Cinematographer Pedro Luque shot the new movie from the Dragon Tattoo series with a large format aesthetic, but it wasn’t all about a shallow depth-of-field.
Netflix movie Outlaw King follows Scotland’s Robert the Bruce and his escapades against the old enemy – but the real capture story was the data
Cold War is the most colourful black & white film you’ll ever see and it could win the Academy Award for Best Foreign Language Film next year
Climber Alex Honnold rehearsed his moves for a year before taking on the mighty El Capitan rock face – without ropes.
The Doctor Who of 2018 uses all the cinematic tools at her disposal, we talked to Denis Crossan, DOP of the pilot
Shooting in Hong Kong and London gave DOP Eben Bolter two aesthetics to enhance this West/East ‘fish out of water’ story.
Very few American films were invited to the 2018 Cannes Festival, but Spike Lee’s latest ‘joint’, BlacKkKlansman, was a powerful exception that sent shockwaves through the audience.
ITV’s drama offering is on the rise again with a new adaptation of William Makepeace Thackeray’s Vanity Fair. Production company Mammoth Screen has made this episodic for ITV and Amazon Video but how is it different from any other British made period drama?
When we find ourselves at a noisy Soho eatery with Goldcrest Post senior colourist, Adam Glasman, it’s hard not to feel incredibly lucky to have carved out 30 minutes of his time outside the suite.
How do you better the smash hit of the original Mamma Mia movie? You just follow the music.
It’s a testament to the creatives involved in You Were Never Really Here that a warped time frame produced such a great looking film.
ITV’s popular police drama Vera has also been championed for its cinematography; the Darkwater episode is a great example.