An Asset with Soul: Paul Mortlock’s Canon FD Story with TLS

Paul Mortlock GBCT entered the film and television industry at just 17, with no formal training, just a determination to find a meaningful career. Starting out at Manchester-based TV facilities company Dragon TV, he received hands-on training and learned from seasoned cinematographers. That early exposure laid the foundation for his future as a Director of Photography.

“I was lucky to get that on-the-job training so early. That kind of grounding shaped how I work today.”

Over the years, Paul has built an impressive and diverse portfolio. His top-line work includes ‘Sons of Ecstasy’ for HBO, the indie feature ‘Departures’ for Punk Spirit Films (Eyre/Ely), and ‘Housewarming’ for Liam White, which won at Raindance 2024.

Discovering the Canon FD Look and Feel

Paul first heard about the Canon FD lenses when TLS began rehousing vintage glass, particularly as a way to expand the much-loved K-35 set. Intrigued, he rented a set and was immediately struck by their unique texture and character, especially on large-format sensors.

“I’d always loved the K-35s. When I found out the FDs could extend that aesthetic, I gave them a try and absolutely loved them, especially on large-format cameras like the LF and Sony Venice.”

His admiration for the look led him to build his own custom set, buying lenses slowly over time from eBay and camera shops, and sending them to TLS for rehousing.

Why TLS? Trust and Build Quality

The decision to partner with TLS wasn’t just about proximity or convenience. Paul had previously used TLS’s rehoused K-35s and remembered the build quality.

“I’d seen rehousing work from a few companies, but TLS always stood out; robust, solid, professional. If I’m investing in something like this, I want it done right. And TLS do it right.”

His confidence in TLS was also rooted in past experience. Years ago, he had a zoom lens serviced by TLS and was thoroughly impressed with the results.

The Canon FD Set: A Passion Project Turned Professional Tool

Paul’s FD rehousing journey began during the COVID lockdowns. What started as a passion project quickly turned into a valuable part of his professional toolkit.

“I couldn’t afford to buy a full set of high-end cine lenses outright. But with the FDs, I could build it gradually, lens by lens. Now I’ve got a set from 18mm to 135mm.”

And these lenses aren’t just for his own use. Rental houses and production companies in both Manchester and London frequently hire them from him.

Projects Shot on Canon FD Lenses

Paul has used his rehoused Canon FDs across a wide range of formats and genres—from commercials and short films to music videos and feature dramas.

One of his most notable credits includes second unit work on the ITV drama Ridley, where he used his own kit. He also shot a hybrid-format indie feature film called Departures, blending digital, 35mm film, anamorphic, and FDs. The film is set for theatrical release in both the US and UK.

He recalls a recent single-take music video, shot entirely on the FD 35mm, chosen specifically for its distinctive flaring and rainbow-like character that enhanced the vintage vibe. The FDs also appeared in the end credits of a feature shot on 35mm film, and will be used on an upcoming commercial campaign for a Formula 1 helmet brand.

“They’re incredibly versatile lenses. I use them on everything from film to digital, short form to long. They’ve got a texture that just works.”