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.
I am very excited to be involved in Season 4 of this fantastic AMC series. We have completely redesigned the look of the show combining super 16 and super 35 Alexa using beautiful old lenses.
I am fortunate to be working with some of the very best writers and directors on what I feel will be a new dawn for this already outstanding show.
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. Bridget Carpenter did an extraordinary job adapting the Steven King novel. Her vision for the piece was an inspiration to us all.
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.
With writing, acting and directing as strong as this it was a privilege to be invited to shoot the final two episodes of season 2.
Shot with the Panasonic Varicam and the beautiful Panavision PVintage lenses.
Written by Hans Rosenfeldt, Produced by the Nicola Larder, Directed by Jim O'Hanlon, Starring Anna Friel
This short film was written and directed by the immensely talented Sam Ceccatty and produced by the equally gifted Manon Ardisson & Paul Jibson.
It stars the Gold medal winning Paralympian, Stefanie Reid who acts here for the first time. Stefanie is an inspirational woman and a true natural when it comes to screen acting.
Here Sam & I chose to work with the Alexa employing a softer, desaturated tone with the beautiful rehoused Cooke Panchro lenses from TLS.
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.
This Pilot was directed by Scott Stewart & written by Vaun Wilmott for the Sy-Fy Channel. Set in Las Vegas but shot in the wonderful city of Cape Town. This was a rich experience for me to work with Scott & Vaun in building the comic book style world. Employing older Cooke Express anamorphic lenses harked back to some of the great sci-fi fantasy movies of the past, also lending a more painterly look to this spectacular new production.
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.
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.
Two inspiring show runners, Soo Hugh & Zack Estrin created a superb series providing many great visual opportunities in the story telling. Indeed, shooting all twelve episodes of this exciting new show for Steven Spielberg and Amblin was a dream come true. The pilot had set a great tone that we enjoyed extending as the series progressed and became more and more intense. Charles Beeson was our wonderful producing director and together we harked back to a camera style Kubrick might have enjoyed, often staged whole scenes on just one or two lenses.
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
Life on Mars was my second collaboration with the brilliant director and friend Bharat Nalluri. Shot on Super 16 with Panavision Primo lenses, Kudos had developed this bold new drama with the brilliant writers Matthew Graham, Ashley Pharaoh, and Tony Jordan. When we embarked on the pilot episodes no one realised just how hugely popular it was all about to become!
A four part adaptation from the Jane Austen novel for the BBC. Directed by the brilliant Jim O'Hanlon and written by Sandy Welch.
Photographed in 35mm
Pilot for a new series of dramas for Sky, this drama was shot on location in Cardiff. The central character investigates the city's underworld while trying to keep her own mental health issues together.
I shot with Alexa and Zeiss Ultra Primes for a naturalistic approach to the camera and lighting.
Be sure to switch to 720P for maximum quality!
This is the sequel to Life On Mars and was so much fun to shoot. Working with the amazing Kudos production company and the supremely talented directors David Drury and Alrick Riley, I loved being involved with such an iconic show.