The showreel below is a collection of experiments, broadcast commissions,
strange ideas, happy accidents, and the occasional glimpse
at where this technology might take us next.
I created this television commercial using AI tools, then launched it as a 14 day brand-awareness experiment on social media. For a surprisingly low cost, it generated more than 25,000 impressions and drove over 700 targeted individuals to a website, proving that AI content on social media can work .

Television never stands still. New technologies arrive. New formats emerge. Audiences fall in love, get bored, move on, and demand something different. I've spent four decades riding these waves, from 1" tape and studio television to helical-scan field production, non-linear editing, reality TV and now AI. Change, embrace, learn and adapt, driven by the silent applause.

Producer. Director. Shooter. Interviewer. Writer. Editor. AI Filmmaker.
I can step into a specialist role, combine multiple disciplines, or run the entire production from concept to delivery.
Happy to work remotely from my studio, bring a full kit into the field, or simply turn up with a pen and a laptop. Whatever the job calls for, I'll adapt.
📞 Ph: 0419 707 161 | ✉️ scott@scotttompson.com
🔗 Business Video Content | www.thedocumentaryoffice.com
ABN: 65 138 605 033
Scott Tompson | Media Producer (STaMP)
I’ve worked across most television genres, not just creating programs, but shaping them, leading projects, developing ideas, solving problems, and making sure what ends up on screen actually connects.
Along the way I’ve taken on roles including series producer, director, shooter, interviewer, writer, editor, post-producer, presenter and narrator.
The projects highlighted in this showreel and the examples below span ambitious ideas, steep learning curves, tight deadlines, and the occasional leap into the unknown.
Bush Doctor was my idea—but it began un-commissioned, unfunded and outside my skill set. So I taught myself to shoot, self-funded the project, and embedded for six months in Walgett, a remote NSW town with just two GPs.
The result was an SBS prime-time documentary series—the first of its kind in Australia—rating at double the network average and directly leading to 13 doctors taking up outback placements within a week of broadcast. It wasn’t just content; it changed behaviour.
Following this, the NSW Alliance of General Practice commissioned me to design, produce, and manage a television advertising campaign that increased local immunisation rates from the lowest in NSW to the second highest within six months.
SBS commissioned a 10-part series with Poh, one of Australia’s most recognisable and widely loved cooks. When the initial pilot failed to meet expectations, I was brought in to redefine the format and re-establish creative alignment.
Following an initial meeting outlining a new direction, Poh recommitted to the project. I went on to series produce, direct, shoot, write and post-produce two seasons of Poh & Co.
Series one became SBS’s highest-rating program of the year, leading to a second commission and subsequent international sales, including to Netflix in the United States.
Adam Liaw emerged from MasterChef as a breakout talent and was cast by SBS as a prime-time presenter. I was commissioned to create and produce a cultural series on Japan, and to work closely with Adam in developing his on-screen presence and storytelling approach.
To support the production, I engaged with the Japanese Embassy to secure introductions and access, then travelled to Japan to build relationships with leading chefs and cultural figures. Working together, we shaped a format that balanced authenticity, accessibility and strong narrative.
The resulting series became SBS’s highest-rating program of the year, sold internationally, and helped establish Adam’s long-running career as one of Australia’s most respected food presenters and commentators.
Recognising early that the future of mainstream television would include brand-funded content, I accepted an offer to take over a long-running adventure series in decline—in its tenth season, with falling ratings and a fragile sponsor base.
I stepped in as series producer, director, shooter, writer and editor, repositioning the show with a redesigned format, new workflow and rebuilt team.
Ratings immediately doubled and, by episode ten, had more than tripled on the previous season—stabilising sponsors and securing the future of the format and brand.
Dick Smith had long sought to bring Australian Geographic to television, with several attempts by leading producers failing to gain traction. The footage existed, but the format and narrative structure had yet to land.
I was commissioned to re-conceive the format, restructure the story, and rebuild the pilot from the ground up. Following this, Dick approved the new direction and brought me on as co-producer and co-presenter.
During production, he undertook an uncommissioned hot-air balloon attempt across Australia. I recognised the potential in the footage, cut a 10-minute sizzle overnight, and delivered it to him the next morning. By 7am, the project was moving forward—eventually becoming a prime-time adventure documentary for the Seven Network and selling internationally.
Years later, Dick engaged me to create a television advertising campaign for his business—reflecting the trust built through our earlier collaboration.
Peter Kuruvita was commissioned by SBS to front a 10-part prime-time series filmed on location in Sri Lanka. While he brought a strong personal story, he was new to television, and the production company had no prior series experience.
I was brought in as series producer to design the format, mentor a first-time presenter, and deliver the production under challenging conditions.
The series rated strongly, launched a major on-screen career, earned a Logie nomination for best new talent, a Silver Tripod for cinematography, and was a finalist at the Banff World Media Festival.
Mark Olive received a federal government grant to develop a television series promoting Indigenous culture and tourism, and engaged me to design and deliver a format with international appeal.
Working closely together, we created a series that moved beyond traditional, didactic storytelling—bringing Indigenous and Western cultures together through food in a way that was inclusive, contemporary and engaging.
Outback Café screened internationally for years, established Mark as a global television figure, and exceeded the project’s tourism objectives.

The ASP World Tour broadcast required immediate leadership after the previous producer exited without handover. The event delivered daily international news packages and a major broadcast into 250 million homes—failure wasn’t an option.
Despite having no background in surfing, I stepped in, travelled to Japan at short notice, built trust with athletes and crew, and delivered consistent coverage under intense daily deadlines.
The production succeeded, I was invited back the following year, and when Andy Irons secured his third world title, I was granted exclusive access to his first feature interview.

Network 10 launched a prime-time reality series to compete with The Block, but the format faltered in its first week on air, placing the production under significant pressure.
I was brought in to produce and studio direct the live Sunday elimination shows, and within days assumed control of the full six-night-a-week production.
Through rapid structural and editorial changes, ratings stabilised and began to climb, building a loyal audience and allowing the series to continue—retaining sponsors and supporting future commissions for the production company.

More recently, I’ve worked across high-profile returning series and premium factual productions including The Block, Jamie Durie’s Future House, Iconic Australia, and House of Wellness, alongside a growing slate of bespoke, web-first content for brands.
Across broadcast and digital, I operate end-to-end—combining roles as series producer, director, shooter, interviewer, writer and editor—to deliver lean, high-quality content designed to cut through and perform across platforms.
Commissioned by Sydney Harbour Foreshore Authority.
Exclusive 4 part doco series commissioned by Portlap Surgery.
Web promotion commissioned by SBS Brand Partnerships Dept.
Animal welfare with Steve Austin
House Hero Profiles for Chemist Warehouse brand-funded TV.
Music Video Promoting Original Aussie Band
I am always learning new techniques and technologies, and my all-suffering family members (including dogs) usually find themselves starring in my experiments.
This was my first attempt at serious AI filmmaking. One old friend described it as 'a fever dream', others didn't understand it, and some thought it was funny and slightly disturbing. All reactions are valid, especially if they are driven by emotion; dare I say AI Arthouse???
We went fishing for Mahi Mahi and hooked a Marlin, so of course I had to turn it into an AI film.
This was part of an exploration of YouTube and social media algorithms. I concluded they are not worth pursuing as they stand. Outrage and LCD are what score the clicks. That is extremely limiting. But the search continues.
Let’s start with a conversation:
Ph: 0419 707 161 | ✉️ scott@scotttompson.com
🔗 LinkedIn | www.linkedin.com/in/scott-tompson-6b818519
ABN: 65 138 605 033
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