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

George Steel / The Aeronauts

For Tom Harper's adventure-drama, The Aeronauts, about a historic balloon expedition in 1862, the director turned to frequent collaborator George Steel to provide visuals.

Steve Yedlin ASC / Knives Out

In director Rian Johnson’s highly-acclaimed murder mystery, Knives Out, a family clashes, a patriarch dies, and a master detective leads an investigation that threatens the family’s dark secrets. The movie represents Johnson’s fifth collaboration with cinematographer Steve Yedlin ASC

Jarin Blaschke / The Lighthouse

Captured on Kodak B&W 35mm film, ASC Spotlight Award nominee The Lighthouse photographed by DP Jarin Blaschke tells the tale of two lighthouse keepers as they try to maintain their sanity while living on a remote island.

Phedon Papamichael ASC / Le Mans ‘66 (aka Ford vs Ferrari)

Filmmaker James Mangold and DP Phedon Papamichael ASC have teamed up for a fifth time to create Le Mans ’66. The Greek cinematographer reveals why LED technology was embraced for the production, how conveying speed proved difficult, and why the decision was taken to shoot as much in camera as possible.

Dion Beebe ACS ASC / Gemini Man

Oscar-winning cinematographer Dion Beebe ACS ASC spoke to British Cinematographer about Gemini Man, working in 'the full shebang' of 3D HDR with director Ang Lee, and how the process led to a rethinking of lighting.

Ari Wegner ACS / In Fabric

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.

Nadim Carlsen / Border

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.

David Raedeker / The Souvenir

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.

Jakob Ihre FSF / Chernobyl

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.

Pawel Pogorzelski / Midsommar

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.

Christopher Ross BSC / Yesterday

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.

Nicolaj Brüel DFF / Dogman

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 / The Dead Don’t Die

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.

Caleb Deschanel ASC / Never Look Away & The Lion King

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.

David Procter / The Innøcents

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.