life is a picture in motion
learn about my career story and how I became the Jill of all trades
My name is Rachel, and I am a creative and enthusiastic video editor, post-production assistant, graphic artist and script coordinator in the New York area. I love being able to wear many hats in my career, as it gives me a unique insight into how television shows and films come together while allowing me to express my creative side.
I currently work for the longest-running sketch comedy show, Saturday Night Live, as a Script Coordinator and a Post-Production Assistant. In addition to SNL, I started my own video editing company called Seaquence Editing, and my own apparel line called Nauti & Nice Co.
I am always looking for new and exciting work, please feel free to contact me for jobs, video editing projects or just to introduce yourself.
MY CAREER STORY
I love the art of story telling and molding it into an entertaining narrative for all to enjoy. The ability to make something out of nothing is a challenging and rewarding adventure.
In the fall of 2013, I started my own editing business called Seaquence Editing, inspired by my love for the water and editing. My favorite office is the one with an ocean view, as I enjoy taking my laptop down to the local harbor and editing my projects to the perfect cut.
Throughout these past few years, I have had the opportunity to work with some amazing people in the industry. From The Tonight Show starring Jimmy Fallon warm up comedian, Seth Herzog, to his wife, Retail Analyst and Author, Hitha Herzog, to the CEO of the Cerebral Palsy Foundation and many more.
I am always looking for new challenges and welcoming new clients. If you are in the market for a video editor, let’s chat! I love working with clients and bringing their vision to life.
Being a Saturday Night Live intern comes with many responsibilities, and one of them was to bring the raw media cards from set to 30 Rock during our remote film shoots. The camera crew would hand me the cards right out of the camera, and I would be off to NBC with the raw media in hand, where I would then hand off the cards to our post-production supervisor, who would then ingest the cards and send me back to set once they were finished ingesting.
This all worked well for some time, however, for safety, we needed someone on set to handle all the raw media coming out of the cameras.
After interning for the production department for two and a half years, I was given the opportunity to become the remote shoots post-production assistant. This role would allow me to safely secure the raw media on location, before sending a shuttle drive to NBC for our editors.
My role on set is an enlightening experience as I have the opportunity to learn both the camera and post-production workflow, and the important roles each department plays in assembling the final cut.
The script department was a path I never thought I would find myself on, however, it was an opportunity I couldn’t give up. It was the chance to be in the heart of it all, and really see all the hard work it takes to go live at 11:30pm. And it’s true what Lorne Michaels says “The show doesn’t go on because it’s ready; it goes on because it’s 11:30.”
Throughout the day, one of my responsibilities as a script coordinator is to keep the music supervisor up-to-date with all the latest changes. Hand marking all the changes into his script book, and keeping him informed when music and voice-overs change.
After dress rehearsal, everyone goes into a meeting as the script coordinators start to receive changes for the air show from the writers. We quickly write the latest changes into our assigned staff books, in red pen, to draw attention to the new changes for air.
As I am receiving changes from the writers, my boss will send me a hand marked copy of the air rundown. I will then quickly type up the finalized air rundown, which will then get copied and distributed to all staff and crew.
Once the air rundown is out, it’s time to get ready for the live show.