IBC2019: Apple and Microsoft have joined the Academy of Motion Picture Arts and Sciences’ Academy Software Foundation, bringing its membership to 27 companies.
Netflix CEO Reed Hastings said today that the streamer would step up its spend in the UK, its biggest production market outside the US.
IBC2019: Actor and director Andy Serkis discusses his journey into performance capture and the ethics of capturing actors’ likenesses in his IBC2019 Keynote session.
IBC2019: Celebrated actor, producer, director and studio head Andy Serkis took to the IBC2019 mainstage this afternoon to share the highlights of his career, the power of motion capture, performance technology and the epiphanies which transformed his craft.
IBC2019: Highlights from across the conference and exhibition including the content everywhere hall and hub and the Monday mega movie showcasing Toy Story 4.
IBC2019: Game of Thrones The Long Night was on the Big Screen at IBC2019. Steve Beres and Greg Spence talk about the challenges and technologies involved in creating the season 8 episode
IBC2019:The Lion King cinematographer Caleb Deschanel has revealed that the BBC’s blockbuster natural history series Planet Earth 2 played a huge influence in the way that Disney’s all digital photorealistic remake was shot.
IBC2019: Highlights and the must-see conference sessions, feature areas, Elton John’s Rocket Man on the Big Screen, and AWS 4K Charity run sign up.
Actor, director, producer and studio head - Andy Serkis has done it all. Ahead of his appearance at IBC2019 the Lord of the Rings star talks to IBC365 about developments in MoCap technology, industry trends and the challenges offered by OTTs.
Ang Lee chose to shoot his upcoming sci-fi film Gemini Man, starring Will Smith, in HFR. Editor Tim Squyres explains how the director fell in love with higher frame rates.
From Gollum to King Kong, Andy Serkis is widely credited as the man who brought performance capture into the mainstream. Ahead of IBC2019, the actor/director sat down with James Pearce to discuss the growth of this technology and his long association with it.
The UK TV industry is diversifying both culturally and geographically and the Royal Television Society (RTS) is at the heart of championing this change, says Theresa Wise.
UK Screen Alliance, Access VFX and Animation UK have released a report on the progress and challenges for diversity and inclusion across the VFX, post-production and animation industries.
In today’s ever-changing digital landscape, video quality drives viewer engagement and user experience. People want to enjoy video anywhere, anytime and this drives demand for higher quality content, improved bandwidth and faster processing. And with that, video codec quality, performance and reliability have never been more important.
Growing demand for large format lenses that enable rich video depiction using a shallow depth of field is among the trends affecting a highly competitive sector of equipment manufacturing, writes David Davies.
The animated remake of the Disney classic employed a live-action film crew that could work inside virtual reality using traditional camera equipment to set up and execute shots in the animated world the same way they would be achieved in the real world.
With the fourth and final season of Amazon’s The Man in the High Castle set to launch, Adrian Pennington chats to cinematographer Gonzalo Amat about creating the show’s dystopian noir look.
Prior to his Monday conference session at IBC, ‘VR meets AR. Real and Virtual Space Become One’, Dr. Oliver Schreer talks to George Jarrett about his incredible 25-year research career in 3D and latterly VR.
Netflix has signed a deal to rent out 134,000 square-feet of production space in Uxbridge in a push to establish itself in the UK ahead of the opening of its Shepperton studios base.
“Inherent inefficiencies” in production workflows “threaten to limit our future ability to innovate,” MovieLabs boss warns.
IBC preview magazine Insight contains interviews with keynote speakers, an overview of some of the technology trends that will dominate IBC2019 as well as guides to the show’s exciting and innovative features, from the Future Zone to the Esports Showcase.
VFX, animation and post-production employees from the European Union are being urged to apply for settled status before the UK introduces a new visa system for working in the country.
The increasing prevalence of HDR and the need to cater to additional platforms is adding to colourists’ already-substantial workloads. David Davies finds out how vendors are helping them rise to the challenge and previews some new system features.
VFX firm DNEG is set for a listing on the London stock exchange, according to Sky News.
UK productions Game of Thrones, Killing Eve, Bodyguard and Fleabag lead the 2019 Emmys nominees with limited series Chernobyl and When They See Us recognised as expanding the TV landscape.
Pixar director of photography Patrick Lin explains how he brings a live-action filmmaking approach to computer animation.
