Alumni

How did you obtain your current job?

While I was finishing up an offline editing job on the show Real World for Bunim-Murray a friend I had met through a previous job had sent my info to Fotokem who owns Margarita Mix Hollywood. After a couple of interviews, I was hired.

At CLU I was always learning a little bit about different jobs. From on-set production camera work to the finishing touches in post-production. My career was very similar in that I started as a video tape coordinator after my internship on the show “On Air with Ryan Seacrest,” worked as a Post Production Coordinator that lead to a Post Production Supervisor position on shows like “Showbiz Show with David Spade” and “Mind of Mencia.” My main objective was to become an editor, which started while I was in school at CLU. Once I realized that Post Supervising wasn’t editing and wasn’t the position I wanted at that point in my life, I took some time off and worked on getting my teaching credential, becoming a substitute teacher, and working on getting my master’s degree in education. That was more of a back-pocket type of thing that I hoped would lead to a teaching job after I retire or when I get tired of what I am doing now. From there I told myself I would only take assistant editor jobs until I became an editor. I was lucky enough to have some connections from past jobs that believed in me and found me assistant editing jobs which I did for about 4 years and eventually helped me to get promoted to full-fledged offline editor. After a few years of that, my current position as Online Editor sort of fell into my lap and I have been doing that ever since. In fact, I was lucky enough to be nominated for an Emmy award for my work on the Disney Christmas Parade. 

What is your average day on the job like?

Us Online Editors are usually the last step in the game of making TV or movies. At the point that a show is in online, mix, and color grading the client should hopefully be relieved that their project is essentially locked, and it will only get better from here in terms of sound and color. So I usually work with Post Supervisors, Executive Producers, Directors, Directors of Photography, Editors, and sometimes talent.

In terms of work process, I will usually receive the offline edit and high-resolution media to link the offline edit to, get that color corrected, conform the sequence (meaning match the sequence I have to a reference video that is sent from the offline editors - by match I mean perfectly match). Once I make sure the project matches the offline reference I then go through and perform any image fixes like flicker removal, dead pixel fixes, VFX, text adjustments, credit building, and blurring. The VFX work I do is mostly painting out microphones or camera people. I pride myself on being a little more knowledgeable than a lot of editors in After Effects and general VFX work so I try and go beyond the normal blurring of addresses if I can. This can mean cloning a side of a building over an address and tracking the clone to match the camera movement. Once the project is done and we have run out of time allotted to work on it, I will watch the project down with the client to make any last-minute adjustments and then export the final deliverable Quicktimes, DCPs, or maybe even output to HDCAMSR tape.

Why did you choose to pursue this profession?

When at CLU I was originally going to major in computer science. I remember taking a computer graphics class. While I loved learning code and troubleshooting my broken code, I realized that I wanted to be more on the creative side of this as opposed to “behind the scenes” of the apps. That’s when I found Dan Restuccio and Tim Hengst in the Multimedia Department. I remember seeing Tim at the bookstore on maybe the second month I had added Multimedia as a major and he remembered my name—I knew that those were the people I wanted to be around. Dan Restuccio really showed me how to not think inside the lines all of the time and to rely on my instincts as an “artist” which I still have a hard time classifying myself as. To this day I think back to the Multimedia class I had with Dan and the journal we had to keep. More of a collage journal, but it really helped me take inspiration from all directions no matter the source. Long story longer, I chose editing as a potential profession because it combined the free form thinking and instinct with parts of how I would think about coding in Computer Science. The best of all worlds. 

What was a significant learning experience for you that happened outside of the classroom?

Outside the classroom I have been lucky enough to have a few significant learning experiences. From being in the control room during the taping of the Academy Awards to being a stand in on “Lopez Tonight” (a George Lopez Talk show) segment to being given the chance to edit a TV show when I wasn’t even sure I could. One moment that sticks out to me was actually during my internship (which I got through a CLU alum who happened to work on the show) on “On Air with Ryan Seacrest.” I was talking with one of the nicest people I have ever met who happened to be one of the executive producers. We would talk about everyday things on occasion and somehow, we got to the point where I asked why certain people had high positions. His answer was “sometimes people fail upwards.” It definitely changed my outlook on life but also my career. From then on, I was lucky enough to have that gem of wisdom in my head which would stop me from getting really mad when I saw people in positions they didn’t deserve. And while that may sound cynical and dark, it really helps me to be a better person overall.

