Three kinds of job. Same approach: build the light first, then shoot fast inside it.
01
Commercial Cinematography
For agencies & production companies
Dynamic and playful, with a punch. TVC and branded work built for boards and timelines, with the preparation to move fast on set and the eye to make every frame count.
SEE: Exceptional Every Day · Walmart · UPS · Purina · Zarbee's
02
Branded Content
For brands with real people to film
Documentary authenticity with commercial polish. Real subjects, real stories, delivered to brand standard. The work WhatsApp, Ernst & Young, and The Martin Agency hire me for.
SEE: IRRM · Belonging · Project Spark
03
Documentary
For directors, studios & streamers
Emmy-winning verité and feature documentary work. Small footprint, deep patience, and coverage that cuts, from road trips to hospital corridors to the middle of Uganda.
SEE: Lifeline · Not Going Quietly · Minted · My Uganda
Preparation is the work
Development, pre-production, on set, post and beyond. I think about light and motion in terms of impact and emotional effect, with consistent creative problem solving under pressure.
Q: WHO'S ON YOUR CAMERA TEAM? Prep, crew, lighting plan, look development, and calm under pressure.
Q: DO YOU TRAVEL? Constantly. Based NYC & Sydney, shooting worldwide.
Q: DAY RATE? Send scope and dates. You get a number the same day.
The city taught me speed. Docs in the boroughs, TVCs on stage, everything in between.
Shot here
My NY Emmy came from this city. Lifeline: A Doctor's Commitment to 9/11 First Responders.
Feature documentaries too. Minted premiered at Tribeca and went to Netflix. Not Going Quietly took the SXSW Audience Award and went to Hulu. Both directed by Nicholas Bruckman at People’s Television.
Then the commercial and branded work: Sony Music, Purina, Zarbee's, Bio True, Ernst & Young and The Martin Agency, shot across NYC locations and stages.
A deep bench of NYC crew. ACs, gaffers, and grips I've worked with for years, ready on short notice.
What that means for you
— CREW NETWORK: BOOKED IN A CALL, NOT A WEEK — TECHNOCRANE AND R2 WHEELS — PERMITS, LOCATIONS & RUN-AND-GUN FLUENCY
Where I learned the craft. On Jane Campion's sets, chasing Australian light.
Where I came up
I came up on Australian sets: Top of the Lake, Tracks, and HBO's Lewis & Clark, assisting Jane Campion, John Curran, and Gerard Lee, learning from cinematographers Mandy Walker, Rob Hardy, and Adam Arkapaw.
Narrative credits here include 2nd unit cinematography on the series Eden (dir. John Curran, Mirrah Foulkes) and the feature Either Side of Midnight (dir. Roger Spottiswoode).
Dual base
— AUSTRALIAN CITIZEN · NO VISA FRICTION — LOCAL KNOWLEDGE: LOCATIONS, CREW, RENTAL HOUSES — US/AU PRODUCTIONS: ONE DP, BOTH SIDES OF THE PACIFIC — AVAILABLE FOR APAC COMMERCIAL & DOC WORK
My father grew up in Australia far from his family, a Vietnamese refugee who carried the weight of loss and the gift of imagination. At night he told us stories of distant galaxies, forgotten lands, and strange, beautiful worlds.
My mother, a Waldorf teacher, taught through story. Myth, legend, memory. She showed us stories weren't things to learn but ways to live.
Where it led
I came up on sets like Top of the Lake and Tracks, assisting Jane Campion, John Curran, and Gerard Lee, learning from Mandy Walker, Rob Hardy, and Adam Arkapaw. Preparation became my superpower.
Today I split time between NYC and Sydney, shooting commercials, documentaries and narrative, from look development through the final grade.
I also run Vantage Creative House. That's a different company.
NY Emmy · LifelineSXSW Audience Award · Not Going QuietlyTribeca · Minted, Not Going QuietlyNetflixPBSHuluSony MusicWhatsAppErnst & Young
