Gary Hutchings Key Grip and Equipment Supplier Windward, Terrace Road North, Binfield, Berks, RG42 5JG, UK Home

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Gary Hutchings Key Grip and Equipment Supplier Windward, Terrace Road North, Binfield, Berks, RG42 5JG, UK home +44 (0)1344 457324 mobile +44 (0)7976 736757 email [email protected] Key Skills / Experience • Over 30 years’ experience working worldwide in Film • Level 3 advanced Grip NVQ qualified • Member of Guild of British Camera Technicians and BECTU Grips branch TITLE DATE CAPACITY DoP Bohemian Rhapsody 2017 Key Grip Tom Sigel The Human Voice (short) 2017 Key Grip Seamus McGarvey Phantom Thread 2017 UK Grip Paul Thomas Anderson LIFE 2016 Key Grip Seamus McGarvey The Conjuring 2 2015 Key Grip (UK) Don Burgess The BFG 2015 Key Grip (UK) Janusz Kaminski Pan 2014 Key Grip Seamus McGarvey The Imitation Game 2013 Key Grip Oscar Faura Edge of Tomorrow 2012/13 Key Grip Dion Beebe Anna Karenina 2011 Key Grip Seamus McGarvey The Dark Knight Rises 2011 Best Boy Grip (UK) Wally Pfister RA.One 2010 Grip Nicola Pecorini Clash of the Titans 2009 Key Grip (2nd Unit) Martin Kenzie Nowhere Boy 2009 Key Grip Seamus McGarvey Brightstar 2008 Key Grip Greig Fraser Bond 22 2007 Key Grip Palio Unit Roberto Schaefer Mr Beans Holiday 2006/7 Key Grip (UK) Baz Irvine Atonement 2006 Key Grip Seamus McGarvey Risk Addiction Basic Instinct 2 2005 B camera Grip Gyula Pados Where the Truth Lies 2004 Key Grip (UK) Paul Sarossy Hitch Hikers Guide to The Galaxy 2004 VFX Model unit Rick Mietkowski Sahara 2003/4 Key Grip Seamus McGarvey Tomb Raider 2 2002/3 Key Grip David Tattersall To Kill A King 2002 Key Grip Eigil Bryld TITLE DATE CAPACITY DoP The Hours 2001 Key Grip Seamus McGarvey Tomb Raider 2000/1 Key Grip Peter Menzies Jnr. Enigma 2000 Key Grip Seamus McGarvey Quills 1999 Key Grip Rogier Stoffers The Haunting 1999 Key Grip (UK) Walter Lindenlaub The Closer You Get 1998 Key Grip Robert Alazraki Tomorrow Never Dies 1997 Pre title sequence Robert Elswit The Commissioner 1997 Key Grip (UK) Witold Stok The James Gang 1996 Key Grip Ben Seresin Smilla's Sense of Snow 1996 Key Grip Jorgen Persson Pinocchio 1995 Key Grip Juan Ruiz-Anchia The Scarlet Letter 1994 Key Grip Alex Thomson Two Deaths 1994 Key Grip Witold Stok The Phoenix and The Magic Carpet 1993 Key Grip Derek Browne Lady Chatterley (TV Drama) 1992 Key Grip Robin Vidgeon The Crying Game 1991 Key Grip Fred Elmes / Ian Wilson The Big Fish (Short) 1991 Key Grip Robin Vidgeon Alien 3 1991 Key Grip 2nd Unit Paul Beeson / Nic Morris Paper Mask 1989 Key Grip Nat Crosby Nightbreed 1989 Key Grip Robin Vidgeon Work Experience (Short) 1988 Key Grip Robin Vidgeon Indiana Jones and the Last Crusade 1988 Key Grip 2nd Unit Paul Beeson Hellbound 1988 Key Grip Robin Vidgeon Madam Souzatska 1987 Key Grip Nat Crosby Friendships Death 1987 Key Grip Witold Stok Hellraiser 1986 Key Grip Robin Vidgeon Clockwise 1985 2nd Grip Main Unit John Coquillon .

