6 Balloons, a grimly effective Netflix drama, tells the story of a young woman who attempts to help her brother cope with his heroin addiction. The American drama was shot by cinematographer Polly Morgan BSC using a number of VariCam 35 cameras. All images: © Tyler Boswell
Filmmaker Paul Cook was able to draw upon a wide range of production equipment from Vitec Group brands to produce his new film, Magpie.
As part of an on-going programme of investment, Pinewood MBS Lighting has significantly expanded its range of location services with the delivery of several new mobile generators.
Cine Gear Expo kicks off its inaugural Hollywood-style event at the world-renowned Pinewood Atlanta Studios in Fayetteville, Georgia on October 6-7, 2018.
Following the tragic death of Mark Milsome on-set in Ghana on 18th November 2017, a charitable foundation is being set up in his name, and they are inviting the worldwide filmmaking community to honour him during the week of 18th - 24th November 2018.
After previewing its new Hyperion LED series earlier this year, Spotlight will showcase the 6-Colour Fresnel, 6-Colour Profile and Warm White Fresnel models with new software at PLASA 2018.
Chroma-Q, who recently acquired and rebranded the Jands Vista lighting & media control system, has released the long anticipated Vista 3 software, which introduces a large number of exciting new features and improvements.
Good times for Seamus McGarvey BSC ASC in our September edition, as his production, crime mystery Bad Times At The El Royale, graces the cover and takes its place inside another packed issue alongside Jess Hall BSC and Chayse Irvin CSC among others. Get a sneak preview of this, and more, that subscribers can enjoy in the new issue of British Cinematographer magazine - released 10th September.
The A.C. Entertainment Technologies stand at IBC 2018 will feature an array of specialist TV, Broadcast & Film lighting solutions and related services from leading brands.
Cooke Optics will add further depth and character to its acclaimed Cooke Anamorphic/i lens family at IBC 2018, when it presents the 50mm focal length of the new Anamorphic/i Full Frame Plus range.
BB&S Lighting of Denmark announces a new concept for professional studio, stage and architectural lighting, the Compact Beamlight (CBL 1) to show at IBC 2018 - Hall 12 Stand B42.
Great technology will be shown at cinec from 22nd to 24th September in Munich, while cineCongress will present a variety of possibilities parallel to the trade fair with talks and workshops. Photo: © Albrecht GmbH / P. G. Loske.
Cinematographer Phil Méheux is to be a special guest at Soundstage on Wednesday September 19th. At the event, held at an intimate London venue, he’ll be interviewed about his 40 year-plus career, which includes the Bond films Casino Royale & Goldeneye.
This year Camerimage will screen two films shot by the late Michael Ballhaus, the masterful German cinematographer and a recipient of Camerimage Lifetime Achievement Award - The Bitter Tears of Petra von Kant and Postcards from the Edge (pictured).
6 Balloons, a grimly effective Netflix drama, tells the story of a young woman who attempts to help her brother cope with his heroin addiction. The American drama was shot by cinematographer Polly Morgan BSC using a number of VariCam 35 cameras. All images: © Tyler Boswell
Filmmaker Paul Cook was able to draw upon a wide range of production equipment from Vitec Group brands to produce his new film, Magpie.
As part of an on-going programme of investment, Pinewood MBS Lighting has significantly expanded its range of location services with the delivery of several new mobile generators.
Cine Gear Expo kicks off its inaugural Hollywood-style event at the world-renowned Pinewood Atlanta Studios in Fayetteville, Georgia on October 6-7, 2018.
Following the tragic death of Mark Milsome on-set in Ghana on 18th November 2017, a charitable foundation is being set up in his name, and they are inviting the worldwide filmmaking community to honour him during the week of 18th - 24th November 2018.
After previewing its new Hyperion LED series earlier this year, Spotlight will showcase the 6-Colour Fresnel, 6-Colour Profile and Warm White Fresnel models with new software at PLASA 2018.
BlacKkKlansman has become one of the most talked about films of 2018, having won the Grand Prix at this year’s Cannes Film Festival. Its North American DP Chayse Irvin CSC explains all about the experimental evolution of his approach, the virtues of using film and why he sees cinematography as a “jam session”. Image Credit: David Lee / Focus Features
Roy H. Wagner ASC hFRPS says cinematogaphers today have more power, and relevance, than ever.
Former cover star, Jess Hall BSC talks us through Serenity – described by one of its producers as an “existential fishing thriller”. Discover how he dealt with the challenges of shooting on Mauritius, his voyage of discovery in capturing the colours of the ocean and why Anamorphics were the way to go.
Much of the focus of major productions are on the visuals, but we take the time to hail Academy Award winner Glenn Freemantle, a man who has made major innovations in sound, atmosphere and aural mood.
Seamus McGarvey BSC ASC’s latest production, Bad Times At The El Royale, took centre stage in Issue 89. He tells us why “film is for life”, as well as explaining why shooting exteriors in a studio proved advantageous, and how gaffer Stuart Hegarty’s flexible lighting plan aided production.
