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.
As unlikely as it may seem, the noose is tightening around Chinese-owned social media phenomenon TikTok. Were it to be banned outright, what impact would this have on the short form video creator community? Adrian Pennington investigates…
Immersive experience venues are changing the face of live events and the Madison Square Garden Sphere aims to top the lot by creating a new entertainment medium, writes Adrian Pennington
Guillermo del Toro and the film’s heads of department discuss crafting the stop-motion version of the classic fable.
Back in 2019, Netflix released data claiming that 45 million accounts – nearly a third of its total subscribers – had streamed the Sandra Bullock thriller Bird Box in its first week on the platform, a record for a Netflix film.
Hollyoaks with an art school twist: DOP Diana Olifirova explains how Netflix teen drama Heartstopper wears its heart on its sleeve.
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.
 and Dr. Madeleine Swann (Léa Seydoux) drive through Matera, Italy in NO TIME TO DIE, a DANJAQ and.jpg)
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.
