reality TV episode producer Malaysia & Singapore

Episode Producer for the first Asian version of the popular reality TV series The Biggest Loser Asia for The Hallmark Channel Asia - wrote and directed field production in Melaka, Malaysia and post production in Singapore. View my online production photo gallery here.

reality TV post producer Australia

Post Producer for the Ten Network primetime reality TV series The Biggest Loser produced by Fremantle Media Australia

Travelled to London, Moscow, New York and Atlanta to develop and write several innovative and commercially viable original screenplays and television drama miniseries concepts for BARDAK Films

post producer

Tourism Australia pitch spot for DDB: read about it here

Sizzle Reels for Foxtel

 

director - 'The Last Crush'

Produced in conjunction with producer Michael Berry: a 48 min television documentary on the death of the sugar industry on the Sunshine Coast and broadcast on the Seven Network Queensland.

You can read a brief PDF article about the documentary here.

 

The Last Crush 1

The Last Crush 2

The Last Crush 3

The Last Crush 4

The Last Crush 5

The Last Crush 6

Russia: DOP - editor - director - producer

In 1996, I defected from London to Moscow, where I worked as a for PTS Moscow Bureau, an independent British TV production company.

Russia and the former Soviet republics are particularly difficult places to work, they’re countries of extremes, and not for the faint-hearted. It takes a special breed of person to survive and perform there without going insane. Apart from the language barrier and complex, frustrating bureaucracy at all levels, there is widespread crime, corruption, discrimination, harassment and harsh weather conditions to contend with.

In spite of this, I somehow managed to survive 5 years humping camera gear and edit pack through some of the most remote, coldest and dangerous corners of our planet, often under harsh and difficult conditions, without being deported, thrown in prison or developing serious alcohol, drug and/or mental problems. (I think.)

Click here to view my Strange Journeys

I shot/edited/directed documentaries and news features with foreign correspondents and producers in wars, natural disasters, sporting events and political summits in just about every hazardous condition possible in the field of TV journalism: from the Baltics to Kamchatka, including three missions into war-torn Chechnya and Ingushetia.

I’ve been exposed to hazardous radiation levels in Chernobyl, Ukraine, covered humanitarian aid in the aftermath of an earthquake in the rugged mountains of northern Afghanistan, braved a Siberian prison rife with drug-resistant tuberculosis, covered a mass funeral service for the 9000 plus victims shot by Stalin’s NKVD during the political purges in 1936-1938, filmed ecological issues and the sonar mapping of Siberia’s picturesque Lake Baikal, economic collapse stories in Murmansk, Chukotka and Kamchatka, and uncovered dark secrets in Moscow’s KGB Museum to name just a few.

Go here to read all about journalists in Afghanistan by my Russian friend Sasha from APTN Moscow.

I was crash-tackled by Russian soldiers while filming refugees in Chechnya, frozen my arse off in -45°C in Siberia, filmed inside a mobile nuclear ICBM launcher at a secret Russian military base and even knelt in bear poo just to get a good angle for an ITN story on bear cubs orphaned after their mothers were killed by hunters.

 

The General & The Boxer 1

The General & The Boxer 2

The General & The Boxer 3

The General & The Boxer 4

The General & The Boxer 5

I was the DOP on the documentary The General & The Boxer (above) with BBC journalist Andrew Harding for the BBC Correspondent series, shot segments for BBC's HARDtalk series with multi award-winning journalist-presenter Tim Sebastian, filmed the 2000 Moscow Film Festival for Los Angeles based E-entertainment, covered international news events such as the election and inauguration of President Putin, the Kursk submarine tragedy, the official shutdown of the Chernobyl reactor complex and the International Olympic Committee congress in Moscow, September 2001. Numerous other clients included Channel 4 News, NBC, ABC, ZDF, NOS Dutch TV, VRT Belgian TV, Rapido TV, & many others. Go here for film clips of my journeys across Russia, Afghanistan, Chechnya and many other former Soviet republics.

Russian Stories Shot For The UK's Rapido TV: Eurotrash & Fortean TV

 

 

Na Na

Russia's first boy band, the hardest working in the business, played 400 shows a year for the past 7 years. Their last single was number one in Russia for 5 years. We filmed them having English lessons in preparation for their first English release.

 

 

 

 

 

Russian Pin-Up Girl

We meet Dana Borisova, 21, a former Playboy Playmate and the host of one of Russia's most popular television shows: Army Magazine.

 

 

 

Boris Moiseev

Eurotrash meets Russia's first openly gay pop star Boris Moiseev, a man whose look is a cross between Barbara Cartland and Danny La Rue.

 

 

 

 

 

 

Eurotrash: Boris Moiseev

Eurotrash: The Hungry Duck

More Russian Clips Here

Everything you wanted to know but were afraid to ask about ‘Ladies Night’ in Moscow’s notorious Hungry Duck strip bar.

 

 

 

Sergei Zverev

Moscow’s flamboyant, self-styled fashion guru and hairdresser to the stars.

 

 

 

 

 

Fortean TV - Series 2

A more experienced Rev. Lionel examines footage of the anthropological enigma that is the Yeti which has been validated from London to Moscow.

 

 

 

 

 

London: post production producer - computer editor - director - vision switcher

Seeking new challenges, I packed my bags for London, where I considered the best TV was being made. There I worked for 4 years for the late Bruce Gyngell’s popular breakfast television network TVam. I also trained their production staff in live gallery directing, vision mixing, Paltex computer editing, and Abekas digital effects programming. I was instrumental in implementing a new training scheme for the journalists and production staff, introducing new streamlining procedures and work practices that ensured breaking news stories could be edited and broadcast in the fastest time possible.

