About
Moonstruck Videos

The first thing I do when I arrive at a wedding isn’t pick up a camera. It’s say hello. I find the couple, check in with the coordinator, have a quick look around the venue - where’s the light coming from, where will people naturally gather, what’s the layout for the ceremony. Ten minutes of looking before I start shooting saves me from missing things later.

I work alone. That’s a deliberate choice. A second videographer can push the budget beyond what couples expected, and I genuinely believe one person who knows what they’re doing and moves quietly through a room gets better footage than two people who draw attention to themselves. I’ve been told more than once that guests didn’t realise there was a videographer at the wedding. That’s the goal.

Being unobtrusive matters because it changes what people do. When people know they’re being filmed, they behave differently - stiffer smiles, slower reactions, a self-consciousness that creeps into everything. When they forget the camera is there, you get real. The maid of honour crying at the vows before she’s had a chance to compose herself. The groom whispering something to his dad during the signing. The flower girl pulling faces at her brother. Those are the shots that make a film.

Audio is something I think about as carefully as the visuals. A lot of wedding films rely entirely on music and cutaways, which is fine, but there’s a depth you get from real sound that changes the whole experience. I use a small clip microphone on the groom for the ceremony and set up a room mic for the speeches. When couples watch their film back, the speeches sequence is often their favourite. Hearing their people say those things, in those actual words, is something photographs can never give them.

My kit includes cinema-grade lenses across a range of focal lengths. I film in 4K on two camera bodies - one for close work and one for wider coverage - which means I can cut between them in the edit without any obvious jump. I’m also a licensed drone operator and use aerial footage carefully: a wide pull-back as the couple emerges, an overview of the landscape at golden hour. Used sparingly, drone footage adds scope that nothing else does.

The edit is where I probably spend most of my time. A typical wedding generates six to eight hours of footage. My standard delivery is an eight-to-twelve-minute highlights film, sometimes with a longer ceremony cut alongside it. I colour-grade every shot by hand, choose music that fits the couple specifically, and pace the edit to the rhythm of the music. I don’t use templates. Every film is cut from scratch.

I didn’t grow up wanting to be a wedding videographer. I got into filmmaking through a more roundabout route - I studied media production, worked on short films and music videos for a few years, and at some point a friend asked if I’d film their wedding because they couldn’t afford a proper videographer and thought I might manage. I watched that film back and something clicked.

What I loved about it - and still love - is that it mattered. Everything I’d made before was fictional or promotional or purely aesthetic. A wedding film has people’s actual lives in it. Their real voices, their real families. When you hand that film back to a couple, you’re giving them something they’ll have for the rest of their lives. That felt right to me.

I limit the number of weddings I take on each year. I could book more - the enquiries are there - but I choose not to, because I know what happens to quality when you’re exhausted and overbooked. I want to show up at every wedding with full attention and no sense of rushing on to the next commitment. My couples get me at my best, not my most stretched.

I live in Gloucestershire and the Cotswolds landscape genuinely delights me every time I drive out to a shoot. That honey-coloured stone in September light. The mist sitting in the valleys on an October morning. The way a field of cow parsley in May looks like something from a film set. I’ve filmed a lot of beautiful places, but the Cotswolds never gets ordinary. That enthusiasm comes through in the work, I think - you can tell when a filmmaker loves where they are.

If you want to know more about my background, get in touch. I’m happy to have a chat before any booking decision is made.

I want your wedding film to feel like a window back into the day. Not a polished promotional piece. Not a slideshowing of the nice shots. I want you to watch it and feel the day again - the noise of the room, the nervousness before the ceremony, the particular light that afternoon, the way your best friend couldn’t get through her speech without crying.

That means filming with restraint as much as with skill. Not every camera movement needs to be cinematic. Not every shot needs to be stunning. Some of the best moments in a wedding film are quiet and still - a look between two people, a hand being held, a parent watching from the side of the room. Those moments don’t need music swells or dramatic grading. They just need to be there, held long enough for the emotion to land.

I also believe the audio matters as much as the picture. A wedding film with beautiful footage and poor sound is a lesser thing than a film with honest footage and clear, well-recorded audio. Your vows in your actual voices. Your dad’s speech in his actual words. That’s what will mean the most in twenty years.

If that sounds like what you want from a wedding film, I’d love to hear from you.