Ed Lilly’s debut feature Vs. has been listed by Time Out as one of 15 films to watch this autumn. Costumes were designed by Grace Snell and Hair & Make Up designed by Emma Croft.

The feature, dubbed as Southend’s answer to 8 Mile, is a rap battle drama featuring Connor Swindles as an angry youth moving from one foster home to another.

VS. will premiere at the BFI Film Festival on 19th October.


Check the films listed HERE.

Watch the TRAILER.

Cinematographer Tim Sidell’s latest feature Two For Joy directed by Tom Beard was shot on Kodak 35mm film.

For an in depth analysis relating to the decision to shoot on film, the process itself and more, check out the article below… or click HERE to be directed to the article on Kodak’s website.

Shot on Kodak 35mm film, writer-director Tom Beard’s feature Two for Joy is a disturbing domestic drama, dealing with the sensitive subjects of depression and family dysfunction. A portrait of modern Britain as seen through the eyes of a family in crisis, the film won huge praise when it premiered at the 2018 Edinburgh Film Festival for its direction, dramatic performances and striking cinematography by DP Tim Sidell.


The £1.2m BFI/Creative England movie was produced by Emma Comley and Sadie Frost. Starring double Oscar-nominee Samantha Morton (Sweet andLowdown and In America) plus Billie Piper, Emilia Jones, Badger Skelton and Bella Ramsey, the story plunges the audience into the characters’ lives from the outset.

Aisha is a severely depressed mother, hardly able to look after herself, never mind her troubled teenage daughter and wayward younger son, who barely utters a word and whose only comfort is fishing. When Aisha takes her brood on a cheap seaside getaway, they meet another family with problems of their own. During a drunken evening, tragic and heartrending events ensue, although the faintest glimmer of hope emerges for at least one of the families.

Having collaborated with Beard for several years on music videos, commercials and shorts, including the 35mm-originated Generation of Vipers (2014), Sidell says he was already well-aware of Two for Joy before it was officially greenlit. The five-week shoot commenced in September 2017, with production taking place in and around the seaside resort of Weymouth, Dorset (including The Creek Caravan Park), in Newport and at Pinewood Studios’ outdoor water tank where the film’s waterborne sequences were completed.

“Whilst Two for Joy shines a spotlight on issues surrounding marginal communities and mental health, we wanted to avoid a typically British, hard-core social realism and the gritty aesthetics sometimes associated with those films,” says Sidell. “Tom and I like to shoot film whenever we can, especially on dramas, because we both love the format’s organic quality. My overwhelming response to the script was that this was all about the portraiture of individuals – characters leading separate lives within a dysfunctional family. Rendering skin tones with subtlety and accuracy was a huge priority, and I have always been astounded by the capacity of celluloid to capture that humanity through its organic grain and color.”

Sidell adds: “The cinematographic style of Two for Joy was born out of a notion to harness 35mm reportage photography, and the many visual references we discussed in prep and testing had a sense of immediacy, honesty and intimacy.”

Key movie references included Andrey Zvyagintsev’s The Return and Leviathan, Carlos Reygadas’ Post Tenebras Lux, Ulrich Seidl’s Import Export, Boris Khlebnikov’s Roads to Koktebel, and The Kid with a Bike by the Dardennes Brothers.

“Each of these carried an intimate, unpolished and unfussy style that Tom and I were after,” he says. “Tom also showed me Someday My Prince Will Come (2005) shot and directed by Marc Isaacs. It’s a beautiful and tender documentary film that established a proximity between audience and young subjects quite unlike anything else I’d seen, and it became a significant reference.”

Other photographic inspirations included stills by Wim Wenders, Bill Henson, Boris Mikhailov, Todd Hido, Chris Killip and Marie Sordat. Beard and Sidell also considered the time shifting effect in Wolf Alice’s ‘Yuk Foo’ music video (dir. Adam Powell, DP David Wright) and how a similar smearing of the image could be used for highly dramatic effect.

During pre-production, Sidell, Beard and production designer Laura Ellis Cricks, worked closely together to create visual designs for every scene in the movie, which effectively detailed the evolution of color and looks through the story arc.

In keeping with his goal of shooting individual portraits, Sidell used the chosen 1.85:1 widescreen aspect to frequently frame the characters in isolation – often pinned in the centre. To support the reportage style, he went with the ARRI LT camera as it allows for flexible handheld operation, while fast Ultra Prime lenses would help to make the most of the available light.

