Technicolor’s highly experienced colourist Jean-Clément Soret put the eighties aesthetic on Sky’s new Chernobyl drama, while keeping it real
As part of our series profiling women in the FILM industry, we showcase the female colourists on our radar
For the first time, a major natural history series has been streamed; but what were the requirements to make it look better than traditional broadcast?
We speak to director Tom Harper and colourist Simone Grattarola about the making of Wild Rose, a new country music drama starring Jessie Buckley and Julie Walters
The new toolset uses machine learning analysis algorithms to isolate and modify common objects in moving footage—essentially automatically isolating objects in an image sequence. This has huge ramifications for accelerating VFX and compositing.
ITV’s drama offering is on the rise again with a new adaptation of William Makepeace Thackeray’s Vanity Fair. Production company Mammoth Screen has made this episodic for ITV and Amazon Video but how is it different from any other British made period drama?
It’s a testament to the creatives involved in You Were Never Really Here that a warped time frame produced such a great looking film.
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
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