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 esports growing fast, there are opportunities for broadcasters to get involved, the head of games trade body Ukie Dr Jo Twist tells IBC365.
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.
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.
Growing your audience means understanding not only what they want, but how and why they want it, says BBC World Service’s Catherine Blizzard.
Andrew Dunne brought unique perspectives about high dynamic range and distribution to the IBC Big Screen session ‘HDR focus: Blue Planet II and The Grand Tour’. George Jarrett was able to dive deep and explore his point of view.
Reed Kaufman is responsible for overseeing the entire post production ecosystem for all FBC Network remote events, specifically with jewel events like Super Bowl LI and the 2018 World Cup. The IBC conference was keen to find out the lessons Kaufman has learned from the experience.
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.
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.
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.
Providing narrative perspective in a US news environment that’s in total overdrive is a daily challenge along with the changing audio consumption habits Lisa Tobin confronts, executive producer of audio and editor of The Daily podcast at the New York Times.
Antenna Group is an Athens-based multinational broadcaster with a very strong presence in Greece (with its ANT1 free-to-air channel) as well as radio stations, and channels in Serbia, Montenegro, Slovenia and Romania. Its media investments include broadband services, publishing, music labels, and even a credit card business. IBC365 speaks to ...
A multi-disciplinary media executive with over 12 years of experience in cross media production and business development. Matt Tabaccos leads the commercial strategy at Ruptly Video News Agency, helping the company become the go-to brand in news media.
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.
The former Channel 4 boss discusses his role in saving the British pubcaster from privatisation and reveals more details of his latest venture, which fuses high-end content production with brandcasting and data insight.
Broadcasting veteran Peter Salmon has a job that demands he be ubiquitous, crossing platforms, formats and countries alike as he spins ideas around the ‘internationally travelling community’ of one of the world’s biggest content factories.
Planet-centric design is user-centred, because it’s in humans’ best interests to have a healthy planet, say Impossible founders and IBC2018 keynote speakers Lily Cole and Kwame Ferreira.
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.
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.
Oscar-nominated sound designer Julian Slater speaks about new ways of editing sound and why the term ‘immersive’ can be a red herring.
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.
In the second instalment of our CTO Series, 21st Century Fox’s Paul Cheesbrough speaks about the challenges of delivering content to more platforms than ever before and explains why cyber security is his number one priority.
Integral to Sky’s DNA is the adoption of new technologies and innovating the production to distribution chain, says Production Services Director Darren Long.
With a plethora of platforms to serve and in the era of fake news, the task of managing a team of journalists and delivering more digital content is arguably tougher than it’s ever been.
Ultra HD and VR might make all the headlines but when it comes to pushing the boundaries of sports production, but better use of data and artificial intelligence are likely to be the big winners, suggests David Shield.
”360-degree video is a natural step forward for us”, says Dinara Toktosunova, CEO, Ruptly
Associated Press Executive Editor Sally Buzbee wants to instill some “old-fashioned media values” in social media platforms.
Sky Deutschland is changing from a sports and film-orientated broadcaster towards a fully-fledged family entertainment company. CEO Carsten Schmidt explains how.
With the broadcast industry in transition phase, Olympic Broadcasting Services Chief Technology Officer Sotiris Salamouris must manage the shift to 4K, 8K and IP while ensuring the world doesn’t miss a second of the action.
Wim Ponnet works for a company that produces up to 700 big productions annually, and it sure knows how to exploit its IP (intellectual property).
Thirteen years at the BBC and a steady presence at CNN since 1998 has given Tony Maddox a unique overview of today’s global news scene.
Data - as well as a creative gut - is vital for winning online audiences, says Little Dot CEO Andy Taylor.
If you think VR in TV and film is just another passing fad, Sol Rogers, CEO and founder of Rewind, would like to change your opinion.
Google is the flag carrier for the new, connected world, but it has some encouraging words for broadcasters.
Curt Behlmer and his team are responsible for advancing the possibilities of cinema sight and sound, ensuring that Dolby technologies, including Dolby Atmos and Dolby Vision, fit into the industry’s content workflows.
Although exciting, we don’t have the vocabulary for talking about VR, yet we must ensure it works across multiple devices and delivers what consumers expect.
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.
It’s almost a cliché now: we are living in a ‘golden age’ of scripted TV. But what drives this TV renaissance and how it will evolve is a matter of ongoing debate.
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
One of the UK’s most high profile cinema producers and cultural envoys discussed how British and European cinema must evolve, why cinema and media needs to retain its trusted status, what Brexit means for creative industries
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.
Vice Media is on an aggressive expansion path, looking to launch in 50 markets around the world; and it’s not just focusing on mobile and online programming – linear TV is a key part of the offering.
As CTO at Globo, Raymundo Barros is responsible for overseeing engineering and technology operations. He led and spearheaded major initiatives such as the transition to digital TV and the creation and distribution of 4K, 4K HDR and 8K content.
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.
The writer behind one of the biggest dramas of 2016 believes the success of the programme marks the beginning of something big for German TV.
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.