The rise of the streaming platforms has sparked a production boom, affecting superindie groups through to smaller indies. It has had a major impact on all genres of programme making too - and the way that shows are now financed. Tim Dams reports.
The seventh annual American Cinema Editors’ London EditFest offered insights into cutting for factual, TV drama, and features, George Jarrett reports.
Editing films is “very instinctual”, says Oscar winning editor Lee Smith
AI/ML and deep learning is having a huge impact in computer graphics research with potential to transform VFX production.
The MIB reboot opened last week. IBC365 goes behind the scenes with VFX Supervisor Alessandro Ongaro to find how he created a world with aliens living on Earth.
Vladimir Putin has been brought to life as a chat show host for a new BBC comedy. James Pearce goes behind the scenes with Framestore to see how the VFX firm used motion capture to create a VFX Putin in real-time.
A new documentary film about the Apollo 11 Moon Landing features previously unseen 70mm footage that helps provide a whole new take on the mission and its legacy as it nears its 50th Anniversary.
From an iPhone to an expensive full-frame digital cinema camera, you can shoot a TV show or even a movie on a range of devices. But what do most mainstream productions use? These rental houses reveal all.
Laura Jans Fazio explains how an interest in art and design led her to become the colourist for the likes of House of Cards, Mr Robot, and A Series of Unfortunate Events.
IBC365 pays tribute to the international cinematographers who have shaped the art of motion pictures and asks ASC members who they think is the greatest of all time.
Robert Richardson ASC describes recreating the summer of 1969 for Quentin Tarantino’s new blockbuster.
VFX supervisor Jean-Claude Deguara discusses creating a fantasy world straight out of the minds of Terry Pratchett and Neil Gaiman
Join IBC365 on demand to explore how pixels, higher frame rates, wide colour gamut and high dynamic range are transforming the production process.
Cinematographer Dan Laustsen brings visual panache to the stunt-fuelled franchise
Film trailers play a vital role in marketing budgets that can cost hundreds of millions of dollars, but different changing consumption methods have changed the nature of trailers.
BBC TV dramas A Very English Scandal and Killing Eve were among the winners last night at the Bafta Television Craft Awards.
SVT CTO Adde Granberg speaks about how the Swedish public service broadcaster is using the cloud and the barriers to adopting remote production.
NAB 2019: The ethics of digitally recreated performances by actors who have passed away was questioned during an SMPTE panel at NAB.
Former Apple and Warner Bros executives have partnered to launch a European production company focused on high-end TV and feature films.
The jury is out on the aesthetic qualities of high frame rates (HFR) for cinema but the technique seems an inevitable part of the future theatrical experience.
The latest drama from This is England writer-director Shane Meadows was created in a semi-improvised fashion which required highly flexible production planning from indie producer Warp Films
Ahead of the final season of Game of Thrones premiering on Sunday (14 April), Adrian Pennington looks at the huge security operation to prevent it from being pirated and previews the epic battle scenes and visual effects that lie at the heart of the franchise finale.
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.
NAB 2019: Avid today unveiled an overhauled Media Composer at the company’s Connect event, where chief executive Jeff Rosica pledged to end the practice of announcing products without an imminent shipping date.
UK-based VFX, post and animation workers have been urged to apply for settled status before Brexit potentially ends free movement.
Join IBC365 on demand to explore why creators are turning to cloud to transform the way they make great content.
Foley artists whose credits include Breaking Bad, The Revenant, Killing Eve, Black Mirror and Suicide Squad explain all about Foley.
While UK VFX and animation houses operate in the almost certain knowledge that Brexit will dent their global competitiveness, facilities in Europe expect to benefit.
One of the world’s leading specialists in 3D production, Demetri Portelli’s credits include Oscar winner Hugo through to Ang Lee’s upcoming sci-fi film Gemini Man – and he thinks that 3D filmmaking remains vital to the future of cinema
Chris Lebenzon, Tim Burton’s regular collaborator in the edit room, explains how they brought their CG lead character to life
As series designer of Netflix’s Black Mirror, Joel Collins was integral to creating the look of the Charlie Brooker series. But after four series he has moved on to a new challenge – working on the hugely complex BBC/HBO adaptation of Philip Pullman’s His Dark Materials. He reveals how he ...
The UK’s VFX houses warn that cost of visas under current Brexit proposals risks the sector’s global competitiveness
IBC365 marvels behind the scenes of Disney’s first female-fronted superhero release.
