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S T E V E B U R G E S S STEADICAM OPERATOR + 1ST AC 24 Stone Road, Broadstairs, Kent, CT10 1DZ + 44 7968 393 047 [email protected] Steve has extensive camera department experience and over the last couple of years has also trained as a Steadicam Op, (Tiffen Gold Course). Steve completed his first feature as Steadicam Op in 2019. Steve continues to work as Steadicam Op, Operator and 1st AC and also works regularly in Commercials. References available upon request. TOP GUN (2019) Additional Photography A Cam DOP: Claudio Miranda MISSION IMPOSSIBLE 7 (2019) Camera Tests DOP: Fraser Taggart THE OBSCURE LIFE OF THE GRAND DUKE OF CORSICA (2019) Timothy Spall independent feature film Steadicam/Operator DOP: Ben Ziryab MISSION IMPOSSIBLE 6 (2019) Paris Main Unit / Aerial Unit New Zealand 1st AC DOP: Rob Hardy OUTLAW KING (2018) C Cam DOP: Barry Ackroyd WILL (2017) TV Series – 1st AC B Cam DOP: John De Boorman GRIMSBY (2016) 1st AC + Operator DOP: Fraser Taggart & Sebastian Belnkov ROGUE ONE (2016) 1st AC, 2nd Unit DOP: Fraser Taggart OUR ROBERT OVERLORDS (2014) 1st AC DOP: Fraser Taggart THE EDGE OF TOMORROW (2014) 1st AC 2nd Unit DOP: Fraser Taggart GAME OF THRONES (2013) TV Series - 1st AC B CAM DOP: Matt Jensen 47 RONIN (2013) 1st AC 2nd Unit DOP: Fraser Taggart THE BLETCHLEY CIRCLE (2012) TV Series - 1st AC DOP: John Pardue XMEN FIRST CLASS (2011) 1st AC B Cam DOP: John Mathieson MOBY DICK (2011) 1st AC B Cam DOP: : Simon Richards YOUR HIGHNESS (2011) 1st AC + Operator DOP: Fraser Taggart PRINCE OF PERSIA (2010) 1st AC A CAM DOP: John Seale THE WOLFMAN (2010) 1st AC 2nd Unit DOP: Fraser Taggart HIM AND HER (2010) TV Series DOP: Richard Mott THE WOLFMAN (2010) 1st AC 2nd Unit DOP: Fraser Taggart NATIONAL TREASURE (2007) DOP: Fraser Taggart 1st AC 2nd Unit STARDUST (2007) 1st AC 2nd Unit DOP: Fraser Taggart THE DA VINCI CODE (2006) 1st AC 2nd Unit DOP: Fraser Taggart DEAD FISH (2006) 1st AC DOP: Fraser Taggart TROY (2006) 1st AC C CAM 2nd Unit DOP: Fraser Taggart BRIDGET JONES THE EDGE OF REASON (2004) 1st AC – Ski Unit DOP: Adrian Biddle KEEN EDDIE TV Pilot – 1st AC DOP: Ben Seresin CHEEKY (2003) 1st AC DOP: Oliver Stapleton CONSPIRACY OF SILENCE (2003) 1st AC DOP: Jason Lehel AMERICAN GIRL (2002) 1st AC Additional Camera DOP: Andrew Dunn TOMBRAIDER (2001) DOP: Ben Seresin & 1st AC Peter Menzies Jnr. TOMORROW NEVER DIES (1997) 1st AC A CAM DOP: Robert Elswit LORENZO’S OIL (1992) 1st AC Africa Shoot DOP: John Seale MRS DALLOWAY (1992) 1st AC A Cam DOP: Sue Gibson 1492 (1992) 1st AC BCAM DOP: Adrian Biddle KAFKA (1991) 1st AC DOP: Walt Lloyd MISTER JOHNSON (1990) 1st AC DOP: Peter James SCANDAL (1989) DOP: Mike Molloy 1st AC GORILLAS IN THE MIST (1988) DOP: John Seale 1st AC .

