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Here’s the latest show I shot for Anya Hindmarch during last London Fashion Week.

Produced by Audrey Davenport for Lut! Media

Directed by Bouha Kazmi

Shot on Arri Alexa Mini, Arri Amira, Canon C300 MKII with Cooke S4s Prime Lenses, Angenieux and Fujinon Zoom Lenses.

On Anya’s YouTube channel is possible to watch all other videos for the shows we shot during the last two and half years. Link below.




I consider myself very lucky to have been involved on this production, fist as additional cinematographer for VFX and later as C camera operator. Working with Andrew Dunn, ASC, BSC is great and his tremendous experience seems endless, he is terribly generous with his knowledge and kind but always able to get the best out of you. Amazing.

I have to thank B camera operator/second unit cinematographer Gerry Vasbenter for the opportunity, whose qualities are too many to mention.

Uncredited by still very much part of it.

Shot on Arri Alexa XT Plus, Panavision C-, T-Series, ATZ, AWZ2 and Angenieux Optimo Lenses.

A Universal Films Production

Directed by Sharon Maguire

Cinematography by Andrew Dunn


Vote THE RUN, web series pilot competition.


Here’s The Run, a pilot for a web series created and directed by the brilliant Mario Sainz, produced by Kate Marsden, photography by me.

The pilot is now in competition for The Raindance Web Series Pilot competition (to see click on title).

Please share and vote for us!

Shot on Red Epic with Zeiss Super Speed prime lenses (once again Panavision & Panalux have taken care of me in the best possible way, thank you).

Also a big thank you to all the people involved who helped me shoot this, you’ve been great and your effort have been invaluable!!


Here’s a funny making of video of the first half of CoM.


Here’s the first teaser for Curse of Mesopotamia, a horror/fantasy feature film I’ve been shooting this summer in Erbil, (Kurdistan) Iraq.

We shot 50% of the movie but had to go due to the war that was looming over us. We’ll reprise production at the beginning of  the winter.

Produced by Visual K Production and written and directed by Lauand Omar.

Shot on Arri Alexa in 2K Apple ProRes 4444 with Arri Superspeed prime lenses.

Check the film’s FB page:


I’ve been recently called to shoot a horror/fantasy movie in the Middle East. After many discussions and considerations we ended up choosing to shoot in with an Alexa (Plus HS Classic, with a 16:9 sensor) in 2K Apple ProRes 4444. It’s no secret that I’m a huge fan of the Alexa and its dynamic range, as well as its gentle roll off on the shoulder of the curve as well as its incredible handling of underexposure, but in this case the script required so many low key lighting scenarios that it was simply impossible to do it with a Red Epic for instance, even in its latest Dragon iteration. I’d say the Sony F65 (and the F55 maybe too) may have been able to handle that but there was also to consider the amount of data we were going to later have to ingest and since the region we were in wasn’t the easiest place to find professional hard drives’ suppliers we decided that the Alexa would also help streamline our workflow and it did.

Before principal photography began I organised a simple set-up for costume, make-up/hair and lighting test. I tested various lenses, exposures, filters and ISO rating. I decided to go for a 1/4 ProMist on the lens for the “period scenes” (half the film was set 600BC, the rest nowadays) to take a little bit of the digital edge off. If I had to find one thing I don’t like about the Alexa is that sometimes it feels a little bit too sharp – in fact I also decided to use a set of the old and trustworthy Zeiss Superspeed Prime lenses, which gave the image a more vintage look but also had the speed but not the cleaniness of say the Zeiss Master Primes for example.

The Alexa performed well with the various set-ups but upon rating it 400 ISO, moving the dynamic range towards the bottom of the curve gave that extra crispness to the shadows that was quite striking to be honest. It really allowed a 4+ stop underexposure to look clean and noise free. The setting basically add one stop to the already striking low light capturing capabilities of the German camera. This has allowed me to play with low light levels as well as to push the underexposed zones of the image without ever looking muddy. The feel is almost that of an added third dimension to an area of exposure that sometimes can look really flat. It benefited me by also allowing me not worry too much if I had an area I could not for some reason bring as up exposure wise as I would have wanted. I would then bring it up during grading without it ever adding noticeable noise.

For daylight scenes I would always go back to its standard 800 ISO rating though.

The 400 ISO rating can be a double edge sword only when you’re playing with too little light overall. The setting obviously forces you to open one stop on the lens so that has to be kept in mind. If with the light available your stop is T2 at 800 ISO then at 400 you’ll have T1.3 and that to me is way too extreme as base stop (although I would use it if that was the only way to bring a shot home).

In conclusion as long as lighting is not an issue, for a contrasty low-key lighting approach 400 ISO on the Alexa is a good trick of the trade.

New Andrex Eco Campain Out Now

The new Andrex Eco campaign is finally out. The campaign was directed by Dan Burn-Forti for Making Pictures and shot by me. Dan also was the photographer behind the print ad campaign. All the videos we shot are on my Works page but I decided to post the very funny bloopers video here. A treat for puppy lovers. Shot on ARRI Alexa with Cooke S4 Prime Lenses. 🙂

Scroll the cog wheel pop up menu to watch HD.

Lion in the tent shoot about to start

I’m days away from the start of the “Lion In The Tent” short film shoot. It is going to be a very exciting an challenging shoot. Our fantastic writer/director Joe Oppenheimer has written a fantastic universal tale and wants to deliver a top notch product with the help of a surprise finale. We’re going to shoot with Red Epic. More info to come after the shoot.

Here’s the link to the short film’s website:

(The smoking/coffee statements about me are totally not true! Don’t know what happened there…)

The poster was created for the crowd funding scheme that the film went through, another one will follow

The poster was created for the crowd funding scheme the film went through, another one will follow as soon as the film has been completed.


Me in front of the film poster.

Me in front of the film poster.

Latvia, the feature film I shot for Barry Derbyshire produced by Alexandra Ferguson opened the London Independent Film Festival and I attended and was captured by the event’s photographer…


I had to shoot this last week for the band itself!

Unfortunately there wasn’t enough time due to the very quick turnaround to go around the world to shoot Mick and Keith so we had to send local crews to cover them. Director Giorgio Testi and I had to spend a lovely day in the company of the other two legends Charlie and Ronnie. They were the nicest gentlemen ever and I am grateful to have been given the chance to meet them. I’m also very excited by they’re upcoming, now officially confirmed tour. Their live shows are great and not to be missed.

Mick and Keith were shot on Red Epic with Leica and Canon Primes.

I shot Charlie and Ronnie on ARRI Alexa with Zeiss Ultraprimes.

Directed by Giorgio Testi, produced by Pulse Films.

You can watch it HD changing the resolution via the drop down menu on the cogwheel (bottom right on the youtube window).

This is something else I shot for them earlier to promote the first five dates of their 50 & Counting tour. Shot live on RED Epic, Canon C300, Canon 7D, GoProHD with Canon EF Zoom and Prime Lenses and directed by Giorgio Testi too: