Million Dollar Cold Case

When Channel 7 approached me to set up this post production facility for to create 4 investigative crime shows. They didn’t have a lot of money. So that ruled out Avid and ISIS.

The style of the show was to be interviews all shot green screen with high end recreations and old news archive. I knew all of this could be achieved with Final Cut Pro X.

Using the Lumaforge Jellyfish we were able to set up :

An Assistant station managing all media and allocating projects to editors and producers.

Two dedicated edit stations, each working on their own case files.

4 Producer stations where story producers could go through interviews and even construct storylines.

The Lumaforge Jellyfish handled all this with no problems.
It was such a success we made the news at ProVideo Coalition.

The series was two 90 minute and two 60 minute episodes with 3 and 2 case files respectively.
It rated extremely well and more importantly lead to the conviction of a killer.

Outback Brothers

With extra funding secured we were now able to make the show Outback Paramedic was always meant to be.

This 6 part half hour series showcases the Falzon family and their efforts to live and educate people about sustainability in one of the most hostile places in Australia.

Working as director, camera and of course editor this is some of the work of which I am most proud.
It’s good to work on things that can help make a difference.

Brothers’ Nest

This blacker than black comedy is some of the most fun I’ve had in my career working as an editor.
So satisfying. Once again teaming up with my great friend Clayton Jacobson we were able to mould a riveting story with razor sharp edges into existence.

All editing done collaboratively in Final Cut Pro X. It really showed the power of this amazing NLE.

Within 24 hours of filming I had rough cuts done and all timecode rushes up on (another amazing tool for film makers) so crew could view them on their phones on location.

This was thanks to two wonderful helper apps.

Shot Notes X and Sync and Link




Thinking it would be highly decisive film we’ve been pleasantly surprised by the reactions it has received thus far. Can’t wait for June 21st!

Making Final Cut Pro Great Again (for Pros)

With the latest update to Final Cut Pro Apple has shown that it is serious about giving Pros the features they are looking for in an NLE. Probably for 90% of it’s users FCPX is already a complete package with little more to do.
It’s that last 10% that are still wanting more. The good news is that there is very little left for Apple to change to put FCPX right back where it was before the switch to X occurred in 2011.

Here are the changes that I feel would return Final Cut Pro to a dominant player in the high end professional market.

  • Advanced Mode which turns on these features:Libraries, Events, Projects change to Projects, Bins, Sequences

Metadata ripple – the option to have any changes made in the browser or timeline ripple through all respective clips. Also the option to modify clips at the Finder Level

Master sequence settings. Set once setting for all new sequences

Customise workspaces a view where workspaces can be set up and saved

Customise/save browser views (create custom columns)
Set ups for guides and grids

Monitor/Audio calibration tools and settings

Ability to set locations of ALL rendered data Proxy/Optimised Media, Analysis files, Thumbnails, Waveforms, Render Files

Proxy mode compression settings, giving users the ability to set a maximum data rate/size setting

  • Dupe Detection in the Timeline toggle
  • Viewers to gain position bar, have option to show previous next clip in timeline (for grading)
  • New Trim mode that includes dynamic trimming
  • Consolidate media with user defined handle length.
  • Customisable interface and the ability to have multiple browser windows open at once on more than 2 monitors

JellyFish 4K up and Running

img_2490Starting a new gig at Channel 7 on FCPX. A big leap for them.
But they didn’t want to buy a Lumaforge Jellyfish 4K (the best solution for collaborative workflows with FCPX.)

This shared storage system can accommodate multiple machine running in a shared environment with speeds well in excess of 800 Megabytes per second.

So if you’re looking to hire a blazingly fast storage solution for your next FCPX gig. Don’t hesitate to give me a call.

The Recruit Series 2


The Recruit Series II

After the massive success of the first series Foxtel are bring back everyone’s favourite AFL Reality show.

This time with a new contentious coach Mick Malthouse.

Love him or hate him you can’t deny he has score on the board.
Technically  the show went up a notch this year with some of the most stunning footage you’ll ever see in a sports show.

Great fun to work on with a great crew.

The Hot Plate

With work almost totally drying up in Melbourne it was time to head to Sydney to work with old friends on Channel 9’s new IP.


Standard cooking fare but with a little bit of a reno twist.


Adobe what are you thinking?

Producer friend rang me in desperate need of a favour. Finish off a job for a client due tonight. Premiere Pro. Normally I’d say no but this is a good friend who has helped me out in the past.
So in I went thinking “maybe it won’t be as bad as I’m thinking.”

WRONG. It’s like those bad Chinese knock offs that try to cash in on something popular but miss out on what actually made it popular to start with.

Yes it behaves in a similar way to FCP7 and it’s certainly easy to come to grips with quickly. But it is seriously like jumping from a nice sports car to a truck. Function over form.

Keyboard Shortcut interfaces compared:

fcpxkeysAdobe just can’t help themselves. The engineers must always overrule the user interface dept. (or maybe they don’t have a user interface department)
FCPX is by no means perfect and still has a long way to go to make me truly happy with it, but by god it’s a hell of a distance down the road compared to this clunky ugly muddled mess of a program.

Editor – Producer – Shooter