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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. 
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. 

Camera Systems Owned

Super 16mm Camera System + Kit
  • Fully restored and gate-widened Krasnogorsk-3 (K3) camera - Variable Frame Rate: 8-48fps (including High Speed for Slow Motion) or Single-Frame
  • Meteor 5-1 f/1.9 17-69mm Zoom Lens
  • 100ft Roll Loads (approx. 02:30 per roll @ 24fps, take lengths are defined due to mechanical motor)
Super 8mm Camera System + Kit
  • Bell & Howell 1239 XL - 18fps, 24fps, 36fps or Single-Frame
  • f/1.2 7-45mm Zoom Lens
  • Braun Nizo S800 - 24fps or 54fps (High Speed for Slow Motion) - Currently Unavailable for Bookings as it is Being Refurbished [as of Dec. 2020]
  • Both take 50ft Roll Loads (approx. 02:30 per roll @ 24fps, take lengths are variable due to electric motor)

I can also operate the following cameras, although I do not own them, they are rentable via regional rental houses such as ProCamTake2, online booking services such as Fat Llama or through film cooperatives such as not/nowhere based in London.

Showreels

Showreels of Productions I've shot / post-produced will be listed here.
Whilst projects are in post/festivals, showreels / sample rushes reels are available to view by special arrangement.
​Links are password-protected.

Super 8mm, 16mm and 35mm Productions

35mm (16:9)

35mm Productions I've shot, edited or post-produced will be listed here.
​Whilst projects are in post/festivals, sample rushes reels are available to view by special arrangement. Links are password-protected.

Super 16mm (Widescreen 16:9)

Super 16mm Productions I've shot, edited or post-produced will be listed here.
​Whilst projects are in post/festivals, sample rushes reels are available to view by special arrangement. Links are password-protected.
Let There Be Light: Making The Invisible, Visible... Being a Voice for the Voiceless - My Role: Director of Photography
Shot on Super-16 Krasnogorsk-3 (K3), Processing/Scanning: on8Mil, Stocks Used: Various Kodak VISION3 50D and 500T

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, Stocks Used: Various Kodak VISION3 200T, 500T and Eastman Double-X

Sun Daze (Experimental) - My Role: D.O.P & Editor, D.O.P: Louis Holder
Shot on Super-16 Krasnogorsk-3 (K3), Processing/Scanning: on8Mil, Stocks Used: Kodak VISION3 250D
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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, Stocks Used: Kodak VISION3 500T

Standard 16mm (Old-Fashioned TV 4:3)

Standard 16mm Productions I've shot, edited or post-produced will be listed here.
Whilst projects are in post/festivals, sample rushes reels are available to view by special arrangement. Links are password-protected.
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, Stocks Used: Kodak VISION3 200T/500T

Desire (Thriller) - My Role: Producer & Post-Producer, D.O.P: Cezar Tatarau
Shot on Bolex H16, Processing/Scanning: Kodak Film Lab London, Stocks Used: Kodak VISION3 500T

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 
Stocks Used: Eastman Double-X

Super 8mm ​(Old-Fashioned TV 4:3)

Super 8mm Productions I've shot, edited or post-produced will be listed here.
​Whilst projects are in post/festivals, sample rushes reels are available to view by special arrangement. Links are password-protected.
'Just Friends' M/V - Alice Cunningham (Music Video) - My Role: Cinematographer, D.O.P: Louis Holder
Shot on Braun Nizo S801 and Bell & Howell 1239 XL, Processing/Scanning: on8Mil, Stocks Used: Various Kodak VISION3 50D & 500T

Santuario Tabula Rasa (Artists' Moving Image) - My Role: Cinematographer, D.O.P: Louis Holder
Shot on Braun Nizo S801 and Bell & Howell 1239 XL, Processing/Scanning: on8Mil, Stocks Used: Kodak VISION3 500T

Cinema Now (Documentary) - My Role: Director / Cinematographer / Editor, D.O.P: Louis Holder
Shot on Bell & Howell 1239 XL, Processing/Scanning: Gauge Film, Wolverhampton, Stocks Used: Various Kodak VISION3 50D & 500T

Film Resources

FAQs - Shooting on Film
Frame24
On8Mil
Cinelab London
Kodak Film Lab London