Very few American films were invited to the 2018 Cannes Festival, but Spike Lee’s latest ‘joint’, BlacKkKlansman, was a powerful exception that sent shockwaves through the audience.
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.
When movie superstar Tom Cruise signed on to The Mummy 2017, major changes happened; one of those was the actioning of a huge zero-gravity sequence
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
Following Kodak’s new film processing plans, the company is also launching a high volume film content asset management business. But what's the end goal?
Film use is on a roll. This year and next year film production and more importantly processing is enjoying something of a resurgence and there are a number of reasons for it
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...
The movie Suffragette allowed DoP Edu Grau to use a camera he’d almost forgotten about, the camera gave him the freedom to change his style of shooting which in turn totally changed the style of the film.
As the BBC fights for survival, the channel is regularly reminding us with promos how thankful we should be for paying for it. One of the reasons is the drama.
When we first saw this amazing stunt from Tom Cruise's new MI: Rogue Nation movie, we couldn't believe it was real, but it looked real...
When DP Charlotte Bruus Christensen and her Director Thomas Vinterburg insisted on using 35mm film for their film Far From The Madding Crowd, they were told only a couple of weeks before shooting that they could and there were only two UK labs available to process the film i-dailies.co.uk and cinelab.co.uk.
Dogme Founder and Director Thomas Vinterberg and Director of Photography Charlotte Bruus Christensen insisted on using 35mm for this classic English tale while using ‘Gone With The Wind’ as their driving force.