I didn’t go to film school. At twenty I was pouring drinks in Melbourne. Then I found out people made a living making images.
Eighteen years. Four continents. One eye.
I
Melbourne
The spark
Film school lasted a few months. It came down to rent or fees. Rent won.
I bought my first camera on a maxed-out credit card. I didn’t know it needed a lens. The man behind the counter laughed. I bought the lens anyway.
In 2008 I started making fashion films for modelling agencies in Melbourne.
II
The studio
The sacrifice
I sold my bed. For six months I worked nights at a nightclub, showered at the gym next door and slept under a desk in a studio I told everyone was my office.
By day I watched photographers and directors work. By night, when the studio emptied, I shot. Alone. Badly. Then less badly.
No one hands you permission. You create it.
III
Melbourne
The mentor
Simon Harrington hired me at Verve Portraits. He told me my portfolio wasn’t the reason. My personality was.
Four years under him taught me the part of the craft no one films. How to value the work, price it and stand behind it.
If you can’t sell your art, you can’t call yourself a professional.
IV
Sydney
The craft
Verve moved me to its Sydney studio. Sydney is where it became a career. Campaigns, then a beauty set where I had no idea what I was doing.
So I made a rule. Every week for three years: write it, shoot it, cut it, release it. Ready or not.
Confidence is repetition disguised as hard work.
V
London
The test
I moved to London in 2016 for the big break. The job fell through the week I landed. My savings went within weeks.
London tests you before it lets you in. I stayed. Then ASOS, Debenhams, Selfridges and IMG Models were on my call sheet, and the work travelled to Paris, Milan, Amsterdam, New York, Los Angeles, Thailand and the Middle East.
I stayed in the game long enough for the tide to turn.
VI
Mumbai
The scale
Mumbai asked for speed without losing the craft. Covers for Grazia and Elle. Then the films came, one after another.
Kiara Advani for MANGO, season after season. Nautica with Shahid Kapoor, then Aditya Roy Kapur. Madhuri Dixit. Arjun Kapoor for Bulgari. Ranveer Singh for Bold Care. Estée Lauder, Jo Malone London and Clinique.
Volume is where you find out if your standards are real.
VII
Sydney
Now
Eighteen years later I am home in Sydney. Same hunger. Wider canvas.
I direct. I build. I advise. Films for luxury and beauty houses, studios that pair live craft with new tools, and founders who know their story is their strongest asset.
Each chapter was brutal one at a time. Together they built the eye.
How I work
Every house already knows what it is. I find the line it hasn’t said out loud yet.
Light, casting, colour and pace that belong to one brand and no other.
On set I direct people, not products. Calm, because the thinking was done weeks before.
The edit is where the strategy shows. Every cut is a brand decision.
Directing taught me to see the whole system. So I started building them.
Global Nomad FilmsFilm for brands with a story worth telling properly.
Mad Good LabsLive craft. Global direction. AI scale.
Talent DevelopmentFilms that launch new faces for modelling agencies.The idea, the world and the visual language.
Campaign and brand films. Storyboard to final cut.
Campaign, beauty, editorial and covers.
For houses and founders whose story deserves the same rigour as their product.
Beauty lives in the imperfections.
Perfect is forgettable. The flaw is where the eye stays.
Anyone can capture an image. Very few can make someone feel it.
Gear costs money. Confusion costs everything.
Confidence is made in pre-production.
Find the brand’s truth. Make the world feel it.
The person is. The feeling is. The product is the proof.
Every set is artifice. The point is to arrive at something honest.
Footage is potential. The cut decides what it means.
Sometimes the emotion lives in the pause before the music.
Two familiar things, put together in a way no one has felt before.
Machines make a thousand frames an hour. Someone still has to know which one matters.
More shots. More conversations. Opportunity finds the people who keep showing up.
Every image I make is my vision. That hasn’t changed since the first frame.