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EDITORIAL Editor in chief Nicola Foley nicolafoley@bright.uk.com Senior staff writer Katie Kasperson Features writer Oliver Webb Chief sub editor Matthew Winney Junior sub editors Tabitha John & Kezia Kurtz Contributor Verity Butler ADVERTISING Sales director Sam Scott-Smith samscott-smith@bright.uk.com 01223 499457 | +447875711967 Sales manager Emma Stevens emmastevens@bright.uk.com 01223 499462 | +447376665779 DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer and ad production Holly May
D o you remember that hot summer of 2016, when the nation collectively drew its curtains and became obsessed with a quirky, eighties-set sci-fi series? In the decade since, Stranger Things has entered the streaming stratosphere, becoming a cultural phenomenon that put Netflix firmly on the map, drawing in millions of subscribers and creating $1 billion in revenue. As it reached its conclusion over Christmas with an ambitious, feature-length finale, the nation once again came together for appointment viewing of the highest order. It was our great pleasure to sit down with DOP Caleb Heymann to explore the show’s rich visual language – and how they upped the ante for the final adventure (page 6). Another huge franchise, that by contrast shows absolutely no signs of winding down, is James Cameron’s Avatar series. With its third instalment out now, we catch up with cinematographer Russell Carpenter, who first worked with Cameron on True Lies and won an Oscar for another of their collaborations – a little film called Titanic that you might have heard of – back in ’98. Turn to page 18 for his fascinating insights into the films’ unique production process. We also speak with Phedon Papamichael, Edu Grau, David Chambille and Sam Levy: a group of cinematographers responsible for some of the most stunning black & white films of recent years. They offer up their best tips for working in monochrome over on page 12. Elsewhere in the issue, I go down a vintage-lens rabbit hole with DOP Markus Förderer; we chat to cinematographer Jules O’Loughlin and executive producer Dan Shotz to learn about their (frankly adorable) creative partnership; and explore some of the UK’s top film labs, discovering how they’re blending traditional processing craft with modern workflows.
PUBLISHING Managing director Andy Brogden
There’s loads more too, from a BSC Expo roundup to reviews of new cameras, plus interviews with the DOPs on Sentimental Value and Bridgerton . See you next time – enjoy!
Bright Publishing LTD Bright House, 82 High Street, Sawston, Cambridgeshire, CB22 3HJ, UK prices, without tax, where available or converted using the exchange rate on the day the magazine went to press. 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
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