Summer has arrived – and with quite a vengeance, we might add. The heat has been turned up, but the stuff we’ve got for you is cool as ever.
On top of their game, Emmy-nominated DOPs are revealed, plus Danny Cohen on defining the London look in Slow Horses. A brave new world is set to transform the way you work with the Metaverse, and find out why Blackmagic’s 6K cinema cam is a pocket rocket!
We’ve also got the latest documentary kit for travelling light with the Fujifilm X-H2S on test, Euro Cine Expo show highlights from Munich, and read how seamless VFX remodelled the action in Bosch: Legacy.
Enjoy!
In this month’s exciting round table, which key industry figures explain the metaverse’s potential. We’ve got the detail on the Alexa 35, Arri’s first camera launch in three years, plus a fascinating insight into Netflix mega-franchise that is Stranger Things. Not only did DOP Caleb Heymann have to deal with the pressure of working on one of the world’s biggest shows… he had the added spice of shooting as productions emerged from Covid-enforced lockdowns.
Some sad news to start this issue – Chelsea Fearnley has departed the Definition crew, so we’ve got Roger at the helm for now. In this issue we speak to Cine Gear about the upcoming event; ScreenSkills and the UK production industry. We get given an impromptu history lesson from Season 2 of Netflix’s Russian Doll, things get floaty when zero gravity takes over, and power is the answer with the latest battery tech from key players. We hope you enjoy.
It feels like everything is *finally* starting to get back to normal – well, as normal as they can be. In this issue, we take the returning success of the BSC Expo after its COVID-enforced two-year hiatus, and run into a season of festivities. We have a jam-packed diary filled with major upcoming events including NAB and Cine Gear Expo, as well as the UK-based MPTS. There is fascinating insight into the latest challenges plaguing the industry, with news, equipment guides and tests. We look at the latest instalment of Fantastic Beasts, Pam & Tommy, and Severance – find it all inside.
A celebratory issue this month, as our Deputy Editor Chelsea commemorates her first two shows! Only fitting, this issue is a bumper 100-page edition, covering everything from tech, behind-the-scenes, unique production, and track the ongoing evolution of the industry landscape – with even more diversity than before. Catch The Batman, This Is Going To Hurt, the exposé of Hugh Hefner, and the digital magic behind this year’s blockbusters. There is plenty more on offer – check it out!
An issue about issues being swept under the rug; see: Boris Johnson advising those with Coronavirus to no longer isolate. Climate change also fits this description, as little is being done to address it’s causes and disastrous effects. Film and TV produce an enormous amount of CO2 – and as an industry magazine, we believe it is vital for us to do our part to consider the effects. We also take a look at mind-bending VFX, We Are Lady Parts, K-Dramas, and the latest developments in the industry. For gear, we look at cutting-edge LED and aerial innovations.
Welcome to the climate issue. Enjoy.
If you caught our January issue, we just know you’ll be eager to pick up on part two of our virtual production round table. It’s here in our February issue, but that’s not all! We also examine the lenses that captured 2021’s most iconic looks, explore remote working in post-pandemic life and take a deep dive into the coming together of cinema and broadcast.
On the production side, we speak with Philipp Blaubach about the veritably steamed-up glass and lush period lighting choices on Bridgerton. Subtlety was the word of the day when Andy McDonnell took on BBC drama, You Don’t Know Me and he shares his insight right here.
2022 is officially upon us and we’ve got a fun-packed issue to help get you through the post-Christmas slump. The usual two production stories become three as we pick apart the cinematography in House of Gucci, You and Squid Game. Plus, we toast to the future as experts discuss just how far virtual production technology can be pushed. We also get mathematical about codecs, and untangle sets, with the latest wireless gear. Don’t miss out!
