On The Job

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

John Seale ACS ASC /
Mad Max: Fury Road

Mad Max: Fury Road is the fourth instalment in writer/director George Miller’s post-apocalyptic, high-octane, action franchise. It is also the first digital film for cinematographer John Seale ACS ASC.

Oona Menges / The Host

DP Oona Menges & her crew faced a lot of thinking on their feet working on the low-budget feature The Host. We catch up with her to discuss her time lensing the suspense-driven thriller.

Sean Bobbitt BSC / The Rhythm Section

Working under Director Reed Morano ASC – an accomplished cinematographer herself – Sean Bobbitt BSC captured the look on thriller The Rhythm Section. He reveals his thoughts on the great appeal to work on this project, the common language he developed with Morano, and why he would choose the Xtal Xpress 50mm lense for life.

Dan Mindel BSC ASC SASC / Star Wars: The Rise Of Skywalker

The final episode of the epic nine-part 'Skywalker' saga, Star Wars: The Rise of Skywalker was shot by cinematographer Dan Mindel BSC ASC SASC. Having previously shot the 2017 entry in the Star Wars saga – The Force Awakens – he reveals his thoughts on reuniting with director JJ Abrams, the challenge of lighting entire sequences with lightning alone, and the many benefits of the production’s use of shooting on film.

Dick Pope BSC / Motherless Brooklyn

Having met writer, producer and director Edward Norton on The Illusionist, DP Dick Pope BSC took on cinematographic duties on his noir-esque drama Motherless Brooklyn. He reveals his thoughts on sculpting the scenes with light to set the mood, how he tackled the extensive car work required and the challenge of lighting an abandoned former Harlem Jazz Club.

Roger Deakins CBE BSC ASC / The Goldfinch

Always popular in British Cinematographer, Oscar-winner Roger Deakins CBE BSC ASC takes the time to talk to us about The Goldfinch. He reveals his thoughts on employing the same LUT he has always used with digital shooting, the trickiness with controlling the light in New York, and why the story was a key factor in coming aboard.

John Mathieson BSC / Pokémon Detective Pikachu

Having commenced on Mary Queen Of Scots, cinematographer John Mathieson BSC took on an all-together different look to display videogame movie Pokémon Detective Pikachu. Here he reveals his thoughts on the title’s Blade Runner-esque visuals and how traditional film proved feasible and profitable over digital.

Alan Stewart / Aladdin

Having served his time on a variety of second unit work and shooting under many leading cinematographers, Alan Stewart has taken the lead to create the visuals on the live-action remake of Disney's 1992 animated film Aladdin.

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.