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It was an honour to interview pioneering filmmaker and innovator James Cameron about the future of immersive storytelling and the 3D technology and techniques he explored when making concert film Billie Eilish – Hit Me Hard And Soft: The Tour (Live in 3D). 

From designing advanced custom stereo camera rigs to capture the standout stadium performance by Eilish through to the technologies poised to transform audience experiences across music, sports and beyond, Cameron shared insight into how new technology can bring audiences closer to the action and recreate the energy and intimacy of a stadium show on screen. 

Billie Eilish – Hit Me Hard And Soft: The Tour is in cinemas now – make sure you experience it in all its 3D glory! It's a phenomenal production that really transports you into the concert arena at the heart of the action. An exciting glimpse into the future of entertainment as film and live continue to converge! 🔥🎥🎵

More to come from the interview soon!

#jamescameron #billieeilish #film #3D #music

It was an honour to interview pioneering filmmaker and innovator James Cameron about the future of immersive storytelling and the 3D technology and techniques he explored when making concert film Billie Eilish – Hit Me Hard And Soft: The Tour (Live in 3D). 

From designing advanced custom stereo camera rigs to capture the standout stadium performance by Eilish through to the technologies poised to transform audience experiences across music, sports and beyond, Cameron shared insight into how new technology can bring audiences closer to the action and recreate the energy and intimacy of a stadium show on screen. 

Billie Eilish – Hit Me Hard And Soft: The Tour is in cinemas now – make sure you experience it in all its 3D glory! It's a phenomenal production that really transports you into the concert arena at the heart of the action. An exciting glimpse into the future of entertainment as film and live continue to converge! 🔥🎥🎵

More to come from the interview soon!

#jamescameron #billieeilish #film #3D #music

It was an honour to interview pioneering filmmaker and innovator James Cameron about the future of immersive storytelling and the 3D technology and techniques he explored when making concert film Billie Eilish – Hit Me Hard And Soft: The Tour (Live in 3D). 

From designing advanced custom stereo camera rigs to capture the standout stadium performance by Eilish through to the technologies poised to transform audience experiences across music, sports and beyond, Cameron shared insight into how new technology can bring audiences closer to the action and recreate the energy and intimacy of a stadium show on screen. 

Billie Eilish – Hit Me Hard And Soft: The Tour is in cinemas now – make sure you experience it in all its 3D glory! It's a phenomenal production that really transports you into the concert arena at the heart of the action. An exciting glimpse into the future of entertainment as film and live continue to converge! 🔥🎥🎵

More to come from the interview soon!

#jamescameron #billieeilish #film #3D #music

It was an honour to interview pioneering filmmaker and innovator James Cameron about the future of immersive storytelling and the 3D technology and techniques he explored when making concert film Billie Eilish – Hit Me Hard And Soft: The Tour (Live in 3D). 

From designing advanced custom stereo camera rigs to capture the standout stadium performance by Eilish through to the technologies poised to transform audience experiences across music, sports and beyond, Cameron shared insight into how new technology can bring audiences closer to the action and recreate the energy and intimacy of a stadium show on screen. 

Billie Eilish – Hit Me Hard And Soft: The Tour is in cinemas now – make sure you experience it in all its 3D glory! It's a phenomenal production that really transports you into the concert arena at the heart of the action. An exciting glimpse into the future of entertainment as film and live continue to converge! 🔥🎥🎵

More to come from the interview soon!

#jamescameron #billieeilish #film #3D #music

It was an honour to interview pioneering filmmaker and innovator James Cameron about the future of immersive storytelling and the 3D technology and techniques he explored when making concert film Billie Eilish – Hit Me Hard And Soft: The Tour (Live in 3D). 

From designing advanced custom stereo camera rigs to capture the standout stadium performance by Eilish through to the technologies poised to transform audience experiences across music, sports and beyond, Cameron shared insight into how new technology can bring audiences closer to the action and recreate the energy and intimacy of a stadium show on screen. 

Billie Eilish – Hit Me Hard And Soft: The Tour is in cinemas now – make sure you experience it in all its 3D glory! It's a phenomenal production that really transports you into the concert arena at the heart of the action. An exciting glimpse into the future of entertainment as film and live continue to converge! 🔥🎥🎵

More to come from the interview soon!