What advice would you give to current freshman, sophomores, juniors and seniors?

My advice to current students is to trust your instincts. While sometimes they may be bad or wrong instincts, they are still your instincts and you need to hone those instincts—they are probably the only thing that will tell you the 100% truth in your life (other than family and friends). That isn’t to say to not learn the rules because one of my biggest mottos is “You have to know the rules to break the rules.” In addition to constant education and bettering yourself, you must be open to trusting your instincts - even if they may seem like they are coming from another planet. Whether it means trying a far-out color correction on a show just to try something different or throwing away a month’s worth of work because it honestly just doesn’t work—trusting your instincts will open many opportunities. 

Final Thoughts:

In addition to my parents and family, I can’t understate how impactful CLU was on my life. From the technical skills to the openness of accepting everyone’s ideas, thoughts, and contributions—teachers like Dan Restuccio have given me tools that I honestly didn’t know I had. All that being said, take risks if you can—even if they are highly calculated risks. Make a movie with your phone, start a twitch stream, write a blog, even sew a quilt—but don’t just stand there and wait for people to hand you an opportunity.

How did you obtain your current job?

Most recently I was a Digital FX Supervisor in the Compositing Department at FuseFX in Van Nuys, CA. My obtaining of that position can be directly linked through 14 years of experience and relationships in the television visual effects industry—which all began with the internship requirement of the CLU Multimedia program. At CLU I had trained with the same visual effects software tools that were being used at professional studios and was able to immediately contribute to active projects during my internship at Mechnology Visual Effects Studio. Once my class credit was completed, my Supervisor hired me on-set for a season as a VFX Assistant on the Paramount backlot. Focusing my career as a digital artist, I next began a chain of staff compositing and supervisory roles at effects studios in Los Angeles, including Eden FX (now ‘Muse VFX’), Pixomondo, Origin Digital Studios, and FuseFX.

I’ve since worked on well over 100 episodic, feature film, and commercial projects, with the lengthiest contributions to “Charmed,” “Ghost Whisperer,” “Terra Nova,” “Mission: Impossible – Ghost Protocol,” “Sleepy Hollow,” “Scorpion,” and “Unsolved: The Murders of Tupac and the Notorious B.I.G.” I was nominated for an Emmy Award in 2009 and have since remained an active member in the Television Academy. I’ve also occasionally contributed as a writer for Post Magazine with hardware and software reviews and provided live coverage of events including the Visual Effects Society Awards, VES Production Summit, and SIGGRAPH Convention.

What is your average day on the job like?

As a Digital FX Supervisor in Compositing at FuseFX, I was responsible for the execution and final appearance of all shots delivered to the client for their television show. Under the creative direction of the in-house VFX Supervisor and/or client directly, I would first meet with the VFX Producer as they defined budgets, schedules, and labor allocations for the project. I oversaw Compositing teams in-house ranging from 2-50 artists with varying levels of experience and balanced their assignments across simultaneous shows. Using The Foundry’s Nuke software, I composited hero shots and sequences myself, developed key looks, and designed templates for other artists to base their work on. I would also consult with the Supervisors of the CG departments (matchmove, animation, lighting, etc.) to ensure their elements included what was necessary and were being used as intended by the compositing team. Finally, I reviewed the work submitted by artists and vendors, providing technical and creative direction as needed.

Why did you choose to pursue this profession?

My father had a career in graphics and typography, and I was exposed to early paint and image editing computer programs at a young age. I grew up fascinated by movies like “The Abyss” and “Jurassic Park,” which entertain by making the impossible seem plausible. What began as a hobby creating videos and graphics inspired my enrollment in the Multimedia program at CLU.

