For a machine-tooled $290 million stunt-fuelled blockbuster it comes as a surprise to learn that the latest Mission: Impossible instalment was made with improvisation and experimentation at its core, reports Adrian Pennington.
For a film as singularly American as Asteroid City, Wes Anderson chose to base his latest film in Spain, writes Adrian Pennington.
The FIFA Women’s World Cup Australia & New Zealand features a number of production firsts including volumetric ‘datatainment’, fully remote live matchday hosting, and a stream dedicated to TikTok – but it is all in HD, reports Adrian Pennington
The technology landscape is constantly evolving, introducing new products, defining smarter production processes and offering fresh approaches to traditional ideas.
The Championships, Wimbledon 2023 may feature more UHD and High Dynamic Range coverage than ever this year but it’s the volley of editorial firepower being served up that is the real story of the Championship’s technical production, writes Adrian Pennington.
5G is one of the hottest topics in broadcasting and, for the media and entertainment sector, the technology will prove to be transformative.
BBC Studios executives explain to Adrian Pennington how they brought a “a chunk of British summer” from a field in England to audiences across radio, TV and iPlayer.
While the two frontrunners in the NGA codec stakes are similar in many ways, a comparison of their background and frame of reference gives some interesting insights, writes John Maxwell Hobbs.
A Gerard Butler action movie is the first Hollywood production to be filmed entirely in Saudi Arabia and the first to shoot in the country’s majestic, barren and hitherto off-limits AlUla region, writes Adrian Pennington.
Speed dates, strict monitoring bubbles, world-first lighting effects and a stage that resembles a giant hug – welcome to the team embracing Eurovision 2023 from the heart of Liverpool to the soul of Ukraine. Adrian Pennington reports.
