Age, Biography and Wiki

Guido Seeber was a German cinematographer, director, and special effects artist. He is best known for his work on the classic silent films The Cabinet of Dr. Caligari (1920) and Nosferatu (1922). Seeber was born in Chemnitz, Germany, on 22 June 1879. He began his career as a cinematographer in 1910, working on films such as The Student of Prague (1913) and The Golem (1920). He also worked as a director on several films, including The Golem and The Cabinet of Dr. Caligari. In addition to his work as a cinematographer and director, Seeber was also a pioneer in the field of special effects. He developed a technique for creating the illusion of movement in still photographs, which he used in The Cabinet of Dr. Caligari and Nosferatu. Seeber died in Berlin on 15 April 1945. He was 65 years old.

Popular As Friedrich Konrad Guido Seeber
Occupation cinematographer,director,special_effects
Age 61 years old
Zodiac Sign Cancer
Born 22 June, 1879
Birthday 22 June
Birthplace Chemnitz, Germany
Date of death 2 July, 1940
Died Place Berlin, Germany
Nationality Germany

We recommend you to check the complete list of Famous People born on 22 June. He is a member of famous Cinematographer with the age 61 years old group.

Guido Seeber Height, Weight & Measurements

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Who Is Guido Seeber's Wife?

His wife is Meta Lina Fritzsche (1904 - ?)

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Wife Meta Lina Fritzsche (1904 - ?)
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Guido Seeber Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Guido Seeber worth at the age of 61 years old? Guido Seeber’s income source is mostly from being a successful Cinematographer. He is from Germany. We have estimated Guido Seeber's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
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Source of Income Cinematographer

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Timeline

2010

When the invention of the film was presented in Germany in 1896 too both senior and junior Seeber became fascinated by this new medium and they began to shoot their own movies. Normally they filmed actual events in and around Chemnitz, among them the self-explanatory titles "König Albert von Sachsen wird in Chemnitz empfangen" (1898), "König Georg von Sachsen in Chemnitz am 10.9.1902" (1902), and "Die Flugmaschine der Brüder Orville und Wilbur Wright - Ihre Demonstraton auf dem Tempelhofer Feld in Berlin" (1909). Those works were presented to the audience via a travelling cinema.

1932

He had suffered a stroke in 1932 and after this he largely retired from active camera operation. However, he continued to be involved in the film industry, taking over the management of UFA's animation department in 1935 and publishing several books for amateur filmmakers.

1925

Seeber created several animated works, including an advertisement entitle Kipho or Du musst zur Kipho (You Must Go to Kino-Photo) for a film and photography exhibition in Berlin in 1925.

1916

Guido Seeber also averted impressive pictures on the big screen in the second half of the 10s, among them "Engeleins Hochzeit" (1916) and"Der fliegende Holländer" (1918).

1913

In addition to his technical talents with the camera (he developed several special effects techniques), his use of perspective and skillful contrasts between light and dark are noteworthy. His main collaborators were the directors Urban Gad, Lupu Pick, Georg Wilhelm Pabst und Paul Wegener and among his most important accomplishments are the shots of the Doppelgänger in Wegener's Der Student von Prag (The Student of Prague) of 1913 and the moving camera shots in the films of Lupu Pick, particularly Sylvester (1923), which can be seen as anticipating the so-called "unchained camera" of Friedrich Wilhelm Murnau's The Last Laugh (1924).

1910

Guido Seeber shot first movies with stories which were forerunners of the later feature movies. To these works belong "Schuld und Sühne" (1910), "Gräfin Ankarström" (1910) and "Das Mädchen mit den Schwefelhölzern" (1910).

1908

In 1908 he became technical manager of the film company Deutsche Bioscop.

1896

In the summer of 1896, he saw the first films of the Lumière Brothers and became fascinated by this new technology. He bought a film camera and devoted himself to the development of cinematography and of sound films.