Our action-packed September edition features the second part of our special report reflecting on how the world of cinematography and the live’s of DPs have changed over the last two decades. Ben Davis BSC talks about his time lensing The King's Man in our cover feature and there's also exclusive interviews with the likes of Peter Deming ASC on The New Mutants, Łukasz Żal PSC on I'm Thinking Of Ending Things and Kit Fraser on Eternal Beauty plus much, much more.
Chris Deighton, CTO of Brompton Technology, a specialist designer/manufacturer of cutting-edge LED video processing products for the live events, film and broadcast industries, gives an insightful & quite incredible overview using LED screens.
Director Lukas Galle and cinematographer Jan Anderle recently wrote in with details about their collaboration on Galle’s short film Apart, the story of a young woman living in a post-apocalyptic world.
In our milestone edition, we reflect on how the world of cinematography and the live’s of DPs have changed and evolved over the last two decades since we released our very first issue back in 2002. We also interview Shelly Johnson ASC on Greyhound, Judd Apatow & Robert Elswit ASC talk The King Of Staten Island and DP Brendan Galvin ISC discusses his time lensing Unhinged plus much, much more.
Helicopter Film Services has introduced COVID-safe measures to ensure safety for crew, production teams and subjects, so that filming projects can continue in what we hope to be the aftermath of a worldwide pandemic.
We have been overwhelmed with joy to receive so many kind messages and calls – from readers and advertisers alike – about our 99th edition in May. Editor Ron Prince expresses his gratitude during these challenging times.
ASPEC Acting Chair, J. Barry Measure, writes with an update from the association during the current epidemic which continues to impact & present challenges for productions around the world.
New training is being fast-tracked to help film and high-end television return safely to production, the skills body ScreenSkills announced last week.
Rob Hardy BSC is the focus of our cover feature in our action-packed May edition. Ron Prince catches up with him to discuss his time lensing FX series Devs and working alongside Director Alex Garland. Find out what else you'll find in the upcoming 99th Issue of British Cinematographer magazine - released 22nd May.
DP George Burt wrote in with details about his work on the low-budget sci-fi thriller G-LOC, directed by Tom Paton - the fifth movie he has shot for the director.
DP Sverre Sørdal FNF wrote in with details about his work on director Henry Blake’s County Lines, a coming-of-age thriller about a 14-year-old boy who is groomed into a county lines criminal network.
Peter Chang, known for his IMAX and giant-screen work as cinematographer on Jerusalem and America Wild: National Parks Adventure, has completed his latest film, Cuba, with Cooke S7/i large format lenses playing an important part.
The 2020 BSC Expo saw the launch of Cut It, the first crew-led initiative to tackle carbon emissions in film and TV production.
During this difficult time, British Cinematographer Editor, Ron Prince, shares a heartfelt letter expressing our deepest thanks & gratitude to everyone connected with our magazine - far and wide - for your support.
Our action-packed September edition features the second part of our special report reflecting on how the world of cinematography and the live’s of DPs have changed over the last two decades. Ben Davis BSC talks about his time lensing The King's Man in our cover feature and there's also exclusive interviews with the likes of Peter Deming ASC on The New Mutants, Łukasz Żal PSC on I'm Thinking Of Ending Things and Kit Fraser on Eternal Beauty plus much, much more.
Chris Deighton, CTO of Brompton Technology, a specialist designer/manufacturer of cutting-edge LED video processing products for the live events, film and broadcast industries, gives an insightful & quite incredible overview using LED screens.
Director Lukas Galle and cinematographer Jan Anderle recently wrote in with details about their collaboration on Galle’s short film Apart, the story of a young woman living in a post-apocalyptic world.
In our milestone edition, we reflect on how the world of cinematography and the live’s of DPs have changed and evolved over the last two decades since we released our very first issue back in 2002. We also interview Shelly Johnson ASC on Greyhound, Judd Apatow & Robert Elswit ASC talk The King Of Staten Island and DP Brendan Galvin ISC discusses his time lensing Unhinged plus much, much more.
Helicopter Film Services has introduced COVID-safe measures to ensure safety for crew, production teams and subjects, so that filming projects can continue in what we hope to be the aftermath of a worldwide pandemic.
We have been overwhelmed with joy to receive so many kind messages and calls – from readers and advertisers alike – about our 99th edition in May. Editor Ron Prince expresses his gratitude during these challenging times.
In our cover story special from BC99, Rob Hardy BSC discussed his time lensing Devs. The show – which centres on computer engineer Lily Chan (Sonoya Mizuno) – premiered on Hulu in March before airing on the BBC. Hardy tells us about working with Director Alex Garland, his selection of camera, lenses & aspect ratios and using ‘specially-expanded’ Anaorphic lenses.
Unhinged is the first movie to be developed, produced and released by Solstice Studios. Irish DP Brendan Galvin ISC tells us all about his experiences lensing the film and working alongside director Derrick Borte.
We shine a light on Lee Walters in this edition of Gaffers 'R' Us. He talks to us about his time learning the trade, the fundamentals of the gaffer/DP relationship and keeping up with the latest innovations in lighting.
Offering an imaginative and intelligent approach to cinematography, award-winning DP Phil Méheux BSC has enjoyed a stellar filmmaking career spanning the best part of six decades. Ron Prince caught up with the man himself to discuss his incredible career.