#jamescameron #billieeilish #film #3D #music

It was an honour to interview pioneering filmmaker and innovator James Cameron about the future of immersive storytelling and the 3D technology and techniques he explored when making concert film Billie Eilish – Hit Me Hard And Soft: The Tour (Live in 3D). 

From designing advanced custom stereo camera rigs to capture the standout stadium performance by Eilish through to the technologies poised to transform audience experiences across music, sports and beyond, Cameron shared insight into how new technology can bring audiences closer to the action and recreate the energy and intimacy of a stadium show on screen. 

Billie Eilish – Hit Me Hard And Soft: The Tour is in cinemas now – make sure you experience it in all its 3D glory! It's a phenomenal production that really transports you into the concert arena at the heart of the action. An exciting glimpse into the future of entertainment as film and live continue to converge! 🔥🎥🎵

More to come from the interview soon!

#jamescameron #billieeilish #film #3D #music

It was an honour to interview pioneering filmmaker and innovator James Cameron about the future of immersive storytelling and the 3D technology and techniques he explored when making concert film Billie Eilish – Hit Me Hard And Soft: The Tour (Live in 3D). 

From designing advanced custom stereo camera rigs to capture the standout stadium performance by Eilish through to the technologies poised to transform audience experiences across music, sports and beyond, Cameron shared insight into how new technology can bring audiences closer to the action and recreate the energy and intimacy of a stadium show on screen. 

Billie Eilish – Hit Me Hard And Soft: The Tour is in cinemas now – make sure you experience it in all its 3D glory! It's a phenomenal production that really transports you into the concert arena at the heart of the action. An exciting glimpse into the future of entertainment as film and live continue to converge! 🔥🎥🎵

More to come from the interview soon!

#jamescameron #billieeilish #film #3D #music

It was an honour to interview pioneering filmmaker and innovator James Cameron about the future of immersive storytelling and the 3D technology and techniques he explored when making concert film Billie Eilish – Hit Me Hard And Soft: The Tour (Live in 3D). 

From designing advanced custom stereo camera rigs to capture the standout stadium performance by Eilish through to the technologies poised to transform audience experiences across music, sports and beyond, Cameron shared insight into how new technology can bring audiences closer to the action and recreate the energy and intimacy of a stadium show on screen. 

Billie Eilish – Hit Me Hard And Soft: The Tour is in cinemas now – make sure you experience it in all its 3D glory! It's a phenomenal production that really transports you into the concert arena at the heart of the action. An exciting glimpse into the future of entertainment as film and live continue to converge! 🔥🎥🎵

More to come from the interview soon!

#jamescameron #billieeilish #film #3D #music

Throwback to last year's excellent Evolution Mallorca International Film Festival! 📽️😎✨
Fabulous films and company in beautiful Palma. Congratulations to Sandra and Rainer Lipski on putting on another cracking edition and for once again shining a light on the craft through the dedicated Cinematography Focus (of which British Cinematographer magazine is proud to be a partner).

Highlights from 2026's event include...
⭐Phedon Papamichael ASC GSC receiving the Cinematography Icon Award
⭐Steve Buscemi receiving the Icon Award and sharing stories from his career
⭐Jamie D. Ramsay BSC SASC's masterclass in which he explored his creative and technical approach to lighting
⭐Hearing from standout cinematographers Phedon Papamichael ASC GSC, Oona Menges BSC and Pablo Diez AEC when they joined me for a panel on colour
⭐A fascinating panel with a top line-up of agents

Find out more about the festival in our event review from a recent issue of the magazine via link in bio!

#cinematography #film #filmfestival #EvolutionMallorca @evolutionmallorcafilmfestival #throwbackthursday

A laughter-filled long weekend up in Newcastle visiting the Taylor family! 🥳 Having indulged in way too many train snacks and chosen the jazziest charity shop garments to galivant in, we had a blast pottery painting, nerf gun battling, sampling Frank's perfect pizzas and Catriona's heavenly brownies and being big kids! 🙌😎

#newcastle #potterypainting @cannycraftynewcastle

As a trophy-laden awards season comes to a close, the latest issue takes you behind the scenes of the BSC and ASC Awards, BAFTAs and Oscars, and turns its attention to the new productions sparking cinematic conversation including Peaky Blinders: The Immortal Man, lensed by George Steel BSC.

