Think in sequences, not shots
Full service, post-led film production:
more efficient
more responsible
more creatïve
Production
Over twelve years The Forest has produced high end commercials, corporates, fast-delivery branded and social content, and captured launches and events: that's conceptualising, scripting, planning, shooting (and usually undertaking all post production), as a one-man-self-shooter, up to a twenty-strong-crew; with £0 to £150k+ budgets; for a multitude of producers, agencies, and direct to businesses
We have also shot narrative and artistic films, music videos, and premium documentary TV
Post Production
James has edited shoots around the world
In addition to our own shoots, The Forest has offline / online edited hundreds of short and long form projects (with combinations of heavy motion graphics, light VFX and animation, audio design / mixing, colour correcting / grading, and supervising workflow / digital delivery), for agencies, broadcasters, influencers, production companies large and small, the world over - on a day or project rate
Whether it’s kneading performances, cutting corporate communications, designing motion graphics, or onlining an AS-11 to EBU R103 / R128 broadcast standards, the days are always green and pleasant
James is always available for friendly advise on how to shoot to maximise flexibility in post, and how to fix things when they go wrong
The edit suite has also been used for dailies, supporting the multitude of studio films now shooting across the Home Counties
Films for Marketing
Of-the-moment content, or movement building campaigns; supplying Digital marketeers, or direct to business: The Forest provides unparalleled breadth and depth of expertise in visual storytelling, backed up by best-in-class, in-house production and post-production kit
Our most successful partnerships are with clients who have a well-reasoned, simple marketing strategy
🌲 Unique access to some of the niche, regional, and international influencers we edit for, and the audiences we've helped build
🌳 We will always prioritise accuracy of message over generating a lot of noise: we will constantly track and review the data matters with you, be that searches, subscribers, or sales
→ Purpose First
You’ll find us sincerely interested in your goals and values. We strive to be obligingly thoughtful, naturally empowering, forensically detailed, and proactively resourceful
→ Concept Second
We'll actively listen to you and your team, inhabit your audience, then, run off to research and play with ideas – ever mindful of tomorrows contexts, culture and technology
Our background in shooting for the edit focuses decision making, reduces waste, and guarantees coverage
→ Creative Third
A brilliant film is a good story told well: we'll utilise every available artform - favouring what can be achieved in post - to show different parts of a message simultaneously
We'll also maximise the quantity of deliverables, without ever sacrificing quality: from polished, stand alone stills, shots and graphics for your future use, to different edits tailored to different platforms
For the complete list of agencies and marketeers James has collaborated with, please check out his LinkedIn
Kit List
We've streamlined our shooting kit to be practical, and adaptable: and yet, it is when we are forced into more deliberate framing, that we produce the most creative and collaborative compositions
Operable by a single videographer, setup in under ten minutes, and transported on a video production cart:
Camera
- 2 x Panasonic EVA 1 Super 35 cinema cameras (rich, faithful colourimetry; Netflix approved – but most importantly, the best picture quality to file size ratio)
- 18 prime / zoom lenses (Cooke, Canon, Samyang, Sigma)
- Tiffen Pro-Mist filters
- Vinten tripods (heavier for smoother shots)
- Acebil tripods (more mobile)
- Handheld stabiliser cage
- Sliders
- Gimbal
- Wireless 4K Director’s field monitor (Hollyland Mars 300 Pro Video Transmitter – also streams to iPad)
Lighting
- Aperture LED lighting
- Battery powered LED lights (colour changeable, diffusible, dimmable, flicker free)
- Stands, sandbags, flags, reflectors, snoots, soft boxes, diffusers, gels, reflectors
Audio
- Shotgun mics (NTG2 and ME66)
- Sennheiser AVX Radio mics
- H4n (24 bit) and H4e (32 bit) audio recorders
- Stands, shock mounts, windshields, Sennheiser headphones, long XLRs
Other
- Data Wrangling: MacBook (installed with Double Data, DriveDx, and Excel), and SSD hard drives
- BS8599 2011 First Aid Kit
Requires additional risk assessments and crew members (such as gaffer, cinematographer, or sound recordist – all our regular freelancers are familiar with our workflow):
- Glidecam X-10 rig (James is a ‘Bronze Wings’ steadicam operator)
- Up to 650W hot Fresnel lights, with stands and sandbags
- More sensitive condenser and ribbon mics
- 1.8 x 2.8m portable backdrop, with wide range of colouramas and muslin green screen
- Tracking marker options (for VFX)
- Turntable (for product shoots) and HD Projector
- Canon DSLRs and 18 – 55 / 75 – 300 lenses (for on-set photography)
- Outdoor IP54 rated extension leads
- 5 x camping chairs and marquee
- Video production cart
Software
- AVID (James is AVID certified by Soho Editors)
- Adobe Premiere Pro
- In-edit plug-ins, extensions and custom presets galore including Twixtor, Vakago Batch analysis, Syncaila, Excalibur, MBR Color Corrector 3 and a library of renderless transitions
Hardware
- M2 Ultra Mac Studio (capable of playing 22 streams of 8K video simultaneously) – with dedicated UPS
- Timeline Monitor: electriQ curved ultra-widescreen
- Playback Monitor: LG’s flagship 55″ 4K OLED
- ShuttleXPress multimedia controller
- MacBook Pros, MacBooks, iPad
Software
- Pro Tools
- Adobe Audition
- Over 20 plugins inc. EdiLoad, Kraken, Melodyne and iZotope RX 10
Hardware
- Genelec 8010 speakers
- Yamaha YSP-40D sound projector
- Sony MDR-CD900ST headphones
- Mackie studio monitor interface
- Icon QCon Pro XS 9 fader control surface
- Rode NTK condensor mic (for recording voiceovers)
- Roland F-140R Digital Piano (for custom music)
Software
- After Effects
- Cinema 4D
- An arsenal of over 30 plugins and scripts inc. Element 3D, Blace, Flicker Free and HandyCam
Hardware
- Dropandrender account for cloud-based rendering (300,000 CUDA cores available on tap)
Software
- DaVinci Resolve
- Even more plugins and presets, including Neat noise removal, Dehancer, and stringently tested premium LUTs for our cameras
Hardware
- Grading Monitor: BenQ Monitor 27″ 4K UHD (calibrated with Datacolor Spyder 5 Elite)
- Tangent Ripple control surface
- All monitors are at eye-level
- Herman Miller chairs, Kneeling chairs, and dangerously comfortable Chesterfield sofa!
- Adjustable footrests
- Sit/stand oak topped table
- Waldmann LAVIGO floor lamp for true colour vision
- Vertical mouse, wireless keyboard
- Hourly movement breaks
- Gym membership (everyone active)
- Monthly osteopath session
- Up to weekly 1-2-1, face-to-face Therapy (MBACP) for Independent Wellbeing
- Annual optometrist check-up (we do spend a long time looking at screens)
- In line with best security practices, we have a 50Mbps internet line for general use, and a dedicated 1Gbps symmetric lease line for sending and receiving large files
- 32TB RAID 10 NAS
- WeTransfer Pro, Massive.IO, and Frame.IO accounts for sending rushes, streamlining feedback, and archiving deliverables (DropBox and Google Drive also available)
