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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

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Post Production

World Map of Work

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

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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

 

#TitleAuthorISBNYear
1.0.1Film Directing: Shot by shot 25th Anniverary Ed.Steven D. Katz1 6159 3297 92019
1.0.2Directing a Play: the art of directing and actingJames Roose-Evans289 37062 01968
1.0.3Early Women Directors: Their Role in the Development of Silent CinemaAnthony Slide0 498 01701 X1977
1.0.4DirectingVirginia Wexman et. al.1 78831 037 62017
1.1.1Essential Guide to Business in the Performing ArtsVivien Freakley and Rachel Sutton0 340 65525 21996
1.1.2Staging a PantomineGill Davies0 7136 4120 71995
1.1.3The Film Industries: Practical Business / Legal Problems…Michael F Mayer8038 2300 21973
2.0.1Documentary for the Small Screen [Rare 1st Ed]Paul Kriwaczek0 240 51472 61997
2.1.1Great TV & Film Detectives: A Collection of…Maxim Jakubowski076210578X2005
2.1.2The Routledge Anthology of Early Modern DramaJeremy Lopez1 138 95380 22020
2.1.3Five PlaysAnton Chekhov0 19 283412 61998
2.1.4Film: The Creative ProcessJohn Howard Lawson0 80 90133711964
2.1.5Story: Substance, structure, style, and the principles…Robert McKee0 413 71560 91999
2.1.6All Puns Blazing: The Best British Knockout JokesGeoff Rowe et. al.1 52910 931 32021
2.1.7Reading Screenplays: how to analyse and evaluate film scriptsLucy Scher1 84243 510 62011
2.1.8Story Maps: TV Drama, The Structure of the One-Hour TV PilotDaniel P. Calvisi9 836 266882016
2.1.9English HumourJ. B. Priestley434 60367 81976
2.1.10Life Lessons from LiteratureJoseph Piercy1 78929 552 82023
3.0.1Live Cinema and its TechniquesFrancis Ford Coppola1 63149 366 92017
3.0.2The Guerilla Filmmakers Handbook 3rd Ed.Chris Jones and Genevieve Jolliffe0 8264 7988 X2006
3.1.1The Focal Encyclopeda of Photography 4th EditionMichael R. Peres0 240 80740 52007
3.1.2Colour: Revised EditionEdward Brash et. al.7054 0406 41981
3.1.3Photographing in the StudioGary Kolb0 697 13189 01993
3.1.4Sony World Photography Awards 2014Scott Gray et. al.0 9572010 3 32014
3.1.5The Extended Moment: Fifty Years of Collecting Photos…Ann Thomas and John McElhone88 7439 802 72018
3.1.6The Digital Printing Handbook: Photographer's Guide to Printing…Tim Daly1 902538 17 X2002
3.1.7Solopress Paper Collection (Catalogue samples)N/AN/AN/A
3.1.8LomoLife: The Future is Anaologue. The Cameras. The StoryNeil Gaiman0 500544 2122012
3.1.9Digital Photography Step by StepTom Ang1 4053 4819 52011
3.1.10The Film Photography Handbook 2nd Ed.Chris Marquardt, Monika Andrae1 68198 527 52019
3.1.11Extreme Photography… How They Were TakenTerry Hope2 8804 6760 82004
3.2.1Handbook of Amateur Cinematography Volume OneR. H. BombackN/A1950
3.2.2Master Shots: 100 Advanced Camera TechniquesChristopher Kenworthy1 932907 51 32009
