Camera Creative

International cinematographers provide in-depth insights on their latest productions

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.

Dion Beebe ACS ASC / Mary Poppins Returns

Dion Beebe ACS ASC joins forces for a fifth time with director Rob Marshall to bring Mary Poppins back to life more than 50 years after the original. Beebe tells us about paying homage to a classic whilst wrapping a new generation into the story, the value gained from constructing LUTs in pre-production, and the fun to be had with a mixed-bag of lighting tricks.

Dick Pope BSC / Peterloo

The acclaimed productionPeterloo, shot by Dick Pope BSC, depicts a bloody and brutal episode in British history. Pope tells us why there is never a conventional script on director Mike Leigh’s production, how he rose to the challenge of shooting the spectacular massacre sequence, and how Akira Kurosawa’s techniques influenced how he captured the battle.

Seamus McGarvey BSC ASC / Bad Times At The El Royale

Seamus McGarvey BSC ASC’s latest production, Bad Times At The El Royale, took centre stage in Issue 89. He tells us why “film is for life”, as well as explaining why shooting exteriors in a studio proved advantageous, and how gaffer Stuart Hegarty’s flexible lighting plan aided production.

Rob Hardy BSC / Mission: Impossible – Fallout

For Mission: Impossible - Fallout, the sixth incarnation of the Tom Cruise-starring series, cinematographer Rob Hardy BSC tells us about why he chose the wider-end of the lens range, the choice to deploy a back-to-basics style of filmmaking, and the challenge of lighting inside Paris’s Grand Palais.

Bradford Young ASC / Solo: A Star Wars Story

The visuals on this summer’s big hit in the Star Wars franchise, Solo: A Star Wars Story, were left in the capable hands of Arrival cinematographer, Bradford Young ASC. Hear from the man himself on bringing his ‘naturalistic’ look to the cultural institution, why the film was ‘more about the glass’ than the capture format, and the work-life balance during his relocation to London.

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.

Seamus McGarvey BSC ASC / The Greatest Showman

Seamus McGarvey takes centre stage to talk lights, cameras and action on his first musical film, The Greatest Showman, inspired by the story of 1800s entertainer extraordinaire PT Barnum and the lives of his circus’s star attractions.

Haris Zambarloukos BSC GSC / Murder On The Orient Express

Climb aboard, settle in and grab a cup of hot cocoa. Haris Zambarloukos BSC GSC delivers the denouement of shooting 65mm large format film for Sir. Kenneth Branagh’s take on Agatha Christie’s iconic murder mystery, Murder On The Orient Express.

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.

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.

Ben Seresin BSC ASC /
The Mummy

We caught up with cinematographer Ben Seresin BSC ASC at his home in Los Angeles, to discover more about his take on reanimating The Mummy for 21st century audiences.

Jess Hall BSC /
Ghost In The Shell

Ghost In The Shell's creative and technical task of converting script into images, while paying homage to the original manga and anime versions, fell to cinematographer Jess Hall BSC.

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.