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Tom Kerwick Key Grip
Tom Kerwick Key Grip ----------------------------------------------------------------------------------------- 122 Stethem Dr. Centereach, NY 11720 516-662-7655 E-mail: [email protected] Qualifications: 30 years experience as grip on motion pictures, Episodic TV, and commercials. Member of Local 52 IATSE Work History: Criminal Justice (2012) Key Grip Director: Steven Zaillian Director of Photography: Robert Elswit Gotham (2012) Key Grip Director: Francis Lawrence Director of Photography: Jo Willems The Avengers (2011) Key Grip NY Director: Joss Whedon Director of Photography: Seamus McGarvey Lola Versus (2011) Key Grip Director: Daryl Wein Director of Photography: Jakob Ihre Being Flynn (2011) Key Grip Director: Paul Weitz Director of Photography: Declan Quinn We need To talk about Kevin (2010) Key Grip Director: Lynne Ramsay Director of Photography: Seamus McGarvey The Beautiful Life - TV Series(2009) Key Grip Directors: various Director of Photography: Craig DiBona Twelve (2009) Key Grip Director: Joel Schummacher Director of Photography: Steve Fierberg Everyday (2009) Key Grip Director: Richard Levine Director of Photography: Nancy Schreiber Private Lives of Pippa Lee (2008) Key Grip Director: Rebecca Miller Director of Photography: Declan Quinn Rock On (2008) Key Grip NY Director: Todd Graff Director of Photography: Eric Steelberg For One More Day (2007) Key Grip Director: Lloyd Kramer Director of Photography: Tami Reiker Babylon Fields- TV (2007) Key Grip Director: Michael Cuesta Director of Photography: Romeo Tirone The Bronx is
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ASC 100Th Reel 30-Second
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Friendly Fire, It's Only Natural to Pranica Praise Its Director the Most
Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript. 00:00:00 Music Music Tense string music. 00:00:01 Adam Host When we watch a great film on Friendly Fire, it's only natural to Pranica praise its director the most. It's easy to do, and every critic does it, from the film reviewers in the newspaper to the Academy of Motion Picture Arts and Sciences. But you and I, and those same directors, all know that it takes a video village to bring a film from the page to the screen to the stage accepting an award. Personally, I think it's the editors that get the shortest shrift in these cases. But the person who's often just as responsible as a director for how a film looks and feels is the cinematographer. Which is what makes the partnership between they and the director so crucial in filmmaking. If a director is lucky, they form a bond with one for most of their oeuvre. Paul Thomas Anderson and Robert Elswit. Spielberg and Janusz Kamiński. Christopher Nolan and Wally Pfister. And sometimes you'll get some cinematography polyamory. Oliver Stone, Quentin Tarantino, and Martin Scorsese share Robert Richardson. Of course a counterpoint to this film paper is that Kathryn Bigelow has worked with many different cinematographers over the years. Roger Deakins, on camera for Sam Mendes's 1917, is widely considered to be one of the greatest and most influential cinematographers in the history of film.
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ABSTRACT The Cinematography of Closet Memories Robert Oei, M.A. Advisor: Christopher J. Hansen, M.F.A. The cinematography of a film heavily influences the audience’s mood and their perception of tension. The way a director of photography uses lights and the camera can enhance or destroy the moments of a film a director has built. Keeping this knowledge in mind, the cinematography of Closet Memories uses film noir lighting, a mixture of handheld and smooth camera work, and other techniques to maintain the emotional content of the film’s scenes. The Cinematography of Closet Memories by Robert Oei, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James Kendrick, Ph.D. DeAnna M. Toten Beard Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School Copyright © 2013 by Robert Oei All rights reserved TABLE OF CONTENTS Chapter One: Introduction ..................................................................................................1 Chapter Two: Literature Review .........................................................................................6 Chapter Three: Methodology .............................................................................................14 Scene 1 and 2 ........................................................................................................15
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• ASC Archival Photos
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CHAPTER SEVEN Elegies to Cinematography: The Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars Jamie Clarke Southampton Solent University Introduction In 2013, the magazine Blouinartinfo.com interviewed Christopher Doyle, the firebrand cinematographer renowned for his lusciously visualised collaborations with Wong Kar Wai. Asked about the recent award of the best cinematography Oscar to Claudio Miranda’s work on Life of Pi (2012), Doyle’s response indicates that the idea of collegiate collaboration within the cinematographic community might have been overstated. Here is Doyle: Okay. I’m trying to work out how to say this most politely … I’m sure he’s a wonderful guy … but since 97 per cent of the film is not under his control, what the fuck are you talking about cinematography ... I think it’s a fucking insult to cinematography … The award is given to the technicians … it’s not to the cinematographer … If it were me … How to cite this book chapter: Clarke, J. 2017. Elegies to Cinematography: The Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 105–123. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.g. License: CC-BY-NC-ND 4.0 106 Collaborative Production in the Creative Industries I wouldn’t even turn up. Because sorry, cinematography? Really? (Cited in Gaskin, 2013) Irrespective of the technicolor language, Doyle’s position appeals to a tradi- tional and romantic view of cinematography. This position views the look of film as conceived in the exclusive monogamy the cinematographer has histori- cally enjoyed on-set with the director during principal photography.
