A short selection of my work drawn from recent productions out of the UK & USA. If you'd like to see further scenes from these projects you will find them on subsequent pages.
This was a huge privilege to be involved with. A rich story with complex and varied characters, set in a critical time in American history. I had a wonderful time creating the tone for this journey into the unexpected for the James Franco character.
Shot on older Hawk anamorphic lenses in the 2:1 aspect ratio, the Red Dragon helped deliver a bold look for this land mark show. Teaming up with some fantastic directors, first class writers, great design and of course an amazing cast, this was one of the best experiences for me.
An exciting new political thriller starring Kiefer Sutherland for ABC in the US and Netflix in Europe. I had the good fortune to work with many talented people both in front and behind the lens.
Shot with the Alexa on Master Primes.
Shooting all twelve episodes of this exciting new show for Steven Spielberg and Amblin was a dream come true. A sci-fi set in modern day is a great place to create visuals from in my point of view. The pilot had set a great tone that I enjoyed extending as the series progressed and became more and more intense. Harking back to a camera style Kubrick might have enjoyed, we often staged whole scenes on either the 21mm or 27mm, providing a bold visual language for the series.
Lead by the wonderful Charles Beeson, we had a fabulous team of directors and similarly superb writers to inspire us on this one.
This Pilot was shot in the wonderful city of Cape Town. Collaborating with Scott and Vaun was a thrill. Employing older Cooke Express anamorphic lenses to hark back to some of the great sci-fi - fantasy movies of the past, while also lending a more painterly look to this spectacular new world. It was a rich experience for me to create the lighting & camera moves for these superb sets and locations forming an almost comic book style.
Directed by Scott Stewart, written by Vaun Wilmott for the Sy-Fi Channel.
Titanic was a fantastic opportunity for me. To design a lighting rig that could service the camera moving all over the entire ship, in a tight studio in Budapest. The challenge was to ensure the set matched both in dry sequences and wet, split over two stages and divided by many weeks . However, the most important aspect of all was maintaining a visual intimacy with the eighty plus characters, in spite of the spectacle happening all around.
Written by Sir Julian Fellows and directed by Jon Jones for ITV & ABC.
Bletchley was a gift of a piece to photograph. It had a superb ensemble female cast, a great story set just after WWII, and beautifully designed sets and costumes. I really enjoyed creating a kodachrome style look to the lighting to lend the show a strong sense of the period, while maintaining the tension of the thriller element of the script.
Produced by World Productions, directed by Jamie Payne and written by Guy Burt for ITV.
A wonderful portrait of rural England in the 1920's: the rich, the poor and the third character, the land. This was a very traumatic and emotional episode for many of the characters who were reaching the climax of the series. I loved creating the mood through camera and light to support these wonderful actors both on stage and in the stunning period locations.
The Village, written by Peter Moffat and directed by Dominic Leclerc for BBC1.
A select few escape Earth's destruction to a distant planet to start a new life. What an exciting premise to build visuals for a pilot! With a fabulous sc-fi set to design the lighting for and breath taking landscapes near Stellenbosch, South Africa, this truly was a magnificent project. Shot with older anamorphic lenses on the Arri D21, the director & I wanted to evoke a retro look.
Directed by Bharat Nalluri, written by Ben Richards for BBC1.
This was a terrific opportunity for me to design the lighting for such a range of very large and exceptionally beautiful sets. Built over two stages in Cardiff, Wales, I gained so much from working on this scale. The show had a brilliant ensemble cast and was the first time the Alexa had been used in the UK on a drama. I chose to shoot with the Master Primes to give the series a rich and warm feeling to the photography.
Written by Heidi Thomas and directed by Euros Lynn for BBC1