M: +44 (0) 7983 455050
Features, Short Films, T.V.
‘Rise of the Footsoldier 3’ (feature film) D.O.P. Luke Palmer
‘Lion'(short film) D.O.P. Steven Ferguson
‘The Verity’ (short film) D.O.P Oona Menges
‘The Inuring’ (short film) D.O.P. Jordan Cushing
Siren Call Films
‘Meeting Mr. Right 2’ (feature, London Unit) D.O.P. Chin Chi Yang
‘Koffee & Diamonds’ (feature ‘teaser’) D.O.P. Roberto Alazraki
‘Midnight of My Life’ (short) D.O.P Sam Renton
Hatty Hodgson Producer
‘La Traviata’ (docudrama) D.O.P. Patrick Duval
Reef T.V. Ltd.
‘Rotters’ (T.V. Pilot) D.O.P. Maja Zamojda
Eleven Film Ltd.
‘Ray & Liz’ (short) D.O.P. Daniel Landin
Jacqui Davies Ltd.
Pardon the Intrusion (short) D.O.P. Matthew Taylor
Araucaria (short) D.O.P John Craine
Miley Cyrus ‘Bangerz; Behind The Scenes’ D.O.P. Ellen Kuras Done & Dusted
The Briny (short) D.O.P. Charlotte Bruus Christensen
‘Museum Mysteries’ (T.V.) D.O.P. Steven Kazmirski
Hot Property (feature) D.O.P. Mattias Nyberg
Looking For Albert (short) D.O.P. Oona Menges
Tag (BBC iPlayer original content) D.O.P. Stuart Bentley
My Jihad (BBC iPlayer original content) D.O.P. Liam Landoli
Man of the House (short) D.O.P. Oona Menges
Snow In Paradise (feature) Festival de Cannes 2014 – Official Selection- Un Certain Regard D.O.P. Mark Wolf
Ipso Facto Productions
Camelot (short)D.O.P. Arturo Vasquez
Blackwood (feature)(2012/13) D.O.P Dale McCready
Sound of Silence (short) D.O.P. Oskar Kudlacik
Emily (short)D.O.P. Carlos Catalan
Ghostin’ (feature) D.O.P Jamie Kennerley
Kaufman’s Game (feature) D.O.P. Phil Nichols
M: +44 (0) 7983 455050 firstname.lastname@example.org
AnOther Conversation with Naomi Campbell/Kate Moss (Promo) D.O.P. Mattias Nyberg
UNHCR/Facebook ‘The Things They Took’ (PSA) D.O.P. Mattias Nyberg
McDonalds ‘Good Times’ (commercial) D.O.P. Mattias Nyberg Tantrum Productions
Prose ‘Future’ (music video) D.O.P. Matt North
Aston ‘I Ain’t Missin’ You’ (music video) D.O.P. James Dove
KTV Sports Universe (commercial) D.O.P. Mattias Nyberg
Bosch ‘Spring Wash’ (commercial) D.O.P. Mattias Nyberg
Pizza Hut ‘The Big Deal’ (commercial) D.O.P. Mattias Nyberg
Microsoft ‘Do Anything’ (commercial) D.O.P. Joel Anderson
Bacardi Rum (commercial) D.O.P. Maja Zamojda
Microsoft ‘Cloud Temenos’ (commercial) D.O.P. Claudio Miranda
Lucky Strike Productions
NSPCC ‘Moon’ (PSA) D.O.P. Chayse Irvin
Microsoft ‘Newest Users’ (London Segments) D.O.P. Robert Richardson
Lucky Strike Productions
‘Ditmas’ Mumford and Sons (music video) D.O.P. Matthew Taylor
National Lottery ‘#PleaseNotThem’ (commercial) D.O.P Mattias Nyberg
Esurance ‘Sorta Mike Bryan’ (commercial) D.O.P. Mattias Nyberg
Honda ‘Stepping’ (commercial) D.O.P. Daniel Landin
‘Witness’ Mark Ronson (music/art project) D.O.P. Mattias Nyberg
IWF (PSA) D.O.P. Maja Zamojda
Gail Mosley Productions
Hudson Taylor ‘World Without You’ (music video) D.O.P. James Blaan
Nivea For Men (commercial) D.O.P. Arturo Vasquez
Gas & Electric
Dynamo/Fiat ‘The Power of X’ (commercial) D.O.P. James Blaan
Samsung ‘Hawk’ (commercial) D.O.P. Daniel Landin
Danio ‘Grumbler’ (commercial) D.O.P. Matthew Taylor
AlexandAlexa ‘A Day on the Slopes’ (commercial) D.O.P. Mattias Nyberg