- Envato, Artlist, and Soundly accounts for royalty free libraries of sound effects, music, graphics, and stock footage
- Option for remote editing via Jump Desktop
Our full Inventory comprising over 250 pieces of kit – together with maintenance logs and sustainability practices – is available on request
Our Little Library
We've some five hundred books spanning screen industries, creativity and culture
Requests posted free of charge
| # | Title | Author | ISBN | Year |
|---|---|---|---|---|
| 1.0.1 | Film Directing: Shot by shot 25th Anniverary Ed. | Steven D. Katz | 1 6159 3297 9 | 2019 |
| 1.0.2 | Directing a Play: the art of directing and acting | James Roose-Evans | 289 37062 0 | 1968 |
| 1.0.3 | Early Women Directors: Their Role in the Development of Silent Cinema | Anthony Slide | 0 498 01701 X | 1977 |
| 1.0.4 | Directing | Virginia Wexman et. al. | 1 78831 037 6 | 2017 |
| 1.1.1 | Essential Guide to Business in the Performing Arts | Vivien Freakley and Rachel Sutton | 0 340 65525 2 | 1996 |
| 1.1.2 | Staging a Pantomine | Gill Davies | 0 7136 4120 7 | 1995 |
| 1.1.3 | The Film Industries: Practical Business / Legal Problems… | Michael F Mayer | 8038 2300 2 | 1973 |
| 2.0.1 | Documentary for the Small Screen [Rare 1st Ed] | Paul Kriwaczek | 0 240 51472 6 | 1997 |
| 2.1.1 | Great TV & Film Detectives: A Collection of… | Maxim Jakubowski | 076210578X | 2005 |
| 2.1.2 | The Routledge Anthology of Early Modern Drama | Jeremy Lopez | 1 138 95380 2 | 2020 |
| 2.1.3 | Five Plays | Anton Chekhov | 0 19 283412 6 | 1998 |
| 2.1.4 | Film: The Creative Process | John Howard Lawson | 0 80 9013371 | 1964 |
| 2.1.5 | Story: Substance, structure, style, and the principles… | Robert McKee | 0 413 71560 9 | 1999 |
| 2.1.6 | All Puns Blazing: The Best British Knockout Jokes | Geoff Rowe et. al. | 1 52910 931 3 | 2021 |
| 2.1.7 | Reading Screenplays: how to analyse and evaluate film scripts | Lucy Scher | 1 84243 510 6 | 2011 |
| 2.1.8 | Story Maps: TV Drama, The Structure of the One-Hour TV Pilot | Daniel P. Calvisi | 9 836 26688 | 2016 |
| 2.1.9 | English Humour | J. B. Priestley | 434 60367 8 | 1976 |
| 2.1.10 | Life Lessons from Literature | Joseph Piercy | 1 78929 552 8 | 2023 |
| 3.0.1 | Live Cinema and its Techniques | Francis Ford Coppola | 1 63149 366 9 | 2017 |
| 3.0.2 | The Guerilla Filmmakers Handbook 3rd Ed. | Chris Jones and Genevieve Jolliffe | 0 8264 7988 X | 2006 |
| 3.1.1 | The Focal Encyclopeda of Photography 4th Edition | Michael R. Peres | 0 240 80740 5 | 2007 |
| 3.1.2 | Colour: Revised Edition | Edward Brash et. al. | 7054 0406 4 | 1981 |
| 3.1.3 | Photographing in the Studio | Gary Kolb | 0 697 13189 0 | 1993 |
| 3.1.4 | Sony World Photography Awards 2014 | Scott Gray et. al. | 0 9572010 3 3 | 2014 |
| 3.1.5 | The Extended Moment: Fifty Years of Collecting Photos… | Ann Thomas and John McElhone | 88 7439 802 7 | 2018 |
| 3.1.6 | The Digital Printing Handbook: Photographer's Guide to Printing… | Tim Daly | 1 902538 17 X | 2002 |
| 3.1.7 | Solopress Paper Collection (Catalogue samples) | N/A | N/A | N/A |
| 3.1.8 | LomoLife: The Future is Anaologue. The Cameras. The Story | Neil Gaiman | 0 500544 212 | 2012 |
| 3.1.9 | Digital Photography Step by Step | Tom Ang | 1 4053 4819 5 | 2011 |
| 3.1.10 | The Film Photography Handbook 2nd Ed. | Chris Marquardt, Monika Andrae | 1 68198 527 5 | 2019 |
| 3.1.11 | Extreme Photography… How They Were Taken | Terry Hope | 2 8804 6760 8 | 2004 |
| 3.2.1 | Handbook of Amateur Cinematography Volume One | R. H. Bomback | N/A | 1950 |
| 3.2.2 | Master Shots: 100 Advanced Camera Techniques | Christopher Kenworthy | 1 932907 51 3 | 2009 |
| 3.2.3 | Painting with Light | John Alton | 0520 08949 5 | 1995 |
| 3.3.1 | How to audition your way to success | Paul Ryan et. al. | 1 534895430 | 2016 |
| 3.3.2 | Performance: A Critical Introduction | Marvin Marlson | 0 415 13703 9 | 2001 |
| 3.3.3 | Playing to the Camera: Film Actors Discuss Their Craft | Bert Cardullo | 0 300 07051 9 | 1998 |
| 3.3.4 | Shooting The Actor | Simon Callow | 0 312 42244 X | 2003 |
| 3.3.5 | Why is that so Funny?… Exploration of Physical Comedy | John Wright | 1 85459 782 3 | 2007 |
| 3.3.6 | Voice and the Actor | Cicely Berry | 0 020 41555 8 | 1973 |
| 3.3.7 | The Alexander Technique for Actors | Kelly McEvenue | 0 413 71010 6 | 2001 |
| 3.3.8 | Film Technique and Film Acting | Vsevolod Pudovkin | 0 394 17457 7 | 1978 |
| 3.3.9 | Acting in the Cinema | James Naremore | 0 520 07194 8 | 1988 |
| 3.4.1 | Film Art: An Introduction - Ninth Edition | David Bordwell and Kristin Thompson | 07 338616 2 | 2010 |
| 3.4.2 | Film Design | Terence St John Marner | 0 498 01326 X | 1974 |
| 3.4.3.1 | WOW: Essential Design for a Changing World (Architecture) | Darlene Smyth | 0 500 34302 9 | 2015 |
| 3.4.4.1 | Lo-Tek Design by Radical Indigenism | Julia Watson | 3 8365 7818 9 | 2022 |
| 3.4.5.1 | 50 Ways to Wear Accessories | Lauren Friedman | 1 4521 6648 3 | 2018 |
| 3.4.5.2 | Monsters in the Movies: 100 Years of Cinematic Nightmares | John Landis | 1 4053 6697 4 | 2011 |
| 3.4.6.1 | Masters of FX: Behind the Scenes… Visual and Special Effects | Ian Failes, James Cameron et. al. | 1 7815 7267 4 | 2015 |
| 3.4.7.1 | On the Press: The Craftsmen of Oxford University Press | Mick Belson | 1 899536 69 8 | 2003 |
| 4.0.1 | Fix It In Post: Solutions for Postproduction problems | Jack James | 0 240 81124 6 | 2015 |
| 4.1.1 | Editing | Justin Chang | 1 907579 56 1 | 2011 |
| 4.1.2 | Editing Reality TV | Jeff Dawson | 1 935247081 | 2013 |
| 4.1.3 | Make The Cut: A Guide to Becoming a Successful Assistant… | Lori Coleman ACE, Diana Friedberg ACE | 0 240 81398 1 | 2010 |
| 4.1.4 | Don't Miss Out on Any Avocado Milkshakes | Troy Takaki ACE | 1 365 41247 9 | 2016 |
| 4.1.5 | The Film Editing Room Handbook: How to manage chaos… | Norman Hollyn | 1 58065 006 6 | 1999 |
| 4.2.1 | When The Shooting Stops… The Cutting Begins | Ralph Rosenblum and Robert Karen | 0 306 80272 4 | 1979 |
| 4.2.2 | Cutting Edge: My Life in Film and Television | Eric Mival | 1 911537 00 7 | 2016 |
| 4.2.3 | On Film Editing | Edward Dmytryk | 0 240 51738 5 | 1984 |
| 4.2.4 | First Cut: Conversations with Film Editors | Gabriella Oldham | 0 520 07586 2 | 1992 |
| 4.2.5 | American Cinema Editors Inc. First Decade Anniversary Book | Fredrick Y. Smith | N/A | 1961 |
| 4.3.1 | Colours of Film: The Story of Cinema in 50 Palettes | Charles Bramsesco | 0 7112 7031 2 | 2023 |
| 4.4.1 | Contemporary Graphic Design | Charlotte and Peter Fiell | 3 8228 5269 9 | 2007 |
| 4.4.2 | Graphic Design for Everyone | Cath Caldwell | 0 2413 4381 4 | 2019 |
| 4.4.3 | The Complete Color Harmony Pantone Edition | Leatrice Eiseman | 1 63159 296 6 | 2017 |
| 4.4.4 | 100 Ideas that Changed Graphic Design | Steven Heller and Veronique Vienne | 1 78627 289 5 | 2019 |
| 4.4.5 | Dictionary of Graphic Design and Designers 3rd Ed. | Alan and Isabella Livingston | 0 500 204 13 9 | 2012 |
| 4.5.1 | Digital Domain: The Leading Edge of Visual Effects | Piers Sizony | 0 8230 7928 7 | 2001 |
| 4.5.2 | The Filmmaker's Guide to Visual Effects | Eran Dinur | 1 138 95622 3 | 2017 |
| 4.5.3 | The VES Handbook of Visual Effects Third Edition | Jeffrey Okun, Susan Zwerman | 1 138 54220 4 | 2021 |
| 4.5.4 | Moving Pixels: Blockbuster Animation, Digital Art, and 3D Model… | Peter Weishar | 0 500512086 | 2004 |
