"We had to behave like a very small documentary team, as if no camera existed at all." #filmsky
06.03.2026 16:38
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"We had to behave like a very small documentary team, as if no camera existed at all." #filmsky
"You felt this laser focus from everyone on set every day because the stakes felt higher to capture such an amazing performance." #filmsky
"It started as a really precise emotional drama, but gradually we rediscovered it as kind of a rom-com." #filmsky
"Shooting on the Alexa 35, we chose anamorphic lenses as it underlined the comedy in composition." #filmsky
"It was a special place to be with a camera and witness such stirring performances." #filmsky
"I come from theatre — lighting Shakespeare and modern dance — so bringing that sensibility into this project was deeply fulfilling." #filmsky
"There’s a fierce optimism that somehow [James Cameron is] going to overcome whatever technological challenge that gets thrown to him." #filmsky
"One of our considerations for choosing our lenses was how much candlelight we would be using, and our desire for a consistent, pleasing bokeh." #filmsky
"We used and embraced every new kind of technology we could to bring it forward and keep up with what had already been done in the past." #filmsky
"I watched the older version a long time ago, but I didn’t want to mimic anything or make it feel like a part two." #filmsky
"Super 16 is such a look now, because we’re so used to digital, but obviously 10, 15 years ago, it would have been really normal." #filmsky
"The film, including this scene, had a unique characteristic: it was shot entirely on green screen with only the actors and a few props." #filmsky @shotdeck.bsky.social
"Prison is not just bleak: the entire gamut of human emotion exists in there, and I wanted to reflect this in the lighting." #filmsky
"The guiding philosophy was that Catherine’s world was elegant and posh, while Stephan’s was a little more suburban and a little rundown." #filmsky
"The film truly found itself after watching an early cut with the director and our producers, when we had an open, organic conversation about pacing."
Hamnet characters on the cover of a magazine
As 2026 gets underway, our January/February edition celebrates the creativity, craft and collaboration driving the industry forward — from bold visual storytelling to the techniques shaping cinema’s future #filmsky
Find a full breakdown of the issue: britishcinematographer.co.uk/take-a-sneak...
Magazine cover with Robbie Ryan on the front
Our Focus On: Shooting on Film guide is out now – and free to all British Cinematographer readers! #filmsky
Film is experiencing a revival as cinematographers increasingly choose celluloid to realise their creative visions.
Read now: britishcinematographer.co.uk/focus-on-gui...
“Every decision — camera, lens, or lighting — was driven by story and environment, not spectacle.” #filmsky
"I pushed for black-and-white, as I was excited to get the chance to make a black-and-white movie." #filmsky
Congratulations to the Cinematography Oscars nominees!
Frankenstein – Dan Laustsen ASC DFF
Marty Supreme – Darius Khondji ASC AFC
One Battle After Another – Michael Bauman
Sinners – Autumn Durald Arkapaw ASC
Train Dreams – Adolpho Veloso ABC AIP
More: britishcinematographer.co.uk/oscars-annou...
"The whole idea behind Sound of Falling was to create a film that feels close to how memories are." #filmsky
"For me, it’s impossible to replace the feel of film. I am very happy to work on film first, because the way you work on film is very different in the way you approach the shoot." #filmsky
We had a fantastic time heading to Berlin for the European Film Awards - celebrating the finest filmmaking talent from across the continent 🏆
Congratulations to Mauro Herce, who took European Cinematographer for his immersive work on Sirat, as well as all of the winners! #filmsky
A golden European Film Awards poster
Today's the day! 🏆
Watch the live stream of the 2026 European #Film Awards on our website, as filmmakers from across the continent gather together to celebrate each other's work: britishcinematographer.co.uk/efa/
"We both grew up with those amazing action movies in the ‘80s. McTiernan was always a big influence, we both felt there was a real muscular quality to his filmmaking, in that he has these rack focuses that bring dramatic weight to the action, with a lot of breathing and flares throughout his work."
"There are a number of reasons why we shot on iPhone. The main one is because the majority of our scenes were shot at a night market, where there would be lots of people. If we turned up with an ARRI or RED camera everyone would know we were shooting a film." #filmsky
"As a neurodivergent creative, it is important that we see our lived experiences named and carefully handled." #filmsky
"As a cinematographer, I am drawn to projects that demand a use of visual subjectivity—where character perspective directly informs camera language." #filmsky
