Led by VFX supervisor Henry Badgett, alongside CG supervisor Dave Cook and 2D supervisor Graham Day, BlueBolt has revealed it delivered 138 VFX shots to help recreate the vibrant 1930s pre-war era of Focus Features’ Downton Abbey: The Grand Finale. Here’s a breakdown of how it happened.
“This event has been absolutely brilliant. It’s been amazing to speak to other cinematographers, and to chat to the wonderful guys at Godox has been incredible!” We’re glad you enjoyed our second British Cinematographer Presents event as much as we did! Here are just a few opinions from people in attendance. Contact us for more…
In this chat with Panavision, the director of photography behind Rye Lane, Olan Collardy, retraces his journey behind the camera and shares lessons learned along the way.
In this interview with Panavision, the director of photography behind Tár and True Detective reflects on filmmaking as an art form and the inspiration he finds in collaborative concentration.
Thank you to everyone who joined us for the second British Cinematographer Presents event – we hope you enjoyed the evening! Each event celebrates the people and productions featured in the latest issue – this time it was a double whammy as we marked the launch of the July and September editions. Through a narrated video, we…
In this candid conversation with Panavision, a group of DPs reflect on the forces that drive their work, from collaboration with directors and crews to personal inspirations and family. They also share honest insights about the challenges of work-life balance, the “film blues” that come when projects wrap, and the ways they recharge before returning…
London Film Festival takes place from 8-19 October in London and cinemas around the UK, with the BFI inviting audiences to discover the world’s best new films, series and immersive storytelling. Here’s the official 2025 trailer.
Paul Thomas Anderson has announced that his upcoming film, One Battle After Another, will play in VistaVision–including in London. In this video, Anderson explains why he and DP Michael Bauman shot in the format.
Cinematographer Robert Yeoman ASC reveals the hardest shot he filmed on Wes Anderson’s The Grand Budapest Hotel, and how he made it happen.
