For Agencies
When Agencies Need More Than Just a Camera Operator
What It's Like Working With Me
I'm Andrew Davies, a director and DOP who works directly with agencies as well as end clients. On a job, the priority is straightforward: turn up prepared, ask the right questions before the camera rolls rather than during it, and deliver what was agreed without needing the agency to manage the process.
I'm prepared for unfamiliar technical scenarios as standard, not as a contingency:
- —I travel with a mini-van of equipment that can be unloaded and rigged quickly
- —Difficult, unlit, or awkward locations get turned into well-lit interview setups fast, not slowly worked around
- —I'm confident producing as well as directing and shooting, so an agency has one point of contact who can be trusted with both the client relationship and its reputation on the day
Two Reels, Two Ways to Hire Me
Director's Reel
Narrative judgement, contributor handling, structure and pacing. The right reel when an agency needs someone to own the story.
DOP / Lighting Reel
Lighting setups, camera craft, and visual look across formats and conditions. The right reel when an agency already has a director and needs a trusted DOP to execute the look.
Core Capabilities
- 01Broadcast-quality documentary footage without the cost or logistics of a large crew
- 02Interviews handled with the judgement to get a genuine answer, not a rehearsed one
- 03International shoots that run smoothly despite unfamiliar locations, languages, or access constraints
- 04A finished edit, often including motion graphics, ready to present without further work
Selected Clients & Experience
Case study asset coming soon.
Case study asset coming soon.
Guinness World Records
Post Office
Lotus
For GSK, Lotus, and Ogury in depth — see the Corporate Communications page.
Frequently Asked Questions
What happens if a contributor or subject is nervous, difficult, or the situation is sensitive?
This is a normal part of documentary and advocacy work for me, not an edge case. Years of working with NGOs and charities on sensitive subjects means I can de-escalate, build trust quickly, and get a usable interview without forcing it.
Can you work without a full crew?
Yes, that's my default, not an exception. Working self-shooting reduces the logistics and cost an agency has to manage, particularly useful for international shoots or budgets that don't stretch to a larger setup.
Can you handle end-to-end production?
Yes. I can shoot and edit in the same day if the job allows, and I'm also happy to come onto a briefing call beforehand.
What kit do you use?
I'm in the Sony system, shooting on an FX6 and an A7S III as my regular self-shooting setup, with experience across many other camera systems too.
How do approvals and sign-off work on multi-stakeholder projects?
I treat multi-layer approval as the normal shape of the job, not friction to push back on. I shoot and structure material with those later approval stages in mind, so revisions are about refinement, not rebuilding from scratch.