HOT SHOTS 2011


Left to right: Andy Stallabrass, Nick Armstrong, Paddy Garrick, Alex Hay, Paul Routledge


ANDY STALLABRASS, 24


ADR mixer, De Lane Lea Since starting as a runner at De Lane Lea in 2008, Andy has acquired a string of credits, including Torchwood and The Shadow Line. He has worked on a variety of high-end TV dramas, documen- taries and feature films, with some of the biggest names in the industry. When given the chance to work as assistant to ADR mixer Peter Gleaves, he took the opportunity with both hands. Michael Hamilton, head of sound and vision


at De Lane Lea, says clients from the US, UK and all over the world are asking for Andy by name when booking ADR with the company.


NICK ARMSTRONG, 29


Offline editor, Envy Post Production After starting at Envy as a runner in 2008,


8 | Broadcast Hot Shots | August 2011


Nick was soon promoted to the machine room. He excelled as edit assistant, quickly becoming a team player on whom other staff could rely, and was promoted again this year to offline editor. He has been exceeding expectations ever since. Nick is now editing a variety of work coming


though the door for Envy’s short-form depart- ment, including brandings, promos, commer- cials and corporate pieces. He has also been quick to gain client confidence and has already been involved in high-profile projects including work for Guinness, Yahoo! and Film 4. Envy head of offline services Jai Cave says: “His positive attitude and strong technical ability have ensured that clients are already coming back asking for him.”


PADDY GARRICK, 27


Offline/online editor, colourist, dubbing mixer and SFX, True Vision Having arrived at True Vision as a runner three years ago, Paddy is now in charge of all post- production and has mastered the skills to enable the company to do grading and final sound finishing in-house. True Vision managing director Brian Woods


says when a deadline was pulled forward and the money to grade ran out, Paddy learned how to do it to a professional standard within a week. His key achievements include the graphics for


Poor Kids. Woods says the results were so good that most viewers thought they were real. For him, having Paddy means “we can afford to go over budget on shooting and offline, knowing we can make major savings in final post”.


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