Behind the Scenes: Gladiator II
In a world of green screen and AI, the sets for Gladiator II might be the last great build in movies.
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.
In a world of green screen and AI, the sets for Gladiator II might be the last great build in movies.
The transition to IP using SMPTE 2110 has been broadly successful in a studio environment but interoperability in the live and near live domain still has work to go. A recent innovation from the BBC could provide the answer.
Editor Jeff Groth asks for the film to be judged on its artistic merits and explains his process with flashbacks, story cards and musical numbers.
Cinematographer Paul Guilhaume explains how a transgender cartel musical is told with magical realism.
In a world where 80% of ad spend goes to outcome-based performance channels, how can TV compete effectively?
AI has the potential to automate point tasks in the existing ad management chain and even to transform the entire way media is transacted.
Semi-improvised, guerrilla-style filmmaking brings gritty realism to Sean Baker’s beleaguered love story.
Automated contextual advertising uses AI to help brands fine-tune the contextual relevance of their addressable campaigns. IBC365 speaks with ITV’s Rhys McLachlan to discover how it’s making an impact.
Adobe says it has worked closely with professional video creators to advance the Firefly Video Model with a particular emphasis on generative editing, reports Adrian Pennington.
Local TV woes, Hurricane Milton and an existential threat to journalism all threatened to dampen the mood at NAB Show New York, but FAST and fan-fuelled TV offer hope.