My route to the camera department was actually via editorial, somewhat unconventionally! After a brief foray in Drama as a Runner in my first year of work, I undertook a BBC & Skillset production training scheme, throughout which I worked as a Researcher in Factual, Docs, Current Affairs and magazine programmes; it was a terrific grounding.
2012 to 2019 saw a progression to working as an AP, (CBBC, Sam & Mark, Blue Peter, ITV Tonight) and subsequently as a Shooting Producer/Director; from Educating Greater Manchester (C4) to RTS Award-winning Celebrity Antiques Road Trip (BBC2).
I love people and storytelling, but my love of image-making won out, and in 2019 I side-stepped to working as a DoP. Since then I have worked on a wide range of Factual & Fact-Ent programmes - Adventure series for National Geographic, to First Dates (C4), to devising the look for new BBC Factual formats. I have a relentless work ethic, I'm a tireless problem solver and I know what's needed in the edit to make programmes flow - I've been there!
I'm always up for a challenge; new talent, hard to reach locations, tricky kit specs. There is little that can't be achieved with the right approach.
Sam & Mark's
Big Friday Wind Up
Sunday Morning Live
Full CV and rate card available. Please call or email.
Bits for Production Managers!
I'm fully insured with a camera specialist for kit, PLI, indemnity. I'm also covered to hire high-value items from hire companies (Shift 4, Visual Impact), for example large lighting setups or specific high-end prime lenses.
I've held 3 x 'J1' Visas for the USA and 2 'I' Visas - the second of which is current until 2023. I have travelled to the USA, with carnets, for the BBC, Nat Geo and under my own name. Please ask ahead of time if your production is shooting in North America.
I'm HEFAT trained and am still a serving Reservist in the British Army. I have extensive experience working in harsh, austere and hard to reach environments and am conditioned to working with in sub-optimal and highly physically & psychologically stressful conditions.
Very often, you'll be engaging multiple people across a large series and it's unsurprising - with the advancement and variety of high-end technology - that people own different cameras. If you need something that I don't have on the shelf, I can hire in for you. Sometimes this will require a discussion about extra cost, sometimes I'm able to absorb it. Please ask.
Media Management & Stock
On most occasions, wrangling on location is sub-optimal. If you can take rushes to an office and manage them there, that's better. I am able to wrangle data on location but it requires a level of kit for which I need to charge. Also, bear in mind that it takes time which ultimately comes off the shooting day and means I don't have the camera in my hand.
I hold stock for the camera systems I use. However, as per T&Cs, my preference is that production supplies stock. If you want me to supply, please ask, though bear in mind it incurs cost. A single 128GB SxS card for an F55 costs a thousand pounds (£1000), so when a production needs 4 per day, you're into the territory of the cost of a camera. I need to reflect this in what I charge.
Get in touch. Projects vary substantially in time commitment, kit requirement and length. I'm happy to talk about buy-out/reduction for series or large bookings.