Please click to view the montage showreel below.

A montage reel of selected drama and promo work. I was responsible for lighting and operating everything shown in the reel.

Please click play on the embedded video below to watch the music video for Empress.

I worked as Cinematographer alongside Director, Ross Leppard to shoot the promo for the first single from Empress’ debut album. The track is called Deeper in Disguise. I lit the scenes and Ross operated all of the track and dolly work, with my support for the handheld sections. This was shot in 1 day in a wonderful derelict chapel that somehow managed to survive a direct bomb hit in World War II, which shattered the roof, but luckily for us left the stained glass windows in one piece!

• Format: Canon 5DMKII
• Aspect Ratio: 2.35:1
• Duration: 4 minutes 35 seconds

• Director: Ross Leppard
• Cinematographer: David Pimm
• Camera / Grip Assistant: Pete Blakemore
• 2nd Assistant Camera: Ruby Salter
• Gaffer: Sverre Sørdal
• Electrician: Diana Olifirova

Please click play on the embedded video below to watch the teaser for the short film, The Stuntman. This is the first minute of the film to show as a taster while we apply to festivals. It is a sweet story built on the firm foundations of visual subtext.

The Stuntman is a short drama about an isolated man who has always loved playing the daredevil. Now in his fifties, he still holds on to the two elements that drew him to this arena – the persona and the ability to inspire other people. He takes as much pride in other’s small successes as he does his dreams of trophies and medals.

CREDITS:

Written and directed by David Pimm and Ruby Salter.

Cast

Gordon Kenney – Stuntman
Lauren Shotton – Hannah
Joe Haynes – Driving Instructor

Crew

Producers – Pete Blakemore, David Pimm, Ruby Salter,
Cinematographer – David Pimm
Costume Designer – Lyndsey Clark
Production Designer – Sophie Jones
Composer – Adam Marston
Sound Recordist and Designer – Jack Capon
1st Assistant Director – Robert Thorman
Production Manager – Ella Jones
Makeup and Hair Design – Sophie Jones
Art Department Assistant – Clare Kitteringham
1st Assistant Camera – Shane De Almeida
B Camera Operator – Ross Leppard
Digital Imaging Technician – Ross Leppard
Stills Photographer – Pete Blakemore
Script Supervisor – Clare Kitteringham
Behind the Scenes – James Pimm
Gaffer – Greg McFarlane King
Special Effects Supervisor – Alasdair Fitz-Desorgher
Editor – David Pimm
Colourist – Jamie Welsh
Opening Titles – David Gatt
Concept Artwork – Angus Richardson, Billy Odell

Please click play on the embedded video below to watch the music video for Lonesound.

I Directed and shot this music video for Lonesound. When throwing ideas around to begin with, we decided a darker atmosphere would make for exciting visuals to go with this upbeat track. James Ewers, who is Lonesound, performs in the video as not one but two characters determined to self destruct.

• Format: Canon 5DMKII
• Aspect Ratio: 16×9
• Duration: 3 minutes 36 seconds

• Director / Cinematographer: David Pimm
• Camera / Lighting Assistant: Pete Blakemore

Please click play on the embedded video below to watch the trailer for The Seven Princesses.

I am working as Cinematographer with Ella Jones and Robert Thorman of More Films on their trilogy of short fairy tale adaptations. The Trilogy is made up of Hansel and Gretel, The Seven Princesses and The Ugly Duckling. All 3 films are being shot in 2012.

• Format: Canon C300
• Aspect Ratio: 2.35:1
• Duration: 20 minutes

• Production Company: More Films
• Director: Ella Jones
• Writer: Robert Thorman
• Cinematographer: David Pimm
• Focus Puller: Shane De Almeida
• 2nd Assistant Camera: Ruby Salter
• Script Supervisor: Jenny Wood
• Gaffer: Greg McFarlane King
• Best Boy: Nick Morris

HMT Productions Crew in the studio

A day after wrapping on The Seven Princesses short film, I was hired as B camera operator for a corporate online promo shoot. HMT Productions gave me the call after I met with Faisal (Cinematographer and co founder of the company) for a coffee a few months before and we chatted cameras as all good film geeks should. It was a great shoot in a lovely, clinical looking studio. I shot hand held footage of 5 women being made up by beauty experts before being formally interviewed by the rest of the crew. I love this roaming style of operating, had a lot of freedom and just enjoy working with people who are well organised and know their stuff – the HMT guys didn’t let down. The phrase of the day was ‘on it’ as everyone was working so well together and we wrapped an hour ahead of schedule. It was a pleasure working with them and I hope it’s the first of many shoots together. Faisal and James, the director, cut together 6 videos altogether for the client to promote a new range of treatments – 1 general promo and 5 separate edits focusing on each of the women. Lovely stuff! Lighting and camera details, along with the 6 60 second(ish) pieces after the break.

