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Had a great couple of days @ Silverstone!

Not even earthquakes can dampen the love for Tokyo! 😍

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

@raye ‘Click Clack. Ft. Hans Zimmer’

@stevecameron ‘s Take on the lighting process of this momentous video.

“This was Produced by @maggiecurwin and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With @davemeyers Directing and DOP @nikitakkkuz, the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in @Londonfilmstudios Stage A and finally the big exterior ending down in Devils Dyke. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the @nanlux.official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, @arri Skypanel S60’s as soft fills or toplight whenever needed, @Asteraofficial ’s as eye light and @nanlite_global Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

“In Plain Sight” for @thegr8khalid

Gaffer @stevecameron ‘s thoughts on the process of lighting the video.

So I was approached by @nathanmlegger on this one, all was a little last minute, we had initial talks on the Tuesday, Recce Wednesday pre-light Friday and shoot on Saturday!

The shoot took place @londonfilmstudios Black Stage and the concept that the Director @91.Rules and DOP @GaulPorat had, was a large coloured background with falloff, being the main set piece. There was some high speed throughout, but nothing crazy. So we opted for a large uplit 40x20 ultra bounce and 40x20 half silk in front of this. As time was an issue, I had to go with using 2 x 20x20’s and try my hardest to hide the seam and let post-Production do a little cleaning up!

I work with SHL a lot and they always provide a great service and didn’t fail on this project even with a crazy turnaround time…..

The main background look was achieved with 10 x Sky panel S60’s evenly uplighting the U/B. Then 1 x Skypanel S360 overhead as our toplight and key light was provided by a Nanlux Evoke 2400. With rolling side lighting in the form of Evoke 900C’s and side and back light coming from Aputure 600C’s on drop arms from the motorised grid. We also needed a punch for the various strobe moments in the shoot and pulled out the old faithful atomic strobes, using 1 either side of camera.

Shooting 3 different set looks through the day and with a cast of around 35 had its challenges but the end result looks great!

I have to thank the wonderful team around me and as always the continued help from the guys @SHL.london

#musicvideo #filmlighting #gaffer #lighting #sparks

“In Plain Sight” for @thegr8khalid

Gaffer @stevecameron ‘s thoughts on the process of lighting the video.

So I was approached by @nathanmlegger on this one, all was a little last minute, we had initial talks on the Tuesday, Recce Wednesday pre-light Friday and shoot on Saturday!

The shoot took place @londonfilmstudios Black Stage and the concept that the Director @91.Rules and DOP @GaulPorat had, was a large coloured background with falloff, being the main set piece. There was some high speed throughout, but nothing crazy. So we opted for a large uplit 40x20 ultra bounce and 40x20 half silk in front of this. As time was an issue, I had to go with using 2 x 20x20’s and try my hardest to hide the seam and let post-Production do a little cleaning up!

I work with SHL a lot and they always provide a great service and didn’t fail on this project even with a crazy turnaround time…..

The main background look was achieved with 10 x Sky panel S60’s evenly uplighting the U/B. Then 1 x Skypanel S360 overhead as our toplight and key light was provided by a Nanlux Evoke 2400. With rolling side lighting in the form of Evoke 900C’s and side and back light coming from Aputure 600C’s on drop arms from the motorised grid. We also needed a punch for the various strobe moments in the shoot and pulled out the old faithful atomic strobes, using 1 either side of camera.

Shooting 3 different set looks through the day and with a cast of around 35 had its challenges but the end result looks great!

I have to thank the wonderful team around me and as always the continued help from the guys @SHL.london

#musicvideo #filmlighting #gaffer #lighting #sparks

“In Plain Sight” for @thegr8khalid

Gaffer @stevecameron ‘s thoughts on the process of lighting the video.

So I was approached by @nathanmlegger on this one, all was a little last minute, we had initial talks on the Tuesday, Recce Wednesday pre-light Friday and shoot on Saturday!

The shoot took place @londonfilmstudios Black Stage and the concept that the Director @91.Rules and DOP @GaulPorat had, was a large coloured background with falloff, being the main set piece. There was some high speed throughout, but nothing crazy. So we opted for a large uplit 40x20 ultra bounce and 40x20 half silk in front of this. As time was an issue, I had to go with using 2 x 20x20’s and try my hardest to hide the seam and let post-Production do a little cleaning up!

