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J orge Ca ñ ada Escorihuela Highly skilled at recognising visual potentialities and communicating creative, innovative and well considered best solutions. Jorge has forged an imaginative, dynamic and diverse profile including his on-set work on The Crown, supervising the sci-fi series The OA and consulting on Ridley Scott’s Napoleon. Fearless of creative challenges, Jorge showcased his incredible skills supervising and producing the surreal ‘Fever Dream Sequence’ on Ari Aster’s Beau is Afraid. Collaborative, dedicated, diplomatic; Jorge ensures the creative vision is achieved. View CV Check Availability IMDB

< Back Atem Kuol VFX Coordinator Atem thrives at being on set and working in the front line of production. Originally starting as a Witness Camera Operator, he quickly advanced into the role of Data Wrangler working with some epic VFX teams across film and HETV. Atem’s energy and ambition has led him to become a brilliant and talented VFX Coordinator. Charismatic, hardworking, collaborative and a team player – Atem is a rising star within the industry. View CV IMDB Previous Next

< Back Joseph Hart Green Assembly Editor & VFX Editor Having already established himself as a VFX Editor, Joseph is now re-configuring and developing a career as an Editor. With a couple of credits already under his belt, Joseph is seeking Assembly Editor roles to cultivate his skills and experience in the craft. His meticulous and organised work ethic has made Joseph a popular team player working across film and HETV. With an innate instinct for storytelling and crafting scenes and an ability to analyse footage; we predict a bright future. Hardworking, diligent, and creative – Joseph is an all-round fabulous chap. View CV IMDB Previous Next

< Back Jean Louis-Autret VFX Supervisor Starting in the industry 15 years ago as an Assistant Cameraman, Jean-Louis has always been passionate about creating wellconstructed and beautiful imagery. His interest in visual effects starts when he was working as Focus Puller on films, TV and short form content. Jean-Louis joined the Paris based VFX facility MacGuff as a 2D Artist, and within a few years took on the role as VFX Supervisor. With his combined on-set experience and in-depth knowledge of VFX Jean-Louis made the break production side on the TV series ‘Around the World in 80 Days’. Jean-Louis is hugely ambitious and wants to challenge the norm in France by being an independent VFX Supervisor working on behalf of the production. He is pragmatic, creative, hardworkingand hasagreateyefor detail. View CV IMDB Previous Next

< Back Sascha Dhillon VFX Editor Working as both an Editor and VFX Editor, Sascha has accumulated an impressive and diverse list of credits. He's a highly skilled and dedicated professional who possesses a keen eye for detail and an acute instinct for storytelling. Sascha excels at solving complex editorial problems with creative solutions while maintaining an organised and efficient workflow. His positive and collaborative attitude makes him an essential asset to every post-production team he works with. View CV IMDB Previous Next