| 4.6.1 | Music and its Instruments | Robert Donington | 0 416 72280 6 | 1982 |
| 4.6.2 | British Film Music | John Huntley | N/A | 1947 |
| 4.6.3 | Film Music | Peter Larson | 1 86189 341 3 | 2007 |
| 4.6.4 | The Critical Editing of Music: History, Method and Practice | James Grier | 0 521 55863 8 | 1996 |
| 4.6.5 | Musical Instruments: Made To Be Played 5th edition | Ronald Roberts | B0007AYSCY | 1972 |
| 4.6.6 | Woodwind Instruments: a practical guide for technicians… | Daniel Bangham | 0 71984 029 6 | 2022 |
| 4.6.7 | How to make Guitar | Moses Josh | 979 8755150 859 | N/A |
| 4.6.8 | Pictorial Encycopedia of Musical Instruments | Max Wade-Matthews | 1 84476 087 1 | 2004 |
| 4.6.9 | Instruments of the Middle Ages and Renaissance | David Munrow | 0 19 321320 6 | 1976 |
| 4.6.10 | 30-second Classical Music | Joanne Cormac | 1 78240 425 5 | 2017 |
| 4.6.11 | Voices of Benslow Music Trust | Margaret Ashby | 0 7524 2048 8 | 2000 |
| 4.6.12 | The Oxford Companion to Music 10th Ed. | Percy A Scholes | 0 19 311 306 6 | 1984 |
| 4.7.1 | The Cult of Mac | Leander Kahney | 1 59327 122 0 | 2006 |
| 4.7.2 | Avid Learning Series: Media Composer Editing Essentials | Bryan Castle, Jr | 1 936121 79 4 | 2014 |
| 4.7.3 | Avid Learning Series: Media Composer Effects Essentials | Greg Staten | 1 935121 81 6 | 2014 |
| 4.7.4 | Final Cut Pro 7 | Diana Weynand | 0 321 63527 3 | 2010 |
| 4.7.5 | Adobe Premiere Pro CC: Classroom in a Book | Maxim Jago | 0 13 466531 3 | 2017 |
| 4.7.6 | After Effects CC: Classroom in a Book | Andrew Faulkner and Brie Gyncild | 0 13 392703 0 | 2014 |
| 4.7.7 | Adobe After Effects CC: Visual Effects and Compositing | Mark Christiansen | 0 321 93469 7 | 2014 |
| 4.7.8 | Cinema 4D: Model, animate, and render - Beginner's Guide | Jen Rizzo | 1 84969 214 4 | 2012 |
| 4.7.9 | Nuke 101: Professional Compositing and Visual Effects 2nd Ed | Ron Ganbar | 0 321 98412 8 | 2014 |
| 5.0.1 | Researcher's Guide to British Film and Television Collections 3rd Ed. | Elizabeth Oliver | 0 901299 58 8 | 1989 |
| 5.0.2 | Life On Air: A History of Radio 4 | David Hendy | 0 19 955024 1 | 2008 |
| 5.0.3 | All Pals Together: The Story of Children's Cinema | Terry Staples | 0 7486 0718 8 | 1997 |
| 5.0.4 | Cinema: The First Hundred Years | David Shipman | 0 75380 130 2 | 1993 |
| 5.0.5 | The Film Book: A Complete Guide to the World of Cinema | Ronald Bergan | 1 4053 6316 7 | 2011 |
| 5.0.6 | It's Only a Movie, Ingrid | Alexander Walker | 0 7472 0012 2 | 1988 |
| 5.0.7 | The Silent Cinema Reader | Lee Grieveson and Peter Kramer | 0 415 25284 9 | 2004 |
| 5.0.8 | Digital Cinema | Thom Taylor and Melinda Hsu | 0 941188 81 7 | 2003 |
| 5.0.9 | The Death of Cinema | Paolo Cherchi Usai | 0 85170 838 2 | 2001 |
| 5.0.10 | Hollywood's Dark History: Silver Screen Scandals | Matt Macnabb | 1526 74045 | 2019 |
| 5.0.11 | Learning to Dream: The New British Cinema | James Park | 0 571 13401 7 | 1984 |
| 5.0.12 | The British Film Business | Bill Baillieu and John Goodchild | 0 471 49918 8 | 2002 |
| 5.0.13 | The Big Screen: The Story of the Movies and What They Did To Us | David Thomson | 1 846 14314 4 | 2012 |
| 5.0.14 | Films and British National Identity | Jeffrey Richards | 0 7190 4743 9 | 1997 |
| 5.0.15 | Graphic Violence on the Screen | Thomas R. Atkins | 671 08105 5 | 1976 |
| 5.0.16 | A Bond for Bond: Film Finances and Dr No | Charles Drazin | 0 95 6893406 | 2011 |
| 5.0.17 | Sherlock Holmes on Screen: The Complete Film and TV History | Alan Barnes | 1 903111 04 8 | 2002 |
| 5.0.18 | Cinemas of Hertfordshire | Allen Eyles | 0 9542189 0 6 | 2002 |
| 5.0.19 | Cathedrals of the Movies: A History of British Cinemas... Audiences | David Atwell | 0 85139 562 7 | 1980 |
| 5.0.20 | FootLights! A Hundred Years of Cambridge Comedy | Robert Hewison | 0 413 51150 2 | 1983 |
| 5.0.21 | Hollywood and the Profession of Authorship, 1928 - 1940 | Richard Fine | 0 8357 2037 3 | 1979 |
| 5.0.22 | High Concept: Don Simpson and the Hollywood Culture of Excess | Charles Fleming | 0 7475 3611 2 | 1998 |
| 5.0.23 | When Hollywood loved Britain: 1939 - 45 | H. Mark. Glancy | 0 7190 4853 2 | 1999 |
| 5.1.1.1 | The Art of Walt Disney | Robert D Feild | N/A | 1945 |
| 5.1.1.2 | The Illusion of Life: Disney Animation | Frank Thomas and Ollie Johnston | 0 78686070 8 | 1981 |
| 5.1.2 | Made For Television: Euston Films Limited | Manuel Alvarado and John Stewart | 0 423 01310 6 | 1985 |
| 5.1.3.1 | The Pinewood Story | Gareth Owen and Brian Burford | 1 903111 09 9 | 2000 |
| 5.1.3.2 | The Pinewood Story [Revised and Updated] | Gareth Owen and Brian Burford | 1 905287 27 5 | 2006 |
| 5.1.4.1 | Shepperton Studios | Morris Bright | 1 904915 03 5 | 2005 |
| 5.1.4.2 | The Shepperton Story | Gareth Owen | 0 7524 4970 8 | 2009 |
| 5.1.5.1 | The Warner Brothers | Michael Freedland | 0 245 53827 5 | 1983 |
| 5.1.5.2 | The Warner Bros. Story | Clive Hirschhorn | 0 7064 1675 9 | 1982 |
| 5.1.5.3 | Warner Brothers Presents: The Most Exciting Years… | Ted Sennett | 0 87000 136 1 | 1971 |
| 5.1.5.4 | You Must Remember This: The Warner Bros. Story | Richard Schickel and George Perry | 0 7624 3418 3 | 2008 |
| 5.1.5.5 | Inside Warner Bros 1935 - 1951: The Battles, Brainstorms, Bickering… | Rudy Behlmer | 0 76714 00895 | 1985 |
| 5.1.6.1 | The Art of Pixar: Colorscripts from 25 Years of Feature Films | Ralph Eggleston | 1 452182787 | 2020 |
| 5.1.6.2 | Pixar At the Museum of Modern Art | Andy Dreyfus and DeAnn Cobb | 0 8118 5216 4 | 2005 |
| 5.1.7 | The Films of 20th Century Fox: A Pictorial History | Toby Thomas and Aubrey Soloman | 0 8065 0719 5 | 1979 |
| 5.1.8 | The Universal Story | Clive Hirschhorn | 0 7064 2731 9 | 1986 |
| 5.1.9 | The Paramount Story | John Douglas Eames | 0 7064 2057 8 | 1987 |
| 5.1.10 | Elstree Studios: A Celebration of Film and Television | Morris Bright and Paul Burton | 1 78243 381 1 | 2015 |
| 5.1.11 | Cracking Animation: The Aardman Book of 3D Animation | Peter Lord and Brian Sibley | 0 500 29199 3 | 2015 |
| 5.1.12 | MGM British Studios: Hollywood In Hertfordshire | Paul Welsh MBE | 1 913218 97 3 | 2020 |
| 5.1.13 | MGM: Hollywood's Greatest Backlot | Steven Bingen, Michael Troyan et. al. | 1 59580 055 8 | 2011 |
| 5.2.1.1 | RadioTimes Guide to Films 2007 | N/A | 0 563 53901 1 | 2006 |
| 5.2.1.2 | Halliwell's The Movies That Matter | David Gritten | 0 00 727106 1 | 2008 |
| 5.2.1.3 | The Penguin Film Review 9 | R. K. Neilson Baxter | B000L5XPH4 | 1949 |
| 5.2.2.1 | The Lord of the Rings Location Guidebook | Ian Brodie | 1 86950 452 6 | 2002 |
| 5.2.2.2 | There and Back Again: BTS of The Lord of the Rings | Sam Astin | 1 85227 149 3 | 2011 |
| 5.2.3 | The Annotated Godfather: The Complete Screenplay… | Jenny M. Jones | 9 781579 128111 | 2007 |
| 5.2.4 | Carry On Uncensored | Morris Bright and Robert Ross | 0 7522 1798 4 | 1999 |
| 5.2.5 | The Night of the Hunter | Simon Callow | 0 85170 822 5 | 2012 |
| 5.2.6 | Chinatown | Michael Eaton | 0 85170 532 3 | 2012 |
| 5.2.7 | Wild Strawberries | Philip and Kersti French | 0 85170 481 4 | 2009 |
| 5.2.8 | L'avventura | Geoffrey Nowell-Smith | 0 85170 534 7 | 2013 |
| 5.2.9 | M | Anton Kaes | 0 85170 370 1 | 2012 |
| 5.2.10 | Withnail and I: The Screenplay | Bruce Robinson | 0 7475 2493 9 | 1995 |
| 5.2.11 | The Making of King Kong | Orville Goldner and George Turner | 0 345251343 | 1976 |
| 5.2.12 | Christopher Nolan: The Iconic Filmmaker and his work | Ian Nathan | 0 7112 7712 0 | 2022 |
