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The voice in cinema
Michel Chion, the French composer-filmmaker-critic has devoted his studies to sound in cinema and has become a leader in this area. Soon at the School of Sound in London, he talks to Gill Addison about the voice in cinema
A future of digital features
The arrival of affordable digital video cameras has created unprecedented ultra-low budget production possibilities. Features are now shot in DV and blown-up to 35mm for theatrical release. Next Wave Films help filmmakers stepping into the new and affordable world of DV. By Liz Rosenthal
From Steenbeck to Avid
Does Non Linear Editing encourage editors to approach the raw material with an attitude that will produce the best possible final product? By Esteban Uyarra
Taking stock (II)
Second appointment with Peter Milson, Marketing Planning Manager of Kodak PMI, to talk more about film stock and to step into the complex field of cinematography. Plus,flash interviews with top cinematographers Alex Thompson and Remi Adefarasin and tips on using Vision stock

Univisium 1:2
Now that widescreen television has introduced yet another format, isn't it time to agree on a standard for future productions? By Vittorio Storaro ASC, AIC

Film vs Video
Will video ever look as film? Thomas G Wallis of Kodak talks about of the differences between silver halide and digital image capture
The Centre for Screen Music Studies
How music in film works, how it is used expressively and dramatically in narrative situations. Our interview with David Burnand and Miguel Mera at the Royal College of Music
From miniDV to megascreen
Fred Weinel of Colour Video Services explains how to shoot in DV and transfer to film with the best results
© for Copyright
A beginner's guide to copyright. By Philip Alberstat

Engagement: Approaching the soundtrack
Larry Sider, editor, sound designer and curator of the School of Sound, explores ways of mastering the neglected dimension of filmmaking

The Bolex H-16: our object of desire
Introduced almost four decades ago, the Bolex H-16 has, over the years, become the archetypal beginner’s 16mm camera. But how to find your way around the different. By Mike Valentine

Breaking the Sound Barrier
Sound on film has always been regarded as the poor relation of picture. FW and Nigel Glynn-Davies of GDO Studios try to throw some light on the technique of sound production

Are you over 16?
Now that Super 16 is available at both the Film Co-Op (Aaton) and Four Corners (SR3) we decided to investigate whether it is worth going for it or stick to the good old 1.33:1 format

Does editing on video save money?
In our first workshop we will explain how the negative is cut from an EDL generated by non-linear editing system such as AVID, Lightworks or Premiere