Longtime friends and collaborators have reunited for their newly produced movie, ‘The Rip’ Inga Parkel in New York, Thursday 15 January 2026 Ben Affleck and Matt Damon know that a collaborative on-set environment is key to motivating all those involved, which is why they brought back an old-school back-end bonus model for the 1,200 crew members working on their new movie, The Rip . Directed by Joe Carnahan, the crime thriller, out Friday on Netflix, will see the famous duo reunite on screen as Miami cops who become distrustful of those around them after discovering a stash of millions in cash. The longtime friends and collaborators also produced the movie through their production company Artists Equity. During a recent joint appearance on The Tonight Show Starring Jimmy Fallon , Affleck, 53, and Damon, 55 , explained how they implemented their company’s main objective of profit-sharing to pay the movie’s crew members. “Netflix is obviously a streaming platform, business is obviously changing, there’s been a lot going on,” Affleck said, referring to the film industry’s controversial shift to streaming , “and what we’re kind of trying to do is, in the old days, you knew how a movie did and you could get bonuses based on the box office performance.” He continued: “And what we wanted to do was try to adapt that model to what’s happening on streaming. For a bunch of reasons, but basically one of the things that was important to us is we really believe that it’s not just the cast and the writers and director, but that the environment, every single person involved, that if they’re committed to making the movie good, it’s very likely to be better. It’s really a collaborative art form.” Noting that “the more people that watch the movie, the more levels it will hit,” Affleck said that what was most important to them was that the monetary success be shared with the “1,200 crew members, every standby painter, greensman, camera [operator].” His remarks were met with uproarious applause, as Damon chimed in with a joke , adding: “The more you guys watch this movie…” “Not that we could suggest that you just leave it on, unless you’re a good person,” Affleck laughingly echoed with host Fallon joining in. “You would never say to turn on the movie and put it on loop,” he teased. “But if you happened to do that, crew members would make a lot of money.” Affleck and Damon have starred in numerous movies together throughout their careers, including their Oscar-winning romance drama Good Will Hunting (1997), comedy fantasy Dogma (1999), and sports drama Air (2023). In 2022, the pair co-founded and launched Artists Equity, an artist-led studio, focused on sharing a movie’s profits with all involved. It replaced their now-defunct production studio, Pearl Street Films, which they operated from 2012 to 2022.

ScreenSkills is currently offering a Inclusion Awareness course for HODS in High-End TV which is FREE, online and delivered in 3 hours  via an interactive workshop session.   There are only 10 places left on 19th January 2025 4pm-7pm . The training is fully funded by ScreenSkills High End fund, the idea is to train 100 HODS to help to start bringing change to the  scripted sector .  Learn time saving tools to hire beyond closed networks. Gain knowledge on how to lead inclusive, happy and effective teams. Get the tools to embed EDI into your daily work. You must have 5 credits in High-end TV and 1 credit as a HOD to apply Book your place asap:   https://www.screenskills.com/bookings/diversity-and-inclusion-training-for-hods-in-high-end-television-2025-2026/ As always, all our training is designed with inclusivity in mind. If you (or anyone applying) have any access requirements for the application process or course participation, please let us know at screenskillshod@grittytalent.tv .

