Stepping Up: Amy HC Wilson’s journey from 2nd AC to Director of Photography Making the leap to Director of Photography rarely has a single moment of confidence or certainty. For Amy, it was a long, thoughtful journey shaped by years of assisting, self-doubt, preparation, and ultimately, commitment. Amy admits she wanted to make the move around five years before she actually did.Yet despite this momentum, the decision to formally step up took time. Amy admits she wanted to make the move around five years before she actually did.  “It’s terrifying, especially financially,” she says. “You overthink everything – where your life is at, what the industry looks like, what support is around you.” That turning point came after working on The Diplomat: Series 1. The seven-month shoot was a period of reflection. “I kept thinking,”maybe this is the last one,’”  she recalls. By the end of the series, something clicked.  “It was such a brilliant job, I felt it was time to end my assisting career on a high and start the next step”.  As the months rolled into Christmas, she knew the time had come. She stopped actively looking for assisting work and finally made the ultimate commitment: selling her kit. “ That was the proof to myself” Owning the Title One of the hardest parts of stepping up wasn’t the work itself, but the identity shift. “As assistants, we’ve worked with many DOPs that we look up to,”  Amy explains. “Suddenly I’m doing that job. It’s a huge commitment and responsibility to your peers.” At first, others helped bridge the gap. A couple of Christmas party’s ago, a friend became her unofficial mouthpiece, telling others, “Amy’s a DOP now.”  Confidence grew with experience, recently she stood up at Operators’ Night when DPs were asked to stand – despite a surge of imposter syndrome. “What fights the fear is that I love the role” she says.  “I hope I’m a good HOD. I’ve worked with people I respect, and I want to make people feel the way they made me feel, when I was assisting”  Amy believes assistants bring a unique insight to leading departments – knowing what to take on, what not to, and understanding the pressures of high turnaround schedules.  “It’s a role to be proud of and to take seriously’ Choosing Her Own Route The journey to DOP is different for everyone. Amy didn’t formally call herself a focus puller, despite doing focus pulling work when asked – short films, the odd commercial and cover days & step-up days on films and HETV. “I never actively sought work as a focus puller,” she explained. “I enjoyed it when the opportunities came but my brain capacity outside work was always focused on shooting shorts as a DP.” Amy also felt a deep respect for the craft. “I didn’t feel I could call myself a focus puller and do it justice in the way the people I worked with did” She also spent a period of time pursuing Steadicam, using it on her short films to gain hours in the rig and even doing some commercials. She knew that stepping up always came with a step backwards, and chose to put that energy into developing her voice as a cinematographer instead. “After so many years of shooting short films, it felt like the natural and right step for me to take, I felt I had grown into the role of a DOP as much as I could before making it official”. The First Break Amy’s first TV show came last year – and not where she expected. A message arrived saying she’d been recommended for a BBC project by a DP she’d previously worked with. A meeting and recce followed, then the job itself. The moment carried the weight of a 14 year journey. She’d worked with the recommending DP as a trainee and loader years earlier. “You never know who will recommend you,”  Amy reflects. “If someone likes you and they trust you – it’s then time to prove yourself.” The show was Waffle’s After School Club,  a spin-off of Waffle the Wonder Dog, with a strong existing audience on iPlayer. “I never expected a BBC show to be my first ‘professsional’ job as a DP,” she says. The experience came full circle when she was later offered Series 2. “I’m very proud to be invited back” That first job also led to conversations with agents, ultimately gaining representation with Berlin Associates, and an article in Cinematography World Magazine (Issue 206 March/April 2025). “One TV credit wasn’t a huge amount” Amy acknowledges, “but they could see my trajectory.” Building the World of Waffle Working with children and animals comes with its own challenges – we all know the saying.. For Amy, success came down to preparation. “Our biggest challenge going into the shoot was pace, our camera and lighting approach was streamlined as much as possible in prep so we could be seamless during the shoot, and it worked well.” The brief called for warmth, cosiness and authenticity. With six-year-old performers, a dog at the centre of it all, the approach was reactive and fluid. “We wanted to capture their authenticity” she says. “We needed to be ready for anything during the take.” Equipment Two cameras were essential, and A-camera operator Guido Cavacuiti helped lead the charge in a fast-moving environment. Cameras used were the Alexa Mini’s paired with Panavision PCZ 19–90mm zoom lenses and rolling spiders in the main location, allowing the team to work at pace without constant lens changes. Amy speaks warmly of her crew, many of whom she’d grown up with in the industry. Her Gaffer, Martin Cox, someone she’d previously worked with, joined the project to support her and will return for Series 2. “Finding a gaffer I worked with so cohesively was a relief” she says. “I learned so much. A Safe First Step Looking back, what Amy appreciated most was the environment. “For my first job, I felt safe” she says. “The production company took a risk on me, and gave me the perfect amount of trust”  The project was fun, meaningful, and something people were proud to be part of. “Several of the crew’s children watched the original show. My nephew’s a big fan.” What Comes Next Amy hopes this chapter opens the door to more – particularly film.  “I’d love to maintain a mix of HETV and Film” she says. “I’d love to do a film soon where I can really get stuck into creative prep” She’s candid about the emotional shift of stepping into a new role. “I didn’t foresee missing being on set as much, missing my peers that I’d spend so much time of set with. You go from being an experienced camera assistant to, starting again as the ’newbie.   The identity change and fresh start can be isolating” She’s open about wanting mentorship. “I’d love an established DP to take me under their wing. It can be a lonely place.” Redefining the ‘Right’ Path Amy is passionate about challenging rigid ideas of progression. “I grew up in the camera department where it’s expected you move through every role. I assisted for near on 14 years” While she didn’t officially label herself as a focus puller or operator, she did the work and understands the roles deeply. “ Everyone’s journey looks different and their time in each role varies. I’m very proud of my 14 years as a camera assistant and I’m proud of my journey. I don’t think skimming a role takes anything away from that.” As Amy continues to find her footing as a DP, one thing is clear: the care she brings to her crew, her work, and her craft is deeply rooted in the years she spent learning from others – and that foundation is already shaping the kind of HOD she is becoming. Link to Amy HC Wilson's showreel

with ARRI In this exclusive session dedicated to the Art of Cinematography with ARRI, we will explore the creative and technical aspects of low-light shooting with ARRI cameras, dive into the nuances of ARRI’s unique colour science, take a closer look at the new codec ARRICORE, and introduce FilmLab as part of the workflow. The second session will be followed by networking drinks. Registration Link

Please see the content below. This is open to any gender who wishes to help and who is sensitive to this groups needs We wanted to share some positive updates: MR Helix, Pixeleyed Pictures and Futures in Film CIC are supporting Screen Sisters CIC which is led by Nina Karwalska who has been supporting our Ecosystem behind the scenes. Next week we will deliver a production simulation at 3 Mills Studios in East London as part of the continued development of Screen Sisters CIC which is a voluntary-led i nitiative supporting women from faith communities.   We understand the current state of the industry , it has always been difficult to break into, work isn't guaranteed, nor is the industry suitable for everyone. Screen Sisters is not positioned as a simple “route into jobs.” this initiative focuses on the love for the craft, storytelling, and community building. Participants can develop technical and soft skills, gain on-set experience, build their professional CV and credits. Dates at 3 Mills Studios: • Mon 2 March – Technical prep & industry insight • Tue 3 March – Rehearsal & workflow testing • Wed 4 March – Shoot & de-rig The process also builds transferable skills (technical practice, communication, planning, teamwork and professional discipline) that strengthen career options both within and beyond the screen industries. This is a controlled production simulation focused on dynamic cinematography and staged action choreography (Silver Sabers Academy), designed as a practical learning and professional development environment. In a climate where genuine on-set opportunities are rare particularly for these communities our production simulations provide structured, supervised exposure to real workflows and responsibility, alongside guidance from experienced practitioners. We are inviting support and collaboration in the form of: • Industry professionals willing to mentor, supervise or drop in • Technical partners interested in structured education and R&D integration • Companies and organisations interested in aligned inclusion / skills pathways • Community stakeholders who want to support representation both behind the camera and on-screen.   The following articles featuring Futures in Film CIC are worth checking out: https://britishcinematographer.co.uk/futures-in-film/ https://productionguild.com/news-new-releases/news/meet-the-finalists-of-the-duke-of-edinburgh-film-tv-inclusion-award-2025-futures-in-film-cic/ We couldn't do this without the support from within the industry; your guidance and support is always welcome and greatly appreciated. I’d be more than happy to provide further information about the Futures in Film CIC and Screen Sisters CIC initiative. Thank you all for everything you do in the industry. Wishing you all the very best for the future ahead. Kindest regards Rizwan Wadan Director - Specialist Cinematographer Phone 01753785637 Mobile 07985333362 Website www.mrhelix.co.uk    Email riz@mrhelix.co.uk