| 5.2.13 | The Cinema of George Lucas | Marcus Hearn | 0 8109 4968 7 | 2005 |
| 5.2.14 | Alfred Hitchcock and the Making of Psycho | Stephen Rebello | 0 7145 3191 5 | 2013 |
| 5.2.15 | The 100 Greatest Looney Tunes Cartoons | Jerry Beck | 1 60887 003 5 | 2010 |
| 5.2.16 | Some Kind of Hero: The Remarkable Story of the James Bond Films | Matthew Field and Ajay Chowdhury | 0 750 969 772 | 2018 |
| 5.3.1.1 | BBC | Paul Bloomfield | 373 891 | 1941 |
| 5.3.1.2 | Broadcasting Britain: 100 Years of the BBC | Rober Seatter | 0 2415 6754 8 | 2022 |
| 5.3.1.3 | BBC Pronouncing Dictionary of British Names | G. M. Miller | 19 431125 2 | 1971 |
| 5.3.2 | Eye on TV: The First 21 Years of Independent Television | Peter Jackson | 0 900727 61 6 | 1976 |
| 5.3.3 | Beyond Broadcasting: Into the Cable Age | Timothy Hollins | 0 85170 148 5 | 1984 |
| 5.3.4 | The British Television Location Guide | Steve Clark and Shoba Vazirani | 0 955 891 687 | 2011 |
| 5.4.1 | Doctor Who: The Writer's Tale | Russell T Davies and Benjamin Cook | 1 846 07571 1 | 2008 |
| 5.4.2 | Lovely Jubbly: A Celebration of 40 Years of Only Fools and Horses | Jim Sullivan and Mike Jones | 178 594 8060 | 2021 |
| 5.4.3 | Every Ruddy Word: Alan Partridge All the Scripts | Armando Iannucci, Steve Coogan et al | 1 405 91565 6 | 2013 |
| 5.4.4 | Yes Minister: The Diaries of a Cabinet Minister Vol 1 | Jonathan Lynn and Antony Jay | 0 563 17934 1 | 1981 |
| 5.4.5 | Yes Minister: The Diaries of a Cabinet Minister Vol 2 | Jonathan Lynn and Antony Jay | 0 563 20065 0 | 1982 |
| 5.4.6 | Yes Minister: The Diaries of a Cabinet Minister Vol 3 | Jonathan Lynn and Antony Jay | 0 563 20196 7 | 1983 |
| 5.4.7 | Hancock (Four scripts for Television) | Alan Simpson and Ray Galton | N/A | 1962 |
| 5.4.8 | Life of Python: and now, for something completey different | George Perry | 09075 16 22 X | 1983 |
| 5.4.9 | Fawlty Towers [3 x scripts] | John Cleese and Connie Booth | 0 8600 7598 2 | 1977 |
| 5.5.1 | Toxic Fame: Celebrities Speak on Stardom | Joey Berlin | 0 7876 0874 2 | 1996 |
| 5.5.2 | The Pythons | 'The Pythons' | 0 75285 293 0 | 2003 |
| 5.5.3 | Altman on Altman | David Thompson | 0 571 22089 4 | 2006 |
| 5.5.4 | Scorsese on Scorsese | David Thompson, Ian Christie | 0 571 15243 0 | 1989 |
| 5.5.5 | Burton on Burton | Mark Salisbury | 0 571 20507 0 | 2000 |
| 5.5.6 | Ridley Scott Interviews | Laurence F. Knapp and Andrea F. Kulas | 1 57806 726 8 | 2005 |
| 5.5.7 | The Rik Mayall (signed) | Rik Mayall | 0 00 720727 1 | 2005 |
| 5.5.8 | My First Movie: Coen, Anders, Buscemi, Leigh, Oldman, Stone, Lee… | Stephen Lowenstein | 0 375 42081 9 | 2000 |
| 5.5.9 | Where Am I Now? True Stories of Girlhood and Accidental Fame | Mara Wilson | 0 14 312822 9 | 2016 |
| 5.6.1 | Stan and Ollie: The Roots of Comedy | Simon Louvish | 0 571 21590 4 | 2001 |
| 5.6.2 | Tony Hancock 'Artiste' A Tony Hancock Companion | Roger Wilmut | 0 413 50820 X | 1978 |
| 5.6.3 | The Biography of Desmond Llewelyn | Sandy Hernu | 85770 187 9 | 1999 |
| 5.6.4 | It Don't Worry Me | Ryan Gilbey | 0 571 21487 8 | 2003 |
| 5.6.5 | Keystone: The Life and Clowns of Mack Sennett | Simon Louvish | 0 571 22647 7 | 2005 |
| 5.6.6 | Cult Filmmakers: 50 Movie Mavericks You Need to Know | Ian Haydn Smith | 0 7112 4026 1 | 2019 |
| 5.6.7 | Hollywood Babylon: Hollywood's darkest… secrets | Kenneth Anger | 09 949780 8 | 1975 |
| 5.6.8 | Anthony Hopkins: Too Good to Waste | Quentin Falk | 0 86287 868 3 | 1989 |
| 5.6.9 | The Complete Spielberg | Ian Freer | 0 7535 0556 4 | 2001 |
| 6.0.1 | The Advertising Concept Book | Pete Barry | 0 500 51623 2 | 2012 |
| 6.0.2 | Stunning Advertising | Eva Minguet Camara | 981 245 728 8 | 2008 |
| 6.0.3 | Problem Solved: A primer in design and communication | Michael Johnson | 0 7148 4174 9 | 2002 |
| 6.0.4 | 100 Great Advertisements | Barry Day | 0 7230 02290 | 1978 |
| 6.0.5 | The Movie Ad Book | Malcolm Vance | 0 89893 503 2 | 1981 |
| 7.0.1 | De-Westernizing Media Studies | James Curran and Myung-Jin Park | 0 415 19394 X | 2000 |
| 7.0.2 | The "I" of the Camera: Essays in Film Criticism, History… 2nd Ed. | William Rothman | 0 521 52724 4 | 2004 |
| 7.0.3 | Home is Where the Heart Is: … Meldodrama and Woman's Film | Christine Gledhill | 0 85170 199 X | 1987 |
| 7.0.4 | Death 24x a Second: Stillness and the Moving Image | Laura Mulvey | 1 86189 263 8 | 2007 |
| 7.0.5 | … Audience Statistics of Doctor Who ('63 - '89) | Robin Dudley | 0 9567448 0 7 | 2020 |
| 7.0.6 | Art and Its Messages | Stephen Davies | 0 271 01683 3 | 1997 |
| 7.0.7 | The Culture of Curating and the Curating of Culture(s) | Paul O'Neill | 0 262 01772 5 | 2012 |
| 7.0.8 | Hollywood Comedians: The Film Reader | Frank Krutnik | 0 415 23552 5 | 2003 |
| 7.0.9 | Visual Theory | Norman Bryson, Michael Holly et. al. | 0 7456 0660 6 | 1996 |
| 7.0.10 | Difficult Men | Brett Martin | 1 594204195 | 2013 |
| 8.0.1 | Factfulness: Ten Reasons We're Wrong About the World | Hans Rosling | 1 473 63749 8 | 2019 |
| 8.0.2 | How to Make the World Add Up | Tim Harford | 0 349 14386 6 | 2020 |
| 8.0.3 | Competative Debate: The Official Guide | Richard E. Edwards | 1 59257 693 7 | 2008 |
| 8.0.4 | You Are Not So Smart | David McRaney | 1 851 689392 | 2014 |
| 8.0.5 | 30-second Theories | Paul Parsons | 1 905695 90 4 | 2009 |
| 8.0.6 | Sherlock Holmes' Elementary Puzzles | Tim Dedopulos | 1 78097 578 8 | 2014 |
| 8.0.7 | Sherlock Holmes' Rudimentary Puzzles | Tim Dedopulos | 1 78097 963 2 | 2017 |
| 8.0.8 | Sherlock Holmes' Cunning Puzzles | Tim Dedopulos | 1 78097 962 5 | 2017 |
| 8.0.9 | Sherlock Holmes' Fiendish Puzzles | Tim Dedopulos | 1 78097 807 9 | 2016 |
| 8.0.10 | The art of looking sideways | Alan Fletcher | 0 7148 3449 1 | 2001 |
| 8.0.11 | Don't Believe Everything You Think | Joseph Nguyen | 8 89331 015 3 | 2022 |
| 8.1.1 | Creativity: A short and cheerful guide | John Cleese | 1 786 33225 7 | 2020 |
| 8.1.2 | The Creative Act: A Way of Being | Rick Rubin | 1 83885 863 6 | 2023 |
| 8.1.3 | Creativity, Inc. Overcoming the Unseen Forces… True Inspiration | Ed Catmull | 0 59307 010 9 | 2014 |
| 8.2.1.1 | Why We Need Religion | Stephen Asma | 0 19 046967 2 | 2018 |
| 8.2.1.2 | Cranky, Beautiful, Faith | Nadia Bolz-Weber | 1 84825 531 9 | 2013 |
| 8.2.1.3 | The Godless Gospel | Julian Baggini | 1 78378 231 4 | 2020 |
| 8.2.1.4 | Presence: The strange science and true sories of the unseen other | Ben Alderson-Day | 1 5261 7350 8 | 2023 |
| 8.2.2.1 | Utopias of the British Enlightenment | Gregory Claeys | 0 521 430844 | 1994 |
| 8.2.2.2 | You Say You Want a Revolution? | Daniel Chirot | 0 691 19367 0 | 2020 |
| 8.2.2.3 | On Tyranny: Twenty Lessons from the Twentieth Century | Timothy Snyder | 1 847 92488 9 | 2017 |
| 8.2.2.4 | The Age of AI | Henry Kissinger, Eric Schmidt et. al. | 1 529 37599 2 | 2022 |
| 8.2.3.1 | Centuries of Childhood [a flawed book] | Philippe Ariès | N/A | 1962 |
| 8.2.3.2 | What Every Kid Wished Their Parents Knew | Rob and Lloyds Parsons | 0 9955596 8 4 | 2021 |
| 8.2.3.3 | Living with a Hyperactive Child | Celine Causse | 2 916784 20 5 | 2010 |
| 8.2.4.1 | Far Out: Encounters with Extremists | Charlotte McDonald-Gibson | 1 78378 646 6 | 2022 |
| 8.2.4.2 | Very Bad People: The Inside Story of the Fight Against… | Patrick Alley | 1 91318 350 9 | 2022 |
| 8.2.4.3 | Criminology: A Complete Introduction | Dr Peter Joyce | 1 529 36256 5 | 2012 |
| 8.2.5.1 | On Being Different: What It Means to Be a Homosexual | Merle Miller | 0 14 310696 8 | 2012 |
