Dave Frederick began his movie camera work at the age of 13, capturing his sister’s Sweet 16 experience on Long Island, New York. Transfixed by the impact and magic of the resulting moving image, he committed then and there to the world of camera.  

After graduating from New York University’s Tisch Undergrad film school in 1979 he began his professional career as 1st camera assistant, working on films ranging from the Coen Brothers’ Blood Simple to Bruce Beresford’s Driving Miss Daisy

A camera operator since 1987, a few of his favorite films and full TV series operated on include  Muppets From Space, Mad Love, Georgia, The Soloist, Northern Exposure, Felicity, Sliders, Women’s Murder Club,  Sons of Anarchy, The Bridge, Aquarius and Get Shorty.

Frederick shoots with every camera and format of film and digital, explaining, “There is always a story to be told with a camera. Sometimes it’s a lavish epic captured with remote heads, Titan Cranes, helicopters, Steadicam or large format anamorphic cameras and lenses. Other times, I find myself hanging out a mini van on a freeway making shots with the latest small hand held professional digital camera.”

In the off set world of cinematography, Frederick spent over 20 years as a Board member of the Society of Camera Operators, serving as President for two years and Awards Gala Event Producer for seven years. Frederick is also an active member of the International Cinematographers Guild, the Steadicam Operators Guild, and the Cinematographer’s Executive Peer Group of the Academy of the Television Arts and Sciences. He is also an avid supporter of the work of the Vision Center of Children’s Hospital Los Angeles. With his efforts as a team member and leader, the SOC has raised over $145,000 for the VCCHLA. In addition, footage shot by the SOC and shown to hospital trustees helped the VCCHLA raise a half a million dollars in funding.

Frederick explains, “The ability to share my passions and the joys of cinematography with the director and actors on any film set is what gets me out of bed in the morning. When I encounter a story rich in integrity and humanity, I thrive on bringing it to life through the lens.