Don Lord, DoP, GBCT Veteran, Aviator and racer of motorbikes. Don came from a family of aviation enthusiasts. His father took him to Hendon to watch flying displays during the 1930s. His eldest brother was headhunted by De Havilland to work on the Mosquito, a British multi-role combat aircraft, introduced during the Second World War and his second brother was called up to join the RAF and work on Halifax bombers. He flew missions dropping agents and supplies in France and North Africa and was then part of the D-Day evacuation. His sister lived on a farm adjacent to Booker Aerodrome, where he spent many weekends and holidays watching Tiger Moths, Avro Ansons, Airspeed Oxfords and many more. Apart from planes, Don was interested in photography and had his own darkroom and equipment long before he joined the film industry. He. was still a teenager when the war ended and the family moved from High Wycombe to Brighton, where he started an apprenticeship in electrical engineering. He completed his City and Guilds and Higher National Certificate and eventually became a freelance electrical engineer. A phone call from the Labour Exchange in 1955 changed the course of his life. He was offered three days work running a generator for Brighton Film Studios, a base for TV Commercials, as well as a number of low budget feature films. Their rented generator kept slowing down and extinguishing the set lights. Those three days led to a full time job as an electrician, working on various productions including Doctor at Large (1957) and A Night to Remember (1958). His aviation interest made him their go-to cameraman when it came to filming from aircraft and helicopters. By 1964, he was credited on IMDB as a Camera Assistant and by 1986, he was a Cinematographer with credits for Emanuelle in Soho (1981) and Screamtime (1983). The Director of Screamtime was Stanley Long, who Don had assisted in 1964 on Circlorama Cavalcade, a re-make of the original film Russian Roundabout. Circlorama is a process developed by the Russian professor E Goldovsky of the Moscow Cinema Research Institute, involving 11 cameras in a circle facing outwards and projecting on to screens, thereby achieving 360 degree horizontal viewing. Don was on the central camera - No.6. He bought it after filming was complete, converted it to 16mm and kept it for many years. Apart from filming, Don was also a motorbike enthusiast and raced in the early sixties until family responsibilities took priority. He learned to fly and owned a number of small planes, including a Jodel D11, a Tiger Moth and a Currie Wot, which he built over the course of nine years. The original Currie Wot was a single seater bi-plane built by J. R. Currie in 1937 and so named when Currie tired of people asking what he’d call it, replied: "Call it Wot you blooming well like”. When he wasn’t flying, filming or racing, Don relaxed by painting in oils and merged his two passions when he became a member of the Guild of Aviation Artists. Happy Birthday, Don. The GBCT wishes you a great day and many good memories of your adventurous life on land and high above it.

Bill Broomfield with some crew members on Motherland Happy Birthday Bill Broomfield, Bafta winning and Emmy nominated Director and DP on many and varied iconic television shows ranging from Motherland, the IT Crowd, The Bill, Blackadder, Dalziel and Pascoe, Horizon, Newsnight, Panorama and many others over the course of a nearly fifty year career. Bill was always destined for the film industry, having started making Super 8 Films when he was still at school. After A Levels he studied at the London College of Printing for two years and then applied to the BBC in 1977, when he was 20. He and five others were selected from hundreds of candidates and he started out at the Film Department of Television Film Studios, now Ealing Studios. He worked his way up from Trainee to Clapper Loader to Focus Puller to Operator and was a DoP by the time he was 27. He started out in Documentaries, one of the many memorable ones being Inside Chernoybl, made for Horizon. He also worked on a number of projects for Arena in Music and Arts, including “Your Honour, I Object!”, a  courtroom drama featuring Bob Guccione versus Ken Russell in a breach of contract case, regarding disagreements over a script for a film version of Daniel Defoe's "Moll Flanders".   Bill left the BBC in 1995 and became a freelancer in order to work in drama. His first job was on “A Mind to Murder” for Anglia Television. Roy Marsden starred as Scotland Yard Commander Adam Dalgleish. Bill worked steadily on a great variety of productions between 1997 and 2006. One particularly impressive and enjoyable assignment was  for the BBC World Service in 2004, helping to set up a Cambodian TV series along the lines of Casualty. He worked as a drama consultant, training Cambodians to produce their own TV shows. A lovely spin off from this was that when the BBCWS project was finished, he helped to create an independent called KMF (Khmer Mekong Films) making films for cinema and TV, which is still going today more than 20 years later. An achievement to be proud of! Bill’s final series was Count Arthur Strong, which he worked on from 2013 – 2017. He’s now enjoying his retirement and learning to play the drums. In his own words: “ I was never bored, thanks to the experience I gained from working at BBC TFS, where I was required to work on all genres. Bill on Count Arthur Strong with Steve Delaney (L) I enjoyed the variety of being able to do a documentary one week and a drama shoot the next.  I travelled all over the world and had great fun with great people.”

