Introduction

Alongside my main jobs as a freelance offline film editor and assistant editor, I'm also a huge analogue & celluloid enthusiast. I own and operate Super 8 and 16mm camera systems, plus equipment and accessories.

My experience in post-producing, data wrangling and data management for independent films shot on celluloid (Super 8, 16 / 35mm) also aids my enthusiasm and experience in shooting film - where I'm able to advise on the appropriate stocks, processing and delivery requirements, in addition to creating a dialogue and maintaining contact between the production, myself (as camera operator), and the film lab. 

As far as post-production is concerned, capturing on film (still to this day) remains the very best medium to ensure the project's long-term archival - whilst digital and scanning technologies are advancing all the time. Image Resolutions previously unseen in film capture today, will become available as time goes on.

I'm ultimately drawn to celluloid for a number of reasons;
  • Compared to digital productions, the rehearsal time given to cast/talent and camera dept. is often much greater - often resulting in a better series of performances, due to the finite amount of film stock the production has at their disposal.
  • Fosters an environment of concentration amongst the cast and crew during production, since every take counts (and costs). The increased focus towards productions shot on 'film' (when compared with digital) is noticeable.
  • Capturing the 'film' look, authentically - without the need for film emulation plug-ins: unrivalled skin tones, stunning landscapes..
  • As technology innovates at a faster rate than ever before, capturing on film (and archiving/storing reels correctly) ensures the project will look as good as it did (if not even better, through advances in scanning technology) decades from now. 
  • If/when the production's hard drives fail or corrupt, and the footage needs to be located (to be catalogued, re-edited, restored or otherwise...), the physical reels / OCNs (original camera negatives) exist and can be accessed/sent to a lab for clean-up & scan.
  • Generally speaking, the benefits of film (time-saving, in pre-production, on-set and during post) offsets and balances out its expensive cost. 

Camera Systems Owned: 
  • Super 16mm
    • Fully restored and custom 'Super-16' Krasnogorsk-3 (K3) camera (Variable FPS, 24fps + 48fps Slow-Motion) and kit. 
  • Super 8mm
    • Bell & Howell 1239 XL (18/24/36fps)
    • Braun Nizo S800 (24fps + 54fps Slow-Motion)

If you're interested in having your next production shot on film, feel free to get in touch with me. I'm very happy to have a chat.
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Also, I'm a commercial & portrait photographer (shooting 35mm and Digital) - you can view my work here or clicking on the footer button below. 

Super 8mm, 16mm and 35mm Productions

35mm (16:9)

35mm Productions I've shot, edited or post-produced will be listed here.

Super 16mm (16:9)

Super 16mm Productions I've shot, edited or post-produced will be listed here.
K3 Camera Test Reel (Experimental) - My Role: Post-Producer & Editor, D.O.P: Ben Holt
Shot on Super-16 Krasnogorsk-3 (K3), Processing: Andec Filmtechnik (B&W), on8Mil (Colour), Scanning: on8mil

Sun Daze (Experimental) - My Role: D.O.P & Editor, D.O.P: Louis Holder
Shot on Super-16 Krasnogorsk-3 (K3), Processing/Scanning: on8Mil
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A Live Broadcast (Drama) - My Role: Producer & Post-Producer, D.O.P: Cezar Tatarau
Shot on Arriflex SR3 HS, Processing: Kodak Film Lab London, Scanning: Westminster Film School

Standard 16mm (4:3)

Standard 16mm Productions I've shot, edited or post-produced will be listed here.
The Graveyard Shift (Drama) - My Role: Producer & Post-Producer, D.O.P: Elisa Matvejeva
Shot on Arriflex SR2, Processing: Kodak Film Lab London, Scanning: Westminster Film School

Desire (Thriller) - My Role: Producer & Post-Producer, D.O.P: Cezar Tatarau
Shot on Bolex H16, Processing/Scanning: Kodak Film Lab London

Cut (Experimental) - My Role: Director of Photography / Cam Op, D.O.P: Louis Holder
Shot on Bolex H16, Processing/Scanning: the former i-Dailies facility, now relocated to Pinewood Studios as Kodak Film Lab London 

Super 8mm ​(4:3)

Super 8mm Productions I've shot, edited or post-produced will be listed here.
Cinema Now (Documentary) - My Role: Director / Cinematographer / Editor, D.O.P: Louis Holder
Shot on Bell & Howell 1239 XL, Processing/Scanning: Gauge Film, Wolverhampton