I am a documentary cinematographer, DoP and Producer. Over the past 27 years I have worked on many iconic natural history series and films for Netflix, Disneynature and the BBC.
For the past 8 years I have been VFX Director of Photography across two major Netflix series with Silverback Films, working closely with Industrial Light and Magic, Amblin Entertainment and Executive Producer Steven Spielberg.
I have won multiple BAFTAs and EMMYs for cinematography. I specialise in tracking vehicle work – using gimbals mounted on vehicles to film behaviour and create sequences with style and movement.
For the past 3 years I have worked as Visual Effects Director of Photography on The Dinosaurs – a 4-part Netflix series with Silverback Films, Industrial Light and Magic, Amblin Television and Executive Producer Steven Spielberg.
Previously – Life on Our Planet – an epic 8-part series about the history of life on Earth. This series combined VFX with natural history footage. I worked on all VFX and several natural history sequences, in total contributing to over 40 scenes.
Recent natural history work includes filming the wave washing killer whale sequence for Our Oceans (Netflix) and working on Frozen Planet 2 (BBC) – shooting 6 sequences across the series.
From 2015-2019 I was one of the principal cinematographers on Our Planet (Netflix), shooting 18 sequences across the 8-part series.
From 2013-2015 I was principal cinematographer on The Hunt (BBC). Working across all episodes and contributing to 20 sequences across the series.
In my role as VFX DoP I work closely with the directors and VFX supervisor in creating each scene from inception right through to the edit.
I love crafting behavioural interactions, drawing on my experience of filming wildlife, and choreographing scenes that feel real and embedding the creatures in the worlds we create.
We then take that to location and create a distinct visual style by shooting dynamic plates around each character and then I work with the team through the animation blocking and final animation processes to help bring the scenes to life.
I try to give my camerawork a distinctive style and cinematic feel, to engage the audience and give them a real sense of the animal and its environment.
For me tracking rigs are not about camera gimmicks, but immersing the viewer in the animal’s world… to create sequences which are engaging and cinematic.
I enjoy the challenge of filming behaviour with gyrostabilised systems. You need a great understanding, not only of the animal, but of the capabilities of the camera platform.
You have to be able to coordinate both vehicle and/or crane movement, whilst reading and predicting what the animal is about to do and operating a long lens via remote control.
Great fun!
I develop and adapt rigs for each sequence to meet the particular challenges of the environment and species.
I work closely with producers to deliver on the editorial brief and try to create styles which are engaging and cinematic.
I love the challenge of pioneering new camera rigs, developing filming techniques and pushing myself to find new ways to tell engaging stories.
I have experience of filming in all environments. Sub-zero conditions in the Arctic, Antarctic, Russia, Europe, New Foundland, Northern Canada and North America. At high altitude on Kilimanjaro, Mount Kenya and the Andes.
On the savannahs of East Africa and North America, to the forests of Europe, India, South America, West Africa, Central Africa, Indonesia and Vietnam. In the deserts of South America, Israel and Southern Africa, to the coastal waters of the Arctic, Antarctic, UK, North America, Caribbean, Central and South America and the open ocean in the Pacific, Atlantic, Arctic and Southern Ocean.