In the latest in IBC365’s series of interviews with inspirational women, director of photography Mandy Walker reflects on working on projects as diverse as Baz Luhrmann’s Australia, Ted Melfi’s Hidden Figures and Niki Caro’s upcoming Disney blockbuster Mulan.
Nolan has urged filmmakers to give audiences a reason to leave the house and to continue inventing new genres for the future success of cinema.
In the second in a series of interviews with inspirational women in the run up to International Women’s Day, director of photography Carolina Costa reveals what motivates her.
In the first of a series of interviews with inspirational female leaders in the run up to International Women’s Day, IBC365 spoke with Maryann Brandon about how she became an editor and what it takes to succeed in a male-dominated part of the industry.
Bohemian Rhapsody, Black Panther and Roma were among the big winners at Sunday night’s Oscars ceremony.
Roma editor Adam Gough on his route into the industry and what it was like working with Alfonso Cuarón on the Oscar-nominated film.
From an eccentric costume drama to the story of the ultimate stadium rockers, what all the nominations in the best film editing category have in common is that their stories are based on real life biographies.
Oscar-nominated cinematographer Lukasz Zal reveals how he created the black-and-white look for Pawel Pawlikowski’s Soviet-era love story.
Production spend on film and TV in the UK reached £3.1bn in 2018, which the BFI said was a vote of confidence in the UK’s crews, facilities and locations.
With women remaining notably absent from this year’s Academy Awards nominations, it is of vital importance that the industry does more to attract and retain women, says Digital Orchard managing director Sam Margaritis.
From shooting in black and white to creating in-camera effects, we take a look at the technology and technique behind Oscar nominated films.
Ethan Van der Ryn and Erik Aadahl, the supervising sound editors of Oscar-nominated A Quiet Place, on establishing the rules of silence and the shock of what happens if you break it.
The sonic soundscape of Neil Armstrong biopic First Man fuses authentic reconstruction with the insanity of the race into space.
Diversity and inclusion are the key to delivering engaging content, says Mill Film’s Lauren McCallum.
Cinematographer Robbie Ryan on the bold lens choices for Yorgos Lanthimos’ acerbic awards-tipped period drama.
At IBC2018, Rohde & Schwarz introduced a new multi-user shared access storage system: R&S SpycerNode. In this article, we take a closer look at SpycerNode to see how its approach differs and where this might add value to broadcasters, content owners and facilities.
The VFX wizard behind movies like 2001: A Space Odyssey and Blade Runner, Douglas Trumbull has spent the last decade developing Magi, which can capture and show films at high resolution and high frame rates – and deliver the immersive experience he says cinema audiences are looking for.
With around half of Fantastic Beasts: The Crimes of Grindelwald’s $200m budget comprising VFX shots, Framestore Creative Director Christian Manz reveals the VFX story to IBC365, detailing work on key scenes, the re-invention of Paris and the creation of some of the more fantastic of the beasts.
The Royal Television Society (RTS) 2018 Craft and Design Awards have awarded the best in UK broadcast television from directing and effects to costume and make up.
IBC365 spoke with the One Strange Rock, The Crown and Katy VFX teams shortlisted for last night’s RTS Craft and Design Awards.
Based out of Kilkenny in Ireland, Irish animation studio Cartoon Saloon has racked up Oscar nominations and interest from streaming platforms. Paul Young of Cartoon Saloon explains how OTT content hunger is fuelling the global animation market.
Ben Davis’ extraordinary list of credits includes Marvel blockbusters through to lower budget gems. This year alone he shot multi-million dollar shows Captain Marvel and Dumbo, back to back. He talks to Adrian Pennington about the art of the Director of Photography (DoP), his influences and the future of cinematography
The craft of cinematography is at risk in this era of digitally shot films, warns Oscar-nominated DoP John Mathieson, whose latest films include Mary Queen of Scots and Pokémon: Detective Pikachu.
It’s rare when something can be truly said to represent a revolutionary approach to filmmaking. Attendees of a jaw-dropping Big Screen session at IBC2018 got to see for themselves how game technology is fundamentally changing the way films are made.
Far from being killed off by digital, practical special effects are routinely used to heighten the effectiveness of scenes and emotional beats in a way impossible in a computer.
Three-time Oscar winning DoP Robert Richardson reflects on a career that has spanned 30 years, working with directors such as Martin Scorsese, Quentin Tarantino and Oliver Stone – and working in formats ranging from digital 3D to ultra-wide 70mm.
