Stepping Up: Amy HC Wilson’s journey from 2nd AC to Director of Photography Making the leap to Director of Photography rarely has a single moment of confidence or certainty. For Amy, it was a long, thoughtful journey shaped by years of assisting, self-doubt, preparation, and ultimately, commitment. Amy admits she wanted to make the move around five years before she actually did.Yet despite this momentum, the decision to formally step up took time. Amy admits she wanted to make the move around five years before she actually did.  “It’s terrifying, especially financially,” she says. “You overthink everything – where your life is at, what the industry looks like, what support is around you.” That turning point came after working on The Diplomat: Series 1. The seven-month shoot was a period of reflection. “I kept thinking,”maybe this is the last one,’”  she recalls. By the end of the series, something clicked.  “It was such a brilliant job, I felt it was time to end my assisting career on a high and start the next step”.  As the months rolled into Christmas, she knew the time had come. She stopped actively looking for assisting work and finally made the ultimate commitment: selling her kit. “ That was the proof to myself” Owning the Title One of the hardest parts of stepping up wasn’t the work itself, but the identity shift. “As assistants, we’ve worked with many DOPs that we look up to,”  Amy explains. “Suddenly I’m doing that job. It’s a huge commitment and responsibility to your peers.” At first, others helped bridge the gap. A couple of Christmas party’s ago, a friend became her unofficial mouthpiece, telling others, “Amy’s a DOP now.”  Confidence grew with experience, recently she stood up at Operators’ Night when DPs were asked to stand – despite a surge of imposter syndrome. “What fights the fear is that I love the role” she says.  “I hope I’m a good HOD. I’ve worked with people I respect, and I want to make people feel the way they made me feel, when I was assisting”  Amy believes assistants bring a unique insight to leading departments – knowing what to take on, what not to, and understanding the pressures of high turnaround schedules.  “It’s a role to be proud of and to take seriously’ Choosing Her Own Route The journey to DOP is different for everyone. Amy didn’t formally call herself a focus puller, despite doing focus pulling work when asked – short films, the odd commercial and cover days & step-up days on films and HETV. “I never actively sought work as a focus puller,” she explained. “I enjoyed it when the opportunities came but my brain capacity outside work was always focused on shooting shorts as a DP.” Amy also felt a deep respect for the craft. “I didn’t feel I could call myself a focus puller and do it justice in the way the people I worked with did” She also spent a period of time pursuing Steadicam, using it on her short films to gain hours in the rig and even doing some commercials. She knew that stepping up always came with a step backwards, and chose to put that energy into developing her voice as a cinematographer instead. “After so many years of shooting short films, it felt like the natural and right step for me to take, I felt I had grown into the role of a DOP as much as I could before making it official”. The First Break Amy’s first TV show came last year – and not where she expected. A message arrived saying she’d been recommended for a BBC project by a DP she’d previously worked with. A meeting and recce followed, then the job itself. The moment carried the weight of a 14 year journey. She’d worked with the recommending DP as a trainee and loader years earlier. “You never know who will recommend you,”  Amy reflects. “If someone likes you and they trust you – it’s then time to prove yourself.” The show was Waffle’s After School Club,  a spin-off of Waffle the Wonder Dog, with a strong existing audience on iPlayer. “I never expected a BBC show to be my first ‘professsional’ job as a DP,” she says. The experience came full circle when she was later offered Series 2. “I’m very proud to be invited back” That first job also led to conversations with agents, ultimately gaining representation with Berlin Associates, and an article in Cinematography World Magazine (Issue 206 March/April 2025). “One TV credit wasn’t a huge amount” Amy acknowledges, “but they could see my trajectory.” Building the World of Waffle Working with children and animals comes with its own challenges – we all know the saying.. For Amy, success came down to preparation. “Our biggest challenge going into the shoot was pace, our camera and lighting approach was streamlined as much as possible in prep so we could be seamless during the shoot, and it worked well.” The brief called for warmth, cosiness and authenticity. With six-year-old performers, a dog at the centre of it all, the approach was reactive and fluid. “We wanted to capture their authenticity” she says. “We needed to be ready for anything during the take.” Equipment Two cameras were essential, and A-camera operator Guido Cavacuiti helped lead the charge in a fast-moving environment. Cameras used were the Alexa Mini’s paired with Panavision PCZ 19–90mm zoom lenses and rolling spiders in the main location, allowing the team to work at pace without constant lens changes. Amy speaks warmly of her crew, many of whom she’d grown up with in the industry. Her Gaffer, Martin Cox, someone she’d previously worked with, joined the project to support her and will return for Series 2. “Finding a gaffer I worked with so cohesively was a relief” she says. “I learned so much. A Safe First Step Looking back, what Amy appreciated most was the environment. “For my first job, I felt safe” she says. “The production company took a risk on me, and gave me the perfect amount of trust”  The project was fun, meaningful, and something people were proud to be part of. “Several of the crew’s children watched the original show. My nephew’s a big fan.” What Comes Next Amy hopes this chapter opens the door to more – particularly film.  “I’d love to maintain a mix of HETV and Film” she says. “I’d love to do a film soon where I can really get stuck into creative prep” She’s candid about the emotional shift of stepping into a new role. “I didn’t foresee missing being on set as much, missing my peers that I’d spend so much time of set with. You go from being an experienced camera assistant to, starting again as the ’newbie.   The identity change and fresh start can be isolating” She’s open about wanting mentorship. “I’d love an established DP to take me under their wing. It can be a lonely place.” Redefining the ‘Right’ Path Amy is passionate about challenging rigid ideas of progression. “I grew up in the camera department where it’s expected you move through every role. I assisted for near on 14 years” While she didn’t officially label herself as a focus puller or operator, she did the work and understands the roles deeply. “ Everyone’s journey looks different and their time in each role varies. I’m very proud of my 14 years as a camera assistant and I’m proud of my journey. I don’t think skimming a role takes anything away from that.” As Amy continues to find her footing as a DP, one thing is clear: the care she brings to her crew, her work, and her craft is deeply rooted in the years she spent learning from others – and that foundation is already shaping the kind of HOD she is becoming. Link to Amy HC Wilson's showreel

