Oliver Daniel

1. Show us a picture of your current most used camera and lens
EVA1 and Sigma 18-35mm. 
 
2. Tell us a few facts about yourself!
As a child, I was haunted by a ghost called Linford Pickle. 😂
I come from a family of artists and musicians.
I was forced to go to church then realised it was all bollocks. 
My first ever video was called "Demon Boy". It was shite. 
I'm scared of baked beans and peas.
I've starred in 2 televised music videos, once as the lead. 
I've got eczema and I hate it. 
I have 2 daughters. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Manchester United - although I've got very disinterested in sport for the past few years. 
Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. 
Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 
 
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
Do more episodic video stuff. 
Do less on cameras and more on lighting! More interesting. 
Cover vintage lenses and weird shit that they do. Modified lenses. 
RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 
 
5. Tell me what you miss about your country and home town when you are not there
Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 
 
6. The year you first started reading EOSHD
I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time. 
 

1. Show us a picture of your current most used camera and lens
EVA1 and Sigma 18-35mm. 
 
2. Tell us a few facts about yourself!
As a child, I was haunted by a ghost called Linford Pickle. 😂
I come from a family of artists and musicians.
I was forced to go to church then realised it was all bollocks. 
My first ever video was called "Demon Boy". It was shite. 
I'm scared of baked beans and peas.
I've starred in 2 televised music videos, once as the lead. 
I've got eczema and I hate it. 
I have 2 daughters. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Manchester United - although I've got very disinterested in sport for the past few years. 
Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. 
Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 
 
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
Do more episodic video stuff. 
Do less on cameras and more on lighting! More interesting. 
Cover vintage lenses and weird shit that they do. Modified lenses. 
RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 
 
5. Tell me what you miss about your country and home town when you are not there
Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 
 
6. The year you first started reading EOSHD
I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time. 
 

1. Show us a picture of your current most used camera and lens
EVA1 and Sigma 18-35mm. 
 
2. Tell us a few facts about yourself!
As a child, I was haunted by a ghost called Linford Pickle. 😂
I come from a family of artists and musicians.
I was forced to go to church then realised it was all bollocks. 
My first ever video was called "Demon Boy". It was shite. 
I'm scared of baked beans and peas.
I've starred in 2 televised music videos, once as the lead. 
I've got eczema and I hate it. 
I have 2 daughters. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Manchester United - although I've got very disinterested in sport for the past few years. 
Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. 
Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 
 
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
Do more episodic video stuff. 
Do less on cameras and more on lighting! More interesting. 
Cover vintage lenses and weird shit that they do. Modified lenses. 
RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 
 
5. Tell me what you miss about your country and home town when you are not there
Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 
 
6. The year you first started reading EOSHD
I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time. 
 

1. Show us a picture of your current most used camera and lens
EVA1 and Sigma 18-35mm. 
 
2. Tell us a few facts about yourself!
As a child, I was haunted by a ghost called Linford Pickle. 😂
I come from a family of artists and musicians.
I was forced to go to church then realised it was all bollocks. 
My first ever video was called "Demon Boy". It was shite. 
I'm scared of baked beans and peas.
I've starred in 2 televised music videos, once as the lead. 
I've got eczema and I hate it. 
I have 2 daughters. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Manchester United - although I've got very disinterested in sport for the past few years. 
Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. 
Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 
 
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
Do more episodic video stuff. 
Do less on cameras and more on lighting! More interesting. 
Cover vintage lenses and weird shit that they do. Modified lenses. 
RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 
 
5. Tell me what you miss about your country and home town when you are not there
Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 
 
6. The year you first started reading EOSHD
I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time. 
 

1. Show us a picture of your current most used camera and lens
EVA1 and Sigma 18-35mm. 
 
2. Tell us a few facts about yourself!
As a child, I was haunted by a ghost called Linford Pickle. 😂
I come from a family of artists and musicians.
I was forced to go to church then realised it was all bollocks. 
My first ever video was called "Demon Boy". It was shite. 
I'm scared of baked beans and peas.
I've starred in 2 televised music videos, once as the lead. 
I've got eczema and I hate it. 
I have 2 daughters. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Manchester United - although I've got very disinterested in sport for the past few years. 
Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. 
Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 
 
