Honda Prelude by Justin Kurzel at Revolver.
Lexus by Henry Hobbs at Finch.
Tenzing
I’m currently in production on Tenzing, a new film based based on the true story of sherpa Tenzing Norgay and his 1953 summiting of Mount Everest. Apple has found its lead in Genden Phuntsok (Jinpa), who will play the title role.
Tom Hiddleston co-stars in Tenzing as New Zealand mountaineer Edmund Hillary, with Willem Dafoe set to portray English expedition leader, Colonel John Hunt, and Caitríona Balfe on board for the role of Jill Henderson, a friend of Tenzing who helped organize trips up Mount Everest. Thinley Lhamo (Shambhala) will round out the cast as Tenzing’s wife, Dawa.
The director is Jennifer Peedom, who has a close relationship with the Tenzing family and the Sherpa community following her work on the BAFTA-nominated documentary, Sherpa. Producers include Liz Watts, Emile Sherman and Iain Canning for See-Saw Films, alongside Desray Armstrong, Peedom and Davies. Norbu Tenzing (son of Tenzing Norgay), Simon Gillis and David Michôd will serve as executive producers, with Pravesh Sahni co-producing and Rakesh Singh line producing for Itop Film Productions.
WOLF MAN / Trailer
Coming soon in 2025.
LUNACY / Trailer
Improvised in Australia’s ancient Daintree Rainforest - an exploration of our lost connection with the environment, ancient wisdom and the mysteries of the universe.
Directed by Daniel Askill.
Sydney Opera House / Play it Safe
I was proud to work with the incredible Kim Gehrig at Revolver on this 50th Anniversary film for The Sydney Opera House.
Uber Eats / Real Magic
Directed by Damien Shatford at The Sweet Shop. Starring Tom Felton.
Shot on Sony Burano / At the Motel
I recently had the pleasure of collaborating with friend and actor Sam Corlett on a new film for Sony Cine. Our aim was to test their upcoming new camera, the Sony Burano, on a short narrative in a wide variety of shooting conditions. It was a lot of fun putting together this shoot quickly, and I’m really happy with the results.
Written and Directed by Sam Corlett
Shot on Sony / The making of : At the Motel
Drylandia
Here is an absurd new spot that I worked on with the brilliant Andreas Nilsson from Revolver.
Toyota Racing
Directed by Toby Pike at Scoundrel Films.
Created for Toyota Gazoo Racing, this film shows an animated world all captured in camera.
Over 600m of printed animation cells were spread around the Melbourne's gritty Calder Park, we syncronised our camera frame rates with the spacing of the artworks to bring this world to life. To add to that, we threw in two handcrafted zoetropes.
Shot on Red Raptor + Komodo using Panavision V-Series lenses.
KIA EV6
Here’s a recent spot I shot with Noah Marshall from Larchmont for KIA’s new EV6. We had an incredible time shooting multiple spots for KIA at the iconic Lake Gairdner in South Australia.
SHANTARAM
SHANTARAM is out now on Apple TV+.
Lexus
New spot for Lexus that I worked on with Joel Harmsworth from MOFA.
The 2022 Australian Cinematography Awards
Accepting The Milli Award
The 2022 National Australian Cinematographers Society Awards were held over the weekend in Adelaide, and I was thrilled and honoured to win the Gold Tripod for Best Cinematography in a Feature Film for THE DRY, and also The Milli for the ACS Australian Cinematographer of the Year.
Thanks to legends Rob Connolly, Eric Bana, Jodi Matterson, Bruna Papandrea and Made Up Stories for giving me the opportunity to work on their wonderful adaptation of Jane Harper's incredible book.
Thanks to all of the wonderful collaborators who made it a pleasure to go to work and helped elevate the film every single day.
Thanks to Panavision for supplying the Panavision DXL2, Primo Artiste + C-Series Anamorphics.
Thanks also to all the cinematographers, grips, gaffers, camera assistants, directors, actors, production designers etc etc etc who have taught me on the job over the years. Shooting never came naturally to me, and I credit the patient, generous and highly creative Australian filmmaking community who educated me on every shoot - and continue to do so. Thank you all so much.
2021 AACTA Awards
I’m very proud to have recently received the AACTA Award for Best Cinematography in a Feature Film for THE DRY at the 2021 AACTA Awards. A huge thank you to Robert Connolly and Made Up Stories for giving me the opportunity to collaborate with them on this amazing story.
The Big Picture
Here’s a new interview that Robert Connolly and I recently did with Panavision regarding shooting on the DXL2 camera system for The Dry.
The Big Picture - Panavision.
The Dry / Opening
THE DRY BREAKS THE DROUGHT FOR THE AUSTRALIAN FILM BOX OFFICE
The Eric Bana led adaption of Jane Harper’s best-selling novel delivers top five Australian film opening weekend ever.
Roadshow Films THE DRY has taken audiences by storm across Australia, taking in an astounding $3.5 million since it was released on New Year’s Day. The figure gives THE DRY a place amongst the highest grossing Australian film opening weekends, joining classics including HAPPY FEET and MAD MAX.
“The box office results on the dry are truly extraordinary and absolutely confirm that Australian films can deliver blockbuster results alongside their Hollywood counterparts.” Said Joel Pearlman, CEO Roadshow Films “This result is an incredible example of just how willing Australian audiences are to support their own cinema and stories and how important it is for the local filmmaking community to continue to be provided with opportunities to create great works of cinema for Australians to delight in.”
AACTA Award for Best Cinematography
I’m proud to announce that we won Best Cinematography at the 2020 AACTA Awards for The Invisible Man.
We were also fortunate to win for Best Editing and Best Sound. Full list of winners and nominees here.
The Dry / Trailer
Here’s the trailer for The Dry, a new feature film I shot for director Robert Connolly. Out in theatres January 1, 2021.
Audi / Q Series Campaign
I recently completed a campaign for Audi with wonderful director Noah Marshall and co-director Nick Kelly from The Sweetshop. We shot on the Sony Venice, taking advantage of the camera’s extreme low light sensitivity and lensed it on Arri Signature Primes.