3.2.3Painting with LightJohn Alton0520 08949 51995
3.3.1How to audition your way to successPaul Ryan et. al.1 5348954302016
3.3.2Performance: A Critical IntroductionMarvin Marlson0 415 13703 92001
3.3.3Playing to the Camera: Film Actors Discuss Their CraftBert Cardullo0 300 07051 91998
3.3.4Shooting The ActorSimon Callow0 312 42244 X2003
3.3.5Why is that so Funny?… Exploration of Physical ComedyJohn Wright1 85459 782 32007
3.3.6Voice and the ActorCicely Berry0 020 41555 81973
3.3.7The Alexander Technique for ActorsKelly McEvenue0 413 71010 62001
3.3.8Film Technique and Film ActingVsevolod Pudovkin0 394 17457 71978
3.3.9Acting in the CinemaJames Naremore0 520 07194 81988
3.4.1Film Art: An Introduction - Ninth EditionDavid Bordwell and Kristin Thompson07 338616 22010
3.4.2Film DesignTerence St John Marner0 498 01326 X1974
3.4.3.1WOW: Essential Design for a Changing World (Architecture)Darlene Smyth0 500 34302 92015
3.4.4.1Lo-Tek Design by Radical IndigenismJulia Watson3 8365 7818 92022
3.4.5.150 Ways to Wear AccessoriesLauren Friedman1 4521 6648 32018
3.4.5.2Monsters in the Movies: 100 Years of Cinematic NightmaresJohn Landis1 4053 6697 42011
3.4.6.1Masters of FX: Behind the Scenes… Visual and Special EffectsIan Failes, James Cameron et. al.1 7815 7267 42015
3.4.7.1On the Press: The Craftsmen of Oxford University PressMick Belson1 899536 69 82003
4.0.1Fix It In Post: Solutions for Postproduction problemsJack James0 240 81124 62015
4.1.1EditingJustin Chang1 907579 56 12011
4.1.2Editing Reality TVJeff Dawson1 9352470812013
4.1.3Make The Cut: A Guide to Becoming a Successful Assistant…Lori Coleman ACE, Diana Friedberg ACE0 240 81398 12010
4.1.4Don't Miss Out on Any Avocado MilkshakesTroy Takaki ACE1 365 41247 92016
4.1.5The Film Editing Room Handbook: How to manage chaos…Norman Hollyn1 58065 006 61999
4.2.1When The Shooting Stops… The Cutting BeginsRalph Rosenblum and Robert Karen0 306 80272 41979
4.2.2Cutting Edge: My Life in Film and TelevisionEric Mival1 911537 00 72016
4.2.3On Film EditingEdward Dmytryk0 240 51738 51984
4.2.4First Cut: Conversations with Film EditorsGabriella Oldham0 520 07586 21992
4.2.5American Cinema Editors Inc. First Decade Anniversary BookFredrick Y. SmithN/A1961
4.3.1Colours of Film: The Story of Cinema in 50 PalettesCharles Bramsesco0 7112 7031 22023
4.4.1Contemporary Graphic DesignCharlotte and Peter Fiell3 8228 5269 92007
4.4.2Graphic Design for EveryoneCath Caldwell0 2413 4381 42019
4.4.3The Complete Color Harmony Pantone EditionLeatrice Eiseman1 63159 296 62017
4.4.4100 Ideas that Changed Graphic DesignSteven Heller and Veronique Vienne1 78627 289 52019
4.4.5Dictionary of Graphic Design and Designers 3rd Ed.Alan and Isabella Livingston0 500 204 13 92012
4.5.1Digital Domain: The Leading Edge of Visual EffectsPiers Sizony0 8230 7928 72001
4.5.2The Filmmaker's Guide to Visual EffectsEran Dinur1 138 95622 32017
4.5.3The VES Handbook of Visual Effects Third EditionJeffrey Okun, Susan Zwerman1 138 54220 42021
