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.