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
BECOMING VICTORIA WOOD
CONVICTION :THE CASE OF LUCY LETBY
SHARON AND OZZY OSBOURNE: COMING HOME
HESTON: MY LIFE WITH BIPOLAR
WILD GUANGDONG -BBC/GRT CHINA
ADHD AND ME WITH CHRIS PACKHAM BBC
HUMAN WITH ELLA ALSHAMAHI BBC
WALKING WITH DINOSAURS 2 BBC
SECRETS OF THE NEANDERTHAL, NETFLIX
INSIDE THE AUTISTIC MIND WITH CHRIS PACKHAM (BBC) Grierson Award Winner
THE SECRETS OF OUR UNIVERSE WITH TIM PEAKE APPLE TV, PARAMOUNT+
ITALIA '90 RTS Craft Award nomination for best cinematography
ANCIENT POWERS BILIBILI
WONDERS OF THE MOON WITH DARA O BRIAIN
CRICKET'S GREATEST GAME
EARTH, WITH CHRIS PACKHAM
THE WORLD ACCORDING TO JEFF GOLDBLUM SEASON 1/2 DISNEY
SCIENCE'S GREATEST MYSTERIES BILIBILI
LIMITLESS WITH CHRIS HEMSWORTH DISNEY
ART THAT MADE US BBC
NEW MODEL AGENCY CHANNEL 4
FIRST CONTACT FEATURE DRAMA
DINOSAURS: THE FINAL DAY WITH DAVID ATTENBOROUGH
ALIEN WORLDS NETFLIX
MARS: ONE DAY ON THE RED PLANET NAT GEO
BRIAN COX UNIVERSE NOVA
KILLERS OF THE COSMOS BBC
STONEHENGE: THE LOST CIRCLE REVEALED WITH PROF ALICE ROBERTS BBC
EXTRA LIFE DAVID OLUSOGA PBS
PERSONA HBO
PERPETUAL PLANET: HEROES OF THE OCEAN NATGEO
BAD BOY BILLIONAIRES NETFLIX
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
DYNAMIC PLANET PBS
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. It's similar to the optimos, but it's an all-in-one lens.
And finally, for long lenses, I've got a Carl Zeiss Jena 300mm converted to PL in my bag or 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 E2S6. 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.
2010 - present
2010 - present