DOP Patrick Stewart is a master of the handheld shot. He’s currently bringing his skills to bear on Season 5 of Arrested Development on Netflix, making full use of his favoured set of Fujinon Cabrio lenses
We speak to DOP William Wages and Director Roland Joffé about the look for this moment in time new movie
In a highly technical digital movie some old Hollywood techniques carried the narrative.
We talked with Mike Bauman, lighting cameraman and guru for Phantom Thread about seeking a lo-fi and low-contrast light design.
There is a good reason stop-motion movies aren’t the norm. We talked with Isle Of Dogs DOP Tristan Oliver about surviving the experience.
Live At Pompeii saw Pink Floyd’s David Gilmour return for two dynamic concerts, all shot in glorious 4K
The ARRI Amira isn’t best known for use on scripted comedy shows but DOP Benedict Spence found it the perfect camera for E4’s GameFace
Director David Fincher drove an era-defining aesthetic using the highest-end equipment. Definition spoke to cinematographer Erik Messerschmidt to find out how it influenced the huge Netflix hit, Mindhunter
Reproducing historic events isn’t easy. Do you go the sepia route or do you widen your recreation palette?
Paddington 2 takes the colour from the first film and bends the management rules. Technicolor senior colourist Peter Doyle explains how it was done
Channel 4 in the UK took ten Philip K. Dick stories and adapted them for television: but not without some technical hiccups
In England in 1605, a group of Catholics plotted to bring down the government. The BBC decided to bring the full force of realism to this famous story