Zoe Slater on Showing That There’s a Place for Women on Technical Teams

Q> How old were you when you got into VFX editing?

Zoe> I was 22 when I started working as a VFX editor, transitioning from an assistant editor role after finishing university. VFX had always intrigued me, but I hadn’t had many opportunities to explore it fully until I came across this role. It felt like the perfect bridge between my interest in VFX and my editorial experience.

Q> What inspired you to get into the film industry?

Zoe> Growing up, my dad owned a business installing home cinemas, and we had a prototype system in our house. This meant regular movie nights testing the latest technology. Almost every weekend, we’d grab some popcorn and dive into as many films as possible—classics, musicals, and every genre in between. Those experiences sparked my fascination with the big screen and inspired my ambition to one day see my own work up there.

Q> What has been your greatest accomplishment in your career so far?

Zoe> One of my biggest achievements was creating and implementing a new internal workflow. Coming from a heavily DaVinci Resolve-based background, I wanted to expand my skills in Nuke Studio and Hiero to better support the artists. I taught myself these programs in my spare time and collaborated with our talented team to experiment with new workflow ideas. Taking this process from concept to execution and seeing it in daily use—delivering successful results—was a very proud moment for me.

Q> What has been your favourite project to work on?

Zoe> My favorite project has to be Top Boy. It was my first as a VFX editor, and while I was still finding my footing, it remains a standout experience. Everyone involved cared deeply about the production, which was reflected in the quality of the work. It was incredible to contribute to something that resonated so strongly with the public. This project also marked the first time I saw our work on the big screen, which was an unforgettable moment.

Q> What’s been the greatest challenge since starting?

Zoe> The biggest challenge has been keeping up with the ever-evolving technical landscape of the film and TV industry. For instance, adapting to the introduction of ACES as an industry-standard color space and keeping pace with constant software updates required us to adjust our processes quickly. While the learning curve and time constraints have been demanding, it’s been rewarding to continually adapt and expand my skills in such a dynamic industry.

Q> What’s your favourite thing about working for Creep?

Zoe> My favorite thing about working at Creep is the people. The collaborative environment here is unlike anything I’ve experienced elsewhere. No matter your level of seniority, your ideas and suggestions are valued, which fosters teamwork and innovation to develop the best workflows possible.

Additionally, Creep has trusted me with opportunities to work on high-profile projects that I might not have had access to in other roles at my age. This trust has been instrumental in accelerating my growth and skill development, for which I’m incredibly grateful.

Q> What’s your goal for the future?

Zoe> My personal goal is to continually develop my technical skills and use them to build a successful, cohesive VFX Editorial team.

I also want to raise awareness about the importance of the VFX editor role within the industry. It’s a role that isn’t widely recognized, especially by those just starting out. When I graduated, I didn’t even know this job existed, and I’d love to use my experience to highlight its significance.

As a woman in a male-dominated sector, I’m also passionate about showing that there’s a place for women on technical teams. I want to encourage and inspire others to pursue these roles confidently.