Roger Deakins CBE BSC ASC is in contention to collect a second Oscar in three years in the 'Best Cinematography' category after being chosen in the 92nd Academy Awards nominations for his work on 1917. There was also arguably a surprise contender in the mix, as the final five were revealed earlier today.
BSC Expo 2020 - Europe's Premier International Event for Film & TV Production Equipment & Technology - returns to Battersea Evolution on Friday 31st January & Saturday 1st February.
BSC member Roger Deakins CBE BSC ASC is amongst five nominees named for the ‘Cinematography’ award at the 2020 EE British Academy Film Awards, taking place on Sunday 2nd February. Photo credit: Francois Duhamel
The American Society of Cinematographers (ASC) has nominated eight feature films in the Theatrical and Spotlight categories of the 34th ASC Outstanding Achievement Awards, including 1917, Once Upon A Time In Hollywood and The Irishman.
In what is a first-in-sector move, Europe’s leading aerial filming company, Helicopter Filming Services, (HFS) announces it will offset its carbon emissions with the help of award-winning partner, C Level.
ZEISS has unveiled the ZEISS Supreme Prime Radiance lenses, an exclusive new set of seven high-end cinematography lenses.
The 2019 EnergaCamerimage festival in Toruń, dedicated to the art of cinematography, concluded at a gala closing-night ceremony on Saturday 16th November, with Joker taking away the prestigious 'Golden Frog', while there was recognition for Robert Richardson ASC and the BSC's 70th Anniversary. Photo credit: Krzysztof Wesolowski
Having made its world debut at IBC this year, Bolt 4K MAX, Teradek’s most reliable, longest range, 4K wireless video system is shipping today (November 7).
In the new November edition of British Cinematographer, we've got Downton, Deakins, disaster and a Danish DP among the delights to delve into. Read on to get a sneak preview of the content that subscribers can enjoy in the upcoming issue of British Cinematographer magazine - released 11th November.
MIXBOOK™ is the first-ever digital swatchbook – engineered by the LED lighting and color experts at Rosco, and designed to be the perfect planning tool to previsualize LED colors
The Lightbridge is bringing a new concept to Camerimage. Held in the Centre of Contemporary Art in Torun November 9-15, 2019, just a five minute walk from the main exhibition, the Light!Room will allow cinematographers to explore lighting in a uniquely artistic environment.
At Camerimage 2019, Sony will showcase its flagship next generation motion picture camera system VENICE, as well as the newly-launched FX9 Full-Frame 6K sensor camera.They will also present several workshops, seminars and panel discussions with leading filmmakers and DoPs, including Balazs Bolygo BSC HSC.
Panavision and its family of companies return to the EnergaCamerimage International Film Festival from November 9-16 in Torun, Poland, with an immersive, end-to-end experience for attendees.
DP Andy Alderslade wrote in with details about I’m Not in Love, a romantic comedy set in North London, directed by Col Spector, starring Al Weaver and Cristina Catalina.
Roger Deakins CBE BSC ASC is in contention to collect a second Oscar in three years in the 'Best Cinematography' category after being chosen in the 92nd Academy Awards nominations for his work on 1917. There was also arguably a surprise contender in the mix, as the final five were revealed earlier today.
BSC Expo 2020 - Europe's Premier International Event for Film & TV Production Equipment & Technology - returns to Battersea Evolution on Friday 31st January & Saturday 1st February.
BSC member Roger Deakins CBE BSC ASC is amongst five nominees named for the ‘Cinematography’ award at the 2020 EE British Academy Film Awards, taking place on Sunday 2nd February. Photo credit: Francois Duhamel
The American Society of Cinematographers (ASC) has nominated eight feature films in the Theatrical and Spotlight categories of the 34th ASC Outstanding Achievement Awards, including 1917, Once Upon A Time In Hollywood and The Irishman.
In what is a first-in-sector move, Europe’s leading aerial filming company, Helicopter Filming Services, (HFS) announces it will offset its carbon emissions with the help of award-winning partner, C Level.
ZEISS has unveiled the ZEISS Supreme Prime Radiance lenses, an exclusive new set of seven high-end cinematography lenses.
In our November 2019 cover feature, Rodrigo Prieto AMC ASC spoke to us about work on director Martin Scorsese’s new epic, The Irishman. Prieto tells us about the ‘three-headed monster’ used for de-aging the actors, the changing colour tones through the decades, and why the visual tone was like a home movie.
With a penchant for toothpicks and flashy jackets, Matías Penachino has been on the move to Barcelona recently as he looks to expand his horizons and continue his cinematography journey.
Filmmaker James Mangold and DP Phedon Papamichael ASC have teamed up for a fifth time to create Le Mans ’66. The Greek cinematographer reveals why LED technology was embraced for the production, how conveying speed proved difficult, and why the decision was taken to shoot as much in camera as possible.
For its latest Clapperboard feature, we delve into the story of the industrious Larry Smith BSC - an award-winning cinematographer, producer and director responsible for the look of numerous productions.
Oscar-winning cinematographer Dion Beebe ACS ASC spoke to British Cinematographer about Gemini Man, working in 'the full shebang' of 3D HDR with director Ang Lee, and how the process led to a rethinking of lighting.
Having met writer, producer and director Edward Norton on The Illusionist, DP Dick Pope BSC took on cinematographic duties on his noir-esque drama Motherless Brooklyn. He reveals his thoughts on sculpting the scenes with light to set the mood, how he tackled the extensive car work required and the challenge of lighting an abandoned former Harlem Jazz Club.