The British Society of Cinematographers (BSC) Board of Governors has elected Oliver Stapleton BSC as its President succeeding Christopher Ross BSC.   Oliver Stapleton becomes the 34th Cinematographer to be elected President in its 78-year history, joining previous Cinematographers who have held the role including Guy Green BSC, Freddie Young BSC and the late Sue Gibson BSC.   “I am pleased and honoured to have been elected the 34th President of the BSC. Since joining the board 8 years ago I served under Mike Eley BSC who steered us through some difficult times during Covid followed by 4-years with Chris Ross BSC.  During this time Mike and Chris inspired us all to create the BSC Education & Mentorship schemes and many other innovations that have re-vitalised the BSC.  I will strive to continue to build on the great foundations of the BSC - an organisation now in its 78th year - with the help of Vice Presidents Laurie Rose BSC, Stephen Murphy BSC ISC and our amazing board members. I am looking forward to ensuring that the society remains an inspiring place that allows Cinematographers, Associates and Patrons to meet, share ideas and celebrate our craft.”   Oliver is known for his work on over 60 films including the Oscar-winning The Cider House Rules (1999) and Restoration (1995)  as well as classics such as The Grifters (1989)  and My Beautiful Laundrette (1985).  Oliver is the co-head of Cinematography alongside Stuart Harris BSC at the National Film and Television School.    “In the last 4-years we have seen the launch of BSC Education, BSC Mentorship, a revitalisation of our BSC Club Screenings and the growth of not only the society but continuing events such as BSC Expo and our Awards night.  As we head towards our 80th year I am committed to upholding the high standards of Cinematography our society stands for.  Now, more than ever, it is vital that those of us with long experience engage with the next generation in “Preserving the Vision” - three words that have carried a profound depth of meaning since the foundation of the society in 1949. I look forward to working alongside the Board and our admin team lead by our new general manager Mary Egan.” Source: News | British Society of Cinematographers

On Thursday 8 January 2026, GBCT members who are in the WhatsApp group were sent a poll asking, which of the following selection they would choose if they had to prioritise. The selections were: Will/Lasting Power of Attorney (LPA) Pension/Tax/Inheritance Of the majority of members who responded, 26 selected Pension/Tax/Inheritance. While 15 selected Will/Lasting Power of Attorney (LPA). While there is no right or wrong answer, here's some information which may help members make an informed choice about joining the forthcoming Lasting Power of Attorney/Advance Care Plan webinar on 20 January and the Wills/Funeral Planning webinar on 17 February The following answer was given by Economist and Financial TV presenter Martin Lewis on The Martin Lewis Money Show Live , broadcast on Channel 4, 06/01/26.   His response was 'Power of Attorney' Reason: 'If I were to lose my faculties, then I’ve nominated other people who can look out for my best interests - my finances, health and wellbeing' (Martin Lewis) A LPA needs to be completed while the person it's for has mental capacity. If you don’t have a Lasting Power of Attorney  in place and you had an accident tomorrow, were incapacitated, your faculties gone, or you suffered a severe stroke even as a young person (people think it’s only for old people, but it’s not) , then it's frankly a nightmare for your loved ones/friends, to go through all the processes required to access your finances and abide by your wishes. The lack of a LPA will result in friends/family having to apply to the Court of Protection to be appointed as your 'deputy'. This can be a lengthy and costly process and the last thing you need at a time of emotional upheaval. In the meantime, your friends/family may not be able to pay your mortgage, rent or bills. They won't be able to access your bank account unless they're a third party signatory or a joint account holder. Utility, internet providers and TV service providers, will often not speak to a friend/family member, unless there is a LPA. Family/friends may not be able to pay for any medical treatments for you or have a say about your wishes, if incapacitated. No Will - When someone dies without a will, their estate is divided up according to standard rules, known as intestacy law. As set out in the Inheritance and Trustees' Power Act 2014, the rules determine who inherits what, based on family connections. The rules don't take into account the closeness of your relationships, or who is most in need. Different rules apply in Scotland, so take a look at th e intestacy in Scotland section to find out more. DoLS: Depravation of Liberty Safeguards - each hospital trust has a social services team, who can take over the care of you or your loved ones, by applying DoLS. This is becoming more common. Social s ervices can stop those who are incapacitated from being able to return home, if they don't have a LPA. With a LPA, Social Services has to speak to the Attorney/s named on the LPA. The right to discharge yourself or for your loved ones to do so on your behalf, is removed without a LPA. Social Services can also move you or your loved ones to a hospital miles away from home based on bed capacity or medical services. This happens a lot, especially when a patient is not fit to look after themselves at home or their relatives don't have the capacity to look after them. When you're going through such an emotional event, the last thing you want to do is go to court to appeal this. Access to Utility companies: Any credit with utility or TV companies and internet providers, over £100, will not be refunded to your loved ones unless a Will is submitted with a death certificate. The above is not to scare you, but to get you to understand the importance of having a Lasting Power of Attorney (LPA), Advance Care Plan, Will and Funeral Planning. Once these are done, they are a form of insurance! Signing up for both is not required. However, it may not be possible to run the same webinars at such a low cost in future. The GBCT is covering the majority of the cost of these two invaluable webinars (see dates below). Only 1 person has registered to-date. If members do not register for these webinars, then they will have to be cancelled, as these are interactive sessions. Tuesday 20 January, 7-8:30pm: Lasting Power of Attorney & Advance Care Plan (deadline to register: Wednesday 14 January) Tuesday 17 February, 7-8:30pm: Will and Funeral Planning (deadline to register: Tuesday 10 February) The cost for each webinar is £25 The cost of registering a LPA is also FREE for some, depending on circumstances. Don't leave it too late!

