Go behind the scenes and read the views of the DoPs on some of the latest productions

Denis Crossan BSC / Our Ladies

Cinematographer Denis Crossan BSC had previously worked with director Michael Caton-Jones on a brace of movies, plus a hit TV series, before linking up once again to shoot the Hollywood veteran helmer’s personal passion project, Our Ladies.

MacGregor / Vivarium

DP MacGregor (Miguel de Olaso) tells us all about his time working alongside director Lorcan Finnegan to shoot sci-fi thriller Vivarium which premiered at the 2019 Cannes Film Festival.

Emmanuel Lubezki AMC ASC /
The Revenant

Fabled frontiersman and trapper Hugh Glass (Leonardo DiCaprio) sustains terrible injuries during a brutal assault by a grizzly bear.

Eric Gautier AFC / The Eddy

French DP Eric Gautier AFC tells us all about flawlessly recreating Paris’ French Jazz scene entirely on Kodak Vision3 16mm film and working alongside director Damien Chazelle for Netflix drama The Eddy.

Tomasz Naumiuk PSC / Mr Jones

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.

Mark Jenkin / Bait

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.

Maria von Hausswolff / A White, White Day

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.

Vladimír Smutný / The Painted Bird

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.

Polly Morgan BSC ASC / A Quiet Place 2

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.

Darius Khondji AFC ASC / Uncut Gems

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.

Zac Nicholson BSC / The Personal History Of David Copperfield

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.

Eben Bolter BSC / Avenue 5

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.

Simon Rowling

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.

Christopher Ross BSC / Cats

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)

Yorick Le Saux AFC / Little Women

Director Greta Gerwig’s adaption of classic 19th Century novel Little Women was given the lighting treatment by AFC member Yorick Le Saux - who reveals why 35mm was the capture choice and which pioneering technique from the likes of Freddie Young and Vilmos Zsigmond he chose to deploy.