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
Do more episodic video stuff. 
Do less on cameras and more on lighting! More interesting. 
Cover vintage lenses and weird shit that they do. Modified lenses. 
RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 
 
5. Tell me what you miss about your country and home town when you are not there
Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 
 
6. The year you first started reading EOSHD
I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time. 
 

1. Show us a picture of your current most used camera and lens
EVA1 and Sigma 18-35mm. 
 
2. Tell us a few facts about yourself!
As a child, I was haunted by a ghost called Linford Pickle. 😂
I come from a family of artists and musicians.
I was forced to go to church then realised it was all bollocks. 
My first ever video was called "Demon Boy". It was shite. 
I'm scared of baked beans and peas.
I've starred in 2 televised music videos, once as the lead. 
I've got eczema and I hate it. 
I have 2 daughters. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Manchester United - although I've got very disinterested in sport for the past few years. 
Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. 
Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 
 
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
Do more episodic video stuff. 
Do less on cameras and more on lighting! More interesting. 
Cover vintage lenses and weird shit that they do. Modified lenses. 
RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 
 
5. Tell me what you miss about your country and home town when you are not there
Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 
 
6. The year you first started reading EOSHD
I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time. 
 

1. Show us a picture of your current most used camera and lens
EVA1 and Sigma 18-35mm. 
 
2. Tell us a few facts about yourself!
As a child, I was haunted by a ghost called Linford Pickle. 😂
I come from a family of artists and musicians.
I was forced to go to church then realised it was all bollocks. 
My first ever video was called "Demon Boy". It was shite. 
I'm scared of baked beans and peas.
I've starred in 2 televised music videos, once as the lead. 
I've got eczema and I hate it. 
I have 2 daughters. 
 
3. What's your favourite music, favourite sport / team, other hobbies
Manchester United - although I've got very disinterested in sport for the past few years. 
Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. 
Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 
 
4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most?
Do more episodic video stuff. 
Do less on cameras and more on lighting! More interesting. 
Cover vintage lenses and weird shit that they do. Modified lenses. 
RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 
 
5. Tell me what you miss about your country and home town when you are not there
Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 
 
6. The year you first started reading EOSHD
I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time. 
 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

In the commercial world, filmmaking is first and foremost a marketing tool. It is for music videos too, but that market see it differently and you have to treat it as such. 
You don't have to where all the hats. I don't want to wear all the hats either. *overwhelm* You'd do better financially if you had that system in place, however if you're able to talk both strategically and creative, plus integrate seamlessly with other marketing skillsets - people take you much more seriously. They don't see you as just as video guy. That's my experience anyway. 
p.s learning stuff away from filmmaking is confronting, stressful and uncomfortable. Does my head in but it's getting easier. Also video in my local area is massively oversaturated. Over the past I've had to move ahead and differentiate.  Just having an attractive style isn't enough. 
 

You can see this yourself without asking a sales department, but you will need access to their page / ad account management. 
For example, your videos might be sequenced in a series of FB Ads for an e-commerce brand.
At the first stage, you show an awareness video to a cold audience. 
Secondly, segment the audience that has watched 50% + of the first video and show them product focused videos for website traffic. 
During their research they’ll see promos, explainers, how-to’s etc around the web. Some will convert to a sale, others won’t. 
Those who don’t convert need a reminder or incentive, based on their online behaviour. So you use content re-marketing like testimonial videos to nudge them back to the basket. 
Whatever the objectives are, you can measure the ad spend behind the videos against a tracker event that will show you the sales conversion amount. 
I have someone else to manage the distribution aspect, but I have to understand it so my creative approach is also strategic. This is also how I speak to a client. They feel they are being served by someone who knows how to make video work specifically for their business need. 
At the end of the day, I just love shooting and editing stuff really! 

