Laura Howie talks to Zerb Magazine (Summer 2023) about the creativity and technicality that goes into stop motion cinematography. 

Dave Alex Riddett BSC and David Sproxton CBE talk to British Cinematographer about the iconic stop motion music video for Peter Gabriel’s ‘Sledgehammer’. Read about it here.

Dave Alex Riddett BSC talks to Shout Radio about his career as a stop motion cinematographer.

British Cinematographer talks to Director of Photography Frank Passingham on how he helped to bring Guillermo del Toro’s reimagining of Pinocchio to life. Read about it here.

DPs Bianca Cline and Eric Adkins talk about how they combined live-action and stop-motion animation for Marcel the Shell with Shoes On. Read it here.

Pinocchio directors Guillermo del Toro and Mark Gustafson break down the film’s stunning stop-motion animated scenes and explain how they were able to achieve their creative vision , with exclusive behind-the-scenes footage and additional insight from actor Gregory Mann (Pinocchio). Frank Passingham, Director of Photography, talks about his approach to the cinematography.

Tristan Oliver BSC recreates a scene from ‘Isle of Dogs’ for Berlinale Talents.

In this article for ‘Befores and Afters’ Frank Passingham talks about his approach to lighting ‘Guillermo del Toro’s Pinocchio‘ and how he achieved this through moving lights . It is part of an interesting’ and in depth, three part series about the film.

Cinematographer Frank Passingham talks to Paste Magazine about the innovative techniques he used on ‘Guillermo del Toro’s Pinocchio’.

Cinematographer Frank Passingham tells IndieWire about being inspired by Gordon Willis and Russell Metty, and bringing a naturalism to a stop-motion world.

Frank Passingham, Director of Photography on Guillermo del Toro’s Pinocchio, talks about his approach to the films cinemaotgraphy.

Cinematographers don’t often get mentioned in mainstream reviews so it’s great to see the Director of Photography from ‘Guillermo del Toro’s Pinocchio’, Frank Passingham, getting mentioned in Mark Kermode’s review in the Guardian. It describes how he directed his crew to ‘The Godfather’ and ‘The Godfather Part II’ for lighting references.