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And the nominations are ...

GTC Awards for Excellence

Judi Dench: My Passion for Trees, BBC ONE
Camera: The Camera Team including Specialist Cameras
TX date/time: 20/12/17 at 20.00

Reason for nomination
The imagery throughout this fascinating and lovingly made programme was consistently beautiful and interesting, with tracking and drone shots providing variety and creating movement through and over the trees.
The closeup work in parts was amazing - particularly striking were the shots of clouds of tiny dust emitted by pine cones (around 24 minutes in).

One Love Manchester, BBC ONE
Camera Supervisor: Matt Ingham
TX date/time: 04/06/17

Reason for nomination
Very short notice, with only a few days to crew. Beautifully shot and a great cause captured on camera.

Good Morning Britain, ITV
Camera: The 'Good Morning Britain' studio camera crew
TX date/time: every weekday from 6am

Reason for nomination
Consistaintly maintaning very high standards of camerawork for a morning television news/features programme with good use of jib and Steadicam in a confined space.

Snow Bears, BBC ONE
Camera: The Camera Team
TX date/time: 26/12/17

Reason for nomination
The entire programme consists of beautiful photography. The programme achieved amazing access to the most intimate moments of animals’ lives with various angles and methods. The animals looked as if they were acting in a narrative film. The drone shots were also very effective in showing the scale and beauty of the scenery.

Little Women, BBC ONE
Director of Photography: Piers McGrail ISC
TX date/time: 26 to 28/12/17

Reason for nomination
The cinematography on this show seemed to have achieved a great sense of continuity, depicting family lives over a great length of time. It is beautifully shot and the illusion of the change of seasons and passage of time are seamless.

Electric Dreams: Human Is, Channel 4
Director of Photography: David Katznelson BSC DFF
TX date/time: 26/10/17

Reason for nomination
The lighting on this episode was particularly stunning, giving attention to details in such a controlled manner. It really added depth and mood to the story and the world they had created.

Electric Dreams: Real Life, Channel 4
Director of Photography: Paul Sommers
TX date/time: 15/10/17

Reason for nomination
It offers the most beautiful and imaginative imagery that is so appropriate to this Philip K Dick based story. The way it showed the two different worlds was subtle, and yet managed to create a totally different feel to each other.

Escape, Channel 4
Director of Photography: Daniel Etheridge
TX date/time: 1 October to 12 November 2017

Reason for nomination
The series displayed an incredible combination of both cinematic and actuality style filming. In harsh and extreme environments, the camera documents in extensive detail the survival and engineering process. The drone direction is also noteworthy as it never failed to dramatically show off each spectacular crash site. Dan's vast experience in extreme situations proves evident in this series with the environments ranging from 100% humidity jungles to glacial white-outs, never compromising the style or composition of the filming.

The Miniaturist, BBC ONE
Director of Photography: Gavin Finney BSC
TX date/time: 26 and 27 December 2017

Reason for nomination
Beautiful lighting – every shot looked like a Vermeer painting.

Matthew Bourne's Cinderella, BBC TWO
Camera Supervisor: Paul Freeman
TX date/time: 26/12/17 at 17.35

Reason for nomination
For the second night running, more overall great camerawork on which Paul Freeman was the Camera Supervisor.

The Royal Opera: Puccini's La boheme, BBC FOUR
Camera Supervisor: Paul Freeman
TX date/time: 25/12/17 at 19.00

Reason for nomination
Overall great camerawork on which Paul Freeman was the Camera Supervisor.

Flying Scotsman: Sounds from the Footplate, BBC FOUR
Aerial Camera: Phil Fearnley & Michael Kheng
TX date/time: 01/01/2017: 21.00

Reason for nomination
Reason for nomination: Flying Scotsman: Sounds From The Footplate

Flying Scotsman: From the Footplate was first aired on BBC THREE on 29 December 2016 and the Flying Scotsman: Sounds from the Footplate aired 1 January 17 at 21.00  on BBC FOUR that featured only the sounds of the Flying Scotsman.

The above link shows the aerial shots used on both programmes. Phil Fearnley from HaloVue was the drone pilot and Michael Kheng from Kurnia Aerial Photography the drone cameraman. The shoot took place on the Severn Valley Railway and was directed and produced by the late Roger Keech, who sadly passed away this year. 

The shoot was done over 6 days, capturing one shot a day over 6 different locations, as the Flying Scotsman only passed the filming location once. There was a window of opportunity of just 10 minutes for each location. In order to fulfil the brief of footage that is useable unedited to fit in with the slow TV style of the programme, each shot had to be good in its entirety. The aerial camera was particularly challenging in that each shot once started couldn’t not be spoiled by shaky camera work of poor drone flying and to achieve those shots is worthy of an award. 