The camera and lens package was supplied by Take 2 Films, with lighting supplied by Cinelease. Sidell’s camera crew were: 1st AC/focus puller, Tom Nicholson; loader, James Malamatinas; camera trainee, Moe Owoborode; with Jack Knott as gaffer.

For a variety of reasons, Sidell decided to use just one filmstock on Two for Joy – KODAK VISION3 5219 Color Negative Film 500T. Film processing was completed at Cinelab London, under the supervision of dailies colorist Paul Dean.

“All Kodak stocks react brilliantly to color in mixed and uncorrected lighting scenarios, whilst still retaining really good skin tone,” says Sidell. “Our visual design was natural and unpolished, and our overall intention was to be reactive in order to establish immediacy and intimacy. So this required an economical approach to lighting and reliance on available light and ‘genuine’ practicals.

“I was acutely aware of our limited resources and time, so I needed a stock that could handle all scenarios. The 500T offers the best of everything in that respect. It is fast enough that you can rely on those available/practical sources and only supplement with film lighting where absolutely necessary. Choosing one stock also meant we could more easily manage short ends and minimise wastage.”

Within these practical aspects, Sidell says that texture was a crucial element in the movie’s aesthetic. “A big part of our visual design centered on my long-standing obsession with texture. The 500T has a great grain structure in 35mm, and was the ideal starting point for the images we set out to create. I knew from experience and testing that I could further toy with this through both push and pull processing at Cinelab, and in the final DI grade if required, although in practice the latter was not necessary. Because of the rich detail in the negative we shot and its inherent texture, the DI was of one of the simplest and most straightforward I’ve ever done.” The final grade was done by Matt Troughton at Creativity Media, London.

One particular challenge given to Sidell from his director was to create a specific look to underscore the fragmented nature and disconnection between the characters in the run up to the movie’s tragic event. Sidell started the process by shooting tests with an array of mirrors and prisms, double and triple exposures, but admits that they not did not quite hit the mark.

“However, Take 2 senior technician Mike Watson suggested I experiment with a timing shift box. Tom, my focus puller, heard this and pointed me to Wolf Alice’s ‘Yuk Foo’ video, where the colors and light drag through frame. I discovered that it’s achieved by taking separate control of the film transport and shutter motors and can only be done on the ARRI ST and LT film cameras. I then combined this with variable framerate, which delivered an incredible result – a really distorted perception of events, where a face can fall apart and then snap back together as you adjust the controls. It’s a bold, brazen effect, and Tom absolutely loved it.”

Sidell concludes: “I’m delighted with the overall visual outcome of Two for Joy. Kodak film stock offered our desired ‘look-and-feel’ effortlessly and perhaps more elegantly than digital acquisition. It comes with an organic texture, and it’s more forgiving. I also love the focus, commitment and attention to detail on set when shooting celluloid. It’s a good pressure to have. Invariably the results are better than you expect, and that’s the real beauty of film.”

Two For Joy starring two time Oscar nominee Samantha Morton and Olivier award winner Billie Piper is on general release NOW – TRAILER


Listed by Time Out as one of 15 films to look out for this autumn, Juliet, Naked… Production Design by Sarah Finlay – TRAILER

Produced by Judd Apatow and directed by Jesse (Girls, Glow) Peretz, Juliet, Naked is an adaptation of Nick Hornby’s novel and stars Rose Byrne, Ethan Hawke and Chris O’Dowd.

Juliet, Naked is the story of Annie (Byrne) (the long-suffering girlfriend of Duncan (O’Dowd)) and her unlikely transatlantic romance with once revered, now faded, singer-songwriter, Tucker Crowe (Hawke), who also happens to be the subject of Duncan’s musical obsession.

Check the films listed HERE.















Channel 4’s brand new comedy The Bisexual is set to air in one week.

Shot by Director of Photography Dan Stafford-Clark, it was written, directed and stars Desiree Akhavan, in addition to featuring alongside actress Maxine Peake.

The six-part series focuses on Akhavan as New Yorker Leila, who living in London splits from her girlfriend and struggles to navigate her new life dating men.

Screening at 10:00pm on Wednesday 10th October, each episode will follow weekly.








Karl Pilkington’s latest comedy drama Sick Of It aired last night on Sky.

Filmed over 7 weeks on location in and around London the six part series was shot entirely by Duncan Telford and directed by Richard Yee.

Written by Pilkington, the series sees the comedian play himself as a fictional West London cab driver, in addition to a manifestation of his inner self – the two Karls occupying the screen at the same time, resulting in a somewhat technically challenging shoot.