“You have to see you to be you,” said Sinners cinematographer Autumn Durald Arkapaw ASC backstage in the Oscars winners’ room, moments after making history as the first woman of colour — and the first woman — to win an Academy Award for cinematography. She was quoting singer Karen O of the Yeah Yeah Yeahs, whose reflections on representation for women in music had a lasting impact on the cinematographer and echoed the spirit of the evening of filmmaking firsts.

Durald Arkapaw — who is of Filipino and African American Creole descent — went on to share encouragement for future generations of filmmakers: “A lot of little girls that look like me will sleep really well tonight because they’ll want to become cinematographers… Just being on stage getting this award for a movie like that will change so many girls’ lives because they’ll be inspired when they weren’t before.”

Durald Arkapaw also showed appreciation for Sinners writer-director Ryan Coogler, who won one of the film’s four Academy Awards when he scooped Original Screenplay. In her speech she praised Coogler for giving the film’s female heads of department “opportunities to shine and be ourselves, and work in a creative environment where we’re leading, we’re strong, we have power. He trusts us. And that’s a very important thing, and it doesn’t happen very often. So, he’s opened those doors”.

In one of the ceremony’s most powerful moments, Durald Arkapaw asked all the women in the room to stand. “I feel like I don’t get here without you guys,” she said. “I have felt so much love from all the women.. And I just feel like moments like this happen because of you and I want to thank you for that.”

Continued in the comments…

📸: Netflix #cinematography #movies #television #peakyblinders #autumnduraldarkapaw

Looking back at last summer's activities in LA with Sony including...

⭐Visiting Sony Pictures Studios lot & Sony's Digital Media Production Centre
⭐Chatting to the team about their latest kit and the filmmakers working with them
⭐Holding awards I did not win
⭐Forming a dream team to shoot a quirky sports film as part of a fun competition
⭐Witnessing monster movie make-up magic in Hollywood
⭐Meeting with and watching the films created by the nominees and winners of the Sony Future Filmmaker Awards, topped off by a sparkling awards ceremony!

Thank you for a fabulous experience and the opportunity to make new connections and celebrate the incredible work of filmmakers from around the globe! 📽️✨😎

#film #cinematography #LA #movie #sony

Easter break adventures in Devon! 😎 Beach walks, catch-ups, dog parks, lake strolls (plus rescue missions when Monty fell head first into the most boggy part!), all weather conditions and comedy theme tune creations.

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Two top trips down memory lane this week! Meeting up with the gang from IDG (one of the first publishing companies I worked for) last weekend for a long overdue reunion which transported me back to that magical time and all the special/silly fun we had.

It was then the end of an era on Thursday night as some of the team from AV (my previous magazine) gathered in our old stomping ground for Clive's leaving do.

When focus is often placed on planning ahead and what's next on the agenda, it's been a joy remembering all the fun times and fabulous people who played a special part in the past and continue to be absolute legends! 🙌✨

Watch out world, a new power duo has arrived: Monty and Womble! ✨💥🥹 Full on fun, manic chasing and stick tug of war was packed into their park play date yesterday. Here's to more fluffy cloud silliness when the crazy couple next reunite! 🙌🥳

#samoyed #dog #dogsofinstagram

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

“We had to unlearn everything we thought we knew about cinema and take Nickel Boys as a completely different experience that uses the grammar of cinema and primarily non-POV movies, and become open to each scene as a completely new set up.”

- Cinematographer Jomo Fray ASC on shooting RaMell Ross's Nickel Boys

When Fray watched filmmaker and photographer Ross’s Oscar-nominated 2018 documentary Hale County This Morning, This Evening at Sundance Film Festival, he stayed until the lights came up, having never seen such powerful images. “When the credits revealed the director was also the cinematographer, I knew I had to discover how the person who made this movie created such specificity in each image,” says Fray.

Based on the true story of the infamous Arthur G. Dozier School for Boys in Florida – a reformatory that operated for 111 years and made headlines in the early 2000s, as a savage institution – Nickel Boys explores the powerful bond between two young Black teenagers, Elwood and Turner, as they navigate the harrowing trials of Nickel Academy, a notorious reformatory school in the Jim Crow South.

