When it’s pilot season at Amazon a bunch of dramas battle for the golden ticket of being ‘picked up’, but does the look help?
Matthew Vaughn’s answer to the spy comedy genre just got bigger and better. We talk to the team behind Kingsman: The Golden Circle to learn more
Shedding Light on War: cinematographer Michael Seresin BSC on War for the Planet of the Apes
The eighth film in the epic sci-fi franchise, the new Alien: Covenant movie recalls the tone of the first time we met the acid-blooded xenomorphs
A Cure for Wellness is a beautifully made movie that uses all that cinema is good at to play with your mind and assault your senses, gradually leading you on a downwards spiral of graphic horror
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
Colourist Greg Fisher gives us an exclusive insight into how he delivered the final grade for Mat Whitecross’s new music documentary, Oasis: Supersonic
How do you make a Sunday night UK period drama look different from the rest? DOP John Lee and colourist Dan Coles had some definite plans.
The new issue of Definition Magazine is now out with stories from Planet Earth II, Fantastic Beasts, Wildlife Confessions, The Grand Tour and much, much more...
FilmLight has introduced Prelight, a freely licensed Mac OS X application designed to help DoPs and other professional creatives to author and review looks in pre-production and on-set.
Codex is launching Codex Production Suite 4.5, their latest update for the the all-in-one software package that enables the colour grading, review, metadata management, transcoding, QC and archiving of media generated by the digital cinematography cameras.
Company 3’s Paul Ensby reveals how he used DaVinci Resolve Studio to deliver a HDR grade for the first time on the latest blockbuster installment of the Divergent series, Robert Schwentke’s Allegiant.