We sit down with Dani Rose to discuss his role in bringing the Mission: Impossible franchise’s most audacious aerial stunts to life
Claudio Miranda, ASC slams on the throttle with some high-octane camerawork in F1
TARGO taps into spatial video, stereoscopic 3D and interactive media to serve the story in D-Day: The Camera Soldier – a groundbreaking new immersive...
Daniele Siragusano, image engineer at FilmLight, considers the impact of machine learning on the craft of the colourist
Our world tour continues with France, an industry known for its pioneering New Wave and its cinematic poeticism. We hear from Romain Lacourbas, ASC,...
What does a post-production monitor need in 2025? EIZO’s ColorEdge CG3100X offers one possible answer
Loneliness in film, XR lighting tech and Eli Roth’s new horror venture – key stories from across the industry
As the FilmLight Colour Awards return, we speak to this year’s judging panel to find out what makes the initiative so important – and...
John Marzano, aerial DOP and head of Marzano Films, recounts three surreal months making Jurassic World Rebirth
New mobile 3D scanning techniques can help cinematographers drive new virtual production workflows from the ground up, discovers Adrian Pennington
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