Services

Pre-Production

Good prep is what makes a shoot run smoothly, so I put real weight on this phase. I work closely with the director to understand the story and its emotional core, then translate that into detailed storyboards and a shot plan — figuring out what each shot needs to do before we're on set trying to solve it live. I take part in location scouting with the technical side in mind (lighting, sound, camera angles), and where time allows, I'll build a simple animatic so we can see how the film flows before committing to the shoot. I own a Nikon ZR (RED colour science, 6K RAW) but I'll always use whatever gear actually suits the project. I also work with producers to keep ambition realistic against budget and schedule.

Production

On set, I aim for a calm, focused environment — clear communication, everyone across their role, minimal noise. As camera operator or DOP, I work closely with the director to translate their vision through framing, blocking and movement, while staying alert to continuity and lighting consistency throughout the day. Things go wrong on every shoot — gear fails, conditions change — so I stay ready to adapt and solve problems without losing time. Safety and a respectful set culture matter to me; everyone should feel able to do good work.

Post-Production

I can edit, handle sound, and colour grade — either solo on smaller projects or alongside a dedicated post team, whichever suits the production. Editing is about protecting the story's pacing and rhythm; sound design is something I care about as an audiophile as much as a filmmaker; and colour grading in DaVinci Resolve is where I bring the final look together, from natural and balanced to bold and stylised. Whatever the team structure, I do a final pass across colour, sound and pacing before delivery to make sure it's cohesive.

Let’s Make It Happen

I generally follow the NZ Screen Guild rate card as a pricing guideline, but I'm open to discussing what works for your project's budget — get in touch and let's talk.

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