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

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.

Michael Coulter BSC / The Hustle

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.

Nancy Schreiber ASC / Mapplethorpe

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.

Maja Zamojda BSC / The Spanish Princess

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.

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.