4.5.4Moving Pixels: Blockbuster Animation, Digital Art, and 3D Model…Peter Weishar0 5005120862004
4.6.1Music and its InstrumentsRobert Donington0 416 72280 61982
4.6.2British Film MusicJohn HuntleyN/A1947
4.6.3Film MusicPeter Larson1 86189 341 32007
4.6.4The Critical Editing of Music: History, Method and PracticeJames Grier0 521 55863 81996
4.6.5Musical Instruments: Made To Be Played 5th editionRonald RobertsB0007AYSCY1972
4.6.6Woodwind Instruments: a practical guide for technicians…Daniel Bangham0 71984 029 62022
4.6.7How to make GuitarMoses Josh979 8755150 859N/A
4.6.8Pictorial Encycopedia of Musical InstrumentsMax Wade-Matthews1 84476 087 12004
4.6.9Instruments of the Middle Ages and RenaissanceDavid Munrow0 19 321320 61976
4.6.1030-second Classical MusicJoanne Cormac1 78240 425 52017
4.6.11Voices of Benslow Music TrustMargaret Ashby0 7524 2048 82000
4.6.12The Oxford Companion to Music 10th Ed.Percy A Scholes0 19 311 306 61984
4.7.1The Cult of MacLeander Kahney1 59327 122 02006
4.7.2Avid Learning Series: Media Composer Editing EssentialsBryan Castle, Jr1 936121 79 42014
4.7.3Avid Learning Series: Media Composer Effects EssentialsGreg Staten1 935121 81 62014
4.7.4Final Cut Pro 7Diana Weynand0 321 63527 32010
4.7.5Adobe Premiere Pro CC: Classroom in a BookMaxim Jago0 13 466531 32017
4.7.6After Effects CC: Classroom in a BookAndrew Faulkner and Brie Gyncild0 13 392703 02014
4.7.7Adobe After Effects CC: Visual Effects and CompositingMark Christiansen0 321 93469 72014
4.7.8Cinema 4D: Model, animate, and render - Beginner's GuideJen Rizzo1 84969 214 42012
4.7.9Nuke 101: Professional Compositing and Visual Effects 2nd EdRon Ganbar0 321 98412 82014
5.0.1Researcher's Guide to British Film and Television Collections 3rd Ed.Elizabeth Oliver0 901299 58 81989
5.0.2Life On Air: A History of Radio 4David Hendy0 19 955024 12008
5.0.3All Pals Together: The Story of Children's CinemaTerry Staples0 7486 0718 81997
5.0.4Cinema: The First Hundred YearsDavid Shipman0 75380 130 21993
5.0.5The Film Book: A Complete Guide to the World of CinemaRonald Bergan1 4053 6316 72011
5.0.6It's Only a Movie, IngridAlexander Walker0 7472 0012 21988
5.0.7The Silent Cinema ReaderLee Grieveson and Peter Kramer0 415 25284 92004
5.0.8Digital CinemaThom Taylor and Melinda Hsu0 941188 81 72003
5.0.9The Death of CinemaPaolo Cherchi Usai0 85170 838 22001
5.0.10Hollywood's Dark History: Silver Screen ScandalsMatt Macnabb1526 740452019
5.0.11Learning to Dream: The New British CinemaJames Park0 571 13401 71984
5.0.12The British Film BusinessBill Baillieu and John Goodchild0 471 49918 82002
5.0.13The Big Screen: The Story of the Movies and What They Did To UsDavid Thomson1 846 14314 42012
5.0.14Films and British National IdentityJeffrey Richards0 7190 4743 91997
5.0.15Graphic Violence on the ScreenThomas R. Atkins671 08105 51976
5.0.16A Bond for Bond: Film Finances and Dr NoCharles Drazin0 95 68934062011
5.0.17Sherlock Holmes on Screen: The Complete Film and TV HistoryAlan Barnes1 903111 04 82002
