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I am an all rounder when it comes to filming, just as happy shooting sync as I am long lens or operating a hothead or Cineflex.  In 2006 I co-founded Meta Films Ltd. In the early years we concentrated on the adventure filming and travel market, shooting, editing and producing documentaries, promos and corporate films working mainly in the Alps and other European locations.  My background as a commercial diver and many years experience of being on boats was my ticket into natural history filming and in 2008 I did my first shoots for the series 'Life', including trips to the Southern Ocean, the Arctic and the Pacific. 

 Since then I have gone on to work on several bluechip series including North America, The Hunt, Planet Earth2 and Oceans.  I am also proud to have been one of the cameramen awarded an Emmy for my contribution to 'One Life' and more recently part of the team to win a Bafta Craft Award for Photography for 'The Hunt'. 


South Georgia

As a qualified ski instructor and IRATA rope access technician, getting into hard to reach places is what I love best, especially if it means getting a more immersive and dynamic shot.

Away from natural history I have also been involved with some of the biggest sporting events on earth.  Since Beijing in 2008 I have been part of the speciality camera team at every Olympic Games and was part of the team responsible for producing the first ever live on-board footage from competitors in the Ski and Boardercross events in Vancouver in 2010. 

For London 2012 I was asked to head up a team at the Canoing and Kayak whitewater course, a venue which went on to win the silver rings award from the IOC for its outstanding coverage.  

Filming for the Land Rover G4 Challenge in Bolivia and Laos.

20m track beside the whitewater
Waterproof hothead
in the kayak course
The 50ft Giraffe crane at mountain biking for London 2012.
1 of 7 cranes my team were responsible for.

I was again asked to be team leader for the Rio 2016 Olympics, covering 4 separate arenas working for OBS on what was arguably the biggest outside broadcast ever produced.  The scale of these events is not to be underestimated and its a real privileged to be asked to work on them. 

Whilst these two areas of filming are very different in many respects, both constantly throw up technical challenges, and that's what I thrive on.  The ability to draw on my knowledge and experience in one field can often pay dividends when working on new ideas or solving problems in another.  At the end of the day it's all about bring the stories to life in the most visually impressive way.

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