Meet the Editor - Fiorella Santaniello Fiorella Santaniello is an emerging editor whose talent shines through her work on film and TV series such as Passenger (ITV) and The Power (Amazon). With a keen eye for detail and a passion for beauty and harmony, Fio has the ability to find clever and creative solutions to complex edits. Q: How did you get into editing? A: During my second year of university in Italy, I started with the classic home videos and became more and more fascinated with the process of creating emotional flow through the connection and juxtaposition of picture and sound. This is why, at the very beginning of my career I was keen to become a Trailer Editor. It was not until I attended Bournemouth University that my interest for storytelling grew and I developed an appreciation for the role that editing has in achieving the best emotional outcome. After receiving my degree with honours, I edited two low budget feature films before moving to London to pursue a career in film and TV. Since 2016, I have worked as an Assistant and Assembly Editor on HETV shows such as Trust, Dracula and Brave New World, while also editing a number of short films. I finally got my break as an Editor in 2022 while working on the TV show The Power (Amazon / Sister Pictures). Following that, I was recommended for another of their shows called Passenger (Sister Pictures), of which I edited three episodes. Q: What were your career aspirations when you were growing up? A: I didn’t grow up having a clear idea of what I wanted to do or be in life. I seemed to have a fairly equal aptitude for all school subjects, with a tangible personal preference for linguistic and humanistic studies. During high school, I developed a strong interest in acting which led me to attend a theatre school for three years. It wasn’t until a bit later that I realised I wanted to be part of the film-making process behind the cameras. However, it took some time to figure out what department would interest me the most and how I could make that aspiration come true. I have always been very passionate about films and TV shows, and I always found the human mind and the psychology of the characters a fascinating topic to explore. It’s no wonder that I watch a lot of true crime documentaries and psychological thrillers. If I wasn’t in the film industry I would probably explore journalism or criminology. Q: What gets you out of bed in the morning? A: Firstly, coffee. There is no reason to get out of bed if not for my morning coffee ritual. On a deeper level, I consider myself a seeker of beauty, harmony and freeform experimentation. This is why my love for the creative arts carries on in other forms, including photography, painting and occasionally pottery wheel throwing. If I had to explore a different field of the film industry, it would most likely be cinematography. I thrive in environments that are exciting, challenging and inspiring and am always looking for new experiences to better myself as a human being. I am an eager traveller, I love discovering new places and understanding the cultures and people behind them. Q: What’s your favourite part of the job? A: I love that editing allows me to portray my own empathy on the screen. By giving my own perspective on the process, making infinite small and big decisions, weighing each cut carefully. I always chase the best dramatic and empathetic results to engage the audience and myself. It is a special and powerful way of bringing people together by telling unique stories, in a world that constantly needs more human connections. Q: What’s your greatest achievement / most important step in your career? A: My greatest achievement so far has been making the jump from assisting to editing. It is an incredibly difficult transition for all prospective Editors to make and I am very proud of how far I’ve come in my career. I’m also incredibly grateful to the supportive people who have helped me along the way. Q: Looking back at all the films/projects you’ve made, what lessons have you learned? A: Every project is different and even if you have a certain set of rules or workflows in place, they all might need a different approach. An important thing to remember is that, despite your contribution being fundamental to the film, it is not “your” film. Editing, like film-making in general, is a collaborative process that requires listening and good communication, being open to trying out ideas that you might not agree with (even if you feel strongly about them). Sometimes you might be certain that an idea will not work but the truth is that you won’t know for sure until you try. Always be open to different points of view, be patient and politically neutral, while also finding ways to show your own passion for the project. Do not hide your real opinions just to please someone and don’t use every option just because it is there or because of the time that it took to “get that crane shot”. It is important to stay unbiased about the conditions in which rushes were filmed and always make emotion a priority. Q: Most valuable skill? A: I think my most valuable skill is being both fast and reliable. This is not to say that I rush the process at all, but that I have a good eye for assessing what will work and what won’t. I will always watch all the rushes but if I am required to make a quick edit to reassure the Director that they have everything, I will do a very good job in a short time. I will then go back to the scene to re-evaluate the cut, make sure I have used the best takes and explore other options if needed. I am also able to effectively evaluate the footage and re-invent a scene from scratch. Q: Favourite project? A: My favourite project to work on was Trust (Cloud 8 Films / FX). It was the first HETV job where I was able to prove myself and was quickly promoted from 2nd to 1st Assistant Editor within two months of starting. It was a project which challenged me and made me realise how capable I am in a cutting room, how I could support a number of Editors and see the show through to the very end. Trust taught me you don’t really know what you are capable of until you take a risk and step up your game. Q: Favourite memory of working on The Power? A: The people. I love creating the edit but the part that I prefer about any job is the people I get to work with. The team on The Power (Amazon / Sister Pictures) specifically was one of the best teams I ever worked with and it became a family very quickly. Being on the project for three years, we had a lot of team socials and I cherish those memories dearly, particularly crazy-golf and karaoke nights. Q: What’s your next project? A: I will be working on another TV show for Sister Pictures from April 2024 and then looking for my next challenge. It’s been a slow year for the industry but there looks like some interesting projects on the horizon. Q: What are your future goals? A: I would like to keep progressing in HETV productions but I would enjoy taking on indie films as well. I would love to work on a well produced psychological thriller or true crime drama.

