Video production for Tasmanian brands

Let people feel your brand,the way you do.

And it doesn’t take a mainland budget, or a bigger crew.
It takes knowing your story, and telling it well.

About me

“I’ve been doing this for over a decade now, on big sets for Toyota, Volkswagen and Australia Post. You’d think the thrill would wear off by now. It hasn’t. There’s a moment, usually when the light’s nearly gone and everyone’s tired, when I look at the monitor and know we’ve got it. I still get a bit giddy about that.”

I’m Joshua. I make brand films for Tasmanian businesses. You’ve done the hard part: building something people love. My job is to listen first, then celebrate it properly.

Recent projects

Powered by Tasmania ACS Gold Tripod 2024
Toyota USA, Rav 4
Tourism Tasmania
Australia Post ACS Silver 2023
RACT 100 Years ACS Gold 2023
Audi
St Lukes
Volkswagen
I'm John Bull
Ancient Remains ACS Gold / National Distinction 2021
Surf Life Saving
Care Forward

I used to think a bigger crew made a better film.

It doesn’t. A lot of a big budget goes on people, gear and days that never show up on screen. If you’ve ever looked at a production quote and wondered where it all goes, you’re not alone. I’ve wondered too, and I’ve been standing on the set.

These days I’d rather spend yours on what does: the craft, and a crew that fits the job, whether that’s 3 people or 30.

Alongside your team

Got an agency or an in-house team already? I’ll slot in as director of photography or creative partner. I’m good at not stepping on toes.
Just us

No agency? That’s fine. Some of my favourite projects started that way. We’ll shape the story, the shoot and every version you need, together.

My process

First

Listening session

Book

We sit down for a couple of hours, usually over coffee, and talk about your brand: who you are when nobody’s selling anything, and the story only you can tell. Mostly I listen. Now and then I ask an odd question. It helps, I promise.

Then

Creative concept

Then I go away and write, which mostly means staring at a wall for a while and then typing very fast. You get a concept and a treatment with references, plus a plan for every placement, from the 60-second hero film down to the 6-second vertical edit. You’ll see all of it before anyone picks up a camera.

After that

Production

A crew that fits the job, proper cinema cameras, and Tasmanian locations I know well. I try to keep a calm set. People are better on camera when nobody’s panicking, and so am I.

Finally

Delivery

Edit, grade and sound. Then one shoot becomes every version you need, for Instagram, YouTube, LinkedIn and the TV in the corner of the pub. The vertical edit is never an afterthought. I’ve seen what happens when it is, and it isn’t pretty.

9:16 Instagram and Facebook Reels and Stories, YouTube Shorts
4:5 Instagram and Facebook feed
1:1 Square posts, LinkedIn
16:9 YouTube, LinkedIn, websites and TV

Cutdowns at 6, 15, 30 and 60 seconds.

Recognition

I don’t usually talk about awards.

But ACS accreditation is decided by other cinematographers, which is a bit like having your cooking judged by chefs. They’re hard to impress. They looked closely at the work and let me put the letters after my name. Since 2016 the work has also picked up 21 ACS awards, including 3 Gold Tripods. I still find that a little hard to believe.

ACS awards: 21
3 National Gold Tripods
Years behind the camera: 15

Here’s what I’m hoping for.

That someone stops scrolling on a Tuesday night and watches your film to the end. That your team shares it without being asked. That a stranger at the bakery says “I saw your ad” and means it nicely. And that you finally see your brand on screen the way it feels from the inside.

The other outcome is the one I worry about. A film that looks like everyone else’s, cut once and squashed to fit every screen, that people thumb straight past. You pay for it either way. I’d rather you got the first one.

A man standing alone on a mountain ridge at dusk under the stars, from Ancient Remains

Needles, Tasmania

Working together

Your film gets my full attention.

From the first conversation to the final cut. That’s why I only take on a few projects at a time. If we’re right for each other, the first listening session and creative concept are on me.

Questions

What does video production cost?

It depends on what we’re making, which I know is the most annoying answer there is. After our listening session you get a full quote with nothing hiding in it. The budget question in the form just helps me turn up with ideas that fit.

Which channels do you deliver for?

Instagram and Facebook (Reels, Stories and feed), YouTube, LinkedIn, your website and broadcast TV. Every version is cut and sized for where it’s going, with 6, 15, 30 and 60 second cutdowns if you need them. Nobody should have to watch a sideways ad on their phone.

Do you work with our existing agency?

Yes, and often. A lot of my work comes through agencies and producers. I’m happy being one part of a team that already works well, and I leave my ego in the car.

Where are you based?

I live in Hobart. When I’m not on set, I’m usually on a mountain bike somewhere on Mount Wellington, which is where a surprising number of ideas turn up. Usually halfway down, when I can’t write them down.

Where do you shoot?

Anywhere in Tasmania, from Stanley to Southport. Further afield when the story asks for it.

Is there anything you won’t work on?

Yes. I’m at my best when a film has real energy, or makes people feel something, or both. Cheesy is where I struggle. If the brief involves a jingle and a thumbs-up to camera, I’m probably not your guy, and I’d rather tell you that now than halfway through the shoot.