Definition June 2020 WEB

WELCOME

EDITORIAL Editor Julian Mitchell julianmitchell@bright-publishing.com Staff writer Chelsea Fearnley Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Elisha Young ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Sales manager Krishan Parmar krishanparmar@bright-publishing.com Account manager Russell Marsh russellmarsh@bright-publishing.com DESIGN Design director Andy Jennings Designer Bruce Richardson and Lucy Woolcomb Ad production Man-Wai Wong DIGITAL Head of digital content Daisy Dickinson PUBLISHING Managing directors Andy Brogden & Matt Pluck SOCIAL MEDIA Instagram @definitionmags Twitter @definitionmags Facebook @definitionmagazine MEDIA PARTNERS & SUPPORTERS OF BRIGHT PUBLISHING LTD, BRIGHT HOUSE, 82 HIGH STREET, SAWSTON, CAMBRIDGESHIRE CB22 3HJ UK

I solation in any form is inevitably harmful. Unless you’re a world-renouncing Carthusian monk, you will struggle with it for long periods. What the UK’s Covid-19 lockdown experience has shown us is that our creative and technical selves will not be bowed by such hardships. All of the post-production studios we talked to throughout the lockdown were already on the route to some flavour of continuity for their artists when the lockdown was announced. Some of the bosses even put mental health high on the agenda, along with bleeding-edge technology, like PC over IP, which follows the classic thin client proposal. As we go to press, we are learning about the new measures for productions to start – obviously with a huge amount of care and a huge amount of clarity about what is or isn’t insured. As Sir Winston Churchill said, “Never waste a good crisis”, so also expect as-yet- unknown or relatively unknown technology to come to the fore. REMOTE FUTURE GETS CLOSE As the UK emerges very carefully from lockdown, we talk to post-production companies about their experiences

JULIAN MITCHELL EDITOR

CONTENTS

SET- UP TITLE SEQUENCE

THE LAST KINGDOM Series 4 of The Last Kingdom renews the conflicts, but introduces obscure tech. THE EDDY Damien Chazelle’s new French jazz Netflix episodic used 16mm film and 8K digital. REV I EWS CANON EOS C300 MK III The third-generation camera from the original C300 has a lot going for it, including new analogue circuitry to lower the noise floor to give you back a stop of light.

Netflix’s Dead to Me Season 2 looked to Cooke glass to help the actress leads. POST-PRODUCTION IN LOCKDOWN We talk to a number of post studios in their lockdown state. FEATURES THE DARK SIDE OF PINOCCHIO Matteo Garrone’s film adaptation takes the Disney out of Pinocchio.

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JUNE 2020 | DEF I N I T ION 03