Most people find me when they've already tried the cheap way and watched it not work.
The footage was fine. The edit was fine. Nobody felt anything, and nobody called.
I've spent forty years working out why that happens.
Not seniority. Speed and certainty.
I know within ten minutes of meeting you what the story is. I know when a take is a beat too long before anyone else in the room does. I know which twelve seconds of a two-hour interview is the whole thing.
What that means for you is fewer rounds, fewer reshoots, and something that works the first time you play it.
AI writes, transcribes and translates across half my pipeline. It's fast and I'd be mad not to use it.
Anyone who tells you they don't touch it is either lying or working slower than they need to. The question was never whether to use it. It's how.
Most people give it one instruction and take what comes back, which is why so much of it looks the same. The way it actually works is closer to directing. You go scene by scene. You know what you want before you ask for it. You throw away most of what comes back. The tool is fast but it hasn't got an opinion, so the opinion has to come from somewhere else.
And there's a part of this it can't reach at all. It can't sit in a room with someone and know the moment they stop performing and start telling the truth. That moment is what the whole film gets built on, and it has never once come out of a prompt.
The machine does the labour. Somebody still has to direct.
I spent most of my career in Melbourne, in production and post for television.
I moved to the Gold Coast because the work I want to make is being made here now — not to slow down.
We shoot across the Gold Coast, Brisbane and South East Queensland. We've also shot across regional Australia and in China, because that's where the story was.
If you want to know exactly how I work, that's on the next page.
If you'd rather just talk, that's usually faster.
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