Watch Pete Robertson's acceptance speech Mussolini - Son of the Century, is a biographical historical drama television series directed by Joe Wright , based on the 2018 novel M: Son of the Century by Antonio Scurati . Starring Luca Marinelli as Benito Mussolini , the series centres on the early political career of Mussolini in the 1920s. It premiered at the 81st Venice International Film Festival on 5 September 2024 and began airing on Sky Atlantic on 10 January 2025. Source: Wikipedia

Remi Adefarasin OBE, BSC accepts his Lifetime Achievement Award. On Saturday 7 February, GBCT member Remi Adefarasin humbly accepted the BSC Lifetime Achievement Award at a ceremony hosted by Edith Bowman, which took place at the Grosvenor House Hotel, London. Congratulations Remi.. The GBCT is privileged to have your support as a member. Extract below taken from Cinematography World (November 2025) Remi’s journey in the field of Cinematography began in 1968 when he was accepted as a trainee for the BBC’s film department at Ealing Studios. His first summer in the job saw him assisting cinematographer Alan Jonas on the BBC project “ The Borderers”  an almost-Western set between the frontiers of Scotland and England in the sixteenth century. Remi became hooked and spent over eleven years as a camera assistant working on documentaries, music programmes and of course his favourite, dramas. During that time he spent five years with Brian Tufano BSC (Lifetime Achievement Award recipient, 2020) who Remi credits as teaching him a great deal. In 1979 Remi was promoted to cinematographer and stayed working for the BBC until 1995. During his time as an in-house BBC cinematographer, he worked with directors ranging from Mike Leigh, Anthony Minghella, Adrian Shergold and Angela Pope on projects as wide-ranging as “ Doctor Who”  and “ Hi-Di-Hi”,  to critically acclaimed Plays- of-the-Week including “ Memento Mori”  (for which he was nominated for a BAFTA in 1993) and Mike Leigh’s “ Home Sweet Home” . In 1997 Remi shot the BAFTA-nominated “ Sliding Doors”  and it was this film that brought him to the attention of director Shekhar Kapur who asked if he would shoot “ Elizabeth” . “ Elizabeth”  would go on to win the BAFTA for Best Cinematography, as well as the BSC Cinematography in A Feature Film Award, however it would be his nomination for Best Cinematography at the Academy Awards that would add him to the history books as he became the first black cinematographer to be nominated in the category. Since “ Elizabeth”  Remi has continued to build an extraordinary body of work working with some of the biggest directors and stars in our industry including “ Band of Brothers”  (for which he was Emmy-nominated): “ Match Point”; “Onegin”, “About A Boy”; “The House of Mirth”  and most recently the BAFTA-winning TV Series “ Mr Loverman” . In 2012 Remi was appointed an Officer of the Order of the British Empire (OBE). Remi Adefarasin with Woody Allen on Match Point from 1:30:52 Watch Remi Adefarasin accept the BSC Lifetime Achievement Award with intro from Lenny James (from 1:30:32)

See HIlda Sealy's speech https://www.youtube.com/live/f26FdzTxhKA?si=piTtOFpJHoRhDyQt&t=2703 Article on Hilda by: British Cinematographer FOCUSSING WITH FINESSE Hilda Sealy GBCT tells British Cinematographer Magazine about her career in the camera department while Black, female and a mum.   What inspired you to work in the camera department?   I was a tutor/mentor in a Saturday school for Black children and wanted to find a different way to teach using audiovisual resources. I took a year out doing various photography and basic media courses, and it was during that time that I met Black Audio Film Collective (BAFC) and began working in their offices in Hackney. I met some great technicians while working with John Akomfrah, Lina Gopaul, Reece Auguiste and Avril Johnson, including Seamus McGarvey ASC BSC ISC who was a focus puller at that time working on a documentary. How/where did you learn the craft?   I was never a trainee, rather I learnt through links that I’d made whilst working at Black Audio. I became a documentary camera assistant on 16mm film cameras and worked on low-budget films and shorts where I met Julian Court BSC. I worked with Belinda Parsons on documentaries as well as Ian Watts, and it was on a documentary that I first met and worked with Oliver Curtis BSC.  I basically learnt by doing and going into rental houses to learn kit.  What was your career progression?   I was a documentary assistant and was also focussing on low/no-budget productions, particularly those produced by the BFI as that was basically the arena that most ‘minority’ (now known as ‘diverse’ crew) found work.  As time went on and the careers of DPs that I’d been working with progressed I quickly realised that if I wanted to continue working in the camera department that I would have to start again and so began my career as a clapper loader in TV drama. It did proffer to me the opportunity to work with and learn from many focus pullers who went on to have successful careers in feature films.  I really enjoyed my time as a clapper loader working on TV drama and commercials with 16mm and 35mm film. There were a few years of overlap as I built up my experience and knowledge as a focus puller doing B camera dailies on TV dramas that I was loading on and working with Oliver Curtis BSC as his focus puller on commercials.  I was lucky to work with a couple of focus pullers that encouraged me to step up and shared their knowledge with me.  