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.
Exhibitor and conference sessions still nestle deep-tech dives about compression alongside tutorials on podcasting, but this no longer feels incongruous. Adrian Pennington reports.
What began as a technical experiment in 1956 is now a global cultural institution reaching approximately 170 million viewers on TV across three live shows and generating billions of views on digital platforms. IBC365 gets a tour backstage in Vienna.
The Creative Cities Convention in Liverpool, UK, featured a range of highlights, including the first public speech from Channel 4’s new CEO, strategies to strengthen working-class voices, and the latest updates on a burgeoning regional production base.
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The French Director and Actor has ditched CGI for AI in his next film, saying AI is part of the creative dialogue.
The World AI Film Festival fielded new and established storytelling voices, but the jury is out on whether AI can capture the human spirit of cinema. Adrian Pennington reports.
If there is a single takeaway from NAB 2026 it’s that the broadcast media industry is rebalancing. The centre of gravity is shifting, the customer base is diversifying, and the definition of “media” is expanding across sectors.
When Cinematographer Blake McClure signed on to shoot HBO’s new comedy Rooster, he wasn’t looking to reinvent the sitcom; he was looking for a way to stretch the visual language of comedy to integrate the intimacy of large format.
Leveraging generative AI, computer vision, and data from real environments, spatial computing has opened the door for cutting-edge systems that blend the physical and digital worlds into a new frontier of human-technology interaction.
NAB 2026 looks set to bring a raft of creativity and technological innovation, yet serious political and environmental questions remain.
While looking after his dying parents, VR Filmmaker Ian Tuason became obsessed with demonic possession stories, which planted the seed for the uniquely creepy sound design of his first feature.
