Ezgy's Dance is a dance film inspired by the Corona "Where'd You Rather Be" commercial campaigned played with an Australiana theme.  The dance features a road trip to a beach where four friends deal with restlessness as they wait to get to their destination.  The cinematography features strong Australian reds and oranges, and rich blues to present a hot blooded passion on the roof of the iconic Australian Ford road-trip.  The dance was choreographed by Ezgi Gungor.
       
     
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 Madhouse is a thrilling, action-packed dark comedy about Max who moves into a house which gets broken into on his first night.  I used a combination of hard light sources with the plan of using top-down lighting. Shot on Sony F3 and winner of Channel Nine Perth Best Short Film for 2014.
       
     
 Ain't Nothin by Odette Mercy and Her Soul Atomics is a music video directed by the lovely Cara Philips. It was my first collaboration with shooter Steve Millsteed. As gaffer I had the opportunity to focus on lighting. The images take inspiration from Soul Train and Strictly Ballroom with emphasis on strong contrast and a Kodak Film Look. I went crazy with lighting going with the "stage light" look. I used a lot of hard lighting, disco, and party lighting and plenty of back-light. It was an example of quick lighting setups and extreme oners (one shot scenes). We finished this expansive music video in two grueling days.  The director called it the most fun shoot she ever had been on. And for me one of the most fulfilling in terms of work accomplished and final product.
       
     
 One of my first successful cinematography efforts. The combination of fluorescent, VFX, and hard lighting created a beautiful backdrop to the emotional and powerful dance that was unfolding before the camera. A film about a grandson supporting his grandfather beautifully told by Camera Operator Aleesha Paul, Choreographer Henry McAlpine, and dancers Russell Thorpe and Liam Green.  Vessel won at the WA FTI and Fringe Festival for Best Jury Prize for Student Short Films.  Shot on 7d Magic Lantern Raw. Combination of ring lights, fluorescents, hard tungsten lights with Full Blue CT Gel.
       
     
 The Aboriginal Theatre TVC was a collaboration with WAAPA and Edith Cowan University. Shot in a documentary style and with a white background look, we wanted to show the fun, the variety, and the community within the Aboriginal Theatre course. Marcel Bracks the director wanted to show Ab Theatre as a course that prepared its students for the prestigious WAAPA acting course.  Here we shot with strongly backlit white surface, redheads to provide facial key lighting, and a flourescent tubes for fill. Warm tones were preferred and minute adjustments were made with the help of a color meter. The look was enhanced in post.
       
     
 Inspired by Sesame Street, this TVC was designed to promote the Dining in the Dark Campaign by Guide Dogs WA. Going for a slick TVC look and motivated by beautiful orange light, this TVC depicts Gidgy the guide dogs quest to prepare a dinner party for his three friends.  Shot on F3 with a combination of 4-bank Kinos and hard light tungsten sources.  This Guide Dogs WA ad won the Channel Nine Perth Best Client Production and TVC award and was subsequently aired on Channel Nine.
       
     
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WASA TVC
       
     
 Beautiful wide-screen compositions concentrating on leading lines. Magnificent blues, greens, and greys that pop out of the landscape -- this dance film was shot to accompany beautiful fluid movements of some of Perth's best dancers. My third collaboration with the fantastic Aleesha Paul.
       
     
Scene from Firebug (with Aleks Mikic)
       
     
 An ambitious short film that's also silent, Stop was a challenge to shoot. One of my latest works it contains some of my best compositions to date. Constant attention to colour contrast and dramatic lighting was combined with philosophy and systems to generate meaning through this piece.  We started with Alexa for its low light and larger sensor to create a trapped world with low depth of field. We then moved to GH4 which with its accentuated yellow or orange tones and smaller sensor allowed for more expansive colour contrast and a feeling of greater clarity in the image as the character developed.  Stop is about a reclusive traffic warden who with the help of a young friend finds new love.