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 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 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.
Most recently in was the Visual Effects Director of Photography on The Dinosaurs – An epic journey into a lost world from executive producer Steven Spielberg, Amblin Entertainment, Industrial Light and Magic and the award-winning team behind Our Planet. Narrated by Morgan Freeman.
I am also DoP on a film about arctic wolves for Disneynature which will be out next year.
I filmed the wave washing killer whale sequence for Our Oceans, now showing on Netflix.
Previously I was VFX DoP on Life on Our Planet – an epic 8-part series for Netflix. I worked on all VFX across the series and several natural history sequences, in total contributing to over 40 scenes. Now showing on Netflix!
I also worked on Frozen Planet 2 – shooting 6 sequencea across the series.
From 2015-2019 most of my time was spent working on Our Planet, which is now showing on Netflix. I was one of the principle cinematographers working on 18 sequences across the 8-part series.
Before that I was principle camera operator on BBC’s The Hunt (2015) working on all episodes and contributing to 20 sequences across the series.
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.