I work with SHL a lot and they always provide a great service and didn’t fail on this project even with a crazy turnaround time…..

The main background look was achieved with 10 x Sky panel S60’s evenly uplighting the U/B. Then 1 x Skypanel S360 overhead as our toplight and key light was provided by a Nanlux Evoke 2400. With rolling side lighting in the form of Evoke 900C’s and side and back light coming from Aputure 600C’s on drop arms from the motorised grid. We also needed a punch for the various strobe moments in the shoot and pulled out the old faithful atomic strobes, using 1 either side of camera.

Shooting 3 different set looks through the day and with a cast of around 35 had its challenges but the end result looks great!

I have to thank the wonderful team around me and as always the continued help from the guys @SHL.london

#musicvideo #filmlighting #gaffer #lighting #sparks

“In Plain Sight” for @thegr8khalid

Gaffer @stevecameron ‘s thoughts on the process of lighting the video.

So I was approached by @nathanmlegger on this one, all was a little last minute, we had initial talks on the Tuesday, Recce Wednesday pre-light Friday and shoot on Saturday!

The shoot took place @londonfilmstudios Black Stage and the concept that the Director @91.Rules and DOP @GaulPorat had, was a large coloured background with falloff, being the main set piece. There was some high speed throughout, but nothing crazy. So we opted for a large uplit 40x20 ultra bounce and 40x20 half silk in front of this. As time was an issue, I had to go with using 2 x 20x20’s and try my hardest to hide the seam and let post-Production do a little cleaning up!

I work with SHL a lot and they always provide a great service and didn’t fail on this project even with a crazy turnaround time…..

The main background look was achieved with 10 x Sky panel S60’s evenly uplighting the U/B. Then 1 x Skypanel S360 overhead as our toplight and key light was provided by a Nanlux Evoke 2400. With rolling side lighting in the form of Evoke 900C’s and side and back light coming from Aputure 600C’s on drop arms from the motorised grid. We also needed a punch for the various strobe moments in the shoot and pulled out the old faithful atomic strobes, using 1 either side of camera.

Shooting 3 different set looks through the day and with a cast of around 35 had its challenges but the end result looks great!

I have to thank the wonderful team around me and as always the continued help from the guys @SHL.london

#musicvideo #filmlighting #gaffer #lighting #sparks

“In Plain Sight” for @thegr8khalid

Gaffer @stevecameron ‘s thoughts on the process of lighting the video.

So I was approached by @nathanmlegger on this one, all was a little last minute, we had initial talks on the Tuesday, Recce Wednesday pre-light Friday and shoot on Saturday!

The shoot took place @londonfilmstudios Black Stage and the concept that the Director @91.Rules and DOP @GaulPorat had, was a large coloured background with falloff, being the main set piece. There was some high speed throughout, but nothing crazy. So we opted for a large uplit 40x20 ultra bounce and 40x20 half silk in front of this. As time was an issue, I had to go with using 2 x 20x20’s and try my hardest to hide the seam and let post-Production do a little cleaning up!

I work with SHL a lot and they always provide a great service and didn’t fail on this project even with a crazy turnaround time…..

The main background look was achieved with 10 x Sky panel S60’s evenly uplighting the U/B. Then 1 x Skypanel S360 overhead as our toplight and key light was provided by a Nanlux Evoke 2400. With rolling side lighting in the form of Evoke 900C’s and side and back light coming from Aputure 600C’s on drop arms from the motorised grid. We also needed a punch for the various strobe moments in the shoot and pulled out the old faithful atomic strobes, using 1 either side of camera.

Shooting 3 different set looks through the day and with a cast of around 35 had its challenges but the end result looks great!

I have to thank the wonderful team around me and as always the continued help from the guys @SHL.london

#musicvideo #filmlighting #gaffer #lighting #sparks

“In Plain Sight” for @thegr8khalid

Gaffer @stevecameron ‘s thoughts on the process of lighting the video.

So I was approached by @nathanmlegger on this one, all was a little last minute, we had initial talks on the Tuesday, Recce Wednesday pre-light Friday and shoot on Saturday!

