In 2020-21 I have founded with Mike Connor an innovative Mobile Digital Lab which we intend to offer operationally to large and small documentary, film, streaming and television productions around the World. It is based on merging our cinematography and post production experiences, and is motivated by the desire to improve a process we have seen for decades daily in our work. The Lab turns the old "bog standard" post production processes upside down, saving time and money, while offering new creative opportunities and a faster time to market for projects that use it.  

The image below links to the mobile lab's website.

40 YEARS OF THE MAGAZINE MILLECANALI - INTERVIEW BY MAURO ROFFI (only in Italian)

My education at Bishop's Stortford College gave me the opportunity to study both History of Art and Sciences up to A levels, influencing my growing passion for both the technical aspects of digital images and their artistic and creative aspects too.   As a young teenager, and school projectionist I always had the passion and motivation to learn and work professionally in the film industry, and I have taught myself many of the specialist skills over several decades, following which I was offered the professional opportunity to be an editor, colourist, visual effects supervisor, 3d supervisor and founder and manager of post-production facilities.

I founded, found the funding and managed the post-production facilities of Imaginaction (1986), Digitalvideo (1987), Interactive (1992) based in Milan and Cinecittà Digital (2000) in Rome.

Over the years I have had the privilege of working with and for many directors (see below), producers and film professionals with large and small budgets, both for theatrical releases and for streaming on the internet.  As can be seen from the directors I have worked with, many of them are Italian, and in fact I have lived for 35 years in the "Bel Paese", as Italians sometimes call their country. This has had a profound impact on my perception of film language, and I feel somewhat privileged to have been so intimately involved in and warmly embraced by a culture that has influenced world cinema so much.

In 2015, the Italian magazine Millecanali celebrated its 40th anniversary. I had known the magazine for many years, and had often written articles about my experiences and thoughts for the future of the Italian industry. I happened to be passing through Milan on the day the magazine was holding a conference and reception, so they asked me to drop by and say hello. I had just arrived at the venue when editor-in-chief Mauro Roffi sat me down on a chair and interviewed me live for a local television station.  

Theo Angelopoulos

Jean-Jacques Annaud

Michelangelo Antonioni

Pupi Avati

Giotto Barbieri

Goldie Behl

Bernardo Bertolucci

Fausto Brizzi

Anne Riitta Ciccone

Alessandro D’Alatri

Enzo D'Alò

Robert Dornhelm

Uli Edel

Roberto Faenza

Giorgio Ferrara

Silvia Giulietti

Tony Giglio

Ahmed Kamel

Renzo Martinelli

Mario Monicelli

Giuliano Montaldo

Enzo Monteleone

Ferzan Ozpetek

Neri Parenti

Roman Polanski

Gillo Pontecorvo

Paolo Taviani

Giuseppe Tornatore

Carlo Vanzina

Roger Young