Jean-Claude Lafond, Chief Creative Producer, Acting CEO

Chief Creative Producer, Photographer/Cinematographer/Editor/Writer



Jean-Claude Lafond was born an Artist, raised in the small Northern Town of Timmins Ontario Jean-Claude was either playing the organ at Church or singing in the choir. His love for the arts exuberated throughout his life, composing his first full classical piece in grade 11 and by grade 13 wrote numerous Brass Choir compositions to operas. His love drew closer to photography as he studied at Humber College and then furthered his studies in the Music majoring in Composition and part of the Alumni.


After numerous apprenterships, Jean-Claude proceeded into taking private lessons in Film/Television studies with Ain Soodar professor at George Brown College. He became an Actor and was unionized as an ACTRA member but the love for the camera took over has he worked on several major commercials as a camera assistant then to D.O.P. True Value Hardware series, Casino Niagara series worked on the X-Men, Due South, Nikita. Then took his career teaching at Rogers Television in Durham Region where he worked and help produce the OHL for the Oshawa Generals, was involved in the production of First Local News, Daytime Television and produced our own independent series called The Million Dollar Makeover without the price tag which got National attention on its last episode.


Jean-Claude is also an accomplished Photographer, producing the photography for UMM Magazine, Canadian Idol CD's and many other publications. From his pool of talents Jean-Claude Lafond is also an accomplished Film/Television editor which is now getting much attention from his professional peers Barry Roden, Phil Pendry CBC News World. With his diverse pool of talents Jean-Claude has accomplished in his career it gives him a unique confidence to produce excellent Television because of his overall understanding of production. From Acting, Camera, Editing, Directing, Producing Jean-Claude continues to Master these talents and now his passion is passing on his mentors' traditions to a new generation of artists producing great television stories.

Timothy F H Doucette, Chief Creative Writer & Performance Arts Officer

Chief Writer and Performing Arts Officer


He was born and raised in Toronto, Canada. He attended Etobicoke School of the Arts, majoring in Drama and Creative Writing. In his mid- teens, he became restless with the “norm”, dropped out of high school and travelled west, to British Columbia, in search of his destiny and solace from the big city. He wandered the countryside, longing for answers, spending many years in seedy hotels, floating from one soup- kitchen to another, shipwrecked in the darkened back alleys of society, finally finding a home amongst fellow poets, madmen and dreamers. As a self taught Performance Artist, he has entertained on large stage venues such as Lollapalooza and as humble as the common street corner; in such places as Victoria, Vancouver, Montreal, Saint John, Bratislava, Prague, Nice AND Amsterdam… Timothy has returned home to Toronto with his wife and 3 sons. (Yes! THREE BOYS.)



His greatest desire, is to live the reason he was born.


His Dream is to empower you to live YOURS!


A son of a preacher, on a quest to know his destiny. Bitterness cuts deep when his family is excommunicated from a local church.

A war with God begins, lashing outward through his various artistic endeavors, haunted by demons of drugs and alcohol, scorched from the delusions of grandeur. In his mind he was already famous. It had all, ALL already happened.

Was he a writer, an actor, musician? Or an esoteric con-artist? An ego-maniacal monster in the making! Tormented from a re-occurring vision of death, the bullet going off in his head, exploding and vanishing in the night… Something had to change.Will he ever be united with that “still small voice” of God, the voice which had been calling him all his life? Is this path leading him to his appointment with time?

Joe Nutter, Chief Creative Producer & Head of Publicity

Joe Cool joined D.D.P. studios Inc. in 2011 to present being our main host for our D.D.P. Entertainment Report and also the host of his own live show called The Leopard Lounge based upon an upscale jazz club he ran during the late 1999 to 2001 called the The Leopard Lounge.


Continuing in his tradition and love for music of all idioms he pursued a career in broadcasting, has a host and radio host. His knowledge of Film/Television is very impressive and if Joe hasn’t seen it than most likely no one has. His elegant style of hosting makes every Artist and Person feel at ease and comfortable.

