Technicolor Post to be sold to Streamland Media
Streamland Media's acquisition of Technicolor Post, which is subject to customary closing conditions, is expected to close in the first half of 2021.
Streamland Media's acquisition of Technicolor Post, which is subject to customary closing conditions, is expected to close in the first half of 2021.
albert's updated carbon calculator and certification toolkit help TV and film productions measure their carbon impact as well as take active steps towards reducing it.
Turkish post facility, Bando Post, has deployed DaVinci Resolve Studio throughout its pipeline, including edit, visual effects, sound design and final grade.
Award-winning facility delivers over 300 shots for Hulu series The Great.
The BSC is excited to welcome new Full and Associate members to its roster of filmmaking talent.
Cinematographer Peter Berglund collaborated with Kurt St. Thomas and other filmmaking maestros to shoot a remake of noir classic movie D.O.A.
Netflix is establishing two production facilities in Paju-si and Yeoncheon-gun, just outside of Seoul, in Gyeonggi Province, Korea.
Matt Scott, GB Labs' new solutions architect and pre-sales engineer, will be based in California, and work with resellers and end users.
Ivo Ivanovski, ARRI’s general manager of the Lighting division, discusses the new Orbiter, ARRI's LED lighting system featuring inter-changeable optics and light control accessories.
LitraStudio delivers 3,000 Lumens of colour accurate RGBWW output—totally cable-free, all in a rugged, solution that goes underwater to 30’ below.
2021 is an exciting milestone in the history of the National Film and Television School as it commemorates its landmark 50th anniversary by planning a series of exciting events and activities to celebrate its past, present and future.
Teradek Cube 755 plays crucial role in COVID-19 compliant production with no crew members on set.
The UK Screen Alliance Guidance for Safe Working in Post-Production & VFX during the Covid-19 Pandemic has been strengthened to account for new government regulations introduced in January 2021 to control a new and more infectious strain of the coronavirus.
Social enterprise and production company Resource Productions' mission is to enable social change though film, art and technology and to diversify the creative industries.
Streamland Media's acquisition of Technicolor Post, which is subject to customary closing conditions, is expected to close in the first half of 2021.
albert's updated carbon calculator and certification toolkit help TV and film productions measure their carbon impact as well as take active steps towards reducing it.
Turkish post facility, Bando Post, has deployed DaVinci Resolve Studio throughout its pipeline, including edit, visual effects, sound design and final grade.
Award-winning facility delivers over 300 shots for Hulu series The Great.
The BSC is excited to welcome new Full and Associate members to its roster of filmmaking talent.
Cinematographer Peter Berglund collaborated with Kurt St. Thomas and other filmmaking maestros to shoot a remake of noir classic movie D.O.A.
Whereas others might have retired long since, Douglas Milsome BSC ASC, now aged 81, continues to enjoy filmmaking more than ever in a stellar career spanning over six decades and more than 60 long-form narrative credits as cinematographer.
In the film business, you must grab whatever opportunities come your way. That was the case for Bristol-based writer-director Adam Oldroyd and cinematographer Stephen J. Brand GBCT and their latest project, black comedy feature film Sideshow.
In our 102nd edition, the talented Tom Turley was the focus in our ever-popular feature. He tells us all about his DP heroes, the biggest challenge on his latest production and his best & worst moments on-set.
The New Mutants is the thirteenth & final installment in the 20th Century Studios X-Men series. Mark London Williams catches up with Peter Deming ASC to find out all about his time lensing the film and working alongside director Josh Boone.
It was the task of cinematographer Taina Galis to capture the look of the haunting Lynn + Lucy. We caught up with her to discuss her experiences shooting the drama and working alongside writer/director Fyzal Boulifa.
Shelly Johnson ASC is not one to look a gift horse – or indeed a ‘wild stallyn’ – in the mouth. In fact, he says he was extremely flattered when he was nominated by DP Jerzy Zielinski PSC to take the reins on the highly-anticipated Bill & The Face The Music, directed by Dean Parisot, after Zielinski unexpectedly had to return to his native Poland just two weeks prior to principal photography.
We catch up with Leonard Chapman on the occasion of the 75th anniversary of the venerable and innovative studio equipment company that bears his name, in reverse.
