What We Do
Quite simply, we are London-based cinematographers devoted to filmmaking. Whatever the project, from features and documentaries to commercials and corporate shoots, we make every frame count.
Our most recent aquisition is the Nikon 80-200mm T2.8 zoom lens. Lightweight and with a great focal range it is a fantastic addition. It joins an inventory that includes the Arri Amira, Canon 17-120mm zoom, Canon EOS C300, DSLR cameras, and various lighting and grip gear.
Whether you are looking for a lighting cameraman, or simply to rent any of our gear, get in touch. We love what we do.
I love the filmaking process. Whether it be solitary filming for a documentary or as part of a 10 man camera team, the pride and joy in my work is the same. The goal of achieving the director's vision is constant and ultimately rewarding.
Having worked predominantly as an assistant for many years I have moved into operating and lighting. I have worked on a variety of different projects, ranging from operating 2nd camera on the BAFTA-winning BBC series 'The Choir' to assisting on feature films such as 'Alan Partridge: Alpha Papa'; 'Belle' and 'The Last Days On Mars'. Along with operating on several TV shows this year, I have also lit promos, music videos and short films.
I have worked around the world on most formats, mainly with Arri, Red, Sony, Canon and some 35mm
As always; bring on the next project!
I am always looking for new ways to create great images: working with the new digital technologies available today excites me as much as when I first worked with film.
Since training at the National Film and Television School (funded courtesy of a tour with Prince), I’ve filmed award winning Drama Documentaries (Banged Up Abroad, Days that Shook the World), prize-winning Short Films (Tooty’s Wedding), Independent Feature Films (Freestyle), acclaimed Documentaries (The Man who Ate his Lover, Fighting the War, Crucifixion), Promos/Commercials and even the odd teenage hit (S Club 7).
Running through this diversity is a constant drive to translate the director’s vision into something even greater than they initially imagined. I love the process in which a swarm of ideas can coalesce into a single frame. It’s about providing filmmakers with the best possible palette, both creative and technological, with which to tell their stories: one of the reasons I’m excited about the new cameras we are working with.
Whether I am working in a stripped back team on an access doc in a war zone, or running a 30+ drama unit in China, the kit must fit the job. Ultimately technology is a means to an end and just one part of the wider creative and collaborative process - a process I am passionate about.