Beaton, Black & Blue
Balmain ‘Army’ (commercial) D.O.P. Mattias Nyberg
Fortitude ‘Off-Air Shoot’ (promo) D.O.P. Ian Murray
M&S ‘Best of British’ (commercial) D.O.P Mattias Nyberg
Adjust Your Set
‘Betvision’ D.O.P. Simon Pinfield
Vertu ‘Campaign’ (commercial) D.O.P Tom Turley
Kingsman: Secret Service (promo) D.O.P. Barry Gross
Planet of Sound ‘We Are Together’ (music promo) D.O.P. Olaf van Gerwen
Apple ‘Super Nova’ (commercial) D.O.P. Malik Sayeed
Mustard Film Company
Aldi ‘Which?’ (commercial) D.O.P. Mark Wolf
Keane ‘Greatest Hits’ (commercial) D.O.P. Simon Turnbull
Viasat ‘We Stand Together’ (in-house) D.O.P. Ian Murray
Philips ‘Hue’ (commercial) D.O.P. Tom Turley
Wallis Christmas advert (commercial) D.O.P. Ian Murray
St. John Ambulance (promo) D.O.P. Lasse Frank
Grand Reveal (music promo) D.O.P. Colin Elves
Lee Archer Pro.
The Ballad of George Collins (music promo) D.O.P. Brian Fawcett Us3 Productions
B&Q ‘spec’ advert D.O.P. Federico Alfonzo
Martha has been directing consultant to Richard Wenk, Darren Starr and Tom Cavanagh, and Script Supervisor for major directors including Martin Scorsese (“Hugo Cabret,” “Boardwalk Empire” pilot, “Shutter Island,” “The Departed,” “The Aviator,” “Bringing Out the Dead,” “New York Stories”), Sidney Lumet (“Prince of the City,” “Night Falls on Manhattan,” “Daniel,” “Deathtrap” and others), Milos Forman (“Ragtime”), Oliver Stone (“Wall Street”), Iain Softley, Andrew Niccol, and Brian De Palma.
I’ll admit it, I’m addicted to reading Mandy.com. It’s like biting down on a tooth that aches. You know it’s gonna hurt, but you can’t stop doing it. I have nothing against websites like Mandy, or Shooting People. You have to start somewhere. The misspellings bug the hell out of me, but what really upsets me is the tone of many of the ads. There’s often no sense of graciousness… appreciation…for what a person’s offering by doing the job. I read ad after ad with expectations of people working cheap or free yet supplying kit. I see the word “MUST” (in capital letters) so often. Here’s an exact quote from a Mandy ad right now: “What you MUST have for this job it’s (sic) lights.”
So here’s my idea, a template for those that are looking for help on Mandy, Shooting People etc. :
“Hi, I’m trying to make a ___________ . It is a self-funded project and therefore I do not have enough money to pay anyone/can only pay NMW.
I would be really grateful for any help that you can give. Maybe you’re a ______ that wants to be a ______ , or are already a professional and just like to support the independent film industry.
Although the job is ____ days long, any time you could give to the project would be much appreciated.
We will do our best to make the length of the days reasonable, and will make sure there is always water and food on set.
I know this is a lot to ask, but I really want to make this ____ . I realize that you will be helping me more than I will be helping you, and I promise to behave in a manner that demonstrates that. I also know that if you own your own equipment you should be compensated for my using it, because I understand that it costs money to buy, to insure, and to maintain.
