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November 2018

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  • The Facilities 50
    Jon Creamer launches Televisual's 31st exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
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    With competition from streamers intensifying, UK broadcasters are exploring new drama strategies. Tim Dams reports
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    Five leading movie colourists tell Michael Burns the secrets of their craft, and explain the techniques they use to grade movies like The Danish Girl, Peterloo and Baby Driver
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    Thanks to advances in camera technology, the possibilities of aerial filming are greater than ever before. Pippa Considine reports on some of the year’s standout aerial projects
  • OB: Which Way Now
    The OB industry is embracing major change as it adapts to the worlds of UHD, HDR and IP. Michael Burns reports
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Film 40, 2013 Back to Reports & survey Listing

Top 10 British cinematographers

Roger Deakins
Oscar-nominated for his work on Skyfall, Deakins retains his place on the list for the quality of his lighting and composition and his incredible body of work over the last 20 years. Films such as True Grit and No Country for Old Men demonstrate his amazing technique and superb execution.
Danny Cohen
Credits on hits such as The King's Speech and Les Miserables have propelled Cohen to the top of the list of British cinematographers. His hallmark is great technique, especially in closed spaces,
Ben Davis
I Give It A Year, Seven Psychopaths, The Best Exotic Marigold Hotel, Wrath of the Titans, The Debt , Tamara Drewe – Ben Davis is prolific, taking on 3-4 movies a year each with a fresh eye and new ideas. Best known for his work with producer/director Matthew Vaughn, his major works include Kick Ass, Hannibal Rising, Stardust and Layer Cake. 
Robbie Ryan 
Dublin-born Ryan’s credit list includes Catch Me Daddy, Brick Lane and I Am Slave. A regular collaborator with Andrea Arnold (Wuthering Heights, Fish Tank) Ryan’s lighting of Sally Potter’s Ginger and Rosa was stunning, says colourist Asa Shoul. “His natural look is made to look easy and he has a style admired by many.”
Rob Hardy
Hardy’s bold off-side framing on Stolen and lighting on Shadow Dancer and The Invisible Woman is stunning, said one. “What makes Shadow Dancer work so well, is the way it has been shot, full of intriguing angles and carefully chosen focal depths. Few thrillers have anything like so much visual texture,” said one critic.
Anthony Dod Mantle   
For sheer energy and pushing cinematography to its limits, Dod Mantle deserves his place on this year’s list.  With a filmography including Rush, Trance, The Eagle and The Last King of Scotland,  Dod Mantle has embraced digital, shows great composition and execution and has a talent for working closely with directors for a cohesive result.
Seamus McGarvey
Born in Armagh, McGarvey’s work includes The Avengers, Atonement and The Hours. Currently working on Godzilla, his versatility was underlined on Anna Karenina where he was parachuted in at the last minute and made it look beautiful with just three weeks prep time and a reduced budget.
Barry Ackroyd
With credits such as United 93 and The Wind That Shakes the Barley, Ackroyd is known for his collaborations with Paul Greengrass and Ken Loach, suiting their approach with his anti-Hollywood, naturalistic style. His next and much anticipated Greengrass collaboration Captain Phillips, is about 
the 2009 hijacking of a US cargo ship by pirates.
John de Borman  
Half Of A Yellow Sun is De Borman’s latest to follow his Dustin Hoffman-directed British character ensemble Quartet. Says one DP: “Quartet was beautiful. His range from soft lighting to night exteriors is always right on the money.”
Tim Maurice-Jones
Lock Stock, Snatch and Revolver were visually ground breaking and his work on Kick Ass 2 will be the talk of 2013, is one DPs veredict on this DP, whose action sequences show amazing timing. His visually stunning The Woman In Black earned him rave reviews. 
“The real star was not Daniel Radcliffe but the camerawork,” said one notice.

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