ANAMORPHIC LENSES

In a post-heavy industry, do in-camera optical effects still matter? Phil Rhodes argues that they do – now more than ever

How anamorphic lenses and a telescoping crane help lure us into a false sense of security in You

DOP Eben Bolter discusses LED screens, HDR monitoring and other colourful solutions for the production of Night Teeth

DOP David Katznelson on capturing joy amidst a crisis in the 1980s gay community for highly acclaimed drama, It’s A Sin