2024. The year so far...

Quick blast on 2024 so far!

January always marks the start of the World’s Strongest Man filming season for Channel 5, and I directed the shoot up in Sheffield for the series opener working for the Giants Live crew. Charlie Delahunt was on camera for this one and did a blinding job as always, as did Richard Eades on sound and Radzi as our presenter.

Some screen grabs for you here, and needless to say the event itself was exciting, relentless, emotional… and that was just the filming. The heavy stuff that happened inside a record 'Britain’s Strongest Man’ crowd at Sheffield Arena was exceptional. Tom Stoltman looked as fearsome as he performed, and the event also marked the return of Adam Bishop from injury.

Once back from the shoot it was straight into the edit and 10 days later the series opener was put to bed. A few World Records in this raucous show to look forward to!

Next week on 13th April episode 2 will be filmed in Leeds and I’ll be directing for that, and producing the edit over the coming months. Looking forward another bout of brute strength and working with the Giants fam.

Below is a video I produced with Ollie Plant as editor, made specifically for Giants Live big screens within each of the arenas on the World's Strongest Man tour. It had its debut in Sheffield and I'm looking forward to seeing it elsewhere on the tour, particularly The Royal Albert Hall this summer.

February saw edit producing for ATP Media on the Rio Open which was colourful as ever, and a few weeks after that I was edit producer for the opening Masters of the year at Indian Wells. It was great to start the year with these two events and we made some really solid features and openers for the world feed.

The below video is the Final Opener for the Indian Wells World Feed, edited by Andy Harrison and produced by me for ATP Media.

Elsewhere, the edit process has started for ‘Beyond The Horizon’. It’s a slow burner of a project due to various availabilities and schedules, but what this means to our advantage is that nothing is rushed and all prep and editing is done meticulously. I’ve been overjoyed at how it is taking shape, and how seamlessly and emotionally the elements have slotted together.

I was hoping for an Easter delivery and to make the documentary film available to international film festivals from April, but realistically this will likely happen this summer to early autumn. Finger’s crossed. Either way, it’s taking shape beautifully, which is the important thing.