Features

The precision design of David Fincher’s hit-man feature mirrors its subject, writes Adrian Pennington

Virtual production technology has reached a new level of sophistication and many productions are now being written with a Volume in mind. However, it is not right for all stories and some tech gremlins remain, writes Adrian Pennington.

Cinematographer Oren Soffer discussed bringing guerilla-style filmmaking to sci-fi blockbuster The Creator with Adrian Pennington.

Paul Cameron is a distinguished cinematographer who is now making a move into the director’s chair. IBC365 spoke to him about his latest project, Special Ops: Lioness, a military drama for showrunner Taylor Sheridan.

Covid-related venue closures and the giant rise of streaming have cost the cinema culture a significant loss in audience numbers, and now with the aftershock of the Hollywood writers’ strike, cinema needs an innovative force if it is to avoid a prolonged decline in viewership, writes Sheryl Hickey.

U2’s 1997 concert in the aftermath of the Bosnian War is relived and remixed from archive footage, original audio and new testimonials, writes Adrian Pennington.

Martin Scorsese always wanted to make a Western, arguably the defining American artform. With Killers of the Flower Moon, he got his chance to chronicle the way the country has been moulded from violence and prejudice, writes Adrian Pennington.

France has one standalone sporting spectacle this year in hosting the Rugby World Cup France 2023 and anticipation of a possible home triumph is building, writes Adrian Pennington.

The bestselling manga series of all time has been made into one of the most expensive live action series ever, reports Adrian Pennington.

The Gallery Agnostic Live Media Production project is one of the eight Challenges in the 2023 cohort for IBC’s Accelerator Media Innovation Programme. The project is championed by ITN, YLE, BBC, TV2, and TRANSMIXR, and the participants are Tinkerlist, Singular.live, Techex, Grass Valley and ZIXI.