Taking the headache out of dealing with data.
From on-set support to comprehensive, fully-tailored workflows for single to large multi-camera 4K productions, I'm here to take the headache out of dealing with data.
I work with your D.O.P as part of the camera team to help them capture what they are after on-set
making sure your transition from shoot through to post production is thorough, seamless and smooth.
Specialising in large multi-camera workflows that combine Arri Alexas, Amira & Mini's, Red Epic Monstro's , Sony Venice, Z Cam, DSLR's, GoPros, DJI Inspire X7's and more both on location across the globe or in-studio.
MY PROCESS
Even before the cameras start rolling, I work with production and the DOP to understand the requirements and advise on the best shooting specification for the cameras. I can advise on the most effective workflow that accommodates the shooting budget and the optimum shooting spec. I liaise with post throughout this process so by the time we come to turning over, everyone is on the same page. As we build the workflow I can then make sure I'm providing the most appropriate kit and hard drives suited to the job whether shooting in a studio or away on location as well as whether we need more hands on deck!
I work as part of the camera team to make sure everything is set up to the correct resolutions, codecs, colour spaces and beyond, ready for turnover. With a vast amount of camera experience built up from the early days of digital motion picture cameras I'm there throughout the process to help the camera team achieve what they are after and to make sure the process runs smoothly
Whether in a studio or on location the equipment I supply allows me to always stay on top of monitoring exposure, camera metadata and colour balance, feeding back to the rest of the camera team to make sure everything is captured as intended whilst you shoot, so there are no nasty surprises when you get into the edit. I work with the DOP to help achieve his look by creating LUTS that can be input in-camera as well as supplied through the post pipeline, making sure that their vision is preserved and carried through.
Making sure the transition from on-set to post production is as seamless as possible is a vital part of what I do. Having liaised with the edit house and post during pre-production
to make sure everyone is on the same page, I make sure that the workflow is consistent with what we agreed and carries through so that the the camera format, resolution and transcode specification all integrates effortlessly into the post workflows once it arrives. This way everyone is up to speed with what's required, what's being delivered and avoids any potential issues down the line before shooting has even begun.
Even though principle photography may have wrapped up, it's important that I remain on hand to make sure the handover from set to edit is seamless. Particularly on larger multi-camera shoots where there can be such a multitude of data across a large shooting timeframe it's common for there to be additional bits of information the editors may need to know - for example a certain camera's frame rate or how or when something was shot - I keep a log of it all so I can answer those questions quickly and keep post concentrating on what matters most - the final cut!
RECENT WORK & CLIENTS
SPOTLIGHT
Being asked to join The Grand Tour was a huge opportunity for me but with it presented a huge technical challenge in many areas, the main one being how to manage, process and stay on top of a monstrous 4K workflow that
regularly consisted of up to 20+ cameras on location, in vehicles around the world, in any condition.
I worked closely from the start with Ben Joiner (long-serving DOP of Top Gear) who bought me on board and up to speed with their prospective
shooting setup. I did a lot of testing in order to work out how best to achieve and manage such vast amounts of data and in doing so developed bespoke portable download stations that would allow me to be on location, as part of the camera team and dealing with several cameras all at once. It was a huge challenge but one I relished being involved in.
The minicams was another area I really focused on, as not having a rock-solid workflow for dealing with these cameras on set can quickly escalate into bigger problems down the line. I worked closely with Jon Shepley and Lec Park from CreoKinetics (who'd be dealing with all the minicam and drone cameras) as well as Chloe Blackwell (who was co-ordinating the post workflow) to make sure we had a system that was bullet proof and streamlined from set to post.
A show like that doesn't stop from the moment it hits the ground on location right up until the moment it leaves so to have overseen it's entire run on Amazon Prime has been an incredible adventure, a career defining project and one that has allowed me to master large multi-camera, format and resolution workflows.