Stills from "The Mixer"

Down to Film: Season 19

A group of supernatural entities use a college television show as a support group. Everything changes when a pair of human freshmen join the show, forcing the monsters to work to maintain their ruse to protect each other from inevitable discovery.

As an Executive Producer, my duties included:
⊛ leading weekly crew meetings
⊛ creating workflows for post-production
⊛ scheduling episode releases
⊛ training new crew members
⊛ working additional roles on set (listed below)

Editor, Gaffer

After two humans find a mysterious phone and join their show, the cryptids of Down to Film struggle to create an episode of TV.

Writer, Editor

Rich, Molly, and Daisy through time to search for the missing phone. Meanwhile, Wyly's newfound obsession with television becomes problematic.

Editor, Gaffer

After Daisy spots the phone, she assembles a team to enact a heist. Meanwhile, Charlie attempts to coach Rich into a decent actor.

Writer, Director, Editor

While Rich and Daisy are trapped in an elevator, the rest of the crew struggles to broadcast. Meanwhile, Nik and Wyly fight to control their primitive instincts. Features special guest Sterling Knight.

Director

Charlie wakes up just in time for Daisy to give her some bad news. Meanwhile, two mysterious figures infiltrate the fractured crew of Down to Film.

Gaffer, Colorist

Armed with the knowledge of Zeke and Wyatt's true identities, DTF decides to do the only thing they can do--throw a "Getting to Know You" mixer!

Adapting to COVID-19
Animator, Editor

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The National Bureau of Normalcy has captured the cryptids! In this daring season finale, our characters face off against a narcissistic Scientist and the cold-hearted Bureau Director. Their plan: dissect Lola, and utilize her telekinetic powers to broadcast the "evil truth" about cryptids to the world.

Produced during the Summer of 2020, we were faced with a challenging task: how do we create a season finale in lockdown? Nine creatives came together, each using a unique style to create scenes. The episode features 3D and 2D animation, live action production, puppet sequences, and more. Originally a sixty page script, I cut the episode down to a half-hour in order to preserve my vision of a fast-paced, action-packed season finale. The full episode, "What it Means to be Human", was realeased alongside my cut and contains over an hour of cryptid chaos.

As an Executive Producer, I scheduled and ran meetings where my producing team voted on the style of production. I also drafted schedules, moderated the creator's chat, and made the thumbnail and poster for my episode.
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As an editor, I re-structured the story. I cut repetitive exposition, non-essential dialogue, and combined scenes. This was a difficult task, as the creators composed brilliant sequences.
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As an animator, I used Adobe Animate (Flash) to create the labratory scenes.

Producing

Down to Film: Season 19