Adrian Pennington is a journalist, editor and commentator in the film and TV production space. He has produced and chaired conference sessions, co-written a book on stereoscopic 3D, edited several publications and is copywriter of marketing materials for the industry.
As studios begin to embrace the potential of vertical micro-dramas, should their rise be dismissed as merely a fad or a profound shift in the production, consumption and gender-bias of global storytelling?
A show that mixes a vast number of different business areas shouldn’t work, but it does because the underlying technology is finally integrated.
The creative team behind Uncut Gems brings its characteristic brash beauty and adrenaline to 1950’s New York City in a screwball drama.
Between first-person-view drones, expanded real-time 360° replays, and a massive virtualised production setup, Milano Cortina 2026 is set to be a major step forward in immersive, scalable, and sustainable Olympic broadcasting.
How MovieLabs is building on two decades of development in film and television to help guide the future of media creation.
Passive language-based text-to-video models are so last year. From the enterprise to the home to the creative suite, the future is multi-modal AI capable of massive three-dimensional world building and physical interaction.
German broadcaster SWR claims a world first live multi-camera virtual production with potential learnings for broadcasters everywhere.
Look, lighting and camera movement were stripped back to basics by cinematographer Lukasz Żal to create the stage for Shakespeare’s personal tragedy.
While Google forges ahead with unlocking the potential of its Willow quantum computing chip, cybersecurity experts warn that further breakthroughs in the field could catch a digital ecosystem built on crypto security off guard. Adrian Pennington reports.
Scenes structured like Russian nesting dolls present Editor Paul Machliss with a challenge in completing this deadly reality TV show.