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Arri Rental's Alexa 65 Camera System Gains Wide
Contact: ARRI Rental US Brigitte Wehner +1 212 757 0906 (office) [email protected] ARRI Rental UK Michelle Smith +44 1895 457 100 (office) [email protected] ARRI Rental Germany Andrea Rosenwirth +49 89 3809 1240 (office) [email protected] FOR IMMEDIATE RELEASE ARRI RENTAL’S ALEXA 65 CAMERA SYSTEM GAINS WIDE POPULARITY AND NEW FUNCTIONALITY (IBC 2015, Amsterdam) – Top cinematographers are taking advantage of the ALEXA 65’s exceptional image quality for major feature films, while updates are announced that will extend the capabilities and appeal of the system still further. Offering a complete large-format solution for high-end motion pictures, the ALEXA 65 system comprises a 65 mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools. Interest in the system has spread rapidly, with leading filmmakers pressing to use it on major feature films and IMAX announcing that it has selected the ALEXA 65 platform as its digital option for 2D IMAX productions. Available exclusively through ARRI Rental, the ALEXA 65 has already been supplied to numerous high-profile projects, some using it as the main unit camera throughout production and others using it as a specialist camera for sequences that require extreme levels of image quality. Rogue One: A Star Wars Story, shot by Greig Fraser ACS, ASC, has been utilizing the ALEXA 65 as its main unit A, B and C-cameras. Before that, Stuart Dryburgh ASC, NZCS captured with ALEXA 65 on The Great Wall, using it as his A and B-cameras on main unit. The first production to use the ALEXA 65 and to hit theaters was Mission: Impossible – Rogue Nation.
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Circ Cine Ve 03-2006
(r.e.) Che ne sarà di Venezia? Nei giorni in cui Veltroni e i suoi sodali illustravano l’allettante menù della prossima Festa romana del cinema, in programma ad ottobre, un provvidenziale torrente di nominations all’Oscar, piovute sui film del- l’edizione 2005, consentiva ai vertici della Fondazione veneziana di tirare un sospiro di sollievo. Del tipo: visto che la qua- lità paga? Che Venezia è sempre Venezia? Che l’arte siamo noi? È oltretutto ben possibile che le candidature vadano a tra- mutarsi in un profluvio di belle statuine, consegnando la competizione lidense ai fasti della Serenissima (Mostra) Trionfante. Bene, benissimo, anzi male, perché la più che legittima (e comprensibile, e condivisibile) soddisfazione per l’auspicato successo dei vari Brokeback Mountain, Good Night, and Good Luck!, Bestia nel cuore potrebbe dar luogo ad un entusiasmo, come dire, fuorviante. In che senso? Ma nel senso che con o senza i prestigiosi riconoscimenti dell’Academy Awards i problemi di Venezia, anche alla luce della concorrenza romana, rimangono. E non paiono risol- vibili d’ufficio con presunti schematismi estetici vecchi già ai tempi del buon Chiarini e magari indigesti allo stesso Marco Müller (l’arte di qua, la merce di là: e il fascinoso trash dove lo mettiamo?), con il ricorso a longevità anagrafiche che sem- mai dovrebbero preoccupare (il primo festival, certo, ma anche il più vecchio), con fughe progettuali in avanti tanto ecu- menicamente condivise quanto finanziariamente improbabili e, qualora possibili, comunque opinabili (il nuovo
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