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Métier : Directeur De La Photo
Métier : Directeur de la photo Livre 1.indb 1 28/11/2013 10:39:23 VilMoS ZSiGMond CHriSTopHer doyle MiCHael BallHauS JaMeS wonG Howe ed laCHMan rodriGo prieTo CaleB deSCHanel raoul CouTard ViTTorio SToraro CHriS MenGeS dion BeeBe JaCk CardiFF owen roiZMan Barry aCkroyd ellen kuraS SVen nykViST peTer SuSCHiTZky SeaMuS MCGarVey JaVier aGuirreSaroBe MaTTHew liBaTiQue Freddie younG X-FCVN-LVBK-001-007-US.indd 2 02/08/2011 15:38 Mike Goodridge et Tim Grierson Métier : Directeur de la photo Quand les maîtres du cinéma se racontent Traduit de l’anglais par Jean-Louis Clauzier et Laurence Coutrot 9782100705016-Goodridge-001-005.inddX-FCVN-LVBK-001-007-US.indd 3 3 28/11/201302/08/2011 13:50:32 15:38 L’édition originale de cet ouvrage a été publiée en 2012 au Royaume-Uni par ILEX sous le titre FilmCraft: Cinematography Copyright © 2012 The Ilex Press Limited 210 High Street Lewes East Sussex BN7 2NS © Dunod, Paris, 2014 pour la traduction française ISBN 978-2-10-070501-6 Traduction : Jean-Louis Clauzier et Laurence Coutrot Révision du texte français : Emmanuel Dayan Couverture : Misteratomic Mise en page : Arclémax Imprimé en Chine Toute représentation ou reproduction intégrale ou partielle faite sans le consentement de l’auteur ou de ses ayants droit ou ayants cause est illicite selon le Code de la propriété intellectuelle [Art. L 122-4] et constitue une contrefaçon réprimée par le Code pénal. Seules sont autorisées [Art. L 122-5] les copies ou reproductions strictement réservées à l’usage privé du copiste et non destinées à une utilisation collective, ainsi que les analyses et courtes citations justifiées par le caractère critique, pédagogique ou d’information de l’œuvre à laquelle elles sont incorporées, sous réserve, toutefois, du respect des dispositions des articles L 122-10 et L 122-12 du même Code, relatives à la reproduction par reprographie.
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Wmc Investigation: 10-Year Analysis of Gender & Oscar
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British Society of Cinematographers
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ERIK MESSERSCHMIDT, ASC Director of Photography
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Elegies to Cinematography: the Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars Jamie Clarke Southampton Solent University
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Sven Vosloo Sasc
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Camera Operator of the Year Award
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J a N U a R Y 2 0 1 2 $5.95Canada $6.95
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Cinematic Evolution: What Can History Tell Us About the Future?
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2013 NOMINATIONS (Presented in 2014)
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Nommdfeaturesformatslist.Cwk (WP)
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ARRI ALEXA Brochure
THE MOST COMPLETE DIGITAL CAMERA SYSTEM EVER BUILT WELCOME TO THE FAMILY Where it all began: ALEXA is compact and The ALEXA Plus upgrade adds built-in affordable, with ultra-fast workflows and image wireless controls, expanded connectivity and the quality akin to 35 mm film ARRI Lens Data System 2 ALEXA is more than just a camera; it is a system platform, a family. From its very beginnings, the ALEXA family has adapted and expanded. Just as the initial model was a studied reaction to the needs of the Combining technical innovations with methodical logic, it has grown into industry, subsequent models and features have evolved in response a complete production system that can accommodate all types of to the changing landscape of digital production. workflows and all styles of filmmaking. With the camera head separated from The flagship of the range: the body, ALEXA M is optimized for 3D rigs and ALEXA Studio features an optical viewfinder, action or aerial shots a 4:3 sensor and a spinning mirror shutter 3 ALEXA IS A “I’VE BEEN A CAMERAMAN FOR MORE THAN 30 YEARS AND THIS IS THE FIRST QUANTUM LEAP IN FILMMAKING TECHNOLOGY I’VE SEEN SINCE I STARTED OUT - EVERY OTHER CHANGE HAS BEEN INCREMENTAL.” Cinematographer Robert McLachlan, CSC, ASC 4 A camera that changed everything Since the moment it was launched, ALEXA has had a profound impact on the industry, redefining the limits of digital motion picture capture with efficient workflows and incredible image quality. Adoption of the system has been widespread and swift, with the cameras in use on every possible type of production, from episodic TV shows, documentaries and high-end commercials to big- budget feature films and prestigious, international drama series.
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