, I worked as an interactive media developer on educational CD-ROM projects including Discovering French Interactive and ¡DIME!. Picture, sound, text, navigation, and instruction had to become one usable experience. In 1995, while working at the systems-thinking publisher Pegasus Communications, I saw Mindwalk. It gave a name to a problem I already knew from the edit room: language changes what an image allows us to see.
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1996-2000
Regional broadcast and live transmission
At MediaOne, the work included Forever Baseball, the Red Sox Pregame Show, and satellite coordination for Harvard University's convocation honoring Nelson Mandela. During the 100th running of the Boston Marathon, I was the RF signal producer in the lead helicopter, helping hold the transmission between the race cameras and the receiving tower at the Prudential Center.
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2000-2007
Los Angeles production and post
Through Donroy Media, Burrud Productions, and related work, I moved among broadcast programs, cable series, studio campaigns, and supplemental features. As Postproduction Supervisor at Burrud, I supported staff, workflows, and broadcast standards. Those years also carried the larger change from analog editorial systems into digital post, including helping studios move from Media100 to Final Cut Pro.
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2007-2011
Educational and instructional media
Back in Boston and working remotely, I produced and edited media for parents, teachers, and publishers, including Heinemann Publishing, ShowMe Education, and Sara Hunter Productions. The work joined contributors, editing, DVD authoring, web content, schedules, and delivery.
03 / Broadcast and long-form
The documented broadcast record
Programs, roles, outlets, and episode counts are listed individually. This is the record, not a paragraph of highlights.
On the Set: Finding Nemo
Producer and editor
Starz/Encore
Finding Nemo - Brad Garrett interstitials
Producer and editor
Animal Planet
Finding Nemo - Fishy Facts bumper
Producer and editor
ABC
Monsters, Inc.: The Making of a Monsterpiece
Producer and editor
ABC
Wonderful World of Disney - Monsters, Inc. interstitials
Producer and editor
ABC
Blockbuster Awards
Producer and editor
FOX
Forever Baseball
Producer and editor
SportsChannel America / 120 episodes
Earth Rescue
Producer and editor
Outdoor Life Network
AmIHot pilot
Producer
Broadway Video / Spike TV
Mardi Gras Cops
Supervising editor
TLC / 2 episodes
Million Dollar Blackjack Tournament
Supervising editor
Travel Channel
Mostly True Stories: Urban Legends Revealed
Supervising editor
TLC / 6 episodes
Overhaulin'
Editor
TLC / 4 episodes
Vegas Challenge
Editor
Travel Channel / 4 episodes
Reno Cops
Editor
TLC
04 / Studio and supplemental work
A second piece, made from the first
Supplemental work begins after the feature has already found its form. Interviews, commentary, deleted scenes, demonstrations, music, and production history have to become another piece without flattening the film into publicity. These are the documented campaigns and features.
- Finding NemoStudio Tour of Pixar - producer and editor, Disney/Pixar
- Lilo & StitchOn Location with the Directors; audio commentary; deleted scenes; A-Teens "Can't Help Falling in Love" music video; Wynonna "Burning Love" behind the scenes; and Young Voices of Hawaii - producer and editor, Disney
- Home on the Range"Draw!" featurette - producer and editor, Disney
- 8 MileDVD release campaign - producer and editor, Universal
- CSI"Lady Heather's Box" broadcast featurette - producer and editor, CBS
- Back to the FutureDVD release campaign - producer and editor, Universal
- Spy Kids 2DVD release campaign - producer and editor, Buena Vista
- Monsters, Inc.Theatrical and DVD release - producer and editor, Disney/Pixar
- Lilo & StitchTheatrical and DVD release - producer and editor, Disney
- AtlantisDVD release campaign - producer and editor, Buena Vista
- DumboDVD release campaign - producer and editor, Buena Vista
- The Emperor's New GrooveDVD release campaign - producer and editor, Buena Vista
- The Hunchback of Notre Dame IIDVD release campaign - producer and editor, Buena Vista
- Fantasia 2000DVD release campaign - producer and editor, Buena Vista
05 / The room
Editing looks solitary from the hallway
It is not. A finished program carries producers, directors, performers, clients, network notes, assistants, graphics, sound, technical standards, schedules, and delivery. My job was to keep those demands from becoming a pile: hear the problem inside a note, protect the performance, make the decision, and keep the room moving toward the same piece.
At times I supervised the post-production staff and workflow; at others I produced and edited the piece myself. The title changed. The responsibility did not. The work had to be good, the people had to be able to do their jobs, and the finished program had to be delivered.
06 / Recognition and clients
Recognition and additional clients
- 2005
Telly Award
Finding Nemo - 1995
Invision Gold
¡DIME! Interactive - 1993
Macromedia People's Choice
Discovering French Interactive - Before 18
CableACE nomination
Arlington community television
Additional documented clients and institutions
D.C. Heath / Heinemann Publishers / Los Angeles Kings / Pentacom Productions & Jeanne Wolf / Procter & Gamble / Spanish Béisbol Network / Walt Disney Pictures / Whole Foods
Work together
Five facts are enough to begin
What is the piece? What material exists now? Who is it for? Who has to approve it? When does it need to be finished? Add the part that keeps going wrong. If you are asking about the reel or a documented credit, name it and I will answer directly.