DEFINITION January 2018



The March issue went Rogue, Star Wars style. The six months it took to get our interview with DOP Greig Fraser was worth it. Greig threw out the rule book with this Star Wars offshoot movie and used a camera that had only been designed for VFX plates, ARRI’s ALEXA 65. April arrived with our first recognition of the current golden era of production. It mostly concerned the streaming giants but a certain UK tax relief helped. There were more LEDs, more VFX with The Jungle Book and a favourite show, Spy in the Wild . Spring sprung with our May issue but we wallowed in the darkness with the classy horror, A Cure for Wellnes s. It was a true movie mash-up with the new improved Power Rangers shot on RED, Kong: Skull Island with the small camera story and the lighting of Beauty and the Beast . “Start Screaming” was our instruction for June. The movie Alien: Covenant was the reason. From the darkness of the Covenant set we

brought the light with an explanation of how the new era of LED lighting could defy a low-lighting budget. July and we were getting more serious about the revolution in lighting with an in-depth interview with Kino Flo’s Frieder Hochheim. Lighting also drove the production of Netflix’s House of Cards and Du Maurier’s My Cousin Rachel .

IMAGES Deciphering the clues, we brought you the top stories and the latest technologies from film and TV.



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