I know a lot of my posts seem like I’m bashing the UK film industry, I’m not. I’m this grumpy in the states too! I swear!
This post is about communication. Definition. About clarity. It’s about relativity.
When I worked as a bike messenger in Manhattan there was nothing more frustrating then going to 150 east 50th street, when in actuality the pick-up was at 115 east 15th street! So when I became a dispatcher I would say to my guys “pick up at one one five east one five street”. Sounded silly, but they always knew what meant. I try to be as concise on a walkie-talkie. I think it’s important for any requests made on walkie to be complete. If you need a “4 x 4″ flag and a c-stand” say just that. There’s nothing more frustrating then someone asking for “a 4 by 4”. Ok, a 4 by 4 what? And then when you bring it on set, they then tell you they need a stand as well. Annoying habit alert: Please don’t blow into the walkie when doing a walkie check! What does that accomplish other than blowing out your fellow crew members ear drums? A simple “walkie check” and wait for a “good check” response will do just fine.
Over here gear is often referred to as small, medium, or large. Like “Bring me in the small steps”. Well, that’s great if you always have three sizes of steps. But what happens if you have a 4′ 6′, 8′ AND a 10′ ladder? The same with flags. Nobody knows the sizes of flags. It causes great confusion when I ask for a “36×24” flag. (although in the states, for reasons I’m unable to explain, it would be a “24×36” flag). Yet if I say “Please bring in a medium flag”. They still don’t really know what I mean, ’cause there are at least 4 sizes of flags. Rrrrrggghhh….
I also believe the area where you put your gear should be referred to as a ‘staging area’, not a ‘dump’. If you call it a dump. You treat it like a dump.
Is this all semantics? I suppose so. But it makes for less errors. A manager of a restaurant I worked in (yes I know… I had a few jobs before I found myself on a film set!) had a favourite saying: “communication is the key to success”. I think she was crazy as a box of frogs, but in that case she was right. That and the time she added more red wine to a soup I was making. Man, that really did give it the kick it needed!
Camera left, camera right. Lamp left, lamp right. Upstage, downstage. Learn them. Use them. Trivia: it’s called ‘upstage’ ’cause the back area of the stage was raised so you could see it easily from the audience!
I like to find the points of the compass immediately upon arriving on location, or even in a studio. I worked on a job where the key grip would use the most obscure references for direction. “Hey guys, move that 20 by frame towards catering.” Huh???
It’s so much easier to establish compass points so everyone is on the same page. “I need someone on the north-west 12K, give me a shout when you get there.”
At the same time, I realise that in the states not only does each coast call the same piece of gear something different, each crew does, and so does each country! ‘G’ clamp? ‘C’ clamp! Mafer clamp? Super clamp! Super clamp? ‘K’ clamp! It can go on and on!
On that note; I need a small flag, medium steps a ‘k’ clamp a shotgun and a knuckle!
When I first started in film, I started in the true New York independent film world. Non-union, low-budget, all that. Continue reading
I’ve been talking to a lot of film students and film school graduates about their projects, and there are several themes that seem to run through all our conversations. The one I’m thinking of right now, is budgets.
I would imagine that there are three budgets when it comes to making any film; first you have the ‘how much I have to spend’ budget. Then the ‘how much can I make it for’ budget, and finally, the most ignored of the three, the ‘how much would it really have cost to make’ budget. Continue reading
For the last several years I’ve seemingly become obsessed with something that I’d never once thought about.
What is it? The ‘long arm’!
I’ve been working in the film industry in the US since 1989, and here in London since 2006.
One of the first things I noticed when I started working on sets over here, is that no one uses long arms when using a ‘C-stand’. When the gaffer gets on the walkie and says “Bring me in a tall C-stand”, 90% of the time the spark brings it in with just a knuckle. Then when the gaffer is setting the flag or net, and the DOP says ” Ok, lower that a little.” The gaffer gets back on his walkie-talkie and says “Bring me in a long arm.” Most DOP’s I work with would sit on the dolly opened mouth watching this event. Continue reading