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Filming in Ryme City

June 26th, 2019

Why does conventional wisdom demand that a film with digital characters has to be captured digitally? Pokémon Detective Pikachu blows that theory out of...

Autodesk Release New Software Tool Flame 2020

April 4th, 2019

The new toolset uses machine learning analysis algorithms to isolate and modify common objects in moving footage—essentially automatically...

Adobe Launch Video and Audio Editing Upgrades Ahead of The 2019 NAB Show

April 4th, 2019

Video and audio editing upgrades have been installed in Adobe Creative Could including Content-Aware Fill, Mask Tracking and audio mixing refinements...

Colour Grading Company, Wash, Relocates to New Central London Facility

March 13th, 2019

Following two years of rapid growth, Hackney-born Wash has announced its move to a brand new central London facility as it looks to improve...

Valley of the Dolls

February 27th, 2019

Kevin Baillie, VFX supervisor on Welcome to Marwen, explains how he brought the dolls to life.

Leaving the Valley

February 27th, 2019

The Polar Express and A Christmas Carol paved the way for director Robert Zemeckis’ latest feature, in which life-like dolls bring the story to...

Frock Horror

February 18th, 2019

This three-headed 18th-century romp continues the resurgence of film use for movies and commercials.

Space Race

May 17th, 2018

Volumetric capture is in its infancy but Microsoft and Intel are leading the land grab with new studios and new customers...

Colour Capers

January 15th, 2018

Paddington 2 takes the colour from the first film and bends the management rules. Technicolor senior colourist Peter Doyle explains how it was done.

Lion Raw

November 7th, 2017

Colourist Olivier Fontenay talks to Definition about how he approached colour sensitively to create a natural look that supported the narrative of the movie.

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