The shoot took place @londonfilmstudios Black Stage and the concept that the Director @91.Rules and DOP @GaulPorat had, was a large coloured background with falloff, being the main set piece. There was some high speed throughout, but nothing crazy. So we opted for a large uplit 40x20 ultra bounce and 40x20 half silk in front of this. As time was an issue, I had to go with using 2 x 20x20’s and try my hardest to hide the seam and let post-Production do a little cleaning up!

I work with SHL a lot and they always provide a great service and didn’t fail on this project even with a crazy turnaround time…..

The main background look was achieved with 10 x Sky panel S60’s evenly uplighting the U/B. Then 1 x Skypanel S360 overhead as our toplight and key light was provided by a Nanlux Evoke 2400. With rolling side lighting in the form of Evoke 900C’s and side and back light coming from Aputure 600C’s on drop arms from the motorised grid. We also needed a punch for the various strobe moments in the shoot and pulled out the old faithful atomic strobes, using 1 either side of camera.

Shooting 3 different set looks through the day and with a cast of around 35 had its challenges but the end result looks great!

I have to thank the wonderful team around me and as always the continued help from the guys @SHL.london

#musicvideo #filmlighting #gaffer #lighting #sparks

“In Plain Sight” for @thegr8khalid

Gaffer @stevecameron ‘s thoughts on the process of lighting the video.

So I was approached by @nathanmlegger on this one, all was a little last minute, we had initial talks on the Tuesday, Recce Wednesday pre-light Friday and shoot on Saturday!

The shoot took place @londonfilmstudios Black Stage and the concept that the Director @91.Rules and DOP @GaulPorat had, was a large coloured background with falloff, being the main set piece. There was some high speed throughout, but nothing crazy. So we opted for a large uplit 40x20 ultra bounce and 40x20 half silk in front of this. As time was an issue, I had to go with using 2 x 20x20’s and try my hardest to hide the seam and let post-Production do a little cleaning up!

I work with SHL a lot and they always provide a great service and didn’t fail on this project even with a crazy turnaround time…..

The main background look was achieved with 10 x Sky panel S60’s evenly uplighting the U/B. Then 1 x Skypanel S360 overhead as our toplight and key light was provided by a Nanlux Evoke 2400. With rolling side lighting in the form of Evoke 900C’s and side and back light coming from Aputure 600C’s on drop arms from the motorised grid. We also needed a punch for the various strobe moments in the shoot and pulled out the old faithful atomic strobes, using 1 either side of camera.

Shooting 3 different set looks through the day and with a cast of around 35 had its challenges but the end result looks great!

I have to thank the wonderful team around me and as always the continued help from the guys @SHL.london

#musicvideo #filmlighting #gaffer #lighting #sparks

Was an absolute pleasure to work on this one! Great artist and a wonderful crew @Raye ‘Click Clack’ ft @hanszimmer

Director: @davemeyers
2nd Unit Director & Director’s Assistant: @niidehen
EP / Producer: @maggiecurwin
Line Producer: @pdigioia_
Co-Writer: @agame
Post Production Partner: @frame23.studio
Dir Rep: @larkcreative

Creative Studio: @cuyjet.studio
Creative Director: @mikeyrobb1ns

PC: @jamie.winslow
PA: @honeymacz
Runner: @notkellkell
Runner / Driver: @3v3rywhere
Runner: Maxi Hampton

1st AD: @kingkoke_insta
Local 1st AD: @billy__french
2nd AD: @Jay.Amona
AD Runner: @marcellino.47
Location Manager: @j_a_m_i_e_s_o_n

DOP: @nikitakkkuz
2nd Unit DOP: @courtneybennettdp
Steadi: Jake Whitehouse
Focus Puller: @jonny___lewis
2nd Focus Puller: @Mikelinforth
Clapper Loader: @princess.jiboye
Camera Trainee: @jtccamera
DIT: @chinesekato @copycatdit
Video Playback: @remtraff
Camera Truck: Anthony Bugge

Key Grip: gsg_danhuntley
Level 3 Grip: Malcolm Huse
Best Boy Grip: @kieranparkhouse
Crane Tech: Charlie Townsend
Head Tech: @tim_stormcat

