Volumetric video holds the potential to re-invent the live-streaming experience, with UK tech outfit Condense emerging as a pioneer.

Films shot on film, fake AI controversy, a collection of CG apes, and a trio of nods to Robbie Williams make the list of nominees for Cinematography, Editing and VFX Academy Awards.

This year’s ISE is expected to feature a significant presence of vendors and executives with at least one foot in media and entertainment – a sector which is now fuelling ProAV growth, according to trade body and ISE show co-organiser AVIXA. Adrian Pennington reports.

All the talk will be about the remarkable lead performance but creating an environment for Timothee Chalamet to shine is as much down to the subtle camera, nuanced lighting and family on-set atmosphere that DP Phedon Papamichael achieves with regular directing partner James Mangold.

Volumetric video may hold the promise of revolutionising the way we consume live concerts and other events, but it could also transform consumption and interaction with pre-rendered video.

Cinematographer Lol Crawley finds the monumental visual language to capture an artform that is essentially static.

Accelerated VFX workflows, video game characters you can converse with, and auto-generated visual experiences from sound for XR headsets are just some of the AI innovations devised by start-ups as part of a recent Digital Catapult programme. Adrian Pennington reports.

The breakthrough in the making of Here was not the authenticity of a de-aged Tom Hanks, but that the face-swapping technique could be achieved live on set.

News organisations face an increasing arms race against AI companies to protect the authenticity of the content reaching audiences through their channels. AI-powered deepfake content risks polluting the entire information ecosystem, says ITN’s Tami Hoffman, “What happens when people just don’t believe what they see?” Adrian Pennington finds out.

For all the slippery perspectives in psychological thriller Disclaimer, the truth is lying in plain sight, explains Editor Adam Gough.