Broadcast, Advertising, Promotional & Client Work

Welsh Elections, 3

Promotional advert for developing student mentoring business


- Cinematographer, Editor -

Coverage of QSA's successful financial awareness scheme

(funded by QSA & JPMorgan)


~ Cinematographer, Editor ~


Behind The Scenes Of Bournemouth Air Festival


~ Production Manager ~

Bournemouth Air Festival

Promotional Advertising & Event Coverage


~ Cinematographer ~

Promotional Campaign For New Author Novella Publications


~ Cinematographer, Editor ~

Grace Black Books Poster Ben's Heroes Trust Logo

Promotional Advertising For A Developing Children's Charity


- Writer, Production Manager -

Merlin Logo, 2

Promotional corporate video for Mertlin Entertainments Group 'Accelerate Programme'


- Cinematographer, Editor -

Logo 2

I have worked alongside many people. Clients who hire filmmakers (usually referred to as videographers for reasons no-one quite knows) like myself want someone who is not going to baffle them with jargon and run ahead. The filmmakers would not know much about the extent of responsibilty involved in the role of a corporate executive, nor the time or money it took to get there. This feeling is mutual and should be respected so that we can build something good together. This can be broken down very simply:

Discussion - First Things First

Lets start our communication. What's your brief? How long is your intended video? What are the themes? Is there any dialogue in the piece? Why? Is it really needed if the image speaks for itself? Is it colourful and playful or neutral and dramatic? How fast / slow paced will it be? What's the budget? Are we hiring equipment, crew and cast? Do you need help finding those resources? - Because I've got them. How many days do we have to do this? What's our contingency if it starts raining if we have exterior shots to get? Are we able to location recce before we begin? Is this more than a one person job? Are you looking for someone who can add animation and / or visual effects and / or music? If interviews are involved do you want them facing camera, facing off camera or just to hear their voices only?

Most importantly - What's our demographic?

Overseeing The Work - Get Creative

The first couple of hours are always daunting for first time, non-filmmakers before they start picking up bits and pieces and start getting creative with some ideas they want to try. I educate along the way - I have a long track history of mentoring after all. Ideas may be added at opportunistic moments, ideas changed all the while informing them of how the edit would look further ahead. Once in the edit, I require access to a mac fast enough to run the relevant software. If the client cannot provide this, I am happy to work from home but there are a hundred ways of cutting it together, for which it is 'always' best for the client to observe as much of the edit as possible. What shot do we start with, how much do we retain / cut out? What colours do we drain / accentuate out of a shot? Does the shot need to be darker, lighter, cropped, zoomed in / out or faded in from another? The list goes on and tiny adjustments are far clearer to sort and communicate in person than over an email. Working remotely is something I have done many times but communication must of course be clear and concise throughout to ensure the best results.

Working Together - Planning

The client and filmmaker reach an understanding of the look of the project. We structure our shoot dates, interviewees and locations need to be notified by the client. Any cast, crew, equipment or other contacts I can share, I will do so but their own agreement remains at the responsibility of the producer / client, i.e; payment, any food, accommodation & transport costs. Many non-filmmaker clients expect the actual 'filmmakers' to be storyboard artists. Many of us are not and it makes as much sense to us as presuming you are too. Whilst I can handle storyboards I usually propose a FAR quicker, more comprehensible solution, being floor plans with the shot list that contains all the discussed shots we require from the original plan (see below).

Hazel, Floor Plan, exterior QuietSphere, Floor Plan, study scene

storyboard examples

floor plan examples

Related Work - client work abstracts. For more, please get in touch.

LEYTS, Fire Warden Kit Storyboard, 1 CHS Creative, storyboard 1 LEYTS, Fire Warden Kit Storyboard, 2 CHS Creative storyboard 2 butiful-logo BU

Postgraduate Annual Conference


- Production Manager -


Go have a look!

LA Cops logo, 3 Team 17 Logo, 2

Promo for retro game release: LA Cops

(from Modern Dream & Team 17)


~ Editor ~

QSA Logo JP Morgan Modern Dream, Dev BBC