Gaffer: @stevecameron
Sparks: @gaffer.tv, @akeel.f, @chlane, @samc_videography & @arj_tz
Lighting EQ: @shl.london
Riggers: Liamdoran04 & Callum Clements

Stunt Coordinator (Wires): @spanglerartist
Aerial Rigging: @hprigging
Stunt Coordinator (Action): Ivan Michael Blackstock
Stunt Assistant: Sophelia Gentles
Parkour Artist: @Hazalnhr
Stunt Performer: @catherinepeck1

Production Design: @studio_augmenta
Art Director: @malikah.artdept
Prop Master: @edkellow
Prop Buyer: @freyahaak
Prop Assistant: Bill Tholu
Art Assistants: @g_chaohealy, Wing Lock, @JonasllMorgan & @eloisecravenart
Construction: @cousdela

Was an absolute pleasure to work on this one! Great artist and a wonderful crew @Raye ‘Click Clack’ ft @hanszimmer

Director: @davemeyers
2nd Unit Director & Director’s Assistant: @niidehen
EP / Producer: @maggiecurwin
Line Producer: @pdigioia_
Co-Writer: @agame
Post Production Partner: @frame23.studio
Dir Rep: @larkcreative

Creative Studio: @cuyjet.studio
Creative Director: @mikeyrobb1ns

PC: @jamie.winslow
PA: @honeymacz
Runner: @notkellkell
Runner / Driver: @3v3rywhere
Runner: Maxi Hampton

1st AD: @kingkoke_insta
Local 1st AD: @billy__french
2nd AD: @Jay.Amona
AD Runner: @marcellino.47
Location Manager: @j_a_m_i_e_s_o_n

DOP: @nikitakkkuz
2nd Unit DOP: @courtneybennettdp
Steadi: Jake Whitehouse
Focus Puller: @jonny___lewis
2nd Focus Puller: @Mikelinforth
Clapper Loader: @princess.jiboye
Camera Trainee: @jtccamera
DIT: @chinesekato @copycatdit
Video Playback: @remtraff
Camera Truck: Anthony Bugge

Key Grip: gsg_danhuntley
Level 3 Grip: Malcolm Huse
Best Boy Grip: @kieranparkhouse
Crane Tech: Charlie Townsend
Head Tech: @tim_stormcat

Gaffer: @stevecameron
Sparks: @gaffer.tv, @akeel.f, @chlane, @samc_videography & @arj_tz
Lighting EQ: @shl.london
Riggers: Liamdoran04 & Callum Clements

Stunt Coordinator (Wires): @spanglerartist
Aerial Rigging: @hprigging
Stunt Coordinator (Action): Ivan Michael Blackstock
Stunt Assistant: Sophelia Gentles
Parkour Artist: @Hazalnhr
Stunt Performer: @catherinepeck1

Production Design: @studio_augmenta
Art Director: @malikah.artdept
Prop Master: @edkellow
Prop Buyer: @freyahaak
Prop Assistant: Bill Tholu
Art Assistants: @g_chaohealy, Wing Lock, @JonasllMorgan & @eloisecravenart
Construction: @cousdela

Was an absolute pleasure to work on this one! Great artist and a wonderful crew @Raye ‘Click Clack’ ft @hanszimmer

Director: @davemeyers
2nd Unit Director & Director’s Assistant: @niidehen
EP / Producer: @maggiecurwin
Line Producer: @pdigioia_
Co-Writer: @agame
Post Production Partner: @frame23.studio
Dir Rep: @larkcreative

Creative Studio: @cuyjet.studio
Creative Director: @mikeyrobb1ns

PC: @jamie.winslow
PA: @honeymacz
Runner: @notkellkell
Runner / Driver: @3v3rywhere
Runner: Maxi Hampton

1st AD: @kingkoke_insta
Local 1st AD: @billy__french
2nd AD: @Jay.Amona
AD Runner: @marcellino.47
Location Manager: @j_a_m_i_e_s_o_n

DOP: @nikitakkkuz
2nd Unit DOP: @courtneybennettdp
Steadi: Jake Whitehouse
Focus Puller: @jonny___lewis
2nd Focus Puller: @Mikelinforth
Clapper Loader: @princess.jiboye
Camera Trainee: @jtccamera
DIT: @chinesekato @copycatdit
Video Playback: @remtraff
Camera Truck: Anthony Bugge

