Features

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.

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.

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.

Boom Radio, which launched last month, is thought to be the first UK station without a central studio facility. Kevin Hilton found out how the presenters are broadcasting entirely from home.

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.