Profile

I have been working in Television for 24 years and my editing credits are truly diverse, from BBC “Landmark” documentaries fronted by presenters such as Robert Winston and David Attenborough to managing Post Production on series 2 of “Strictly Come Dancing” and Factual Entertainment titles such as “Wife Swap” for Channel 4 and “What Not To Wear” on BBC1. I also have various music promo credits for artists such as U2, Paul Weller, Mike and the Mechanics, Take That and Jamiroquai.

I was personally nominated for a BAFTA in 2007 for my work on the BBC2 series, “Nuremberg: Nazis On Trial” and many of the films I have worked on have been recognised with industry awards, including numerous BAFTA, RTS and Emmy honours.

In 2007, I was invited to become a member of the Guild of British Film and Television Editors. I have been a judge on the BAFTA Fiction and Non-Fiction panels.

My experience also includes 2 years residency at Resolution Post Production in Soho, where I adapted their Channel 4 “Big Brother” logging and editing system into one that would serve the requirements of Factual Production at the BBC. It was used with a great degree of success on the Robert Winston 90 min one-off interactive, “How To Sleep Better” for BBC1 and the lessons learnt were instrumental in proving the work-flows which later fed into the Digital Media Initiative.

As a BBC "A List" freelancer, I was approached to represent the interests of the freelance Post Production community on DMI. I was identified as a “safe pair of hands” - respected by both my peers within the BBC and outside in the independent sector - but also with an unusual perspective: close enough to understand the unique demands and culture of the BBC, but with the ongoing objectivity and resourcefulness of an independent.

I have consulted on the project, from the initial Requirements Gathering workshops in 2008 and I continue on an ad-hoc basis to troubleshoot Post Production issues in the final stages of the project as it starts to deliver to the business.

During the initial DMI phase with Siemens, I was asked to sit on the “Design Authority.” This involved advising and collaborating on all of the converging digital issues of Production and Archive and their crucial interaction with Post Production,  devising optimum work-flows, policies and processes to satisfy the diverse needs of all of the Genres and departments across the BBC.

Alongside my consultancy work, I continue to make films from my office bases in Cornwall and Milton Keynes, keeping my hand in all sorts of emerging production technologies, such as DSLR filming and “Prosumer” cameras and devising agile work-flows for delivery to the web.