Highlights Of The Week


Three Blueberry Editors Doug HowarthYulia Martynova and Billy Rich worked on this week’s episode of Everest Rescue, titled Summit Fever, which airs on Sunday night at 9pm on Discovery UK, produced by Betty TV.

With exclusive 360° access to Everest’s elite search and rescue and medical teams, this dramatic series follow those who risk everything to save and treat the sick and injured in one of the most treacherous terrains in the world.

Blueberry Editor Nick Webb produced, edited, soundtracked and even co-starred in his most recent personal project, short film Weather The Storm.

The stark beauty of Shetland in winter provides the perfect backdrop for a couple in search of reconnection in this short, which premiered on Thursday night at Regent Street Cinema, preceding the screening of Paul Kelly’s feature How We Used To Live.


Steve Teers is one of our most experienced editors, who has a strong musical background providing him with a trained ear and eye for stylistic presentation.

He’s the subject of this week’s Spotlight. Read all about him on our website.

Highlights Of The Week


New series Mutiny premiered last Monday night on Channel 4. In the show nine men, adrift in the Pacific Ocean, set out to recreate one of the greatest feats ever: the 4000-mile trip of Captain Bligh in a tiny wooden boat after the mutiny on the Bounty. Blueberry Editor Graham Cox worked on the second episode for Windfall Films, part of the Argonon Group and GroupM Entertainment.

Although UK air dates haven’t been announced yet, season 2 of docu-series Finding Jesus: Faith, Fact, Forgery just started last week in the US and this Sunday’s episode 2, “Raising Lazarus”, which airs at 9pm on CNN, was edited by Blueberry’s Doug Howarth for Nutopia. Finding Jesus discovers fascinating new insights into the historical Jesus, utilizing the latest scientific techniques and archaeological research. Check it out!

Not one but five Blueberry Editors – Yulia Martynova (ep 3, 4, 6), Billy Rich (ep 4), Doug Howarth (ep 4), Jonathan Kelly (ep 5) and Gabriel Edvy (ep 5) – worked on new series Everest Rescue, which premieres this Sunday, March 12th, on Discovery UK at 9pm, produced by Betty TV. With exclusive 360° access to Everest’s elite search & rescue and medical teams, this dramatic series will follow those who risk everything to save and treat the sick and injured in one of the most treacherous terrains in the world.

When he’s not in the cutting room, Blueberry Editor Karl Watson is busy with his passion project, travel documentaries from his backpacking adventures around the world. He has just started releasing First Time In Africa, the video accounts of his 5 week exploration of Africa from Cape Town to Victoria Falls. The first two episodes are now available on his YouTube Channel.


This week we celebrated International Women’s Day by looking back at the Spotlights of the three most recent female sign ups in our talent pool.

Editor Suga Suppiah is a Sri Lankan/Australian raised in Japan, who has collected stories from around the world, having moved around a lot whilst growing up and that’s what originally drew her to filmmaking as her storytelling medium.

Motion Graphic Designer/Animator Lily Baker hails from the tropics of Brisbane, Australia, but attended University in Montréal, Canada, and after graduating, she moved to London and worked in advertising in Client Services.

Last but not least, Director/Self-Shooter/Editor Zan Barberton is a massive storytelling geek who loves documentary but also revels in the lighter stuff and works for broadcast but also for various charities.

Steve Teers – Editor

Who is Steve Teers?

I’m a seasoned documentary editor with a keen eye for narrative but also a Transylvanian farmer, dad, cyclist and ambient piano player.

How did your career path develop?

After a childhood in Coventry immersed in theatre and photography, I graduated in music and dance and spent several years as a professional musician. A chance meeting in a Wimbledon pub led to my first video job – runner on Spandau Ballet’s ‘Through the Barricades’. I went on to run a community video project, which evolved into Diva Pictures, a facility and production company bringing the first Avid editing system to Ealing Studios.

Diva Pictures grew rapidly after a series of lucky breaks – and always saying ‘Yes’. I was asked to film a musical tour of Mongolia, yacht racing for Champagne Mumm, and Hilary Clinton at the White House. While I loved shooting, having an Avid suite to hand meant my editing skills became increasingly in demand and when I met director Jaine Harmston Green, my broadcast career really took off. With Jaine I edited a dozen peak-time one hour ob docs on issues such as anorexia, tourettes, witchcraft and middle-aged mummy’s boys. We also made music docs ‘The Truth About Take That’ and ‘JLo Behind the Behind’.

After nearly 20 highly fulfilling years at Ealing Studios, an upsize in the family meant a downsize in the business and about five years ago I signed up with Blueberry. My first job with them was simply an honour – on the team editing ‘Steve Jobs – iChanged the World’, a fast turnaround tribute put together within days of his passing. Since then work has been a pretty much continuous stream of broadcast credits covering crime, disaster, science, drama docs, nightmare neighbours, benefits, teen mums and gardening.

What do you consider your greatest achievement/s so far?

Looking back, every project salvaged from the jaws of disaster is an achievement, every picture lock brings closure to a work of passion. Then, the following day there’s a brand new challenge. I’m definitely more selective in the projects I take on these days. Juggling a career with a young family and a small farm in Transylvania is an achievement in itself.

Any projects you are most proud of and why?

By day I was editing Jennifer Lopez, but by night I co-produced and edited the independent doc feature ‘Jeremy Hardy vs the Israeli Army’ featuring the Radio 4 satirist’s sardonic observations as he was shot at whilst marching with unarmed demonstrators attempting to bring peace to the West Bank. The doc has gone on to cult status with screenings at film festivals around the world.