| 8.2.6.1 | Body Language: The Signals You Don't Know You're Sending… | Glenn Wilson | 1 84831 958 5 | 2016 |
| 8.2.6.2 | Cracked: Why Psychiatry is Doing More Harm than Good | James Davies | 1 84831654 6 | 2014 |
| 8.2.6.3 | Becoming your true self… from trauma to healthy autonomy | Karen McMillan | 0 9559683 5 8 | 2017 |
| 8.2.6.4 | How to Break Free of The Drama Triangle... Victim Consciousness | Janae and Barry Weinhold | 8 218 98715 2 | 2024 |
| 8.2.6.5 | Selling out the Spectrum: How Science Lost the Trust of Autistic… | Liam O'Dell | 1 83997 626 1 | 2025 |
| 8.2.6.6 | Why We Remember: The Science of Memory… | Dr Charan Ranganath | 0 571 37414 4 | 2024 |
| 8.2.6.7 | Emotional Intelligence and Working with [It]... Omnibus | Daniel Goleman | 0 7475 7456 1 | 2004 |
| 8.2.6.8 | Emotional Intellgience 2.0 | Travis Bradberry and Jean Greaves | 0 97432 062 5 | 2009 |
| 8.2.6.9 | Quiet: The Power of Introverts in a World… | Susan Cain | 0 241 97937 2 | 2013 |
| 8.2.6.10 | The Art of Reading Minds | Henrik Fexeus | 1 529 39107 7 | 2020 |
| 8.2.6.11 | Metaphors We Live By | George Lakoff and Mark Johnson | 0 226 46801 1 | 2003 |
| 8.2.6.12 | Sound Mind: My Bipolar Journey from Chaos… | Erika Nielsen | 1 912478 65 1 | 2018 |
| 8.2.6.13 | Women Who Think Too Much | Susan Nolen-Hoeksema | 0 7499 2481 2 | 2003 |
| 8.2.6.14 | Blink: The Power of Thinking without Thinking | Malcolm Gladwell | 0 14 101459 3 | 2005 |
| 8.2.6.15 | Being You: A New Science of Consciousness | Anil Seth | 0 571 33772 9 | 2021 |
| 8.2.6.16 | The Self Delusion | Tom Oliver | 1 4746 1174 9 | 2020 |
| 8.2.6.17 | The Science of Fate: Who We Are - and How to Shape… | Hannah Critchlow | 1 473 65931 5 | 2020 |
| 8.2.6.18 | The Tipping Point: How Little Things Can Make A Big Difference | Malcolm Gladwell | 0 349 11346 3 | 2015 |
| 8.2.6.19 | Kant: A Graphics Guide | Christopher Kul-Want et. al. | 1 84831209 8 | 2013 |
| 8.2.6.20 | The Chimp Paradox: The Mind Management Programme | Prof. Steve Peters | 0 09 193558 0 | 2012 |
| 8.2.7.1 | Why I'm No Longer Talking To White People… | Reni Eddo-Lodge | 1 4088 7058 7 | 2018 |
| 8.2.7.2 | It's Not About The Burqa | Mariam Khan | 1 509886425 | 2019 |
| 8.2.7.3 | What White People Can Do Next | Emma Dabiri | 0 141 99673 8 | 2021 |
| 8.2.7.4 | Culture at the Crossroads | Marc Pachter and Charles Landry | 1 837667 13 2 | 2001 |
| 8.2.7.5 | Understanding The World's Cultures | Craig Storti | 1 473 67033 4 | 2017 |
| 8.2.7.6 | How the World Thinks | Julian Baggini | 1 78378 230 7 | 2018 |
| 8.2.7.7 | Whatever Happened to Tradition? | Tim Stanley | 1 4729 7412 9 | 2021 |
| 8.2.8.1 | Chavs: The Demonization of the Working Class | Owen Jones | 1 83976 092 1 | 2020 |
| 8.2.9.1 | Invisible Women: Exposing Data Bias In A World… | Caroline Criado Perez | 1 784 70628 9 | 2020 |
| 8.2.9.2 | The Future of Men | Grace Campbell | 1 80018 011 6 | 2020 |
| 8.2.10 | Future Man: Brave New World or Genetic Nightmare? | Brian Stableford | 0 246 12316 8 | 1984 |
| 8.2.11 | Are We Good Enough? | Kropotkin | N/A | 1888 |
| 8.2.12 | The Economy of Prestige: Prizes, Awards and… | James F. English | 0 674 03043 5 | 2005 |
| 8.2.13 | How to Be Human (New Scientist) | Graham Lawton and Jeremy Webb | 1 473 62928 8 | 2017 |
| 8.2.14 | How to be Autistic | Charlotte Amelia Poe | 1 912408 32 0 | 2019 |
| 8.2.15 | How to Speak Any Language Fluently | Alex Rawlings | 1 4721 3856 9 | 2017 |
| 8.2.16 | Why I Sued Taylor Swift … [Crazy] | Russell Greer | 0 69 297 0102 | 2017 |
| 8.2.17 | Essex Eccentrics | Alison Barnes | 085 115 059 4 | 1975 |
| 8.3.1 | Using Political Ideas: Fourth Edition | Barbara Goodwin | 0 471 97343 2 | 1997 |
| 8.3.2 | Politics On The Edge | Rory Stewart | 1 529 92286 8 | 2024 |
| 8.3.3 | Blair | Anthony Seldon | 0 7432 3211 9 | 2004 |
| 8.3.4 | Cameron at 10 | Anthony Seldon and Peter Snowdon | 0 00 757553 4 | 2016 |
| 8.3.5 | May at 10 | Anthony Seldon | 1 78590 517 9 | 2019 |
| 8.3.6 | John Bercow Unspeakable: The Autobiography [signed] | John Bercow | 1 4746 1662 1 | 2020 |
| 8.3.7 | Johnson at 10: The Inside Story | Anthony Seldon and Raymond Newell | 1 83895 802 2 | 2023 |
| 8.3.8 | Truss at 10: How Not to Be Prime Minister | Anthony Seldon and Jonathan Meakin | 9 781805 462132 | 2024 |
| 8.3.9 | Chief of Staff | Gavin Barwell | 1 838 954123 | 2021 |
| 8.3.10 | Why I Write | George Orwell | 0 141 98452 0 | 2004 |
| 8.4.1 | The Death of Nature: Women, Ecology, and… | Carolyn Merchant | 0 06 250595 8 | 2020 |
| 8.4.2 | Other Minds: The Octopus and the Evolution of Intelligent Life | Peter Godfrey-Smith | 0 00 822629 9 | 2016 |
| 8.5.1 | Histories of Nations: How Their Identities Were Forged | Peter Furtado | 0 500 29300 3 | 2017 |
| 8.5.2 | A Short History of the World in 50 Lies | Natasha Tidd | 1 789294620 | 2023 |
| 8.5.3 | Living Maps: An Atlas of Cities Personified | Adam Dant | 1 4521 4952 3 | 2018 |
| 8.5.4 | Unruly: A History of England's Kings and Queens | David Mitchell | 1 405 95319 1 | 2024 |
| 8.5.5 | Fads and Fallacies In the Name of Science | Martin Gardner | 0 486 20394 8 | 1957 |
| 8.6.1 | Do We Have To Work? A primer for the 21st century | Matthew Taylor | 0 500 29622 6 | 2021 |
| 8.6.2 | Managing Difficult People | David Cotton | 1 5293 6258 9 | 2014 |
| 8.6.3 | How to Win Friends and Influence People | Dale Carnegie | 0 671 35500 7 | 1964 |
| 8.6.4 | The Quick and Easy Way to Effective Speaking | Dale Carnegie, r. by Dorothy Carnegie | 0 4370207 46 | 1981 |
| 8.6.5 | How to Stop Worrying and Start Living | Dale Carnegie | 0 671 34900 7 | 1975 |
| 9.0.1 | Great Stories from Shakespeare | Charles and Mary Lamb | N/A | 1935 |
| 9.0.2 | Salvage the Bones | Jesmyn Ward | 1 4088 2700 0 | 2011 |
| 9.0.3 | Jonathan Livingston Seagull | Richard Bach | 0 00 649034 0 | 2014 |
| 9.0.4 | Domestic Bliss and Other Disasters | Jane Ions | 1 910422 72 4 | 2021 |
| 9.0.5 | Savant | Nik Abnett | 1 78108 456 4 | 2016 |
| 9.0.6 | Harriet the Spy | Louise Fitzhugh | 0 440 41679 5 | 2001 |
| 9.0.7 | Girl, Woman, Other | Bernardine Evaristo | 0 241 98499 4 | 2019 |
| 9.0.8 | Twitch | M. G. Leonard | 1 4063 8937 1 | 2021 |
| 9.0.9 | Arrival | Ted Chiang | 1 5098 3590 4 | 2016 |
| 9.0.10 | Wild Horses | Dick Francis | 0 330 34142 1 | 1994 |
| 9.0.11 | Nineteen Eighty-Four | George Orwell | 0 141 39304 9 | 2003 |
| 9.0.12 | Great Spy Stories | Le Carre, Ambler, Clifford, Flemming | 0 904230 70 8 | 1978 |
| 9.0.13 | Logan's Run (Reprint) | William F. Nolan, George Johnson | 1 101 91137 2 | 2015 |
1.0. Directing and Producing
2.0. Pre Production
2.1. Writing
3.0. Production
3.1. Photography and Print
3.2. Cinematography
3.3. Performance
3.4. Miscellaneous Design
4.0. Post Production
4.1. Editing
4.2. Editors
4.3. Colour (Theory)
4.4. Graphic design
4.5. VFX
4.6. Music
4.7. Software
5.0 History of the Industries
5.1. Studios
5.2. Films
5.3. Making Television
5.4. TV shows / TV series
5.5. Autobiographies
5.6. Biographies
6.0. Advertising
7.0. Academic theory
8.0. Critical thinking
8.1. Creativity
8.2. Society, People & Culture
8.3. Politics
8.4. Environment and Ecology
8.5. Work and Business
9.0. Fiction
About
James Dingle, BFE
A repeatedly relied upon creative editor and post-production skillset safety-net: the more complex the human drama, the more imaginative the settings, the better
For James, films are made in the edit: the screen is an editor's medium.
