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If you are looking for highly trained camera people - from Directors of Photography to 2AC's - to work on your production anywhere in the world, then look no further because

... The GBCT brings together the very best of the best talent available
The Care, Committment and Quality of Cinematography
- Through Progress and Innovation -

The Guild of British Camera Technicians is not a union but an Association of professional camera technicians dedicated to upholding quality and standards in the film, television and related media industries.  A not-for-profit organization, the GBCT represents top-class award-winning camera technicians who work in many different specialist areas of the industry especially Feature Film, Television Comedy, TV Drama as well as high-end Documentary, Factual and Entertainment programmes.

For more information on the Guild, click on the ABOUT US button in the Menu above.

For information on our PATRONS, go to the Menu above and click on the button.

Or to have a look at the GBCT PATRONS’ websites for their latest news and views.

Important Dates for your Diary


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Latest News

GBCT Director of Photography, ROBERT SHACKLADY, has a trilogy ANGEL OF DECAY premiering in the US on the Discovery ID Hour.  If you are over there, please watch it!

Congratulations to GBCT Directors of Photography MIKE SPRAGG and JAMES WELLAND who have just been invited to join the BRITISH SOCIETY OF CINEMATOGRAPHERS.  Wonderful news – well deserved.

Welcome to new GBCT Members – Paul Andrew Robinson (Director of Photography) and Kat Spencer (2AC/Clapper Loader).  Delighted you have joined us.


With the knowledge and support of the Trustees, the GBCT’s Membership voted to amend the Guild’s Constitution at the AGM on 25 April 2015.  Click through to the webpage here or click to download as a pdf


Crew Directory 2015/2016: The new Directory will be ready very soon!  If you would like a copy, please email: and we will post a copy to you


We are in the process of getting our schedule of training courses together and will be launching this over the next few months.  Keep checking back!

Patron News


Announced that it will include ProRes 3.2K in a software update scheduled for release early next year. ProRes 3.2K – a new recording format for its Alexa cameras – allows the same easy up- sampling in post to UHD deliverables as ARRIRAW Open Gate does for 4K.

“Designed from the outset to be adaptable and future-proof, Alexa can easily accommodate productions that choose to follow a UHD or 4K workflow,” said Alexa product manager Marc Shipman-Mueller. “The camera’s stellar overall image quality in combination with ProRes 3.2K or ARRIRAW Open Gate allows for simple up-sampling to UHD or 4K in a quality at least as good as other contenders. And because of their unequaled exposure latitude and highlight handling, Alexa images are already uniquely HDR compatible.”

At data rates far below uncompressed ARRIRAW, ProRes 3.2K provides the benefits of the well-established ProRes workflow. As an additional benefit, most lenses fully cover the 3.2K image circle that results from the 16:9 ProRes 3.2K image. A straightforward up-sample from ProRes 3.2K using standard post tools delivers UHD images.

Many high-profile movies have been shot in ARRIRAW 2.8K and up-sampled to a 4K DCP, an example being the last James Bond film, Skyfall. To further improve upon this option, ARRI introduced the ARRIRAW Open Gate recording format for Alexa XT cameras earlier this year. Open Gate records the full 3.4K Alexa XT sensor area for an optimal up-sample in post to a 4K DCP.

Open Gate has been used on numerous productions, including Warcraft, San Andreas, Pixels, Goosebumps and Sicario, the latest movie lensed by Roger Deakins, ASC, BSC. Other feature films are shooting ARRIRAW 16:9 or ARRIRAW 4:3 and using Open Gate selectively for VFX shots, including Terminator: Genesis, Fantastic 4, Agent 47 and Deus Ex Machina.


Take a look at the Sony DMPCE's current raft of free one-day courses for February and March at Pinewood: by booking onto one of these courses, you can update yourself with various software features and operation of the Sony F5 and F55 cameras, learning from some excellent cinematographers


Panavision’s newest lenses – specifically designed for today’s digital cameras – have been in constant use ever since the PRIMO V SERIES LENSES were launched.  Built with the same glass that made the Primo lenses a coveted choice for film cameras, Primo V’s newly developed optics offer a way to smooth the visuals from the hyper sharpness of electronic image capture.  For more information, visit


Download FormThe GBCT believes that it is a vital part of its mission, to promote excellence within the camera department, to ensure that talented professionals are treated with the respect they deserve. We believe that this respect should be shown in the conditions under which our professional technicians are engaged to deliver their high quality services. To this end we have drawn up working terms and conditions that any professional camera technician should expect to receive in the workplace.

 The GBCT feels that it is the duty of all its members to negotiate conditions on all their jobs that use these terms as the basis for their engagement.  The pdf will permanently be available from the About Us Menu dropdown - but you can download it now by clicking on the pdf logo.




 Who Needs Sleep?

Documentary 2006 directed by Haskell Wexler ASC Synopsis: A documentary that highlights the deadly combination of sleep deprivation and long days of work ...