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WELCOME
EDITORIAL Editor in chief Nicola Foley nicolafoley@bright.uk.com
Senior staff writer Katie Kasperson Chief sub editor Matthew Winney Sub editors Zanna Buckland, Minhaj Zia Editorial director Roger Payne rogerpayne@bright.uk.com Contributors Adrian Pennington, Phil Rhodes, Oliver Webb ADVERTISING 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 Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck Sales director Sam Scott-Smith samscott-smith@bright.uk.com 01223 499457 Bright Publishing LTD Bright House, 82 High Street, Sawston, Cambridgeshire, CB22 3HJ, UK 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.
I t feels ludicrously early to be calling the film of the year already, but it’s going to be tough to beat The Brutalist : Brady Corbet’s sweeping, nearly four-hour-long historical drama. Shot in a matter of weeks and on a tight budget – but with a truly epic scope – this film takes a lot of big swings and smashes them all out of the park. On page 6, DOP Lol Crawley talks us through the challenges of capturing architecture, the use of VistaVision and his long-term partnership with Corbet. Also in this issue, we learn all about the sonic architecture of Emilia Pérez , hearing from the man responsible for arranging the voices, music and songs in the quadruple Golden Globe-winning musical. Turn to page 60 for an insight into music supervisor Pierre-Marie Dru’s process. We also dive into the Dune -iverse for a look at the new TV spin-out, Dune: Prophecy . Maintaining the visual flow of the recent films, but set 10,000 years before the first, DOP Pierre Gill used colour and light to plant audiences into the show’s various settings; find out more on page 54. There’s a look at Ben Saffer’s experience using the Blackmagic URSA Cine 12K LF on indie short Dog , plus Jomo Fray discusses unlearning everything he thought he knew about cinematography on the acclaimed Nickel Boys . Don’t miss our lighting special, featuring expert insights on topics including IBL and shooting day for night, as well as our first-ever Lighting Excellence Awards. Enjoy the issue – see you next month!
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