5.0.18Cinemas of HertfordshireAllen Eyles0 9542189 0 62002
5.0.19Cathedrals of the Movies: A History of British Cinemas... AudiencesDavid Atwell0 85139 562 71980
5.0.20FootLights! A Hundred Years of Cambridge ComedyRobert Hewison0 413 51150 21983
5.0.21Hollywood and the Profession of Authorship, 1928 - 1940Richard Fine0 8357 2037 31979
5.0.22High Concept: Don Simpson and the Hollywood Culture of ExcessCharles Fleming0 7475 3611 21998
5.0.23When Hollywood loved Britain: 1939 - 45H. Mark. Glancy0 7190 4853 21999
5.1.1.1The Art of Walt DisneyRobert D FeildN/A1945
5.1.1.2The Illusion of Life: Disney AnimationFrank Thomas and Ollie Johnston0 78686070 81981
5.1.2Made For Television: Euston Films LimitedManuel Alvarado and John Stewart0 423 01310 61985
5.1.3.1The Pinewood StoryGareth Owen and Brian Burford1 903111 09 92000
5.1.3.2The Pinewood Story [Revised and Updated]Gareth Owen and Brian Burford1 905287 27 52006
5.1.4.1Shepperton StudiosMorris Bright1 904915 03 52005
5.1.4.2The Shepperton StoryGareth Owen0 7524 4970 82009
5.1.5.1The Warner BrothersMichael Freedland0 245 53827 51983
5.1.5.2The Warner Bros. StoryClive Hirschhorn0 7064 1675 91982
5.1.5.3Warner Brothers Presents: The Most Exciting Years…Ted Sennett0 87000 136 11971
5.1.5.4You Must Remember This: The Warner Bros. StoryRichard Schickel and George Perry0 7624 3418 32008
5.1.5.5Inside Warner Bros 1935 - 1951: The Battles, Brainstorms, Bickering…Rudy Behlmer0 76714 008951985
5.1.6.1The Art of Pixar: Colorscripts from 25 Years of Feature FilmsRalph Eggleston1 4521827872020
5.1.6.2Pixar At the Museum of Modern ArtAndy Dreyfus and DeAnn Cobb0 8118 5216 42005
5.1.7The Films of 20th Century Fox: A Pictorial HistoryToby Thomas and Aubrey Soloman0 8065 0719 51979
5.1.8The Universal StoryClive Hirschhorn0 7064 2731 91986
5.1.9The Paramount StoryJohn Douglas Eames0 7064 2057 81987
5.1.10Elstree Studios: A Celebration of Film and TelevisionMorris Bright and Paul Burton1 78243 381 12015
5.1.11Cracking Animation: The Aardman Book of 3D AnimationPeter Lord and Brian Sibley0 500 29199 32015
5.1.12MGM British Studios: Hollywood In HertfordshirePaul Welsh MBE1 913218 97 32020
5.1.13MGM: Hollywood's Greatest BacklotSteven Bingen, Michael Troyan et. al.1 59580 055 82011
5.2.1.1RadioTimes Guide to Films 2007N/A0 563 53901 12006
5.2.1.2Halliwell's The Movies That MatterDavid Gritten0 00 727106 12008
5.2.1.3The Penguin Film Review 9R. K. Neilson BaxterB000L5XPH41949
5.2.2.1The Lord of the Rings Location GuidebookIan Brodie1 86950 452 62002
5.2.2.2There and Back Again: BTS of The Lord of the RingsSam Astin1 85227 149 32011
5.2.3The Annotated Godfather: The Complete Screenplay…Jenny M. Jones9 781579 1281112007
5.2.4Carry On UncensoredMorris Bright and Robert Ross0 7522 1798 41999
5.2.5The Night of the HunterSimon Callow0 85170 822 52012
5.2.6ChinatownMichael Eaton0 85170 532 32012
5.2.7Wild StrawberriesPhilip and Kersti French0 85170 481 42009
5.2.8L'avventuraGeoffrey Nowell-Smith0 85170 534 72013
5.2.9MAnton Kaes0 85170 370 12012
