ABOUT ME
With 25 years of experience in the broadcast industry, I've had the pleasure of working on a diverse range of productions - from major Disney projects to smaller, independent productions at the BBC. My passion lies in capturing the best possible visuals to bring any project to life. I've been very lucky to have travelled extensively and have roughed it in practically any desert, mountain range or jungle you'd care to mention. In these conditions, things go wrong, the weather gods hate you, kit fails and yet it's under this pressure that I thrive and often where the magic happens. I'm practical, resourceful and can turn even the most unlikely locations into something decent.
I started my career as a scriptwriter and 3-machine linear editor for a local production company after earning a Spanish degree from Leeds University. This early experience gave me a unique perspective on the production process. As a dedicated cameraman, I strive to work closely with directors to ensure we have a clear understanding of the project's vision, scope, and locations before the shoot. Let me help you bring your project to life with stunning visuals that will make it shine.
RECENT/CURRENT WORK
WALKING WITH DINOSAURS SPECIAL EDITION WITH CHRIS PACKHAM
I shot this on the tribe 7 blackwings - not only did they bring a unique look, their low contrast helped enormously with the high contrast exteriors on the dig site, totally transforming the look. I shot all the exterior mivs outside using a 9m2 silk frame and blackouts.
INGENIOUS HUMAN WITH ELLA AL SHAMAHI
There was a tough walking shoot in Verona with minimal kit - I decided to use a set of battery operated small inflatable lights. They packed down into one bag and were light enough to boom over the presenter and contrib for perfectly lit interior chats
THE VANISHING OF DEBBIE GRIGGS
I opted for cooke 2x anamorphics for this period true crime to bring a fantastic cinematic look. I also extensively used the ghost filter for flashbacks as used in Disney’s Paradise.
BECOMING VICTORIA WOOD
There was a very tight schedule for the drama days with Jessica Barden, so I brought the full lighting kit for the recce. We plotted every lighting set up and taped down marks for every light and camera position for each set up. On the day we seamlessly moved between set ups in 15 minutes and easily got through our set ups.
OPERATION ANTARCTICA (Immersive)
An experimental shoot to be able to create an 8k circular image. I sourced the camera, after testing numerous bodies, the unique optics and even made rear nd filters for the 220 degree lens.
PROJECT BIGFOOT (Immersive)
I worked as a gaffer on this and as we were shooting high speed macro, I brought in a series of gennies to power the very latest LED fixtures, including the massive Godox MG6k
THE OSBOURNES: COMING HOME (Last ever interview of Ozzy!)
CONVICTION: THE CASE OF LUCY LETBY
HESTON: MY LIFE WITH BIPOLAR
I went with the ironglass lenses for the recon on this one. The dramatic nature of the sectioning scene on a very limited budget really demanded a lot of ingenuity. The spectacular flare and swirly bokeh of the 58mm, which we augmented with off camera dive torches, along with a very dramatic top down lighting from an overhead soft source, combined to make this pretty convincing. We also shot through some antique pieces of 1970s interior glass windows to help obscure and confuse.
HUMAN, Ella Al-Shamahi (BBC)
I filmed Ella in some very extreme temperatures in Ethiopia. For the pieces to camera I brought a massive 1.8m shoot through umbrella, which created a wonderful soft light, much more flattering than the incredibly harsh overhead sunlight, and portable too!
WILD GUANGDONG (BBC/GRT)
I did a lot of this with the then newly released probe 2 lenses. I also brought a lot of battery fixtures, so we could film macro close ups at night time with overhead softboxes to create a fantastic glint in the carapaces of various animals.
INSIDE OUR ADHD/DYSLEXIC MINDS WITH CHRIS PACKHAM / (BBC)
I used a selection of unique photographic stills filters to distort and warp reality to get a sense of the subjects perception. I also shot one film entirely on the gimbal in about 20 lit interiors eventually ending up a mountain at sunset, in one day - and yes this was before adolescence…
WALKING WITH DINOSAURS 2 (BBC)
I shot this in 8k VV to give as much resolution as possible for the graphics people. I opted for zeiss supremes on this to keep the look sharp and neutral.
THE REST IS HISTORY, HOW A SAVILLE ROW SUIT IS REALLY MADE
SECRETS OF THE NEANDERTHALS, NETFLIX
For one sequence outside in dappled high contrast light, I hung a massive silk between the trees to create a beautiful, convincing overhead soft light.
EARTH, WITH CHRIS PACKHAM (BBC)
DYNAMIC PLANET: THE ELEPHANTS OF DAMARALAND (PBS)
THE WORLD ACCORDING TO JEFF GOLDBLUM SEASON 1/2 (DISNEY)
Jeff’s dynamism ruled out the use of primes, so to not stifle his performance, I opted for a set of optimo zooms from angenieux.
INSIDE THE AUTISTIC MIND WITH CHRIS PACKHAM (BBC) (GRIERSON, RTS WINNER)
ITALIA '90 (RTS NOMINATION, CRAFT NOMINATION)
I used a push in on a motorised slider for all of the intro shots to each of the contributors - ending on a frame that mirrored their panini stickers from the time.
