Camera Obscura: Through The Lens with Jim Gilchrist
Many have made the perilous crossing from agency to production, but not many have done so with the confidence and acclaim as Jim Gilchrist.
After working with some of the best creative teams in the business, Jim’s yearning to direct took him to the International Film School in Boston. Following graduation, he returned to London, quickly becoming one of the industry’s leading names.
He has worked with literally everyone and won literally everything. This could be because Jim understands the power of a good idea executed with confidence. His work combines a strong photographic eye for visual storytelling alongside a comedy range that runs from the refined to the ridiculous. He’s a performance director at heart, but his versatility is evident across his diverse body of work.
He’s also immensely competitive, loves maths and chess – both of which he is annoyingly good at – and is a massive Liverpool fan (well, nobody’s perfect).
LBB> What is your niche craft obsession?
Jim> My absolute obsession is with lenses, specifically the different characteristics of prime and zoom lenses and how they can dramatically affect storytelling in commercials. The way a lens can alter perception and emotion is just fascinating!
LBB> Where/when/how did you first come across this thing?
Jim> With my paycheck from my first ad I purchased a Leica M6 and three lenses, apparently Ridley Scott had the same set, or they saw me coming! I’ve always loved the simplicity of photography. It’s kind of the opposite of being on set, where you have loads of people working together to create those perfect seconds of moving images. With photography, it’s just me and the lens trying to capture brief moments through the glass. That’s really romantic to me.
LBB> Was it an obsession straight away or something that has evolved over the years?
Jim> I studied cinematography in film school, but I had an ulterior motive—I wanted to direct. On that course, I ended up directing all the students’ short films since they all wanted to be DOPs.
As I started directing commercials, I realised how crucial lens choice was for conveying brand stories. I learned how the photography of a scene can completely elevate an idea, and it evolved into a full-blown obsession over the years. Now, I’m always experimenting with different lenses to see how they can enhance the narrative and visuals.
LBB> What are the most interesting debates or conversations you are having around this obsession?
Jim> For a while, the debate was film vs. HD, and HD won that war. But now, there’s a movement back to shooting on film for a more textured and real image, and I’m all for that!
Some peers swear by vintage glass for its unique imperfections, while others love the pristine sharpness of modern lenses. For me, it’s about the relationship between the camera and the actor. I want to control the audience's viewpoint, and that’s all about camera and lens choices.
LBB> How widespread do you think this obsession is with your peers?
Jim> There are loads of camera nerds out there—I’m definitely in a safe space!
LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production?
Jim> In most of my commercials, I've had the chance to explore different styles and techniques. Recently, I worked on two distinct commercial projects, each requiring different lens choices.
The first was a series of ads for GNG (Georgia Natural Gas) through Atlanta agency Tailfin, featuring a walk-and-talk format that emphasised simplicity amidst chaos. For this project, I used a steadicam with Vantage Mini Hawks and an Arri 35. These lenses provide the visual quality of anamorphic lenses—especially in terms of defocus—whilst maintaining a spherical design. Reality heightened.
Shortly after, I shot a UK ad for Vitality Life Insurance through VCCP London. The concept was simple: “Life is Good, so why wouldn't you want it to last longer?” This was illustrated by the brand mascot, Stanley, a dachshund cruising in a pink Cadillac down a British promenade. I aimed for a West Coast 90s music video vibe—think 'Still Dre' with a touch of 'Windowlicker'—so I opted for some vintage Cooke S4 lenses. Their warm and soft quality balanced the cold, windy weather during the shoot.
LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing?
Jim> Shoot, shoot, shoot! Anyone who wants to direct and has a phone or access to an old DV cam or anything that captures an image should start experimenting. I made so many bad short films and took thousands of awful pictures. You learn through mistakes and failures, which helps you discover your taste, style and preference. That advice never changes—just keep trying new things!
