Cinematographer Barry Ackroyd, BSC @backroyd_bsc prioritizes realism on A House of Dynamite @ahouseofdynamite@netflixfilm , his third collaboration with director Kathryn Bigelow m. Drawing from a documentary background, Ackroyd operated the camera himself, favoring eye-level framing, continuous movement, and multi-camera coverage to place the audience inside the action. The film was shot digitally on the @arri Arri Alexa 35, primarily using Angénieux Optimo Ultra 12x 24–290mm zooms, with Cooke S4/i primes for select setups, and a three-camera approach for most scenes.
Read the full article in the January 2026 issue of American Cinematographer and at TheASC.com.
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“I have a style, and it is not unique, but people recognise it's a signature style, and something I've worked on because I love that way of filming.
“I would find other methods of filming difficult and I've turned down films because I know they need someone who is good at slick camera moves and will use lots of equipment. It's not for me. I want to feel, I want it to be intimate, story-focused and not beautiful for the sake of it.”
Timely tale A House of Dynamite is lensed in an authentic, intimate and honest way by Barry Ackroyd BSC, capturing the increasing threat and tension as the story is revealed from multiple perspectives.
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