How many people does it take to cut a Hollywood feature film? More than one, in the case of The Predator, Editor Harry Miller tells IBC365.
The Editor and Production Designer of Freddie Mercury biopic Bohemian Rhapsody tell IBC365 how the film recreated the classic Live Aid concert from Wembley Stadium – with 800 extras at Bovingdon airfield near Hemel Hempstead.
Jack Watts doesn’t shy away from having strong opinions about Digital Cinema Packages, demanding clients and film industry politics. IBC365 got his thoughts on these topics and much more.
Working on over 50 blockbusters and critically-acclaimed feature films, the award-winning colourist Maxine Gervais has always been passionate about creative expression with technology and colour. Now she brings that enthusiasm to IBC.
Grainy, black and white footage of World War One has been given the ultimate restoration treatment to startling effect in They Shall Not Grow Old.
Period epic Peterloo required some innovative VFX to recreate the crowd scenes that sit at the heart of Mike Leigh’s latest film.
One of the key factors in making Game of Thrones a worldwide television phenomenon is the style and look of the sets. Art director Hauke Richter spoke to IBC365 to reveal the secrets behind the show’s designs.
In this paper, explore the challenges that have to be overcome to create colour-accurate immersive experiences at a cinematic quality level.
Barry Alexander Brown has edited over 100 Spike Lee ‘joints’, and is an acclaimed filmmaker himself. He tells Adrian Pennington about a career that encompasses editing legendary films such as Do The Right Thing and Malcolm X through to Lee’s latest, Blackkklansman.
Read Dolby Laboratories, Sennheiser, EVS, UEFA and BT Technology technical papers and watch their presentation from IBC2018 on the exciting technology developments in sports production.
The Society of Motion Picture and Television Engineers (SMPTE), which has led the development of industry standards and progressive work in HD, Ultra HD, 4K and 8K for the advancement of the moving image, will be out in force at IBC.
Don’t mention the HDR standards war to Jeremy Booth because he is happily distanced from it. The compositing TD from Jellyfish Pictures is much more concerned with the bigger picture around colour and VFX.
As post-production technology has become more accessible and cheaper, a big question facing many production companies is: should post production be brought inhouse? Three leading indies explain the pros – and cons – of going inhouse.
Artificial intelligence technology is swiftly moving from experiment to practical use across production workflows and into the heart of content creation.
Watch on demand as IBC365 previews the anticipated themes and highlights of IBC2018.
With the deadline to Brexit fast approaching, IBC365 asks leading media executives about the big issues they want government to resolve.
With more dramas and films now delivering in HDR, IBC365 asks leading colourists to reveal all about the pros and cons of grading in the format.
He doesn’t draw or paint nor animates in the traditional sense but give Joe Letteri a computer and he can figure out how to create any image in the world – or a world yet unknown. The four times visual effects Oscar and BAFTA winner has shaped three decades of ...
Jean-Clément Soret on the mystery of being a colourist and the different requirements of grading commercials, film and TV.
Andy Serkis speaks about the “liberating tool” of performance capture and reveals all about his latest project Mowgli.
Cutting films for an auteur is a tough challenge, one that demands a deep immersion in the script and the personality of the filmmaker. Imagine then what a balancing act must have to be performed when you are the go to editor for two of the world’s leading directors.
Post-production companies, long considered to be the ‘last stage’ in the broadcast and film chain, are often the most enthusiastic early adopters of cutting edge technology.
Looking back on almost 50 years of iconic films, ranging from The Shawshank Redemption and The Big Lebowski to Skyfall and Blade Runner 2049, the British cinematographer discusses his creative approach and his life in pictures.
Love Island, This Country and Detectorists were among the programmes honoured at last night’s Baftas, with Peaky Blinders and The Handmaid’s Tale also triumphing in their categories.
Mobile video journalists (MoJo) from CBC, RTE and BBC offer insight into how technology has revolutionised reporting, the impact of mobile apps and the threat to traditional reporting.
BBC Studios Chief Executive Tim Davie, Discovery Networks International President and Chief Executive Jean-Briac ‘JB’ Perrette and YouTube Chief Product Officer Neal Mohan are to deliver keynotes at the IBC2018 Conference.
In the first in a series of interviews with industry-leading craft talent, Goldcrest’s Jet Omoshebi speaks about breaking into the world of grading and the essential attributes of a colourist.
NAB 2018: A glut of statistics on consumer interest in UHD, as well as the unveiling of kit from the likes of Sony, Blackmagic, Canon and Panasonic point to the steady uptake of UHD.
