Go behind the scenes and read the views of the DoPs on some of the latest productions
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.
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.
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.
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.
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.
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.
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.
Shooting the hit Netflix series The Innøcents included tight prep and production schedules, multiple locations across two countries, numerous VFX sequences, and a venture into the relatively uncharted seas of 8K acquisition for a 4K HDR Dolby Vision finish. DP, and former New Wave inductee, David Procter tells us more about his experience. Photo by Dan Gadd.
The Hustle continues the cinematic trend for gender-reversal remakes, being a female-led version of the 1988 conman comedy Dirty Rotten Scoundrels/ Michael Coulter BSC set a high-class look and talks us through his processes of achieving it.
Captured on Kodak S16mm, the feature film Mapplethorpe, which was written/directed by Ondi Timoner, and shot by Nancy Schreiber ASC, takes a look at the life of provocative, erotic photographer Robert Mapplethorpe: from hustling artist in the 1970s and rise to fame in the 1980s, through to his sad and untimely death from AIDS in 1989.
A graduate of NFTS and a former British Cinematographer 'New Wave' inductee, Maja Zamojda BSC took on the role of shooting Starz's production The Spanish Princess. She discusses the inspirations of Atonement, The Revenant and Marie Antoinette, how a tricky tonal balance was achieved, and the benefits of using a lot of colour contrast.
Having previously worked on three other Terry Pratchett fantasy novels adapted for TV mini-series, Gavin Finney BSC took on Pratchett and Neil Gaiman's collaborative novel Good Omens. Finney tells us why the look is best described as 'hyper-real', how the sheer complexity of the story required numerous period moods in the grade, and the situations where Lester Dunton's projection system proved invaluable.
Dynasties from the BBC's Natural History Unit, presented by David Attenborough, focuses on five vulnerable or endangered species. Discover more about the extraordinary process behind the collaboration needed to capture the 'Painted Wolf' episode.