What would you single out as your big break?   I’m not the product of a singular big break. Was the first time that I met Black Audio my big break as they gave me my first job and so many opportunities to learn as a young Black woman entering into the unknown? Was it progressing from low budget focussing with Julian Court to loading on TV drama and commercials thus working on mainstream productions? Was it being introduced to Oliver Curtis by a sound recordist called Ron Bailey? Was it meeting Katie Swain when I was a clapper loader and then working on many commercials with her as her focus puller?  Who or what are your biggest inspirations or mentors?   Visiting Panavison NY and seeing an all-African-American camera team prepping 35mm kit for a TV feature film. I’d spent some time previously at Panavision Wembley doing work experience and learning about camera equipment and had never seen Black camera crew.  What are the key qualities of a star focus puller?   What’s a star focus puller? Key qualities of a focus puller that gets involved is to care about their performance, care about their crew and care about the production that they’re working on.  What are the fundamentals of a successful 1 st AC/DP relationship?   Trust. Trust me to do my job and have your back and for me to be able to trust that you will listen to what I have to say and support me in discussions with the production office. Also got to be able to have fun.  How would you describe your technique?   Mama Bear – or so I’m told.  Which production was the most challenging and why?   Death at a Funeral . It was my first feature film up front as a focus puller on 35mm film and using Master Prime lenses. Frank Oz was the director and Oliver Curtis the DP was trusting me to be able to step up and deliver.  Which production are you most proud to have worked on and why?   Death at a Funeral . I was a Black Swan. Although to this day I still don’t have a poker face, I show worry, anger, concern and my Paddington hard stare.  What is your favourite memory of working on set?   From which decade? Meeting a paramedic who had his own business supplying medical care to the film and TV industry who had been a student of mine at the Saturday school.  The jokes and camaraderie between actors and crew.  What kit have you been impressed by?   Cine RT and my old leatherbound tape measure.  What obstacles do you face in your career and how do you overcome them?   Not enough hours in the day. Being a present parent and keeping up with the rigours of working, often having to write equipment lists, read scripts and look for crew outside of contracted hours.  How do you balance family and work life?   Still trying to work that one out. I’m very lucky that I’ve been supported by Annie (Tricklebank), the executive producer on Call The Midwife , who made it possible to return to work on a job share basis since 2016. Parents can miss out on so much because they are working. I’ve had to make a lot of tough decisions and when pregnant I lost a whole day’s pay every time I had to attend an antenatal appointment. Being a focus puller, you can’t pop out for a couple of hours and get someone within your team to cover you, you just about get time to go to the toilet. I also never attended NCT antenatal classes because of shoot hours.  What advice would you give aspiring 1 st ACs?   Never be afraid to ask questions or for ¼ of a stop.  What inspires you outside of the world of film?   The tenacity of those who continue on despite the negativity of those around them. An image that I recently saw during UK Black History Month with the phrase ‘Well Behaved Women Seldom Make History’. My name, Hilda, which means battle maiden.  What are the biggest recent changes you have seen in the world of filmmaking?   I would rather see lasting change than biggest change.  Executive producer Annie Tricklebank says: “I have worked with Hilda as an operator and a focus puller and whichever job she is doing she clearly communicates the vision of the director and tells the story well. Hilda’s operating and focus pulling always connect directly with the story and hence her movement of the camera, its placement, and focus are always exceptional. Hilda always makes the right decision as to when and what the camera should be focussing on during a scene. This kind of skill can only be achieved through hard work and a mountain of experience. When I have been directing Hilda has inspired me. I have watched her many, many times and learned a huge amount.  Hilda is not only an inspiration to her directors but also to her crew. There is no better teacher or crew leader.”   Cinematographer Oliver Curtis BSC says: “Hilda is everything a DP could want from a 1st AC – technically superb, intuitive and knowledgeable. A great team leader and nurturer of the next wave, she has blazed a trail in our industry and remains the first on my list when a new project comes up. Unsurprisingly, she is much in demand.”     Cinematographer Katie Swain says: ”I first met Hilda when I was a fledgling DP and she was a clapper loader back in 1999 and was immediately impressed by her work ethic and efficiency. It was at a time when women in the camera department were few and far between and I felt proud to have her on my team and as a woman really valued her support. Over the subsequent years we’ve continued to work together when availability allows and her years of experience and positivity are an asset to any production. Oh, and she’s fun!”

