Journal
Case studies and notes from set. The brief, the problem, and what it actually took to solve it.
AI is the most useful tool a small production company has been handed in years, provided it is pointed at the right problems. Here is where we use it, where we don't, and why real footage matters more than ever.
Half of what Armada makes is corporate, and almost none of it is shot on the premises. Why the hospital film was made outside the hospital, and what happens to a corporate video when you stop pointing the camera at the company.
A thirty-second spot for Caybrew's new amber lager, built on a piece of wordplay: Amber the loggerhead, Lagerhead the amber. The concept and the storyboard came from the client. Our job was making it true.
Armada's crew were covering the 2026 CIMPA Awards Gala. I was off island burying my father, so when Creative Professional of the Year was announced Tonie Chisholm went up and accepted it for me.
A launch film for a longevity clinic, shot in two days and delivered two days before the doors opened. It was also the first time I used generative tools, for three shots the budget could not buy.
A run of mini documentaries for Compass Media's news station, across subjects with nothing in common but the island they happen on.
Seven films for Blackbeards, shot as one production and cut so each stands alone while the set still reads as a single campaign.
A four-part series for Camana Bay with Not Your Standard: one hero film, then three more for the people who work there, live there and visit. Shot over two weeks, and the hard part was the diary.
Shooting an episode of GQ's 10 Essentials at Palm Heights, where the job was making a Grand Cayman hotel cut seamlessly into a series shot in New York.
A campaign covering everything Dart does, shot across Grand Cayman and the Sister Islands in a single production run, with no time to light anything.