This is the official longlist for the 2026 EE BAFTA Film Awards - Friday 9 January 2026 Ryan Coogler’s Sinners racks up 14 longlist entries. Photograph: Courtesy of Warner Bros. Pictures The final nominations are announced on 27 January, and the award winners will be announced on 22 February at a ceremony at London’s Royal Festival Hall hosted by actor Alan Cumming . BEST FILM 10 films are advancing in the Best Film category out of 109 eligible films submitted for consideration. “The Ballad of Wallis Island” “Bugonia” “Frankenstein” “Hamnet” “I Swear” “Marty Supreme” “Nuremberg” “One Battle After Another” “Sentimental Value” “Sinners” CINEMATOGRAPHY Ten films are advancing in the Cinematography category out of 159 films submitted for consideration. Ballad of a Small Player - Cinematographer: James Friend Bugonia - Cinematographer: Robbie Ryan Die My Love - Cinematographer: Seamus McGarvey F1 - Cinematographer: Claudio Miranda Frankenstein - Dan Laustsen Hamnet - Cinematographer: Lucasz Zal Marty Supreme - Cinematographer: Darius Khondji One Battle After Another - Cinematographer: Michael Bauman Sinners - Cinematographer: Autum Durald Arkapaw Train Dreams - Cinematographer: Adolpho Veloso Members of the Cinematography chapter vote to determine the Cinematography longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film . OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER 10 films are advancing in the Outstanding Debut category out of 43 eligible films submitted for consideration. The Ceremony The Man in My Basement Mother Vera My Father’s Shadow Pillion Ocean with David Attenborough The Shadow Scholars Urchin A Want In Her Wasteman A jury determines the Outstanding Debut longlist, nominations and overall winner in this category. CHILDREN’S & FAMILY FILM Eight films are advancing in the Children’s & Family Film category out of 14 eligible films submitted for consideration. Arco Boong Elio Grow How to Train Your Dragon Lilo & Stitch Little Amelie Zootropolis 2 A jury determines the Children’s & Family Film longlist, nominations and overall winner.   FILM NOT IN ENGLISH LANGUAGE 10 films are advancing in the Film not in the English Language category out of 40 eligible films submitted for consideration. It Was Just an Accident La Grazia Left-Handed Girl No Other Choice Nouvelle Vague Rental Family The Secret Agent Sentimental Value Sirāt The Voice of Hind Rajab All BAFTA film-voting members were invited to join an opt-in chapter to determine the Film not in the English Language longlist. This chapter will vote to nominate five films. In the final round all film-voting members vote to determine the winning film. DOCUMENTARY 10 films are advancing in the Documentary category out of 61 eligible films submitted for consideration. 2000 Meters To Andriivka Apocalypse In The Tropics Becoming Led Zeppelin Cover-Up The Librarians Mr Nobody Against Putin Ocean with David Attenborough One to One: John & Yoko The Perfect Neighbour Riefenstahl Members of the Documentary chapter vote to determine the Documentary longlist. A jury selects the five nominations. In the final round all film-voting members vote to determine the winning film. ANIMATED FILM Six films are advancing in the Animated Film category out of 10 eligible films submitted for consideration. Arco The Bad Guys 2 Demon Slayer: Kimetsu no Yaiba Infinity Castle Elio Little Amelie Zootropolis 2 All BAFTA film-voting members were invited to join an opt-in chapter to determine the Animated Film longlist and will vote to nominate three films. In the final round all film-voting members vote to determine the winning film. DIRECTOR Ten films are advancing in the Director category out of 182 eligible films submitted for consideration. Bugonia (Yorgos Lanthimos) Die My Love (Lynne Ramsay) Hamnet (Chloé Zhao) A House of Dynamite (Kathryn Bigelow) Marty Supreme (Josh Safdie) One Battle After Another (Paul Thomas Anderson) Rental Family (Hikari) Sentimental Value (Joachim Trier) Sinners (Ryan Coogler) The Voice of Hind Rajab (Kaouther Ben Hania) Members of the Directing chapter vote for their top 10 to determine the Director longlist, of which the top women and men directors, and directors who identify as non-binary/gender diverse and any mixed-gender directing teams (within the voting results range of the top 10 women/men directors) will be longlisted to a max of 11, with gender parity upheld between women and men directors. The Directing chapter will vote for the six nominations. In the final round all film-voting members vote to determine the winning film. ORIGINAL SCREENPLAY Ten films are advancing in the Original Screenplay category out of 74 eligible films submitted for consideration. Blue Moon A House of Dynamite I Swear Is This Thing On? It Was Just an Accident Marty Supreme The Secret Agent Sentimental Value Sinners Weapons Members of the Writers chapter vote to determine the Original Screenplay longlist and the nominations. In the final round of voting, all film-voting members will vote for the winning film. ADAPTED SCREENPLAY Ten films are advancing in the Adapted Screenplay category out of 64 eligible films submitted for consideration. 