Our Great National Parks

Our Great National Parks

Netflix

My Role

As offline editor on Our Great National Parks, I cut the episode Monterey Bay, working with producer Sarah Connor under the executive production of James Honeyborne at Wild Space Films. The series required a balance between authored storytelling and observational natural history, shaping sequences that conveyed both the scale of protected landscapes and the intimacy of the lives within them.

My role focused on narrative construction, emotional pacing and performance, ensuring that behaviour, environment and narration were woven into a clear, cinematic structure that could sustain both wonder and meaning.

Editorial Approach

The editorial rhythm of Monterey Bay was built around contrast: the vastness of the Pacific meeting precise, delicate moments of marine life. The cut allowed space for atmosphere and geography, while carefully sculpting dramatic arcs through timing, movement and reaction.

Pacing was designed to let sequences unfold naturally, resisting unnecessary compression, and allowing the audience to settle into place and process scale. Music, narration and natural sound were treated as equal narrative partners, with transitions shaped for flow rather than impact alone.

Why This Project Matters

Our Great National Parks celebrates conservation through immersion, inviting the audience into protected environments not as spectacle, but as living systems. By focusing on a single location in depth, Monterey Bay reveals how fragile, complex and interconnected these ecosystems are.

For an editor, the project is about restraint and respect — allowing landscape, behaviour and time itself to shape the storytelling, and trusting that presence can be as powerful as pace.

Credits Block

Platform: Netflix
Production Company: Wild Space Films
Executive Producer: James Honeyborne
Producer: Sarah Connor
Episode: Monterey Bay
Role: Offline Editor
Software: Avid Media Composer
Year: 2023