EDITORIAL Deputy editor Chelsea Fearnley email@example.com Features writer Lee Renwick Chief sub editor Alex Bell Sub editors Elisha Young, Matthew Winney Contributors Kevin Hilton, Phil Rhodes Editorial director Roger Payne ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 firstname.lastname@example.org Senior accounts manager Emma Stevens 01223 499462 email@example.com DESIGN Design director Andy Jennings Designer Emma Di’Iuorio Ad production Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck BRIGHT PUBLISHING LTD, BRIGHT HOUSE, 82 HIGH STREET, SAWSTON, CAMBRIDGESHIRE CB22 3HJ UK
CHELSEA FEARNLEY DEPUTY EDITOR Chelsea Fearnley WELCOME C ompared to some of the many fantastic film and TV professionals I talk to, I have not been in the industry long. However, I’ve been in it long enough to know there is a dark cloud dampening spirits. No, it’s not the smog – although industry-induced pollution is real and was addressed in our July 2021 issue. It’s the ever-growing strain on resource. There is a shortage of equipment and crew, and this is being felt across all areas of production. Every DOP, producer and gaffer I have connected with in the past two years has expressed concern about the demands the 2019 production boom and lockdown aftermath is having on their ability to thrive. So, I sat down with ScreenSkills, the industry body committed to delivering resource and training opportunities across the UK, to try and draw out some solutions our readers can look into. Also in this jam-packed issue, we spoil the shoot stories of two summer horrors, get the lowdown on the latest tech in batteries and broadcast, and answer the question: are high frame rates a good idea?
CONTENTS 05 INDUSTRY BRIEFINGS
MEDIA PARTNERS & SUPPORTERS OF
27 HIGHLY DIVISIVE
The latest news, views and hot tips from the world of video production. 07 LIGHTING THE HELLSCAPE Dungeon-like caverns, unsettling naturalism and baffling day-to-night transitions in The Conjuring 3 . DOP Annika Summerson discusses her descent into video nastiness for the giallo-inspired Censor . 19 NO LIGHTS, CAMERA, CREW 12 DIRTY WORK
Can high frame rate technology be cracked – and is it worth the pursuit? We talk to the professionals to see if it holds a place in the future of film. From stackables, to greener power and beefier capacities, discover the batteries with electrifying features. As the static camera becomes a thing of the past, broadcasters want modern tech for dynamic moving images. And there are certain brands making it happen.
31 THE GOLDEN JOULE
@definitionmags @definitionmags @definitionmagazine
38 NEVER MISS A THING
We look at how the industry is rebounding from the 2019 production boom and lockdown-induced drama binges.
47 CAMERA LISTINGS
COVER IMAGE The Conjuring: The Devil Made Me Do it © Warner Bros. 2021
A showcase of the camera bodies currently revolutionising how we create digital images.
24 A REAL MIXED BAG
Arri Rental’s Andrew Prior talks diverse lenses and LED volume in our inaugural Rental Reports series.
Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used
without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.
AUGUST 202 1 | DEF I N I T ION 03
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