This three-headed 18th-century romp continues the resurgence of film use for movies and commercials.
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.
In a highly technical digital movie some old Hollywood techniques carried the narrative.
Live At Pompeii saw Pink Floyd’s David Gilmour return for two dynamic concerts, all shot in glorious 4K
Reproducing historic events isn’t easy. Do you go the sepia route or do you widen your recreation palette?
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
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
Colourist Greg Fisher gives us an exclusive insight into how he delivered the final grade for Mat Whitecross’s new music documentary, Oasis: Supersonic
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
DITs look after your precious data but their rampant evolution is putting them in the middle of bigger, creative decisions
After 12 years she is still clowning around but this time in digital. We talked with the DoP, colourist and VFX team about how they created the ‘new’ Bridget Jones.