APRIL 2026 - Filming Beluga Lagoon at the Barrowlands

A great couple of nights filming Beluga Lagoon at the legendary Barrowland Ballroom in Glasgow, probably my favourite concert venue anywhere.

I was there filming material for an upcoming Beluga Lagoon project, capturing the atmosphere around the Barrowlands, some drone shots outside, and plenty of the live performances across two brilliant sold-out nights.

It was also great to meet Oscar-winning actress Emma Thompson, who was there with her family and, it turns out, is a massive Beluga Lagoon fan.

A fantastic weekend in Glasgow, with just enough work to justify being there and a very enjoyable night out afterwards!

MARCH 2026 - Filming John & Lisa's Kitchen with John Torode and Lisa Faulkner

I've been lucky enough to work with John Torode on a number of productions over the years, filming cooking shows in Scotland, England and Australia. They're always enjoyable shoots, so when John and his wife Lisa Faulkner invited me down to London to help film content for their new YouTube channel, it was an easy yes.

The project centred around creating a professional yet relaxed look that would work perfectly in their own kitchen. Before filming began, I spent a full day rigging the set, putting together a custom overhead camera and lighting system that could be mounted neatly above the worktops without getting in the way. The aim was to give viewers a clear view of every stage of the cooking while keeping the kitchen feeling natural and welcoming.

Once everything was in place and we were happy with the look, we got stuck into filming. Over the following days we produced a whole range of recipes, often shooting several dishes each day. It was a fast-paced schedule, but a great deal of fun.

Working with John is always a pleasure, and it was fantastic to meet and work alongside Lisa for the first time. They make a brilliant team, and their enthusiasm for cooking is genuinely infectious.

One thing that always strikes me when filming cookery shows is just how good the food actually is. People often assume that, because it's being filmed, presentation is all that matters. In reality, every dish is carefully prepared, beautifully cooked and absolutely delicious. I certainly wasn't complaining when it came to tasting the results!

Their YouTube channel is packed with practical recipes, clever cooking techniques and plenty of those small tips that can make a real difference in the kitchen. If you enjoy cooking, it's well worth checking out.

I'm looking forward to seeing the channel continue to grow and, with a bit of luck, to working with John and Lisa again on future projects.

OCTOBER 2025 - Jules and Greg's Wild Swimming coming in 2026:)

Filming got underway for another season of Jules and Greg’s Wild Swimming, and this time we headed for the Scottish Borders. A part of the country I’ve not spent nearly enough time in, which was reason enough to be quietly excited about it. Plenty of water, plenty of space, and a fair bit of scenery I’d somehow managed to miss over the years.

We were filming in October, which added an extra edge to things. The water was definitely starting to turn by then, especially in the lochs and rivers. You could feel it straight away. The sea, thankfully, hadn’t quite caught up yet and was still hanging on to a bit of warmth, relatively speaking anyway.

The plan over the course of a few weeks was fairly straightforward, at least on paper. Start off swimming in the sea on the east coast of the Borders, then work our way right across the region, stopping off at lochs, rivers and anything else that looked inviting, before finishing on the west coast and wrapping things up at a lighthouse in the far south-west of Scotland. A proper journey, with a lot of cold water involved.

As well as the swimming, Jules and Greg also got stuck into a few other water-based activities along the way, which kept things interesting and, in some cases, slightly colder than planned.

One of the nice things about coming back to this job is how quickly everyone settles back into their roles. Within minutes it felt like we’d never been away. Tony was directing as ever from Solus Productions, Jim producing, with Rowan also producing on the ground. Sean was on main camera as director of photography, Colin on sound, Raonaid as Production assistant, runner and helping Jules and Greg throughout, and I was on second camera and drone, trying to get some nice shots while also keeping the drone dry. Jules and Greg did what they do best, talking to camera with the sort of enthusiasm that somehow survives repeated cold water immersion.

We were also joined by a cracking bunch of swimmers from all over the Borders, all with different backgrounds and different reasons for getting into wild swimming. Proper sound folk, and a big part of what makes the series what it is.

The Borders themselves are absolutely spectacular. Big skies, quiet places, and landscapes that just seem to roll on forever. It’s also just a really good job to be on. Everyone knows each other, everyone gets on, and there’s always a few laughs along the way. One night round the campfire, with a couple of small drinks, was particularly memorable. Nothing daft. Just good company and a fire.

Rowan Green is from this neck of the woods originally, from Traquair, and we filmed at Traquair Castle and in the maze there. The maze turned out to be memorable for another reason as well. That was the day Bonnie the dog had what can only be described as a bit of a situation. She ended up needing a wash in the river before she was allowed back into the van. We’d all been wondering why she was so grumpy that day, with half-serious threats of never taking her on a shoot again. Turned out she’d been having a far worse day than the rest of us. These things happen.

Jules and Greg also stayed at Traquair Castle, which was all very impressive until night fell. At one point we all agreed their living room looked particularly spooky, which didn’t do much for Jules’ nerves for the rest of the evening.