Come Hang Out at The Leopard Lounge on a Tuesday or a Saturday Night available on 


To contact Joe Cool to host your events or to request an interview please do not hesitate to contact him


As a Canadian I feel very Lucky and Cultured. I have had the chance to participate in some Great Festivals in Toronto and other Parts. Thinking is so much FUN! It's been an Exciting time for Me since joining DDP in 2012. I have been helping to Create as well as be Hosting Interviews, plus a couple of Radio Shows. "always working"


It sounds like I am busy? I am, but I am always available to come and be Host or be a part of an Event, Voice Work or just be a Guest. I do like being a Guest and having fun. Below, I have put up a few Videos to View.


"I laughed I cried"


You will feel the same........

Let Me know

Daniel Murphy, Million Dollar Decorator/TV Host/Jewellery Maker

Daniel J. Murphy is a TV Host, Designer, Interviewer and a founding member of D.D.P. studios.

You can see him in many DDP features including : The Million Dollar Makeover, In The ‘Hood, Be Your Own Designer and more!

Sammy Allouba, Actor/Associate Creative Producer/Assistant Editor

Sammy Allouba came to us about 3 years ago as an Actor for the production of Jesus Meets The Gay Man and since then he has been a great Apprentice in learning post production services and also creative his own series of PSA for the C.A.F.E. charity on all forms of Abuse.  A Great Artist whom continues to impress us at every turn.

Angie Nichols, Production Supervisor/Camera

Angie Nichols comes to us 4 years ago, as a Production Supervisor and Camera Assistant during the production of JESUS MEETS THE GAY MAN and continues till this day in helping with our DDP Entertainment Report as a Camera Person or Assistant Camera and Assistant Editor.   Her organisational skills have helped tremendously in the furthering our production here at D.D.P. studios Inc. 

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Phil Pendry, Cinematographer/Director



At 89 veteran Canadian cameraman, Phil Pendry has had – and is still having – an astonishing career in film and television. His is a career that dates back over 60 years and is full of wild tales and adventure from around the world.


Pendry started out as a movie-crazed 14 year-old who talked himself into a job as a second camera assistant on a Denham studio movie sets. In 1943, he recalls watching Nazi buzz bombs fall on London from the roof of a studio where Anthony Asquith was directing A Way To The Stars, starring Michael Redgrave and Stanley Holloway. He was also camera assistant on Noel Coward's The Way Ahead, and after the war, on the Peter Ustinov movie Private Angelo, among many others.

"One of the greats," is how distinguished ABC news anchor Peter Jennings described Pendry. "Everyone knows Phil," says documentary producer Harry Rasky (who last worked with Phil on the one-hour documentary Modigliani for TVO). "He's done everything, been everywhere and knows everyone. Even Marshall McLuhan wanted to talk with him." "Talk about six degrees of separation – this guy is one degree from countless celebrities during the past half century," marveled Bill Cunningham, the founder of Global Television News. "And don't forget the famous Bums film he did with Yoko Ono," adds Michael Maclear, who worked with Pendry in Vietnam, Africa and Europe.

Phil and Rodney Charters Cinematographer for 24 ABC

The tools of his trade are a cell phone, an aging Honda Civic, a room full of high-end television gear and an address book filled with contacts from around the world. Working with some of the best reporters in the business, Pendry has been a witness to many of the great international events of last 60 years. Among them: the three Israeli/Arab wars, the civil war in Northern Ireland, Vietnam, the wars of independence in Algeria, South Africa, Biafra and The Congo, along with a long list of Cold War-related events.

In Canada he shot stories for CTV's Maclear Series, W-5, Canada AM and Live It Up, and worked with as principle cameraman for the CBC's Moving On series (formerly The Disability Network). He also shot and directed an award-winning documentary entitled Little Mountain, a story about a disabled Aboriginal child. Also directed and photographed a 26 half hour series "Wandering Canada" on CBC, and 4 years as DOP for Direct TV in the United States, 50 half hour originals (Special Assignment )