Ross revealed he wanted to shoot the film from the first-person perspective of Elwood or Turner. “The script was written and built considering that, shooting all oners, the concept of adjacent images, visual movements, and modes of time,” explains Ross. “The images emerge in the interstices of Colson’s narrative, this really distinct book with a well-thread theme – a young Black boy who makes a common decision and what unfortunately happens to him next. My co-writer Joslyn Barnes and I distilled that into moments of interconnection between people and the idea of love connecting them, along with imagined images from childhood.”

It was fascinating speaking with kindred creative spirits Ross and Fray at Camerimage Festival in 2024 about how they adopted a first-person perspective to immerse the audience in the powerful narrative while navigating how to make a film so precisely orchestrated feel free-flowing.

Read the full article at link in bio.

📸: (Credit: Orion Pictures / © Amazon Content Services)

#throwbackthursday #film #cinematography #nickelboys

The annual Burn's Night gathering delivered more giggles and grub 🏴󠁧󠁢󠁳󠁣󠁴󠁿🥃 Thanks to the gang for making it another hilarious experience, topped off with the well known traditional Scottish dance routines of La Macarena, Saturday Night and Superman?! 🤣

(Note to future self: do not attempt to make cocktails at the end of the night or the vision of a delicious frothy whiskey sour will in reality end up as slimy egg gloop, much to Chris's disgust 😬)

#burnsnight #scotland #whiskeysourfail

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

When shooting The Girl with the Needle cinematographer Michał Dymek and writer-director Magnus von Horn agreed black-and-white would best suit the tale of the young factory worker and her struggle for survival in post-WWI Copenhagen. Having worked together before, Michał knew Magnus likes to be honest with the emotional path of characters. “So we didn’t want to be super strict in terms of visuals or show off our visual ideas, but instead make sure we served the story. We felt this world needed to be very physical and influence the person watching it in a physical way,” he says.

As first forays into shooting black-and-white features go, Michał's (EO, A Real Pain) lensing proved to be a success, captivating audiences, winning the 2024 Camerimage Golden Frog for Best Feature, competing in the Main Competition at Cannes where it premiered and receiving a Golden Globe nomination for Best Motion Picture, Non-English Language. It was a pleasure to speak to Michał for a previous issue of British Cinematographer to find out how he captured the mixture of macabre and melancholy in monochrome, always being driven by story and the emotional path of characters. 

Read the full article at link in bio.

(📸: Łukasz Bąk/MUBI)

#throwbackthursday #cinematography #film #filmmaking #thegirlwiththeneedle

It's been a full on and fun couple of months celebratingand covering talented filmmakers and their cinematic masterpieces at a splendid selection of events. Thanks to everyone who shared their insights and passion for their craft at the below gatherings...

✨ A sparkling BSC Awards where winners included Michael Bauman (One Battle After Another), Suzie Lavelle BSC ISC (Severance), Danny Bishop Assoc. BSC ACO SOC (Ballad of a Small Player) and Remi Adefarasin OBE BSC (Lifetime Achievement) among many others

✨ The BAFTA Film Awards where Michael Bauman scooped Best Cinematography for One Battle After Another and other phenomenal talent in front of and behind the camera winning big included Paul Thomas Anderson (Best Director/Film), Ryan Coogler (Original Screenplay), Wunmi Mosaku (Supporting Actress), Akinola and Wale Davies (Outstanding Debut) and Robert Aramayo (Rising Star/Lead Actor)

✨ A brilliant BIFAs where Seamus McGarvey ASC BSC ISC won Best Cinematography for Die My Love and we chatted to talented nominated and winning filmmakers including Jermaine Edwards, Oliver Laxe and Harry Leighton

✨ Girls on Film's glorious awards ceremony which we're proud to be a media partner of. It's always a fabulous evening with such a positive vibe shining a light on the incredible talent of females in the world of film

✨ Women in Film & TV's afternoon tea with Autumn Durald Arkapaw ASC where she was also presented with the Girls on Film Best Cinematography Award for her stunning work on Sinners

✨ Awhirlwind BSC Expo with the British Cinematographer team packed with inspiration, education and hundreds of conversations!

#film #awards #cinematography #movie #filmmaking