Key Grip: gsg_danhuntley
Level 3 Grip: Malcolm Huse
Best Boy Grip: @kieranparkhouse
Crane Tech: Charlie Townsend
Head Tech: @tim_stormcat

Gaffer: @stevecameron
Sparks: @gaffer.tv, @akeel.f, @chlane, @samc_videography & @arj_tz
Lighting EQ: @shl.london
Riggers: Liamdoran04 & Callum Clements

Stunt Coordinator (Wires): @spanglerartist
Aerial Rigging: @hprigging
Stunt Coordinator (Action): Ivan Michael Blackstock
Stunt Assistant: Sophelia Gentles
Parkour Artist: @Hazalnhr
Stunt Performer: @catherinepeck1

Production Design: @studio_augmenta
Art Director: @malikah.artdept
Prop Master: @edkellow
Prop Buyer: @freyahaak
Prop Assistant: Bill Tholu
Art Assistants: @g_chaohealy, Wing Lock, @JonasllMorgan & @eloisecravenart
Construction: @cousdela

Was an absolute pleasure to work on this one! Great artist and a wonderful crew @Raye ‘Click Clack’ ft @hanszimmer

Director: @davemeyers
2nd Unit Director & Director’s Assistant: @niidehen
EP / Producer: @maggiecurwin
Line Producer: @pdigioia_
Co-Writer: @agame
Post Production Partner: @frame23.studio
Dir Rep: @larkcreative

Creative Studio: @cuyjet.studio
Creative Director: @mikeyrobb1ns

PC: @jamie.winslow
PA: @honeymacz
Runner: @notkellkell
Runner / Driver: @3v3rywhere
Runner: Maxi Hampton

1st AD: @kingkoke_insta
Local 1st AD: @billy__french
2nd AD: @Jay.Amona
AD Runner: @marcellino.47
Location Manager: @j_a_m_i_e_s_o_n

DOP: @nikitakkkuz
2nd Unit DOP: @courtneybennettdp
Steadi: Jake Whitehouse
Focus Puller: @jonny___lewis
2nd Focus Puller: @Mikelinforth
Clapper Loader: @princess.jiboye
Camera Trainee: @jtccamera
DIT: @chinesekato @copycatdit
Video Playback: @remtraff
Camera Truck: Anthony Bugge

Key Grip: gsg_danhuntley
Level 3 Grip: Malcolm Huse
Best Boy Grip: @kieranparkhouse
Crane Tech: Charlie Townsend
Head Tech: @tim_stormcat

Gaffer: @stevecameron
Sparks: @gaffer.tv, @akeel.f, @chlane, @samc_videography & @arj_tz
Lighting EQ: @shl.london
Riggers: Liamdoran04 & Callum Clements

Stunt Coordinator (Wires): @spanglerartist
Aerial Rigging: @hprigging
Stunt Coordinator (Action): Ivan Michael Blackstock
Stunt Assistant: Sophelia Gentles
Parkour Artist: @Hazalnhr
Stunt Performer: @catherinepeck1

Production Design: @studio_augmenta
Art Director: @malikah.artdept
Prop Master: @edkellow
Prop Buyer: @freyahaak
Prop Assistant: Bill Tholu
Art Assistants: @g_chaohealy, Wing Lock, @JonasllMorgan & @eloisecravenart
Construction: @cousdela

Corteiz x New Era. Throughly enjoyed Gaffering this shoot at @londonfilmstudios with the incredible @gabrielomoses and @christopher.c.ripley.