5.2.10Withnail and I: The ScreenplayBruce Robinson0 7475 2493 91995
5.2.11The Making of King KongOrville Goldner and George Turner0 3452513431976
5.2.12Christopher Nolan: The Iconic Filmmaker and his workIan Nathan0 7112 7712 02022
5.2.13The Cinema of George LucasMarcus Hearn0 8109 4968 72005
5.2.14Alfred Hitchcock and the Making of PsychoStephen Rebello0 7145 3191 52013
5.2.15The 100 Greatest Looney Tunes CartoonsJerry Beck1 60887 003 52010
5.2.16Some Kind of Hero: The Remarkable Story of the James Bond FilmsMatthew Field and Ajay Chowdhury0 750 969 7722018
5.3.1.1BBCPaul Bloomfield373 8911941
5.3.1.2Broadcasting Britain: 100 Years of the BBCRober Seatter0 2415 6754 82022
5.3.1.3BBC Pronouncing Dictionary of British NamesG. M. Miller19 431125 21971
5.3.2Eye on TV: The First 21 Years of Independent TelevisionPeter Jackson0 900727 61 61976
5.3.3Beyond Broadcasting: Into the Cable AgeTimothy Hollins0 85170 148 51984
5.3.4The British Television Location GuideSteve Clark and Shoba Vazirani0 955 891 6872011
5.4.1Doctor Who: The Writer's TaleRussell T Davies and Benjamin Cook1 846 07571 12008
5.4.2Lovely Jubbly: A Celebration of 40 Years of Only Fools and HorsesJim Sullivan and Mike Jones178 594 80602021
5.4.3Every Ruddy Word: Alan Partridge All the ScriptsArmando Iannucci, Steve Coogan et al1 405 91565 62013
5.4.4Yes Minister: The Diaries of a Cabinet Minister Vol 1Jonathan Lynn and Antony Jay0 563 17934 11981
5.4.5Yes Minister: The Diaries of a Cabinet Minister Vol 2Jonathan Lynn and Antony Jay0 563 20065 01982
5.4.6Yes Minister: The Diaries of a Cabinet Minister Vol 3Jonathan Lynn and Antony Jay0 563 20196 71983
5.4.7Hancock (Four scripts for Television)Alan Simpson and Ray GaltonN/A1962
5.4.8Life of Python: and now, for something completey differentGeorge Perry09075 16 22 X1983
5.4.9Fawlty Towers [3 x scripts]John Cleese and Connie Booth0 8600 7598 21977
5.5.1Toxic Fame: Celebrities Speak on StardomJoey Berlin0 7876 0874 21996
5.5.2The Pythons'The Pythons'0 75285 293 02003
5.5.3Altman on AltmanDavid Thompson0 571 22089 42006
5.5.4Scorsese on ScorseseDavid Thompson, Ian Christie0 571 15243 01989
5.5.5Burton on BurtonMark Salisbury0 571 20507 02000
5.5.6Ridley Scott InterviewsLaurence F. Knapp and Andrea F. Kulas1 57806 726 82005
5.5.7The Rik Mayall (signed)Rik Mayall0 00 720727 12005
5.5.8My First Movie: Coen, Anders, Buscemi, Leigh, Oldman, Stone, Lee…Stephen Lowenstein0 375 42081 92000
5.5.9Where Am I Now? True Stories of Girlhood and Accidental FameMara Wilson0 14 312822 92016
5.6.1Stan and Ollie: The Roots of ComedySimon Louvish0 571 21590 42001
5.6.2Tony Hancock 'Artiste' A Tony Hancock CompanionRoger Wilmut0 413 50820 X1978
5.6.3The Biography of Desmond LlewelynSandy Hernu85770 187 91999
5.6.4It Don't Worry MeRyan Gilbey0 571 21487 82003
5.6.5Keystone: The Life and Clowns of Mack SennettSimon Louvish0 571 22647 72005
5.6.6Cult Filmmakers: 50 Movie Mavericks You Need to KnowIan Haydn Smith0 7112 4026 12019
5.6.7Hollywood Babylon: Hollywood's darkest… secretsKenneth Anger09 949780 81975
