Iain Miller is a film and television editor with 15 years of professional experience including around 30 hours of broadcast drama and several feature films. He specialises in drama and comedy but is also experienced with documentaries, commercials and animation.
Iain has a BA (Hons) in Film Studies and is a member of the British Film Editors (Guild).
Primarily based in Scotland, Iain is willing to travel internationally in search of the right project. He is also fully remote capable with an in-home cutting room able to accommodate two additional clients/creatives.
I'd been editing for about 5 years on a variety of corporate videos and short films when Case Histories arrived in Edinburgh. I was extremely lucky to be offered the position of assistant editor by Line Producer, Brian Kaczynski. I'll always be very grateful to him and to Simon Cull and Brendan Reilly at Serious for giving me a crash course in AVID Media Composer (yes, I'd never used it before).
THE INBETWEENERS MOVIE
Working on Case Histories I had the great fortune to meet several experienced film editors including William Webb. William was the editor of The Inbetweeners tv-series and asked me if I'd like to work on the new feature film. This took me to London where I gathered tremendous experience in Soho managing two edit suites and liaising with other institutions like Deluxe, De Lane Lea, BBFC and Film4.
I worked the project from cradle to grave and the experience gathered here would set me up for the rest of my life.
My first foray into animation came on Halo 4: Spartan Ops (the multiplayer story mode to the main game). Every week after the games release a team of players would watch a 5-6 minute animated cut-scene to progress the story and then play a level. This content ran for approximately 60 minutes and represented a daring step into long-form content for Axis Studios, who have gone from strength to strength. I've continued to collaborate with Axis on a variety of projects ever since.
I came onto the project quite late as an assistant editor to Nick Emerson and Jake Roberts whom I'd met on an earlier David McKenzie film called Tonight You're Mine (2010).
It was on this project that I began to fully understand the mechanics of drama editing; watching rushes and recutting intense scenes (in my own time) between Ben Mendelsohn and Jack O'Connell was a big step in my development.