Over £4million pounds has been collected from European sources by Screen Craft Rights for the benefit of cinematographers and HODs working on British film and TV productions since it was established as a collecting society in 2011.
Camera, lens and grip specialist, Movietech, dispatched its newly-acquired Sony Venice camera to support cinematographer Florian Hoffmeister BSC on Official Secrets, the camera system’s debut on a European feature.
The British Society of Cinematographers are delighted to announce the nominations for this year’s BSC Best Cinematography in a Theatrical Release Award 2017, with Roger Deakins CBE BSC ASC again leading the field.
Get an advance look at some of the great content set to feature* in the July 2018 issue (88) of British Cinematographer magazine, including Rob Hardy BSC's work on Mission Impossible: Fallout. Purchase a Print or Print & Digital subscription before 2nd July and receive this edition to your letterbox. (*subject to change).
The 71st Cannes Film Festival has concluded and all the winners have been announced - see them all, including the coveted Palm d'Or. Image © Alberto Pizzoli/AFP
Tonight (Friday 18 May 2018) at the Buñuel Theatre in the Palais des Festivals, Edward Lachman ASC, surrounded by significant directors and actors will be awarded the “Pierre Angénieux ExcelLens in Cinematography” tribute.
Read about the products you can see at Cine Gear Expo, 31 May to 3 June, presented by the brands of The Vitec Group.
The Festival de Cannes opened yesterday evening at the Grand Théâtre Lumière with an excerpt from Pierrot le fou by Jean-Luc Godard, from which the poster for this 71st edition was taken.
The members of the UK Screen Alliance in partnership with Animation UK have elected new representative councils.
France Télévisions is set to install Panasonic UHD cameras in a two-year upgrade of its digital studios and OB Vans throughout France.
May the force be with you! In our May edition we've put the focus on Bradford Young ASC's work on the upcoming episode in the saga, Solo: A Star Wars Story, along with seven more DoP interviews about their latest projects and plenty of other great content. Get a sneak preview of what subscribers will discover in the new issue of British Cinematographer magazine - released 8th May.
The GBCT wrote in with details about their recent workshop run by Tania Freimuth, a GBCT member, on Cine Reflect Lighting System (CRLS), a system conceived by celebrated DoP Christian Berger.
Cinematographer Richard Dunton wrote in with details about his work on Ralph Styles Ultra, a stylish short he shot for director Nic Fforde (Underground Paris, The Lost Decade).
Matthews Studio Equipment recently helped expand the visual possibilities for Discovery Communications’ VR series – Discovery TRVLR – with its new VRig support.
Over £4million pounds has been collected from European sources by Screen Craft Rights for the benefit of cinematographers and HODs working on British film and TV productions since it was established as a collecting society in 2011.
Camera, lens and grip specialist, Movietech, dispatched its newly-acquired Sony Venice camera to support cinematographer Florian Hoffmeister BSC on Official Secrets, the camera system’s debut on a European feature.
The British Society of Cinematographers are delighted to announce the nominations for this year’s BSC Best Cinematography in a Theatrical Release Award 2017, with Roger Deakins CBE BSC ASC again leading the field.
Get an advance look at some of the great content set to feature* in the July 2018 issue (88) of British Cinematographer magazine, including Rob Hardy BSC's work on Mission Impossible: Fallout. Purchase a Print or Print & Digital subscription before 2nd July and receive this edition to your letterbox. (*subject to change).
The 71st Cannes Film Festival has concluded and all the winners have been announced - see them all, including the coveted Palm d'Or. Image © Alberto Pizzoli/AFP
Tonight (Friday 18 May 2018) at the Buñuel Theatre in the Palais des Festivals, Edward Lachman ASC, surrounded by significant directors and actors will be awarded the “Pierre Angénieux ExcelLens in Cinematography” tribute.
Todd Haynes’ touching mystery Wonderstruck is the fifth narrative collaboration between the director and cinematographer Ed Lachman ASC. The American DP reveals how he linked the two time periods, how he took inspiration from silent-era movies, and why a black-and-white look is very different on film compared to digital.
The first full-length feature helmed by renowned theatre director Dominic Cooke, On Chesil Beach was shot on 35mm film in 2-perf by Sean Bobbitt BSC. Discover why Bobbitt chose his three Kodak film stocks for the project, the benefits of shooting on film for the movie’s look, and why he never reads a book associated with a project.
Scottish gaffer Pat Sweeney was a late starter to the industry, but has built up a varied roster in the past 15 years, including The Theory Of Everything, The Mummy and Game Of Thrones. Discover his once-in-a-lifetime experience, how he deals with the demands of the job and why anticipation is what you need.
As a DP who worked with some of the most prominent German New Wave filmmakers, as well as with the most influential American independents, Ed Lachman ASC finds for each story its own cinematic language. At the 71st Cannes Film Festival, he was awarded the 'Pierre Angénieux ExcelLens in Cinematography'. Birgit Heidsiek spoke with him about his preferred projects, paintings and perspectives.
Photo © Pauline Maillet
The visuals on this summer’s big hit in the Star Wars franchise, Solo: A Star Wars Story, were left in the capable hands of Arrival cinematographer, Bradford Young ASC. Hear from the man himself on bringing his ‘naturalistic’ look to the cultural institution, why the film was ‘more about the glass’ than the capture format, and the work-life balance during his relocation to London.
