"I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense." - Roger Deakins
Light something well and capture it on the right medium for the project. If it suits the story and doesn't distract the audience, I've done my job. In saying that, I'm all for run and gun, gimbals, smoke filled rooms and backlit silhouettes.
I've operated a range of motion picture cameras and formats. DV, HDV, HD, 8mm, 16mm and 35mm (briefly!) From swimming around Tahiti with a housing to hand held to live ENG style for Bluesfest and Splendour in the Grass festivals.
Ever swam around in cold, deep, dark, shark infested waters? Hearing the story of a shark attack that happened on the beach 500m closer to shore looping in your head while trying to capture footage and photos for a potential project? Most surf photographers can relate to this. I've done it. It's fun and a huge rush. If you get a shot and the surfers get some waves there's a feeling there that's very hard to replicate. If they don't get waves then you've at least got some shots that will console you while they mope on the way home.
Aside from water photography I've shot products, weddings, family portraits and festivals for London Street Art Design.
Writing & Directing
I'm not a yeller. Nothing worse than a loudmouth bossing people around in my view. I like the Robert Rodriguez approach... get an artist on set and teach the actors to paint between time on camera. I haven't done it yet but damn that would be cool...
From writing to directing talent, my experience ranges from working with professional actors on narratives to BASE jumpers illegally jumping from radio towers. I like the 48hr film festivals where it puts your idea creation and writing to the test and ultimately makes you let go of perfection, which is freeing in itself. Recently we were finalists in a few categories and took out the best location award for my rode reel 2018 international short film competition.
Cannibal Corpse never sounded as good as when I listened to terribly recorded educational content for two weeks.
The worst editing job I've had was early on in my uni days. Myself and a colleague captured about six hours of educational content that was edited down to three hours. That was the good part. The bad part was the lapel mic was badly secured and we had no backup audio. This resulted in two weeks straight editing the cracks out of the audio from the mic rubbing the talent's shirt. Scrubbing forward until I heard a pop or crack, scrubbing back to find the frame/s where it was bad, cutting it, replacing it with room tone or some other similar vocal note. Luckily this worked and the result winded up in select libraries around Australia. Throwing on some Cannibal Corpse after this sounded like some brilliant melody echoing throughout the opera house.
Outside of the above services we can provide creative solutions to many visual and aural problems. Pre production, production or post production. We’ll answer any question. If we can’t we will point you in the direction of someone who can