Ceri Thomas
FILMOGRAPHY
Mix Technician
Werewolf – Louis Morneau – Universal ▪ Any Day Now – Travis Fine – PFM Films ▪ Missed Connections – Eric Kissack – Draw Me a Sheep Productions ▪ What to Expect When You’re Expecting – Kirk Jones – Lionsgate ▪ End of Watch – David Ayer – Open Road/Crave ▪ Hunger Games (Dialog Predubs) – Gary Ross – Lionsgate
Assistant Sound Editor
The Raven – James McTeigue – Relativity ▪ Morning Glory – Roger Michell – Bad Robot/Paramount Pictures ▪ Green Zone – Paul Greengrass – Universal Pictures ▪ Quantum of Solace – Marc Forster – Eon Production/Sony Pictures ▪ Number 1 Ladies Detective Agency – Anthony Minghella – HBO/BBC ▪ Vantage Point – Pete Travis – Sony Pictures ▪ Casino Royale – Martin Campbell – Eon Productions/Sony Pictures ▪ Incendiary – Sharon Maguire – Wild Bear Films ▪ Primo – Richard Wilson – Rainmark Films ▪ United 93 – Paul Greengrass – Universal Pictures ▪ Doom – Andrzej Bartkowiak – Universal Pictures ▪ Corpse Bride ▪ Tim Burton ▪ Warner Brothers ▪ Charlie and the Chocolate Factory – Tim Burton – Warner Brothers ▪ The Last Drop – Colin Teague – Carnaby Films ▪ Kingdom of Heaven – Ridley Scott – 20th Century Fox
EMPLOYMENT & ACHIEVEMENTS
Todd-AO Studios ● January 2012 - Current
Mix Technician
Managed all aspects of the mix process from desk build to final delivery. Working on Avid’s System 5 large format mixing console. Troubleshooting of signal flow issues. Liasing with sound supervisors, producers and editors to ensure complete and accurate delivery of all requirements.
Danetracks ● March 2011-September 2011
A leading producer of soundtracks for large-budget feature films.
Supervising Assistant Sound Editor
As Supervising Assistant designed work flows, stage setups, audio specifications and final on-time delivery. Train and supervise assistant sound editor and interns in daily operations, troubleshooting and problem resolution associated with audio post on a feature film project.
Member of Avid Customer Advisory board ● 2008 - Present
Board Member
As one of twelve customer advisors on the board for EMEA, meet approximately once a quarter with Avid corporate executives and product managers to feedback upon upcoming product lines and service directions.
Freelance Consultant, London, UK ● May 2010 - April 2010
Technical Consultant
As technical consultant for a range of clients, I was responsible for specifying, installing and troubleshooting systems.
- Managed projects from conception through implementation of audio suites.
- Pre-sales design and specification of systems.
- Post sales configuration, training and support.
- Top-line technical support for clients including Pinewood Studios, Anvil Post (Technicolor UK) and Real World Post.
Soundelux London, London, UK ● 2004 – March 2010
A leading producer of soundtracks for large-budget feature films with 10 FTEs and team of up to 60 freelancers.
Supervising Assistant Sound Editor/Technical Manager
As Supervising Assistant, oversaw the production of the most recent 2 James Bond films; designed work flows, stage setups, audio specifications and final on-time delivery.
- Scope out and evaluate new workflow technologies to ensure smooth running of the film. Train, motivate and supervise 3 assistant sound editors in daily operations, troubleshooting and problem resolution.
- Promoted to this position through levels of progressive responsibility after initial hiring as Second Assistant; helped out on mix stages and provided technical services.
- Facilitated 2 complete company shifts, including 1 physical relocation and 1 integration process after acquisition by a new parent corporation; succeeded in finishing the project with no loss of productivity or equipment.
- Shifted asset management records from a series of critical Excel spreadsheets to a FileMaker server format that consolidates all data into a single information source and allowed for calculation of depreciation.
- Switched the company over to a new network/VoIP connectivity platform; also transitioned from paper storage to digital, along with deployment of eFAX solution.
- In charge of specifying, allocating and maintaining all production and administration machines, along with designing network specification for implementation by the parent company’s network team.
John Hardy Music, Cardiff, UK ● 2004
A well-known film composer in the industry.
Assistant
Hired for a 5-month assignment to perform a wide range of technical support functions.
Enabled the realisation of Cubase midi files by converting to Sibelius scores and updating project archives from Acorn to Macintosh.
Technical Manager
Quickly adapt to rapidly changing environments, deploy leading-edge technologies, streamline work flow and deliver innovative solutions to top industry professionals.
Diverse experience in post-production, film scoring and technical operations within the TV and film entertainment market niches. Recognised by industry leaders for successfully instituting process improvements, introducing cost-reductive actions and providing advanced capabilities to enhance mission-critical operating efficiencies and exceed the demands of a demanding client base.
Strong Technical Manager, Process Strategist, Team Leader and Change Agent for delivering innovative product lines, coordinating sales efforts, overseeing multi-discipline groups and completing complex integrations in time-sensitive settings. Consistently met project deadlines and exceed client expectations.
Multi-Project Management ♦ Emerging Technologies
Cutting-Edge Software ♦ Work Scope Definition
Resource Allocation ♦ Operating Policies & Procedures
Operational Streamlining ♦ Peak Quality Assurance
EDUCATION AND WORK AUTHORISATION
BA in Creative Music Technology (Upper 2nd Class), Brunel University, 2005. 2 A Levels, 2 AS Levels and 11 GCSEs.
British Citizen, EU authorised.
TECHNICAL BACKGROUND
Avid Pro Tools systems administrator. Advanced user of Titan, Virtual Katy, FileMaker Pro and Logic Pro 8 on Macintosh and PC platforms. Proficient in HTML, MS Office and Final Cut Pro.
Boards and Memberships
Avid Customer Advisory Board EMEA
Virtual Katy Expert Panel
MPEG Local 700