David A. Bailey. “Through the darkroom, to a soundtrack of jazz, the magical power of the medium emerged to me. I realized that I could blend the two — sound and image — and that because of this, cinema was the most complete art form of the 20th Century. From that moment on, I had only one professional goal: To be a cinematographer,” Hall explains., ASC, BSC discovered photography at 15 years old, when he was mentored by photographer and curator
Hall studied film at Central Saint Martins in London and New York University. Prior to graduation, he collaborated with choreographeron a BBC short film, Solo, which was included in the 1997 Biennial Exhibition at the Whitney Museum of American Art. Hall’s thesis film, The Whites of Their Eyes, was acquired by the , where a 16mm film print is retained in their archive.
Hall photographed his first feature, Stander, in 2001, followed by the indie comedy Son of a Rambow and comedic action-movie homage Hot Fuzz. For his work on the romantic drama Brideshead Revisited, Hall received a Satellite Award nomination for Best Cinematography. In 2014, the cinematographer collaborated with, ASC, BSC on Transcendence, Pfister’s directorial debut.
During the production of the sci-fi drama Ghost in the Shell, Hall collaborated withto develop the first “Videogrammatry” capture system to be used on a live-action feature film. The cinematographer joined the Academy of Motion Picture Arts & Sciences in 2013 and is a member of its “The Future of Film” working group.
In addition to his work behind the camera, Hall is also an educator and he says he “participates actively in promoting diversity in education.” He has served as a lecturer at the American Film Institute and Goldsmiths, University of London as well as a mentor at the London Film School and. He serves as a trustee at the
Hall’s recent credits include the noir thriller Serenity.