You're invited to our exclusive VIP Open House at CVP Fitzrovia on Thursday 12th February, followed by complimentary transport to the BSC Expo VIP Evening Skip the BSC queues by picking up your VIP badge and get transported over to the venue in Battersea, courtesy of CVP. BEFORE THE SHOW CVP Fitzrovia VIP Open House Make CVP Fitzrovia your essential first stop and get a more relaxed and personalised experience ahead of the hustle and bustle of the expo, including: Access to the latest production solutions, including state of the art Virtual Production Networking Opportunities with industry professionals and CVP experts Hospitality & Refreshments throughout the day Collect your badge from CVP Fitzrovia and beat the queues at the show Complimentary Transportation to BSC Expo in our Routemaster buses WHEN Thurs 12th February CVP Pre-BSC Open House - from 11:00 - 15:30 Departures from CVP to BSC - 15:00 | 15:15 | 15:30 BSC Show VIP Preview - Open from 15:30 until 19:00 WHERE CVP Fitzrovia, 89 Great Titchfield Street London W1W 6R

Almost as many films were shot in London as LA in 2025 — with big movie money pouring into the capital and a state-of-the-art studio system, Tinseltown is losing its blockbuster grip, reports Laura Martin As Los Angeles fades from the movie-making spotlight like an ageing Hollywood star, is this now London’s time to shine? From the Golden Globes to the Critics’ Choice Awards, British films like Hamnet and TV shows like Adolescence and their stars have been sweeping the boards and this week’s Bafta nominations followed the Oscars with an impressive UK representation. Our talent has long been celebrated but the difference now is the sheer number of productions taking place here — and the buzz it’s creating. This week at the Sundance Film Festival in Utah, Charli xcx premiered her tour mockumentary film, The Moment, filmed at the height of Brat fever last year in London, and said, “It would have felt fake if [we’d filmed it] anywhere else.” With the capital at the epicentre of this new British screen renaissance, Charli’s not the only one having a moment. Big movie money is pouring into the capital — and Lollywood is well on its way to rivalling Hollywood as the home of film According to the BFI Research and Statistics Unit , a total of £6.5 billion was spent on film and high-end television production in the UK from October 2024 to September 2025, while Film London says there was £10bn of inward investment in the London film industry over the past five years. On any given day, the organisation adds, there are approximately 27 film crews filming on location in the city; right now that includes films like Sam Mendes’ The Beatles — A Four-Film Cinematic Event and Avengers: Doomsday, and buzzy shows such as Lord of the Rings: The Rings of Power and Phoebe Waller-Bridge’s new Tomb Raider series. An unrivalled studio system spreads out across the capital from Pinewood and Ealing to the new state-of-the-art complex Shinfield near Reading (used by Hollywood powerhouse Lucasfilm, which recently wrapped filming on Star Wars: Starfighter, starring Ryan Gosling); while the post-production houses in Soho have never been busier. According to industry data provider Luminate, the UK has now become the most popular place outside of America and Canada to make films; 71 live-action films and TV series were shot here last year.% “After work ground to a halt during Covid,” says London-based costume designer Natalie Willis-Fox, “we’re now seeing lots of work on much bigger productions like the Wicked films [which filmed primarily in Sky Studios Elstree], which means job security and longevity for much bigger crews. There are new studios opening up all the time, while others are expanding, and have been block-booked by the streamers. People feel optimistic about entering the industry now.” None of this has gone unnoticed on the other side of the pond. In May 2025, due to a “staggering” and “pronounced decline” in filming according to Luminate — which revealed just 83 films and TV series were made in LA in 2025, down 24 per cent on 2024 — The Hollywood Reporter claimed London had become “the new Hollywood”. London has long been considered the best in the world for the crews. The camera crews here in particular are just amazing Film-maker Price James “London definitely has star power, but in a different way to Hollywood,” says film-maker Price James, who directed You Cannot Kill David Arquette, and who currently splits his time between LA and London. “London has long been considered the best in the world for the crews. The camera crews here in particular are just amazing, and VFX too; and it’s that dedicated craft and skill, alongside some world-class studios like