VFX Compositing requires a perfect balance of both right-brain and left-brain thinking, combining cinematic storytelling with technical problem solving. There are usually numerous ways to solve a challenge and finding the most efficient method provides daily inspiring “a-ha!” moments that keeps things fresh.

What was a significant learning experience for you that happened outside of the classroom?

Visual Effects is a continuously developing field, in which staying relevant with the latest tools and techniques is necessary to remain competitive. While attending CLU, the faculty helped arrange visits to several industry demos, conventions, and user group meetings in Los Angeles and Las Vegas. These events at LA-SIGGRAPH, DMA-LA, and Gnomon School provide unparalleled access to network and learn from industry professionals.

What advice would you give to current freshman, sophomores, juniors and seniors?

It’s safe to assume that anyone applying for a job in entertainment these days has access to the tools and training necessary to technically do the job. Social interaction, communication, and professionalism are not always a strong suit of people who spend most of their day in front of a computer. These interpersonal skills will play an even larger factor than your creativity in determining whether you’ll stay on a job and continue to the next project.

Know your limits. Don’t be afraid to ask questions. And above all else: always meet your deadline.

Final Thoughts:

The entertainment industry is a much smaller world than anyone expects. Most of my jobs have resulted from invites rather than applications. Be nice to everyone you encounter—there’s no telling where you or they will be in the future.

Collaborative art usually starts with discussions referencing earlier works as examples of what to specifically imitate or avoid. Find the top trade publications for your field (eg: Cinefex, American Cinematographer) and study the back issues as much as the new.

I’ll share a recent tweet from director Brad Bird… “@BradBirdA113: Watch lots of movies from all time periods. When you like something, try to figure out why. When you don’t, also figure out why. Go a step further, and figure out how you’d fix the parts that don’t work for you.”

How did you obtain your current job?

I’ve been working as a Visual Effects Artist, Designer, and Compositor at Cantina Creative for almost 8 years, starting as a summer intern between Junior and Senior year of CLU.  After the internship, I was offered a freelance position, then soon after, a staff position.  My journey from CLU to today has been full of exciting opportunities to work on some of the biggest films in the industry.

What is your average day on the job like?

Although I spend almost the entire 10 AM - 7:30 PM workday sitting in front of a computer, it doesn’t feel like a chore.  On any given day, there will be new things to learn, new techniques to master, and plenty of creative freedom to design.  The daily routine is one that changes throughout the stage of the current project and varies project to project.  For several weeks, I might be inside Maxon Cinema 4D, tackling creative ways of animating a futuristic hologram.  Other days I might be using Adobe After Effects to blend all of the designs that were created previously and bring them to life within a shot.  I often work closely with other artists, as well as in-house VFX Supervisors and Producers.  Although perhaps not a norm for the industry, I rarely have the need to work over-time, or weekends.

Why did you choose to pursue this profession?

Growing up, I’ve always had a passion for film-making.  However, it wasn’t until studying at CLU as a Multimedia major, that I made the decision to pursue Visual Effects.  While taking the Adobe After Effects class, I was drawn to the creative process and technical expertise of VFX.

What was a significant learning experience for you that happened outside of the classroom?

The amount of knowledge and experience gained from my internship, was invaluable.  I couldn’t have imagined how much i would learn when thrown into a working studio atmosphere, especially in terms of professional workflow and techniques.  My knowledge from the classroom equipped me with the tools needed to flourish in an internship, but the learning that took place during the internship became the driving influence for my career.

What advice would you give to current freshman, sophomores, juniors and seniors?

Specifically, to Multimedia majors, during your time in college, utilize the programs and film tools that are provided for you.  Use them, and play with them, outside of your classroom projects.  As soon as you graduate, you’ll quickly realize how expensive it is to buy software and film your own projects.

How did you obtain your current job?

The highlights of my career leading to my current position were internships, freelance work and self-projects to build my portfolio for future employers. Versatility is something that is a major function of my job to this day and one I was passionate about at CLU. My current job came about a large country wide multiple round job interview process which ended with me flying to Chicago to meet with the CEO for the final interview.

