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.