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.
The process of creating images with different tools and challenging himself with new approaches as they become available, are a big part of cinematographer Manuel Billeter's approach - as seen in his use of the Lightbridge CRLS.
For the Hulu, six-episode Catch-22 drama, directed by Grant Heslov, Ellen Kuras ASC and George Clooney, cinematographer Martin Ruhe relied on two sets of Cooke Optics’ S4/i prime lenses matched with two ARRI Alexa Mini cameras.
In the September 2019 edition of British Cinematographer, Mike Eley BSC told us in his president's column that he believes more must be done to extol the skills and talents of the UK's skilled and talented filmmaking crews.
Women Behind The Camera (WBTC) is a platform showcasing the skills of women working in the camera, lighting and grip departments of the UK film and TV industry - created by three camera operators – Lucy Bristow, Ilana Garrard and Agnieszka Szeliga.
Camera Assistant Louise Ben-Nathan is to host a casino-themed charity fundraiser on Sunday 3rd November, in aid of Chai Cancer Care and The Institute of Cancer Research, with prizes sponsored by Digital Orchard and Panavision.
Having completed its run to rave reviews on BBC One, Peaky Blinders Series 5 debuts on Netflix on October 4th. The show's lead creatives, including cinematographer Si Bell, tell us about how the visual storytelling evolved for the latest season.
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.
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.
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.
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.
Captured by Canadian DP Pawel Pogorzelski, Director Ari Aster's sun-drenched, hallucinatory, horror feature Midsommar sees a group of friends finding themselves in the clutches of a pagan cult at a rare festival in Sweden.
In the first of an ongoing series looking at the 4k and HDR restoration of classic films, Kevin Hilton talks to Dean Cundey ASC about shooting John Carpenter's Escape from New York and his involvement in the recent remastered version.
The Albert scheme - a collaboration between BAFTA, broadcasters and independent production companies - was set up eight years ago, initially as a carbon calculator, and is constantly looking at ways to highlight the pressing topic of emissions on set.
Directed by Danny Boyle, Yesterday sees a young man awakening from an accident to find that he is the only person on Earth who knows The Beatles and their music, putting him in a predicament as a failing musician. DP Christopher Ross BSC talks us through using his creative skills to capture the many performance and concert scenes, and keeping the fantastical sequences grounded in the real world.
Danish DP Nicolaj Brüel DFF has managed to display both documentary grit and cinematic richness at the same time for critically-acclaimed Dogman from director Matteo Garrone. He explains how the process was much like documentary filming, and how he and his team adapted to a lack of prep and went with the flow.
Fred Elmes ASC combined the latest technology and some of filmmaking's oldest techniques to tackle a new challenge of the zombie genre, for Jim Jarmusch's comedy film The Dead Don't Die.
Having started in Outside Broadcast in Germany, Carolina Schmidtholstein has worked her way up the ranks over many years in the UK. Discover more about her big break with DP Graham Frake BSC, her views on women in film lighting and how she came to be where she is today.
2019 BSC Lifetime Award winner Peter Biziou BSC is among the most admired of British cinematographers from his work on titles such as Nine½ Weeks, Mississippi Burning and In The Name Of The Father. Take a visit through his journey to date and the experiences that shaped him and his work, plus a collection of not-to-be-missed advice and inspirations for all aspiring operators and cinematographers.
The American DP Caleb Deschanel took on two wildly different experiences to lense 2019 Oscar nominee Never Look Away and Disney live-action remake The Lion King.Deschanel’s fascinating insights reveal the inventive and immersive VR filmmaking techniques deployed on capturing the latter, and how he set about presenting the emotions of 30 years of tumultuous German history for the former title.
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.
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.
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