Taurus Productions

26/08/2026

Watching The Odyssey this week, I kept thinking about a conversation I’d had with my son.

He asked me how filmmakers decide what gets shot in a studio and what gets shot on location.

My answer was pretty simple: if something is physically impractical, prohibitively expensive, requires significant scale manipulation, or needs a level of control that location can’t provide, it’s likely to be brought into a studio environment.

Then the close-up boat scenes came on in The Odyssey… and I thought, “This is exactly what I was talking about.” 😂

There’s an incredible amount of production design, construction, lighting, camera movement and visual effects that can go into making something feel completely real, while giving the filmmakers the control they need to tell the story.

And then there’s the Grip Department.
Watching a production like this, you really appreciate what’s involved in physically moving and supporting an IMAX camera system, particularly when you consider the size and weight of the equipment and the precision required to execute those shots. The grip team’s job is seriously commendable.

The Odyssey is a great film to watch with a production eye.

Especially after following the work of the West Coast crew and our Perth Film Studios Grip Workshop, it certainly cements just how much of what we see on screen starts with the people moving the camera. Respect.

20/08/2026

A freelance production gig in Egypt in November gave me an experience I’ve never encountered in more than 25 years behind the camera.

Working in this industry I’ve become very used to working in traditionally male environments, inc client fields of operation: mining, heavy industry, ports, fabrication and operational sites. And, of course, very often the logistical side of a film or tv shoot is managed behind the scenes between men, as happened to us with plane navigation recently while working away.

But Egypt was different.

There were occasions where men refused to speak directly to me, with crew, security and location managers having to explain, “She’s the boss.” There were separate queues for men and women, and at times I genuinely felt inhibited in doing my job because of my gender.

It was confronting.

I’m very conscious of respecting cultural differences, but experiencing this first-hand while managing a fast-paced international production was something I had never encountered in my career.

It reminded me that sometimes the biggest challenges on a shoot aren’t technical, logistical or creative.

Sometimes, they’re societal and cultural.

14/08/2026

Behind the scenes in the Kimberley. ✨

This week was one of those productions that reminds you just how much goes into creating the magic you see on screen.

A high-end fashion shoot in the Kimberley, with 21 crew, remote locations, wildlife, bushfire risks, challenging conditions and a tight schedule… every detail mattered. From keeping everyone safe and moving, to managing logistics and making the most of every minute of light, it was a true team effort from start to finish.

And that’s the best part of production -being surrounded by talented people who know their craft, trust each other and step up when it counts.

A huge thank you to the agency and production team, and to every incredibly talented crew member who brought their energy, expertise and good humour to the job. It was a privilege to be part of such a brilliant team.

The Kimberley delivered the backdrop. The team delivered the magic. ✨

YKWYA ❤️

**usProductions

13/08/2026

Impro

11/08/2026

BTS Kimberley shoot- amidst the crocs (2 spotters on standby) mudcrabs and pneumatophores! Sharing the talented photography of Mark Jones and henrycousins

11/08/2026

A fantastic day of learning, hands-on experience and industry connection at Perth Film Studios last Saturday, with an incredible Grip Masterclass led by James Hopwood.

(credits include Mortal Kombat, Mulan, Elvis, Nine Perfect Strangers, The Lost Flowers of Alice Hart, Wolf Like Me and Strife) so having the opportunity to learn directly from someone with that depth of practical industry experience was incredibly valuable. (AUSCREW)
My son, Ashton, attended the workshop and came away highly impressed. It was fantastic to see the enthusiasm, curiosity and respect for the craft that these kinds of opportunities can inspire in the next generation of film crew.

And a huge thank you to West Coast Crew Kate Downie for her flexibility, professionalism and, importantly, her ongoing involvement in our industry and commitment to supporting new talent and nurturing the development of emerging crew.

These are the kinds of opportunities that make a real difference; bringing experienced practitioners together with people who are eager to learn, develop their skills and find their place within the industry.

Thank you to everyone who made the day possible. 🎬

09/08/2026

Scout and about

26/07/2026

How’s this for a “snap”shot of my working life… 📸🐊

Needed a lush green location for a very large-scale shoot in the Kimberley. Found the perfect spot.

Only problem? It’s surrounded by 30+ crocodiles.

The local guides reckon spotters and a fence will do the trick. (I mean, James Bond did it)

Somehow I think the international models may have a different opinion… 😂

23/07/2026

21/07/2026

This travel wallet has been with me for years.

A client (who became a friend) gave it to me, and it still carries all my travel docs and in-flight essentials on every trip.

Sitting at the airport today, it reminded me how lucky I am to be trusted with people’s projects. I never take that trust for granted.

Thank you. ✈️