Director of Photography
Lead camera with the eye and the kit. The person who makes the footage look like the reference you were sent.
See camera operator hire →
Trusted by
Video for PwC, Penfolds, Bunnings, FIFA, Coles, Sennheiser, Chartered Accountants Australia and New Zealand, the Australian Turf Club, Inglis, ABC Kids and the NSW Government. Our work has run on Seven, Nine and Network 10.
Booking crew is a risk. You're vouching for someone you might not have met, on a day you can't do twice. So we make it a small decision. Our crew came up through live broadcast news at Network Ten, where there's no second take and no one to call.
That's the standard we bring to your shoot. On time, kitted, briefed, and calm when the schedule slips. You brief us once and get on with running the day.
Book one person or a full unit. Half day, full day or a run of days across a multi-site job.
Lead camera with the eye and the kit. The person who makes the footage look like the reference you were sent.
See camera operator hire →Extra angles for interviews, panels and stage. Matched cameras so it cuts together in the edit.
See multi-camera filming →Radio mics, boom and a clean mix. The part of a shoot people notice only when it's wrong.
Interview lighting that flatters real people in real offices, not a studio look pasted onto a boardroom.
Someone running the floor so talent is where they need to be and the schedule holds.
Vision switching, encoding and the stream itself for a hybrid room.
See livestreaming →Send us the date, the location and what you're shooting. We'll confirm availability and send a fixed quote.
How we work
Five stages, all handled. You brief us once and give your feedback. We run the rest.
Tell us the goal, the audience and the deadline once. Jess turns it into a scope, a plan and a fixed quote, so you know what you are getting before anything is locked in.
We plan the shoot, script the messaging, build the shot lists and lock the call sheet before anyone films. Locations, talent and logistics are handled, and we coach anyone nervous about being on camera.
An experienced crew runs the day to the call sheet and settles people on camera fast. Broadcast-grade cameras, audio and lighting, with backups for the backups. We came up through live news, so calm under pressure is the default.
We edit and finish, then send the cut through Frame.io so you comment straight on the frame. Two rounds of changes are built in. Social cutdowns are planned from the start, so one shoot works everywhere.
You get the final files in the formats you need, ready to go across every channel. They are yours to keep, no strings, no chasing.
A big share of our work is crewing for other production companies, event agencies and comms teams. Your client, your brief, your name on the job. We turn up as your crew and we stay in our lane.
That means no pitching your client, no logos on our shirts, and no going around you afterwards. Repeat agency work only happens if we're easy to work with, so that's the whole strategy.
Sony FX6 bodies, prime and zoom glass, radio mics and lighting. Shot to match if you're mixing crews.
Public liability in place, and we'll fill in whatever the venue or site needs before the day.
Our regos are on file, so loading dock and venue access forms get done ahead of time.
Cards backed up on site to two drives before anyone leaves. Footage handed over how you want it.
Take the rushes and cut them yourself, or leave it with us.
Jess books it, confirms it and answers the phone on the day.
Date, location, hours and what you're shooting. We come back on availability the same day where we can.
Crew, kit and any travel, priced up front. You know the number before you commit it to your client.
We send or receive one. Either way everyone knows the call time, the contact and the parking.
We're set up before your client arrives. You run your day, we run the camera.
Backed-up footage delivered the way you asked, with a shot log if you want one.
Our work
I’m really relaxed. Even at events I’m not at, I’m not worried at all. It’s set and forget.
They make our attendees feel comfortable on camera, and find ways to maximise the content on the day.
I had a partner, not a supplier. They were truly part of the team, across a four day, five week event.
Good to know
Yes. One operator for a half day is a normal booking for us, right through to a full unit across several days. Tell us what the day looks like and we'll tell you what it actually needs.
Yes, and a lot of our work is exactly that. Your client, your brief, your name. We don't pitch your client and we don't approach them afterwards.
Camera, glass, radio mics and standard lighting come with the operator. Anything specialist gets quoted as its own line so you can see what you're paying for.
Across Sydney and greater NSW as standard. Further afield is fine too, we just add travel and mileage to the quote so there are no surprises.
A week or two is comfortable. We've turned crew around in 24 hours plenty of times, so ask anyway if it's short notice.
You do. On a crewing job the rushes are yours the moment they're handed over.
Based in Sydney, filming across the CBD, North Sydney, Macquarie Park, Parramatta, the Inner West and beyond. We travel across NSW and interstate for the right job.
Get a quote