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Consulting and project prep for screen professionals.
Creative or technical, bring it to an hour, a small group, or a day in the room.
Sarah Thomas Moffat BKS has spent three decades in film and television, beginning as a production assistant and working up through the camera department to Director of Photography, across documentary, reality, commercials and drama. She has shot on every continent on the planet, in some of the harshest conditions on earth.
She is regularly brought into senior rooms — advising CBC in Canada on archiving its footage library with current technology, delivering workshops for Netflix and the Directors Guild of America, and demonstrating virtual production cinematography to the American Society of Cinematographers. She has done the same at SMPTE’s Greatest Virtual Production Show Ever in Hollywood, to live audiences of more than two hundred at a time. Speaking engagements have taken her to Siggraph, Eurocine and international film festivals, on storytelling and the tools that serve it.
Her research and development work at Abertay University fed the early stages of its virtual production studio, built in partnership with the UK technology network COSTARS. She has been published in British Cinematographer and Canadian Cinematographer, and is on the cover of British Cinematographer’s Focus On: Virtual Production, Volume 3 (August 2026). Ambassador and partnership work has included Rosco, Canon, ARRI and Manfrotto.
Her cinematography has been nominated by the Canadian Society of Cinematographers and has won a Telly Award, with further nominations and wins across genres. Productions she has shot have been nominated for best production at the Royal Television Society and at the Broadcast Digital Awards — among them Where The Light Gets In, made with deaf filmmakers and shortlisted for Best Drama Programme alongside Disney+ and Sky Atlantic. Sarah is partially deaf herself, and works in BSL and ASL on set.
What matters most here is what sits underneath all of it. As a head of department she has earned producer credits — not for raising money, but for getting things made: bringing in the relationships and the equipment that lift a project beyond its budget, connecting vendors with producers so a production can access the right kit at the right price, and drawing crew who sign on because they trust the person shooting it. That judgement is trained as well as earned — the Executive Leadership in Media certificate from Toronto’s Schulich School of Business, a programme for experienced screen professionals. That is not technical problem-solving. It is production value — and it is what you are buying. Three decades of being handed a constraint and asked to deliver anyway.
BAFTA Scotland · International Moving Image Society (BKS) · Illuminatrix DOPs
One-to-One
One hour of consultation on the professional challenge in front of you, and where to navigate next.
Some bring a decision to make. Others want a read on where the industry, the economy and the technology are heading.
Book, pay, choose a time. No call to arrange the call.
Book an hourSmall Group Session
Your team, live. Two hours, from wherever they are.
A mastermind session, or strategic problem-solving for the technical and creative progress your team needs to make.
Limited to eight, to ensure everyone in the room is properly addressed. No travel, no expenses. Just the work.
Request a sessionThe Workshop
A day in a live creative space, hands on, built around the learning curve.
A bespoke workshop in your location, shaped to your group and what it wants to know — creative and technical.
The day is built around you.
EnquireProductions, studios and manufacturers.
Consultancy, on-set advisory, and training for teams. Reach out directly.
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