At the age of 17 Jason joined Rushes Post Production as a runner but soon realised he didn't want to be sitting in an edit suite at 3am watching other people's rushes and would much rather be out there filming it instead.

 

The contacts he made at Rushes allowed him on their shoots as a runner and any other spare time he had was spent at camera rental companies learning about the equipment. 

 

One day a focus puller he met agreed that when he could reload an Arri magazine in under 4 minutes he would get him on a shoot as a loader.

 

The rest of the the decade was pretty much a blur of famous people, loud music, smoke machines, camera cranes and little sleep.

Towards the end of the 80's a situation arose which due to union restrictions meant Jason was temporarily upgraded to Focus Puller for a three month feature film in Africa.
It was supposed to be a gentle introduction to the art of focus pulling with plenty of sun and easy days which actually ended up with him filming five weeks of nights with John Hurt and they were rarely off the 300mm.
The upgrade stayed. 
The next 17 years were spent mainly focus pulling for some of the best cameramen in the world.
He travelled the globe a number of times working on a mixture of pop promos, pop concerts, commercials feature films, TV dramas and documentaries.

During that time he found himself being used to operate on more and more extreme shots and regularly found himself strapped to the exterior of cars, helicopters, planes, trains and even at one point an Aircraft Carrier en route to New York
During this time Jason was given the opportunity to work with some incredible directors who trusted his ability enough to ask him to take on the role of Director of Photography in an almost unofficial capacity.
Large advertising agencies would never have entertained the thought of allowing a novice near their million pound commercials, so the opportunity was one he seized and relished.

 

Mike Portelly crediting Jason as Lighting Cameraman on the 1996 Cheltenham and Gloucester 'Pearl Diver' commercial was a perfect example of this for which Jason will always be grateful to him.

It was experiences like this over many years that made Jason realise he had at last earned the right to call himself a Director of Photography
Since then he has had the privilege to continue traveling the world filming a fantastic variety of things and meeting some amazing people.

 

 

There have been so many highlights but none more so than working on the underwater sequence in 'Harry Potter and The Goblet of Fire' .

Another of his favourite jobs was a television series called Weird and Wonderful Hotels where he travelled to 21 countries and stayed in some incredible places.
In between the more extreme adventures he's also enjoyed filming hundreds of settees for DFS and Saxon, thousands of tiles for Topps Tiles, bathrooms, kitchens and cars along with countless bottles of wine, pizzas, crisps, shampoo and beers for the likes of Safeway,
Co-Op, GHD and ASDA.
He embraces the challenges and changes in technology and whilst he does feel a twinge of sadness at the demise of 35mm and misses the inherent excitement of working on film he's certainly enjoying pushing himself and the current technology to achieve the best possible shots.

 
He was true to his word and so in 1984 Jason had his first paid day as a clapper loader working on  the pop promo for Dead Or Alive 'You Spin Me Right Round'