5.6.8Anthony Hopkins: Too Good to WasteQuentin Falk0 86287 868 31989
5.6.9The Complete SpielbergIan Freer0 7535 0556 42001
6.0.1The Advertising Concept BookPete Barry0 500 51623 22012
6.0.2Stunning AdvertisingEva Minguet Camara981 245 728 82008
6.0.3Problem Solved: A primer in design and communicationMichael Johnson0 7148 4174 92002
6.0.4100 Great AdvertisementsBarry Day0 7230 022901978
6.0.5The Movie Ad BookMalcolm Vance0 89893 503 21981
7.0.1De-Westernizing Media StudiesJames Curran and Myung-Jin Park0 415 19394 X2000
7.0.2The "I" of the Camera: Essays in Film Criticism, History… 2nd Ed.William Rothman0 521 52724 42004
7.0.3Home is Where the Heart Is: … Meldodrama and Woman's FilmChristine Gledhill0 85170 199 X1987
7.0.4Death 24x a Second: Stillness and the Moving ImageLaura Mulvey1 86189 263 82007
7.0.5… Audience Statistics of Doctor Who ('63 - '89)Robin Dudley0 9567448 0 72020
7.0.6Art and Its MessagesStephen Davies0 271 01683 31997
7.0.7The Culture of Curating and the Curating of Culture(s)Paul O'Neill0 262 01772 52012
7.0.8Hollywood Comedians: The Film ReaderFrank Krutnik0 415 23552 52003
7.0.9Visual TheoryNorman Bryson, Michael Holly et. al.0 7456 0660 61996
7.0.10Difficult MenBrett Martin1 5942041952013
8.0.1Factfulness: Ten Reasons We're Wrong About the WorldHans Rosling1 473 63749 82019
8.0.2How to Make the World Add UpTim Harford0 349 14386 62020
8.0.3Competative Debate: The Official GuideRichard E. Edwards1 59257 693 72008
8.0.4You Are Not So SmartDavid McRaney1 851 6893922014
8.0.530-second TheoriesPaul Parsons1 905695 90 42009
8.0.6Sherlock Holmes' Elementary PuzzlesTim Dedopulos1 78097 578 82014
8.0.7Sherlock Holmes' Rudimentary PuzzlesTim Dedopulos1 78097 963 22017
8.0.8Sherlock Holmes' Cunning PuzzlesTim Dedopulos1 78097 962 52017
8.0.9Sherlock Holmes' Fiendish PuzzlesTim Dedopulos1 78097 807 92016
8.0.10The art of looking sidewaysAlan Fletcher0 7148 3449 12001
8.0.11Don't Believe Everything You ThinkJoseph Nguyen8 89331 015 32022
8.1.1Creativity: A short and cheerful guideJohn Cleese1 786 33225 72020
8.1.2The Creative Act: A Way of BeingRick Rubin1 83885 863 62023
8.1.3Creativity, Inc. Overcoming the Unseen Forces… True InspirationEd Catmull0 59307 010 92014
8.2.1.1Why We Need ReligionStephen Asma0 19 046967 22018
8.2.1.2Cranky, Beautiful, FaithNadia Bolz-Weber1 84825 531 92013
8.2.1.3The Godless GospelJulian Baggini1 78378 231 42020
8.2.1.4Presence: The strange science and true sories of the unseen otherBen Alderson-Day1 5261 7350 82023
8.2.2.1Utopias of the British EnlightenmentGregory Claeys0 521 4308441994
8.2.2.2You Say You Want a Revolution?Daniel Chirot0 691 19367 02020
8.2.2.3On Tyranny: Twenty Lessons from the Twentieth CenturyTimothy Snyder1 847 92488 92017
8.2.2.4The Age of AIHenry Kissinger, Eric Schmidt et. al.1 529 37599 22022
8.2.3.1Centuries of Childhood [a flawed book]Philippe ArièsN/A1962
8.2.3.2What Every Kid Wished Their Parents KnewRob and Lloyds Parsons0 9955596 8 42021
