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.
The BFI and The Film and TV Charity have partnered to create the new fund, established with a £1m donation from Netflix, to help support the creative community, which has been devastated by the pandemic.
BSC president Mike Eley BSC sends a message of support and reassurance to society members during the COVID-19 outbreak.
Camera-stabilisation technology developer, Rizwan Wadan, is one of the few practicing Muslims in the mainstream filming industry in the UK, and it is his firm belief that it is important to open dialogues and debates through the visual medium and advocate film to the BAME and Muslim communities.
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 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 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.
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.
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.
The exquisite black-and-white photography in director Václav Marhoul’s adaption of Jerzy Kosinski's novel - The Painted Bird - represents veteran Czech cinematographer Vladimír Smutný’s most personal work to date, and earned him the Bronze Frog accolade at Camerimage.
These days a dedicated teller of stories with his stills camera, honorary BSC member Richard Greatrex has been an award-winning cinematographer, and Oscar-nominated for 1998's Shakespeare In Love. Of course, the tale of his career is obviously an enthralling one, and he told it to us.
Discover more about the native of Russia who studied at FAMU in Prague and the Northern Film School on her journey to fully-fledged cinematographer on titles such as Adam and Eve and Black Dollar.
Another disciple of Lee Lighting, Tom Gates has been a gaffer for 30 years from pop promos to nearly a decade on one of the world's biggest TV series. Learn more about the man with the 'legendary reputation'.
Working under Director Reed Morano ASC – an accomplished cinematographer herself – Sean Bobbitt BSC captured the look on thriller The Rhythm Section. He reveals his thoughts on the great appeal to work on this project, the common language he developed with Morano, and why he would choose the Xtal Xpress 50mm lense for life.
Following the box office success of the original film, shot by Charlotte Bruus Christensen DFF, the sequel A Quiet Place 2 was captured on film by Polly Morgan BSC ASC - a joyful return to shooting celluloid for the British cinematographer, as she reveals here.
In his latest column from L.A., Mark London Williams writes of challenging & unprecedented times for the industry. Cinematographers from around the world also share their stories during the current global epidemic.
With dazzling urgency, Darius Khondji AFC ASC's visuals lit up the Kodak 35mm film Uncut Gems starring Adam Sandler. Discover why Khondji was out of his comfort zone right away, why a one-stop push was deployed, and why he broke a normal post-completion tradition.
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 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.
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.
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