SMA Baby Milk.
Directed by Stevie Russell.
We shot on an Epic using Zeiss Masterprimes and flared every shot with a light pointing down the lens.

Production Company - Sonny London.

Life Of Crime
Episode 1
Set in 1985. We set out to emulate the look of the time.

For this scene we had a couple of practical flourescents set up in the ceiling and some 4K lamps outside the windows at the end of the room. But once the art dept. appeared with the food service area with heat lamps (on the left in this picture), we decided to turn off the flourescent lights overhead and go with a dimmer, sadder look.

Shot on the Alexa with Cooke S4 lenses.

Colourist Gary Curran at Screenscene.

This was a test frame - looking at adding muzzle flash to a gunshot. From Injustice.

This is from an ITV show called Injustice.

Shot on the Red MX.

Canon 24mm swing and tilt lens with blue streak anamorphic flare filters. We stuck a light in the background shining right towards the lens for a hot streak of flare. Backlight was a 6k.

Colourist Jet Omoshebi at Deluxe 142.

Nike, test grade

Shot on the Red MX. A rough grade for the director. Zeiss ultraprimes. T2.8 1/2.

The Pool

Shot on the Red One. 65mm lens.

We Are Scientisits- Chick Lit

Shot on 16mm. A western shot in Ireland.

Five Minutes Of Heaven

One take. We waited for the exact right moment at magic hour and torched the car. In the picture Diarmuid Noyes, Conor Mac Neill, Mark Davis and Mathew McElhinney. Super 16 with a 16mm lens I believe.

Brian Molko of Placebo - Bright Lights

We shot with some scaffolding which we wrapped a load of strings of 100 watt bulbs around. Brian had a big soft light over his head and was very good at playing into the light. We streaked the lights in post. What looked shambolic on the day (we had the producer asking us were we sure it would work) turned out like this.

Teeth

35mm film. 5245 (the last rolls available in the country before it was discontinued). Location Glendalough, Ireland.

Domhnall Gleeson in Corduroy

This scene was supposed to be shot outdoors at night but a huge storm drove us indoors. I think the scene actually wound up working better than it may have if we had shot it the way we originally planned to.

Father And Son - Sophie Okonedo

Corp + Anam

24mm Swing and tilt lens.

Nissan Commercial

35mm film. 2.5K HMI moving on a dolly and track behind the actors.

Corduroy - Caoilfhionn Dunne

45mm swing and tilt lens.