Accommodation on this shoot was a proper mix, in the best possible way. Old gypsy carts, yurts, castles, camper vans, and everything in between. Swimming-wise, we covered sea, lochs and rivers, including one loch that looked for all the world like it belonged in the Cairngorms, complete with Caledonian pines, despite being firmly in the Borders.

All in all, a brilliant job in a beautiful part of Scotland, with a great crew, great people, and just enough unpredictability to keep things interesting. Looking forward to seeing it on BBC Scotland, BBC, and iPlayer when it comes out later this year.

SEPTEMBER 2025 - Drone filming with Guy Martin on The British Train That Changed the World

Steam, stories, and a sky full of drones

Every so often a job comes along that feels a bit special. This one did. Channel 4 were filming Guy Martin: The British Train That Changed the World, marking 200 years since the Stockton & Darlington Railway — the line that more or less started everything on rails.

I was back on board as drone pilot, capturing the sights from above — steam, countryside, and a fair bit of history rolling beneath the rotors.

Back with the gang

Ewan, the director, gave me the call for this one. We’d worked together last year up in the Cairngorms on Guy Martin’s Proper Jobs with Mountain Rescue Sarda Dogs. It was a great shoot and a cracking team, and we all got on well — folk who could graft all day then still have a laugh over a pint at night.

So when he said the same crew were back — Justin Evans on camera, Graeme Smiles producing, Andrew Cholton on sound, and Simon Stubbs on minicams — I knew it’d be a good few days. We met up for dinner the night before, swapping stories and a bit of slagging about who’d drawn the shortest straw on call times. It’s the kind of easy company that makes early mornings a lot lighter.

A royal start to the day

Next morning was bright and freezing — that proper northern air (southern for me a suppose) that wakes you up faster than any coffee. The train was sitting ready at the line, steam drifting into the cold air, and there was a bit more buzz than usual. Turned out Prince Edward was coming along for the launch, which meant there’d be police drone teams flying too.

We all had a quick briefing, sorted our flight levels, and made sure everyone knew who was where. It’s not every day you’ve got three drone teams sharing the sky — especially with royalty standing a few yards away — but everyone handled it well. Bit of coordination, bit of patience, and a lot of mutual respect.

Getting airborne

For this shoot I ran my Mavic 3 Pro Cine for general shots and my brand-new Mini 5 Pro for closer shots but not as close as I’d hoped. 50m away because DJI made the drone 3 grams too heavy!. It’s a lovely bit of kit but will be more useful to me from January when the rules change.

The first location they’d marked for me was wide open, perfect for flight — only thing was, I couldn’t actually see the track from ground level. Once I sent the drone up though, there it was: the locomotive gleaming in the low morning sun, steam curling across the fields, the line stretching out through County Durham.

There’s something about watching a steam train from above — the rhythm, the smoke trail, the whole movement of it — that feels like stepping through time.

After those runs, we shifted to a second spot closer to town. Narrower airspace, more folk about, but that’s where the Mini 5 Pro came into its own. Smooth flying, plenty of control, and the footage looked brilliant on playback.

Wrapping up

Once we’d finished the last sequence, we packed down, had a few quick words with the crew, and I hit the road north again. Short trip, long day, but one of those satisfying ones where you know you’ve caught something a bit special.

A line that changed everything

On 27 September 1825, the Stockton & Darlington Railway opened its line from Shildon to Stockton via Darlington. George Stephenson’s Locomotion No. 1 hauled the first public steam train, carrying passengers and goods, and set off a chain reaction that spread across the world.

Two centuries on, it’s still a powerful story — invention, industry, and people connecting places for the first time. To film it now, with modern cameras and flying drones, felt like closing a neat wee circle between past and present.

Final thoughts

Jobs like this remind me why I love what I do. It’s the mix of history, craft, and teamwork — the buzz of working with a great crew and the privilege of framing something that means a lot to people.

Flying over the birthplace of the railways, marking 200 years of progress, and doing it alongside good folk — that’s a day well spent in my book. On Channel 4 26th October 7:30pm

A few pics from screen grabs below

AUGUST 2025 - Filming a feature film on Rivers with Beluga Lagoon

So, we’re out with the Beluga Lagoon crew again, this time filming for Andrew’s big new wildlife film Rivers (aye, nae surprises what it’s about). The line-up: me, Andrew, Craig, and Mark. Blaine was meant to be there but sacked it off to head to Edinburgh to meet his film-making journo pal in the big city lights.

Our “very serious job” was to film this wee wooden toy boat drifting down the river. Proper wildlife cinematography, right? Truth is, it was just four grown men standing at the riverbank like daft laddies, cheering on a toy boat like it was Shackleton’s Endurance on a world-first expedition.

Then came the drama. The poor wooden boat made a beeline straight for a waterfall. Mark, channeling his inner Hollywood action hero, launched himself into the river in a heroic dive. For a moment it looked like we were about to film his last scene. He missed the boat, nearly went over the edge, and gave us all a heart attack.

