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More information on this and other films: Scroll down or click Filmography.
Film Making
Whether you are watching an IMAX screen or an iPhone, you know it when you see it: a "film" vs. a "video". The difference is no longer the physical medium. The difference is great storytelling.
Does your story have what it takes to jump out of the script and into the production process? Are the acts you wrote or the scenes you directed going to translate into a strong, seamless vision? I have the solid experience to propel you through the process. You'll get the job done and stay tapped into the excitement that sparked your original idea.
Whether you are watching an IMAX screen or an iPhone, you know it when you see it: a "film" vs. a "video". The difference is no longer the physical medium. The difference is great storytelling.
Does your story have what it takes to jump out of the script and into the production process? Are the acts you wrote or the scenes you directed going to translate into a strong, seamless vision? I have the solid experience to propel you through the process. You'll get the job done and stay tapped into the excitement that sparked your original idea.
There are over 350 PBS stations in the United States and Chris is an Editor at their top-rated station. He makes films that are seen regularly by millions. With an expert eye for visual sequencing and narrative structure, he turns every second of the film into a storytelling opportunity. This results in tremendous R.O.I. and full-funding opportunities for future productions. It also means that PBS has renewed the rights to re-air the films he edits as often as someone like Ken Burns.
And his work outside of PBS gets the same attention. Long and short format films consistently win "Audience Favorite". Corporate and commercial work are noticably distinct, and fetch immediate attention. Why? He places cinematic storytelling above all other trends, techniques and effects. This pursuit came from editing for industry giants such as Steven Spielberg and the Steve Ross family (former Warner Bros CEO). Yet he points to his best work as the kind of projects that beg to be worked on... no matter the scale.
"Filmmakers have a lot of responsibility hiring an editor. Yes editors need to know the technical and they need to insure delivery, but since every stage of a production requires writing, rewriting and editing, an editor needs to live and breathe story arcs and character developement.
The two most important efforts in the storytelling process are the writing and the editing of the story. All other tasks, while of course vital, are merely a financial, technical or artistic implementation of the two."
The two most important efforts in the storytelling process are the writing and the editing of the story. All other tasks, while of course vital, are merely a financial, technical or artistic implementation of the two."
But most noticably to producers and directors is Chris's ability to get the dob jone efficiently and smoothly. Projects take less time, get more attention, and don't flounder in technical minutiae.
Chris teaches editorial concepts as a guest speaker at numerous industry events and colleges. He does beta testing for AVID's Media Composer and Symphony Software, and is an official moderator* of forums on the Avid Community site. He is Co-Chair of the most active user's group** for editors in New York State. He is experienced in all technical workflows from film, videotape, and Avid AMA; to delivery methods like DG FastChannel; to museum-safe project archive processes.
Chris teaches editorial concepts as a guest speaker at numerous industry events and colleges. He does beta testing for AVID's Media Composer and Symphony Software, and is an official moderator* of forums on the Avid Community site. He is Co-Chair of the most active user's group** for editors in New York State. He is experienced in all technical workflows from film, videotape, and Avid AMA; to delivery methods like DG FastChannel; to museum-safe project archive processes.