Blue Planet II, BBC ONE
Camera: The Blue Planet II Camera Team
TX date/time: Between November and December 2017

Reason for nomination
Stunning camerawork, superb shots and fantastic framing above and below the water using a variety of techniques and new equipment to make this series one of the most watchable so far. It was a joy to watch from the first programme to the last and from the first minute until the credits. To all the camera operators, a brilliant job well done.

Expedition Volcano, BBC TWO
Director of Photography: William Edwards; Camera: Ryan Atkinson
TX date/time: 26/11/2017 and 03/12/2017

This production has received two nominations.

Reason for nomination
Not only was this an extremely arduous location to film, Will and his team managed to craft some beautifully shot footage. Working with a short depth of field isn't an easy choice when operating, and put together with working in an active volcano just ups the anti! The craft of documentary making and quality camerawork is thankfully still alive in this series.

Reason for nomination

A beautifully crafted documentary with stunning images shot under very trying conditions. Includes excellent use of a drone.

Doctor Foster, Series 2, BBC ONE
DoP/'A' Camera Operator: Ben Wheeler and 'B" Camera: Tom Wilkinson
TX date/time: 5 episodes – 5/09/17 to 3/10/17

Reason for nomination
The nomination centres around the amazing collaboration between Ben Wheeler and Tom Wilkinson on this (normally) two-camera drama series. There are many scenes where the excellence in camera operation adds so much to the script, scenes, atmosphere and tension.

When asked about some of the challenges, DoP Ben explains: “Tom was an integral part of this shoot – his finding of interesting/textural shots that could slot in alongside the 'A' camera coverage was invaluable and his willingness to persevere with tricky steadicam requests from both myself and Jeremy [Lovering, the director] was hugely appreciated. My personal favourite Steadicam scene/shot is in Ep 5 when Tom and Gemma pull up at home, enter the house and Tom sees the now empty rooms for the first time. This shot  starts on the drive and moves around the cast before following them in to reveal the house through the eyes of Tom (character), making for a brilliant experiential scene for the viewers.”

Another standout shot is the 'B' camera close-up on Jodie Comer in Episode 4 where she sits on the sofa and cries. The shot tracks over with Simon as he enters the room and pulls focus exactly at the moment when a tear falls from Jodie's eye. The scene is beautifully lit by Ben Wheeler.

The Detectives: Murder on the Streets, BBC TWO
Series Producer/Director/Cameraman: Daniel Vernon and 2nd unit Director/Cameraman: Daniel Dewsbury
TX date/time: 20 September 2017

Reason for nomination
Large sensor, shallow DOF (primes?) successfully executed, with sensitive, moody, atmospheric and arty photography – in a documentary situation. So often these programmes can result in a run-of-the-mill final product, but not this one. It stood out as a very high-quality production shot under what must have been less than ideal circumstances with limited opportunities to reshoot.

Cymatics, YouTube plus various
Director of Photography: Timur Civan
TX date/time:

Reason for nomination
A music video for Nigel Stanford. Brilliant use of slow motion photography and intricate close-ups. I love the look of the pictures and it is superbly lit. Some great tracks and camera moves.

Automatica, YouTube plus various
Director of Photography: Timur Civan
TX date/time:

Reason for nomination
Another music video for Nigel Stanford. The quality of the production and camera moves is fantastic. The whole concept is really creative and they used a motion control rig to do various layers. I also love the lighting and look of the pictures.

Taboo, BBC ONE
Director of Photography: Mark Patten
TX date/time: 07/01/17

Reason for nomination
Together with the work of 'B' camera operator Chris Bain, Mark Patten's work on Taboo was a masterclass in lighting, framing and camerawork throughout the series. The interiors, particularly Delaney's House and the gun powder manufacturing shed, were beautiful and atmospheric, aided by the choice of camera angles and composition. The camerawork following Delaney through 1814 London also hinted at the menace and danger of Tom Hardy's character. Fabulous to watch and a lesson in candle-lit scenes and moonlight!

World Athletics Championships 2017, BBC ONE and BBC TWO
Camera Supervisor: Tim Moses
TX date/time: 4–14/08/17

Reason for nomination
Tim was the Camera Supervisor for the host coverage broadcast to the world. This was a major operation, comparable with any Olympic coverage. It had over 100 cameras of all types and sizes to be co-ordinated. The leadership, resourcefulness and planning Tim showed during this challenging and rewarding outside broadcast are a testament to his ability, one that deserves to be recognised by the GTC.

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