Phil and Philip BloomThe list of people Pendry has worked with is a literal 'Who's Who' of T.V. hosts and correspondents. Many of themPhil and Tom Cochran made their own names roaming the world's hot spots in the early Sixties, including (in alphabetical order): Isobel Basset, Romeo Le Blanc Hillary Brown, Kingsley Lenin Brown, Stanley Burke, Martin Burke, Ken Cavanaugh, Henry Champ, Douglas La Chance, Don Cameron, John Chancellor, Jean Carpenter, George Clay, Adrian Clarkson, Ron Collister, Bill Cunningham, Gordon Donaldson, Alex Desfontaine, Abe Douglas, Barry Dunsmore, Tom Earl, Alan Edmonds, Duncan Elliot, Bob Evans, Mary Lou Finlay, Donald Gorden, Tom Gould, Agi Gabor, David Halton, Helen Hutchinson, Peter Jennings, Monika Jenson, Patrick Keatley, Alex Kendrick, Peter Kent, Bruce Phillips, Ralph Lucas, Ron La Plate, David Levy, Tom Leach, Jack McGaw, Robert MacNeil, James Minifi, Michael Maclear, Edward R. Morrow, Peter Murphy, Knowlton Nash, Don North, Norman De Poe, Jim Reed, Peter Riley, Peter Reynolds, Morley Safer, Bill Stevenson, David Suzuki, Charles Taylor, Peter Truman, Pamela Wallan, Patrick Watson, Ing Wong Ward, Charles Wasserman, Moses Znaimer.

Pendry has also met countless world figures and celebrities. He is a good friend of Yoko Ono, and first met her while working with Michael Maclear as a staff cameraman in the Tokyo bureau of CBC. Later in London, he shot Ono's famous Bums film, "Film No 4" using a windup Bolex camera, and also befriended John Lennon during that era.

Pendry is a confessed loner, but this didn't stop him from marrying three times and having numerous affairs with beautiful women all over the world. Recalls one former lover who remembers Pendry fondly: "Phil really knew how to take care of a woman – he lavished them with gifts, attention and tons of charm." Pendry gleefully admits to billing CBC for 'excess baggage' for the women he took on foreign assignments under the guise of 'sound assistants.' His experience shows that being in a war zone acts as a genuine aphrodisiac for some women.

Pendry knows how to enjoy life and has been richly awarded for his talent and experience by the television networks. "For someone with no formal education whatsoever, I think I've done pretty well," he admits. Age has not slowed Pendry down – he looks and behaves like a man at least 20 years his junior, and attributes his robust health to avoiding tobacco, drugs and alcohol, eating carefully and not drinking milk.

Quick to pHIL sHOOTINGembrace new technology, Pendry now uses a small, handheld video camera for most of his work. It's a far cry from the days when he lugged around a 35 mm film camera to shoot documentaries and newsreels for the March of Time, Pathé News and the National Film Board. No job is too small or too big for Pendry – one day he's working 'on spec' for a group of film students both as cameraman and mentor, and the next day he's off to South America and places like Machu Picchu, shooting stories for Newsworld International. And to this day, Pendry still works long hours and is constantly on the lookout for new assignments.

Introduction to his book now in development "A Slightly Different Point of View."

Absurd (adjective) – 1. ridiculously unreasonable, unsound, or incongruous

We're all familiar with the old adage, "the camera never lies." The truth is, however, that the camera actually does lie – and frequently. As far as the television viewer perceives, the idea that "seeing is believing" has a certain ring to it, like it should be one of the Ten Commandments. But as a cameraman having covered 40 different war conflicts in as many countries, and having seen more than one side of any given story, my experience is that "seeing is very rarely believing."

For example, if you have a dozen people walking down the road and film them from a half-kilometer back with a long lens, it appears as though they are simply walking down the road. But if you film just in front of them, close to the ground with a wide-angle lens, they look like a rampaging mob. It's a form of optical illusion, many of which are used by camerapersons all over the world to tell a story with a particular slant to it.

I tend to look on the war coverage I have filmed as a theatre of the macabre. Watching events through a viewfinder divorces one from the reality of what you are seeing – it's only when you take your eye away that the real story becomes clear. The camera tends to act as a barrier that deflects the emotional magnitude of a scene – otherwise how could someone record the blood and death of a war zone without being physically shaken by the events? In the end, we have to anaesthetize our own visual perception to a certain degree, along with that of the viewer.

My first recollection of hiding behind a camera was at the end of World War II after being conscripted into the British Army from 1944 to 1948, and posted as a photographer for the Allied War Crimes Commission in Germany. I accompanied a pathologist to the Bergen-Belsen concentration camp to collect evidence for the Nuremberg Trials of Allied POWs who had been imprisoned their or murdered by the Germans. Upon entering the camp, we were surrounded by dozens of what appeared to be skeletons dressed in rags. My first and only reaction was not one of pity or anger, but complete embarrassment – it was like being the only person on a stage with the curtain rising, standing there alone and looking out at a huge sea of expressionless faces, who were neither applauding or moving. Here were these dozen or so skeletons needing – literally dying – to communicate, and I remember lifting up my camera and being unable to continue. The riveting scene held me spellbound and I was unable to move for what felt like an eternity, simply hoping that the scene would just disappear or that the driver would move on.

