When an Oscar-winning DOP shoots a film on drones with only one aerial shot you know times are changing
Already nominated for awards, Netflix’s huge production, The Crown preserves the highest levels of craft while motoring through the life and times of the first family
Abel Gance’s five-hour classic silent movie may well have its greatest version yet in this painstaking restoration for the digital world. Definition talks to the BFI’s Kieron Webb and Paul Wright from Dragon Digital
DoP Philippe Rousselot talks about how his shooting vision for Fantastic Beasts was based in reality in order to make the fantastical leap out from the grimey streets of New York
As natural history programmes increasingly base their cinematic sequences on the narrative, what part of the moviemaking box of tricks should you be looking to use?
Planet Earth II, this time it’s personal. Or this time it’s not so much about the grandeur from above but about the experience on the ground
One of the most innovative UK companies of recent times Timecode Systems has announced that it has been chosen as the sole supplier of timecode and sync products to Procam, one of the UK's largest digital cinematography and broadcast hire facility.
While the ARRI AMIRAs give The Grand Tour the large vistas, the minicams shoot the in-car reviews and essential guy banter. On the outside of the cars there’s more of a balancing act
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
Sennheiser has made its first Ambisonics microphone – making sense of this decades’ old technology
Colourist Greg Fisher gives us an exclusive insight into how he delivered the final grade for Mat Whitecross’s new music documentary, Oasis: Supersonic