Photographer & Director @gabrielomoses @concretereplimited
Brands @corteiz @neweracap

EP @alice.wills @division.global
Producer @rowanmackintosh
PM @graesgrant

Service Company: @gwei.lostudios
Service EP: @bykevincheung

1st AD @billy__french
2nd AD @oscar__maher
Runner Florence Green
Runner Ashley Forde

DOP @christopher.c.ripley
1st AC @pjheron
2nd AC @james_malamatinas
Grip Matt Clarke
Sound recordist Ryan Beauchamp

Gaffer @stevecameron
Spark @gaffer.tv
Spark @akeel.f
Spark @_chlane_
Spark Trainee @samc_videography
Lighting EQ @shl.london
Rigger liamdoran04

Stills Lighting Director @darrenkarlsmith
Stills Lighting Tech @k1ranmane
Digi Ben Quinton

Production Designer @juliadiasstudio
Art Assistant @samtexture
Art Assistant @tobybroughton
Art Assistant @matthewjapayne
Art Assistant @hiervisions
Art Assistant Aurelie Simon

Wardrobe Stylist @javelberlin
HMU Artist @mata_marielle

Editor @josephtaylr
Colourist @johnlowe.xyz
Sound design & mix @gcastlesound & @jim_db
Retoucher @_thehandofgod#gafferlife #lighting #silverbullet #keepitlit

Corteiz x New Era. Throughly enjoyed Gaffering this shoot at @londonfilmstudios with the incredible @gabrielomoses and @christopher.c.ripley.

Photographer & Director @gabrielomoses @concretereplimited
Brands @corteiz @neweracap

EP @alice.wills @division.global
Producer @rowanmackintosh
PM @graesgrant

Service Company: @gwei.lostudios
Service EP: @bykevincheung

1st AD @billy__french
2nd AD @oscar__maher
Runner Florence Green
Runner Ashley Forde

DOP @christopher.c.ripley
1st AC @pjheron
2nd AC @james_malamatinas
Grip Matt Clarke
Sound recordist Ryan Beauchamp

Gaffer @stevecameron
Spark @gaffer.tv
Spark @akeel.f
Spark @_chlane_
Spark Trainee @samc_videography
Lighting EQ @shl.london
Rigger liamdoran04

Stills Lighting Director @darrenkarlsmith
Stills Lighting Tech @k1ranmane
Digi Ben Quinton

Production Designer @juliadiasstudio
Art Assistant @samtexture
Art Assistant @tobybroughton
Art Assistant @matthewjapayne
Art Assistant @hiervisions
Art Assistant Aurelie Simon

Wardrobe Stylist @javelberlin
HMU Artist @mata_marielle

Editor @josephtaylr
Colourist @johnlowe.xyz
Sound design & mix @gcastlesound & @jim_db
Retoucher @_thehandofgod#gafferlife #lighting #silverbullet #keepitlit

Corteiz x New Era. Throughly enjoyed Gaffering this shoot at @londonfilmstudios with the incredible @gabrielomoses and @christopher.c.ripley.

Photographer & Director @gabrielomoses @concretereplimited
Brands @corteiz @neweracap

EP @alice.wills @division.global
Producer @rowanmackintosh
PM @graesgrant

Service Company: @gwei.lostudios
Service EP: @bykevincheung

1st AD @billy__french
2nd AD @oscar__maher
Runner Florence Green
Runner Ashley Forde

DOP @christopher.c.ripley
1st AC @pjheron
2nd AC @james_malamatinas
Grip Matt Clarke
Sound recordist Ryan Beauchamp

Gaffer @stevecameron
Spark @gaffer.tv
Spark @akeel.f
Spark @_chlane_
Spark Trainee @samc_videography
Lighting EQ @shl.london
Rigger liamdoran04

Stills Lighting Director @darrenkarlsmith
Stills Lighting Tech @k1ranmane
Digi Ben Quinton

Production Designer @juliadiasstudio
Art Assistant @samtexture
Art Assistant @tobybroughton
Art Assistant @matthewjapayne
Art Assistant @hiervisions
Art Assistant Aurelie Simon

Wardrobe Stylist @javelberlin
HMU Artist @mata_marielle

Editor @josephtaylr
Colourist @johnlowe.xyz
Sound design & mix @gcastlesound & @jim_db
Retoucher @_thehandofgod#gafferlife #lighting #silverbullet #keepitlit

Corteiz x New Era. Throughly enjoyed Gaffering this shoot at @londonfilmstudios with the incredible @gabrielomoses and @christopher.c.ripley.

