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Welcome to PB Military Technical Adviser to Film and TV. We supply award winning Military Technical Advisers and Action Specialists. Team PB have been tasked to advise and train Cast on some of the largest and most diverse productions in Film, Television, and the computer game industry.

PB Military Technical Advisor to Film and TV provide industry trained Ex Military and Police professionals as advisors with a wide range of skills and experience. Through our Military and Police network we can quickly source trained military supporting artists where training and preparation time is limited.

Our sole aim is to provide vetted ex serving military specialists with an understanding of film production requirements who can provide military solutions and support to the production team.

From Script Consultancy, through shooting, to project completion. Training individual Cast to supporting Artists and Stunt teams on Boot Camps for large or small battle formation set pieces.


Script Consultancy: 24/7 Advice to Writers, Producers, Directors, Art Dept. and all necessary crew with technical detail and terminology.

Weapons safety training, tactics, and fitness training to lead cast, specific to their roles.

Conduct Bootcamps, assisting with the selection and training of extras suitable for the production.

Director Support and advice in correct military protocols and contextual behaviour.
Assisting stunt coordinators on special action sequences to ensure realism is achieved in a safe environment.

Deliver a realistic look from present day battlefield drill and tactics to historical battles thorough the ages. 

Military orientated computer game development advice and motion capture training.

Languages Spoken: English

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Twitter @PaulBiddiss



Production Type Year Role
Gladiator 2 Film 2023 Military Technical Advisor
Wonka Film 2023 Military Technical Advisor
Indiana Jones 5 Film 2023 Military Technical Advisor
The Flash Film Military Technical Advisor
Kitbag (Napoleon) Film Military Advisor
Palomino TV Military Advisor

Latest news

Indiana Jones 5’: How a Military Adviser Helped James Mangold Shoot Authentic Battle Scenes

Disney’s “Indiana Jones and the Dial of Destiny” features some of the titular hero’s most loathsome enemies — the Nazis — and it was up to military adviser Paul Biddiss to train over 300 extras to ensure the film’s battle scenes looked authentic.

This fifth installment of the franchise sees James Mangold direct Harrison Ford’s Indiana Jones. The year is 1969, and this time, Nazi scientist Dr. Voller (Mads Mikkelsen) is on a mission to seek out the Dial of Destiny, which he believes will “correct” Hitler’s mistakes. Fact, fiction and fascists are set against the backdrop of the space race as Voller aims to go back in time and kill Hitler, take over the Third Reich and lead Germany to victory.

Biddiss, whose credits include “The Flash,” “Wonder Woman” and “1917,” was tasked with advising Mangold and the crew on all the battle scene aspects. His work ranged from coaching extras on how to move and use different weapons and tactics, to consulting on the uniform.

As a military advisor, his job began with the script, like with many crew roles. He says two things stood out immediately: “There were soldiers from different eras. The first were the Nazis, and the second were in the climactic battle scenes.”

Biddiss helped cast the 300 extras needed for the scenes, finding actors who could both portray soldiers and ranked officials and were physically able to meet the demands of the scenes. For the film’s opening sequence, Biddiss’s first focus was weapon safety.

“I’ll bring small bunches of extras in at a time, and we begin with the weapons. The do’s and don’ts,” Biddiss says. With on-set weapon safety in the spotlight due to the “Rust” tragedy that resulted in the death of cinematographer Halyna Hutchins in 2021, this is a vital part of Biddiss’ work. “It began with discipline in weapons safety and weapon handling.”

With the film shooting on location in the U.K., there were stricter protocols surrounding guns and weapons than there are in the U.S. Even if the weapon is a replica, Biddiss says, “We covered basics — making sure the weapon was never left unattended, never pointing a weapon and never having your finger on the trigger.”

Once Biddiss was done with the basic weapon training drill, he moved on to teaching the actors “how a German soldier from that era would march with a weapon, salute and even run with it.”

Biddiss also consulted with costume designer Joanna Johnston and worked with her department in dressing the extras. “I would go and say, ‘This guy would make a good extra, and this one would be a good officer’ and work through the different ranks,” he says.

Once cameras were rolling, Biddiss would watch the action unfold on a monitor and ensure that what was being shot was both authentic and served the storyline.

The main weapons in “Dial of Destiny” were German submachine guns, which Biddiss says are “always a favorite for the ‘Indiana Jones’ films.” But for this particular movie, “the anti-aircraft guns were the key weapons” as seen in the film’s climax, when Voller and his Nazis steal and use the Dial to head back to 1939, but get taken back to 213 B.C. and find themselves at the Siege of Syracuse instead. Biddiss stresses, “There was no actual firing from any blanks or section 5 firearms, so it was all very safe.”