In complete contrast, being editor on ITV’s ‘Our Queen at Ninety’ and BBC 1’s ‘Royal Recipes’ has at last given me a credit my mother approves of.

Share your biggest lessons in life and work

Editing is something that requires a wide range of skills, a lot more than just operating software. My early experience performing music and learning about choreography has proved invaluable in making pictures sing, along with a general knowledge derived from extensive travelling and awareness of the world.

Be grittily but cheerfully determined to deliver, while diplomatically dancing to the often contradictory tunes all around you. Know that the job requires infinite patience and know when to meticulously craft or rapidly assemble. And always ‘keep it sweet’, telly-land is a very small place…

View Steve’s full portfolio.

Highlights Of The Week


This week’s episode of MTV’s new series Spring Break With Grandad was the first one of three instalments cut by Blueberry editor Daniel Kemp. In the show, six sexy singles head to spring break to prove that they are the biggest party animals on the planet. To survive, they must follow one rule – party hard or go home – but there’s a catch: can our spring breakers really party hard when their grandparents are watching their every move, or will the grandparents themselves turn from mild to wild? The judge of the situation is the ultimate party boy, Geordie Shore’s Gary Beadle.

Blueberry Editor Jonathan Kelly cut this week’s episode of Channel 5’s new series Secrets Of The National Trust for Spun Gold TV. Hosted by Alan Titchmarsh, the documentary series explores National Trust properties and this episode is about Quarry Bank Mill in Cheshire, an 18th-century working mill and museum, one of Britain’s greatest industrial heritage sites.

Congratulations to Blueberry’s Motion Graphic Designer/Animator James Zwadlo on his latest, cool, personal project. He created the music video for The Chainsmokers’ new single Something Just Like This featuring Coldplay, which premiered at last week’s Brit Awards.

According to a YouTube representative, the lyric video racked up over 9 million views in just its first 24 hours of availability, a new all-time record for a lyric video, beating the one previously held by Justin Bieber.


One of the most recent additions to our talent pool of Motion Graphic Designers, Lukas Schrank is the subject of this week’s Spotlight

Since completing his degree in Multimedia Design at Northumbria University, he has been working across film, advertising, VFX and motion graphics. In 2010 he also co-founded Visitor Studio, an award-winning directorial partnership and production company where he has been producing graphics and animations for TV, alongside directing music videos and short films.

Lukas Schrank – Motion Graphic Designer

Who is Lukas Schrank?

I am an award-winning filmmaker and motion graphics artist, with a special interest in hybrid 2D/3D narrative work.

How did your career path develop?

I began my career working as an interaction designer for Imagination. I found that gradually, the work I created was getting less and less interactive and more focused on narrative, to the point where the only interactive component was a play button.

I went from there to taking on freelance roles across London as an animator, compositor and designer, mainly for clients like the BBC and Channel 4. I gradually built a clients’ pool that allowed me to start a business in 2009 – Visitor Studio –  a production company and directorial partnership.

My work is now split between commercial projects and directing film projects, with one last short film and a feature in the pipeline.

What’s your greatest achievement/s so far?

I lived in Australia for two and a half years and during that time I produced and directed a short film titled Nowhere Line. The film started off as a small side project but went on to win multiple awards internationally and gain media coverage in The Guardian, The Atlantic, Buzzfeed, as well as being featured in Canadian, French and Australian news.

Any projects you are most proud of and why?

Aside from Nowhere Line, I’m still quite fond of Eris – a music video created for electronic artist Warsnare – and also Our Futures LTD, the first short film I did with George Thomson, my collaborator at Visitor Studio. Both of these projects were produced on extremely low budgets, which sometimes lead to the most creative output, since you’re constantly under pressure to find innovative and original ways to achieve a certain result.

Share your biggest lessons in life and work

I don’t feel like I have lived or worked enough yet to offer much wisdom. So far I’m just trying to keep learning and challenging myself.

View Lukas’ full portfolio.

Lee Hilse – Editor / Self-Shooting PD / Producer

Who is Lee Hilse?

Born in South Africa, I studied Film and Media at the University of Cape Town. Selected to be part of a prestigious class of only 24 students, during my first year in the Film production’s major course I won the Film Society’s main prize in the film competition. Later, I was commissioned by the head of the faculty to produce content for the department.

How did your career path develop?

After moving to London in 2006, I started as a runner at a small digital agency in Shoreditch, spending most of my time doing video compression and small edit amends. When that company was merged with Momentum (IPG) I quickly moved into a senior editor position and produced all corporate work for the agency up until the end of 2013.

What do you consider your greatest achievement/s so far?

One of my greatest achievements was getting British citizenship in 2014 and then, finally, deciding to go freelance in 2016.

Any projects you are most proud of and why?

At the end of 2013 I moved from more corporate video work into producing content for broadcast. After working across infomercial, long form and short form content, mastering commercial-selling techniques, I helped land the Dyson account for the agency.

At that point Dyson was not producing any DRTV content in the UK, but wanted to run a test campaign to see if it would produce results in their home sector.

The first campaign for DC59 Cordless exceeded all expectations and built the groundwork to go on and produce more than eight campaigns with one of the UK’s biggest international brands. I still manage post production and edit commercials for Dyson.

Share your biggest lessons in life and work

One lesson I believe strongly in is working creatively with clients to produce the best content possible…

“Don’t be afraid to push back creatively and advise clients on best practice. Work with them, but not against them. If they came to you it’s because they like what you do and the results it produces. You have the experience and that’s what they are paying for.”

View Lee’s full portfolio.