About
A highly organised and adaptable Junior Post Executive with HETV and film experience (interim PS on One Day and Too Much). Supported end-to-end post workflows (go-to for Apple TV and Netflix) for scheduling, budgeting, cut/grade/VFX/mix reviews to final delivery. A trusted problem-solver and multitasker, providing calm focus and expertise on projects that demand precision to drive post-production and ensure on-time delivery.
ScreenSkills Training Passport
Rickardo Beckles-Burrowes has completed the following modules within the ScreenSkills Training Passport.
Experience
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Junior Post Executive
In the capacity of an assistant PS, onboarding and partnering with the PPS / Post Producer, editorial and wider production to help them deliver HETV shows and/or features to spec through each appletv milestone. - Scheduling - answered PPS queries r.e. timings for each stage of post set against apple expectations. Post Grid (distilled version of the main post schedule) support to ensure creative availability for reviews / notes and notes addressed. - Dailies workflow - workflow doc support, troubleshooting facility and PPS queries regarding tech specifications or delivery, setting up the workflow call with relevant internal HODs. - Budget - monitored spend against the initial budget along with tracking title vendor spend. - Delivery - tech spec doc and delivery requirements lists clarified. Shared relevant delivery docs and set up the wider delivery call with the PPS, editorial and production HODs. Ran post paperwork run throughs and answered final QC delivery queries where needed. - Edit team support - helped the PPS choose editors and gather references. Set up BOX and helped with system access. - Facilities - took the vendor lead through content and security for Picture, Sound and Main Title vendors to work on the project and be activated to access all relevant docs and software needed for post. - Mix and Grade - reviewing cuts, spotting, collating commissioner and post exec notes, feeding everything to the PPS. - Post paperwork - template support, reviewed the paperwork documents and approved docs on the system. Oversaw credit drafts being completed and approved. - Meeting and diary - managed the Calendar, ensuring alignment between Post & Creative schedules. - Post Exec - coverage for appletv post execs during their annual leave, managing their shows and addressing any PPS inquiries and updating the Production team on the latest post developments. - Post gear - helping productions access apple products for their cutting rooms and post teams. - HETV shows I supported: Slow Horses S3 - S8, Bad Sisters S2, Prime Target S1, Buccaneers S2 & S3, Hijack S2, Trying S5, Criminal Record S2, Down Cemetery Road S1 / S2, Prodigies S1, The Dispatcher S1, The Wanted Man S1 and Berlin Noir S1. - Features I supported: Fountain Of Youth, Echo Valley, The Lost Bus and The Family Plan 2.
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Post Production Coordinator
- Post management focused on delivering the show with the post producer, in-house facility post team and senior production HODs - Facilities - worked with the internal post team at SPLICE to manage post (collaborating closely on technical delivery) with the post producer, set up and run ADR sessions (managed all the planning and booking of the sessions. While finding new studios abroad (Thailand), outside of London (Nottingham and Manchester) and in London (when there wasn’t space at the post facility) and oversee the general use of cutting rooms - Post paperwork - managed the credits document being adapted/reviewed and completed. I completed the Albert certification. ITV / ITVX had a series of documents I completed such as the Schedule of Residuals. I consolidated all residual percentages across ROW, 2nd and each subsequent UK Primary TX and SVOD, confirming agent and talent payment information. I finalised the chain of title documents including creating and finalising the cast stips, working on getting writer’s agreements, completing music clearance documentation, the E & O document, and clarifying any copyrights and trademarks. - Completed ITV’s producer portal billing template consolidating the main show synopsis with each episode synopsis in different lengths with full cast breakdown per episode. I completed the Silvermouse inputs covering the music cue sheets, diamond diversity monitoring, copyright form, contributor forms and synopses information being uploaded. - Delivery - fleshed out required technical deliverables and paperwork items with SKY to be delivered and oversaw those items being completed.
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Post Production Coordinator
- Edit team support - comms, WFH help (Evercast) and booking cars - Dailies – LTO workflow / tracking with 321 rules per Netflix’s deliverables (across content security and distros). - Facilities - managing EzyPo: raised/tracked P.O.’s and working with SALON for cutting room set up and ongoing cutting room equipment management - Worked on crafting the initial credits document - Post Management - stepped up to Post Supervisor while there was a change of post producer
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Post Production Coordinator
- Edit team support - comms, buying drives, WFH help (Evercast), booking cars, and leading on the COVID protocol. - Dailies – LTO workflow / tracking with 321 rules per Netflix’s deliverables (across content security and distros). - Facilities - (ADR studios), gathered quotes / compared costs and (EzyPo: raised/tracked P.O.’s) negotiated costs. - ADR - gathered pencils, created and managed the ADR schedule and actors’ agents (along with setting up crowd sessions – up to ten actors). Got all cue sheets and pictures delivered to the studio. Actor, director and producer support. - I helped the production PC with the initial credits document. - VFX master tracker management (version control, ShotGrid reviews, EDL reviews, adding new shots, quote requests, writing up all VFX notes, and updating status’). This show had a minimum of 80 VFX shots per episode. - Created the initial deliverables tracker (clearance management). Worked with NBCUniversal’s delivery ops team (completed their onboarding process/documentation) and Netflix (edit updates, content hub access requests, production centre schedule input/changes, change log support, and forced narrative creation).
