How It Works

It starts with a private conversation.

You can introduce yourself, ask questions or simply explain what made you curious. You do not need a professional portfolio or a carefully prepared application.

The purpose at this stage is simply to see whether there might be a good match.

I normally have several concepts and stories at different stages of development.

If I think you might suit something, I will explain the idea and the role I have in mind.

Sometimes the concept already exists and I am looking for the right person. Other times elements of a production can develop around the personality, appearance or abilities of the person being cast.

There is little value in forcing someone into a role that does not suit them.

Before a booking is made, we go through the important details.

That includes the story and role, explicit content, boundaries, compensation, location, travel arrangements and how the finished production is intended to be used.

The principle is simple:

You should know what project you are arriving to make before you travel.

Once the project is agreed, I prepare the production around the story.

That can include the location, dialogue or narration, scene structure, camera planning and the practical requirements of the shoot.

If a production contains dialogue or a more developed character, you may receive material beforehand.

Some productions are quite structured. Others work better with a clear framework and more room for natural interaction.

The technical setup depends on the story.

I do not want cameras, lights and equipment to become the main character of the production. The people, the scene and the atmosphere should come first.

Some projects are therefore intentionally very light technically and may use compact cameras such as DJI Osmo, GoPro or even a phone, sometimes with a single camera and sometimes with several small cameras covering different angles.

Other productions need more control and may use a larger setup with dedicated lighting, multiple cameras and equipment from systems such as Sony and Blackmagic Design.

I tend to work with a mixture of GoPro, DJI Osmo, Sony and Blackmagic Design, choosing the equipment according to what best serves the particular location and scene.

The aim is not to use the most equipment possible.

It is to use enough equipment to capture the story properly without letting the production setup get in the way of the performance.

I prefer not to rush people from arrival directly into filming.

When travel is involved, the first day is normally used to arrive, settle in, eat, talk, see the location and get comfortable with each other and the surroundings.

We can walk through the story, locations, dialogue and practical setup, and rehearse anything that benefits from rehearsal.

Because of the nature of the work, I think giving everyone time to land properly makes for a much better production than treating the day like a race against the clock.

Before filming begins, all required paperwork and verification must be completed.

That normally includes contracts and releases, identity and age verification, required STI documentation, production records and any other documentation relevant to the project.

We also go through the production once more: the role, scene structure, agreed content, boundaries and any practical changes that may have come up since the original discussions.

If this has already been completed on arrival day, filming day can simply begin with a shorter final walkthrough.

The aim is that everyone knows exactly where things stand before the cameras start.

Privacy and discretion are taken seriously throughout the production.

Everyone involved is expected to respect the private lives of the other people present. That includes clear rules around personal phones, private photographs, behind-the-scenes material and sharing anything from the production without permission.

Material made privately during a production is not something participants are free to upload, forward or leak.

These rules exist to protect everyone involved, and they are not optional.

Full details are covered under Safety & Privacy and in the relevant production agreements.

Filming is deliberately low-key.

We work through the production in manageable sections rather than expecting everything to happen perfectly in one continuous take.

There will be pauses, resets, camera adjustments, forgotten lines and probably some laughter.

If something is not working, we change it.

The objective is to make strong, believable material while keeping enough room for the people involved to remain relaxed and natural.

For me, finishing the scene is not necessarily the same as finishing the project.

People need time to come into this kind of work and time to come back out of it again.

After filming, there should be room to clean up, eat, talk, relax and make sure everyone is physically and mentally comfortable before immediately rushing off somewhere else.

When travel is involved, I therefore prefer departure to be planned separately rather than having someone finish an intense shoot and immediately run for an airport.

After the shoot, I handle the necessary post-production and preparation of the finished material.

What happens next depends on the project.

Some productions are made for private clients and remain private for that client's personal use under the agreed terms.

Others are produced for commercial release and may be sold through selected distribution channels.

Occasionally, where everyone involved has agreed to it, a production may also be submitted to relevant festivals, competitions or industry awards.

The finished material is only used within the rights and publication terms agreed for that particular project.

That is completely fine.

Contact is private and discreet. You are welcome to ask questions, explore the idea and see whether a project feels right for you.