Pinewood and Shepperton, that meant directors from Stanley Kubrick to James Cameron have always chosen to film here.” But while there’s that heritage, the difference now is the sense of it being at the bleeding edge of what’s exciting, driven of course by the boom in TV streamers. In 2024, the BFI Research and Statistics Unit revealed that 65 per cent of UK production spend came from the five major US film studios — and three US streaming giants: Netflix, Apple and Amazon. Why London is the new Hollywood - Ped Millichamp/Jarrod Doyle Amazon Prime Video has not been timid in its expansion since its launch in the UK in 2014, and has bought Bray Studios along with a long-term lease on studios in Shepperton — and after its acquisition of MGM in 2021, it now holds all the creative control of the James Bond franchise , one of the UK’s biggest heritage titles. Meanwhile, a Netflix spokesperson recently told Variety : “Netflix is a significant contributor to the UK economy — investing $6bn over the last four years… We’re committed for the long term and invest more here than any other country except the US.” Disney+ and Apple also have reportedly invested heavily in studios, staff and operations in the UK. Cult favourite studio A24 has increased its presence in London, from adding executives from the BBC to its teams; to taking over cultural landmarks in the capital, like last year’s A24/7 week-long event at the Prince Charles Cinema . It’s no coincidence that Charli xcx worked with the studio on the aforementioned The Moment. Quite simply, London feels like the centre of the cultural universe, particularly given the atmosphere in America under Donald Trump at the moment. And it means there’s been an exodus of A-listers leaving LA — and America in general — for life in London . “There’s been a massive uptick in people moving from the US and specifically California,” says Daniel Daggers, a luxury real estate advisor and founder and CEO of DDRE Global, “particularly people in entertainment, whether that be singers, actors, actresses or big influencers. ” Alfred Hitchcock shooting Frenzy in Covent Garden - Getty Images The past few years have seen moves from Hollywood icons like Star Wars creator George Lucas (who bought a £40m mansion in St John’s Wood) and Ryan Reynolds and Blake Lively (who purchased a £4m home in south-west London), as well as Girls creator Lena Dunham, who wrote a love letter to the city with her 2025 Netflix series Too Much; filmed in Hoxton and Nunhead . Spider-Man star Zendaya, who splits her time between the US and Richmond with fiancé Tom Holland, explained the appeal: “When I go to the UK, I don’t feel like a visitor any more. I understand British slang, I get the culture, and I know a ‘nice cup of tea’ makes everything right. It really feels like coming home, and I love the people.” American producer of The Moment, David Hinojosa, told Screen Daily at Sundance last week: “I love shooting in the UK. I’m literally trying to rewrite movies so we can do it there. It’s a culture that appreciates film. And it knows how to support the industry.” However, despite Hollywood’s apparent decline, its influence still has a stronghold on the industry. “The budgets are inherently less in London,” explains James, who is currently pitching a London-based indie sleaze comedy TV series. “Movies tend to be executed here, but the money and the business is still all done in Hollywood.” The tax breaks that the UK offers the US film industry are among some of the most attractive in the world. The net value of the tax relief can be up to 39.75 per cent. At first glance, this is great for the UK, but has led to a “tension” within the industry, explains Screen International deputy editor, Louise Tutt: “The inward investment sector of the UK that essentially services the US industry and the homegrown independent creative sector is struggling, after years of these high-spending productions coming in and pushing up the cost of crew, actors and sound stages.” In other words, while more money is coming in from Hollywood, it raises costs across the industry for original British films and TV, whose budgets are unable to compete with those of LA. This has a knock-on effect on London’s film and TV crews, where rates can still fluctuate greatly. Set decorator Prue Howard, who worked on Yorgos Lanthimos’s recently Oscar-nominated Bugonia (filmed in a forest house in Henley), says she is “cautious” about the state of the industry: “I would say work in London’s film industry is still unpredictable. Our rates haven’t gone up — they plateaued about three years ago, and I’ve found that rather than everyone working together [on honouring a standard rate for production teams], it can feel