The power of archive is dramatically on show in Lionsgate’s Michael Caine-fronted feature documentary My Generation, which traces the cultural revolution that occurred in the 1960s.
Black Mirror, Line of Duty, The Crown and Three Girls have all been nominated in three categories for the 2018 Bafta television awards.
Not everything that happens in Vegas stays in Vegas: IBC365 is joined by a panel of industry experts to review what went on, what was hot, and what happened at the NAB 2018 conference and show floor.
In the first of a series of articles that look at job roles and their relationship with technology, Alana Foster speaks with three digital imaging technicians whose credits include Black Mirror, Skyfall and McMafia.
The Shape of Water scooped the Best Picture gong during the 90th Academy Awards with I, Tonya, Three Billboards and Darkest Hour also awarded across the categories.
Murdoch extends Sky News promise and Disney and Marvel break box office records.
Sir Ridley Scott awarded the highest honour at the Baftas as Three Billboards, Darkest Hour and The Shape of Water scoop top awards.
Belden’s decision to buy SAM and combine it with Grass Valley continues a long history of acquisitions for both companies, but what are the challenges in merging the firms and what does the deal mean for the wider industry?
The creative talent responsible for VFX and editing of big screen blockbusters Maze Runner: The Death Cure, Downsizing and Paddington 2 discuss their craft.
Technicolor’s Nick Mitchell and Tania Pouli discuss the importance of colour management even beyond virtual and augmented reality.
Belden has completed its acquisition of SAM (Snell Advanced Media), which it will now merge with Grass Valley.
With increasing demand for UHD and HDR content, colour management and workflow optimisation are at the heart of product development.
IBC365 previews the technical categories for the 90th Academy Awards in which digital acquisition dominates.
The making of the BBC’s Blue Planet 2 and the rise of virtual reality content were among IBC365’s most-read Production articles of 2017.
360 degree film making necessitates a new language for storytelling, the case study is based on material from two user studies on a 360 video profile of an artist.
Cinematographer and visual effects pro David Stump, ASC, sees light-field technology as a huge opportunity for film, TV, virtual reality and other areas of content creation.
The use of mixed reality technology has enabled the creation of formats with levels of interactivity that have not been seen before, says FremantleMedia’s Petter Testmann Koch.
The iconic Television Centre in West London has reopened, with The Jonathan Ross Show the first production to use the overhauled studios that were dubbed ’the home of British television’.
From an immense space city to a Lexus inspired spaceship, Rodeo FX played a crucial part in bringing director Luc Besson’s vision of the graphic novel to the big screen
Sky will host the third-quarter SMPTE Technology Committee meetings at its London HQ in September.
Advances in technology mean that broadcast engineers have an increasingly important role to play in aiding the creative process, says John Maxwell Hobbs.
Moving to the cloud makes sense for VFX firms, says Jellyfish Pictures’ Jeremy Smith.
Since the beginning of TV production, channel based audio mixing has been the norm.
Meticulous planning and pre-visualisation were used to create Disney feature The Jungle Book.
Projections for virtual reality hardware are extraordinarily positive, with findings from UK-based Business Insider Intelligence suggesting in excess of five-fold growth over the the next five years.
Released in the US late last year, Iraq war drama Billy Lynn’s Long Halftime Walk broke new ground when it came to technical production, Oscar winning Director Ang Lee talks about his experience with the newest cinema technology
Media execs should look to the gaming industry and the success of games such as Pokemon Go to realise there’s a market for AR and VR content.
From Avatar to Dawn of the Planet of the Apes, motion capture has enabled animation to become ever more lifelike and photo realistic. Now Disney Research is advancing this science with emotion capture, and systems that offer filmmakers continuous control of facial performance in live action motion pictures.
The merger between science and the arts has energised Jon Karafin throughout his career, culminating in what may be the most exciting breakthrough in imaging since the invention of photography.
As VP of Technology, Warner Bros. Michael Zink is responsible for exploring the emerging technologies that could enhance Warner Bros.’ capabilities in production, post production and distribution.
Visual effects pro Kevin Baillie sees the notion of virtual production moving beyond use of a virtual camera, to involve tasks such a location scouting and incorporating an increased reliance on the cloud.
The film and TV industry is seeking ways of producing audio-visual media that combines the real world, CGI and 3D animation in ever increasing quality but at lower cost.