8.2.3.3Living with a Hyperactive ChildCeline Causse2 916784 20 52010
8.2.4.1Far Out: Encounters with ExtremistsCharlotte McDonald-Gibson1 78378 646 62022
8.2.4.2Very Bad People: The Inside Story of the Fight Against…Patrick Alley1 91318 350 92022
8.2.4.3Criminology: A Complete IntroductionDr Peter Joyce1 529 36256 52012
8.2.5.1On Being Different: What It Means to Be a HomosexualMerle Miller0 14 310696 82012
8.2.6.1Body Language: The Signals You Don't Know You're Sending…Glenn Wilson1 84831 958 52016
8.2.6.2Cracked: Why Psychiatry is Doing More Harm than GoodJames Davies1 84831654 62014
8.2.6.3Becoming your true self… from trauma to healthy autonomyKaren McMillan0 9559683 5 82017
8.2.6.4How to Break Free of The Drama Triangle... Victim ConsciousnessJanae and Barry Weinhold8 218 98715 22024
8.2.6.5Selling out the Spectrum: How Science Lost the Trust of Autistic…Liam O'Dell1 83997 626 12025
8.2.6.6Why We Remember: The Science of Memory…Dr Charan Ranganath0 571 37414 42024
8.2.6.7Emotional Intelligence and Working with [It]... OmnibusDaniel Goleman0 7475 7456 12004
8.2.6.8Emotional Intellgience 2.0Travis Bradberry and Jean Greaves0 97432 062 52009
8.2.6.9Quiet: The Power of Introverts in a World…Susan Cain0 241 97937 22013
8.2.6.10The Art of Reading MindsHenrik Fexeus1 529 39107 72020
8.2.6.11Metaphors We Live ByGeorge Lakoff and Mark Johnson0 226 46801 12003
8.2.6.12Sound Mind: My Bipolar Journey from Chaos…Erika Nielsen1 912478 65 12018
8.2.6.13Women Who Think Too MuchSusan Nolen-Hoeksema0 7499 2481 22003
8.2.6.14Blink: The Power of Thinking without ThinkingMalcolm Gladwell0 14 101459 32005
8.2.6.15Being You: A New Science of ConsciousnessAnil Seth0 571 33772 92021
8.2.6.16The Self DelusionTom Oliver1 4746 1174 92020
8.2.6.17The Science of Fate: Who We Are - and How to Shape…Hannah Critchlow1 473 65931 52020
8.2.6.18The Tipping Point: How Little Things Can Make A Big DifferenceMalcolm Gladwell0 349 11346 32015
8.2.6.19Kant: A Graphics GuideChristopher Kul-Want et. al.1 84831209 82013
8.2.6.20The Chimp Paradox: The Mind Management ProgrammeProf. Steve Peters0 09 193558 02012
8.2.7.1Why I'm No Longer Talking To White People…Reni Eddo-Lodge1 4088 7058 72018
8.2.7.2It's Not About The BurqaMariam Khan1 5098864252019
8.2.7.3What White People Can Do NextEmma Dabiri0 141 99673 82021
8.2.7.4Culture at the CrossroadsMarc Pachter and Charles Landry1 837667 13 22001
8.2.7.5Understanding The World's CulturesCraig Storti1 473 67033 42017
8.2.7.6How the World ThinksJulian Baggini1 78378 230 72018
8.2.7.7Whatever Happened to Tradition?Tim Stanley1 4729 7412 92021
8.2.8.1Chavs: The Demonization of the Working ClassOwen Jones1 83976 092 12020
8.2.9.1Invisible Women: Exposing Data Bias In A World…Caroline Criado Perez1 784 70628 92020
8.2.9.2The Future of MenGrace Campbell1 80018 011 62020
8.2.10Future Man: Brave New World or Genetic Nightmare?Brian Stableford0 246 12316 81984
8.2.11Are We Good Enough?KropotkinN/A1888
8.2.12The Economy of Prestige: Prizes, Awards and…James F. English0 674 03043 52005
