I think the most beautiful moments are those of real, natural emotion, so I shoot as unobtrusively as possible
I've been doing this for years and have developed a ninja-like ability to be in the right place, at the right time without anyine noticeing how I got there.
I shoot on real film, a bit like the stuff that you used put in your camera 20 years ago - you need to send it to a lab to be processed and digitally transferred before you can see it.
I don't use film because it looks old, I do it because it looks better.
Film is not cheap; other wedding filmmakers who work in Super 8 shoot as little as two, 3 minute reels. I shoot a minimum of six rolls of film and our film and processing costs can exceed £1000 per wedding.
For more info on the films we make please get in touch.
They are similar, but different.
Super 8 has a unique, tactile flickeriness and grain; it's incredibly evocative and nostalgic. For many years it's been a staple choice for artists, music video directors and fashion filmmakers.
16mm has all the same filmic loveliness, but a glossier, higher resolution look. We use the very same kinds of filmstock that some great feature films are shot in, like City of God, Black Swan and The Hurt Locker to name but a few.
16mm is better in low light and means I can get beautiful indoor footage, even in very challenging lighting conditions.
If you have a strong preference for one format or the other, I can usually stick to one format for your film.