In the November 2019 edition of British Cinematographer, Mike Eley BSC delivered a stream of conscientious thoughts about cinematography from the set.
In his latest column from L.A.'s cinematography scene, Mark London Williams hears from ASC Lifetime Achievement honoree Frederick Elmes, Ed Lachman ASC and his connections with his latest project Dark Waters, plus Mihai Malaimare Jr. on shooting Jojo Rabbit.
Reporting in from LA this month, Mark London Williams's indulgent column sees him speak to ASC International Award honoree Bruno Delbonnel AFC ASC about his approaches across the oceans, Dick Pope BSC on newly-released Motherless Brooklyn and Spirit Award nominated DP Todd Banhazl about Hustlers.
Discover more about how UK hire company Green Voltage, founded earlier this year by David Sinfield and Adam Baker, decided to bring a range of eco-friendly generators into the European film production market and face the environmental challenge head-on.
Director Peter Strickland's horror-comedy In Fabric - in which a cursed, blood-red dress brings devastating consequences to whoever wears it - was shot by Australian cinematographer Ari Wegner ACS and premiered at the Toronto Film Festival in 2018.
In this edition of Letter from America, Roy H Wagner ASC writes in wondering if the cinema experience and traditional storytelling are dead?
Mark London Williams delves into Michael Cioni's recent move to leave Panavision and become Global SVP of Innovation at Frame.io, chats to Paul Cameron ASC about his work on 21 Bridges and looks at the launch of the Steadicam Steadimate-S.
Border – the ‘Un Certain Regard’ winner at Festival de Cannes in 2018, was shot by Danish cinematographer Nadim Carlsen. Speaking to BC, he declares why he steered clear of the typical ‘Nordic-Noir’ look, why handheld was deployed throughout, and how the widescreen aspect ratio played into styling the landscape and nature of the story.
Founded more than 45 years ago, Molinare is widely-recognised as a leading supplier in the UK post production scene, completing high-end projects across feature films, high-end TV drama, feature documentaries and broadcast factual programming.
With a collection of work on shorts and second units, David Bird's cinematography career has taken off and looks set to keep going - find out more about this passionate stills and video photographer.
Shot by cinematographer David Raedeker, who combined 16mm-Bolex and S16mm film footage with S16mm and 35mm digital formats, The Souvenir is a semi-autobiographical account of director Joanna Hogg’s own experiences during her time in London and as a student at the NFTS in the 1980s.
Londoner Harry Wiggins talks to British Cinematographer in our latest Gaffers feature, revealing his thoughts about the gaffer/DP relationship, the instinctive way he works with Barry Ackroyd BSC and why he believes electricians' skills are undervalued.
Always popular in British Cinematographer, Oscar-winner Roger Deakins CBE BSC ASC takes the time to talk to us about The Goldfinch. He reveals his thoughts on employing the same LUT he has always used with digital shooting, the trickiness with controlling the light in New York, and why the story was a key factor in coming aboard.
Ben Smithard BSC speaks to us about his ‘double whammy’ of shooting the grandiose Downton Abbey and the highly-acclaimed Blinded By The Light. Smithard tells us the challenges of going big on Downton and how that affected his choices of camera and lenses; plus why on Blinded he would have preferred to shoot on film and how the ‘Storm Scene’ is his DP favourite.
HBO's acclaimed mini-series Chernobyl was a multiple Emmy Award success in September, including a trophy for its DP Jakob Ihre FSF - with the Swede also recently announced as the latest recipient of the NFTS's 'Sue Gibson Award'. In this exclusive interview with BC, he reveals the processes and methods behind his award-winning first foray into television.
In the ongoing series looking at the 4k and HDR restoration of classic films, Kevin Hilton talks to Tony Richmond BSC ASC about filming Nicolas Roeg's 1973 thriller Don't Look Now and working the colour correction and grading for its 4k reissue.
In our November 2019 cover feature, Rodrigo Prieto AMC ASC spoke to us about work on director Martin Scorsese’s new epic, The Irishman. Prieto tells us about the ‘three-headed monster’ used for de-aging the actors, the changing colour tones through the decades, and why the visual tone was like a home movie.
With a penchant for toothpicks and flashy jackets, Matías Penachino has been on the move to Barcelona recently as he looks to expand his horizons and continue his cinematography journey.
Filmmaker James Mangold and DP Phedon Papamichael ASC have teamed up for a fifth time to create Le Mans ’66. The Greek cinematographer reveals why LED technology was embraced for the production, how conveying speed proved difficult, and why the decision was taken to shoot as much in camera as possible.
For its latest Clapperboard feature, we delve into the story of the industrious Larry Smith BSC - an award-winning cinematographer, producer and director responsible for the look of numerous productions.
Oscar-winning cinematographer Dion Beebe ACS ASC spoke to British Cinematographer about Gemini Man, working in 'the full shebang' of 3D HDR with director Ang Lee, and how the process led to a rethinking of lighting.
Having met writer, producer and director Edward Norton on The Illusionist, DP Dick Pope BSC took on cinematographic duties on his noir-esque drama Motherless Brooklyn. He reveals his thoughts on sculpting the scenes with light to set the mood, how he tackled the extensive car work required and the challenge of lighting an abandoned former Harlem Jazz Club.
In the November 2019 edition of British Cinematographer, Mike Eley BSC delivered a stream of conscientious thoughts about cinematography from the set.
Buy a subscription - still the only way to see the full British Cinematographer magazine!