28 Years Later The Ballad of Wallis Island Bugonia Frankenstein Hamnet Nuremberg One Battle After Another Pillion Train Dreams Wake Up Dead Man: A Knives Out Mystery Members of the Writers chapter vote to determine the Adapted Screenplay longlist and the nominations. In the final round of voting, all film-voting members will vote for the winning film.

The private equity firm that’s headed by Donald Trump’s son-in-law Jared Kushner is part of the group that’s joining Paramount’s hostile takeover bid of Warner Bros. Discovery, regulatory filings revealed on Monday. Kushner’s involvement in Paramount’s attempt to convince WBD shareholders to reject Netflix’s $82.7 billion deal , which was already approved by Warner’s board of directors, comes as Paramount chairman David Ellison insists that his offer has a better chance of clearing regulatory hurdles with the Trump administration. David Ellison is saying that he would combine CNN with CBS News if he were successful in purchasing Warner Bros. Discovery. (AFP/Getty) Meanwhile, just as Ellison – whom the president has called a “great person” and repeatedly praised since taking over Paramount in August – announced he was launching a hostile takeover of WBD, Trump publicly blasted Paramount for allowing 60 Minutes to air an interview with Marjorie Taylor Greene. The anti-Paramount screed is just the latest wrinkle in the increasingly bitter bidding war for Warner, which has also seen Netflix co-CEO Ted Sarandos make a secret pilgrimage to the White House last month in an effort to woo Trump over to his company’s side. While the president is once again irate over a 60 Minutes segment and lashing out at Ellison on social media, the involvement of Kushner in the tender offer and the president’s chummy relationship with the Paramount chief and his father – Oracle founder and close Trump ally Larry Ellison – could help sway some WBD shareholders to press the board into accepting the Paramount bid, believing that Netflix could face more resistance from the White House. However, even though Paramount is sweetening the pot and going public with its takeover attempt, it may not matter to Warner and the majority of its stockholders, who have concerns about Paramount’s other investors and were put off by Ellison’s unsolicited pursuit of WBD earlier this year . Affinity, along with the sovereign wealth funds from Saudi Arabia, Qatar and Abu Dhabi, have “agreed to forgo any governance rights – including board representation – associated with their non-voting equity investments,” according to Monday’s filing. The Middle Eastern public investment funds were also part of Paramount’s original Warner bid last week. One of the significant points of contention the Warner Bros. board had with Paramount’s offer was its reliance on the Saudi money to complete its financing. “The company was relying on billions of dollars from Middle Eastern sovereign wealth funds, which would invite a review from the US government’s security apparatus,” Bloomberg reported. “Even if it passed, that was an additional inconvenience. Though Paramount had denied a report that it was receiving money from those funds, they were participants in its bid.” In the filing on Monday, Paramount declared that the Ellisons and investment firm RedBird Capital would “backstop” all of the equity needed for the transaction. “Each outstanding share of WBD Series A common stock will be exchanged for $30.00 per share in cash, reflecting a total equity value of $77.9 billion. Including the assumption of net debt and noncontrolling interest, this reflects an implied enterprise value of $108.4 billion,” the filing stated. “The Ellison family and RedBird have collectively committed to backstop 100% of the $40.7 billion of equity capital required for the Transaction.” Besides Paramount increasing its offer significantly and revealing that the president’s son-in-law is part of the takeover bid, Ellison has also seemed to appeal to the president’s desire to see CNN – which is currently owned by WBD – come under the