I love to direct with a camera in my hand – knowing intuitively where the best frame is, and how a moment will sit in the eventual edit.
In 2006, I put down a $1,000 deposit at the NAB convention in Las Vegas, with a fledgling company called RED Digital Cinema, for a piece of vaporware called the RED One. Two years later, I received one of the first RED cameras in Australia and overnight everything changed. I had the tools at my fingertips to learn cinematography at the highest quality levels and make my ideas a reality at a moment’s notice.
Since then, I’ve stayed at the forefront of digital cinema tech, and today I shoot on RED’s flagship camera – the 8K Monstro. It shoots the equivalent of a 35-megapixel stills camera but at up to 75 frames-per-second. For many of my clients, I extract print-quality stills from motion footage as a value-add for their campaigns.
Additional tools I own, like Steadicam, EasyRig and Motion Control, can all be huge timesavers and an effective way to level-up any project. I’ve got enough lighting for almost any production and some of the best quality location sound equipment available. I pride myself on bringing the best tools to any project – tools I know won’t slow me down or impinge on a performance.