Uploaded February 2020 | Updated September 2026, 11 hours ago
Bluey was an Aussie cop show in the mid 70s that I edited with Phil Reid. I designed and edited the opening titles sequence along with director Ian Jones. The "Hydra" episode was one of my proudest achievements in editing as the director, David 'sailor' Stevens, gave me the creative freedom and latitude to restructure what he had shot.
I was considered a bit of a rebel by many at Crawford Productions. I didn't conform to 'traditional' editing techniques used at the company. However, one of my most ardent supporters was Ian Crawford, a producer I respect very highly, still do to this day. Negative cutters dreaded getting one of my shows to cut negative - just take a gander at the clock countdown sequence and you understand why, bear in mind this was long before digital editing, each 2 frame splice was made by hand, therefore the same went for the negative.
Please forgive the video stamp at the top of the image.
Bluey was an Aussie cop show in the mid 70s that I edited with Phil Reid. I designed and edited the opening titles sequence along with director Ian Jones. The "Hydra" episode was one of my proudest achievements in editing as the director, David 'sailor' Stevens, gave me the creative freedom and latitude to restructure what he had shot.
I was considered a bit of a rebel by many at Crawford Productions. I didn't conform to 'traditional' editing techniques used at the company. However, one of my most ardent supporters was Ian Crawford, a producer I respect very highly, still do to this day. Negative cutters dreaded getting one of my shows to cut negative - just take a gander at the clock countdown sequence and you understand why, bear in mind this was long before digital editing, each 2 frame splice was made by hand, therefore the same went for the negative.
Please forgive the video stamp at the top of the image.