umbrella of CBS News and its “anti-woke” new editor in chief Bari Weiss . As the deal currently stands, Warner Bros. Discovery will proceed with spinning off its linear TV properties from the rest of the company, while Netflix will acquire the film and television studios, along with HBO and streamer HBO Max. Discovery Global, which will become a separate company in late 2026 and includes CNN, TBS and TNT Sports, will not be part of the merged Netflix-Warner. Instead, Netflix is offering WBD shareholders $27.75 a share, of which $23 will be paid in cash and the rest in stock of the spun-off television company. Ellison, meanwhile, is seeking to buy WBD in its entirety – which will include CNN and the rest of the cable assets. “We want to build a scaled news service that is basically fundamentally in the trust business, that is in the truth business, and that speaks to the 70% of Americans that are in the middle,” Ellison told CNBS on Monday, declaring that he would combine CNN with CBS News if Paramount is successful in its hostile takeover. Ellison also said he’s had “great conversations” with Trump about Paramount’s plan for its proposed CBS-CNN news business, but added that he didn’t want to speak for Trump. While MAGA influencers are taking to social media to rage against the Netflix deal, saying “TRUMP MUST STOP THIS,” CNN chief media analyst Brian Stelter noted that CNN was being used as a political football throughout this entire saga. “At the risk of repeating myself, Netflix isn't trying to buy CNN. But Paramount is,” he wrote on Monday morning, pointing out that “Ellison's actions ‘most recently mirror those of Elon Musk,’ who fought to take over Twitter and won.” Source: MSN

By Rachel Clun, Business reporter Published 5 December 2025, 09:46 GMT Netflix has agreed to buy the film and streaming businesses of Warner Bros Discovery for $72bn (£54bn) in a major Hollywood deal. The streaming giant emerged as the successful bidder for Warner Bros ahead of rivals Comcast and Paramount Skydance after a drawn-out battle. Warner Bros owns franchises including Harry Potter and Game of Thrones, and the streaming service HBO Max. The takeover is set to create a new giant in the entertainment industry, but the deal will still have to be approved by competition authorities. Netflix co-chief executive Ted Sarandos said the streamer was "highly confident" it would receive the regulatory approval it needs and it was running "full speed" towards this. He said that by combining the library of Warner Bros shows and movies with the streaming platform's series such as Stranger Things, "we can give audiences more of what they love and help define the next century of storytelling". "Warner Bros have defined the last century of entertainment, and together we can define the next one," he said. Asked whether HBO should remain a separate streaming service, co-chief executive Greg Peters said Netflix believed the HBO brand was important for consumers, but added: "We think it's quite early to get into the specifics of how we're going to tailor this offering for consumers." Netflix estimates it will find $2bn to $3bn in savings, mostly through eliminating overlaps in the support and technology areas of the businesses. Films made by Warner Bros will continue to be launched in cinemas, it said, and Warner Bros television studio will continue to be able to produce for third parties. Netflix will keep producing content exclusively for its own platform. Labelling it a "big day" for the companies, Mr Sarandos acknowledged the acquisition may have surprised some shareholders but it was a "rare opportunity" to set Netflix up for success "for decades to come". David Zaslav, president and chief executive of Warner Bros, added the agreement would combine "two of the greatest storytelling companies in the world". "By coming together with Netflix, we will ensure people everywhere will continue to enjoy the world's most resonant stories for generations to come," he said. The cash and stock deal is worth $27.75 per Warner Bros share, with a total enterprise value - which includes the company's debts and the value of its shares - of about $82.7bn. The equity value, or cash price, is $72bn. The boards of directors from each company unanimously approved the deal. Michael O'Leary, chief executive of trade organisation Cinema United, said the merger posed "an unprecedented threat" to the global cinema business. "The negative impact of this acquisition will impact theatres from the biggest circuits to one-screen independents in small towns in the United States and around the world," he