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Latest news:

ARRI signs agreement to sell its subsidiary Claypaky to a new strategic owner

Cannes 2025 selection features 24 productions shot on KODAK film

Silver Screen Analog Short Film Fund announce finalists

Film Soho launches brand new studio

The Young Arrows Awards are back and free to enter



Lenses 

ARRI cameras and lights behind the cinematography of Drive My Car

May 5, 2022

Sony introduces new FE 24-70mm F2.8 GM II

Apr 28, 2022

Tico Poulakakis CSC creates Foundation‘s universe with ZEISS Supreme Primes

Apr 14, 2022

ARRI Rental supports short film Napoleon

Apr 12, 2022

Cooke Optics launches S8/i FF spherical lenses for full frame production

Mar 31, 2022

Cooke Optics launches S8/i FF spherical lenses for full frame production

Mar 16, 2022

Colouring two worlds for Nicôle Lecky’s Mood on BBC Three

Mar 11, 2022

Cooke Anamorphic/i Prime Lenses used for Nine Bullets

Mar 11, 2022

Films shot on RED play a big role in Giant Screen Cinema Association’s 2022 Film Expo

Mar 11, 2022

Canon launches two new RF lenses

Mar 8, 2022

Cooke Panchro/i Classics used on King of Boys: The Return of the King

Mar 4, 2022

DP Jordan T. Parrott on shooting Chaperone with Cooke Lenses

Mar 1, 2022

Checco Varese ASC on shooting Dopesick

Feb 24, 2022

HBO’s The Gilded Age lensed with Cooke lenses

Feb 24, 2022

DP Jamie Cairney on shooting Sex Education S3

Feb 22, 2022

Sweet Magnolias S2 creates a confectionery HDR treat

Feb 18, 2022

Pepsi Halftime Show shot on VENICE by DP Paul Cameron ASC

Feb 17, 2022

The Last Thing Mary Saw captured with Cooke lenses

Feb 10, 2022

ZEISS Supreme Primes work day and night for Plan B

Feb 8, 2022

ARRI ALEXA Mini LF shows its capabilities in Kingdom: Ashin of the North

Feb 8, 2022
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British Cinematographer Magazine is endorsed and read by: BSC - British Society of Cinematographers; GBCT - Guild of British Camera Technicians and IMAGO - International Federation of Cinematographers.

Issue 128 - March 2025

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