John Attwell, Camera Operator and GBCT member for over 30 years will be celebrating on 16 th  January.  He worked in the industry from 1981 until 2019, having started out as a studio hand and driver for Clearwater Features in Battersea. He soon realised that he preferred the camera department and was taken on as their inhouse Camera Assistant on Thomas and Friends, the iconic television series featuring Thomas the Tank Engine. It was shot on 35mm and the first camera he loaded was a Fries Mitchel– not the simplest piece of kit. He went freelance in 1986 and 1987 brought his first Clapper Loader credit for A Prayer for the Dying. In 1994, he moved up to 1 st  A.C. on the 2 nd  Unit of Doomsday Gun. He worked on Space Island One in 1998. It was a Sky series shot over 52 weeks on the Isle of Man.  Half way through the job, Production sent a note to all crew asking if anyone had any good script ideas for future episodes. He progressed to Camera Operator in 2003 on Trinity. In 2009 he was B. Camera operator and 2 nd  Unit DoP on Exam. 2013 saw him on A camera for the 2 nd  Unit of A Good Day to Die Hard. It was a busy year, as he also worked on: Welcome to the Punch on B. camera; the second units of U Want Me 2 Kill Him? and Thor: The Dark World and then A. camera on Prisoners of the Sun, which was a low budget sci-fi shot in Morocco. It was shut down for a while, due to the Producer running off with a million euros. Filming eventually re-started and one of the more memorable scenes involved a line of “ancient Egyptian” dialogue - “The Gods are with us tonight”. John told the director that it sounded like “The Goats are with us tonight”. Dozens of takes followed and he had to lock the camera off, because he was trying not to shake with laughter. He noted “It’s funny how infectious humour is on set.” John’s last job was as 2nd Unit A camera on The Aeronauts 2019.  In his words “I always had a good time and enjoyed the friendship and camaraderie of the film crew. The lower budget films were usually the best and some of the shockingly bad films I worked on were hilarious. Especially memorable was the Chris Rhea biopic La Passione so much fun but slated critically as “truly dire Rhea”. My favourite job was loading on a Steven Soderberg feature called “Kafka” shot in Prague in 1990. It was great to work in Prague just a year after the fall of the Berlin Wall. Not a good film but very sociable .  I always enjoyed working with DPs Tim Wooster and John de Boorman. I did three films with the mighty J de B around the year 2000. They were some of the happiest of my career. The most enjoyable was Saving Grace, shot in Cornwall with a wonderful crew, including the brilliant Operator Al Rae. He proved, against all odds, that despite being hung over and barely able to walk, it was still possible to perform a flawless, long and difficult steadicam shot first thing in the morning. Great mentors and friends who’s humour, calm and good sense were an inspiration.  My best wishes to all friends and former colleagues. Thank you. It’s been a blast.” written by Sarah Hayward, GBCT Board member

Longtime friends and collaborators have reunited for their newly produced movie, ‘The Rip’ Inga Parkel in New York, Thursday 15 January 2026 Ben Affleck and Matt Damon know that a collaborative on-set environment is key to motivating all those involved, which is why they brought back an old-school back-end bonus model for the 1,200 crew members working on their new movie, The Rip . Directed by Joe Carnahan, the crime thriller, out Friday on Netflix, will see the famous duo reunite on screen as Miami cops who become distrustful of those around them after discovering a stash of millions in cash. The longtime friends and collaborators also produced the movie through their production company Artists Equity. During a recent joint appearance on The Tonight Show Starring Jimmy Fallon , Affleck, 53, and Damon, 55 , explained how they implemented their company’s main objective of profit-sharing to pay the movie’s crew members. “Netflix is obviously a streaming platform, business is obviously changing, there’s been a lot going on,” Affleck said, referring to the film industry’s controversial shift to streaming , “and what we’re kind of trying to do is, in the old days, you knew how a movie did and you could get bonuses based on the box office performance.” He continued: “And what we wanted to do was try to adapt that model to what’s happening on streaming. For a bunch of reasons, but basically one of the things that was important to us is we really believe that it’s not just the cast and the writers and director, but that the environment, every single person involved, that if they’re committed to making the movie good, it’s very likely to be better. It’s really a collaborative art form.” Noting that “the more people that watch the movie, the more levels it will hit,” Affleck said that what was most important to them was that the monetary success be shared with the “1,200 crew members, every standby painter, greensman, camera [operator].” His remarks were met with uproarious applause, as Damon chimed in with a joke , adding: “The more you guys watch this movie…” “Not that we could suggest that you just leave it on, unless you’re a good person,” Affleck laughingly echoed with host Fallon joining in. “You would never say to turn on the movie and put it on loop,” he teased. “But if you happened to do that, crew members would make a lot of money.” Affleck and Damon have starred in numerous movies together throughout their careers, including their Oscar-winning romance drama Good Will Hunting (1997), comedy fantasy Dogma (1999), and sports drama Air (2023). In 2022, the pair co-founded and launched Artists Equity, an artist-led studio, focused on sharing a movie’s profits with all involved. It replaced their now-defunct production studio, Pearl Street Films, which they operated from 2012 to 2022.

Chris Kane's Crew Directory profile as featured on the Guild of British Camera Technicians' website. Full Member 1st Assistant Camera / Focus Puller Chris Kane Details +44 7932 749751 Agent or Diary service None Other Information Enquire View CV IMDb

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 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

Robbie Mayo's Crew Directory profile as featured on the Guild of British Camera Technicians' website. Full Member 2nd Assistant Camera / Loader Robbie Mayo Details +44 7508 152200 Agent or Diary service None Other Information Enquire View CV IMDb