When I'm not making my own films, I work as a lighting camera operator. I have worked on shorts, features, music videos and corporates. Here are the videos, I could find online, from productions I have shot. Enjoy!
(* by the title means that I edited the video as well as shot it)
I was asked by Andrew Clark to join him at Goth Fest to shoot this live music video for The Faces Of Sarah. We shot them play live at the Camden Palace (now known as KOKO), Andy taking one side of the stage, shooting the lead singers and me on the other side shooting the rest of the band. We really didn't have a plan, but the video came out really well.
White Admiral was the first film that I shot with Stephen Southouse. Stephen is a feature director who makes his own kind of films. I answered an advert on UK Filmscreen looking for a cameraman to shoot a feature in Cornwall. There wasn't much money, but I liked the idea of shooting in Cornwall for a couple of weeks. It was fun to work on, and I would come back and film Blood + Roses at the same location that White Admiral shot at.
This is second feature I shot for Stephen Southouse. We filmed down in Eastbourne over a couple of weekends. I worked on this while I was in post production on Blood + Roses. I got to work with Elizabeth Knight, who was in White Admiral. It was such fun, that I casted her in the prologue for Blood + Roses.
Clive Ashenden, Rob Wickings and Stephen Cartwright were taking part in the Straight 8 competition. The idea is that you shoot a short story on roll of super8 film. The guys asked me to document the making of their entry, Code Grey, and I said yes. (I have included the short for you to watch)
Benjamin Green made this short film to raise funds for a feature by the same name. He asked me to come onboard and operate the second camera. Days before the shoot, the other camera operator dropped out (I don't know why), so I became the first camera. We shot in the same gym that I shot Moving Forward and Why I Fight! in, and I got to work with Adrian Annis, who appears in Modern Love.
This is the third feature I worked with Stephen Southouse. This one was shot in Greece and Eastbourne. We shot all the exteriors over in Greece and then the interiors in Eastbourne. I have to say that the two locations didn't match up. I wish we could of shot the whole thing in Greece. It would of had a better than shooting in that basement.
Paul Davis asked me to come with him and film John Landis doing an intro for a special screening of An American Werewolf In London. We went down to an undisclosed location to meet John. This was my first time meeting John Landis and he was exactly everything I thought he would be. We had an hour with him and for most of that hour John Landis was doing other work, while chatting with us. We only filmed with him at the very end. Paul and me set up our the camera and then John joined us. He asked me about my framing, I told him and he directed me to cut him off at the arm. (So I can say I have been directed by John Landis) We did 2 takes of the intro for the screening, then 2 more for an intro for Love Film, and after that he was off. He was at the time adding the finishing touches to Burke & Hare.
I got to go to the screening of An American Were In London at London Zoo. It was part of Volkswagen See Film Differently screenings at locations where certain films were shot. We got a tour of the zoo, pointing out all the places where they shot the film in the zoo. Then we got to watch the film, with the intro we shot at the beginning. It was great experience. (Here's the promotional video for the event)
This was the final film that I shot for Stephen Southouse. We shot in a basement again, though this time it was in Brockley, London and not Eastbourne. The story is about a woman who imprisoned is in a mental institute and her way of dealing with it is to split her personality into different characters. About 40 actresses played the same character, which on paper sounds like an interesting idea, but there wasn't a script, so there was no direction with the story. There is so many angles you can shoot in a basement with 2 white walls. Also I wasn't credited for being a DOP and the credit went to another guy who didn't know what the hell he was doing. There was one point where we were shooting a scene with a girl and snake, and this guy nearly stepped on a light and eletrocuted himself. When the film was finished, I decided that I wouldn't work with Stephen again. I don't want to work with someone who doesn't give credit when I, and others, worked very hard to make the most out of very little.
I met Christopher Martin on Demons And Doors. He was the other cameraman on that shoot. A couple of months later, he asked me to shoot the behind the scenes video for a music video he was making. I was joined by Sound Recordist Fredrick Roche, who also worked on Demon And Doors. Freddie and me were picked up and driven to the Secret Nuclear Bunker in Essex. There was a roadsign that acturally read this way to the Secret Nuclear Bunker. We stayed there all night, shooting Chris and his team shoot, and we got to interview the band too. It was a lot of fun to shoot. (Here is the music video for you to watch)
Clive Ashenden works as an editor at a company called Markitteers4DC and he was able to pitch a client this idea for a viral campaign. They liked it and they commissioned Clive to go out and make this video. So he got Keith Eyles and whole of fellow filmmakers to work on this. He asked me to came on as camera operator.
We shot for 2 days in various locations in London and a third day in Gravesend. We shot on the ferry that crosses the Thames there. And then we had a fourth day in a studio, shooting all the news reporters that appear in the video. As a camera operator I got to use the Canon 7D and a Digicam camera. I had gotten so used to shooting with DSLRs, that it took a while to get back in the swing of using these older cameras. Also using a black and white eyepiece didn't help neither. But I'm very happy with how the video came out and it did really well online. A credit to Clive and Keith.
I was invited by Andrew Clark (now known as ADC) to come up to Leceister and help film this event. With the help of ADC and Darren Kemp, we filmed the panels with the cast of Aliens, as well as panels with Terry English, Chrissie Overs and Charles de Lauzirika. It was a lot of fun to shoot and inbetween panels I got to experience the convention and chat to the guests.
Clive was happy with my work on The Vanished, that he asked me to shoot his next short film, Out Of Hours. Clive had written a script Stuart Wright that utilitises the building he works in. We had the run of the place. We shot on the roof, in the garage, in Stuart's office, in the staircases, most of the place. I was able to get ADC onboard as well, so we had two cameras rolling on a lot of the action scenes. ADC was able to bring a gluidecam with him, so we could have some steadicam shots in the film. It was a lot of fun to do, and I won best cinematography at Braine Hownd Awards for Out Of Hours.
Warren Spencer asked me to shoot this music video for Skreamer. We spent the day with the band, filming the perform in a church in Finchley. The night before it had snowed, so it was very slippery outside. Also the temperatire in the church was just above freezing. The band never complained once, having to perform in those conditions and only wearing t-shirts.
After doing the music video for Warren, he asked me to help him film these viral videos for Bootcamp Pilates. There was a series of four of them and I shot two. The videos were for the Beach Body Challenge, hosted by Korin Nolan and Sasha Parker. The idea being that with pilates and a diet, you could get you body ready for the beach. So I got to shoot an exercise video and food video all rolled into one.
I had just been working with Phil Snowden on one of the stories in Modern Love, when he asked me if I would be interested in filming this video for him. As well as an actor, Phil is also a dancer, and he had worked on this tap routine with his cast mates from Billy Elliot The Musical. We filmed it in the same location as I shot Three Little Words months before. It was very cold that day, but Phil had brought along a blast heater. It looked like a jet engine. And we only needed it to be on for a few minutes to heat up the room. The dance sequence wasn't easy to shoot. We had to break it down into components, so that I could follow the action. I couldn't do it in one shot, which would of been cool, but needs must.
I was asked by Mike Tack to be the second cameraman on this music video that he was shooting. He asked me to shoot all the wide shots and slow motion shots. I also helped out with the crane shots, that we improvised using a forklift truck. It was a lot of fun to shoot.
This is from a pilot for a series of Youtube videos about insulating your home to make it more eco friendly. I got to used a C300 to shoot this video for production company, Through The I. I had applied for a job as a videographer with the company, but after this shoot, I didn't really hear back from them. And I currently don't know if they went on to make this series of videos. I will keep an eye out for the full pilot.