Starring Eva Green and Eve Hewson, The Luminaries is set on the wild west coast of New Zealand’s South Island at the height of the 1860’s gold rush. Denson Baker ACS NZCS tells us all about his time lensing the series and working alongside director (and wife) Claire McCarthy once again.
Mark London Williams writes to us from L.A. ahead of September's Emmy awards and catches up with DP Greig Fraser ASC on his Emmy-nominated work lensing Disney’s The Mandalorian in the latest installment of Across The Pond.
If you crossed Vertigo (1958) with Clueless (1995) then you’d begin to get an idea of what cinematographer Benjamin Kračun’s job entailed on Emerald Fennel’s directorial debut, Promising Young Woman, releasing later in 2020.
French cinematographer Hélène Louvart AFC discusses her time lensing writer/director Eliza Hittman’s powerful and intimate drama Never Rarely Sometimes Always.
Andy Long talks to us about his journey to becoming a gaffer, his trusted crew and working on Christopher Nolan's Inception alongside Wally Pfister ASC in our latest installment of Gaffers 'R'Us.
Cinematographer Denis Crossan BSC had previously worked with director Michael Caton-Jones on a brace of movies, plus a hit TV series, before linking up once again to shoot the Hollywood veteran helmer’s personal passion project, Our Ladies.
DP MacGregor (Miguel de Olaso) tells us all about his time working alongside director Lorcan Finnegan to shoot sci-fi thriller Vivarium which premiered at the 2019 Cannes Film Festival.
It's election season in America and there's a new chapter at the ASC as Mark London Williams writes to us from Los Angeles in the latest installment of Across The Pond.
French DP Eric Gautier AFC tells us all about flawlessly recreating Paris’ French Jazz scene entirely on Kodak Vision3 16mm film and working alongside director Damien Chazelle for Netflix drama The Eddy.
Nick Gillespie's career began when he got a job as a camera operator on local TV whilst at university. Since then, he's worked alongside some of the very best DPs in the industry and his career continues to go from strength to strength.
DP Oona Menges & her crew faced a lot of thinking on their feet working on the low-budget feature The Host. We catch up with her to discuss her time lensing the suspense-driven thriller.
In our May edition of British Cinematographer, Mike Eley BSC reflected on the impact of the global epidemic caused by COVID-19 and what it'll mean for the industry & production going forward.
Mark London Williams' very latest column from L.A. features a remembrance of Haskell Wexler's speaks-to-the-moment classic Medium Cool.
Working with writer/director Agnieszka Holland on the harrowing Mr. Jones has not only given Tomasz Naumiuk PSC a boost of confidence but has also earned him international recognition, telling the story of Welsh investigative journalist Gareth Jones’s 1933 poignant odyssey to reveal the truth about the famine-genocide in Ukraine.
In his latest column, Mark London Williams writes from L.A. as the industry & world remain on pause amid the ongoing global epidemic.
Captured on Kodak B&W 16mm film, director Mark Jenkin’s unique, ultra-low budget movie, Bait, released in the UK by the BFI, earned widespread critical acclaim, multiple awards and turned in impressive results at the box office. Here the director shares details about his career and the methods he used to make this profound and visually-distinctive movie. Photo: Tom Axon.
Director Hlynur Palmason’s second feature, A White, White Day (Hvítur, Hvítur Dagur), shot on Kodak in widescreen 2-perf Super35mm, is a story of heart-rending grief, revenge and unconditional love, captured by Swedish DP Maria von Hausswolff.
Rizwan Wadan of Mr Helix is a self-taught technician with a passion for providing solutions that extend far beyond revolutionising the way shots are stabilised, from TV hits like Luther to award-winners like The Favourite.
In our cover story special from BC99, Rob Hardy BSC discussed his time lensing Devs. The show – which centres on computer engineer Lily Chan (Sonoya Mizuno) – premiered on Hulu in March before airing on the BBC. Hardy tells us about working with Director Alex Garland, his selection of camera, lenses & aspect ratios and using ‘specially-expanded’ Anaorphic lenses.
Unhinged is the first movie to be developed, produced and released by Solstice Studios. Irish DP Brendan Galvin ISC tells us all about his experiences lensing the film and working alongside director Derrick Borte.
We shine a light on Lee Walters in this edition of Gaffers 'R' Us. He talks to us about his time learning the trade, the fundamentals of the gaffer/DP relationship and keeping up with the latest innovations in lighting.
Offering an imaginative and intelligent approach to cinematography, award-winning DP Phil Méheux BSC has enjoyed a stellar filmmaking career spanning the best part of six decades. Ron Prince caught up with the man himself to discuss his incredible career.
Starring Eva Green and Eve Hewson, The Luminaries is set on the wild west coast of New Zealand’s South Island at the height of the 1860’s gold rush. Denson Baker ACS NZCS tells us all about his time lensing the series and working alongside director (and wife) Claire McCarthy once again.
Mark London Williams writes to us from L.A. ahead of September's Emmy awards and catches up with DP Greig Fraser ASC on his Emmy-nominated work lensing Disney’s The Mandalorian in the latest installment of Across The Pond.
If you crossed Vertigo (1958) with Clueless (1995) then you’d begin to get an idea of what cinematographer Benjamin Kračun’s job entailed on Emerald Fennel’s directorial debut, Promising Young Woman, releasing later in 2020.
Buy a subscription - still the only way to see the full British Cinematographer magazine!
