VK Shah

Work History

• 

  Online Editor & Colorist

  Trailer Park

  February 2012 - Present

  In my 3 years at Trailer Park, I’ve advanced from doing only online editing to more coloring and now to visual fx work. I’ve adapted to the ongoing changing software programs and used them to advance my work within Trailer Park. Aside from ensuring that all shows pass strict broadcast standards without any technical glitches. At Trailer Park, we work in a very fast paced environment with multiple projects a day. Finishes include broadcast commercials, DVD content, home entertainment, video on demand, television promos, branded content, and episodic productions. I also serve as an Avid, FCP, and Flame support for our department and I have created internal reels for the department.
  
  In addition to the technical aspects of finishing, my work really shines in the creative aspects of my job. Creating the tone of the scenes through color correction is essential as to not distract the audience from the story, but to bring to life the visual experience. Using Autodesk Flame Assist, my work includes blurs, masking, keying, creative re touching, and creating effects to exceed the client's expectations. In the video below, you will see a nightclub scene created through Flame Assist.
  
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  Clients include: Disney, Universal, Lionsgate, 20th Century Fox, New Line, Warner Bros, Bravo, MTV, Nickelodeon, TruTV, Feld Entertainment, Carvana, Toshiba, MTV, FX, SYFY.
  
  Major Television promotional campaigns include: HBO Now, Big Hero 6, Frozen, Monsters University, Girlfriends Guide to Divorce, Top Chef, Every Witch Way, Nickelodeon Kids Choice Awards
  
  Major Home entertainment campaigns include: The Expendables 3, The Voices, The Great Gatsby, We're The Millers, 2 Guns, Safe House, The Host, The Amazing Spiderman, Killing Kennedy, Burn Notice
  
  Major Brand Campaigns include: Toshiba, Carvana, ScoreBig, Chrylser/Fiat, Intel

• Post Production Management/Finishing Editor

  Creative Post

  January 2005 - December 2014

  Through various intervals at my own company, I’ve managed clients and various projects for their post-production needs. From setting up editing systems, to finalizing DVDs I was involved in every aspect of the finishing process.
  
  In 2011, I was the colorist and finishing editor for Glen Campbell’s music video “Ghost on a Canvas” directed by Kii Arens.
  
  In 2011, I was the editor multiple episodes for "The Arena" a dance competition show from executive producer Jon M Chu.
  
  In 2010, I was the assistant editor for the Sony Pictures’ “Harvard Park,” a documentary about Darryl Strawberry’s relationship with an inner city baseball park. In 2010, I created a DVD series about the UCLA Library Archives where I did color correction, online, DVD menu creation, and media encoding.
  
  In 2007, I was the editor and colorist for the feature film “Mixing Karma” by Ken Oerlich.
  

• Post Production Manager/Finishing Editor

  Leora Films

  January 2005 - December 2014

  During my times with Leora films, I was the go to person for all post production needs. I set up, managed, and updated the post workflow, even as it changed throughout the years. I provided tech support for all staff, work and non-work related. I worked closely with owner Percy Adlon (director for Bagdad Café) to convert his films from 40 years to a digital format.
  
  From 2012-2014, I completed the preparation of multiple films to DCP format for a tribute for Percy Adlon. After films were converted to a digital format, I supervised subtitles creation, and then digitally restored them to prepare for DCP.
  
  In 2008, I created a 5 disc DVD set about artist Fritz Koenig. I prepared the films for mastering, I created new featurettes, created the DVD menus, designed the box cover art, and did the final DVD manufacturing.
  
  In 2006-2007, I was the editor for “Music Making with Esa Pekka Salonen,” a feature documentary about the making of the score for “Mahler auf der Couch.” I did the online, graphics design, and finishing of the documentary along with creating extra DVD content. Prior to that, I was the assistant editor for “Mahler auf der Couch.” Both pieces were in German language. During this time, I designed promotional postcards and posters for the feature film.
  
  In 2005-2006, I was the editor for "Orbela's People" - a feature documentary about a small village in Tanzania - directed by Percy Adlon. I worked closely with Percy to create a non tourist feeling of visiting remote villages in Tanzania. The documentary was edited in it's original Maasai dialog without translation. Towards the end of picture editing, we hired a Maasai translator to verify our edit. When he said our story made perfect sense, it showed me how much editing had to do with feeling and visuals, not just words.
  

• Online Editor

  Shapeshifter

  October 2010 - January 2012

  Freelance online editor specializing in finishing documentaries in Avid and Final Cut. As an online editor, my problem solving included media management, fixing graphics in Photoshop and After Effects, frame rate conversion, and editing last minute changes to the project.
  
  I created a professional and comfortable atmosphere for clients and producers. I always delivered projects on time and within the budget provided.
  
  Clients included Universal Pictures, AMC tv, National Geographic Channel, and Google.

• Editor and Post Production Management

  Wild Life Productions

  December 2005 - October 2010

  In 2010, I was an editor for a National Geographic Documentary “Hitler’s Secret Attack on America.”
  
  In 2008, I was an associate editor for a National Geographic Documentary “Lost Continent of the Pacific” which I was also the Online Editor. The online process included processing footage from multiple sources and cleaning up archival film footage.
  
  In 2006, I was an editor for Season 1 of the TLC unscripted show “Backcountry Bootcamp.” I also served as the field post production supervisor during production in Wyoming.
  
  During all of their shows, I served as the main technical support for all edit systems – setting up, syncing, maintaining, updating, and archiving.
  
• 

  Vault Librarian

  MGM Studios

  May 2009 - July 2009

  MGM began the process of digitizing and sorting their master libraries for their flagship channel MGM HD. I worked an early morning swing shift to sort, organize, and digitize masters through Final Cut Pro. Once digitized, the media was backed up via LTO for safe keeping.
• 

  Editor - Lead

  NBC Sports

  October 2006 - June 2007

  I was the lead editor for the World Championship Sports Network (now NBC Sports). I supervised 2 other editors as we cut down live events in almost real time for broadcast. All editors kept in constant communication to make sure events were editing for the right broadcast time. In addition, I created several promos and packages to promote different themes of the network.

• Editor and Post Production Manager

  KidsTalk Productions, Inc.

  January 2001 - May 2007

  I was the editor for "Voices of Tomorrow" - a 30 KCET tv minute show that that gives kids a voice. It was produced by Ninon de Rosa, a philanthropist and spokeswoman for children's rights. After getting dailies, I was in charge of the entire post production. From editing, to color correction, to music, and sound design, I delivered each nearly 75 episodes during my times.
  
  Popular episodes included a 4 part series on kids in Los Angeles Juvenile Halls, Building an orphanage in Kenya, and a documentary on Cesar Chavez.
  
  "Voices of Tomorrow" received over 100 Telly Awards
  

• Assistant Editor

  Nash Entertainment

  January 2004 - May 2005

  I started as the night assistant editor for "For Better or For Worse", 1 one hour unscripted show for TLC. Within a half season I was promoted to lead assistant editor. My main duties were to organize media on the Unity, even as more footage was being shot. I also kept editors organized so they only focused on editing, not any technical details or searching aimlessly for footage. Through the trust f the editors, I began editing the credit sequence which featured the outtakes of the show.