Yes you’re on the hook. But like all things, to reach high levels of financial success you have to take big risks. 
You’re not quite right with the ROI thing. You can measure this stuff very precisely.
To enlighten you further, imagine two meetings, where one guy is offering “a beautifully shot video”,  and the other is offering a 300% sales increase for the business (using video). Who are they going to choose? 
Ive seen a huge shift in the way clients see myself by speaking to them in a way they can see how the video materials will be handled and distributed to get a result. 
Yes, you will need distribution and media buying knowledge. But it’s a great way of making you stand out from other video creators. Being the “dude with a camera” is fine for a lot of people, but if you’re after growth, it’s going to be very hard.
Plus, if you can get the client a business result, the income is WAY better and gives you more freedom for passion projects. 

You can see this yourself without asking a sales department, but you will need access to their page / ad account management. 
For example, your videos might be sequenced in a series of FB Ads for an e-commerce brand.
At the first stage, you show an awareness video to a cold audience. 
Secondly, segment the audience that has watched 50% + of the first video and show them product focused videos for website traffic. 
During their research they’ll see promos, explainers, how-to’s etc around the web. Some will convert to a sale, others won’t. 
Those who don’t convert need a reminder or incentive, based on their online behaviour. So you use content re-marketing like testimonial videos to nudge them back to the basket. 
Whatever the objectives are, you can measure the ad spend behind the videos against a tracker event that will show you the sales conversion amount. 
I have someone else to manage the distribution aspect, but I have to understand it so my creative approach is also strategic. This is also how I speak to a client. They feel they are being served by someone who knows how to make video work specifically for their business need. 
At the end of the day, I just love shooting and editing stuff really! 

Yes you’re on the hook. But like all things, to reach high levels of financial success you have to take big risks. 
You’re not quite right with the ROI thing. You can measure this stuff very precisely.
To enlighten you further, imagine two meetings, where one guy is offering “a beautifully shot video”,  and the other is offering a 300% sales increase for the business (using video). Who are they going to choose? 
Ive seen a huge shift in the way clients see myself by speaking to them in a way they can see how the video materials will be handled and distributed to get a result. 
Yes, you will need distribution and media buying knowledge. But it’s a great way of making you stand out from other video creators. Being the “dude with a camera” is fine for a lot of people, but if you’re after growth, it’s going to be very hard.
Plus, if you can get the client a business result, the income is WAY better and gives you more freedom for passion projects. 

Yes you’re on the hook. But like all things, to reach high levels of financial success you have to take big risks. 
You’re not quite right with the ROI thing. You can measure this stuff very precisely.
To enlighten you further, imagine two meetings, where one guy is offering “a beautifully shot video”,  and the other is offering a 300% sales increase for the business (using video). Who are they going to choose? 
Ive seen a huge shift in the way clients see myself by speaking to them in a way they can see how the video materials will be handled and distributed to get a result. 
Yes, you will need distribution and media buying knowledge. But it’s a great way of making you stand out from other video creators. Being the “dude with a camera” is fine for a lot of people, but if you’re after growth, it’s going to be very hard.
Plus, if you can get the client a business result, the income is WAY better and gives you more freedom for passion projects. 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

So my Fujifilm contact is going to provide a loan unit to use on a commercial production. 
What Fuji lenses are the most appropriate for video? Read that a lot of them aren’t so smooth for manual focus. 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

Depends on the job, and I would advise anyone to think beyond getting a day rate.
The thing about day rates is they aren’t scalable.  They are based on time, and with only so many days you can work in the week, you can’t incline your income steadily. You could charge more, but then, you’re going to have to be a master specialist to achieve that. 
If it’s not TV, film or music videos....I advise anyone to not position themselves as a “videographer” or “filmmaker”. Instead you frame yourself as a business solution. Instead of talking about what shots you want to do, you talk about how you will get them a business result. 
This differentiates you from the over saturated  “videographer” role  - which in fact a lot of the  industry see as “low cost” and easy to negotiate your price down. You appear as a “problem solver” who can grow their business. 
Also, getting the client to think more about the business result allows you more freedom with the creative stuff! 
 

I'm going to predict the GH6 will have 4k 120fps and a new AF system.