Adrian Pennington is a journalist, editor and commentator in the film and TV production space. He has produced and chaired conference sessions, co-written a book on stereoscopic 3D, edited several publications and is copywriter of marketing materials for the industry.
From casting his own dog as the lead to shooting at a dog’s eye level, first-time Feature Director Ben Leonberg has perfected a filmmaking process built entirely around a pet. The result? Critical acclaim and a viral smash for horror season.
The first AI-created adverts are coming to TV as broadcasters look to compete with social media. ITV and Channel 4 explain why they are now scaling up.
Filmmaker Barry Ackroyd reveals how his camera work takes audiences inside the command bunker and gives them no control over the final countdown to nuclear Armageddon.
Although the broadcast industry has been rife with theft since the early days of cable TV, it now faces piracy at an industrial scale and speed. At IBC2025, a panel of security experts warned that illegal streaming is accelerating in scale, sophistication, and impact.
Editor Parker Laramie explains how frontier drama Train Dreams walks the line between naturalism and magical realism.
Buffeted by economics and squeezed by Big Tech, the last thing America’s broadcasters wanted was to have their news operations muzzled or business threatened with political interference, yet that’s the realpolitik of the US TV entering NAB Show NY.
The Cannes Palme d’Or-winning critique of Iran’s police state was made in secret as an act of defiance. IBC365 sits down with the film’s Editor Amir Etminan to learn more about the fearless filmmakers’ process.
Editor William Goldenberg and Director Paul Greengrass elaborate on the plot of The Lost Bus, a white-knuckle ride disaster movie with a burning environmental message.
The Danish auteur is back with a new movie, a prominent role in a computer game, and the same confrontational attitude to formulaic art.
For Ben Wheatley’s experimental, low-budget ‘midnight movie’, DoP Nick Gillespie incorporated a mix of formats, DIY effects, and back projection techniques to evoke classic cinema.
