Kicking off the first (very late) episode of 2020 is an unusual PSA film. It tackles some unusual challenges including water, miniature sets and motion control systems.

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Today I talk with Emmy-nominated director Zach Lipovsky. Zach has directed and produced projects for Syfy, Lionsgate, Legendary and Disney. Following the recent release of his feature FREAKS, we talk everything from getting started in film, to directing for big studio productions and everything in-between.

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This episode covers my first experience on a car spot. It was a test of my adaptability with lighting, working with both available and staged lighting, as well as my ability to problem solve on the fly and be a team player when sh*t hits the fan.

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Today I speak with our first guest. I'm so privileged to invite ex-west end STOMP! performer Omari (Motion) Carter to the podcast. Omari has been building a Screendance production company for several years now and has been a close collaborator of mine on several projects to date, some of which I have already done breakdowns for in the podcast (The Oner, Tripods For Sea Sickness, Finding A Documentary). In this episode, we navigate his development into directing.

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Episode number TEN!!

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This shoot was a culmination of past experience all coming together to craft a visual style that was story driven but still heavily conceptual. Working with mixing camera sensors and shaping a location using practical lighting.

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This episode is a bit of a different format. I'm looking over multiple projects to compare and analyse the various interview setups I've done over the years. This selection of frames spans both planned and unplanned interview setups as well as high key & low key looks. Enjoy! 

I'm walking through the process of lighting and shooting a Gospel music video. This video had us in one very conventional studio and one very unconventional location. This music video project is also the project responsible for hooking me on the Kinefinity cinema camera bandwagon. Enjoy! 

A look at an old project from back in the 5D heyday. From braving the freezing beaches of northern England in late November to the shifting workflow of shooting for coverage, rather than executing specific visuals shot by shot.

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A look at one of my favourite dance films to date. This hybrid concept short/music video was a great chance to explore my love for available light.

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