Canon has eyed the massive increase in high-end TV drama and film production and wants a slice of it. Welcome to the Canon EOS C700.
Spy in the Wild is the latest version of the ‘spy cam’ series of wildlife programmes that started almost 20 years ago
The efficiency of game engines in processing polygons and assets is enabling a live VFX option from feature films to live broadcasters; let the games begin
We all want cinema to survive but a mixture of a concentration of teen movies and high production value television has encouraged cinema chains to look elsewhere for their customers
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
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
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.
In an exclusive article, head DOP Ben Joiner explains what has changed and why in shooting Amazon’s The Grand Tour.
The VariCam LT is the smaller and cheaper version of the 35, but as it has the same sensor, it has theunique dual ISO performance that is catching the attention of low-light productions
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...
Ex-University of Sussex PhDs Patrick Holroyd and Phil Watten started an academic exercise to see what they could make an iPhone do, initially to help their film making and broadcasting work. The result is Mavis, a £12.99 iOS App that turns your phone in to a broadcast camera.