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Reel Open (2008) When I finally decided to put some clips online, I created this animation as a sort of opener. This is a work in progress--timing and color need to be tweaked, my graphic designer consultant suggested an alternate font, and I need to resolve some square/nonsquare pixel issues. Check back for the finished product. |
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Bachelorette, 34 (2007) 37 min. This is the opening sequence for Kara Herold's documentary about "one woman's examination of the ubiquitous belief that marriage equals happiness." I worked on and off on this film for several years, editing and creating animations. I taught myself After Effects in the course of the film, and this clip is the last thing I created for it. Working with Kara on this documentary was an amazing, stimulating experience. |
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"The Soldier" a KPIX News Segment (2002) 6 min. I worked at a bunch of Bay Area news stations from about 1999 to 2003. It was a great learning experience--I soon discovered how to put a story together really fast. But the pieces I preferred editing were the ones I got to spend a day or two on, as opposed to a couple hours. Ironically, the less "hard news" stories were generally more fun to edit. This piece, which was for an anniversary show about 9/11, broke that rule. |
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Grrlyshow (2000) 18 min. This was the first documentary I worked on with Kara, a film about women making zines. Remember zines? This film uses a more traditional documentary approach (unlike Bachelorette, you'll see some talking heads), but still reflects our shared love of found footage. Kara shot all the zine covers; now, of course, I would scan them in and animate the moves in After Effects. I learned and came to love Avid in the course of working on this film. |
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World of Women (1995) 7 min. This was the first movie I made in film school, and clunky as it is, I still love it. It was conceived as a trailer for an imaginary lesbian pulp movie from the 50s. Years later when I was working for the news I recut it, so now it's a trailer of a trailer. In classic film student fashion, I wrote, directed, and edited this myself (I cut it on a flatbed). Cathy Crane did the lovely noir-homage camera work. |