Here are some older shows that are lower resolution, they were mastered in either 16mm film or Betacam variants. I remember we thrashed those Betacams to death trying to get interesting fresh looks from them before the days of LOG, LUT and RAW.

I have added a few notes from my memories of the time – will probably add more details when I get a chance.

 

COVERSTORY

1996

I remember NYPD blue had broken through with a very visceral fluid style and we were going to damn well make that style our own, I ended up shooting nearly every frame of 26 episodes hand held NYPD style. If this taught me anything it was the difference between good hand held and bad hand held operating. I have such excellent memories of this time, living around the corner from the studio in a downtown flat with Makerita, Nancy, Hone and Ta’i. Our cast and crew were such good buggers – every single one of them and we forged some enduring friendships.

COVERSTORY

1996
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SHARE THE DREAM

1997

My first real drama as a DP, by real I mean a full crew, grip and lighting packages and enough time to deploy them. I also won my first drama screen award for this – sharing it with Leon Narbey for his work on “Duggan”. As was the way back then we were throttling the technology to within an inch of its life, on this project we used a black net behind the lens and I pulled much of my own focus using the macro backfocus on the old school ENG lens.

SHARE THE DREAM

1997
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STREET LEGAL

1998/2001

This was a lot of fun and built on my relationship with Producer Chris Hampson who I had worked with on “Coverstory” and “Share The Dream”. The project was based in Auckland and was fast turnaround 16mm film. This show marks the end of a free and easy way of shooting in Auckland, we basically had the run of Ponsonby Rd – unheard of these days. Lots of fantastic Kiwi actors made their way past the Street Legal lens, a real pleasure.

STREET LEGAL TELEFEATURE

1998 · 1999 · 2000
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THE STRIP

2002

I will never completely understand what posessed Dave Gibson to create a TV series set in a male strip club and shoot all the exterior location material under available light in downtown Wellington on a Friday night but here we were yet again dodging the drunks and the vomit, and trying to protect the Seadicam operator from being hit with a flying bottle while keeping the footpath and the roadway clear of equipment and of course being very very polite. The studio interior set  was generally a relief with a great LX desk and some big minute days.

THE STRIP

2002
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INSIDERS GUIDE TO LOVE

2005

In a word GREEN, I won a couple of screen awards for this series so clearly we were all going through a very green time. This shoot was more of a gentlemans version of The Strip – we were back on Cuba Street but this time with a fake bakery set that was an actual shop in the street, always good for a laugh when public tried to come in and buy the art department  bread in the window.

THE INSIDERS GUIDE TO LOVE

2005 · ARCHIVE
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THE HOT HOUSE

2006

In a word GOLDEN, I won another screen award for this series so clearly we were all going through a very golden time.  Once again milking those ENG cameras for all we could get out of them.

THE HOT HOUSE

2006
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AFTERSHOCK

2008

We shot this in 2008, a few years before the devastation in Christchurch. It had always been kind of assumed that “the big one” would be Wellington. This makes an interesting watch in light of Christchurch. Quite an elaborate shoot in many ways. Lowres 720P version.

AFTERSHOCK

2008
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