On The Job

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

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

Anthony Dod Mantle DFF BSC ASC / Snowden

With an appropriately theatrical flourish, the first meeting began between Anthony Dod Mantle and Oliver Stone to discuss the director’s intended thriller about Edward Snowden.

Fabian Wagner BSC /
Game of Thrones

From brutal battlefield tactics to a revenge montage sequence that echoes The Godfather, Fabian Wagner BSC reunited with filmmaker Miguel Sapocknik on Game of Thrones .

Henry Braham BSC /
The Legend Of Tarzan

A decade after Tarzan left Africa to live in Victorian England as John Clayton III with his wife Jane, the couple are lured back to the Congo under false pretences by Leon Rom.

Philippe Rousselot AFC ASC /
The Nice Guys

The bruising action in The Nice Guys spins like a modern Raymond Chandler yarn, through different parts of 1970’s Los Angeles and different social classes.

Haris Zambarloukos BSC GSC / Eye In The Sky

Eye In The Sky, helmed by director Gavin Hood, stars Helen Mirren as Colonel Katherine Powell, a military officer in command of drone operations aiming to capture terrorists in Kenya.