My passions are around imagery and technology. I’ve spent 25 years behind a lens or a computer or a lens on a computer. I’m CEO of Cinemachine Imagery Ltd., which is a company focused on procedural cinematography, ‘smart’ camera systems and related camera technology for video games, movie pre-visualization and CG cinematography. We are working on cutting edge procedurally generated cinematic solutions for games and eSports, building on a foundation of camera technology going back 15 years.

I’ve designed the camera system in numerous game engines including Frostbite (used across all of EA) and Unity. My camera designs have shipped in dozens of titles across millions of units.

In addition to the camera tech, I also work as DP in feature films and documentaries.

Project List

Photographic Projects

Not a complete list. Just some of the favourites.

I’ve worked as a DOP or photographer with: Michael Bay, Electronic Arts, Hype Williams, The Beastie Boys, Christina Hendricks, Alex De Rakoff, Nike, Addidas, the 2010 Olympics, to name some of my favourites.

Other Clients



A recent process used by many prominent directors is the use of 3D visualization. I was a CG Supervisor at Electronic Arts for many years and can bring years of 3d CG experience to the project. We can work out camera angles, animation, lenses and realistically block entire scenes on the computer. The benefits are enormous both creatively and budget wise.

Pre-vis allows you to block out and experiment effortlessly with any of your scenes. It can illuminate exactly what needs to be shot for action scenes, or to help with lens and rig decisions in specific environments. Will a 18mm lens get the top of the roof and the floor in at the Yankee Stadium? What does a 35mm lens look like on X car with a hood mount? We can figure that out without getting either the camera or the vehicle, or the stadium.

Not only can you figure out camera / lens / editing decisions beforehand, but it can drastically help reduce set decoration since you know exactly what’s in frame.

Making pre-vis a part of the creative process can drastically improve the shot quality while also reducing if not eliminating surprises on the day.

DOP / Cinematography

Shooting a feature or short requires a lot of pre-planning.  I work with the director and others to get an understanding of what the creative center of the project is.  A lot of reference is gathered and we all look at a range of images so we can narrow down the look.

I do a complete script breakdown into scenes to determine the lighting requirements.  Each major scene is represented by a reference image and I put them all in a line so we can see color and contrast wise, how the movie flows, how each scene moves to the next.  It’s a way to look at the entire film’s colors to see how they fit together and can reinforce the story.

Here is a ‘Movie Barcode’ which illustrates a similar idea, but at an individual frame level.  Each vertical row of pixels is taken from each frame of a movie.  The resulting image lets you see how the colors of the movie change over time.  Can you guess the movie?


The Life of Pi