I'm a Director of Photography who has spent the last few years working at the leading edge of generative film. What I bring isn't a fascination with the tools — it's two decades of knowing how a frame should be lit, blocked and lensed to make an audience feel something. Generative technology is extraordinary, but on its own it produces images. Applied with the eye and discipline of a cinematographer, it produces scenes. That distinction is the whole of my work.
Later this year I begin shooting a sci-fi feature where I'm doing exactly that — lighting and lensing real sets, locations and studio work while designing the generative effects, plates, set extensions and costume enhancements in the same breath. One eye on the sensor, one on the pipeline.
THE APPROACH
Character consistency
Holding a face, a wardrobe and a performance steady across an entire piece is where most generative work falls apart. It's where mine begins. I build and maintain characters that survive from shot to shot, so a story can actually be told rather than merely glimpsed.
A specific look, on purpose
Every project arrives with a visual language — a palette, a quality of light, a lens character. I develop and lock that look so the result feels authored and intentional, not assembled. This is straightforward cinematography thinking, simply applied to a new medium.
Virtual locations, fully realised
From sci-fi worlds to grounded, photoreal environments, I create locations that hold up as places, with the spatial and lighting logic a real set would have. The camera behaves like a camera. The world behaves like a world.
Shot for the pipeline
Increasingly I shoot with the generative outcome already in mind — every lighting and framing choice on set made knowing how the AI layer will build on it. The person who lit the scene is the person who extends it. A single craft, not a handoff between departments.
Narrative first
The technology is never the point. Every choice — the frame, the light, the movement, the cut — serves the story. That's the habit of a career spent on set, and it's what keeps generative work from feeling like a demo reel.
SELECTED WORK
Much of my generative work is created under NDA for brands, agencies and productions, and can't be shown publicly — which tends to be the nature of work at this level. A sense of the range:
THOUGHT SHOT
My YouTube channel
Where I explore and pressure-test the latest generative tools in the open. It's where the experimentation lives, and where much of the craft above was first worked out. Watch on YouTube →