Boasting an impressive cast, including Keira Knightley, Ralph Fiennes and Matt Smith, and captured by cinematographer Florian Hoffmeister BSC, the upcoming political thriller Official Secrets used Sony Venice for principal photography. Image by Nick Wall.
DP Gareth Munden, a former New Wave inductee, kindly wrote in with details about his work on the thriller, She’s Missing, shot on location in New Mexico and California, under the auspices of director Alexandra McGuinness.
Roy H. Wagner ASC, a regular contributor to British Cinematographer, has launched 'Beyond The Darkness' - an online cinematography resource of countless behind-the-scenes stories, film tests from the past and present, as well as on-set interviews with American and international partners.
The poster for the 72nd Cannes International Film Festival has been unveiled, and it features an iconic shot of the late filmmaker Agnes Varda on the set of her first film - 1954's La Pointe Courte.
ARRI has unveiled its new Alexa Mini LF camera, with the new product combining the compact size and low weight of the company’s popular Alexa Mini with the large-format Alexa LF sensor.
The British Society of Cinematographers have released an exclusive collection of specially branded merchandise as part of their 70th Anniversary celebrations.
The winners were announced at the second IMAGO Awards ceremony, which took place in Belgrade, Serbia last Saturday (16th March), and Roger Deakins CBE BSC ASC picked up another award for his work on Blade Runner 2049. Re-live the entire live broadcast, find out all the winners and see photos from the night right here at British Cinematographer.
Cine Gear Expo Hollywood will once again be held at historic Paramount Studios May 30-June 2, 2019. Now in its 24th year, this must-go-to event fills the actual sound stages and New York Street location sets of this revered venue.
Ahead of the second IMAGO International Awards for Cinematography ceremony, IMAGO have announced the recipients of their 'Special Recognition' awards, including Rachel Morrison ASC and Ed Lachman ASC.
In our latest cover feature, Ben Davis BSC speaks to us about teaming up with director Tim Burton for the first time to bring the live-action version of Dumbo to life. There's also features on Robert Richardson ASC, BSC President Mike Eley and Irish DP John Conroy ISC in another great new edition. Get a sneak preview of the content that subscribers can enjoy in the upcoming issue of British Cinematographer magazine - released from 18th March.
DP Stephen Murphy wrote in with details about his work on Death And Nightingales, the three-part BBC mini-series based on the novel of the same name, starring Jamie Dornan, Matthew Rhys and Ann Skelly.
EnergaCamerimage are very excited to announce that the 27th edition of the International Film Festival of the Art of Cinematography CAMERIMAGE will be held between 9-16 November 2019 in the city of Toruń, Poland.
The restoration work on Sir Peter Jackson’s First World War documentary film, They Shall Not Grow Old, was handled by Park Road Post Production in Wellington, New Zealand, and represents the post house’s largest-ever restoration project.
Up and coming DP, Stuart White, wrote in with details about his work on The Conversation, which was screened as a finalist at the BSC Emerging Cinematographers Night.
Boasting an impressive cast, including Keira Knightley, Ralph Fiennes and Matt Smith, and captured by cinematographer Florian Hoffmeister BSC, the upcoming political thriller Official Secrets used Sony Venice for principal photography. Image by Nick Wall.
DP Gareth Munden, a former New Wave inductee, kindly wrote in with details about his work on the thriller, She’s Missing, shot on location in New Mexico and California, under the auspices of director Alexandra McGuinness.
Roy H. Wagner ASC, a regular contributor to British Cinematographer, has launched 'Beyond The Darkness' - an online cinematography resource of countless behind-the-scenes stories, film tests from the past and present, as well as on-set interviews with American and international partners.
The poster for the 72nd Cannes International Film Festival has been unveiled, and it features an iconic shot of the late filmmaker Agnes Varda on the set of her first film - 1954's La Pointe Courte.
ARRI has unveiled its new Alexa Mini LF camera, with the new product combining the compact size and low weight of the company’s popular Alexa Mini with the large-format Alexa LF sensor.
The British Society of Cinematographers have released an exclusive collection of specially branded merchandise as part of their 70th Anniversary celebrations.
