Senior colourist Greg Fisher and DOP Robbie Ryan, BSC, ISC discuss working together – and for Yorgos Lanthimos
Cinematographer Amin Jafari shares his memories from the shoot for It Was Just an Accident, the 2025 Cannes Palme d’Or-winning thriller directed by Iranian...
Cinelab Film & Digital and post-production specialist fluent/image have been aligning behind the scenes; now, they’ve made it official. We speak to the team...
What exactly is quantum dot OLED, and what does this technology mean for filmmaking – and beyond? Bram Desmet, CEO at Flanders Scientific, dives...
Creative director and CEO of production company Severn Screen reflects on Wales’ evolving production landscape, the need to nurture local talent and taking meaningful...
Known for churning out hit after hit, the name Steven Spielberg has become synonymous with the summer blockbuster. We take a look back on...
DOP Kim Ji-yong and colourist Park Jin-young reveal the creative choices behind the look of Squid Game Season 2
After six seasons and nine years, The Handmaid’s Tale has finally wrapped. We catch up with the cinematographer, supervising sound editor and sound designer...
The latest gear, tried & tested in the field
Gelato VFX’s Eddy Strickland outlines the processes involved in adding historically accurate colours to vintage film footage
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