“My eye and my sensibilities kind of always lead to 500T,” says My Father's Shadow DP Jermaine Edwards. “I really like the way it renders an image, I like the reds, I like the image I get from it as a starting point… I’m comfortable using it, and it gives me that extra sensitivity that I need in tight spots.”
Around 12 years ago it seemed that manufacturing of motion picture film stock might end forever, but thanks to Kodak’s rise and recent developments elsewhere, filmmakers today still have creative choice when it comes to stock.
Read more from Edwards and other DPs in our Focus on Film Guide - available on our website!
Jermaine Edwards didn’t just light My Father’s Shadow — he built a visual rulebook for it. 🎥
From sun-bleached wides to handheld urgency, the cinematographer breaks down how film stock, shaped “natural” light and pure instinct (not to mention physical wear and tear) guided every frame of the Camera d’Or Special Mention winner.
Read more at the link in bio.
#cinematographers #myfathersshadow #cinematography
Cannes winning debut feature + Nigerian 🇳🇬 food? - we’re very excited to launch our first supper club with @akinoladaviesjr ’s transcendent debut MY FATHER’s SHADOW.
We’ve partnered with @chukusldn ’s on this one & our friends @gohubstudio for our first “watch & dine experience”.
Very limited spaces. Link in our bio 💙
Our Focus On: Shooting on Film guide is out now – and free to all British Cinematographer readers! 🎥
Film is experiencing a revival as cinematographers working across projects of varying budgets and genres increasingly choose celluloid to realise their creative visions and tell captivating stories. Instead of purely being rooted in nostalgia, the resurgence is driven by film’s unique discipline, texture and process. Rather than limitations, film’s constraints are seen as strengths by many, engraining intention and focus in every frame.
Inside this special issue, you can find:
- DPs including Robbie Ryan BSC ISC and Vanessa Whyte BSC on embracing the unique aesthetics of analogue
- Jermaine Edwards, Sean Ellis BSC and more on choosing the right film cameras
- William Rexer ASC, Nelisa Alcalde and others on how creatives see, shoot and select glass
- How film combines with virtual production
- Whether lighting demands differ when shooting on celluloid
- Ways to make shooting on film more sustainable
… and much more.
Read the full guide on our website now!
(Cover photo: @jimagraphy )
Good luck to the talented team that put together “We’re All Black Down Here”, which is screening at the final of the @britishshorts competition this week in Berlin. Some amazing projects on show, nice to be a part of a great lineup. 🎥 #ShortFilm #WABDH
“Encountering Nigeria for the first time, I almost saw it in the same way as the children—through rose-tinted glasses, with awe and curiosity.
“We went lower and wider [with the perspective], so the world feels larger as they move out of their familiar environment. That sense of scale and wonder was essential.”
From shooting in Nigeria to walking the red carpet at the Cannes premiere, Jermaine Edwards’ cinematographic journey with My Father’s Shadow—his first feature—saw him explore capturing the feeling of childhood memory on 16mm celluloid.
Read more on our website.
A special night ✨🥂
Jermaine Edwards celebrated with a nomination for My Father’s Shadow, and Seamus McGarvey ASC BSC ISC won Best Cinematography for Die My Love. Both recognised in the same category – proud of them both 🫶🏼✨❤️
Thank you Riba for the pic 📸
@bifa_film@mubi@mubiuk
![“Encountering Nigeria for the first time, I almost saw it in the same way as the children—through rose-tinted glasses, with awe and curiosity.“We went lower and wider [with the perspective], so the world feels larger as they move out of their familiar environment. That sense of scale and wonder was essential.” From shooting in Nigeria to walking the red carpet at the Cannes premiere, Jermaine Edwards’ cinematographic journey with My Father’s Shadow—his first feature—saw him explore capturing the feeling of childhood memory on 16mm celluloid. Read more on our website.](https://sp1.picnob.com/p/pt_6758286641431438682160_0_3ff13ed54611858eeab5ec3998a801bd.jpg?o=aHR0cHM6Ly9zY29udGVudC1ob3UxLTEuY2RuaW5zdGFncmFtLmNvbS92L3Q1MS44Mjc4Ny0xNS81ODkwNDYwNjhfMTgzMjgyNTIxODAyNDM0MTJfNTUzNzE1OTMwMjg1NDY0NDI3MV9uLndlYnA/c3RwPWRzdC1qcGdfZTM1X3M2NDB4NjQwX3NoMi4wOF90dDYmX25jX2h0PXNjb250ZW50LWhvdTEtMS5jZG5pbnN0YWdyYW0uY29tJl9uY19jYXQ9MTA4Jl9uY19vYz1RNmNaMmdIUmUyeFpMYmY2SzlsOFRDOFpHVHRVNnNPV3ZmcDk4RldJeHE4NlR5ZVMwY2VhTGY3NHd3Y1dTcFFFNkpMaUZzM3hJallOQXQyU0hyWWMwenVDRl8wNiZfbmNfb2hjPVNNaHpRV3ZHb3FjUTdrTnZ3RWRzVjVTJl9uY19naWQ9OGFBbjlIb1lLSEpRUWJKdHl6cllCUSZlZG09QVBVODlGQUJBQUFBJmNjYj03LTUmb2g9MDBfQWY2alpreXNMVmtLTWpHdGFVU3d3b1NxRURFZGpVOFREMUhCNDRkVlBseVpxQSZvZT02QTBGODkzQyZfbmNfc2lkPWJjMGMyYw==&h=b38aeb5ffc74269855a38a3354ccd251)
