One of my favorite things to do is support local independent filmmaking, and I’m very glad that I have so many ways that I’m able to do that. Here are a couple of the skills I have to offer the filmmaking community.

Media Manager/Digital Loader

Please note: I am a proud member of IATSE 600 for the crew role of Digital Loader (aka Media Manager). I am able to work non-union, depending on the project.

As someone who started out as an editor, I quickly realized that data managing was half the job, so doing work as a digital loader is a natural fit for me. I have experience ingesting media from the following cameras:

  • RED MX/Epic/Scarlet/Dragon
  • Canon DSLRs, including 5D, 7D, and Rebel series
  • Canon C300/C100
  • Arri Alexa, Amira (SxS media, CFast media)
  • Sony PXW/PMW (SxS media)
  • Sony F3/F5/F55 (SxS media, AXS media)
  • Sony FS7 (XQD media)
  • Sony A7s (SD card media)
  • Blackmagic Pocket/Cinema Camera (SSD media)
  • GoPro, DJI Inspire, and much more!

I own the full Adobe Creative Suite CC, and I have experience transcoding many different kinds of footage, especially RED footage, using Adobe Media Encoder and RedCine-X Pro. I have my own mobile media managing kit with a Mac Tower cylinder, monitor, cables, adapters, CF & SD card readers, and a UPS battery back-up. I also have a secondary lighter kit with a MacBook Pro and additional battery back-up.

*Please note: The definition of a Digital Loader and DIT can vary from city to city and person to person a great deal, so let me be clear about what I can do as a digital loader: I am comfortable downloading and backing up mags, transcoding, syncing, prepping a project for the edit, and giving limited feedback to the camera team about focus, exposure, and raw capture settings. I will not adjust any settings in the camera, and generally, I will not do any sort of color grading or color correction. I am more of a data wrangling plus liaison-to-the-editor digital loader. If you have questions about what I can do as a digital loader on your production, please feel free to contact me.

So what’s the difference between a DIT and a digital loader? This post on reduser gives my favorite answer to the question.

Click here to view my Digital Loader Resume.
Click here to view my Digital Loader Filmography.

Script Supervisor

image of Robyn script supervisingIf I’m going to physically be on the set of a production, one of my favorite roles is script supervisor, also known as the continuity person, or simply “scripty.” The script supervisor acts as the liaison between the editor and the director on the set, so having a script supervisor with editing experience is always a good idea.

Click here to see my script supervisor resume.

Click here to see my script supervisor filmography.

Assistant Editor

There are many aspects to editing, and sometimes having someone else take care of the less creative side of things can be incredibly helpful. Here are a few aspects to assistant editing that I have experience with.

  • Writing Transcripts (day rate charged for every ~30 minutes of video)
  • Data Managing
  • Syncing audio
  • Transcoding & Data conforming
  • Organizing a project in Premiere
  • Creating off-site dailies
  • Archiving to LTO tapes (equipment must be rented from 3rd party)
  • Breaking down/marking each take line by line in Premiere

Click here to view my Assistant Editor Filmography.

Video Editor

Fresh out of film school, I was sure I wanted to be an editor. As the years passed, I realized that the editing support-type roles listed above were where my true passions lay. Nowadays, I edit very infrequently, and I usually only edit films that particularly call out to me. I’m very thankful for the knowledge base that my editing experience has given me — to date, I have edited one feature film, several short films, and numerous corporate and non-profit videos. When the right editing project comes my way, I do not turn it down.

Assistant Accountant

I assisted in accounting for three features in the Seattle area, Fat Kid Rules the World, Seven Minutes and The Hollow One. My responsibilities ranged from crew/extras payroll and finalizing documents for the Washington state film incentive, to organizing timecards, getting signatures for checks, organizing and logging petty cash envelopes, and assuring all eligible crew members received the benefits they were entitled to. I found the work very interesting, and I have every intention of continuing to work in production accounting in the future.

Click here to see my production accounting resume.

Craft Services

image of 35 mm film cameraAlthough I have never had my sole job on a shoot be craft services, I have been in charge of getting food and snacks for a production on more than one occasion. To this day, catering and craft services are the jobs I see done badly on film sets more frequently than any other job role. I’m happy to say that I have learned from others’ mistakes. I believe that the best on-the-set food is tasty, healthy, inexpensive, and easily portable. I am also very mindful of food and allergy restrictions (I’m a vegetarian myself), and making sure the celiac’s food options are just as delicious as everyone else’s.

Producer & Assistant Director

I take on these roles on an extremely limited basis, because I don’t enjoy them as much as I enjoy other filmmaking roles.

That being said though, I am capable of producing, and I feel it’s worth mentioning so that you know that I’m familiar with what the role entails. If you have a project that you think I might be interested in producing, don’t be afraid to contact me.