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.
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.
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.
Described by Baz Luhrmann as 'an Artist and a General' - Australian cinematographer Mandy Walker ACS ASC leads the way to visualise Disney's live-action remake of Mulan - our March edition cover feature. Read on to get a sneak preview of this, plus other great content that subscribers can enjoy in the upcoming issue of British Cinematographer magazine - released 16th March.
Although director Michael Bay leaned heavily on VFX for the Transformers movie series, the director’s reputation for spectacular action sequences shot in-camera remains undiminished. Case in point: 6 Underground with cinematography by Bojan Bazelli ASC.
Jules O’Loughlin ACS ASC used the low-light capabilities of the VariCam LT and EVA1 for a number of complicated stunt sequences for Angel Has Fallen - the third instalment in the Fallen film franchise.
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.
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.
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.
For the March 2020 cover feature. we spoke exclusively in-depth with Mulan cinematographer Mandy Walker ACS ASC - once described by Baz Luhrmann as 'an Artist and a General'. She tells us about linking up with Director Niki Caro, bringing elegance to epic battle scenes that were shot in-camera, and where the development of the ‘Petzval’ and ‘Chi’ lenses proved fruitful.
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.
In the March 2020 edition of British Cinematographer, Mike Eley BSC said it's time to actively embrace diversity and inclusion in the camera department.
From the very first frames of The Personal History Of David Copperfield, it is clear that the film is going to be an aesthetic feast for its audience’s eyes. For this adaption of Charles Dickens' novel the visuals fell into the capable hands of cinematographer Zac Nicholson BSC.
A relative newcomer, DMG Lumière, which was bought by long-established US lighting manufacturer Rosco in 2017, has retained their branding and headquarters in France, but has also taken on much of the research and development (R&D) for the new parent's product lines as well as its own.
With a spaceship-sized set, comic timing, a thousand-strong cast, integrated lighting, and a devastating fire, British cinematographer Eben Bolter BSC and the crew of Avenue 5 steered Armando Iannucci’s sci-fi epic to the screen.
He's joined the Murtha Skouras Agency in the USA and has a neat trick with a Malteser - it's SFX and producer turned cinematographer Simon Rowling.
The final episode of the epic nine-part 'Skywalker' saga, Star Wars: The Rise of Skywalker was shot by cinematographer Dan Mindel BSC ASC SASC. Having previously shot the 2017 entry in the Star Wars saga – The Force Awakens – he reveals his thoughts on reuniting with director JJ Abrams, the challenge of lighting entire sequences with lightning alone, and the many benefits of the production’s use of shooting on film.
Jamie Mills honed his craft as a floor electrician, but always aspired to push on to become a gaffer, and is now on the production line of films such as The Batman and Mary Magdalene. Find out more about Jamie's beginnings at LEE lighting, his relationship with fellow gaffer Perry Evans and the experiences he faced on some of his most challenging productions.
The musical fantasy Cats follows a tribe of felines, called the Jellicles, who must decide yearly which one will ascend to the Heaviside Layer before coming back to a new Jellicle life. Cinematography on the production came under the auspices of Christopher Ross BSC. Image credit: Giles Keyte (Universal Pictures)
For the March 2020 cover feature. we spoke exclusively in-depth with Mulan cinematographer Mandy Walker ACS ASC - once described by Baz Luhrmann as 'an Artist and a General'. She tells us about linking up with Director Niki Caro, bringing elegance to epic battle scenes that were shot in-camera, and where the development of the ‘Petzval’ and ‘Chi’ lenses proved fruitful.
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.
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