What is your average day on the job like?

Average day starts with morning coffee, music and checking my email. Then it goes to breaking down the number of projects and their timelines. Then the rest of the time goes to multimedia work. Some of the different clients I have worked for at my current role: Nintendo, Toyota Racing, Samsung, Nestle, Lexus Racing, Amazon Prime, Adobe, Mountain Dew.

Why did you choose to pursue this profession?

I kind of fell into it. I always had an appreciation for design and multimedia, but didn’t know that it could even be a career path for me. CLU’s multimedia program was a great place for me to foster that appreciation and turn it into a fulfilling career. It isn’t conventional, but I am not one for norms. 

What was a significant learning experience for you that happened outside of the classroom?

Applying to jobs, and not getting emails back. You learn a lot about yourself when facing that type of negative energy. The important thing is to stay positive and not show yourself as desperate. Find something that works for you and don’t force yourself to fit someone else’s image. Someone will value what you bring to the table. 

What advice would you give to current freshman, sophomores, juniors and seniors?

Freshman: Explore everything and just design every day. Your shit is going to suck, and that is good. For every good project there are 100 bad ones that built that one. 

Sophomores: Get ahead. Look up tutorials, do more, sleep less, and make school projects something you are proud of. Every single one.

Juniors: Look for jobs, anywhere and anywhere where you can flex your creativity. Outside CLU is great if possible but if not, CLU is a great resource for entry level work. 

Seniors: Apply to internships and real jobs asap, you want to be in a position where when you walk you have a job lined up. Spend this time to apply yourself and talk to your teachers, they will understand and help.

Final Thoughts:

There are some great creative people who have come through this program.  Use it as a resource to connect with them and see what they do. You never know what may come out of it.

How did you obtain your current job?

Leaving Cal Lutheran in a position to succeed actually began a year before graduation. In the Spring of 2011, with the end of my third year in sight and the recommendation of professor Dan Restuccio I began my internship at the then up and coming production company Bandito Brothers LLC. They focused on action oriented car commercials with a heavy emphasis on stunts and the military. It was the perfect storm of timing and determination. The company was still in its infancy and had more than its fair share of opportunities for a young aspiring editor to take advantage of. I’m one of the lucky few who can say I never had to make coffee runs as an intern (not that I would have been opposed to that, we all gotta start somewhere). Most days were spent ingesting and breaking down footage, dealing with minor to moderate visual effects, and mocking up rough edits and sizzle reels when given the opportunity. This turned from a small inclusion to a full on baptism by fire. The next year and a half was spent navigating the detailed ins and outs of project workflows from offline editing all the way through the finishing processes of online, mix, color, and conforming. You may think this all sounds very technical and you would be correct! The culmination of my time there took place during the end of my senior year with the completion and release of Act Of Valor, mine and Bandito Brothers’ first major motion picture. Although I was only considered a Post Production Assistant on the film, the gravity of that accomplishment would remain the foundation for the milestones to follow. Looking back, it was a tremendous amount of responsibility to throw on the shoulders of a twenty something year old kid but I now realize that it more than prepared me to succeed in this business no matter the task. Upon graduating from CLU, I was offered a full time staff position where I would happily be with Bandito Brothers for the next 5 years. I was able to work on Features, live-action commercial campaigns, numerous web series, all the while making connections and friends that I would rely on for years to come. I ended those five years ready to pursue the life of a Freelance Editor and Visual Effects Artist happily bouncing around from company to company. Growing up a huge Captain America fan it was an incredible highlight to be able to say I was a Visual Effects artist on the Marvel film Captain America: Civil War. Ultimately in 2017 I was offered and accepted a full time staff position as a Cutting Assistant at the prominent commercial house of Arcade Edit, Santa Monica where I still work today.

What is your average day on the job like?

