Credits & Experience

Love & Air | Editor

I edited Love & Air in Avid Media Composer, taking the project from raw footage through to final export. My focus was on building rhythm and emotional flow, making sure every cut supported the performances and story. Working closely with the director, I shaped the film’s tone and refined the pacing, while also learning how to manage professional workflows in Avid. This project gave me real confidence in both the technical and creative side of editing, and confirmed how much I enjoy bringing a story to life in the edit suite.

Forest Of The Mind | Director Of Photography

I worked as DoP on Forest of the Mind, a documentary exploring student mental health and the healing power of nature. I built the visual style around natural light and handheld camerawork to keep it authentic and reflective, while leading the camera team through some challenging outdoor shoots. It was an experience that really pushed me to capture sensitive stories with empathy and honesty.

Ginsters Commercial (shot on Kodak) | Director of Photography

As DoP on this branded commercial, I was responsible for translating a strict brief into bold, engaging visuals. Working to a tight deadline, I planned and executed the shoot to meet brand requirements while keeping the imagery creative and dynamic. The project gave me first-hand experience of balancing storytelling with client expectations - an essential skill in commercial cinematography. It also sharpened my ability to lead a camera team, think on my feet, and deliver consistent results under pressure.

Double Date | Director Of Photography

I worked as DoP on Double Date, a short drama that used split screens to show different versions of the same characters. This approach created unique challenges with framing, lighting, and continuity, as every setup had to align perfectly across takes. It pushed me to think carefully about composition and consistency while still keeping the visuals engaging. As my first project as DoP, it was a great introduction to leading the look of a film and tackling technical challenges in a creative way.

Thursday, Technically Friday | Camera Operator

On Thursday Technically Friday I worked as a camera operator, supporting the DoP in capturing the film’s visual style. My responsibilities included setting up and operating the camera during key scenes, maintaining framing and focus, and adapting quickly to the needs of the director and crew. This role strengthened my confidence behind the camera and gave me valuable experience in translating a creative brief into strong, consistent visuals on set.

Years Apart | 1st Assistant Camera

On the short drama Years Apart, I worked as 1st AC with the ARRI Alexa system - a brilliant opportunity to get hands-on with a high-end professional camera. My responsibilities included focus pulling, building and maintaining the camera setup, and ensuring smooth operation throughout the shoot. It was a fast-paced environment that demanded accuracy and quick problem-solving, and the experience gave me a solid grounding in camera systems while supporting the DoP’s creative vision.

All My Blues | 2nd Assistant Camera

As 2nd AC on All My Blues, I was a key part of the camera team, responsible for slating, managing camera reports, handling lens and battery changes, and ensuring the kit was always ready to roll. The role demanded accuracy, speed, and strong communication to keep the shoot moving smoothly. Working closely with the 1st AC and DoP, I gained hands-on experience with professional workflows and proved I can keep a camera department organised and efficient under pressure.

You're Life Sucks, Here's Why | 2nd Assistant Camera

On Your Life Sucks, Here’s Why!, I worked as 2nd AC, supporting the camera team on a fast-paced set. I was responsible for slating, media management, battery and lens changes, and keeping detailed camera notes. The role required precision, organisation, and strong communication with the 1st AC and DoP to keep everything running efficiently. It gave me the chance to strengthen my technical knowledge and prove I can support a camera department under real production pressures.

We Chat With A Ghost | 2nd Assistant Camera

My first role outside of university, working as 2nd AC on the short film We Chat With a Ghost. I was responsible for slating, lens and battery changes, and keeping the camera department organised on set. It was a great introduction to working on a professional production, where I gained experience in set etiquette, teamwork, and supporting the DoP and 1st AC in a fast-paced environment.

Years Apart | Best Boy

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I also worked on another AUB production coincidentally titled Years Apart, but with a different director and crew, this time as Best Boy in the lighting department. In this role I supported the gaffer in running the team, managing equipment and overseeing safe, efficient rigging on set. It gave me a wider perspective on how the lighting department operates as a whole, and pushed me to take on more responsibility, problem-solve under pressure and adapt quickly to the creative needs of both the DoP and director.

Nowhere Near | Spark

On Nowhere Near I worked as a spark in the lighting team, helping set up and adjust lights, run cables and keep everything safe on set. It was a fast-paced shoot that taught me a lot about working under pressure and how important clear communication is in the lighting department. I also got hands-on experience with professional kit and saw how lighting choices shape the mood of a scene.

Maddy & Lucas (Big Tent Production) | Costume Assistant

On Maddy & Lucas I worked in the costume department with responsibility for extras. I contacted cast members ahead of filming to confirm their wardrobe, checked that they arrived on set with the correct clothing, and reported back to the costume designers. This role required strong organisation, clear communication and attention to detail, ensuring the extras looked consistent with the film’s design while keeping the department updated at every stage.