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Post Production Coordinator
- Editorial - Evercast / avid set up (overseeing software access: BOX files, Aspera) for the edit team. - Admin - COVID protocol management for the edit team and post office. - Dallies - drive LTO workflow management (naming convention checks, tracking, and backup). - ADR management - creating the ADR schedule, I booked actors (arranged the cues, alts, picture transfer, source connect/zoom set up), owned the budget which I brought in under budget completing all the ADR on schedule. - Delivery - kickstarted the delivery paperwork, creating the delivery tracker (Paramount+ Post Locker / All4Media portal updates).
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Production Coordinator
● Scheduled a multi-cam/location shoot (UK / EU – permit sourcing) with David Olusoga OBE BAFTA winning Producer/Presenter. ● Booked crew, arranged their contracts (gathered invoices / arranged payments), created call sheets, hired equipment (drives / red camera / drone – pilot certificate and permit) and arranged travel (taxis, train bookings and hotels). ● Managed contributors (booking them, setting up director meetings with them, arranging their covid and release forms). ● Involved in research, archiving and stock image sourcing and clearances. Helped with location set up and DIT support. ● Backed up rushes (updating the master rushes log) using ShotPut Pro. ● Helped the LP complete forensic spend analysis (cost per film vs budget, shoot days vs spend, spend for offline per day/film vs the budget. Driving cost saving). ● Lent two days on set support on co-prod (feature) between Storyfutures Academy, BBC, BFI, Final Pixel and Uplands TV called Once On This Familiar Spot. ● Supported a BBC show called Union, sourcing studios in Belfast and Glasgow with equipment hire / crew for the shoots.
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Senior Marketing Leader (video production)
● Led global multi-disciplined teams for marketing campaigns, video production (PC experience across a spectrum of clients. Oversaw scheduling: creating call sheets, organising V. O’s and overseeing post production tasks). I refreshed my HETV / film production knowledge during the pandemic to return to the industry.
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Writer / Copywriter
Script writing work (5 completed features), copywriting / copy editing (for serialised television drama, video production and corporate) producing content across social, digital and media channels. Published poetry work included in the following anthologies are: - Like Family (Writer / Author – Feb 2011): a poem written which was published by United Press Ltd in their anthology called 'Here & Now'. - Smoking Butterflies (Writer / Author - May 2003): a poem written which was published by United Press Ltd in their anthology called 'Heartland'. I oversaw and developed the inkmoves.com website (Wordpress / digital marketing experience).
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Assistant Production Coordinator
● Supported the production office (with some runners reporting to me) executing the H & S protocol, created call sheets, arranged transport for talent / key crew, booked equipment and helped with on set equipment storage. ● Acted as a contact between the production office, cast and crew (I ran lines with actors helping talent management). ● I had a SA role playing 'Second West African Brother'.
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Boom Operator
● Operated a fisher boom / fish pole to manage the film's sound capture supporting the sound recordist (who I learned a ton from about sound management) and rigged radio / lavalier mics.
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Post Production Coordinator
● I coordinated bookings (completing dailies reports via the reporting tool for data coordinators data flow creation, updating storage files and archiving rushes) for a variety of production companies. ● Liaised with edit assistants, editors and external clients (giving updates r.e. issues / delays). ● Updated the folder system to better manage admin (completing worksheets / client billing) and ad hoc tasks (edit suite scheduling) for the wider post production team.
Education and training
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Post production explained: aspect ratio part one
ScreenSkills Funded
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Post production explained: colour spaces part two
ScreenSkills Funded
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Post production explained: colour spaces part one
ScreenSkills Funded
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Diversity and inclusion training for HODs in High-end Television 2025 - 2026
ScreenSkills Funded
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The ScreenSkills AI briefing with Kelsey Farish: Part 2
ScreenSkills Funded
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The ScreenSkills AI briefing with Kelsey Farish
ScreenSkills Funded
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Leaders of Tomorrow Induction session
ScreenSkills Funded
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Leading effective teams in post-production for HETV
ScreenSkills Funded
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Final Draft training for HETV
ScreenSkills Funded
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Webinar for HETV: Building your career portfolio
ScreenSkills Funded
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Movie Magic budgeting for high-end TV
ScreenSkills Funded
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Budgeting 101
ScreenSkills Funded
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Addressing unconscious bias: basic awareness in the workplace
ScreenSkills Funded
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Addressing unconscious bias: basic awareness in the workplace
ScreenSkills Funded
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Coronavirus basic awareness on production training
ScreenSkills Funded
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Tackling harassment and bullying at work
ScreenSkills Funded
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Demystifying unscripted TV post production: London & South/South East
ScreenSkills Funded
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Film and TV apprenticeships: working in the production office
ScreenSkills Funded
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Camera & sound equipment 101
ScreenSkills Funded
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Demystifying unscripted TV production: London & South/South East
ScreenSkills Funded
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Sustainable resilience
ScreenSkills Funded
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Demystifying unscripted TV production: Northern Ireland
ScreenSkills Funded
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ACES Training for HETV
ScreenSkills Funded
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Networking skills for freelancers
ScreenSkills Funded
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Business Toolkit for film and HETV freelancers
ScreenSkills Funded
Certificates
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Post production explained: aspect ratio part one
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Post production explained: colour spaces part two
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Post production explained: colour spaces part one
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Final Draft training for HETV
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Tackling harassment and bullying at work
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Rickardo Beckles-Burrowes
Junior Post Executive
Badges
Freelance
Industries
Regions can work
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