Nice Vanity Fair
piece about the cinematography of the nominated films: The Hurt Locker «Äôs director of photography, Barry Ackroyd, uses Super-16 cameras to create a raw, documentary feel for his sun - drenched canvas in Kathryn...
Blackhat is a globetrotting physical journey all
about the intangible movement of data, ostensibly factual
pieces of code and information that Stuart Dryburgh's half - crisp, half - blurred digital
cinematography points out as filled with half - truths and interpretative subjectivity.