On The Job

Explore the visual process and technical challenges faced by top DoPs on production

Robert Richardson ASC / A Private War

Recently honoured with the ASC Lifetime Achievement Award, Robert Richardson ASC took on the story of American journalist Marie Colvin in A Private War. He reveals why Marie’s story drew him to the feature, how shooting in tunnels in Jordan was technically grueling, and his experience in linking up with documentary filmmaker Matthew Heineman.

Philippe Rousselot AFC ASC / Fantastic Beasts: The Crimes Of Grindelwald

Frenchman Philippe Rousselot AFC ASC picks up his magic wand (or should that be light meter?) again to capture the second in the Fantastic Beasts series – The Crimes of Grindelwald. He reveals why being terrified at the start of a production is a good thing, why the Leica Thalia were the lenses of choice, and his delight at working once more with colouring ‘wizard’ Peter Doyle.

John Mathieson BSC / Mary Queen Of Scots

Mary Queen Of Scots is a powerful telling of the relationship between the title character and Elizabeth I in the 16th Century. DP John Mathieson BSC reveals how he contrasted the different looks of the two feature characters, how the older lights were ideal, and why he took full advantage of the period locations.

Jess Hall BSC / Serenity

Former cover star, Jess Hall BSC talks us through Serenity – described by one of its producers as an “existential fishing thriller”. Discover how he dealt with the challenges of shooting on Mauritius, his voyage of discovery in capturing the colours of the ocean and why Anamorphics were the way to go.

Robert Yeoman ASC / Mamma Mia! Here We Go Again

The smash-hit Mamma Mia! is back with another music-filled delight, and this time Robert Yeoman ASC picks up the cinematography mantle to paint the sound of ABBA on-screen. Discover how he differentiated between the modern and ’70s flashback scenes, created a theatrical twist to his natural lighting, and how he worked closely with Gaffers ‘R’ Us inductee Pat Sweeney.

Sean Bobbitt BSC / On Chesil Beach

The first full-length feature helmed by renowned theatre director Dominic Cooke, On Chesil Beach was shot on 35mm film in 2-perf by Sean Bobbitt BSC. Discover why Bobbitt chose his three Kodak film stocks for the project, the benefits of shooting on film for the movie’s look, and why he never reads a book associated with a project.

Bruno Delbonnel AFC ASC / Darkest Hour

Bruno Delbonnel AFC ASC's work on Darkest Hour – featuring an Oscar winning role from Gary Oldman as Winston Churchill – has garnered much praise and critical acclaim. Get the story of his use of themes within light and dark, how he kept the camera moving, and his relationship with colourist Peter Doyle.

Anthony Dod Mantle DFF BSC ASC / First They Killed My Father

Anthony Dod Mantle reveals his thoughts on stepping into the cinematography breach to lense Angelina Jolie’s feature First They Killed My Father. Get the story of filming in fierce heat, taking on someone else’s crew and capturing the looks of Loung Ung’s life.

Vittorio Storaro AIC ASC / Wonder Wheel

Following his in-depth experiences of shooting Woody Allen’s Café Society, triple Oscar-winner Vittorio Storaro AIC ASC returns. Read more fascinating insights, this time on colour in his latest collaboration with Allen, Wonder Wheel.

Simon Dennis / The Limehouse Golem

Get the behind the scenes view from cinematographer Simon Dennis on the “macabre and twisted” Victorian London based tale, The Limehouse Golem, starring Olivia Cooke and Bill Nighy.

Michael Seresin BSC NZSC /
War For The Planet OF The Apes

War For The Planet Of The Apes is the third installment in the rebooted Planet Of The Apes franchise. Once more, cinematographer Michael Seresin BSC NZSC was lured into the fray to capture the action.

Henry Braham BSC /
Guardians Of The Galaxy Vol. 2

Shot by dazzling shot, line by irreverent line, Guardians Of The Galaxy Vol. 2 is witty, action-packed and spectacular. Cinematographer Henry Braham BSC guides us through his visual processes.

Seamus McGarvey BSC ASC / Life

Seamus McGarvey on the challenges he faced regarding the photography, lighting and camera movement during production on $80m sci-fi horror Life.

John Toll ASC / Billy Lynn’s Long Halftime Walk

Three-time Oscar-winning director Ang Lee harnessed his extraordinary powers to create extraordinary visual images for Billy Lynn's Long Halftime Walk.

Ben Davis BSC / Doctor Strange

More often than not, cinematographers can’t wait to get their hands on the very latest bits of kit. And never was this truer than when Ben Davis BSC signed to shoot Doctor Strange