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( d i f f ) ← P r e v i o u s r e v i s i o n | L a t e s t r e v i s i o n ( d i f f ) | N e w e r r e v i s i o n → ( d i f f )
Biography [ edit ]
Turpin began his career in 1945 at Ealing Studios as a camera assistant to Douglas Slocombe and Stanley Pavey . From 1953, he worked as a camera operator, and worked with Pavey, Gordon Dines , Desmond Dickinson , Otto Heller , Gilbert Taylor , Reginald H. Wyer and Harry Waxman . He made his first film as director of photography , The Queen's Guards (1961) with director Michael Powell .
For his first collaboration with Bryan Forbes , Seance on a Wet Afternoon (1964), he received a nomination at the British Academy Film Awards in 1965. For a later film with Forbes, The Whisperers (1967), he received a BAFTA Award for Best Cinematography , and for Oh! What a Lovely War (1969), Richard Attenborough 's directorial debut, he received the 1969 BSC Best Cinematography Award[1] and his second BAFTA.
On Attenborough's, Young Winston (1972), Turpin used a camera lens mounted device he had developed called ColorFlex which represented an alternative to conventional pre-exposure (flashing ) of negative film in the lab. The pre-exposure of the film material means dark areas of the image are brightened.
From 1973, Turpin developed his ColorFlex system into a comprehensive system called Lightflex which was used by cameramen such as Oswald Morris (The Wiz , 1978), Freddie Francis (Dune , 1984), Sven Nykvist (Swann in Love , 1984), Adam Greenberg (La Bamba , 1987) and Jost Vacano (Total Recall , 1990). At the 56th Academy Awards in 1984, Turpin received a technical Oscar (Scientific and Engineering Award) for Flex.
Filmography [ edit ]
As cinematographer [ edit ]
Television [ edit ]
References [ edit ]
External links [ edit ]
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1963–1967
1968–present
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1953–1975
1976–2000
2001–present
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R e t r i e v e d f r o m " https://en.wikipedia.org/w/index.php?title=Gerry_Turpin&oldid=1100927623 "
C a t e g o r i e s :
● 1 9 2 5 b i r t h s
● 1 9 9 7 d e a t h s
● B r i t i s h c i n e m a t o g r a p h e r s
● B e s t C i n e m a t o g r a p h y B A F T A A w a r d w i n n e r s
● B r i t i s h f i l m b i o g r a p h y s t u b s
● C i n e m a t o g r a p h e r s t u b s
H i d d e n c a t e g o r i e s :
● C S 1 e r r o r s : g e n e r i c t i t l e
● A r t i c l e s w i t h s h o r t d e s c r i p t i o n
● S h o r t d e s c r i p t i o n m a t c h e s W i k i d a t a
● U s e d m y d a t e s f r o m A p r i l 2 0 2 2
● A r t i c l e s w i t h I S N I i d e n t i f i e r s
● A r t i c l e s w i t h V I A F i d e n t i f i e r s
● A r t i c l e s w i t h W o r l d C a t E n t i t i e s i d e n t i f i e r s
● A r t i c l e s w i t h B N E i d e n t i f i e r s
● A r t i c l e s w i t h G N D i d e n t i f i e r s
● A r t i c l e s w i t h L C C N i d e n t i f i e r s
● A r t i c l e s w i t h N K C i d e n t i f i e r s
● A l l s t u b a r t i c l e s
● T h i s p a g e w a s l a s t e d i t e d o n 2 8 J u l y 2 0 2 2 , a t 1 1 : 1 3 ( U T C ) .
● T e x t i s a v a i l a b l e u n d e r t h e C r e a t i v e C o m m o n s A t t r i b u t i o n - S h a r e A l i k e L i c e n s e 4 . 0 ;
a d d i t i o n a l t e r m s m a y a p p l y . B y u s i n g t h i s s i t e , y o u a g r e e t o t h e T e r m s o f U s e a n d P r i v a c y P o l i c y . W i k i p e d i a ® i s a r e g i s t e r e d t r a d e m a r k o f t h e W i k i m e d i a F o u n d a t i o n , I n c . , a n o n - p r o f i t o r g a n i z a t i o n .
● P r i v a c y p o l i c y
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