Features

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.

There’s set to be a boom in the number of satellites in our skies, as the likes of OneWeb, SpaceX and Project Kuiper compete to provide 5G connectivity in hard to reach areas. But who will win the 5G space race?

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

The uptake of virtual reality technology becomes more mainstream and broadcasters’ experiment with the immersive medium, IBC technical papers from TNO, Philips Group Innovation and NHK offer a glimpse into the future.

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.

The rapid growth of OTT media services may be offering more choice for consumers and more opportunities for content producers, but is it harming the planet in the process?

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