Shot entirely using Kodak 35mm motion picture filmstocks, Eternal Beauty portrays the often-misunderstood issues surrounding mental health with dignity, humour and tenderness. Kit Fraser was the man in charge of capturing the look of the bittersweet drama.
Netflix’s I’m Thinking Of Ending Things is, under all the layers of its quirkiness, a story of the impenetrable intricacy of a human mind. Łukasz Żal PSC tells us all about his time lensing his first feature film and working alongside director Charlie Kaufman.
In a jam-packed comment piece from LA, Mark London Williams shares insight into the future of film; streaming services and continued demand for content; and the techniques behind a selection of festive productions.
20th Century Studios film The King’s Man tells the story of one man and his protégé as they race against time to stop a collection of history’s worst tyrants and criminal masterminds as they plot a war that could wipe out millions. Ben Davis BSC was in charge of capturing the look of the film - he tells us all about his creative references, his selection of cameras & lenses and dealing with VFX.
Sony's film and TV content expert, Claus Pfeifer, explores the history of production and how the power of technology is helping to meet the needs of the film and television industry.
In our November edition of British Cinematographer, BSC President Mike Eley discusses the importance of respecting & protecting the film industry during these uncertain and difficult times.
Mark London Williams analyses how cinematic stories could continue to be told in the pandemic era.
Keen to immerse himself in a variety of genres, from historical drama Elizabeth: The Golden Age (2007) through to family comedy Fighting with my Family (2019), cinematographer Remi Adefarasin OBE BSC was thrilled to explore the unique world inhabited by Netflix fantasy musical Jingle Jangle: A Christmas Journey.
In our milestone 100th edition, we reflected 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 edition back in 2002 in the first installment of a two-part Special Report.
In March 2020, with 38 productions ongoing, Sandstorm Films MD Tom Ward decided the best way to safely complete the projects was for some of the team to move into the studios to finish the work. Tom shares the 'Sandstorm vs Lockdown' story.
Mark London Williams writes to us from L.A. following this year's iconic and rather unique presidential election as he ponders what lies ahead for the industry in uncertain times.
In the latest installment of his every-popular column, Mark London Williams writes to us from L.A. following this year's virtual Emmy awards which saw the winners accept their gongs from the comfort of their own homes.
Judd Apatow & Robert Elswit ASC tell us about their time lensing the semi-autobiographical comedy-drama, The King Of Staten Island, shot on Kodak 35mm film.
Pre-production on $50 million WWII drama, Greyhound, commenced back in January 2018. Shelly Johnson ASC was in charge of lensing the gripping drama which was inspired by actual events during the Battle Of The Atlantic. He tells us all about his experiences shooting the film and working alongside director and former DP Aaron Schneider ASC.
Whereas others might have retired long since, Douglas Milsome BSC ASC, now aged 81, continues to enjoy filmmaking more than ever in a stellar career spanning over six decades and more than 60 long-form narrative credits as cinematographer.
In the film business, you must grab whatever opportunities come your way. That was the case for Bristol-based writer-director Adam Oldroyd and cinematographer Stephen J. Brand GBCT and their latest project, black comedy feature film Sideshow.
In our 102nd edition, the talented Tom Turley was the focus in our ever-popular feature. He tells us all about his DP heroes, the biggest challenge on his latest production and his best & worst moments on-set.
The New Mutants is the thirteenth & final installment in the 20th Century Studios X-Men series. Mark London Williams catches up with Peter Deming ASC to find out all about his time lensing the film and working alongside director Josh Boone.
It was the task of cinematographer Taina Galis to capture the look of the haunting Lynn + Lucy. We caught up with her to discuss her experiences shooting the drama and working alongside writer/director Fyzal Boulifa.
Shelly Johnson ASC is not one to look a gift horse – or indeed a ‘wild stallyn’ – in the mouth. In fact, he says he was extremely flattered when he was nominated by DP Jerzy Zielinski PSC to take the reins on the highly-anticipated Bill & The Face The Music, directed by Dean Parisot, after Zielinski unexpectedly had to return to his native Poland just two weeks prior to principal photography.
We catch up with Leonard Chapman on the occasion of the 75th anniversary of the venerable and innovative studio equipment company that bears his name, in reverse.
Buy a subscription - still the only way to see the full British Cinematographer magazine!