As an editor, he has freelanced at many of the world’s top creative agencies, and taught at the country's foremost screen academies: he curated the Cut Above Awards for the Guild of British Film Editors in 2018, was Head editor for the Edinburgh Television Festival 2014 – 2022, cut the first ever Virtual Production factual entertainment multicam at the NFTS in 2023, and was a Visiting sessional in Performance for the Edit at LAMDA 2019 – 2024
James has offline/online edited dramas starring Sir Anthony Hopkins, Juliet Stevenson, and Jonathan Rhys Meyers; ads with Jennifer Saunders, Micah Richards, and Stephen Mulhern; interviews with Emilia Clarke, Jodie Comer and Whoopi Goldberg; and promos featuring Benedict Cumberbatch, Rory Kinnear, and Dame Harriet Walter
He has discovered and developed the ingredients for a successful shoot from the editor's chair: with his team of regular freelancers, James works hard to understand purpose, then when greenlit, directs for interest, lights for the grade, and encourages collaboration within a strict process (but he's pretty chill on set!). James owns and operates a multitude of cameras and grip equipment, including sliders and a Glidecam
Career highlights include being quoted by Mark Kermode, Jason Isaacs performing hours of magic tricks on set, and collaborating with two short form directors that have each gone on to write-direct multi-million-pound features
He lives with wife Tor in Munchkinland, near the site of the Quidditch World Cup*. Of a weekend, they can be found in the garden, cultivating the Christmas Hampers
Connect with him and read his full CV on LinkedIn
*Wicked and Harry Potter filmed at Ivinghoe Beacon
In regular correspondence with many former pupils:
2019 – 2024, LAMDA, Visiting Sessional in Performance for the Edit
LAMDA is the only conservatoire in the world that studies screen performance from the perspective of the edit
Aug – Nov 2023, NFTS, Visiting Tutor / Offline editor
Cutting the first ever Virtual production multicam, for MA Directing and Producing Television students
2017-19, Forces Media Academy, Associate Lecturer in Post Production
An intensive LIBOR funded one-year media course for service leavers. 85% of graduates went straight into full-time or freelance employment across Warner Bros., Pinewood Studios, The Royal British Legion, The Farm, BFBS, and The Edinburgh Television Festival
YouTube Tutorials, and increasingly now AI, cover the buttons to press – but this is often incidental to a career. I divided modules into:
– Creative skillsets (working introspectively verses mindfulness of the zeitgeist; the social politics of cultural competency)
– Technical skillsets (familiarity with professional workflow; trading as a ‘common generalist’ verses a ‘resourceful specialist’)
– Managerial skillsets (active listening; finding value-aligned responses under pressure – whilst also pushing the envelope!)
I strived to make the student experience magical and empowering; from arranging twenty-four-hour challenges pitching and delivering concepts to clients large and small, to arranging a masterclass with Jan Harlan at Elstree Studios – where he produced The Shining
2015-18, Bucks New University, Visiting Lecturer in Editing to BA Film Production, and from 2017-18, additionally in Compositing to BA VFX
A County at War – Life on the Home Front in Hertfordshire is a documentary commissioned by the Lord-Lieutenancy at the Queen’s request for every county to mark the centenary of World War 1, written and directed by Howard Guard DL. The film comprised of stories from local Hertfordshires, told through animated photographs. Rock Paper Scissors NY colourgraded, Warner Brothers De Lane Lea sound mixed, Elstree Studios provided motion graphics.
After its premiere at The Rex cinema, Berkhamstead, 1800 copies were distributed to schools and museums. Howard was made an Honourary Doctorate by the University of Hertfordshire, and awarded an MBE.
Four years later, to commemorate the armistice, the Lord-Lieutenant commissioned a continuation to the story, following the Hertfordshire Regiment across the Channel to St. Julien, Ypres. James’ students from the Forces Media Academy – service leavers and veterans training for a career in the media – crewed the additional interviews. The film was mixed by Adam and Graham Daniel at Point1Post, Elstree. Thousands of DVDs were distributed to schools, clubs, and museums throughout Hertfordshire – raising tens of thousands for charity.
In recognition of this, James attended the Queen’s Garden Party at Buckingham Palace, in May 2019.
‘James was great to work with’
Anshu Ahuja, Series Producer First Dates
‘James, you are a star!!! IT IS BRILLIANT!’
Ella Street, Unilever
‘That was quick!… You are brilliant!’
Donna Coulling, PA to Helena Bonham Carter
‘I admired your calm efficiency and good humour throughout those long sessions in the bunker’
The Countess of Verulam, Lord Lieutenant of Hertfordshire
‘It is evident Mr Dingle is very passionate about his job and his forward-thinking approach is commendable’
10 Downing Street
‘James has worked with our acting students several times, coaching them alongside him in the edit suite. He has fully grasped the pedagogical basis of the project and each time turned in a brilliant cut which makes the most of the students’ rushes, demonstrating the “magic of editing”, and pulling together the ideas of the group as well as his own in a collaborative way. His invaluable feedback at the screenings has always been succinct and insightful and the students have had nothing but good things to say about working with James for a short time. They learn a lot, enjoy themselves immensely and have often been inspired to continue making films in the future.’
Jack Thrush, Screen and Audio Technician, LAMDA
‘Well-plotted… and consistently intriguing’
Empire Magazine on London Unplugged
★ ★ ★ ★ ‘especially distinctive’
The Times on London Unplugged
★ ★ ★ ★
Amazon Prime on How You Look At Me
★ ★ ★ ★ ‘Beautifully Chaotic’
IndyRED on Melody
★ ★ ★ ★ ‘visually intoxicating’
UK Film Review on Melody
Find Us
The Forest is based in the Tythe Barn, Edlesborough, Buckinghamshire: in the Northern spur of the Chiltern Hills, close to the boundaries of Hertfordshire and Bedfordshire, and under an hour from London
The Barn was built in 1496 for local farmers to give a tenth of their crops to the church. It is one of the largest and oldest examples in England, and is now grade two listed
🌳 Wheelchair accessible throughout
🌲 Dog friendly
🌳 Plenty of parking
🌲 Small kitchen
The Heirloom café is a six minute walk away along the village green, offering delicious milkshakes, baked goods, and homemade cakes
Policies and Procedures
The Forest is Insured for:
- Equipment and Property
- Public Liability
- Professional Indemnity
- Employers’ Liability
- Cyber and Data Recovery
- Personal Accident
- and Class 2B Business car insurance (for a 2020 SUV, 50mpg)
As a Certified Green Small Business (GSB), The Forest adheres to sustainable practices that also saves you money:
Environmental Policy
Created: March 2023
Last Reviewed: August 2023
Next Review: March 2024
Mission Statement
The Forest TV Productions Ltd (also trading as “The Forest”) (“we”, “our”) recognises that the environment is important to our business and our clients. We recognise our responsibility to manage our environmental impacts carefully. We are committed to reducing our negative environmental impacts, promoting environmental responsibility and continually improving our environmental performance as an integral part of our business strategy and operating methods, with regular review points. We will encourage clients to do the same.
