Catherine Ancona

As Content Manager at Raw Cereal for Morgan Wallen’s world tour and select festival and standalone performances, I led content operations across development, edits, and final delivery. I maintained a centralized system of tracking documents, version histories, Frame.io links, and feedback from Google Sheets, Slides, and Frame.io. I created AI-generated visuals using platforms like MidJourney, Sora, and Topaz AI, and sourced licensed media from vendors such as FilmSupply, CGTrader, TurboSquid, Pond5, Getty, and Shutterstock. I tracked licensing costs, negotiated usage rights directly with reps, and ensured all media was cleared and paid for ahead of show deadlines. I also managed our LucidLink media drive, coordinating timely file delivery for programming while organizing and executing notes across departments to ensure seamless updates.

As a Segment Producer managed the full segment lifecycle from pre-production through episodic filming, ensuring continuity and accuracy across evolving storylines and multiple versions. I built custom in-show graphics and visual elements for on-stage use and broadcast packages, and maintained detailed cross-departmental tracking documents to facilitate collaboration between production, art, legal, and editorial teams. I worked closely with editors by preparing structured notes, supervising version updates, and ensuring timely implementation of creative revisions. I also tracked and coordinated the clearance of media assets in partnership with the legal and licensing departments. Throughout each season season, I delivered high-quality work under tight turnaround deadlines while managing logistics and creative details for over 15 distinct characters and narrative arcs.

Responsible for researching talent and building one-sheets, as well as writing questions for story producers to include in episode scripts. Worked with producers, talent, and the graphics department to build custom Photoshop graphics for use within production. Distributed updated and revised scripts throughout the day on set and assisted the Showrunner/EP in the control room during filming to track camera coverage, pickups, and note detailed information for post-production. Additionally, managed scheduling and distribution in regards to the EP and their calendar.

Associate producer working with the creative team on the snow carving competition holiday special. Tasks included building and updating decks for distribution to potential hosts for the show, tracking animation and graphic progress to be cut in later post-production, and casting teams within the competition structure, and producing packages, content, and conversations out of their day-to-day competition reality on set in Colorado. Worked with my producer and other teams in post-production to edit a 4-day competition into a 90-minute special, showcasing contestants' progress, personalities, and arcs over the course of the competition.

Working with multiple producers, production companies, and creative parties in the USA and the UK to develop multiple show concepts. Created and maintained development delivery milestones and meeting calendars among our team. In this role, I held regular brainstorm and creative meetings where I exercised excellent verbal and written communication, and design skills in transforming those ideas into an evolving pitch presentation. Produced a range of diligent and comprehensive research regularly for consideration. Responsible for building out the show structure into both an 8-hour and a 13-hour arced format. Experience in building competitive challenges, set layouts, and script breakdowns. Lead designer of our internal creative deck as well as our prospective pitch deck.

Worked as the point of contact for all SAG-AFTRA talent at The Friends Reunion on behalf of Carley Flinn when she was not on set. Managed confidential contracts, cast exhibit G's, and other tracking documents for various groups of talent, as well as arranging and tracking Covid testing ahead of their arrival on set. Daily duties included being on set to meet talent at arrival, then coordinating their daily schedule with our shooting schedule, and signing them out at their wrap time.

Assistant to the post production team on season 1. Received, organized, and delivered daily shoot updates for our editor for use. Daily binders included editor logs, facing, and lined script pages, and other episodic notes. Transformed one-liners from set into cohesive, up-to-date continuity grids for our assistant editor. Going on runs as needed and managing production card receipts and billing and keeping expenses up to date through the Cashet portal. Assisted in the pickup and delivery of coffee, food, drives, and in-home edit systems to and from our post-house here and in house for WFH editing. Capable of handling delicate information and maintaining confidentiality at all times.

As assistant to the owner of the company, I managed phones, maintained office inventory, tracked, and sent and received incoming and outgoing shipments, ran errands, organized pickups and drop-offs of drives and other post-production materials, maintained department schedules of color sessions, QC screenings for show producers, and online editorial delivery. Promoted in the first three months, online assistant duties included receiving the dailies footage from the set of Batwoman, Katy Keene, All American, and other CW shows, as well as organizing camera and sound rolls within our servers. Sending and receiving shots to and from VFX houses, as well as viewing episode QC screenings to confirm coloring and VFX additions were successfully added without error. In March, with the beginning of Covid-19, daily duties also involved pulling tech and equipment from various show's post offices and installing editor and AE AVID systems in their homes for remote editing and viewing the end of the show's 2020 seasons.

In charge of daily pre-production and interview prep including research as well as physical setup of cameras and lighting. Responsible for camera C operation keeping focus and framing of the interviewees. Daily tasks included assisting in the Tricaster when recording interviews, editing the scripting of individual interviews and segments, post production thumbnail creation across platforms, labeling and organizing footage of off set segments, and in depth research for celebrities and the respective media they planned to promote.