If a scene is unbelievable enough, it tends to transfix you to the spot. In all of my years behind the camera, this has only happened to me twice: the first was in the Bergan- Belsen concentration camp, and the second was in the early Sixties while standing on the side of a mountain during a volcanic earthquake on the southern island of Japan. As I stood filming the eruption, the road split between our location and the mountainside, opening up about two feet and then closing up again. It was like gazing into the abyss, and I found myself staring at the phenomenon like a deer caught in a hunter's spotlight just before being shot. Nobody in our group moved or spoke when the gap finally closed – it was like we were dumbfounded and couldn't believe what we had just seen.

I have covered over three dozen wars and have always been able to shoot footage of the conflicts despite the horror of the situation. But on these two occasions the enormity of the moment literally shocked me. When I think of Belsen, I am always reminded of the feelings of helplessness and frustration that came from being unable to change anything. However, unlike the crack in the road in Japan, which was an act of nature, Belsen was an act of man. And when we later interrogated hundreds of German POWs, they all protested their innocence and denied any knowledge of the existence of the camps. But any crime is imaginable as long as you don't commit it yourself, and any draconian law is permissible if you don't have to enforce it personally.

Conflicts and Wars all have a intriguing assimilatory as they seem to be a normal part of the

human existence, since the dawn of time men and women have decided to settle their differences by the use of force. After witnessing approx 40 of these absurdities over the last 60 years, the underlying reasons have been ethnic and religious differances, with each combatant having God firmly intrenched on their side. A perfect example of this was the loyalty oath demanded by Hitler of all his solders, which began "I swear by God this sacred oath"

My intention for this book is to highlight a period in television news gathering that we will never witness again. It was a romantic period, where trench-coated reporters and their camera crews roamed the world as rogue, free spirits in pursuit of the stories of the day. Their network bosses were a long way off, unlike today where satellites, direct live television and cell phones tie journalists closely to their home bases and provide an instant broadcast of the evening news. However, in those days, we had a lot of latitude in both what and how we reported, along with the chance to offer the viewer an opportunity to witness the events as they otherwise might not have seen them

Virginia Lee. Artist/Chief Financial Consultant

Chief Financial Officer, Visual Artist and Painter

Born and raised in Hong Kong, Virginia Lee was trained in traditional Chinese painting techniques from a very young age. She moved to Toronto, Canada as a teenager, studied at OCAD and graduated from York University.

She has won numerous painting awards here and abroad, including an access and development grant from the Ontario Art Council in 2014. Her works were auctioned alongside Norval Morriseau in the spring of 2013.


Her primary medium is paint. She blends charcoal, ink, acrylic, oil, as well as found objects, textiles, paper balloons, lights, video monitor and her own invented kinetics to her canvases. The results blur the boundaries of painting as a medium with sculptures and installations.

She is currently a resident artist at the Living Arts Centre in Mississauga where she explores her personal stories of identity and belonging as a Sino-Canadian.

Her recent works are large scale interdisciplinary pieces that includes video, documentary photography and performances.

Paul Fee (aka Fee Gunn)

aka Fee Gunn
Photographer, artist, lumière voleur


1975 Fee got his first camera that consisted of a light meter and nothing else, with no formal training he struggled to find his groove while learning to master light. Fast forward to the digital age the distaste for shooting people was strong until the circus came to town, more precisely Fee found Zero Gravity Circus a Toronto circus group that held monthly cabarets. Since 2008 Fee has been capturing the circus, the splinter communities surrounding it and especially clowns, not your creepy garden variety birthday clowns but true clowns. At least 3 works are in pre-production phase to show clowns like never before. Fee has compiled an outstanding, eclectic catalogue of subject matter as the house photographer for Toronto's Lunacy Cabaret and as a multimedia artist at Interactive Arts , a major contributor to the local burning man community as well as a solo multimedia artist.


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Phone: 647-857-9212

Address:  65 Spencer Ave, Unit 202

                 Toronto ON  M6K 2J7