Policy Aims
We endeavour to:
- Incorporate environmental considerations into our business decisions
- Continually improve and monitor our own environmental performance
- Promote environmental awareness among our clients
Policy Priorities
1. Carbon Footprint
- We will continue to monitor our carbon footprint annually, seek reductions to our emissions and set a target for net zero
- We purchase second-hand, refurbished kit wherever possible
- We are powered by 100% renewable energy (Octopus) and rechargeable batteries for all of our kit
- We have reduced uncompostable consumables to zero (this extends to banning set builds!)
- We are lit by Cradle to Cradle® certified LED lighting
- Unnecessary printing was reduced to zero in 2021
- All individually packaged drinks are banned, and plant-based alternatives to milk are offered at every eventuality
2. Our Clients
- We will build consideration of environmental sustainability into all of our work with clients. We endeavour to work with suppliers who share similar values and principles. In 2023, we completed post production on our first Albert Certified television programme.
3. Transportation
- We will continue to minimise our need to travel, including through promoting the use of travel alternatives such as video/phone conferencing. Online screenings of rushes and exports are always accessible
- We will continue to maximise the use of public transport for necessary business travel
- We attend regional shoots only (within 100 miles) – and crew car share wherever and whenever overall mileage can be reduced
- All unavoidable business flights are carbon offset. There have been no flights since 2021
4. Company Administration
- We will incorporate environmental considerations into all aspects of administration including banking, insurance and purchasing
- We are engaging with our landlord to ensure waste management and water consumption are as efficient as they can be
- We are looking to offset unavoidable emissions by investing into the preservation of a forest
Environmental Management System
We have developed an Environmental Action Plan to ensure we meet the requirements of this policy. The Environmental Action Plan, together with this policy, comprises our Environmental Management System (EMS). Our EMS is independently certified by Green Small Business. Our certification is maintained through an annual audit carried out independently by Green Small Business, who also provide expert advice on how further we can reduce our carbon footprint via energy consumption and operational changes
We will update this policy at least annually
GDPR Privacy Notice – April 2025
The Forest TV Productions Ltd (also trading as “The Forest”) (“we”, “our”) are committed to both protecting and respecting your privacy. This policy sets out the types of data we collect and/or process about you, and the lawful basis that permits this.
Your rights and our obligations to you, regarding the processing of your personal data, can be found at: www.knowyourprivacyrights.org
We do not collect personal information or statistical data from website visitors. Our website may contain links to affiliates – please note these websites have their own privacy policies, for which we take no responsibility.
The personal data we do collect from contractors and clients are:
- Personal details – such as name, billing address, and delivery address
- Records of correspondence
- Contact details such as telephone number
- Bank account details
(We do not collect special category data)
This personal data will be used for the following purposes:
- To administer the booking process
- To contact you regarding any matter arising from your booking, be that over email, telephone, Meets, Slack, WhatsApp, or Zoom
- To provide deliverables
- To process the payment fee
- To keep a record of the booking
Only employees responsible for administrating payment have access to some or all of your data – if and when it is specifically relevant to their function.
We will not disclose your personal information to any third parties, except Venthams (Red Lion Square, London) our accountants when we submit to them our accounts, who have implemented appropriate technical and organisational measures to ensure the security of your data.
Processing by Adobe Inc., DropBox Inc., Google LLC., MASV Inc., Microsoft Inc., WeTransfer Inc. and Zoom Video Communications Inc. will involve the transfer of data to destinations outside the European Economic Area (“EEA”). This is done under standard contractual clauses.
Your data will be retained for up to six years within our IT systems. We will use strict procedures and security features – such as storing your data in an encrypted format on digitally and physically secure servers – to try to prevent unauthorised access. But we cannot guarantee the security of your data; any transmission is at your own risk.
CCTV is only operational when no one is expected to be on site, to detect criminal movement. Only the company director can view the footage, which is stored on an encrypted server until its automatic deletion within seventy two hours – unless an incident requires legal resolution.
In the context of supplied media, the client represents and warrants that they have obtained all necessary consents and complied with all legal and contractual obligations in respect to filming or recording contributors, or licensing audio or visual media. Any release forms will be in the name of the client, or commissioner. We agree to only use this media in accordance with the instructions of the client, and will endeavour to keep such data safe and secure – such as storing this data on offline, physically secure servers. Some footage is featured with permission in our banner showreel at www.theforest.tv (embedded from and hosted with Vimeo), but all rights remain with the original producers. Exports and relevant media are additionally stored for up to six years on the password protected service ‘Frame.IO’. Adobe Inc. own and operate this web based video post production collaboration and sharing service, using third party vendors and hosting partners to provide the necessary hardware, software, networking, storage, and other technology required to run the service. Again, though we implement reasonable precautions and security measures, we cannot guarantee the security of your data; any transmission is at your own risk.
The lawful basis for processing your data is therefore either contractual, or in order to comply with a legal requirement, in the pursuit of our legitimate interests.
In accordance with GDPR principles:
- Processing is fair, lawful and transparent
- Data is collected for specific, explicit, and legitimate purposes
- Data collected is adequate, relevant, and limited to what is necessary
- Data is kept accurate and up to date. Data which is found to be inaccurate will be rectified or erased without delay
- Data is not kept for longer than is necessary for its given purpose
- Data is processed in a manner that ensures appropriate security of personal data including protection against unauthorised or unlawful processing, accidental loss, destruction or damage by using appropriate technical or organisation measures
At any point while we are in possession of or processing your personal data, you – the data subject – have the following rights:
- Right to Withdraw Consent
- Right of Access (to request a copy of the information we hold about you. This may be subject to a fee of £35.00 to meet our costs in providing this)
- Right of Rectification (to correct inaccurate or incomplete data)
- Right to be Forgotten (in certain circumstances, you can ask for the data we hold about you to be erased from our records)
- Right to Restriction of Processing (where certain conditions apply to have a right to restrict the processing)
- Right to Data Portability
We advise that you check this page regularly to keep up to date with any necessary changes.
Questions, concerns, or requests about this policy should be emailed to the Data Protection Compliance Officer: ask@theforest.tv. You also have the right to lodge a complaint directly with the supervisory authority, the ICO: https://ico.org.uk/concerns/
The Forest is a Member of the Producers Alliance for Television and Cinema (PACT), the Guild of British Film Editors (BFE), and James visiting lectures across several screen institutions. These provide access to leading expertise, in the form of seminars, articles, and discussions of work practices – particularly in the ever-changing areas of delivery specifications, technology, and legal compliance
Through membership of the OKRE network, The Forest strives to implement reasonable adjustments that level the playing field for all team members: everyone should be empowered to be treated equally
Every three years, James updates his IOSH accredited Creative Industries Safety Passport (through BECTU):
- Health and Safety Risk assessments and controls are carried out in accordance with the latest HSE guidelines for audio-visual production
- Every piece of equipment has an engineer maintenance log, detailing its usage and safety checks (e.g. annual PAT tests)
Every year, James renews his DBS, EFAW First Aid training, and registration to pilot a drone in ‘Open A1 and A3’ operations (basic, low-risk flying)
James is grateful for regular, constructive scrutiny on many levels of the business, including work ethics, team chemistry, luck, and how we recovered from the last disaster. He regularly consults with:
- The Design Lead at a National High Street retailer (900 stores)
- An Advertising veteran, former partner of Tony and Ridley Scott
- Clients
The Forest has implemented freely published recommendations made by the Trusted Partner Network and ISO 27001 Best Practices – but we are waiting to settle into new premises before being audited
- The site is protected by CCTV
- The company does not have social media accounts
- The fail-safe rushes backup server (32TB RAID 10 NAS) is air gapped
- The Mac Studio is connected to a UPS (Uninterruptible Power Supply)
- All kit is secured with a lock and a key. There is one key holder
- Project files are continuously backed up to a secure cloud server, meaning – in the event of a catastrophic IT failure – we can be up and running on our backup Mac within an hour
Sorry, we are not looking to expand our talent pool at this time
Our ethos is: Look after others, before you look after Yourself
The Forest calls upon a regular, tight-knit network of grounded, rounded collaborators; including cinematographers, movement artists, post assistants, exec producers, symphony composers, costume designers, charming illustrators, soho post houses, investor collectives (with feature film a core part of their strategy), and retail design studios
Freelancers are:
- Trained on and expected to use our kit
- Paid within 24 hours of submitting their invoice
Their 10% discount for us is passed on to our clients
Working in the screen industries can be taxing on family life. At The Forest, however, child care, good schools, a Doctors surgery, even the barbers, are all on the 15 minute walk to work. Being surrounded by the Chiltern Hills, the air quality is excellent
Policies and Procedures
The Forest is Insured for:
- Equipment and Property
- Public Liability
- Professional Indemnity
- Employers’ Liability
- Cyber and Data Recovery
- Personal Accident
- and Class 2B Business car insurance (for a 2020 SUV, 50mpg)
As a Certified Green Small Business (GSB), The Forest adheres to sustainable practices that also saves you money:
Environmental Policy
Created: March 2023
Last Reviewed: August 2023
Next Review: March 2024
Mission Statement
The Forest TV Productions Ltd (also trading as “The Forest”) (“we”, “our”) recognises that the environment is important to our business and our clients. We recognise our responsibility to manage our environmental impacts carefully. We are committed to reducing our negative environmental impacts, promoting environmental responsibility and continually improving our environmental performance as an integral part of our business strategy and operating methods, with regular review points. We will encourage clients to do the same.
