PRODUCTIONS
DOP Adam Newport-Berra, ASC breaks down filming the chaos of The Invite’s single-location dinner party
As the only remaining manufacturer of colour motion picture film, Kodak played a pivotal role in Christopher Nolan’s The Odyssey
Writer-director Boots Riley’s second film is even more vibrant and visually absurd than his first – but the ideas are just as important as the execution. We chat with DO...
Combining dragon combat, naval warfare and VFX on an unprecedented scale, the Battle of the Gullet is House of the Dragon’s most ambitious undertaking yet. Lead cinemato...
Big ambition met indie budget on Bedlam, an upcoming movie set in a 17th-century mental asylum. The project’s DOP & DIT discuss how they maximised their budget
Over the last five years, these short-form, mobile-first films have become a multi-billion-dollar industry. Nicola Foley takes a look at the production process and consi...
From Atonement to Adolescence, the oner has become one of film and TV’s most discussed techniques. Powerful storytelling tool or overhyped gimmick? Seamus McGarvey, ASC,...
Decisively shot on film and on Amazon’s dedicated virtual stage, Fallout’s second season returns us to a visually riveting, wild western dystopian wasteland
On Sentimental Value, cinematographer Kasper Tuxen, DFF reunites with director Joachim Trier. He talks shooting on 35mm ARRICAM with Cooke lenses, intimate handheld work...
As the new season of Netflix’s Bridgerton ventures below stairs for the first time, cinematographer Alicia Robbins, ASC lifts the curtain on the visual rules and camera ...