 

 

 

 

 

 

 

My knowledge of computer editing and digital effects allowed me to edit complex title sequences for news and sports shows, plus numerous features for Good Morning Britain, such as the 50th Anniversary Battle of Britain Celebrations, an Elton John and Bernie Taupin interview, the premiere live performance of the group Simply Red, as well as “Images Of The Gulf War” for the David Frost On Sunday. I also edited music videos, a documentary on the Bradford Film Museum and a heart-warming documentary on the Great Ormond Street Childrens Hospital. When my Images of the Gulf War montage was shown on David Frost On Sunday to mark the end of the conflict, it was so well received that it was repeated the following day due to public demand.

Great Warbirds Air Show

H.A.P.P.Y. Radio

Simply Red

Images of the Gulf War

Operation Desert Storm

RAF 6 Squadron Jaguars

Elton John Interview 1

Elton John Interview 2

Can You Do CharlieChaplin?

Bald Eagle Story

Freelance directing took me to BskyB’s Power Station network where I worked on numerous studio based music shows including Boy George’s Blue Radio and Madness lead singer Suggs on his chat show. I also produced and directed “Building Excitement”, a corporate presentation for the UK launch of the new Mazda 323. In July 1991, I flew to Baja Mexico, where I produced and directed “Black Moon Over Baja,” a fly-on-the-wall documentary for BBC2’s Video Diaries on the longest total solar eclipse until the year 2142.

I completed the London National Film and Television School's intensive Directing Actors for the Camera workshop. During the course, I got the chance to direct BBC's Dalziel and Pascoe's Colin Buchanan before he became famous. I'm sure he wouldn't remember me though.

I worked as a freelance producer-director for London’s MTV Europe headquarters and its sister network VH-1: injecting creativity into pre-recorded studio shows, band performances, promos and interviews. During my time in the studio control room, I rubbed shoulders with many well known musicians, performers and radio personalities.

Australia: director - preditor - DOP - videotape operator

My thirst for creative production and post-production work led me through the cream of Sydney’s post-production houses; Enterprise Colorvideo, Custom Video, Videolab, Broadcom Australia (where I re-designed and tested their new Paltex edit suite), and the Video Film Company. I learnt computer timecode editing on analogue videotape and worked on TV commercials, corporate films, animatics and music videos for Icehouse, Australian Crawl, Mi-Sex, Mark Hunter, The Radiators, Midnight Oil, Elton John, David Bowie & many others. I worked in varying roles, from 16mm lighting cameraman to computer editor, post-production consultant/supervisor and writer-director.

I directed, shot and edited several music videos including “Puppets” for the Sydney Film & Video Festival, "Jim Morrison - I Want To Be", for Sydney new wave band “The Widowed Isis”, and "I Believe I'm In Love With You" for The Headhunters, which won Best Editing and Best Camerawork in the 1986 Australian Writers and Art Directors Awards, plus a Silver Plaque in the New York Film Festival; the clip also earned the band a lucrative record contract. Another music video I directed was voted Most Requested Video on SkyChannel and a short film I made won a finalist selection in the 1988 Australian Video Festival Awards, and was chosen as part of a package of films to represent Australia at the Montpelier Video Festival in France.

The Headhunters

The Widowed Isis

Tony Lee

In 1986, I co-produced and directed "RadioVision", a pilot for a radical new music show (pre-MTV) which was adapted by the 0/10 Network’s flagship music video show “Nightshift”. I also edited a documentary on Robert Swan’s historic 1985 walk to the South Pole; this helped fund ‘Icewalk’, Swan’s 1989 record-setting international trek to the North Pole.

I produced and edited stories for Terry Willesee Tonight (a selection of these are displayed below), Catch Us If You Can, You’ve Got To Be Joking and was contracted to teach computer editing at the Australian Film & TV School for 3 months. I won Best Training Video in the 1985 Corporate Video Awards with an instructional film directed for Abbotts Laboratories.

TWT (Terry Willesee Tonight) Stories

60s Batman Craze

Irish Storyteller

Train Driver Trauma

Ice Sculptors

Elvis The Pig

The Comic King

So Just How Did I End Up In This Crazy Business?

I can trace the start of my TV pedigree to a fateful day when I walked into the studios of DDQ10 Toowoomba with a portfolio of prize-winning photographs under my arm. Next day the General Manager made me an offer I couldn’t refuse: a position as a Junior Production Assistant. I have never looked back since. Within a few months I was shooting, processing, and editing 16mm B&W news film, recording daily voice-overs as well as switching the regional news to air and for a few months I was controlling the station’s output as a Programme Coordinator.

A couple of years later I moved to the big smoke to take up a position at BTQ 7 Brisbane as a junior studio cameraman, where I operated the first generation of Ikegami ENG cameras on TV commercials.

Within three years I had moved to a Gold Coast production company for greater challenges, like filming the Rothmans 300 production car race at Surfers Paradise International Raceway; on a practice lap, the late, great Peter Brock pinned me against the passenger door with one hand, steered with the other as he roared around the track in excess of 200 km per hour. I even survived chronic seasickness during a 4 day 16mm shoot for a documentary on the yacht Odyssey’s historic circumnavigation of Australia.

Two years later, eager to expand my horizons, I made the move to TEN 10 Sydney, where I cut my teeth as a videotape operator. During graveyard shifts, I taught myself how to edit on a variety of two-inch and one-inch videotape systems, as well as learning to operate the first generation of Qantel digital effects units. I also continued freelance camerawork, and was one of 17 cameramen selected for the live telecast of the 1979 Bathurst “James Hardie 1000,” the most prestigious production motor race in Australia.

The rest, as they say, is history...

Health & Safety Tip # 28

Never use the word 'shoot' if the cameraman is armed.

This can cause confusion, injury or even death.

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