Get a preview of what’s on display at this year’s IBC Show and discover how advances to cloud and 5G technology are transforming the future of production and post-production in our December issue. Also, don’t miss the inside scoop on the makings of Pablo Larrain’s Spencer and Adam’s Randall’s Night Teeth – and read honest truths from filmmakers on the thorny relationship between ethics and documentary storytelling.
From the studio boom to post-production in the cloud, this November issue of Definition is jam-packed with all the latest industry buzz. We’ve got production stories on Clickbait and The Many Saints of Newark – plus, we talk to some of the many talented women behind the camera. We also shine a light on the evolution of LED quality. Don’t miss out!
It’s an Emmy special! Ted Lasso graces the cover with a staggering 20 nominations. In our Production section, we hear from no less than four DOPs also up for awards. This month’s shoot story is a deep dive with Matt Gray into his work on submarine thriller, Vigil.
Elsewhere, we speak with Adrian Wootton of Film London and the British Film Commission about international productions in the UK, re-examine the landscape of ultra high-resolution cameras, get our head in the clouds with virtual workstations, cover kit including monitors and the Kinefinity Mavo Edge 8K, and more!
It’s our biggest issue since the pandemic hit, and this month, we’ve got pages packed full of love. Narratives of LGBTQ+ rights are in the spotlight, as we delve into the production secrets of Russell T Davies’ hit TV series It’s A Sin, and probe DOP Jackson Warner Lewis on his empathy-driven project Swan Song.
There’s also plenty of professional insight into the evolution of virtual production technology, considered opinions on the rise of anamorphic in drama, and we get the lowdown on the Cine Gear Expo’s long-awaited return. Don’t miss out!
We have a frightful issue for you this month, in the best possible way. Hear from DOPs Michael Burgess and Annika Summerson and get the inside scoop on their respective films, The Conjuring: The Devil Made Me Do it and Censor.
There’s also some professional insight into the UK’s crew shortages, considered opinions on high frame rate controversy, a look into camera movement innovations and more!
This month, we’re focusing on positive change. We cover The Underground Railroad with James Laxton, as he discusses the responsibility felt when creating these powerful images and the huge scale of the production. You can also get insight into Grey’s Anatomy with Alicia Robbins – a season that dramatised Covid-19 in the midst of the real-world pandemic.
Elsewhere, hear from sustainability consortium, Albert, about how film can reduce its immense carbon footprint. On the gear front, dive into modern cranes and jibs, as well as the growing trend of medium format.
We’ve got a jam-packed issue this month, with no fewer than three shoot stories. Read about Cruella‘s double-sensor delights with DOP Nicolas Karakatsanis, the deep naturalism and action-heavy moments of A Quiet Place Part II with cinematographer Polly Morgan, as well as the challenging wartime sound design of Greyhound with mixer David Wyman.
You can also look ahead to Cine Gear with Juliane Grosso, get the lowdown on the aerial arrays capturing 360º images and the portable LEDs lighting challenging spaces, and find out how the Blackmagic Pocket 6K Pro performed on test. So, what are you waiting for?
Dive into double shoot stories this month, as we hear about genre-bending Behind Her Eyes and gorgeous documentary Gunda from respective DOPs, Felix Wiedemann and Egil Håskjold Larsen. Elsewhere, we look at the VFX capture tools bringing post-production to sets, explore rehoused vintage glass and ask how lenses are shaping the look of films.
There’s also the green shoots of spring, with cinemas beginning to emerge from lockdown. We speak with senior box office analyst, Delphine Lievens, to gauge what may be ahead.
Hot off its Golden Globe win, we hear from Minari DOP, Lachlan Milne, about his understated approach to the moving drama. Our second production story is Sound of Metal – but this time we’re listening, not looking. We explore inner-body recording and emulating deafness with sound designers, Nicolas Becker and Carolina Santana.
Elsewhere, learn about the continued use of celluloid in the world of short-form video, discover the industry perspective on ND filters, find out why we’re cynical about 4K restoration, and read our review of the impressive Rosco DMG Dash Pocket LED.
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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