"Where are you from?"
"Australia?! Huh? Why would you leave Australia??"

Many Aussies and Kiwis will be familiar with this kind of question, and although folks from Down Under have a variety of replies, for many it's simply to feel part of the global community.

I'm lucky enough to have etched out a space where I now spend most of my working year traveling throughout Europe and the Middle East working on a diverse range of film and video projects. To the envy of some friends, I also escape the brutal European winter to spend several months working in Australia. So mission accomplished more or less.

Workwise, I gravitate towards material that deals with art, music, progressive politics, smart education and anything subversive. I also like to think of myself as a filmhack, with a relatively fresh approach to motion picture production.

Hear me out on this.

Having previously worked on-set in various roles for over a decade, I paid very close attention to how screen stories are created at the production phase. Now, with over nine year's worth of experience as a director/cinematographer, I've come to consider the way fully-budgeted films are often approached as something of a dinosaur.

Don't get me wrong - there are many projects where you need a half dozen ten metre trucks and a small army of film crew. But in 2018, assuming that's the only way to get cinema-worthy production values is simply wrong.

Granted, if you want to film Tron or End of Tomorrow, you're gonna need those trucks... and then some. But if you are willing to work with a combination of available and placed light and keep an intimacy to certain shots - Hell, you may even need to compromise a little - there is nothing stopping you from achieving a look that can sit quite handsomely next to some of your favourite film and television productions.

Working with the current crop of digital sensor cameras, fast lenses, modern lighting systems like LiteGear LiteRibbon and Aladdin Bi-Flex... by intelligently combining the best of current and vintage products and equipment... in many cases, what can be achieved in-camera can come absurdly close to what fully budgeted motion pictures used to have a monopoly on.

It's an exciting time to be telling stories on screens... and being part of the global community.

Past work includes documentaries for German broadcaster ZDF (Land Unter Kontrolle) and independent producers like Atef Ben Bouzid ('Cairo Jazzman', 2016, Rotterdam Int’l Film Festival); art projects for Julian Oliver & Danja Vasilev ('Men In Grey', 2010; Ars Electronica Linz) and Emile Zile ('Jack', 2013; ICA London, Rijksakademie Amsterdam, NGV Australia); profiles for artists like German sculptor Tobias Rehberger (2018 exhibition at Tate Modern London); music videos for German outfit Nanovoice (‘Rainbow Stripes’) and French new-wave group Listre Noire (‘Afire Afire’), and commercial and promotional material for Melbourne Recital Centre (‘The Best Place to Hear’) and Twelve Grapes (‘A Day in the Life’).