Photographer & Director @gabrielomoses @concretereplimited
Brands @corteiz @neweracap

EP @alice.wills @division.global
Producer @rowanmackintosh
PM @graesgrant

Service Company: @gwei.lostudios
Service EP: @bykevincheung

1st AD @billy__french
2nd AD @oscar__maher
Runner Florence Green
Runner Ashley Forde

DOP @christopher.c.ripley
1st AC @pjheron
2nd AC @james_malamatinas
Grip Matt Clarke
Sound recordist Ryan Beauchamp

Gaffer @stevecameron
Spark @gaffer.tv
Spark @akeel.f
Spark @_chlane_
Spark Trainee @samc_videography
Lighting EQ @shl.london
Rigger liamdoran04

Stills Lighting Director @darrenkarlsmith
Stills Lighting Tech @k1ranmane
Digi Ben Quinton

Production Designer @juliadiasstudio
Art Assistant @samtexture
Art Assistant @tobybroughton
Art Assistant @matthewjapayne
Art Assistant @hiervisions
Art Assistant Aurelie Simon

Wardrobe Stylist @javelberlin
HMU Artist @mata_marielle

Editor @josephtaylr
Colourist @johnlowe.xyz
Sound design & mix @gcastlesound & @jim_db
Retoucher @_thehandofgod#gafferlife #lighting #silverbullet #keepitlit

Corteiz x New Era. Throughly enjoyed Gaffering this shoot at @londonfilmstudios with the incredible @gabrielomoses and @christopher.c.ripley.

Photographer & Director @gabrielomoses @concretereplimited
Brands @corteiz @neweracap

EP @alice.wills @division.global
Producer @rowanmackintosh
PM @graesgrant

Service Company: @gwei.lostudios
Service EP: @bykevincheung

1st AD @billy__french
2nd AD @oscar__maher
Runner Florence Green
Runner Ashley Forde

DOP @christopher.c.ripley
1st AC @pjheron
2nd AC @james_malamatinas
Grip Matt Clarke
Sound recordist Ryan Beauchamp

Gaffer @stevecameron
Spark @gaffer.tv
Spark @akeel.f
Spark @_chlane_
Spark Trainee @samc_videography
Lighting EQ @shl.london
Rigger liamdoran04

Stills Lighting Director @darrenkarlsmith
Stills Lighting Tech @k1ranmane
Digi Ben Quinton

Production Designer @juliadiasstudio
Art Assistant @samtexture
Art Assistant @tobybroughton
Art Assistant @matthewjapayne
Art Assistant @hiervisions
Art Assistant Aurelie Simon

Wardrobe Stylist @javelberlin
HMU Artist @mata_marielle

Editor @josephtaylr
Colourist @johnlowe.xyz
Sound design & mix @gcastlesound & @jim_db
Retoucher @_thehandofgod#gafferlife #lighting #silverbullet #keepitlit

HOUSE OF ERRORS shoot with @tom.emmerson, shot in @londonfilmstudios. With @gaffer.tv and @samc_videography. #gaffer #gafferlife #commercial

HOUSE OF ERRORS shoot with @tom.emmerson, shot in @londonfilmstudios. With @gaffer.tv and @samc_videography. #gaffer #gafferlife #commercial

HOUSE OF ERRORS shoot with @tom.emmerson, shot in @londonfilmstudios. With @gaffer.tv and @samc_videography. #gaffer #gafferlife #commercial

HOUSE OF ERRORS shoot with @tom.emmerson, shot in @londonfilmstudios. With @gaffer.tv and @samc_videography. #gaffer #gafferlife #commercial

HOUSE OF ERRORS shoot with @tom.emmerson, shot in @londonfilmstudios. With @gaffer.tv and @samc_videography. #gaffer #gafferlife #commercial

HOUSE OF ERRORS shoot with @tom.emmerson, shot in @londonfilmstudios. With @gaffer.tv and @samc_videography. #gaffer #gafferlife #commercial

HOUSE OF ERRORS shoot with @tom.emmerson, shot in @londonfilmstudios. With @gaffer.tv and @samc_videography. #gaffer #gafferlife #commercial

Just a small eyelight….. #astera #musicvideo #gaffer #gafferlife #gafferlighting

Great project Gaffering, The Gator Run #newbalance

Some days are harder than others…..

Thankyou @litsystems love the new toy!!