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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.

The art of digital gelling

November 7th, 2017

We talked with CEO of Cineo Lighting Rich Pierceall about the lighting challenges we all face with the feast of oncoming technology.

Apeing The Anime

August 30th, 2017

The production journey of the live-action version of Ghost in the Shell was never going to be smooth – which piled the pressure on...

Spatial, The Final Frontier

March 7th, 2017

DSpatial is a suite of ProTools plug-ins designed to allow immersive 3D above and beyond object-based audio systems. Rafael Duyos describes how it works.

Oasis: SUPERSONIC

March 6th, 2017

Colourist Greg Fisher gives us an exclusive insight into how he delivered the final grade for Mat Whitecross’s new music documentary, Oasis: Supersonic.

What KODAK Did Next

January 4th, 2017

Following Kodak’s new film processing plans, the company is also launching a high volume film content asset management business. But what's the end goal?

The Music Butler

January 3rd, 2017

It’s easy to drag downloaded audio from Audio Network onto your timeline with the Premiere Pro plug-in to check it against your edit.

Feeding The Thin Client

December 23rd, 2016

The days of local infrastructure for post studios are numbered. Studios in the cloud are here. While some M&E companies are dragging their feet,...

Disruption In The Library

December 23rd, 2016

We talked to Sebastian Jaeger from Filmstro, whose fascinating music library software defies categorising and will make composers of us all.

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