CASE STUDY
UEFA / IMG - Shooting elite international football across Europe
In international windows from 2018 to 2026, I worked with IMG and UEFA producing feature content across the European Qualifiers, UEFA Nations League and FIFA World Cup Qualifying, crafting short-form films distributed globally to broadcast rights holders.
Working at iconic national stadiums across Europe and then back in the edit at IMG Studios, I co-shot and edit-produced films from planning through to final delivery, combining cinematic sports storytelling with the practical demands of international travel, live-event access and fast-turnaround production.
From the outset, I was interested not only in delivering each individual film, but in how the strand could continue to evolve creatively.
That meant contributing to the development of shooting styles, camera setups and production workflows, as well as helping to shape a trusted core of camera operators and craft editors. I was always looking at how we could work more efficiently in the field while still increasing the production value of the finished films - from shooting and camera choices through to scripting, music and acquired footage.
For this kind of work, mobility mattered. I shot with Sony FX3 and a7S III bodies, using compact setups that allowed me to move instinctively around a stadium environment and react quickly as moments developed.
Working alongside some of the best sports cam-ops in the business, I shot everything from goals and match action to fan focused footage which captured the atmosphere and emotion around the game. My role often gave me the freedom to roam - looking for unusual angles, layered compositions, crowd reaction and those fleeting moments in between.
Among my favourite moments from a pure shooting perspective were filming Kilian Mbappe emerging from the French dressing room as France captain for the first time, making Christian Ronaldo seemingly 'disappear' into thin air thanks to a quirk of the stadium's architecture, and capturing a Harry Kane goal for England with the most perfect 'dirty frame'.
Every stadium had its own character, and every match its own mood, shaped by the nature of the ground, the intensity of the crowd and what was unfolding on the pitch. I tried to use those elements to make each film feel distinctive to that particular night rather than simply another piece of football coverage.
Strong relationships were central. Working closely with UEFA, national associations, host broadcasters and the IMG production team, I looked for ways to maximise access. I pushed for closer collaboration with host broadcasters on-site, knowing that combining independently shot material with other match day sources such as ISO feeds and EVS footage could unlock moments, reactions and perspectives that might otherwise be missed.
The work required strong editorial judgement alongside technical and production knowledge. Each assignment required making fast decisions in live sporting environments, anticipating where stories and moments might develop, and then bringing together multiple sources of material into a coherent, cinematic short-form film.
Across eight years, my approach remained consistent: understand what made each story distinctive, work collaboratively with the people around me, make the best possible use of the available access and material, and keep looking for opportunities to strengthen the final film.
The result was a substantial body of high-end short-form film-making that captured the drama, emotion and human stories of European international football and, professionally, was some of the most fulfilling sports work I've done.
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