Journal
Director and cinematographer notes from inside the work: light, faces, movement, rooms, performance and the choices that still hold up.
Latest notes
Working notes on direction, cinematography, performance and the visual decisions inside selected projects.
Director Notes ·
Seeing Ginny Becker again at the 2026 BC Leo Awards brought me back to what Ginny's Story was actually about: seeing the human cost inside a system, helping tell it clearly, and staying connected to the people who trusted me with the work.
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Looking back at older documentary and interview work makes me slower in a useful way. A frame can be careful and still be cinematic, but it has to earn the room before it starts taking anything from it.
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Director Notes ·
I care about the frame, but only if the person still feels alive inside it. The image can be controlled and still leave room for something human.
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Cinematography ·
The Older Bastard Brother is one of the older pieces I still come back to because the lighting is doing practical work: holding Dave MacKinnon's face, keeping the room tense, and letting the western feeling stay contained.
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Selected Work ·
The late-2025 and 2026 projects feel closer to how I work now. I am choosing frames a little cleaner, trusting faces more, and leaving more room for the thing that is actually happening.
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Performance ·
Dance and music films need more than coverage. I want the camera to feel close to the rhythm without taking the performance away from the person doing it.
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Director Notes ·
The Letter is useful to me because the scene is small enough that every choice shows. The room, the sisters, the letter and the Christmas practicals all had to carry pressure without making the film feel bigger than it was.
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Director Notes ·
Blood Brothers has not really had its public life yet, so I do not want to talk about it like an archive piece. What I can see already is the instinct I was chasing: keep the pressure contained, let the faces carry it, and use darkness without losing the person.
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