8.2.13How to Be Human (New Scientist)Graham Lawton and Jeremy Webb1 473 62928 82017
8.2.14How to be AutisticCharlotte Amelia Poe1 912408 32 02019
8.2.15How to Speak Any Language FluentlyAlex Rawlings1 4721 3856 92017
8.2.16Why I Sued Taylor Swift … [Crazy]Russell Greer0 69 297 01022017
8.2.17Essex EccentricsAlison Barnes085 115 059 41975
8.3.1Using Political Ideas: Fourth EditionBarbara Goodwin0 471 97343 21997
8.3.2Politics On The EdgeRory Stewart1 529 92286 82024
8.3.3BlairAnthony Seldon0 7432 3211 92004
8.3.4Cameron at 10Anthony Seldon and Peter Snowdon0 00 757553 42016
8.3.5May at 10Anthony Seldon1 78590 517 92019
8.3.6John Bercow Unspeakable: The Autobiography [signed]John Bercow1 4746 1662 12020
8.3.7Johnson at 10: The Inside StoryAnthony Seldon and Raymond Newell1 83895 802 22023
8.3.8Truss at 10: How Not to Be Prime MinisterAnthony Seldon and Jonathan Meakin9 781805 4621322024
8.3.9Chief of StaffGavin Barwell1 838 9541232021
8.3.10Why I WriteGeorge Orwell0 141 98452 02004
8.4.1The Death of Nature: Women, Ecology, and…Carolyn Merchant0 06 250595 82020
8.4.2Other Minds: The Octopus and the Evolution of Intelligent LifePeter Godfrey-Smith0 00 822629 92016
8.5.1Histories of Nations: How Their Identities Were ForgedPeter Furtado0 500 29300 32017
8.5.2A Short History of the World in 50 LiesNatasha Tidd1 7892946202023
8.5.3Living Maps: An Atlas of Cities PersonifiedAdam Dant1 4521 4952 32018
8.5.4Unruly: A History of England's Kings and QueensDavid Mitchell1 405 95319 12024
8.5.5Fads and Fallacies In the Name of ScienceMartin Gardner0 486 20394 81957
8.6.1Do We Have To Work? A primer for the 21st centuryMatthew Taylor0 500 29622 62021
8.6.2Managing Difficult PeopleDavid Cotton1 5293 6258 92014
8.6.3How to Win Friends and Influence PeopleDale Carnegie0 671 35500 71964
8.6.4The Quick and Easy Way to Effective SpeakingDale Carnegie, r. by Dorothy Carnegie0 4370207 461981
8.6.5How to Stop Worrying and Start LivingDale Carnegie0 671 34900 71975
9.0.1Great Stories from ShakespeareCharles and Mary LambN/A1935
9.0.2Salvage the BonesJesmyn Ward1 4088 2700 02011
9.0.3Jonathan Livingston SeagullRichard Bach0 00 649034 02014
9.0.4Domestic Bliss and Other DisastersJane Ions1 910422 72 42021
9.0.5SavantNik Abnett1 78108 456 42016
9.0.6Harriet the SpyLouise Fitzhugh0 440 41679 52001
9.0.7Girl, Woman, OtherBernardine Evaristo0 241 98499 42019
9.0.8TwitchM. G. Leonard1 4063 8937 12021
9.0.9ArrivalTed Chiang1 5098 3590 42016
9.0.10Wild HorsesDick Francis0 330 34142 11994
9.0.11Nineteen Eighty-FourGeorge Orwell0 141 39304 92003
9.0.12Great Spy StoriesLe Carre, Ambler, Clifford, Flemming0 904230 70 81978
9.0.13Logan's Run (Reprint)William F. Nolan, George Johnson1 101 91137 22015

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 2023NFTS, 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
🌳 P
lenty 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

   ask@theforest.tv
   Buckinghamshire, England
   © 2025 The Forest TV Productions Ltd.