With “The Northman,” director Robert Eggers battles with himself to deliver the definitive Viking movie.

Showrunner Soo Hugh’s adaptation of Min Jin Lee’s “Pachinko” for Apple TV+ masterfully weaves the intricate tapestry of a Korean family.

To fine-tune the look of “Winning Time,” Company 3 Hollywood senior colorist Walter Volpatto evokes the feel of older imaging technology.

Amsterdam’s Rijksmuseum has a digital copy of Rembrandt’s “The Night Watch,” which it says is “the largest and most detailed photograph of any artwork.”

Cinematographer Denis Lenoir wrestles with film formats during production of director Mia Hansen-Løve’s “Bergman Island.”

Director Kiyoshi Kurosawa’s first period film, “Wife of a Spy,” was shot with Sharp 8K cameras equipped with Zeiss Master Prime lenses.

Cinematographer Kramer Morgenthau looks to classic Hollywood films like “The Godfather” for HBO’s cinematic follow-up to “The Sopranos.”

Evoking earlier periods in cinema, many modern filmmakers are choosing to return to the boxier 4:3 aspect ratio enshrined by The Academy.

Kazakh-Russian filmmaker Timur Bekmambetov pushes his innovative Screenlife format with the release of “Profile” by Focus Features.

“Once we stop looking at moving current production technologies and workflows to the cloud and instead ask how we reinvent live production it totally transforms how we cover events.”

“It’s gorgeous to be sure, but gorgeous with purpose – Joshua James Richards’ naturalistic photography emphasizes the beauty of the American landscape, but also the beauty of the people who populate it.”

Virtual production is one sector which actually has been helped by pandemic restrictions. Crews can work more safely on a virtual stage and the costs of location shooting are saved. The technology is expensive up front, but as producers become used to the changes to workflow, cost and production time should come down.