Luckily, I legged it downstream and managed to fish the wee boat out after it went over. Boat saved. Mark still alive. Result.

To add to the fun, we were also playing about with my brand-new waterproof probe lenses. And no, before you ask, they’re not for probing people like some alien abduction kit — these beauties are for getting right in close to tiny wildlife. We got some cracking shots looking up at beetles, millipedes, frogs and whatever else was willing to sit still. Basically, a whole new angle on the world, macro-style.

A couple of weeks later, I even took one of the boats on a “holiday” up to the Moray Coast. Got some shots of it bobbing about at sea, looking like it had crossed the Atlantic on some epic voyage. Honestly, that wooden thing’s seen more adventure than most folk manage in a year.

Andrew’s close to finishing the film now — just needs a few autumn and winter shots. I’ve dropped in the odd drone flight and camera bit over the last couple of years, and knowing Andrew it’ll be brilliant. The man could film a puddle and make it look like Attenborough.

So aye, keep an eye out for Rivers next year. In the meantime, check out Beluga Lagoon Films on YouTube. That wee wooden boat had a near-death experience, but now it’s a star.

JULY 2025 - Filming Dance, Nature & Young Rangers in the Cairngorms

I had a fun few days working with Rupert Shanks and Robbie, on a beautifully creative project for Cairngorms Connect. The film is being led by Robbie, who has a background in dance and movement, and this piece brings that expressive energy into the landscape and everyday work of the young rangers from the Cairngorms National Park.

Over a couple of days, we filmed the rangers as they carried out conservation work like tree planting, using a mix of Steadicam, traditional handheld camera work, and some macro-style close-ups using my new probe lens — great for getting right into the detail of nature.

Robbie had choreographed some simple but expressive movements that tied into the surroundings and the actions the rangers were doing — giving it a very organic, art-meets-environment feel.

Then, one evening, we headed up near Badaguish to capture a more stylised sequence in the woods. The rangers — and a bunch of other kids — moved dynamically through the trees, jumping, climbing, and swinging. The sequence built up to a really striking final scene centred on a moth trap — a glowing, bright light source in the darkness. As dusk fell, we filmed them swarming around it like moths themselves, using the drone to capture wide, elegant aerial movements.

It was an unusual and rewarding project — a nice mix of nature, movement, and cinematography. I’m looking forward to seeing what Rupert and Robbie piece together from the footage.

JULY 2025 – Filming the Oasis Drone Swarm Over Cardiff for Richard Elliott

Behind the Scenes: Filming the Oasis Drone Swarm in Cardiff

Earlier this month, I headed down to Cardiff, Wales, for a unique and exciting shoot — the opening night of the Oasis Tour at the Principality Stadium. The event featured something pretty special: a drone swarm by Celestial Drones, forming the iconic Oasis logo high above the city skyline.

My friend Richard from Richard Elliott Aerial Filming was brought on to capture the spectacle. Richard regularly works with Celestial and was flying his DJI Inspire 3 to get close-range shots. But for this job, given the complexity of flying in a built-up city environment, they needed a second drone filming from further out. That’s where I came in — operating Richard’s Mavic 4 Pro from one of the nearby parks, offering a different angle on the action.

This was my first time witnessing a drone swarm in real life, and I couldn’t wait to get involved.

Getting Set Up

I arrived in Cardiff around 4pm and headed straight to the rugby grounds next to the stadium, where the Celestial team was setting up. Hundreds of drones were lined up, each carefully tested and checked through the control interface on their screens. It was impressive to see the sheer scale of the operation and the precision involved in coordinating a performance like this.

After meeting up with Richard, we scouted out the location where I’d be flying. It had been cleared with the local council and community ahead of time, and I gave South Wales Police a quick call to make them aware of a drone flight happening after dark.

Midnight Magic

As night fell, an Alanis Morissette concert elsewhere in the city meant the park I was flying from was briefly swarming with concertgoers, but by midnight it had cleared out completely. I was able to launch the Mavic and run a couple of test flights in peace. Unfortunately, Cardiff Castle didn’t switch on its floodlights as expected, so I had to adapt the shot list on the fly.

Then came the countdown. I saw the Celestial drones begin to rise, taking shape in the sky, and I launched my drone for real. With just 12 minutes to capture everything, there wasn’t much room for error. I had a few planned shots in mind, but quickly started improvising — flying behind trees, revealing wide cityscapes, and trying to bring out the scale and beauty of the display. Also capturing the skyline of Cardiff.

It felt like it was over in a flash. One moment I was filming the drones lighting up the sky, the next they were descending back to the rugby field. I handed off the footage, which the team seemed really happy with.

A Flying Visit

By 2am, I was back at my B&B, and the next morning I was already heading back to Scotland. A whirlwind trip — my first ever visit to Cardiff — but a brilliant experience to be part of. I’m looking forward to filming more with Richard and the Celestial team later this year on future Oasis events.