Beverly Maguire - Animation Editor/ Editorial Supervisor
Job title - Animation Editor/ Editorial Supervisor
Experience - 20+ years
“An animation editor is an artist, mechanic, collaborator and businessperson all rolled into one.”
Describe your job role and the kinds of projects/clients you work with.
I’m Editor Supervisor at Jellyfish Pictures, working across both animation and VFX.
VFX editors work closely with client-side VFX editors and are responsible for ensuring that the artists at the studio have everything they need to create their work. While a project is underway, the editor creates a workflow that allows the supervisor to evaluate the VFX artists’ work and provide feedback on the aesthetic and on the technical direction. As the client approves shots or versions, the VFX editor incorporates them into the edit and oversees the passing of work back to the team that is editing the film or TV programme.
Animation and animatic editing is also part of my role. An animation editor is an artist, mechanic, collaborator and businessperson all rolled into one. But what is an animatic? An animatic is the storyboard turned into a movie. We combine the music, SFX, the dialogue, camera pans and moves and the storyboard panels to create a rough version of the final movie. The animatic has one main purpose: to show you if the film will be successful or not. That is why this step is so important. It helps bridge the gap in understanding the movement and storyline flow of a project.
How did your career in post production begin?
I graduated in 2000 from The Galway Mayo Institute of Technology in Ireland with a degree in Sculpture Art and Design. My final exhibition was a video installation show; I built a boat inside a 20-foot long room and had seven videos projected in and around the boat. I was the one everyone came to edit their videos for their own exhibits, this is where my love of editing began. I then moved to Co. Kerry and did a Film, Television and Video Production course to develop my skills. As a result of my student film for the Royal National Lifeboat Institution (RNLI), I was given a placement in Windmill Lane Picture Company in Dublin as a Runner/Assistant Editor. I spent my time learning about commercials and short films. Then in 2002, I moved to Canada to pursue a career in animation editing. Successfully finding a job in a children’s animation company, I jumped straight into an editor role. It was there my journey in animation editing began, I worked on over 100 Animated music videos and many animated TV series and movies during my time in Canada.
I moved back to Ireland in 2010 and started my search for work in the UK, this is where I was brought on as Animatic and Animation Editor at Jellyfish Pictures for Planet Dinosaur and I have been working in VFX and Animation ever since.
What has been your career highlight?
I am proud of all my projects, but firstly Planet Dinosaur because it was my first UK editor credit. Tree Fu Tom was my first children’s animated TV show in the UK, he was a little guy helping kids get up off the sofa and move more, all with a little magic! Lego Nexo Knights – because who doesn’t love Lego? Then 101 Dalmatian Street the TV series for Disney, was pretty special! For It’s Pony, I did the entire project from home during the pandemic which consisted of 26 episodes at 11 mins each. It’s so funny and I enjoyed how nicely fast paced it was, I loved editing it. I was Animatic Editor for the first five episodes of Dead End Paranormal Park for Netflix which was so much fun as well. It’s great to have a diverse range of projects I had a chance to be a part of. And now I’m involved in this new project for Jellyfish that I can’t wait to get stuck into, but can’t share any more details just yet!
Who are your role models in post?
I’ve always enjoyed Quentin Tarantino’s movies! At university learning about the relationships between directors and editors, I found it fascinating that Quentin’s go-to editor was always Sally Menke; she worked on his first 10 movies and he called her his ‘only true genuine collaborator’. Also in the mix was Martin Scorsese – he once said that ‘the genius behind his films’ was Thelma Schoonmaker. She is an amazing editor and has won many awards. These women made me realise the joint effort it takes to produce something successful, and that it is not solely down to the directors but a collection of skills that I proudly hold.
What advice do you have for others wanting to start a career in post?
Attention to detail is important, and having a strong eye for detail is key when making sure all VFX shots are of the highest possible quality.
Editing: have a good understanding of story-telling and be knowledgeable in all editing softwares.
Communication: have excellent communication skills, understand exactly what is needed from you, and what you need to deliver to clients.
Organisation: be on top of the work that needs to be done and its progress with a good understanding of the pipeline, keep track of any changes in the project and keep all editors informed. Keep all projects tidy.
Working to deadlines: Time-management skills are crucial to ensure the project stays on track and be able to cope with working under pressure with tight deadlines at the end of each project.
Favourite piece of your work
I really enjoyed working on 101 Dalmatian Street the TV series. This is one of the promos I edited, If was fun to Edit and cut on the beat of the scary music!!