Story-Driven Documentary Filmmaking

As a documentary filmmaker, I’m driven by a deep belief in the power of film to inform, inspire, and create change. Whether I’m working with major broadcasters, production companies, agencies, or grassroots organisations, my focus is always the same: to tell human stories with honesty, depth, and visual integrity.

I’ve had the privilege of working as a UK cameraman on Amazon Prime’s Esports World Cup: Level Up—a high-energy docuseries capturing the global rise of competitive gaming—and as Director of Photography on ITV’s Born to Win, following elite athletes overcoming personal and physical challenges. These productions pushed me to combine cinematic image-making with documentary responsiveness, where the goal is to capture emotion, movement, and meaning without ever interrupting the moment.

Broadcast Documentary Experience

I’ve worked across broadcast television, documentary-led branded content, and independent factual projects, collaborating closely with producers, directors and editorial teams to deliver footage that meets broadcast expectations and supports the story in the edit.

This includes productions for BBC, ITV, Channel 4, and Amazon.

DoP and Self-Shooting Director

My skill set comfortably spans both ends of the production scale. As a DoP, I’m experienced in shaping narrative through composition and light, whether in dynamic real-world environments or controlled interview setups. I frequently rig multi-camera systems, including automated sliders for motion shots, remote-operated second angles, or discreet observational coverage—giving editors flexibility while maintaining visual continuity.

I also regularly work as a self-shooting director—especially on sensitive or intimate stories where trust and discretion are vital. In these moments, the camera becomes an extension of the conversation, and my approach shifts to one of empathy and quiet observation. These two roles complement each other; working as a DoP has made me a more visually driven director, while directing has made me a more human-focused cinematographer.

Cinematic, Technical and Editorial Focus

Documentary filmmaking demands responsiveness, but it also benefits from craft. I shoot with editorial intention—anticipating moments, shaping coverage, and making technical decisions that support pacing, clarity and narrative structure in post-production.

• Cinematic visuals built through considered composition, movement and naturalistic lighting
• Technical reliability to broadcast-ready standards across varied locations and conditions
• Editorial awareness—coverage and continuity that supports the edit and story arc
• Contributor-led filming with sensitivity, trust and minimal footprint where needed

Broadcast-Ready Equipment for Agile Shoots

To support this work, I operate with a full range of personally owned, broadcast-ready equipment that allows me to remain agile, self-sufficient, and ready to shoot anywhere in the world. My core camera package includes the Sony FX9, Sony FX6, and Sony a7S III, giving me flexibility to scale up for multi-camera shoots or work discreetly in sensitive environments.

These are backed by carefully selected lenses, including the Canon CN7 17–120mm cine zoom, Sony G Master zooms, and Sigma primes for cinematic image quality. I also maintain a valid ATA Carnet covering all owned kit, enabling seamless, duty-free transport across the EU and beyond—saving valuable time and avoiding customs delays during tight schedules.

If you’d like the full technical breakdown, you can view my complete kit list here: https://ukjoncollins.com/filming-equipment/

Lighting, Mobility and On-the-Go Efficiency

Having kit fully prepped and travel-ready is vital for documentary work. It allows me to mobilise quickly while keeping creative control—whether I’m filming high-pressure interviews, fast-moving events, or observational pieces in remote locations. My lighting kit includes the Aputure Nova, LS 600x, and flexible soft sources to build quick setups with cinematic results.

Motion and stability tools like the Easyrig Vario 5, Ronin RS4 Pro, and Edelkrone automated slider help add flow and depth where appropriate. I use broadcast-quality audio and wireless monitoring for multi-crew coordination and efficient decision-making on set.

Aerial Filming

For aerial work, I hold CAA Operational Authorisation with GVC and operate a DJI Mavic 3 Pro when projects call for compact, high-quality aerial footage (additional cost may apply). I approach drone work with the same focus on planning, safety and editorial purpose as ground-based camerawork.

International Documentary Work and Logistics

I have experience filming internationally on documentary and branded projects, supporting productions that involve overseas travel, complex logistics and tight schedules. This includes coordinating with local crews and fixers, adapting to different conditions, and ensuring equipment moves smoothly across borders—supported by ATA Carnet preparation where required.

Impact-Driven Storytelling

Beyond broadcast, I’ve collaborated with numerous UK charities, NGOs, and advocacy groups to produce campaign, educational, and impact-driven films. I understand the nuance required to film real people in vulnerable situations—and the responsibility that comes with telling their stories truthfully and with respect.

Whether I’m producing short-form social content or long-form documentaries, I aim for a visual style that feels both cinematic and grounded. That same ethos carries into my independent work, such as Adventures Not Dams—a self-funded documentary on the ecological and social consequences of hydropower development in the Balkans. Projects like this reflect what I value most in filmmaking: visual storytelling with purpose.

Related

• About Jon Collins: https://ukjoncollins.com/about/
• Freelance cameraman services: https://ukjoncollins.com/freelance-cameraman/
• Branded content filmmaking: https://ukjoncollins.com/what/branded-content/