Close-Up

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

Gavin Finney BSC / Good Omens

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.

BBC Dynasties

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.

Benoît Debie SBC / The Beach Bum

Shot on 35mm film, The Beach Bum stars Matthew McConaughey as a free-spirited troubadour, and sees Belgian DP Benoît Debie SBC team-up again with Director of Spring Breakers Harmony Korine to bring the explosion of colourful images to life.

Suzie Lavelle BSC ISC / Curfew

Emmy-nominated cinematographer Suzie Lavelle BSC ISC found herself squarely in the world of the ever-burgeoning land of television in 2012 and the work has kept coming in, including Sky One’s latest Colm McCarthy drama Curfew. Read on to discover why the visuals are 'Carpenter-esque', how the look pays homage to many genres and the challenges of shooting the nightly car scenes.

John Conroy ISC / The Happy Prince

Written by and starring Rupert Everett, The Happy Prince was lit by Irish cinematographer John Conroy ISC. Conroy tells British Cinematographer why ARRI Master Anamorphic primes proved a great lens choice, why the softer the source is better on faces, and why Everett didn’t want the results to look too ‘nelly’.

Tristan Oliver BSC / Isle Of Dogs

Tristan Oliver BSC, the DP on Wes Anderson’s stylish and highly-acclaimed animated feature Isle Of Dogs talks to British Cinematographer about the cinematography of capturing stop-frame, overseeing 50 shooting units on set and why the sequence in the Saki Bar was one of his favourites to shoot.

Laurie Rose BSC / Stan & Ollie

Stan & Ollie follows the world's most famous comedy duo, Laurel & Hardy, as they attempt to reignite their dwindling film careers in 1953. DP Laurie Rose BSC reveals how the cinematography assumed the role as a witness, why his lense choices paid homage to Cooke's legacy and which six-minute shot was his most enjoyable.

Mike Eley BSC / The White Crow

Mike Eley BSC reunited with Director Ralph Fiennes to lens the tale of the defection of internationally famous Russian ballet dancer Rudolf Nureyev in The White Crow. The BSC President speaks in-depth to Trevor Hogg about shooting across multiple European countries, why Raging Bull became an inspiration and building Paris–Le Bourget Airport from scratch.

Robbie Ryan BSC ISC / The Favourite

Having taken the awards season nominations by storm, with nods for the ASC, BSC, BAFTA awards and the Oscars, Robbie Ryan BSC ISC’s The Favourite is a popular choice right now. Ryan tells British Cinematographer why using film is incredibly flexible and durable, his joy at working with the Helix system – plus an ultra-wide 6mm spherical lense, and the challenge of getting inside director Yorgos Lanthimos’ vision.

Eric Steelberg ASC / The Front Runner

The circumstances surrounding the political scandal of Senator Gary Hart are the subject of The Front Runner, directed by Jason Reitman and starring Hugh Jackman. DP Eric Steelberg ASC speaks exclusively to Trevor Hogg and British Cinematographer about his seventh collaboration with Reitman. Image c/o Columbia Pictures.

Łukasz Żal – Cold War

A Silver Frog champion at the 2018 EnergaCamerimage festival, DP Łukasz Żal' PSCs collaboration with filmmaker Paweł Pawlikowski, Cold War is certainly hotting up during awards season. Żal speaks exclusively to Trevor Hogg and British Cinematographer in this extended interview about the sheer volume of prep-work needed, the use of black and white and high contrast imagery, and which scene perfectly encapsulates how the film was shot. Image c/o Amazon Studios.

Alfonso Cuarón / Roma

Streaming now on Netflix, Roma is a semi-biographical take on legendary Mexican filmmaker Alfonso Cuarón's upbringing in the nation's capital, and has won the 2019 Oscar, along with BAFTA and BSC awards, Venice's Golden Lion and a Bronze Frog at Camerimage.
He speaks exclusively to Trevor Hogg and British Cinematographer about painting his memories on-screen in a contemporary black-and-white look, rotoscoping almost every shot, and restaging the infamous Corpus Christi Massacre.
Image by Carlos Somonte.

Nanu Segal / An Evening With Beverly Luff Linn

Stylish, absurdist comedy, An Evening With Beverly Luff Linn, was shot in the remote Californian town of Eureka. Here, British DP and NFTS graduate, Nanu Segal talks us through the unique creative challenges she faced bringing the low-budget indie to life.

John Pardue BSC / Luther

Multi-award winning BBC crime drama Luther returns to TV screens tonight (January 1st) for a new four-part series. DP John Pardue shot the episodes and wrote in to British Cinematographer to tell us all about creating their stunning visuals. Image: BBC - Photographer: Des Willie

Barry Ackroyd BSC / The Outlaw King

Cinematographer Barry Ackroyd BSC's latest work, on Netflix's Robert The Bruce biopic, The Outlaw King, saw him use Panavision Millenium DXL cameras paired with Panavision Primo 70 large format lenses and Angénieux Optimo zooms. Read on to discover how the film's epic Scottish landscapes and visceral battle sequences translated to screen.