CRICKET’S GREATEST GAME (FEATURE DOC, BBC)
ALIEN WORLDS (NETFLIX)
SECRETS OF OUR UNIVERSE WITH TIM PEAKE (C5)
Just before shooting a total eclipse, the main camera blew up. I rebuilt a shoulder rig from the gimbal camera to shoot a one chance only piece to camera with Tim during the 78 second totality. I had to perform a 13 stop iris pull using lenses that focussed backwards - looking at the final sequence, you’d never guess the stress that went into solving that one.
PERPETUAL PLANET: HEROES OF THE OCEAN (NAT GEO/DISNEY)
I shot this on Atlas Orions -which proved to be quite a heavy set up for the gimbal - but the pre dawn gimbal shots were definitely worth it.
FIRST CONTACT (BBC FEATURE DRAMA DOC)
BAD BOY BILLIONAIRES (NETFLIX)
DINOSAURS: THE FINAL DAY WITH DAVID ATTENBOROUGH (BBC)
ART THAT MADE US (BBC - CLEARSTORY)
I used mk2 superspeeds for the fantastic recitals of Paradise Lost performed by Anton Lesser. The shallow focus of the vintage lenses picked out his eyes to really add to the mesmerising delivery.
LIMITLESS WITH CHRIS HEMSWORTH (NUTOPIA -DISNEY/NAT GEO)
A YEAR ON MARS (ARROW MEDIA)
I used a selection of very wide lenses for the landscape shots, to create the illusion of a small sun, in keeping with the martian location.
ANCIENT POWERS BBC (Nepal, Pakistan)
BRIAN COX OUR UNIVERSE (NOVA EDITIONS)
SCIENCE'S GREATEST MYSTERIES BILIBI
NEW MODEL AGENCY CHANNEL 4
FIRST CONTACT FEATURE DRAMA
DINOSAURS: THE FINAL DAY WITH DAVID ATTENBOROUGH
MARS: ONE DAY ON THE RED PLANET NAT GEO
KILLERS OF THE COSMOS BBC
EXTRA LIFE DAVID OLUSOGA PBS
PERSONA HBO
EXTINCTION: THE FACTS WITH SIR DAVID ATTENBOROUGH BBC
CLIMATE CHANGE: THE FACTS WITH SIR DAVID ATTENBOROUGH BBC
THE AGE OF THE IMAGE BBC
JACK THE RIPPER: THE CASE REOPENED WITH EMILIA FOX BBC
BREAKING A FEMALE PAEDOPHILE RING C4
WOULD YOU SAVE A STRANGER? C4
OPERATION GRAND CANYON WITH DAN SNOW BBC
CIVILISATIONS WITH SIMON SCHAMA BBC
TEA: ONE CUP, A THOUSAND STORIES MIGU
CHINA'S MEGATOMB REVEALED NATGEO
THE HUMAN BODY: YOUR SECRET LIFE REVEALED BBC
COUNTDOWN TO LIFE: THE NINE MONTHS THAT MADE YOU BBC
GEAR
I absolutely love shooting with Red cameras, and my personal choice is the RED DRAGON 6k camera. It's super versatile and offers both 6k, 4k and 1080 shooting modes.This dsmc2 is a proven workhorse, capable of delivering in the most difficult of situations. All modern cameras now produce great images, but this sensor is special, the last of Red's sensors to truly have a look of it's own.
I'm really pleased with my set of DULENS APO mini primes. I've followed this boutique company since it's kickstarter campaign and now have the full set of their lenses. Unique swirly vintage style bokeh and a tribe 7 like rainbow flare, with leica like colour rendition.
I also have an Ironglass modified set of high-speed vintage Russian PL mount cine primes, which includes lenses at 20, 24, 35, 58, 85, and 200mm, mostly at t2. These lenses have gorgeous flare characteristics and are super flattering on faces.They were used on the last Batman film and were the main lenses used on DUNE 2.
If you're looking for something a bit more modern with a very useful macro feature across the whole range, I have a set of Sirui Jupiter Primes. They're fast for macros at T2 and offer a stunning look wide open with an incredible close focus for unique framing 24, 35, 50, 75 and 100mm.
For a single lens run-and-gun solution, I always pack my PL mount Sirui 28-85. It's a super unique lens that fully covers the massive 8k vv sensors. It has a nice look, especially on the long end, vintagesque but with reliable modern mechanics to give your run-and-gun documentary a touch of class. I also have a matching pair of red zooms, the 18-50 (great in cars) and the 50-150 (useful with the doubler)
And finally, for long lenses, I've got a unique custom made PL mount Sigma 150-600. Very sharp and long enough for some natural history, it has the advantege of being able to be run on a standard set up.
I also have a full set of zeiss jenas, if you want to go completely retro - the 50mm pancolar in particular, is spectaular.
On the gimbal, I really like the blackmagic design 6k. The image from that sensor is much more organic than the ultra sharp video look of mirrorless. I use a vintage set of nikon ais lenses from the 1980s, great colour rendtion and compact size make them ideal. Paired with dji lidar, you can even get fast vintage autofocus on the gimbal.
As an alternative B camera, I also have the incredibly compact, resilient and silent zcam E2F6. Used on the Mission Impossible series and Project Hail Mary, these cameras have ace colour, are great in low light and with a native 3:2 6k sensor are a good option for anamorphic set ups. I recntly used this set up for night time crocodile hunting with Chris Packham in Borneo. The old nikons flare beautifully and worked well with the Blackwings we had on the main camera.
2010 - present
2010 - present