Ben Davis BSC speaks to us about bringing the live-action version of Dumbo to life, the challenges of representing a giant CGI elephant, the great collaborations which brought the images to life, and why the gamble of waiting on the production to get the green-light paid off.
Recently honoured with the ASC Lifetime Achievement Award, Robert Richardson ASC took on the story of American journalist Marie Colvin in A Private War. He reveals why Marie’s story drew him to the feature, how shooting in tunnels in Jordan was technically grueling, and his experience in linking up with documentary filmmaker Matthew Heineman.
Having been an electrician at Lee Lighting for well over a decade, David Sinfield took the step to fully-fledged gaffer and not looked back. Read more about his innovations on The Nutcracker and Aladdin, the importance of a whole team effort, and why he doesn't he doesn't have favourite lights or tools.
Written by and starring Rupert Everett, The Happy Prince was lit by Irish cinematographer John Conroy ISC. Conroy tells British Cinematographer why ARRI Master Anamorphic primes proved a great lens choice, why the softer the source is better on faces, and why Everett didn’t want the results to look too ‘nelly’.
As awards season wraps up and he contemplates events ahead, Mark London Williams shifts his focus in L.A. this month and takes in Nancy Schreiber ASC's biopic Mapplethorpe, Todd Elyzen's contributions to Netflix's A Series Of Unfortunate Events, the lighting of Pietro Villani on indie film I’m Not Here and Zeiss's open house event.
On the advice of a sound recordist suggesting the need for a new type of florescent lamp, Frieder Hochheim founded Kino Flo, a company that has continued to innovate in the world of film lighting. He tells the story to British Cinematographer.
Having worked-up through the camera departments, Bart Sienkiewicz saw feature films Solis and The Bromley Boys released in cinemas in 2018. Find out what's in store next for the Polish-born cinematographer.
Roy H. Wagner ASC gazes back to being a child in the golden age of film-making in the late-1940s and salutes the loyal band of British cinematographers who were part of the British New Wave.
Tristan Oliver BSC, the DP on Wes Anderson’s stylish and highly-acclaimed animated feature Isle Of Dogs talks to British Cinematographer about the cinematography of capturing stop-frame, overseeing 50 shooting units on set and why the sequence in the Saki Bar was one of his favourites to shoot.
Cinders Forshaw BSC has shot five features and has a distinguished and varied career in the world of television, including Tipping The Velvet, Vera and Poldark. She recounts her experiences studying at the NFTS, why it is TV's golden age for lighting projects and her views on being labelled a TV DP.
In the January 2019 edition of British Cinematographer, Mike Eley BSC's President's column celebrates the creation of the BSC 70 years ago and asks what gave rise to such optimism and camaraderie in its formation.
Mark London Williams was in the thick of it as awards season hit, taking in the accolades at the ASC, Independent Spirit, Art Directors Guild and of course the main and Sci-Tech Academy awards ceremonies. Read on for more about what the likes of DP James Laxton, ASC President Kees van Oostrum and Oscar winner Alfonso Cuarón had to say.
Stan & Ollie follows the world's most famous comedy duo, Laurel & Hardy, as they attempt to reignite their dwindling film careers in 1953. DP Laurie Rose BSC reveals how the cinematography assumed the role as a witness, why his lense choices paid homage to Cooke's legacy and which six-minute shot was his most enjoyable.
With production in the UK booming, the newly-formed ScreenSkills, formerly Creative Skillset, is dedicated to keeping the talent pool well-stocked as the industry-led skills charity for the screen industries. Read on to discover more about their work from their Head of Film, Gareth Ellis-Unwin.
Frenchman Philippe Rousselot AFC ASC picks up his magic wand (or should that be light meter?) again to capture the second in the Fantastic Beasts series – The Crimes of Grindelwald. He reveals why being terrified at the start of a production is a good thing, why the Leica Thalia were the lenses of choice, and his delight at working once more with colouring ‘wizard’ Peter Doyle.
Mike Eley BSC reunited with Director Ralph Fiennes to lens the tale of the defection of internationally famous Russian ballet dancer Rudolf Nureyev in The White Crow. The BSC President speaks in-depth to Trevor Hogg about shooting across multiple European countries, why Raging Bull became an inspiration and building Paris–Le Bourget Airport from scratch.