Sick Of It screens weekly on Sky One each Thursday at 10:00pm











Cinematographer Diana Olifirova earlier in the year wrapped shooting on the film Liars & Cheats – her first full length feature – Diana is pictured below on the final day of shooting.

Directed by Jacob Migicovsky, Liars & Cheats is a satire centered on the timely intersection of social media and entertainment: Max Peters, action star known around the world, wakes to discover his phone has been hacked. In a matter of moments, the social media tornado begins to swirl, and in a desperate attempt to save his career, his publicist, acting coach, and manager assemble in his London flat to contain the situation and find out who is responsible.

The feature is currently in post-production, due to be completed early next year.










The Everyman Cinema London premiere of Two For Joy, shot by Tim Sidell on Kodak 35mm film and directed by Tom Beard, took place last night in preparation for its cinema release this Friday – 28.09.2018.

Samantha Morton, Billie Piper and Daniel Mays star alongside newcomers Bella Ramsey, Emilia Jones and Badger Skelton in an unflinching story exploring themes relating to depression, marginal communities, young carers, mental illness and national identity.

“[A] beautifully shot drama [and a] serious, promising piece of work with visual flair.” (The Guardian) ,”Unbearably tense…” (The Metro), “…the film has some beautifully composed moments…” (Cine Vue) “the seedy atmosphere is well caught by cinematographer Tim Sidell…” (Hollywood Reporter).

Playing at Everyman Cinemas across the UK from this Friday.












Cinematographer Nicola Daley ACS talks Pin Cushion in the Australian Cinematographer’s Magazine.

In the article discusses her meeting with director Deborah Haywood, how she connected with the bullying aspect of the story, the shoot itself and also offers advice to female cinematographer’s.

Pin Cushion was released in July and garnered 4 and 5 star reviews across the board – check out critic Mark Kermode’s review of the film HERE.

Nicola was the 8th female cinematographer to join the Australian Cinematographers Society and will shortly return to Sydney, Australia to shoot a Netflix drama – check out the article below…





















The BFI London Film Festival will take place 10 to 21 October.

Vs. (TRAILER) directed by Ed Lilly with Costume Design by Grace Snell and Hair & Make Up Design by Emma Croft will premiere on 13 October (also playing 15 October). Director Ed Lilly’s feature debut stars Connor Swindells as Adam, an angst-ridden youth who has been shunted around the care system since early childhood, but is finally assigned by case worker Terry (Nicholas Pinnock) to a foster home in Southend, where his biological mother lives. After a chance encounter in an arcade, Adam is drawn into the seaside resort’s underground hip-hop scene by promoter Makayla (Fola Evans-Akingbola). She encourages him to develop his speedy word skills to take on the town’s reigning battle rap champions, played by Joivan Wade and real-life MC Shotty Horroh. Combining rhyme-laden set pieces with downbeat drama, Vs. offers a very British take on the 8 Mile template – BFI

Tim Sidell shot short film Naptha, directed by Moin Hussan, after wrapping Tom Beard’s feature Two For Joy, starring Samantha Morton and Billie Piper. Filmed on location in Cornwall the short will receive its World Premiere 18 October – BFI

Feature documentary Evelyn will receive its World Premiere 12 October and is directed by Oscar winning Orlando von Einsiedel, with cinematography by Franklin Dow. When Orlando von Einsiedel’s brother, newly diagnosed as schizophrenic and suffering from intense depression, took his own life at 22, Orlando and his other two siblings buried the trauma, rarely talking about it. Over a decade later, the remaining family set out on a hiking tour, visiting landscapes Evelyn liked to walk, to reflect on his life and death. The result is an intensely personal and moving take on the emotional impact of suicide within a family and a powerful account of the benefits of creating safe spaces for emotional communication. Shot in a subjective style and against the stunning backdrop of the British countryside, Evelyn is an emotionally raw film that documents the difficult, yet rewarding, attempt to navigate the rocky highlands of collective trauma… BFI

Short film Leash, shot by Diana Olifirova and directed by Harry Lighton, will play on the 14 October… filmed and set in a local, Welsh town, the narrative explores issues relating to immigration post-Brexit, but with a twist – BFI
















Cinematographer Oli Russell wraps Netflix Original drama Sex Education.

Oli joined the production working with director Kate Herron, with Asa Butterfield and Gillian Anderson reported to star alongside an ensemble cast. The drama was filmed on location in the UK and you can check Oli the team below on the day they wrapped (Oli is on the right, bottom of the screen!)

Netflix Orders Sex Education

Hollywood Reporter & Gillian Anderson