We shot the pieces on 3 cameras – 2 7Ds for interviews with one permanently fixed to a slider and the other handheld, and my 5D Mark II for hand held B roll. The interviews were lit with a 2.5 HMI shooting into 3 polys which then bounced the light back through a 6×6 silk to create a very soft, high key, daylight balanced key light to supplement the large amount of natural light coming in through large windows. There were also some dedos with CTB positioned for hairlights and picking things out for close ups. B roll by the hair and makeup area was lit with one 4×4 bank kinoflo and a dedo. The gaffer was Yannick Lalardy who was great to work with. Enjoy!

Panorama of the studio at the end of the day shooting product close ups

Please click play on the embedded video below to watch the trailer for Hansel and Gretel.

I am working as Cinematographer with Ella Jones and Robert Thorman of More Films on their trilogy of short fairy tale adaptations. The Trilogy is made up of Hansel and Gretel, The Seven Princesses and The Ugly Duckling. All 3 films are being shot in 2012.

• Format: Canon 5D Mark II
• Aspect Ratio: 16×9
• Duration: 16 minutes

• Production Company: More Films
• Director: Ella Jones
• Writer: Robert Thorman
• Cinematographer: David Pimm
• 2nd Assistant Camera: Ruby Salter
• Gaffer: Greg McFarlane King

Please click below to watch Cell to Cell.

I worked as Cinematographer on this abstract piece which visually explores the spread of the HTLV-1 virus. Directed by Niamh O’Connor in collaboration with Hettie Griffiths.

‘Cell to Cell’ was born from conversations with Dr Mohamed Nejmeddine on his research into the HTLV-1 Virus. HTLV-1 is a complex retrovirus that is similar in some respects to the human immunodeficiency virus (HIV). The majority of infected people do not develop any form of disease from the infection. However, in a small fraction of individuals, infection results in leukemia/lymphoma.

Using light and electron microscopy Dr Mohamed Nejmeddine research aims to understand the virus and how it travels from cell to cell contact. ‘Cell to Cell’ illustrates the virus traveling from cell to cell across the exterior of the body. Enlarging and exaggerating this micro process on a macro level. Visualising how the virus travels, spreads and invades the body. As the cells become infected by one another they morph and change colour becoming slightly sinister as it takes over the body. Commissioned by Imperial College London, the film was screened at the Beautiful Science exhibition, Brick Lane Gallery, 26th June – 2nd July 2012

The Arri Alexa x 3: This is how we roll

This week I had my first glimpse of a large scale production in full flow on set of a TV drama being shot on location with almost 200 cast and crew members. This was a 12 person camera crew shooting on 3 Alexas with Optimo zoom lenses and more feet of BNC cable than you can physically hold. There was the DP running the show and operating on A camera, B camera as steadicam and C camera mostly grabbing another angle of the action or snatching cutaways (or general views, ‘GVs’, as I learnt). C camera, as with the others, had an operator, focus puller, clapper loader and camera trainee. I was  a dailies camera trainee and had been waiting and hoping to get on board this production for several weeks so I was very excited and appropriately nervous in equal measure. Big multi camera shoots are incredibly exciting, but also come with their own set of traps for the learning camera assistant. 

The scale of the production was the source of most of the nerves and I learnt some very important lessons from the experience. With so many camera crews working at once, it’s very easy to get lost in the speed of the shoot. Our job as trainees was generally to manage the extensive amount of cabling that ran from video village to the three cameras. We also ran batteries (I was happy to take this menial task on to ease up the other trainees’ time as I was the least experienced) to the camera truck (there was a camera truck!), moved or helped the 2nd ACs move mag-liners around (the rugid trolley that the camera accessories boxes are stored on), and generally stuck to our respective crews like glue in case they needed anything to eat, drink, or vent!

It was brilliant fun. I learnt a bunch of stuff: how best to recoil the BNC cables back onto the drum (standard over-under recoiling technique, dump the cable on the floor upside down and the cable should reel in smoothly); found out how to connect a clamshell, what keying a walkie talkie meant (accidentally engaging the walkie talkie so no one else can speak); once again realised how important it is to keep calm, smiling and chat light heartedly with the rest of the crew; a bunch of acronyms (DFI – disregard first information/different fucking idea, that’s a W.R.A.P – Wind, Reel and Print, GVs – General Views, synonym for cutaways); how to fill in camera sheets for the lab/post house to deal with the rushes.

But one thing stood out most of all: how best to deal with the scale of the production while still keeping your own camera crew happy. There were points towards the start of the day where I was so eager to be an asset to the whole of the camera department that I left C camera for too long in order to run around helping the other trainees and crews.

