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.

Saudi Arabia's cinema market is experiencing a cultural renaissance, driven by increasing local productions and a growing appetite for diverse storytelling, reports Adrian Pennington from the Red Sea International Film Festival.

Mystery, suspense and a game of thrones in the Vatican lensed by cinematographer Stéphane Fontaine.

Opposing colours in the same frame, 6000 lightning cues and shooting 17 sound stages - one the size of four American football fields, all merit why Wicked is the ‘latest hurrah to the golden days of epic studio filmmaking,’ writes Adrian Pennington.

The director of 12 Years A Slave and Small Axe has created a historical aesthetic of a tragic and turbulent London, depicting lives subjected to a permanent black out, in Blitz, Steve McQueen’s new film based on authentic anecdotes and inspired by filmmaker archives of the era.

A usually quiet show dedicated to cinematography erupted into controversy around female representation.