Mark London Williams was in amongst the hurlyburly this past month, taking in the Creative Arts Emmys and grabbing some words from pioneering DP Ellen Kuras ASC after her win for National Geographic's Jane, along with visits to the ICG Luncheon and a convivial tour of Panavision Hollywood.
Frequent collaborators, DP Noah Greenberg and Director Craig William Macneill, joined forces once more to capture Lizzie - a psychological thriller that recounts the infamous murder of the Borden family in 1892. Trevor Hogg spoke extensively with Greenberg to get his views on shooting his first period piece, released in the US this week.
Trevor Hogg is back with another exclusive DP conversation, this time with Larry Fong ASC discussing his experiences lighting science-fiction The Predator, the fourth in the Predator film series, released this week in the US.
BAFTA Film Award nominated cinematographer Giles Nuttgens BSC partnered with filmmaker Wash Westmoreland for the late 19th century biopic Colette, featuring Keira Knightley as French novelist Sidonie-Gabrielle Colette, whose husband Henry ‘Willy’ Gauthier-Villars takes credit for her work. The film is set for release in the US in September and the UK next January, and Trevor Hogg spoke extensively to Nuttgens about working on the upcoming feature.
Feature Image: Robert Viglasky / Bleecker Street
In his column from the July edition (88) of British Cinematographer, BSC President Mike Eley recalls when he fell in love with cinema, and why the splendour of its display should not be lost in the modern age.
Take 2 Camera & Grip Rental have a serious commitment to the needs of cinematographers and their crew. We speak to new MD Alan Piper, and Procam Group marketing manager Allison Duval, to find out what the company is all about.
Mark London Williams had his finger on the pulse around LA this past month, as he takes in the ground-breaking on the new ASC ARRI Educational Center, finds out from Nicholas D. Johnson and Will Merrick what being a "virtual cinematographer" entails, and visits the opening of Adobe's new "digital sandbox" in Santa Monica.
Cinematographer Alan Trow BSC has been responsible for the cinematic look of many features and TV productions, including, Monolith and Up ‘N’ Under, and along with his work as a DP, he recently took on the role of director and producer on the much-admired 2017 movie Kesulat: A Story Of Kosovo. Read on to get a measure of the man and the events that have shaped him.
In an era of significant anniversaries, Panasonic reaches its century this year. Delve into their history, including their roots under founder Konosuke Matsushita, how they moved into the AV markets, and why their cameras are evolving from capturing natural history to drama and film.
Spitfire: The Feature Documentary tells the story of the British fighter plane, which was utilized in 1940's Battle of Britain. John Dibbs, who served as a producer and cinematographer, painted the pictures in the sky and tells us how he celebrated a British icon.
He completed his first feature film Boyz In The Wood last year, and now 'New Wave' Patrick Meller tells us why Bugsy Malone piqued his interest as a boy, how he got his breaks and why its always good to have a back-up plan. Image: Ciaran Spencer
The second installment of the Jurassic World trilogy, following three years after the eponymous opener, Fallen Kingdom saw Spaniard Oscar Faura picking up the cinematography baton to guide the visuals on the two-hour adventure ride.
Dariusz Wolski ASC grabbed his lenses and set about showcasing the sequel to 2015's Sicario in Day Of The Soldado, a gritty thriller about the drugs war at the US-Mexico border.
Eddie Knight has traveled the globe and worked on several 007 James Bond movies, the Star Wars saga and many more. We speak to the man himself about his lucky break at Lee Lighting, his transworld adventures and why he doesn't go in for negative vibes on set.
Charlotte Bruus Christensen DFF took on the horror genre and shot 35mm film for A Quiet Place. Read all about her love of the analogue way of working, how she collaborated with Panavision on a specific lens set, and why she believes film is uniquely atmospheric.
Richard Crudo ASC wonders how much the traditions of learning the art of filmmaking will affect the next generation.
BlacKkKlansman has become one of the most talked about films of 2018, having won the Grand Prix at this year’s Cannes Film Festival. Its North American DP Chayse Irvin CSC explains all about the experimental evolution of his approach, the virtues of using film and why he sees cinematography as a “jam session”. Image Credit: David Lee / Focus Features
Roy H. Wagner ASC hFRPS says cinematogaphers today have more power, and relevance, than ever.
Former cover star, Jess Hall BSC talks us through Serenity – described by one of its producers as an “existential fishing thriller”. Discover how he dealt with the challenges of shooting on Mauritius, his voyage of discovery in capturing the colours of the ocean and why Anamorphics were the way to go.
Much of the focus of major productions are on the visuals, but we take the time to hail Academy Award winner Glenn Freemantle, a man who has made major innovations in sound, atmosphere and aural mood.
Seamus McGarvey BSC ASC’s latest production, Bad Times At The El Royale, took centre stage in Issue 89. He tells us why “film is for life”, as well as explaining why shooting exteriors in a studio proved advantageous, and how gaffer Stuart Hegarty’s flexible lighting plan aided production.
Mark London Williams was in amongst the hurlyburly this past month, taking in the Creative Arts Emmys and grabbing some words from pioneering DP Ellen Kuras ASC after her win for National Geographic's Jane, along with visits to the ICG Luncheon and a convivial tour of Panavision Hollywood.
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