It’s important, even if you aren’t in constant demand for your camera, that you do your best to stay by it in case you are needed.

Towards the end of the morning, in a very diplomatic way, my experienced and ever helpful, smiling 2nd AC explained that I didn’t have to say yes to every request to help other crews and that my priority was to attend to C camera’s needs. If my crew are stuck to the camera and suddenly need something added to their rig, they need me to run and grab it. If they are thirsty, they need me to fetch some drinks and if they need a piss, I should be there to cover that person’s back (metaphorically speaking).

I feel towards the end I struck a better balance, but it’s worth really keeping in mind that if you are on a multi camera shoot, that your priority is your own camera and its specific crew. If you are doing nothing and are absolutely needed elsewhere because someone is struggling, then check with your superior first, go help the others and return as quickly as possible.

Of course there are also great positives to working with a big camera crew like this – I learnt a hell of a lot from the other trainees as well as my own 2nd AC, and got to go have a beer with them all at the end of the day. Overall the day went pretty well and I loved every minute but these experiences are always humbling – so if there was one main thing I learnt from the day, it was to listen and accept what I was asked to do by my own crew, then act on it.

Ultimately, be an asset by helping as much as possible, but don’t neglect your own crew in an attempt to serve the whole department.

There are going to be plenty of other distractions and traps that you can fall into with the rush of a large scale production that I haven’t yet come across. I imagine though, that if you concentrate on the tasks that you need to do and are used to, the principles are all the same and you should be just fine.

Now go enjoy yourself and get stuck in to being part of the film making machine – look, there are two other incredibly expensive cameras all busy shooting exciting things! Wonderful stuff.

Roger Deakins is widely known and acknowledged as one of the great cinematographers of our time. He is certainly one of my favourites, having shot such a wonderfully diverse range of films while maintaining quite an incredible level of artistry which always has a relevance and respect for the story at hand. Deakins has worked as cinematographer on The Shawshank Redemption, No Country for Old Men, A Beautiful Mind and The Big Lebowski, among a vast number of others. I was actually looking for a brief youtube interview that I bumped into a while back, when I came across a much longer 50 minute interview with Deakins, led by John de Borman, the President of The British Society of Cinematographers. I feel the video implicitly explains a great deal about why Deakins has been so prolific and successful.

I will keep this brief as rest assured, if you click the link you will end up watching the whole interview despite saying to yourself “I’ll just watch 10 minutes for now and finish it tomorrow when I’ve had some sleep”.

Deakins speaks in some details about a number of things including the importance of his early work in documentaries which helped him to observe and use natural light and to compose a shot quickly. He speaks about the importance of the characters in the story and that for him to take a job he needs to be able to relate to the characters, so that the audience can relate to his representation of them through the lens, as that is really one of the ultimate goals. He talks about his approach to lighting night scenes. He also argues that the hardest thing in the world is to maintain continuity for day scenes lit by the natural light of the sun. For True Grit, for example, weather problems meant that they shot one scene over the course of 14 days and he was expected to make it appear as though the scene takes place in under 2 hours. He speaks about his feelings towards digital – to briefly summarise, it allows him to sleep at night for all sorts of reasons, which is a novel thing. He also fields questions about diffused and direct light which leads him on to explaining why he has been so successful. He argues that it has very little to do with his use of diffused or direct light and everything to do with luck and timing.

That’s a summary anyway, just so that if you were a bit tempted, now you’re really not going to get any sleep until you’ve given it a watch.

Two things strike me about Deakins which I feel account for his great success and why he is such a role model for me.

1. His character
2. His talent

Just through this and a couple of other interviews that I have watched of Deakins, as well as what I have been told from people who have met or worked with him, I  feel I have got a real sense of his character, which I love about him just as much as the films he has shot. How he speaks seems equally valuable to me as what he is saying. He seems to be a total realist, totally calm, totally logical, modest, genuine and friendly. These are all characteristics of the best people I have worked with, on any project, film related or otherwise. I can’t help but feel this has played an enormous part in his success and that these characteristics are vital in making a cinematographer great. The way he talks about his success just cements this in my head – he calls it luck, and undoubtedly he did come across the right people at the right time, but there’s no way they would have taken him with them had he not been an absolute pleasure to work with, and consistently so. I don’t need to comment on his talent. Rather, go and watch one of his films and see for yourself. The man is seriously talented and just like his character appears to be, consistently so as well. Watch the interview with Roger Deakins here.

I hope you enjoy the interview and find it as useful as I have done. It may be of equal interest for me also to share the BSC’s vimeo page. It has a ton of interviews which I have literally only just found myself. To put into perspective how little this goldmine of information is being watched, I’m about to become the 79th person to watch the Chris Menges interview. Funny when you consider this Michael Bay interview on Youtube has had over 40,000 views…