sOCIAL VIDEOGRAPHER
Social video and factual filmmaking combining strong visual craft, compelling storytelling and proven audience impact.
01/06
THE REAL SEX EDUCATION PODCAST SOCIAL VIDEO - 6M ORGANIC VIEWS
The Real Sex Education was a social-first podcast targeting young audiences, but its previous video content had typically peaked at around 20,000 views.
My challenge was to turn 45-minute episodes into short-form videos that would grab attention quickly and work natively on TikTok and Instagram Reels to reach new viewers.
Working independently in Adobe Creative Suite, I identified the moments with the strongest social potential and built each film around an immediate hook, tight pacing and a clear pay-off. I edited and finished the videos myself, creating 9:16 vertical content with captions, audio mixing, basic colour correction and visual effects.
This film achieved 6 million organic views, with others in the series reaching 5.5 million and 3 million.
Format: 9:16 vertical · TikTok · Instagram Reels
Post-production: Adobe Creative Suite · audio · colour correction · VFX
02/06
SPRINGTIME ON THE FARM - EPIC ISLAND
CINEMATIC LOCATION SHOOTING
Channel 5’s Springtime on the Farm features ‘epic films’ celebrating extraordinary examples of British farming through ambitious, cinematic short films.
My challenge was to capture the scale and beauty of farming on remote Bardsey Island across a day-and-a-half shoot, working efficiently with limited kit on an island with no electricity.
As sole ground-level camera operator, I had complete autonomy over the film’s visual approach, conducting the interviews, shooting all actuality in natural light and recording and monitoring my own sound. I worked at pace to build cinematic sequences that conveyed both the scale and isolation of the island, while briefing and directing a specialist drone operator to complement the storytelling with aerial footage.
Camera: Sony FX6 · Canon prime lenses
Sound: Radio mics · top mic · live monitoring
Aerials: Specialist drone operator, briefed and directed by me
03/06
RIP OFF BRITAIN
STUDIO SHOOTING
When I joined BBC One's Rip Off Britain, the programme had no social media presence. At a time when online scams were increasingly exploiting the identities of trusted consumer experts such as Martin Lewis, my challenge was to create social video that audiences would immediately recognise as credible, authoritative advice.
Audience insight led me to focus the programme's social strategy on Facebook, creating a single trusted destination rather than spreading content across multiple platforms.
For this film, I originated and scripted the concept, briefed and directed travel expert Simon Calder, then lit, filmed and recorded the interview in a controlled studio environment. Every creative decision—from platform choice to visual style—was designed to reinforce the authority of the programme's expert contributors and build audience trust.
The strategy helped establish the programme's Facebook presence, growing the audience from zero to approximately 75,000 followers.
Production: Sony FS7 · slider and track
Sound: Radio mics, recorded and monitored on set by me
04/06
THE ACCUSED: GUILTY OR INNOCENT? OBSERVATIONAL SHOOTING
The Accused follows defendants and their legal teams through live, unfolding criminal cases in the US, with filming shaped by events as they happened.
My challenge was to work independently on location, keeping pace with unpredictable legal developments while capturing the interviews and observational material needed by the production team back in London.
Working with only an Assistant Producer, I made editorial and filming decisions on the ground, self-shot on a Sony FX9, recorded and monitored my own sound and directed the AP when boom operation was needed. I also created assembly edits in Adobe Premiere Pro to help the London team shape developing stories.
Working sensitively with contributors was critical. On this case, I rebuilt trust with a defence lawyer who had become reluctant to participate; he ultimately opened up on camera and later agreed to give us access to a second case for another episode.
Camera: Sony FX9 · Canon prime lenses
Sound: Radio mics · top mic · boom · live monitoring
Edit: Adobe Premiere Pro
HELP THE ANIMALS AT CHRISTMAS
SOCIAL CAMPAIGN
05/06
As Digital Producer and Producer/Director on Channel 5’s Help the Animals at Christmas, I self-shot films with participating charities and created social content to build awareness and support for the live fundraising appeal.
My challenge was to extend the campaign beyond the television audience and create content that could reach and engage people across social platforms.
I reversioned longer television VTs into platform-specific content, including cut-downs for YouTube and platform-specific edits for Facebook and Twitter. Monitoring performance throughout the campaign, I identified that talent-led videos were generating around 8× the engagement and 20× the shares of charity-only content.
I used that insight to shift our approach, securing a range of celebrities and influencers to support the campaign and directing them to create social content. This example features Simon Cowell, whom I remotely directed to self-film an appeal at home before editing the finished video for social.
The campaign culminated in a live telethon that raised £750,000 for the participating charities.
Campaign graphics and animation were created by an external creative agency.
06/06
THE GRAND PARTY HOTEL
INTERVIEW LIGHTING
BBC One's The Grand Party Hotel followed guests and staff inside a busy Liverpool hotel, with much of the story unfolding spontaneously in noisy, fast-moving communal spaces.
My challenge was to create a consistent interview space where contributors could step away from the action and talk openly about what had happened, while retaining the distinctive visual character of the hotel.
I identified a tucked-away location and designed and lit a permanent interview setup that could accommodate individuals, couples and groups. It allowed us to capture reactions quickly throughout filming without repeatedly rebuilding the setup, while giving contributors a calm environment in which to open up.
The setup was used to film around 50 contributor interviews across the series.
Camera: Sony FX9 · Canon EF 24–70mm L-series zoom lens
Lighting: LED three-point lighting setup · additional background lighting