said. Netflix will complete the takeover after Warner Bros finalises its previously announced plans to separate its streaming and studios division from its global networks division into two companies next year. Its global networks division will become Discovery Global and will include its cable channels such as CNN and TNT Sports in the US, as well as its Discovery and free-to-air channels in Europe. However, TNT Sports International will stay with the streaming and studios division being sold to Netflix. Hollywood shake-up Paolo Pescatore, founder and technology media and telecom analyst at PP Foresight, said the sale was "a huge statement of intent and underlines Netflix aspirations to be a global leader in the new world order of streaming". But he warned that while the "surprising move" made sense for Warner Bros, it could "provide a headache for Netflix" when trying to combine the companies given the size of the deal. While the agreed deal is for part of the Warner Bros business, rival Paramount had tabled a bid to buy the whole company, including its cable networks, in October. Warner Bros rejected this move before putting itself up for sale. Ahead of the announcement of the deal, Tom Harrington, head of television at Enders Analysis, said it was hard to gauge whether the takeover would be approved by regulators, but if it went through it would have a massive impact on cinema. "Were it to go through it would reorient Hollywood," he said. Mr Harrington said there was likely to be "big reductions" in television and film output from a newly-merged company, which would lead to resistance to the move from parts of Hollywood and relevant unions. For consumers, Mr Harrington said a merger was likely to lead to higher prices. "Netflix would get more expensive and even though HBO Max would be shuttered/become non-essential, the greater penetration of Netflix households would likely mean an increase in total overall subscription revenues." Danni Hewson, head of financial analysis at AJ Bell, said Netflix had "offered an olive branch" to Hollywood with the promise it would continue to release Warner Bros films on the big screen. "If this deal can clear those significant regulatory hurdles quickly there are likely to be considerable cost savings to be made," she said. "How much of those savings get passed to streaming platform subscribers or whether Netflix will be seen to have too much pricing power is one of the areas that will face a huge amount of scrutiny in the coming months." With additional reporting by Natalie Sherman

"Tulsa King" & "Boardwalk Empire" Star Vincent Piazza on Season 3, His Acting Journey, & More In this episode, we welcome Vincent Piazza . Vincent stars in “Tulsa King,” and is also known for his lead role as Lucky Luciano in “Boardwalk Empire.” In our chat, we hear about his NYC roots, education, career path, and approach to his character in “Tulsa King.” In addition, Vincent offers insights and recommendations for actors and emerging filmmakers today. Kira Kelly ASC on Crafting the Jordan Peele Thriller "Him," Cinematography Insights, & More In this episode, we welcome cinematographer Kira Kelly, ASC . Kira has shot projects including Him , 13th , “The Red Line,” “Queen Sugar,” and Rez Ball . In our chat, she shares about her formative years, filmmaking education, and work on the new Jordan Peele-produced movie, Him . Kira also offers extensive cinematography insights and practical advice for emerging filmmakers and industry pros everywhere. "Last Days" Director Justin Lin on the Making of the Film, Returning to his Indie Roots, & More In this episode, we welcome Justin Lin . Justin is a producer and director with a resume that includes Better Luck Tomorrow , Fast & Furious , Star Trek Beyond, “True Detective,” “Magnum P.I.,” Annapolis , The Fast & the Furious: Tokyo Drift , Fast Five, Fast & Furious 6, F9: The Fast Saga , Fast X , and Last Days  — his return to indie filmmaking. In our chat, he shares about his formative years, his pathway into directing, and the making of Last Days . He also offers practical recommendations for today’s up-and-coming independent filmmakers. Source: "The Making Of" explores the creative pros behind the most innovative films & TV shows in recent history