with ARRI In this exclusive session dedicated to the Art of Cinematography with ARRI, we will explore the creative and technical aspects of low-light shooting with ARRI cameras, dive into the nuances of ARRI’s unique colour science, take a closer look at the new codec ARRICORE, and introduce FilmLab as part of the workflow. The second session will be followed by networking drinks. Registration Link

Please see the content below. This is open to any gender who wishes to help and who is sensitive to this groups needs We wanted to share some positive updates: MR Helix, Pixeleyed Pictures and Futures in Film CIC are supporting Screen Sisters CIC which is led by Nina Karwalska who has been supporting our Ecosystem behind the scenes. Next week we will deliver a production simulation at 3 Mills Studios in East London as part of the continued development of Screen Sisters CIC which is a voluntary-led i nitiative supporting women from faith communities.   We understand the current state of the industry , it has always been difficult to break into, work isn't guaranteed, nor is the industry suitable for everyone. Screen Sisters is not positioned as a simple “route into jobs.” this initiative focuses on the love for the craft, storytelling, and community building. Participants can develop technical and soft skills, gain on-set experience, build their professional CV and credits. Dates at 3 Mills Studios: • Mon 2 March – Technical prep & industry insight • Tue 3 March – Rehearsal & workflow testing • Wed 4 March – Shoot & de-rig The process also builds transferable skills (technical practice, communication, planning, teamwork and professional discipline) that strengthen career options both within and beyond the screen industries. This is a controlled production simulation focused on dynamic cinematography and staged action choreography (Silver Sabers Academy), designed as a practical learning and professional development environment. In a climate where genuine on-set opportunities are rare particularly for these communities our production simulations provide structured, supervised exposure to real workflows and responsibility, alongside guidance from experienced practitioners. We are inviting support and collaboration in the form of: • Industry professionals willing to mentor, supervise or drop in • Technical partners interested in structured education and R&D integration • Companies and organisations interested in aligned inclusion / skills pathways • Community stakeholders who want to support representation both behind the camera and on-screen.   The following articles featuring Futures in Film CIC are worth checking out: https://britishcinematographer.co.uk/futures-in-film/ https://productionguild.com/news-new-releases/news/meet-the-finalists-of-the-duke-of-edinburgh-film-tv-inclusion-award-2025-futures-in-film-cic/ We couldn't do this without the support from within the industry; your guidance and support is always welcome and greatly appreciated. I’d be more than happy to provide further information about the Futures in Film CIC and Screen Sisters CIC initiative. Thank you all for everything you do in the industry. Wishing you all the very best for the future ahead. Kindest regards Rizwan Wadan Director - Specialist Cinematographer Phone 01753785637 Mobile 07985333362 Website www.mrhelix.co.uk    Email riz@mrhelix.co.uk

