British Cinematographer
@BCineMag
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Europe's No.1 magazine covering the art and craft of international cinematography.
UK
Joined July 2015
Welcome to the July/August edition of British Cinematographer! . This issue features Danny Boyle and longtime collaborator Anthony Dod Mantle ASC BSC DFF’s 28 Years Later as our cover story special…. For a full breakdown of the issue, head here:
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“We wanted to set ourselves apart by curating a library of cinema optics all of which have a story to tell. Our lenses have character, history and are full of possibility.". Marcin Mikołajczyk, Lens Sommelier, ATM SYSTEM. Read the full feature here:
britishcinematographer.co.uk
Poland’s best-kept filmmaking secret, ATM SYSTEM pairs rare vintage lenses with expert tech and sommelier-style service, helping DPs unlock bold, character-rich visuals.
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“For all the dialogue and interpersonal stuff we used the @ARRIChannel Alexa 35 with C series anamorphic lenses. It gave us texture, intimacy & softness. That’s the human side of the story.”. Bill Pope ASC on shooting How to Train Your Dragon. Read more:.
britishcinematographer.co.uk
Bill Pope ASC reveals how he balanced soaring aerials with intimate drama, navigating northern Europe’s bleak weather to craft a sun-drenched fantasy adventure fit for IMAX.
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Klaus Eckerl, CEO and founder of IBE Optics, and Winnie Heun, director of photography, give the lowdown on the key features of the RAPTOR SCOPE and what makes it stand out in the market here:.
britishcinematographer.co.uk
Klaus Eckerl, CEO and founder of IBE Optics, and Winnie Heun, director of photography, give the lowdown on the key features of the RAPTOR SCOPE and what makes it stand out in the market.
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“We were able to operate it like a handheld camera for the boxing match and the final fight. It allowed us to get over the top of the fighters.”. Justin Brown BSC on shooting Karate Kid: Legends. Read the full article:
britishcinematographer.co.uk
Like other established film series, the Karate Kid franchise has evolved stylistically over the years in keeping with different times and new audiences.
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ZEISS (@ZEISSLenses) Supreme Zoom Radiance offer cinematographers flexibility, consistency and controlled flares, allowing them to add texture and atmosphere to their cinematic creations. Learn more:
britishcinematographer.co.uk
ZEISS Supreme Zoom Radiance offer cinematographers flexibility, consistency and controlled flares, allowing them to add texture and atmosphere to their cinematic creations.
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“We’re really redefining what the female gaze is. As we learn under the patriarchy of filmmaking from the last 100 years, how do we define the female gaze? So I feel very responsible in continuing that conversation.”. Mia Cioffi Henry on Sorry, Baby.
britishcinematographer.co.uk
DP Mia Cioffi Henry reveals how she worked with director Eva Victor to offer a fresh viewpoint and tell a powerful story.
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We caught up with Nick Morris to find out his First Love of cinematography…. ❤️🎥
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We caught up with Wallace & Gromit cinematographer Dave Alex Riddett BSC to find out his Words of Wisdom… 🎥❤️
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“I see CINEFLARES as a research tool in pre-pre-production. I play around with the lens options on the lens library and select the best ones before testing them in practice.”. Markus Förderer ASC BVK, DP and creator of CINEFLARES. More:
britishcinematographer.co.uk
CINEFLARES, created by Markus Förderer ASC BVK, offers a comprehensive lens database to compare flare, contrast, and colour for cinematographers.
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At Cannes we found out DP Steven Breckon’s First Love with cinematography… 🎥❤️
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“I really enjoyed my previous experience with the ALFA lenses. I love the rendering, the bokeh, and the softness they have.”. Martin Ruhe ASC on shooting in large format with ARRI Rental’s ALFA anamorphic lenses on The Amateur. More:
britishcinematographer.co.uk
Cinematographer Martin Ruhe ASC shoots in large format with ARRI Rental’s exclusive ALFA anamorphic lenses on the spy thriller starring Rami Malek.
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Tommy Maddox-Upshaw ASC offers us his cinematographic Words of Wisdom 🎥❤️
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At the Sony Future Filmmaker Awards we caught up with Xavier Dolléans AFC to find out his First Love… 🎥❤️
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“Our job is to provide cinematographers with as many different lenses as possible so they can choose what’s right for a particular project.”. Charlie Todman, technical marketing director for Panavision UK, on Panvision’s lens variety. Read more:
britishcinematographer.co.uk
With optical innovation at its core, Panavision’s lens rental inventory offers new advancements while continuing to support legacy lenses.
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My Father’s Shadow DP Jermaine Edwards filled us in on his First Loves during this year’s @Festival_Cannes. 🎥❤️
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Markus Förderer ASC BVK offers BC his cinematographic Words of Wisdom…
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“You could hide the camera, dress as a security guard, and shoot while another camera films behind you - it’s the news and documentary mindset: use every opportunity to get the shot.”. Checco Varese ASC on choosing @sonyproeurope cameras for G20.
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"If a director isn’t confident, or you as the DP aren’t confident, you may end up forcing a style upon a project to validate yourself instead of supporting the story.”. Si Bell BSC on opting for a simple, but powerful, cinematic style on Miss Austen.
britishcinematographer.co.uk
Miss Austen explores the story of Cassandra Austen through two different time periods, before and after her sister Jane’s death.
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