Policy Aims
We endeavour to:
- Incorporate environmental considerations into our business decisions
- Continually improve and monitor our own environmental performance
- Promote environmental awareness among our clients
Policy Priorities
1. Carbon Footprint
- We will continue to monitor our carbon footprint annually, seek reductions to our emissions and set a target for net zero
- We purchase second-hand, refurbished kit wherever possible
- We are powered by 100% renewable energy (Octopus) and rechargeable batteries for all of our kit
- We have reduced uncompostable consumables to zero (this extends to banning set builds!)
- We are lit by Cradle to Cradle® certified LED lighting
- Unnecessary printing was reduced to zero in 2021
- All individually packaged drinks are banned, and plant-based alternatives to milk are offered at every eventuality
2. Our Clients
- We will build consideration of environmental sustainability into all of our work with clients. We endeavour to work with suppliers who share similar values and principles. In 2023, we completed post production on our first Albert Certified television programme.
3. Transportation
- We will continue to minimise our need to travel, including through promoting the use of travel alternatives such as video/phone conferencing. Online screenings of rushes and exports are always accessible
- We will continue to maximise the use of public transport for necessary business travel
- We attend regional shoots only (within 100 miles) – and crew car share wherever and whenever overall mileage can be reduced
- All unavoidable business flights are carbon offset. There have been no flights since 2021
4. Company Administration
- We will incorporate environmental considerations into all aspects of administration including banking, insurance and purchasing
- We are engaging with our landlord to ensure waste management and water consumption are as efficient as they can be
- We are looking to offset unavoidable emissions by investing into the preservation of a forest
Environmental Management System
We have developed an Environmental Action Plan to ensure we meet the requirements of this policy. The Environmental Action Plan, together with this policy, comprises our Environmental Management System (EMS). Our EMS is independently certified by Green Small Business. Our certification is maintained through an annual audit carried out independently by Green Small Business, who also provide expert advice on how further we can reduce our carbon footprint via energy consumption and operational changes
We will update this policy at least annually
GDPR Privacy Notice – April 2025
The Forest TV Productions Ltd (also trading as “The Forest”) (“we”, “our”) are committed to both protecting and respecting your privacy. This policy sets out the types of data we collect and/or process about you, and the lawful basis that permits this.
Your rights and our obligations to you, regarding the processing of your personal data, can be found at: www.knowyourprivacyrights.org
We do not collect personal information or statistical data from website visitors. Our website may contain links to affiliates – please note these websites have their own privacy policies, for which we take no responsibility.
The personal data we do collect from contractors and clients are:
- Personal details – such as name, billing address, and delivery address
- Records of correspondence
- Contact details such as telephone number
- Bank account details
(We do not collect special category data)
This personal data will be used for the following purposes:
- To administer the booking process
- To contact you regarding any matter arising from your booking, be that over email, telephone, Meets, Slack, WhatsApp, or Zoom
- To provide deliverables
- To process the payment fee
- To keep a record of the booking
Only employees responsible for administrating payment have access to some or all of your data – if and when it is specifically relevant to their function.
We will not disclose your personal information to any third parties, except Venthams (Red Lion Square, London) our accountants when we submit to them our accounts, who have implemented appropriate technical and organisational measures to ensure the security of your data.
Processing by Adobe Inc., DropBox Inc., Google LLC., MASV Inc., Microsoft Inc., WeTransfer Inc. and Zoom Video Communications Inc. will involve the transfer of data to destinations outside the European Economic Area (“EEA”). This is done under standard contractual clauses.
Your data will be retained for up to six years within our IT systems. We will use strict procedures and security features – such as storing your data in an encrypted format on digitally and physically secure servers – to try to prevent unauthorised access. But we cannot guarantee the security of your data; any transmission is at your own risk.
CCTV is only operational when no one is expected to be on site, to detect criminal movement. Only the company director can view the footage, which is stored on an encrypted server until its automatic deletion within seventy two hours – unless an incident requires legal resolution.
In the context of supplied media, the client represents and warrants that they have obtained all necessary consents and complied with all legal and contractual obligations in respect to filming or recording contributors, or licensing audio or visual media. Any release forms will be in the name of the client, or commissioner. We agree to only use this media in accordance with the instructions of the client, and will endeavour to keep such data safe and secure – such as storing this data on offline, physically secure servers. Some footage is featured with permission in our banner showreel at www.theforest.tv (embedded from and hosted with Vimeo), but all rights remain with the original producers. Exports and relevant media are additionally stored for up to six years on the password protected service ‘Frame.IO’. Adobe Inc. own and operate this web based video post production collaboration and sharing service, using third party vendors and hosting partners to provide the necessary hardware, software, networking, storage, and other technology required to run the service. Again, though we implement reasonable precautions and security measures, we cannot guarantee the security of your data; any transmission is at your own risk.
The lawful basis for processing your data is therefore either contractual, or in order to comply with a legal requirement, in the pursuit of our legitimate interests.
In accordance with GDPR principles:
- Processing is fair, lawful and transparent
- Data is collected for specific, explicit, and legitimate purposes
- Data collected is adequate, relevant, and limited to what is necessary
- Data is kept accurate and up to date. Data which is found to be inaccurate will be rectified or erased without delay
- Data is not kept for longer than is necessary for its given purpose
- Data is processed in a manner that ensures appropriate security of personal data including protection against unauthorised or unlawful processing, accidental loss, destruction or damage by using appropriate technical or organisation measures
At any point while we are in possession of or processing your personal data, you – the data subject – have the following rights:
- Right to Withdraw Consent
- Right of Access (to request a copy of the information we hold about you. This may be subject to a fee of £35.00 to meet our costs in providing this)
- Right of Rectification (to correct inaccurate or incomplete data)
- Right to be Forgotten (in certain circumstances, you can ask for the data we hold about you to be erased from our records)
- Right to Restriction of Processing (where certain conditions apply to have a right to restrict the processing)
- Right to Data Portability
We advise that you check this page regularly to keep up to date with any necessary changes.
Questions, concerns, or requests about this policy should be emailed to the Data Protection Compliance Officer: ask@theforest.tv. You also have the right to lodge a complaint directly with the supervisory authority, the ICO: https://ico.org.uk/concerns/
The Forest is a Member of the Producers Alliance for Television and Cinema (PACT), the Guild of British Film Editors (BFE), and James visiting lectures across several screen institutions. These provide access to leading expertise, in the form of seminars, articles, and discussions of work practices – particularly in the ever-changing areas of delivery specifications, technology, and legal compliance
Through membership of the OKRE network, The Forest strives to implement reasonable adjustments that level the playing field for all team members: everyone should be empowered to be treated equally
Every three years, James updates his IOSH accredited Creative Industries Safety Passport (through BECTU):
- Health and Safety Risk assessments and controls are carried out in accordance with the latest HSE guidelines for audio-visual production
- Every piece of equipment has an engineer maintenance log, detailing its usage and safety checks (e.g. annual PAT tests)
Every year, James renews his DBS, EFAW First Aid training, and registration to pilot a drone in ‘Open A1 and A3’ operations (basic, low-risk flying)
James is grateful for regular, constructive scrutiny on many levels of the business, including work ethics, team chemistry, luck, and how we recovered from the last disaster. He regularly consults with:
- The Design Lead at a National High Street retailer (900 stores)
- An Advertising veteran, former partner of Tony and Ridley Scott
- Clients
The Forest has implemented freely published recommendations made by the Trusted Partner Network and ISO 27001 Best Practices – but we are waiting to settle into new premises before being audited
- The site is protected by CCTV
- The company does not have social media accounts
- The fail-safe rushes backup server (32TB RAID 10 NAS) is air gapped
- The Mac Studio is connected to a UPS (Uninterruptible Power Supply)
- All kit is secured with a lock and a key. There is one key holder
- Project files are continuously backed up to a secure cloud server, meaning – in the event of a catastrophic IT failure – we can be up and running on our backup Mac within an hour
Sorry, we are not looking to expand our talent pool at this time
Our ethos is: Look after others, before you look after Yourself
The Forest calls upon a regular, tight-knit network of grounded, rounded collaborators; including cinematographers, movement artists, post assistants, exec producers, symphony composers, costume designers, charming illustrators, soho post houses, investor collectives (with feature film a core part of their strategy), and retail design studios
Freelancers are:
- Trained on and expected to use our kit
- Paid within 24 hours of submitting their invoice
Their 10% discount for us is passed on to our clients
Working in the screen industries can be taxing on family life. At The Forest, however, child care, good schools, a Doctors surgery, even the barbers, are all on the 15 minute walk to work. Being surrounded by the Chiltern Hills, the air quality is excellent