01 / Camera
A DOP or operator who turns up prepared, reads the room, and makes your production run smoother. Commercials, branded content, documentary, government and infrastructure, news and live crosses.
How I work
Whether it is a fast turnaround TVC, a high end corporate shoot or a narrative day, I integrate into your crew rather than rearranging it. I know the Sony FX and broadcast bodies inside out and adapt quickly to your gear and your workflow, so a change of camera or a change of plan on the day is not a problem.
From solo run and gun through to multi-camera, I will match your pace and represent your brand like it is my own. The best days on set are the ones nobody remembers being hard, and that is usually because somebody quietly made sure of it. That is the whole job.
Showreel
2:43Fifteen years of camera work cut together. Commercial, corporate, documentary, live and aerial.
Freelance jobs
1:00Freelance DOP on a regional television commercial. Camera, lighting and grade.
1:00Freelance camera on a gym brand package, shot fast in a live club and cut for social.
0:30Freelance DOP on a not for profit case study, shot on location in a client home.
Shown with the permission of the companies who commissioned them. Most freelance work never appears here at all, which is the arrangement.
Camera
Every day is different. That is the point.
A helicopter door one week, a boardroom the next, a flooded road the week after. Fifteen years of turning up somewhere new with the right kit in the boot is what makes the unfamiliar day feel routine to the people hiring me.
Behind the camera
Booked for
TVCs, brand films and social cutdowns, on your director or with me directing the day if that is what you need.
Transport, utilities, education and police work, where access, inductions and paperwork matter as much as the picture.
Site filming, progress updates and long term time-lapse, including the parts that need a white card, a RIW card and a site induction.
Red carpet and press calls, and live crosses over DEJERO and LiveU when the story has to be on air now.
Selected credits
Questions producers ask
Yes. Sony FX9 and FX6 cinema bodies, a Blackmagic broadcast body with a Fujinon 2/3 inch 4K lens, Xeen cine primes, Sony cine servo zooms and G Master glass, plus lighting, sound and grip. Or I shoot on your camera or a hired package, whichever the job wants.
Yes. I know the Sony and broadcast ecosystems well and adapt quickly to a different body, codec or LUT pipeline. A change of camera on the day is not a problem.
Often. Second unit, B cam on a multi-camera interview, or a solo run and gun unit while your main crew is elsewhere. I match the look you have set rather than bringing my own.
Yes. White card and RIW card are current, so construction and rail work is a booking rather than an onboarding delay. I have shot for Transport for NSW, Multiplex and Parramatta Light Rail under exactly those conditions.
Only if you tell them. Call sheets and introductions say I am your crew, I do not contact the client afterwards, and the footage does not appear on my reel without your yes.
Also
Availability & booking
Quickest way to get an answer is the phone. If I am on a shoot I will call you back the same day. Rates on request, and they depend on the day, the kit and where it is. Ring even if you are not sure it is my kind of job. Worst case you get a straight answer and the name of someone better suited.
Based at Sydney Olympic Park and Orange NSW. Available Australia wide and overseas. ABN held, fully insured, invoices as a contractor.