Camera Creative

International cinematographers provide in-depth insights on their latest productions

Rob Hardy BSC / Devs

In our cover story special from BC99, Rob Hardy BSC discussed his time lensing Devs. The show – which centres on computer engineer Lily Chan (Sonoya Mizuno) – premiered on Hulu in March before airing on the BBC. Hardy tells us about working with Director Alex Garland, his selection of camera, lenses & aspect ratios and using ‘specially-expanded’ Anaorphic lenses.

Bob Richardson ASC /

Roger Deakins CBE BSC ASC / Blade Runner 2049

Ron Prince talks in depth to Blade Runner 2049's legendary British cinematographer Roger Deakins, about setting the scenes, development of lighting ideas, HDR and comparisons to its predecessor.

Linus Sandgren FSF / La La Land

Although it was produced for a modest $30million, La La Land has big production panache. Ron Prince caught up with Swedish cinematographer, Linus Sandgren FSF.

Robert Richardson ASC / Django Unchained

Wally Pfister ASC / Inception

Rachel Morrison ASC / Black Panther and Mudbound

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.

Hoyte van Hoytema FSF NSC ASC / Dunkirk

Ron Prince talks to Dutch-Swedish cinematographer Hoyte van Hoytema FSF NSC ASC about working on Christopher Nolan's WWII epic Dunkirk and the challenges of filming on 65mm IMAX and large-format 65mm film.

Mandy Walker ACS ASC / Mulan

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.

Roger Deakins CBE BSC ASC / 1917

For the January 2020 cover feature. we spoke exclusively in-depth with 1917 cinematographer Roger Deakins CBE BSC ASC.

Deakins - who has cleaned up during awards season with Oscar, ASC, BAFTA and BSC accolades for his visuals - tells us about building the film’s dramatic journey as one continuous shot, the switching of cameras between systems during shooting takes, and lighting the spectacular scene in the bombed-out town.

Rodrigo Prieto AMC ASC / The Irishman

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.

Ben Smithard BSC / Blinded By The Light & Downton Abbey

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.

Robert Richardson ASC / Once Upon A Time in Hollywood

Robert Richardson ASC spoke to us about teaming up with Quentin Tarantino for a fifth time to produce Once Upon A Time In Hollywood, which premiered at the 2019 Cannes Festival. ASC Lifetime Achievement recipient Richardson tells us about his love of capture on celluloid film, keeping the capture grounded in the film’s 1969 era and why the movie is so “very, very, very Quentin”.

George Richmond BSC / Rocketman

George Richmond, son of the renowned cinematographer Anthony Richmond BSC ASC, tells us about Rocketman's journey of colour, the joy of being free to be whacky and experimental during the production, and the challenge of shooting the entire film in just 60 days.

Ben Davis BSC / Dumbo

Ben Davis BSC speaks to us about bringing the live-action version of Dumbo to life, the challenges of representing a giant CGI elephant, the great collaborations which brought the images to life, and why the gamble of waiting on the production to get the green-light paid off.