For the siege, Biddiss, who is also working on “Gladiator 2” with Ridley Scott, taught the extras how to use a Gladius, which is a Roman sword. “I trained them on how to use a scutum, a shield and spears,” he says. “We talked about and went through drills and various tactics they could use.”

And did he get to work with the film’s leading man?

“It was brief,” Biddiss says. “When Indy is going in for his integration, I worked with him and Mads, but it was nothing to do with weapons, more about conduct under capture.”


Why do I need a military adviser?


Paul BIddiss Paul Biddiss is one of the most high-profile military advisers working in film and TV production today.

With more than 24 years’ global deployment experience within the British Army, Paul has spent the decade since he left the army as a specialist adviser on feature film and HETV dramas, as well as providing technical surveillance and close-protection advice and services for private clients in the industry.

Paul’s extensive credits include: Cyrano, Strike Back, Invasion, Foundation, 1917, Pennyworth, Gangs of London, Peterloo, Vanity Fair, War and Peace and Murder on the Orient Express. He is also closely involved with the video game industry, training motion capture artists, most recently working on Sniper Elite 5.

Here Paul explains just why having a technical military adviser on a production is so crucial for authenticity and safety.

Pre, Pre-Production
Ideally, I should be brought on to a production as early as possible. On some shows I attend the writer’s room, helping to make the stories authentic and help save all departments weeks trying to research for the correct military equipment or costumes.

Having a military background I have the relevant knowledge to know - off the top of my head during a quick chat with contacts – how to source what is required very early.


Once the script is complete I will add further notes to help the action run realistically within the story unfolding. I will work closely with the stunt co-ordinator, hair and make-up, costume designer, props department, FX departments and armoury department.

Basically I make life easier for each department during prep as they can simply throw the military questions my way for a quick response, which saves them time and money from their respective department’s budgets. Sometimes, HoDs will not have a clue where to look, or exactly what they’re looking for, and Google is not always your friend. 


Boot Camps
Based on the script requirements, I will formulate a training programme/boot camp along with risk assessments. The risk assessment will involve every aspect of the training from the area being used and the weather conditions to the equipment needed to meet the task.

The boot camp will sufficiently prepare the cast, stunts and supporting artists on how to move tactically, and how to use weapons realistically and safely for the period being portrayed in a safe, controlled environment.

When required I will arrange a one-on-one fitness and weapons safety programme to physically and mentally prepare the cast for their roles.


Before any boot camps for supporting artists I run a day’s selection programme to ensure we get the right people for the roles, and who are physically and mentally robust before investing time and money in training them for the roles.

This also helps avoid any costly litigation cases as we can identify anyone with any health issues before we start any strenuous activity. I have been on a set where an extra has tried to sue a production for loss of earnings, claiming he was injured during training. However, his injury was historic and the case thrown out, but more time was wasted.


Last-minute training and specialist performers
Sometimes there isn’t time for such pre-shoot training, so I have lists of specialist performers I have trained in the past whom I can call on for specific roles. The only requirement being a 20-minute ‘remind-and-revise’ training session just before the scenes take place which can save a lot of heartache for the crowd 2nd AD. 

My primary role is to support the production and to provide realistic solutions for the director from a military perspective. Even when artistic licence is required there’s always a plausible solution to still make it authentic.

All departments will require my help at every stage of the filming process. This can range from advice on issuing the cast and extras with the right weapons and equipment for their roles to keeping an eye on the morale and welfare of the extras, which is equally important if a production has invested time and money in training them all.

If you have 500 extras trained to perform a specific drill movement it can take just one untrained extra to ruin the whole shot if he is not up to speed. 


Once wrapped, my job does not stop. I will be asked further questions from the FX and sound departments. I attend ADR [automated dialogue replacement] sessions and at times am asked to check the theatrical poster to make sure there are no mistakes.

In Summary
There is a huge amount of responsibly on the shoulders of a military technical adviser and you need to have very thick skin. Get it wrong and you will be savaged for it, in particular by those in the military community.

Even when it’s not your fault and you were only brought in on the day of the shoot without any other input, they will not understand and say, “Who was the military adviser on that?” 


With many thanks to Paul Biddiss for his help in compiling this article.

Photo credits: Tan Seow Jong, Paul Biddiss and team at PB Military Technical Adviser.