Our March issue is certainly a beauty, borrowing some scenic delights from Nomadland. The film has been given the Oscar nod in a number of categories, but we’re focusing on its intimate cinematography in an interview with DOP, Joshua James Richards. There’s Oscar buzz elsewhere, too, as we speak to four cinematographers lined up for potential glory.
We also look at the ACES workflow as HDR sweeps sets, take a deep dive into remote heads with remote working an ongoing essential, unearth the battery innovations powering our industry and celebrate the astounding 12K resolution of Blackmagic’s Ursa Mini Pro.
This month, our shoot stories take a trip down memory lane, as we cover Rebecca and Mank; set early in the 20th century, their production value is anything but old-fashioned. Meanwhile, we return to childlike comforts with a feature on the brand-new Tom & Jerry, brought to life by animators working across two continents. Ah, the benefits of a completely digital workflow!
We also compare the best stabilisation supports and review Sony’s FX6 camera and Samsung’s EVO 870 SSD. Plus, the acclaimed Julian White, who lit Netflix’s hit sci-fi epic, The Midnight Sky, takes over gaffer’s corner.
As we ring in a new year, we’re looking ahead and asking the big questions. We hear from the leading rental companies as they debate the future of filmmaking, we talk to experts in every step of production to learn how HDR is shaping the creative process and we question whether LEDs may be the death of the green screen.
Now in its fourth season, we speak to The Crown’s Adriano Goldman as he covers the show’s visual evolution. Red’s new 6K Komodo is also on test, but what’s the verdict?
In our final issue of the year, we hear from DOP, Lol Crawley, about his painterly approach to The Devil All the Time, plus we hear from the film’s gaffer, Jerad Molkenthin. Our other shoot story covers the use of large format in The Trial of the Chicago 7.
There’s plenty of gear coverage to enjoy, with the tech enabling 6K and 8K capture, the latest and greatest lighting trends, and reviews.
We also end on some good news, courtesy of Adrian Wootton of the British Film Commission, who outlines big developments to come.
In our November issue, we consider Hitchcockian colour theory and POV shots in the season finale of Ratched and hear about shooting from the hip to get child-sized framing in Cuties.
Our annual aerial special includes plenty of innovation, while our lens feature asks if the age of the fast zoom is upon us. All this and more inside.
The IBC Show goes virtual and we have a four-page special on the event. Also, we look at the ingenuity behind the camera during the shoot of Killing Eve series 3 and explore the scaled-down world of Netflix’s triumph, Tiny Creatures.
With the world returning from hibernation, productions are tentatively starting up once more, but how are they faring? We find out more. Elsewhere, we’ve got an in-depth round-up of the gear released over the lockdown period.
Lockdown continues, but so does our resilient industry. Inside the June issue, we talk to a number of post-production studios as they continue work in isolation.
We also look at the dark creation of Pinocchio, The Last Kingdom’s obscure tech and the unusual combination of 16mm film and 8K digital on Damien Chazelle’s new Netflix episodic. Finally, we review the impressive Canon EOS C300 Mk III.
As these unprecedented times continue, 2020’s NAB Show cannot go ahead, but we’re still here to bring you the exciting new gear launches! We also talk to Helicopter Film Services’ Jeremy Braben about business in isolation.
Remote working is also more important than ever, so we take a look at the latest remote head and gimbal tech from all the big names. Also inside, a look at Christopher Blauvelt’s work on Emma.
Inside the April issue, we look at some of the technology to be featured at this year’s NAB Show. There’s more exciting kit coverage with a look at the hot new lenses producing flares and Cineo’s new liquid-cooled light.
On the production side, we follow last issue by sinking our teeth even further into the VFX and sound design of Dracula, we talk to Guns Akimbo DOP, Stefan Cuipek, and we weigh up the live action remake of Mulan.
Our March issue is packed with production coverage: a breakdown of BBC/Netflix’s Dracula, 8K cinematography on The Aeronauts and the shoot story behind comedic The Personal History of David Copperfield.
Fresh from 2020’s BSC Expo, we look at new lights with all new features. We also shine some light on the women working hard at the forefront of VFX.
In our February issue, we cover all things capture surrounding The Irishman and take a deep dive into gorgeous docu-series, Seven Worlds, One Planet.
Elsewhere, we explore new roles in the UK’s production industry, cover new storage options for those on set and offer a preview of the upcoming BSC Expo.
As we welcome a new year and a new century, we look at Sky’s huge new production hub, look ahead to BSC Expo with an equipment preview and take a look at the UK’s ongoing production boom.
On the production front, we cover the larger-than-life sets of Cats and angsty teen drama, The End of the F***ing World.
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