Every day is a different beast depending on the project and the point in time the project is at. Simply put, Arcade Edit is an editorial house, meaning we are awarded projects (commercials, music videos, short films) that need to be edited. As a Cutting Assistant it's my job to prep the project once the footage arrives and guide it through all of its stages until it leaves Arcade. I ingest the media, anticipate temp Sound Effects based on its script, and prepare "breakdowns," essentially organizing the footage in the best way possible to utilize throughout the project. In most cases the Editor I'm assisting finishes editing within a few weeks and as the Cutting Assist I take over for any further client requests on Editorial changes until client approval. During a project I meet daily with Agency Producers, Accountants, Creative Directors, and sometimes with clients themselves (representatives from brands like Google, Best Buy, Apple, etc.) through editorial completion and then coordinate with Color Correction / Mix / Conform houses through finishing. Like I said, every day is different and it's anything but average.

Why did you choose to pursue this profession?

I've always gravitated toward filmmaking in general but Editorial definitely struck a chord. As a young child with my dad's camcorder I made stop motion films with my toys or backyard movies with my brother and cousins. Unbeknownst to me at the time that was all in-camera editing, and as a result I was already learning the basics of how to edit when I was just five. In short; it's fun, fast, and creative. You're putting all of the pieces together of an ever changing puzzle; you're finding what works, what doesn't work, how to solve problems that were missed during production, coordinating with all of these different departments to make something magical happen. It's exciting and I'd like to think I'm really good at it, so why not pursue it? Getting paid has never been the goal but it does help that the profession pays pretty well if you're hustling.

What was a significant learning experience for you that happened outside of the classroom?

The thing about editorial is that, of course, you can teach how to use the tools, how to manage the workflows, and how to edit in general. But so much of being good comes from instinct and practice that you can't know who you are as an editor until you keep cutting. I loved my classes at CLU but I wasn't making / cutting nearly enough films in class to satisfy my needs. So outside of the classroom I wrote and Directed my own films using every bit of equipment I had access to at CLU. Not to mention pulling friends from the theater department to act or from the multimedia department to design titles, man the cameras, do visual effects, etc. I wanted to edit it all, so I made it all. I filmed and edited Documentaries, action comedies, dramas, and even VFX heavy fake trailers. They all required different editing styles and techniques and I learned what worked and didn't work for me as an editor.

What advice would you give to current freshman, sophomores, juniors and seniors?

There's no "easy" way into the Industry, you have to work your butt off to get noticed even if "you know someone who knows someone." Make yourself valuable, learn other programs even if it has seemingly nothing to do with what you want to pursue. Having that basic knowledge will help you in the long run, whether it be selling yourself or troubleshooting situations you'll undoubtedly find yourself in. Don't be satisfied with doing the minimum. Learn everything you can IN class and work your butt off to perfect and learn even more OUTSIDE of class. Make yourself "easy to work with," and by that I don't mean be a pushover. So much of this Industry is about working with others that if your personable, collaborative, and hardworking others will gravitate toward you and WANT to work with you. Watch movies. Watch a lot of movies. If you think they are good, dissect why you know they are good. If you like the editing in a scene and want to emulate it watch that scene over and over until you know why it works... And with that knowledge finally, just make movies. Don’t wait for the perfect story, don’t wait for someone to discover you, you’re young and you have the time so just get out there and make something.

Final Thoughts:

Stop and really think about this for a second... You live in a time and go to a school where you literally have access to more filmmaking tools than any other generation in the history of making movies. Not even just making movies but graphic artists, visual effects artists, sounds mixers, the whole Media game has changed. Everyone has a computer, everyone has access to a camera and if not you have a cell phone that can shoot full HD. You have multiple editing options, endless tutorials on Youtube or Vimeo, and speaking of them... platforms that can reach the eyes of people all over the world. It's easy to take for granted and say "oh I know that" but it's really hard to grasp how amazing that truly is and take full advantage of everything you have. That being said it definitely makes it harder to stand out as a filmmaker in a world where everyone with a laptop wants to make it in the Industry. But if its really what you want to do, then just work harder and do it.