like it’s slightly separate islands.” Emma Stone stars in Bugonia - Atsushi Nishijima/Focus Features She adds: “Also what with the Netflix and Warner Bros deal [Netflix has agreed to acquire Warner Bros studios in a reported $82.7bn deal] and the merger of Paramount Global and Skydance Media; that’s going to affect things. It’s a precarious time and we’re all waiting to see what will happen.” As a century-old engine of deal-making and star-breaking, Hollywood obviously still wields undeniable cachet and power — even if the production work is being outsourced. But with this current ecosystem being unsustainable, perhaps the UK needs to look to France or South Korea’s film world, where there’s a two-tier system for productions; one is for inward investment; and the other is for domestic productions, which are given lower costs and better tax breaks. Additionally, the Government could look into adding a levy on huge Hollywood studio investments — as in France — which could then be used on everything from domestic development funds or traineeships to childcare support for parents in the industry. With the barnstorming recent success of Adolescence , and before it, Richard Gadd’s Baby Reindeer or Michaela Coel’s I May Destroy You, it’s proof that when the UK’s TV and film system works in conjunction with Britain’s brightest and best talents, a new, golden era for London’s screen world could be on the horizon. Hollywood’s end credits aren’t rolling yet, but all eyes are tuned in to London to see what happens next. Source: Why London is the new Hollywood | The Standard

Big Happy birthday to Brenda Loader, GBCT member for nearly 30 years and now retired after a long, varied and illustrious career. Brenda started in the Drama Department of the BBC, where she was Verity Lambert’s secretary for 2 years. When Verity left to work on Budgie, starring Adam Faith, she recommended that Brenda take the BBC Production Assistants (P.A's) Training course, which she duly did. Brenda on a Captain Birdseye shoot in the Bahamas Not quite virtual production! At that time, P.A.s worked on projects from start to finish and were expected to act as Continuity during shooting. Brenda worked on multiple BBC projects from 1969 to 1978, including Z Cars, Hadleigh and Dickens of London. The most significant one was Dr. Who, where she met and fell in love with Stephen Hall, the Editor. They were married for 48 very happy years. Brenda went freelance in 1978 to work on Danger UXB. Her 2 nd  job and first feature was Monty Python’s Life of Brian. Monty Python's 'Life of Brian' It was a baptism by fire, not solely due to the searing Tunisian heat. The shoot took twelve weeks and was great fun, as well as a brilliant and terrifying experience in equal measure. She smashed it, of course, and worked steadily thereafter. Another great experience was Give My Regards to Broad Street, written by and starring Paul McCartney.  It garnered the 1985 BAFTA and Golden Globe nominations for Best Song, but was otherwise expensively unsuccessful. The shoot at Elstree Studios went on for over a year and The Lyceum Ballroom was entirely re-constructed on one of the stages. Indiana Jones and the Temple of Doom was shooting on the adjacent stage and Harrison Ford was a regular visitor. The Fever released in 2004 and starring Vanessa Redgrave, directed by her son Carlo was Brenda’s film swan song. In the meantime, she had also fitted in working on over 2000 commercials during the 80’s and 90’s and directed, notably, a Drink Drive campaign - “The Casualty” for the Central Office of Information.  This gained her entry in the prestigious Design and Art Direction book, as well as a British Television Advertising Award and nomination for a Golden Break Award. Brenda’s still embracing new adventures and is currently exploring Chile and Argentina for a couple of months. Wishing you safe travels, a great time and some very fine Malbec tasting. Cheers to you, Brenda!

Step inside the creative world of Academy Award–winning DP James Friend ASC, BSC in this exclusive, first-of-its-kind masterclass. Go behind the scenes on his short film The Transaction – shot entirely on the VENICE 2 – and follow James through every stage of the filmmaking journey, from the first page of the script to the final colour grade, across ten immersive, never-before-seen episodes. Vie w Sony Masterclasses f eaturing James Friend ASC, BSC Episode 1: Script to Screen Episode 2: Choosing Locations and Crew Episode 3: Blocking and Actors Episode 4: Lighting Episode 5: Lighting Breakdown Episode 6: Camera and Camera Movement Episode 7: Using Lenses Episode 8: Filming in Cars Episode 9: Post-Production Episode 10: Closing Remarks 'Short film: The Transaction'