List of retired members of the GBCT. A who's who of the great and good of the British Film Industry over the years. Honour Roll The members listed below are all the retired members of the Guild who have contributed much to the Guild in their time as members and who have contributed greatly to the Industry as a whole. Andrew Anderson Director of Photography & Lighting Camera Andy Shields HD & Video Assist Supervisors / Digital Engineer Angela Allen Script Supervisor Arthur Smith Director of Photography & Lighting Camera Austin Parkinson Director of Photography & Lighting Camera Axel Ulrich Bill Broomfield Director of Photography & Lighting Camera Bill Geddes Level 3 Qualified Grip Bob Bridges Bob Jordan Camera Operator Brenda Loader Script Supervisor Brian Beaumont Gaffer Brian Rose Cheryl Leigh Script Supervisor Chris Pinnock Camera Operator Clive Mackey 1st Assistant Camera / Focus Puller Denis Borrow Dennis Fraser MBE Level 3 Qualified Grip Derek Banks Don Lord Director of Photography & Lighting Camera Doug Milsome BSC, ASC Director of Photography & Lighting Camera Fred Tammes BSC Director of Photography & Lighting Camera Gary Hutchings - Geoff Glover Camera Operator Graham Hazard 1st Assistant Camera / Focus Puller Harvey Harrison BSC Director of Photography & Lighting Camera Henk Prins Camera Operator Ian Buckley Level 3 Qualified Grip Ian Kelly HD & Video Assist Supervisors / Digital Engineer Jayne Spooner Script Supervisor Jim Day John Attwell John Deaton 1st Assistant Camera / Focus Puller John Fletcher John Hooper BSC Director of Photography & Lighting Camera John Jordan 1st Assistant Camera / Focus Puller John McCallum Director of Photography & Lighting Camera John Palmer Camera Operator John Stanier BSC Director of Photography & Lighting Camera John Taylor Director of Photography & Lighting Camera Kelvin Pike BSC Director of Photography & Lighting Camera Ken Coles Director of Photography & Lighting Camera Kenny Atherfold Level 3 Qualified Grip Laurence Manly Director of Photography & Lighting Camera Les Parrott Director of Photography & Lighting Camera Lilian Barry-Havlickova Script Supervisor Malcolm Vinson BSC Director of Photography & Lighting Camera Martin Lightening Director of Photography & Lighting Camera Martin Testar Director of Photography & Lighting Camera Michael Rees Mike Bulley Director of Photography & Lighting Camera Mike Proudfoot Camera Operator Nicholas M. Kullmann Camera Operator Nicholas Ray Level 3 Qualified Grip Nick Price Director of Photography & Lighting Camera Norman Langley BSC Pam Humphreys Peggy Spirito Peter Hazle Camera Operator Peter Hughes 1st Assistant Camera / Focus Puller Peter Macdonald BSC 2nd Unit Director of Photography Peter Sinclair BSC Director of Photography & Lighting Camera Peter Thornton Director of Photography & Lighting Camera Peter Versey Ray Moore 1st Assistant Camera / Focus Puller Rickie Gauld Director of Photography & Lighting Camera Robbie Race Level 3 Qualified Grip Robin Browne BSC Director of Photography & Lighting Camera Roger McDonald Director of Photography & Lighting Camera Roger Pearce Camera Operator Steve Parker Director of Photography & Lighting Camera Ted Deason 1st Assistant Camera / Focus Puller Terry Cole BSC Director of Photography & Lighting Camera Thomas Harrison Director of Photography & Lighting Camera Tim Ross Camera Operator Toby Plaskitt Level 3 Qualified Grip Tony Mallon Director of Photography & Lighting Camera Tony Rivetti Snr. 1st Assistant Camera / Focus Puller Tony Woodcock Camera Operator Trevor Coop Camera Operator Vernon Layton BSC Director of Photography & Lighting Camera Witold Stok BSC Director of Photography & Lighting Camera

Isabella Stratton's Crew Directory profile as featured on the Guild of British Camera Technicians' website. Full Member 2nd Assistant Camera / Loader Isabella Stratton Details Agent or Diary service Other Information Enquire View CV IMDb

Les Hinks's Crew Directory profile as featured on the Guild of British Camera Technicians' website. Full Member 1st Assistant Camera / Focus Puller Les Hinks Details Agent or Diary service None Other Information Enquire View CV IMDb