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 where production capability is ubiquitous and content costs nothing, creative vision is the only thing that matters, according to VFX pioneer and Hollywood consultant Barbara Ford Grant.
With global 5G coverage now surpassing 50% of the world’s population, but consumer willingness to pay barely shifting, operators at MWC argued that the next chapter must be defined by utilisation.
As minority communities face attack in the US, two new films screened at Sundance Film Festival offer powerful takes on Latino American and Chicano culture.
As studios begin to embrace the potential of vertical micro-dramas, should their rise be dismissed as merely a fad or a profound shift in the production, consumption and gender-bias of global storytelling?
A show that mixes a vast number of different business areas shouldn’t work, but it does because the underlying technology is finally integrated.
The creative team behind Uncut Gems brings its characteristic brash beauty and adrenaline to 1950’s New York City in a screwball drama.
Between first-person-view drones, expanded real-time 360° replays, and a massive virtualised production setup, Milano Cortina 2026 is set to be a major step forward in immersive, scalable, and sustainable Olympic broadcasting.
How MovieLabs is building on two decades of development in film and television to help guide the future of media creation.
Passive language-based text-to-video models are so last year. From the enterprise to the home to the creative suite, the future is multi-modal AI capable of massive three-dimensional world building and physical interaction.
German broadcaster SWR claims a world first live multi-camera virtual production with potential learnings for broadcasters everywhere.
