Looks like you have JavaScript disabled. For the full Twine experience, you will need to re-enable it.

At Trailer Park Group, I wore a few hats. In my day-to-day, I worked up motion graphics, create digital content, ingest and prepare theatrical, streaming, home entertainment trailers and TV spots, alongside all AV assets for in-house and out-of-house finishing. I was frequently operating as a Motion Graphics Artist. This included; originating creative GFX cards and styles for upcoming projects, adapting content and resizing for EMEA distribution both in creative and campaigns, creating subtle motion posters for digital billboards, and creating DOOH content for other digital screens. In terms of creative editing, I made a variety of DOOH’s for billboards & screens around the country, for FX’s Alien Earth series. Additionally I worked up motion poster content for The Witcher Season 4 and Black Mirror Season 7, playing in Netflix’s NYC Times Square billboard. Editorially, I have created edits for cinema, TV and socials. Most recently I finished cutting together material for FX’s Alien Earth. This included 6 spots consisting of Cinema, TV and socials trailers and cutdowns. I also finished working on the Sky Original Tinsel Town just in time for Christmas, providing TV 30-second spots and TV 10-second spots. I maintain a strong sense of passion for this industry, and am always seeking ways to advance my knowledge in any field I find myself alongside, in an ultimate effort to one day find myself fully immersed in a creative position. Otherwise I was operating under Data I/O and control room responsibilities. This involved assembling dailies, conforming sequences for offline and online, organising assets, creating preps for finishing and final files for distribution. I am confidently transcoding, compressing and converting footage, organising and creating projects for teams, exporting EDLs, AAFs and other related media. I organise folder structures and naming conventions for all our confidential project content kept on the network storage, working with a range of platforms for clients such as Netflix, Disney, Hulu, Amazon, and more. I have strong understandings of file formats, file-based deliverables, frame rates, codecs and post-production workflows. Many of these attributes and skills transfer to my daily motion graphics work. While I was most recently at Trailer Park Group, my work experience in the editorial landscape is not limited to this one team. Prior to this, I was working at Framestore, where I was tasked with editorial VFX work. I would process turnover, edits and latest scans, and other responsibilities (e.g, work with count sheets, retimes, resizes, witness cameras). This job also required communicating with in-house and client production, alongside a strong understanding of the VFX post-production pipeline. Thank you for your time, and I hope you consider me for this position.…At Trailer Park Group, I wore a few hats. In my day-to-day, I worked up motion graphics, create digital content, ingest and prepare theatrical, streaming, home entertainment trailers and TV spots, alongside all AV assets for in-house and out-of-house finishing. I was frequently operating as a Motion Graphics Artist. This included; originating creative GFX cards and styles for upcoming projects, adapting content and resizing for EMEA distribution both in creative and campaigns, creating subtle motion posters for digital billboards, and creating DOOH content for other digital screens. In terms of creative editing, I made a variety of DOOH’s for billboards & screens around the country, for FX’s Alien Earth series. Additionally I worked up motion poster content for The Witcher Season 4 and Black Mirror Season 7, playing in Netflix’s NYC Times Square billboard. Editorially, I have created edits for cinema, TV and socials. Most recently I finished cutting together material for FX’s Alien Earth. This included 6 spots consisting of Cinema, TV and socials trailers and cutdowns. I also finished working on the Sky Original Tinsel Town just in time for Christmas, providing TV 30-second spots and TV 10-second spots. I maintain a strong sense of passion for this industry, and am always seeking ways to advance my knowledge in any field I find myself alongside, in an ultimate effort to one day find myself fully immersed in a creative position. Otherwise I was operating under Data I/O and control room responsibilities. This involved assembling dailies, conforming sequences for offline and online, organising assets, creating preps for finishing and final files for distribution. I am confidently transcoding, compressing and converting footage, organising and creating projects for teams, exporting EDLs, AAFs and other related media. I organise folder structures and naming conventions for all our confidential project content kept on the network storage, working with a range of platforms for clients such as Netflix, Disney, Hulu, Amazon, and more. I have strong understandings of file formats, file-based deliverables, frame rates, codecs and post-production workflows. Many of these attributes and skills transfer to my daily motion graphics work. While I was most recently at Trailer Park Group, my work experience in the editorial landscape is not limited to this one team. Prior to this, I was working at Framestore, where I was tasked with editorial VFX work. I would process turnover, edits and latest scans, and other responsibilities (e.g, work with count sheets, retimes, resizes, witness cameras). This job also required communicating with in-house and client production, alongside a strong understanding of the VFX post-production pipeline. Thank you for your time, and I hope you consider me for this position.

