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The images shown on this page are from some of the programmes I have lit over recent years. They are not in any particular order. These pictures do not necessarily represent my best work - rather, the intention is to give an indication of the range of programmes for which I have been lighting director. The pictures are grouped into comedy, music and entertainment. Click on the category to jump to it. Click on the images for an enlarged view and details about the shows.
The first group of images here are taken from the 2003 Christmas special of 2 Pints of Lager and a Packet of Crisps. This production was shot on location and on two stages at Ealing Studios. This episode was quite different from the normal sitcom series, being in the form of a fantasy flashback. Throughout the show the action was punctuated with musical numbers which were in the style of well-known pop songs. We attempted to recreate the promo videos that went with the originals in a quarter of the time and with a tenth of the budget! Jamie Cairney was the cameraman. He lit the four numbers that were shot on location (and did a superb job) and the rest, shown below, were lit by me in the studio with Jamie as camera operator.
Thanks... I am greatly indebted to all those who have assisted me over the years in the programmes shown above. In particular, the console operators and moving light operators who have somehow created such marvellous pictures out of the dodgy old lighting rigs I have given them to work with! It is always dangerous to single out individuals but some of the very talented operators I have relied upon to make me look better than I deserve include names (in alphabetical order) such as Lee Allen, David Bishop, Will Charles, Andy Clark, Pete Dale, Andy Dobbs, Steve Emmett, John Ford, Russell Groubiak, Gill Hersee, Dave Knott, Darren Lovell, Ian Reith, Julia Smith, Roger Williams etc.etc.etc. I have also been extremely fortunate with the gaffers and chargehands I have worked with in the past few years and amongst many very good ones I owe thanks in particular to Bob Bandoo, Gary Bryant, Will Burns, Justin Denchfield, Greg Fitzgerald, Jamie o'Hare, Steve Pinder, Clive Sait, Joe Sherno, Mike Sherno, Andy Stacey, Matt Try, Roy Winfield and of course all the many willing and able sparks who have worked with them. Almost every sitcom goes through a grading process. This involves every shot being tweaked by a colourist using an expensive piece of post production equipment that works like a very sophisticated Photoshop. Until recently, this was usually a Pogle but since HD has become more common, other machines called Baselight and Finaliser are also used. Every aspect of the picture's contrast and colour can be altered - but most importantly, soft-edged wipes and vignettes can be used to shade or lift parts of the picture and improve the overall balance. I have come to rely upon a few colourists in particular - Nick Adams and Tim O'Brien at Evolutions and Jim Hogan (Hogi) at Suite - to bring their creative flair to my very ordinary pictures and make them look far better than they deserve to. Whilst I am at it I must also thank those companies who have provided such excellent equipment and service over many years - in particular Andy Martin and Ed Pagett at AFM (now Panalux), John Copping at Cirrolite, Tony Slee at ELP and of course Steve Wells and Richard Martin at RML. (A particular thanks to whoever invented Kinoflos in all their many and various shapes and sizes. I used them somewhere on about two-thirds of all the shows pictured above. Where would I have been without them?!!) Thanks to everyone who has worked with me over the years, including of course those not mentioned above. Your help was genuinely appreciated. Sorry I can't list everyone but you know who you are!
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