Adrian Pennington

Oblique and powerful takes on the Second World War dominate at the Oscars, reports Adrian Pennington.

AI was the buzz at Mobile World Congress 2024, but making a return on their 5G investment was at the forefront of operators’ minds. Adrian Pennington reports.

The experience of cinematographer Pierre Gill on Disney series ‘Percy Jackson’ showed that lighting for an extensive shoot in a Volume is still work in progress, writes Adrian Pennington.

The Coalition for Content Provenance and Authenticity (C2PA) is an organisation developing technical methods to document the origin and history of digital media files, both real and fake.

The cinematic adaptation of a Martin Amis novel juxtaposes mundane everyday life with the horror of Auschwitz using thermal vision and audio, among other narrative devices, reports Adrian Pennington.

The convergence of AV with traditional broadcast explains why more visitors and exhibitors at ISE 2024 are spanning both worlds, reports Adrian Pennington.

Steve McQueen’s new documentary juxtaposes the past with the present and breaks the traditional narrative style to bring the facts of the holocaust into the light, writes Adrian Pennington.

If you think ISE is about the convergence of AV with broadcast think again. Show organisers say this has already happened. Even the IABM has a speaking slot, writes Adrian Pennington

The fourth instalment of HBO’s crime drama True Detective is set in a remote outpost of Alaska but the show was filmed almost entirely in Iceland, where cinematographer Florian Hoffmeister BSC used an innovative Infrared technique to capture the perma-dark snowbound landscape, reports Adrian Pennington.

A story about re-activating a dead woman with her unborn baby’s brain was always going to make for a strange film but if weird is what you want, Poor Things will not disappoint, writes Adrian Pennington.