About ProdPro ProdPro is the leading production intelligence platform for the TV and film industry. Our proprietary data helps crew, vendors, and studios stay ahead of what’s filming, where, and who’s hiring. We’re trusted by major industry players like Sony, ARRI, and MBS Equipment Co., and our insights have been featured in The Wall Street Journal, the BBC, Bloomberg, The Hollywood Reporter, and more. About ProdPro Network ProdPro Network is a new platform designed to help crew discover and connect with upcoming film and TV productions. Members can track projects in active development or prep, follow key producers and department heads, and send resumes directly to productions they’re interested in. With mobile and web access, it’s a powerful tool for staying visible and getting hired – trusted by working crew and offered at a discounted rate to participating professional associations. Date: Tuesday 2 December Time: 7-8pm Online: via zoom (link will be sent to members closer to the date, once they register) Register to receive the Zoom link c/o the Events tab on the website, prior to the event. *This event is only for GBCT members

When : Thursday, November 13 18:00 – 21:30 Where : Cooke Optics, 39 Newman Street, London, W1T 1QB Cooke Optics announces C O L O U R , a curated exhibition exploring the intricate role that colour can play in life and on screen. Here, you will find films and explainers presented chronologically,  where colour becomes a character in its own right, expanding beyond the technical to reveal how it’s a powerful storytelling tool, an emotional guide, and a vehicle for meaning. Every hue, every shade, and every contrast within a film can be carefully chosen to craft a particular mood, evoke specific emotions, or symbolise deeper themes. The exhibition also aims to inspire people to consider colour in their own work, highlighting the attainability of its power regardless of equipment or budget. From the late 19th century to present digital palettes, COLOUR traces the transformative power of colour as a storytelling language. Highlights include the dreamlike beginnings of A Trip to the Moon  (1902) and The Cabinet of Dr. Caligari ( 1920); the Technicolor splendour of The Wizard of Oz  (1939) and Powell & Pressburger’s Black Narcissus (1947); the modernist palettes of T he Umbrellas of Cherbourg  (1964) and Don’t Look Now (1973); the iconic visual worlds shaped by Vittorio Storaro in Apocalypse Now  (1979) and The Last Emperor ( 1987); and the contemporary emotional storytelling of In the Mood for Love  (2000) by Christopher Doyle and Ping Bin Lee, O Brother, Where Art Thou?  (2000) by Sir Roger Deakins, and Portrait of a Lady on Fire  (2019) by Claire Mathon. Towards the end of the exhibition, a series of featurettes offers a deeper dive into the history and craft of colour in film, from the bias toward lighter skin tones in early colour processes to the groundbreaking Digital Intermediate (DI) techniques used by the Coen Brothers on O Brother, Where Art Thou? .  Commenting on the exhibition,  Danny Haikin, Chief Commercial Officer at Cooke Optics , said: “We hope our new exhibition inspires cinematographers, directors, and artists of all kinds to reflect on the role of colour in their own work. In a world of ever-evolving technology, it’s easy for the simplest techniques to be overshadowed. Our exhibition serves as a reminder of colour's potency and emotional depth, celebrating the innovators whose breakthroughs brought colour technologies to where they are today." For decades Cooke lenses have supported cinematographers in collaborative visual storytelling. The use of colour in film encompasses many practitioners.  C O L O U R continues this tradition by opening the Cooke Gallery as a space that welcomes multidisciplinary creatives and communities — from cinematographers and directors to production and costume designers, colourists, and visual artists.   The exhibition celebrates how their shared vision shapes the emotional language of colour and the stories we bring to life on screen.

Bectu is calling for action on ‘broken turnaround’, after our research reveals how widespread it is – and the severe physical and mental health impact it has on film and TV crew. Fixing the problem of broken turnaround is about preventing film and TV workers from working dangerously long hours without adequate rest breaks, and that affects everyone, whether it be in scripted or unscripted productions.   A worker is considered to have ‘broken turnaround’ when they are required by their employer to return to work within less than 11 consecutive hours in each 24-hour period. This is in breach of workplace rights set out in Regulation 10 of The Working Time Regulations 1998. Bectu’s recent poll of nearly 500 film and TV crew, working in roles such as grips, costume, hair and makeup , lighting and locations, revealed that broken turnaround is commonly used on UK productions.