Alongside my curatorial practice, I have worked as a French>English subtitler and translator and English SDH subtitler (subtitles for the D/deaf and hard of hearing) for over 20 years. Being firmly rooted within both the exhibition and distribution sectors as well as the audio-visual translation and subtitling sectors has enabled me to bring a strongly industry-informed approach to all aspects of my subtitling practice with a broad and in-depth knowledge of access for cinema and the arts.

During my time in Paris, I found myself moving further toward FR>EN subtitling and translation, leaning on my writing and technical skills as well as my background in film studies. After returning from Paris, I was trained as a subtitler at former post-production company IBF in 2001. I was soon promoted to the role of Head of Translation, managing the full subtitling output of the translation department as well as working on FR>EN, EN>EN (UK/US) templates and EN>EN SDH projects.

Through Day for Night, I have established a meticulous approach to subtitling practice, taking a strong 'film studies' approach, always seeking to enhance the viewing experience, staying true to a director's or author's intentions, whilst keeping the audience at the forefront of my thinking and practice.

I provide subtitles for filmmakers, producers, film festivals, film distributors, art galleries and museums, with specialisations in world cinema, documentary, experimental works and artists' moving image, and opera, music and visual arts content. I have equally worked on episodic television series, children's programming, sports content and broader factual programming.

I have particular expertise working with filmmakers and film festivals, often working on subtitle preparation for film submissions to film festivals, for world premieres at major film festivals and script translations for funding applications. I have worked on subtitles for films screening at festivals such as Berlinale, Busan International Film Festival, Edinburgh International Film Festival, International Film Festival Rotterdam, Karlovy Vary International Film Festival, London Film Festival, Sundance Film Festival, Tokyo International Film Festival, Toronto International Film Festival and Venice Film Festival among others.

I also work with artists, preparing subtitles for moving image works shown in exhibition contexts in galleries, museums and alternative spaces.

I have subtitled several thousand films and programmes over the course of my career, whilst also managing projects in other languages. Whilst I work mostly from French to English and create SDH subtitles, I am partly based in Tokyo and regularly work on JP>EN projects together with a small team of JP>EN translators. I also manage projects in other language combinations into English, working together with colleagues, before thoroughly reviewing and signing off English subtitles, ensuring both linguistic and technical accuracy. Beyond subtitling, I also moved into audio-description after engaging in research on the subject over 15 years ago, using my writing skills and wider technical knowledge, to write audio-description scripts and manage audio-description projects.

More broadly, I also offer consultancy to film festivals, cinemas and venues on issues around accessibility and programming in relation to offering SDH, BSL, AD, improved translation of often low-quality subtitles for non-English films, softitling for archive material, and other areas of accessibility to consider (eg. screenings for neurodivergent audiences and pre-school audiences/young families).

Throughout my career, I have always been a strong advocate for the subtitling profession, particular using my position straddling both film exhibition and distribution and the AVT sector, and therefore with a unique an in-depth understanding of both areas and thus the needs of festivals, cinemas, distributors and broadcasters as well as deep understanding of how to enhance moving image works through the use of subtitles.

Moreover, I am passionate about accessibility, diversity and inclusion (particularly drawing on my own background) across the film industry and firmly believe that subtitling is a vital element of film production, exhibition and distribution that must be placed at the forefront of the industry in order to serve wider and diverse audiences for all forms of audio-visual content and moving image culture.

I am recognised as an expert in the field of subtitling and access, having given numerous guest lectures on subtitling, presented papers at conferences - particularly on the intersection between text and image on screen in relation to film exhibition and distribution, and written more broadly on access and diversity in the film industry, and I remain a strong advocate for subtitling as an art form.