I’m Christina, born and raised in Hamburg, Germany and now a passionate freelance animatic editor based in London.

My journey into the realm of moving pictures began during my time in school when I discovered the captivating art of video editing. The thrill of problem-solving and perfecting timing and rhythm within storytelling led me to fall head over heels for the craft.

My venture into animatic editing unfolded unexpectedly. While seeking work placements in London’s film production scene, I got introduced to the world of “animatics”, took the plunge and discovered an innate talent. Since then, I’ve dedicated myself to editing animatics, guiding projects from initial rough drafts to meticulously timed final edits, ready for animation (and beyond).

One consistent praise I’ve received is my ability to work swiftly and efficiently without compromising quality. In fact, I’ve often been told that I work too fast! Being neurodivergent, this ability to work at a rapid pace while maintaining exceptional quality is part of the unique skill-set I bring to the table.  Feedback often commends my organizational skills and the depth of my commitment to every project I undertake.

Collaboration is at the heart of my process. While certainly capable of working independently, I thrive on close collaboration with directors, producers, storyboard artists and other editors. Working closely with the director early on in a projects allows me to really understand their style and preferences, ensuring a smooth and independent workflow down the line.

My portfolio boasts a range of projects, from leading the editing on SkyKids series “Ready, Eddie, Go!” to contributing as an assistant animatic editor on a Disney short (“Kizazi Moto: Generation Fire – Enkai”) and MAX’s “Peter & the Wolf”, among others. Some of my work on Christmas commercials, notably Erste Bank’s “First Christmas”, has garnered viral attention.

My educational background in German Language, with a focus on theatre and media studies, adds depth to my storytelling abilities. My hands-on experience and commitment to self-education have honed my skills. 

Balancing creative vision and client expectations can be challenging. I excel in proposing creative solutions that align with both visions. However, when necessary, I advocate for the film’s best interest, while respecting the client’s final decision.

Looking forward, my aspiration is to delve deeper into longer-form projects that echo my values and touch on my special interest, such as representation of neurodiversity (or any kind of diversity for that matter), children’s education and mental health. (If anyone at ‘Bluey’ is reading this – please drop me a line!)