Hugo Rich

Visual Effects Artist, Colourist, Video Editor, +2





At Trailer Park Group, I wore a few hats. In my day-to-day, I worked up motion graphics, create digital content, ingest and prepare theatrical, streaming, home entertainment trailers and TV spots, alongside all AV assets for in-house and out-of-house finishing. I was frequently operating as a Motion Graphics Artist. This included; originating creative GFX cards and styles for upcoming projects, adapting content and resizing for EMEA distribution both in creative and campaigns, creating subtle motion posters for digital billboards, and creating DOOH content for other digital screens. In terms of creative editing, I made a variety of DOOH’s for billboards & screens around the country, for FX’s Alien Earth series. Additionally I worked up motion poster content for The Witcher Season 4 and Black Mirror Season 7, playing in Netflix’s NYC Times Square billboard. Editorially, I have created edits for cinema, TV and socials. Most recently I finished cutting together material for FX’s Alien Earth. This included 6 spots consisting of Cinema, TV and socials trailers and cutdowns. I also finished working on the Sky Original Tinsel Town just in time for Christmas, providing TV 30-second spots and TV 10-second spots. I maintain a strong sense of passion for this industry, and am always seeking ways to advance my knowledge in any field I find myself alongside, in an ultimate effort to one day find myself fully immersed in a creative position. Otherwise I was operating under Data I/O and control room responsibilities. This involved assembling dailies, conforming sequences for offline and online, organising assets, creating preps for finishing and final files for distribution. I am confidently transcoding, compressing and converting footage, organising and creating projects for teams, exporting EDLs, AAFs and other related media. I organise folder structures and naming conventions for all our confidential project content kept on the network storage, working with a range of platforms for clients such as Netflix, Disney, Hulu, Amazon, and more. I have strong understandings of file formats, file-based deliverables, frame rates, codecs and post-production workflows. Many of these attributes and skills transfer to my daily motion graphics work. While I was most recently at Trailer Park Group, my work experience in the editorial landscape is not limited to this one team. Prior to this, I was working at Framestore, where I was tasked with editorial VFX work. I would process turnover, edits and latest scans, and other responsibilities (e.g, work with count sheets, retimes, resizes, witness cameras). This job also required communicating with in-house and client production, alongside a strong understanding of the VFX post-production pipeline. Thank you for your time, and I hope you consider me for this position.…At Trailer Park Group, I wore a few hats. In my day-to-day, I worked up motion graphics, create digital content, ingest and prepare theatrical, streaming, home entertainment trailers and TV spots, alongside all AV assets for in-house and out-of-house finishing. I was frequently operating as a Motion Graphics Artist. This included; originating creative GFX cards and styles for upcoming projects, adapting content and resizing for EMEA distribution both in creative and campaigns, creating subtle motion posters for digital billboards, and creating DOOH content for other digital screens. In terms of creative editing, I made a variety of DOOH’s for billboards & screens around the country, for FX’s Alien Earth series. Additionally I worked up motion poster content for The Witcher Season 4 and Black Mirror Season 7, playing in Netflix’s NYC Times Square billboard. Editorially, I have created edits for cinema, TV and socials. Most recently I finished cutting together material for FX’s Alien Earth. This included 6 spots consisting of Cinema, TV and socials trailers and cutdowns. I also finished working on the Sky Original Tinsel Town just in time for Christmas, providing TV 30-second spots and TV 10-second spots. I maintain a strong sense of passion for this industry, and am always seeking ways to advance my knowledge in any field I find myself alongside, in an ultimate effort to one day find myself fully immersed in a creative position. Otherwise I was operating under Data I/O and control room responsibilities. This involved assembling dailies, conforming sequences for offline and online, organising assets, creating preps for finishing and final files for distribution. I am confidently transcoding, compressing and converting footage, organising and creating projects for teams, exporting EDLs, AAFs and other related media. I organise folder structures and naming conventions for all our confidential project content kept on the network storage, working with a range of platforms for clients such as Netflix, Disney, Hulu, Amazon, and more. I have strong understandings of file formats, file-based deliverables, frame rates, codecs and post-production workflows. Many of these attributes and skills transfer to my daily motion graphics work. While I was most recently at Trailer Park Group, my work experience in the editorial landscape is not limited to this one team. Prior to this, I was working at Framestore, where I was tasked with editorial VFX work. I would process turnover, edits and latest scans, and other responsibilities (e.g, work with count sheets, retimes, resizes, witness cameras). This job also required communicating with in-house and client production, alongside a strong understanding of the VFX post-production pipeline. Thank you for your time, and I hope you consider me for this position.

Available to hire

At Trailer Park Group, I wore a few hats. In my day-to-day, I worked up motion graphics, create digital content, ingest and prepare theatrical, streaming, home entertainment trailers and TV spots, alongside all AV assets for in-house and out-of-house finishing.

I was frequently operating as a Motion Graphics Artist. This included; originating creative GFX cards and styles for upcoming projects, adapting content and resizing for EMEA distribution both in creative and campaigns, creating subtle motion posters for digital billboards, and creating DOOH content for other digital screens.

In terms of creative editing, I made a variety of DOOH’s for billboards & screens around the country, for FX’s Alien Earth series. Additionally I worked up motion poster content for The Witcher Season 4 and Black Mirror Season 7, playing in Netflix’s NYC Times Square billboard.

Editorially, I have created edits for cinema, TV and socials. Most recently I finished cutting together material for FX’s Alien Earth. This included 6 spots consisting of Cinema, TV and socials trailers and cutdowns. I also finished working on the Sky Original Tinsel Town just in time for Christmas, providing TV 30-second spots and TV 10-second spots. I maintain a strong sense of passion for this industry, and am always seeking ways to advance my knowledge in any field I find myself alongside, in an ultimate effort to one day find myself fully immersed in a creative position.

Otherwise I was operating under Data I/O and control room responsibilities. This involved assembling dailies, conforming sequences for offline and online, organising assets, creating preps for finishing and final files for distribution.

I am confidently transcoding, compressing and converting footage, organising and creating projects for teams, exporting EDLs, AAFs and other related media. I organise folder structures and naming conventions for all our confidential project content kept on the network storage, working with a range of platforms for clients such as Netflix, Disney, Hulu, Amazon, and more. I have strong understandings of file formats, file-based deliverables, frame rates, codecs and post-production workflows. Many of these attributes and skills transfer to my daily motion graphics work.

While I was most recently at Trailer Park Group, my work experience in the editorial landscape is not limited to this one team. Prior to this, I was working at Framestore, where I was tasked with editorial VFX work. I would process turnover, edits and latest scans, and other responsibilities (e.g, work with count sheets, retimes, resizes, witness cameras). This job also required communicating with in-house and client production, alongside a strong understanding of the VFX post-production pipeline.

Thank you for your time, and I hope you consider me for this position.