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zoemutter
Zoe Mutter
Editor-in-Chief, British Cinematographer magazine (@britishcinematographer). Film/TV/music/travel/Samoyed lover.
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
비밀리에 인스타그램 스토리 보기
인스타그램 스토리 뷰어는 인스타그램 스토리, 비디오, 사진 또는 IGTV를 비밀리에 보고 저장할 수 있는 간단한 도구입니다. 이 서비스를 통해 콘텐츠를 다운로드하고 언제든지 오프라인으로 즐길 수 있습니다. 인스타그램에서 나중에 확인하고 싶은 흥미로운 콘텐츠를 찾거나 익명으로 스토리를 보고 싶다면, 우리 뷰어가 적합합니다. Anonstories는 신원을 숨길 수 있는 훌륭한 솔루션을 제공합니다. 인스타그램은 2023년 8월에 스토리 기능을 출시했으며, 이 기능은 흥미롭고 시간에 민감한 형식으로 빠르게 다른 플랫폼에 채택되었습니다. 스토리는 사용자가 텍스트, 이모지 또는 필터로 보강된 사진, 비디오 또는 셀카를 공유할 수 있게 해주며, 24시간 동안만 표시됩니다. 이 제한된 시간 동안 높은 참여를 유도하며 일반 게시물보다 더 많은 반응을 얻을 수 있습니다. 오늘날 스토리는 소셜 미디어에서 연결하고 소통하는 가장 인기 있는 방법 중 하나입니다. 그러나 스토리를 볼 때, 제작자는 자신의 뷰어 목록에서 당신의 이름을 볼 수 있으며, 이는 개인 정보 보호에 대한 우려를 일으킬 수 있습니다. 만약 스토리를 아무도 모르게 탐색하고 싶다면? 그때 Anonstories가 유용해집니다. 이 도구는 신원을 드러내지 않고 공개된 인스타그램 콘텐츠를 볼 수 있게 해줍니다. 관심 있는 프로필의 사용자명을 입력하면 해당 프로필의 최신 스토리를 확인할 수 있습니다. Anonstories 뷰어의 특징: - 익명 브라우징: 뷰어 목록에 나타나지 않고 스토리를 볼 수 있습니다. - 계정 필요 없음: 인스타그램 계정에 가입하지 않고 공개 콘텐츠를 볼 수 있습니다. - 콘텐츠 다운로드: 스토리 콘텐츠를 직접 다운로드하여 오프라인에서 사용할 수 있습니다. - 하이라이트 보기: 24시간 제한을 넘어서 인스타그램 하이라이트를 볼 수 있습니다. - 리포스트 모니터링: 개인 프로필의 스토리 리포스트나 참여도를 추적할 수 있습니다. 제한 사항: - 이 도구는 공개 계정에서만 작동하며, 개인 계정은 접근할 수 없습니다. 장점: - 개인 정보 보호 친화적: 인스타그램 콘텐츠를 보면서도 눈에 띄지 않습니다. - 간단하고 쉬움: 앱 설치나 등록이 필요 없습니다. - 독점 도구: 인스타그램에서 제공하지 않는 방식으로 콘텐츠를 다운로드하고 관리할 수 있습니다.
Anonstories의 장점
인스타그램 스토리 비공개로 탐색
인스타그램 업데이트를 비밀리에 추적하고 개인 정보를 보호하며 익명으로 남을 수 있습니다.
개인 인스타그램 뷰어
개인 프로필 뷰어를 사용하여 쉽게 프로필과 사진을 익명으로 볼 수 있습니다.
무료 스토리 뷰어
이 무료 도구는 인스타그램 스토리를 익명으로 볼 수 있게 해주며, 스토리 업로더에게 활동을 숨길 수 있습니다.
자주 묻는 질문
익명성
Anonstories는 사용자가 인스타그램 스토리를 볼 때 제작자에게 알림을 보내지 않도록 합니다.
디바이스 호환성
iOS, Android, Windows, macOS, Chrome, Safari와 같은 최신 브라우저에서 원활하게 작동합니다.
안전성 및 개인 정보 보호
로그인 정보 없이 안전하고 익명으로 브라우징할 수 있습니다.
등록 필요 없음
사용자는 간단히 사용자명을 입력하여 공개된 스토리를 볼 수 있습니다. 계정이 필요하지 않습니다.
지원 형식
사진(JPEG)과 비디오(MP4)를 쉽게 다운로드합니다.
비용
이 서비스는 무료로 제공됩니다.
비공개 계정
비공개 계정의 콘텐츠는 팔로워만 접근할 수 있습니다.
파일 사용
파일은 개인적 또는 교육적 용도로만 사용 가능하며 저작권 규정을 준수해야 합니다.
작동 방식
공개된 사용자명을 입력하여 스토리를 보거나 다운로드할 수 있습니다. 서비스는 콘텐츠를 로컬에 저장할 수 있는 직접 링크를 생성합니다.