Before getting set for CineGear Expo, Mark London Williams headed to Chapman Leonard's annual open house in North Hollywood. He also returns to a pair of fascinating conversations from his NAB travels; with Isle Of Dogs DP Tristan Oliver, and Mathias Herndl about his work on National Geographic’s Genius: Picasso series.
BSC President Mike Eley's column from March 2018's Issue 86 champions the need for a more diverse camera department and more women and BAME cinematographers.
Dedo Weigert is well-known because of the high-power precision lamp which bears his name - the Dedolight - but that doesn't cover everything the German DP, cameraman and inventor has done over 50 years in the business. Read on to discover his incredible story.
In the world of grip equipment, the Stabileye could one day be king, and is the brainchild of Dave Freeth and Paul Legall, co-directors of the eponymous company. We speak to the pair about their creation's impact on the grip and camera industries.
Mute, the latest feature from director Duncan Jones, is a dark, despairing thriller, exploring themes of parenthood and hope, set in a futuristic version of Berlin. As with 2009 sci-fi hit Moon, Jones teamed up again with British DP Gary Shaw.
Son of the late David Harcourt, camera operator and DP Jamie Harcourt ACO GBCT Associate BSC followed his father into the business and has happily worked as the A-camera or B-camera operator with some of the biggest names in the business.
Directed by Lynne Ramsay and shot by cinematographer Tom Townend, a 2005 graduate of the NFTS, the $10m feature You Were Never Really Here, stars Joaquin Phoenix, and received a ten-minute standing ovation on its premiere at the 2017 Cannes Festival.
Roy H. Wagner ASC says that when the chips are down, crew must be able to bond collectively together to say yes or no to a production’s demands.
We get a fascinating insight into the methods on the latest production of Oscar nominated Dan Laustsen DFF ASC – action thriller Proud Mary – talking the utilization of Sony cameras, likenesses to shooting John Wick 2 and why he will be forever grateful to his big sister.
Janusz Kaminski ASC teams up once more to collaborate with director Steven Spielberg and actor Tom Hanks in The Post. Discover why Kaminski loves film and eulogizes its use, the quickness of the movie‘s production and bringing energy to the images.
Despite his seemingly young age, Jonny Franklin has gaffered on several big-budget films in a burgeoning career on the set. We talk to the 33 year-old about lighting Phantom Thread, second-guessing the DP and dealing with the demands of the job.
Bruno Delbonnel AFC ASC's work on Darkest Hour – featuring an Oscar winning role from Gary Oldman as Winston Churchill – has garnered much praise and critical acclaim. Get the story of his use of themes within light and dark, how he kept the camera moving, and his relationship with colourist Peter Doyle.
Rachel Morrison ASC made Academy Award history this year as the first female nominee for the Best Cinematography Oscar, and she takes time to talk to British Cinematographer about her latest Blockbuster release Black Panther and reflects on the differences to her nominated-work on Mudbound – discussing directors, lighting and location shooting.
This month on America's west coast, Mark London Williams is all about NAB 2018 - pondering its developments of recent times and taking in some of the many sides of the event, hearing from the panels and checking out the latest kit.
Beirut, a fictional hostage drama set during Lebanon's civil war, is the feature debut of Belgian-born DP Björn Charpentier SBC and releases in the US on April 11th. Trevor Hogg hears about the challenges of shooting the film's shootout finale, devising a colour pallet in-camera, and why he was literally painting light bulbs!
Seamus McGarvey takes centre stage to talk lights, cameras and action on his first musical film, The Greatest Showman, inspired by the story of 1800s entertainer extraordinaire PT Barnum and the lives of his circus’s star attractions.
Todd Haynes’ touching mystery Wonderstruck is the fifth narrative collaboration between the director and cinematographer Ed Lachman ASC. The American DP reveals how he linked the two time periods, how he took inspiration from silent-era movies, and why a black-and-white look is very different on film compared to digital.
The first full-length feature helmed by renowned theatre director Dominic Cooke, On Chesil Beach was shot on 35mm film in 2-perf by Sean Bobbitt BSC. Discover why Bobbitt chose his three Kodak film stocks for the project, the benefits of shooting on film for the movie’s look, and why he never reads a book associated with a project.
Scottish gaffer Pat Sweeney was a late starter to the industry, but has built up a varied roster in the past 15 years, including The Theory Of Everything, The Mummy and Game Of Thrones. Discover his once-in-a-lifetime experience, how he deals with the demands of the job and why anticipation is what you need.
As a DP who worked with some of the most prominent German New Wave filmmakers, as well as with the most influential American independents, Ed Lachman ASC finds for each story its own cinematic language. At the 71st Cannes Film Festival, he was awarded the 'Pierre Angénieux ExcelLens in Cinematography'. Birgit Heidsiek spoke with him about his preferred projects, paintings and perspectives.
Photo © Pauline Maillet
The visuals on this summer’s big hit in the Star Wars franchise, Solo: A Star Wars Story, were left in the capable hands of Arrival cinematographer, Bradford Young ASC. Hear from the man himself on bringing his ‘naturalistic’ look to the cultural institution, why the film was ‘more about the glass’ than the capture format, and the work-life balance during his relocation to London.
Before getting set for CineGear Expo, Mark London Williams headed to Chapman Leonard's annual open house in North Hollywood. He also returns to a pair of fascinating conversations from his NAB travels; with Isle Of Dogs DP Tristan Oliver, and Mathias Herndl about his work on National Geographic’s Genius: Picasso series.
Buy a subscription - still the only way to see the full British Cinematographer magazine!
