Sometimes I leave work completely drained. Shooting a big show can be difficult. We have less time to make things than people realise, though more than other jobs I've done that were less complicated. Sometimes the work demands you draw on knowledge you've accumulated over many years to interpret the script in front of you, without mistakes, yet you make mistakes regardless. 

Then some days you also give advice in your area of expertise and they tell you that you don't know what you're talking about. They'll insist you do something that you know is wrong and it's hard not to take that personally. Why hire someone for a role based on their experience then ignore that experience?

Just one of those days I guess, made worse by putting my neck out after last week's grueling hand held camera work. I can barely turn my head now.

But on the upside my equipment ambitions have gone well. I'm now the proud owner of a cable-cam system that means I can shoot high moving shots with remote operation for a really reasonable cost. The value I can add to a production is great with this stuff. Feature film style camera shots that would normally eat a budget I can setup really easily with just two people and 20 minutes prep. I'm looking forward to the next job that wants to take advantage of that. Imagine tracking high along a street rooftop view and then swooping down to follow a car speeding below. Or sliding swiftly through the trees as riders race along and then they are able to slip under the shot and away.

My agent Lee came out to visit set today, I'm really happy with how that relationship is going so far and I'm hoping we get to do a lot of great, interesting jobs together as a partnership.