Bilingual Video Producer for Chile

I’m a video producer and editor in Oakland, California, working in English and Spanish. I lived in Chile for a few years and I’m fluent in Chileno — the speed, the swallowed consonants and dropped endings, and the chilenismos that don’t travel easily.

Most of my work is for public agencies, health institutions, nonprofits, and infrastructure projects, most recently the Port of Oakland, the City of Berkeley’s public health department, and UCSF.

The first video of the set below was produced in Chile for Educación Popular en Salud (EPES), a community health organization with a U.S. foundation, Action for Health in the Americas, shot in Spanish, with Chilean staff and the communities they serve, but made for U.S. supporters and donors.

The middle two are U.S.-based videos, one for UCSF, the other for the City of Berkeley. The fourth is an excerpt from Ghost Town to Havana, a feature documentary I edited, co-directed by Roberto Chile in Cuba and Eugene Corr in the U.S. It follows two youth baseball coaches, one in West Oakland and one in Havana, through to the day the Oakland kids fly to Cuba to play. It screened in English and Spanish and traveled the U.S. festival circuit.

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With filmmaker partners in Chile, credited as partners, not hired hands. Chile has a highly developed film and documentary sector. In the partnership, they have access, know the terrain, and see what’s happening in a room I’m not standing in.

I know what a U.S. audience needs, and I do the editing.

Before a camera rolls, and throughout production, we discuss what we need for the video. A shot list that might include the walk to the clinic, because a crew that lives in Santiago has no reason to film a street that isn’t remarkable to them. A standing rule about not letting a program get named by its initials on camera — everyone in the room will know what MINSAL or FONASA stands for, but nobody in Chicago will. A list of follow-up questions important for the video that won’t occur to anyone to ask, because to them the answers are self-evident.

During production, I review material right after it’s shot, while there’s still time to capture what’s missed. For scheduled interviews with decent bandwidth, I can join on a live link to monitor and suggest follow-up questions I may need for the edit.

When a project needs me on the ground, and the budget supports it, I travel — but as a decision, not a default. Otherwise, the production budget stays in Chile.

U.S. and international foundations and NGOs with programs in Chile, who have to show their work to their own donors and boards.

U.S.-funded research and scientific operations in Chile, where the site and the staff are Chilean and the audience that has to be convinced — and approve the budget — is here.

Chilean organizations whose funding, board, or foundation sits in the U.S. or Europe.

Working with a partner organization in Chile? Here’s a page in Spanish you can share → Español

If you already have video or images — from a partner, a past shoot, an archive — I can work with what you have, structuring a story and editing a bilingual cut for the audience you need to reach. Perhaps we pair that with an interview or two in the U.S. or Chile.

You might find it easier to begin here and bring me in earlier on the next one.

Faber Productions is a U.S. company. Contracts, invoicing, and insurance all work the way your finance office expects, in English and in dollars.

Deliverables include English and Spanish versions, captions in both languages, and short vertical cuts for social when you need them.

I enjoy talking about people’s projects even when they don’t turn into work. If you’re still figuring out what’s possible, what’s realistic, or whether you need someone like me at all, get in touch, and we can talk it through.

[email protected]