Broadcast DP & Camera Crew
Cinema-grade cameras, intentional lighting and a complete location package for nationally televised broadcasts, documentary features, corporate productions and government projects.
Director of Photography / Video Editor
Clients hire me for cinematography that's technically precise and visually compelling.
Across nationally televised broadcasts, documentary features, corporate productions, and government projects, I deliver consistent, award-winning results built on strong composition, intentional lighting, and attention to detail at every stage.
I shoot with cinema-grade cameras including the Sony Burano 8K CineAlta, delivering the dynamic range, color accuracy, and detail that broadcast and streaming standards demand. Clean, high-quality source material gives post-production teams maximum flexibility in color grading and finishing, with no compromises from capture to final delivery.
Equipment
Lighting, camera support, cameras, drones and audio, all ready for location.
Select any item to see what it brings to the shoot.
For larger productions requiring additional grip equipment, lighting support, or multi-camera coverage, we scale the crew and production resources to match the needs of the project. Drawing from a trusted network of experienced professionals, we assemble the right team to ensure every production runs smoothly and efficiently.
On location
The full camera, lighting, grip and audio package travels with the crew in the Metris cargo van, packed and ready to set up on location.
From the camera side
Tell us about your project through the contact form and we’ll get back to you with next steps.
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Lighting
The big daylight punch of the kit: enough output to light a scene, fight the sun through a window or push through large diffusion.
Lighting
A bright, colour-tunable key light that can match daylight, tungsten or anything in between.
Lighting
A compact, focusable light for accents, hair light and tight spaces, and it runs on batteries.
Lighting
A large, soft source that folds flat: flattering light for interviews in rooms with no space for big stands.
Lighting
Colour for the background and practical-looking light in frame: tubes can be hidden, hung or shown on camera.
Lighting
LED tubes for soft, even light and set accents, easy to rig on stands, ceilings or in frame.
Lighting
Broadcast-standard Litepanels: bright, soft, reliable panels for fast interview setups.
Lighting
A theatrical spotlight with hard, shapeable edges: slashes of light on a wall, patterns and dramatic looks.
Lighting
Control for the sun outdoors and a chroma key backdrop when the background needs replacing.
Lighting
The tools that turn raw light into a look: soft, directional and controlled so it lands only where it should.
Lighting
Bounce the sun back into faces outdoors: natural fill without needing power.
Cameras
My main camera: Sony's high-end cinema line in a body light enough for run-and-gun broadcast work.
Cameras
Compact Cinema Line bodies for B-camera, gimbal and tight spaces, with colour that matches the A-camera.
Cameras
A proven CineAlta workhorse for multi-camera shoots and as a second angle.
Cameras
A tiny full-frame camera for crash cams, tight spots and extra angles.
Drones
The main aerial camera for sweeping establishing shots and cinematic moves.
Drones
A small, quick-to-deploy drone for tight locations and fast aerial coverage.
Drones
A second aerial platform with a large sensor, so there's always a backup in the air.
Camera Support
Motorised slider moves that are smooth and repeatable, for product shots and polished B-roll.
Camera Support
Motorised focus pulls that stay precise during slider and gimbal moves.
Camera Support
Classic dolly-style moves on a portable track.
Camera Support
Smooth, floating handheld shots: walk-and-talks, follow shots and reveals.
Camera Support
Executives and presenters read their script while looking straight into the lens.
Camera Support
Keeps every camera and audio recorder on the same clock, so multi-camera edits sync instantly.
Camera Support
A big, bright screen for directors and clients to watch the shot, with a backup recording.
Audio
A short shotgun mic for on-camera and boom audio.
Audio
Wireless lav audio with a COS-11, one of the standard broadcast lavalier mics.
Audio
Lectrosonics is the top tier of broadcast wireless: two clean channels straight into the camera.
Audio
Classic broadcast lavs, easy to hide in clothing for clean interview sound.
