Adrian Pennington

After years of cost squeezing, major efforts are underway to increase the volume and quality of content localisation.

The techniques behind Mank, David Fincher’s digitally dexterous emulation of Hollywood’s classic era, are revealed.

Avatar broke technical boundaries and commercial records in 2009 by bringing digital 3D into the light. Can history repeat itself with James Cameron’s four sequels currently in production?

Massive LED walls and gaming engines were used to speed up the creative process and reduce the time needed in post-production for Disney+ Star Wars spin-off The Mandalorian.

Self-driving cars are an inevitability and will unlock the potential for vehicles to transform into a new market for immersive media.

In the latest of our Industry Innovators series looking at those who have had a major impact on the media and broadcast industry, IBC365 speaks with Garrett Brown, the inventor of Steadicam.

BT Sport COO Jamie Hindhaugh outlines how the broadcaster’s Champions League final coverage will be the first time a live sports event will be broadcast in HDR to mobile devices.

Cinematographer Dan Laustsen brings visual panache to the stunt-fuelled franchise

From interactive episodes of Black Mirror to Bear Grylls’ latest series, Netflix’s post-production operation and supply chain is responsible for servicing the insatiable appetite for original content that will see it deliver more than 1,000 branded shows this year.

Chris Lebenzon, Tim Burton’s regular collaborator in the edit room, explains how they brought their CG lead character to life