It took a while to get there, but Martin Smith is now a gaffer with a firm reputation for taking on big challenges in different countries, including the recent Rob Hardy BSC collaboration on Mission Impossible: Fallout. Find out what Martin thinks is part of the fun of being a gaffer, why he gives as good as he gets and why he recommends getting onto a rigging crew.
Dion Beebe ACS ASC joins forces for a fifth time with director Rob Marshall to bring Mary Poppins back to life more than 50 years after the original. Beebe tells us about paying homage to a classic whilst wrapping a new generation into the story, the value gained from constructing LUTs in pre-production, and the fun to be had with a mixed-bag of lighting tricks.
Having taken the awards season nominations by storm, with nods for the ASC, BSC, BAFTA awards and the Oscars, Robbie Ryan BSC ISC’s The Favourite is a popular choice right now. Ryan tells British Cinematographer why using film is incredibly flexible and durable, his joy at working with the Helix system – plus an ultra-wide 6mm spherical lense, and the challenge of getting inside director Yorgos Lanthimos’ vision.
Mark London Williams picks up where he left off in his column last time with a chat with Robert Richardson ASC, and also picks up soundbites from Jeffrey Jur, winner of the ASC's 'Career Achievement in TV' award. There's nods to Oscar and ASC nominees Robbie Ryan and Łukasz Żal, and he takes a look at DP Zak Mulligan's work on We The Animals.
The circumstances surrounding the political scandal of Senator Gary Hart are the subject of The Front Runner, directed by Jason Reitman and starring Hugh Jackman. DP Eric Steelberg ASC speaks exclusively to Trevor Hogg and British Cinematographer about his seventh collaboration with Reitman. Image c/o Columbia Pictures.
A Silver Frog champion at the 2018 EnergaCamerimage festival, DP Łukasz Żal' PSCs collaboration with filmmaker Paweł Pawlikowski, Cold War is certainly hotting up during awards season. Żal speaks exclusively to Trevor Hogg and British Cinematographer in this extended interview about the sheer volume of prep-work needed, the use of black and white and high contrast imagery, and which scene perfectly encapsulates how the film was shot. Image c/o Amazon Studios.
Ben Davis BSC speaks to us about bringing the live-action version of Dumbo to life, the challenges of representing a giant CGI elephant, the great collaborations which brought the images to life, and why the gamble of waiting on the production to get the green-light paid off.
Recently honoured with the ASC Lifetime Achievement Award, Robert Richardson ASC took on the story of American journalist Marie Colvin in A Private War. He reveals why Marie’s story drew him to the feature, how shooting in tunnels in Jordan was technically grueling, and his experience in linking up with documentary filmmaker Matthew Heineman.
Having been an electrician at Lee Lighting for well over a decade, David Sinfield took the step to fully-fledged gaffer and not looked back. Read more about his innovations on The Nutcracker and Aladdin, the importance of a whole team effort, and why he doesn't he doesn't have favourite lights or tools.
Written by and starring Rupert Everett, The Happy Prince was lit by Irish cinematographer John Conroy ISC. Conroy tells British Cinematographer why ARRI Master Anamorphic primes proved a great lens choice, why the softer the source is better on faces, and why Everett didn’t want the results to look too ‘nelly’.
As awards season wraps up and he contemplates events ahead, Mark London Williams shifts his focus in L.A. this month and takes in Nancy Schreiber ASC's biopic Mapplethorpe, Todd Elyzen's contributions to Netflix's A Series Of Unfortunate Events, the lighting of Pietro Villani on indie film I’m Not Here and Zeiss's open house event.
On the advice of a sound recordist suggesting the need for a new type of florescent lamp, Frieder Hochheim founded Kino Flo, a company that has continued to innovate in the world of film lighting. He tells the story to British Cinematographer.
Having worked-up through the camera departments, Bart Sienkiewicz saw feature films Solis and The Bromley Boys released in cinemas in 2018. Find out what's in store next for the Polish-born cinematographer.
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