Adrian Pennington

Stephen Graham is a chef with a simmering temper in a feature length one-take kitchen drama filmed at a real-life restaurant. Director Philip Barantini and cinematographer Matthew Lewis explain how it was done.

Nvidia thinks it has the fabric for building the metaverse on a larger than planet scale.

James Bond is back in No Time To Die, but the 007 agent is wounded. Cinematographer Linus Sandgren delivers the emotional punch with 35mm, 65mm and IMAX film.

With the 33rd summer Olympics set to take place in Tokyo later this month, broadcasters around the world are fine-tuning their production plans and preparing to pack their schedules with hundreds of hours of live sport. NBC and the BBC speak about their plans.

Transforming Wes Anderson’s idiosyncratic aesthetic into a visually consistent physical format presented a series of challenges for the film’s production designer and director of photography.

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.