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EDITORIAL Deputy editor Chelsea Fearnley firstname.lastname@example.org Features writer Lee Renwick Chief sub editor Alex Bell Sub editor Elisha Young Junior sub editor Jack Nason Contributors Adam Duckworth, Phil Rhodes Editorial director Roger Payne ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 email@example.com DESIGN Design director Andy Jennings Designer Emma Di’Iuorio Ad production Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck
CHELSEA FEARNLEY DEPUTY EDITOR Chelsea Fearnley WELCOME T urn to June in any cinephile’s calendar and I guarantee you’ll see a weekend earmarked for the Cine Gear Expo. It’s where the elite of the motion picture community gather to ogle at the latest trends and technology on display at the historic Paramount Studios. Like many trade shows over the past year, the June Cine Gear has been postponed, but the doldrums of 2020 will soon become a distant memory, as more and more vaccinations are administered and the world starts to rebuild itself. It’s with this promise of a brighter future that Cine Gear is going ahead in the autumn. Read our interview with chief executive, director Juliane Grosso on page 5, for a preview of what’s to come. It’s important to note, however, that trade events aren’t always a prerequisite for innovation, as proven by the aerial companies bolstering VFX crews with their mammoth camera arrays (page 26) – and the LED companies ensuring there’s a right-sized light for every type of camerawork (page 32). So, with or without trade extravaganzas, here’s to continued ingenuity!
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CONTENTS 5 UNTIL SEPTEMBER
26 APPETITE FOR AERIAL ARRAYS Innovators in the aerial filmmaking industry reveal how they capture 360° images in the sky. 32 POWER & PORTABILITY Pint-sized and cordless LEDs for when your production calls for something compact, yet mighty.
Chief executive, director Juliane Grosso previews what’s to come at the Cine Gear Expo autumn event.
8 SPLIT PERSONALITY
DOP Nicolas Karakatsanis on why he used medium and large format to capture the twisty tale of Cruella de Vil.
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37 BMPCC 6K PRO REVIEW
14 ACTION SPEAKS LOUDER
Why the new Blackmagic Pocket Cinema Camera is a beautiful refinement on an already winning formula.
With silence on set, the visuals of A Quiet Place Part II have to speak for themselves. Cinematographer Polly Morgan explains how she shot the action. David Wyman discusses authentically recording communications between 1940s naval officers in Greyhound , despite numerous on-set challenges.
45 CAMERA LISTINGS
A showcase of the bodies revolutionising how we create digital images.
21 THE ECHOES OF WAR
50 WELCOME TO THE FAMILY Our round-up of the latest and greatest kit for production crews.
COVER IMAGE Cruella ©Walt Disney Pictures 2021
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.
JUNE 202 1 | DEF I N I T ION 03
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