Editors Danny Salas Editor / Assembly Editor - BEETLEJUICE BEETLEJUICE (Warner Bros.) - LORD OF THE RINGS: RINGS OF POWER S2 (Amazon) - BLACK MIRROR (Zeppotron) Read More Fio Santaniello Editor - PASSENGER S1 (ITV / Sister Pictures) - THE POWER S1 (Amazon) - A REASON TO LEAVE (UnReasonable Productions) - BRAVE NEW WORLD (Amblin / Peacock) Read More James Barham Editor / Additional Editor - SUPACELL (Netflix) - ANDOR (Lucasfilm) - THE WITCHER: BLOOD ORIGIN (Netflix) - THE MAN WHO FELL TO EARTH (Showtime) Read More Michael Freedman Editor / VFX Editor - THE QUIET HOUR (Frenzy Films) - SUPACELL (Netflix) - FATE: THE WINX SAGA S2 (Netflix) - DISENCHANTED (Walt Disney) Read More Nathan Summerfield Editor - HIGH WIRE (Silent D Production) - BREAKING POINT (Sky) - GANGS OF LONDON S2 (Sky) - BIG LITTLE LIES S2 (HBO) Read More Paula Anhesini Editor - HUNTING LENNON CARTER (Groucho Arts) - WONKA (Warner Bros.) Assembly Editor - JURASSIC WORLD (Dominion Universal) - THE ONE AND ONLY IVAN (Walt Disney Studios) Read More Phil Eldridge Editor - MY LADY JANE (Amazon) VFX Editor - THE LITTLE MERMAID (Disney) - HOBBS & SHAW (Universal) - BOHEMIAN RHAPSODY (GK Films) Read More Rob Duffield Editor - THE JETTY (BBC) - WILDERNESS (Amazon) - THE NEVERS - S1 (HBO) ​- PENNYWORTH - S2 (Warner Bros.) Read More

< Back Anne Akande VFX Producer A diverse Producer with in-depth knowledge and experience working in VFX, software development, VR, immersive formats and AR applications. Highly experienced at working with senior management, creatives and executives whilst budgeting, winning and producing high-end TV series, interactive experiences, VR walkthroughs, and ad campaigns. A confident team leader with hands on experience setting up shoots and dealings with crew at the forefront of production.Her knowledge is diverse and her producing skills are first rate. View CV IMDB

O liver C u bbage Stemming from a Concept Artist and 3D background Oliver brings a wealth of experience and creativity to any production. Building a phenomenal reputation for his creative flare and technical ability he has worked with some of the best Directors cultivating complex and challenging VFX sequences. His eye for detail and brilliant understanding of how VFX work has created world-class, award-winning results. No matter what the budget, he uses creative and technical intelligence to find achievable, effective, and stunning solutions. Diplomatic, hardworking, whip smart, pragmatic - combined with a fabulous sense of humour – Oliver is a brilliant emerging VFX Supervisor and would be huge asset to any production. View CV Check Availability IMDB

E arle S t uart C a llender With over 2 decades of experience working in business development and as an In-house VFX Producer, Earle is a brilliant VFX Consultant. He worked for many years as the Bidding Producer at the hugely creative facility One of Us winning many exciting and lucrative contracts. Earle understands the nuances and intricacies of filmmaking and VFX sequence design, and has encyclopaedic knowledge of shot costs, international budgets, and workflow schedules. Creative, calm, pragmatic and with huge integrity Earle is a fabulous asset and can help studios and production companies with every aspect of budgeting, schedule, and planning. View CV Check Availability IMDB