Of course security needs to be secure. But what if security could also enable amazing innovations and new business models to happen?

Cinematographer Armando Salas, ASC describes how he built the look of Netflix series “Griselda” from Polaroids and classical painting.

Executives from Soul Machines and Wild Capture debate the case for photoreal, full-body synthetic humans

Jackie Brenneman, founding partner of The Fithian Group, says the movie theater exhibition business has now entered the true digital age.

The film balances the darkness of change and war (always implied, never seen) with a fantastical world of vibrant creatures and characters.

Director Todd Haynes uses stylized visuals to examine how little people understand about perception (and reality) in “May December.”

Cinematographer Erik Messerschmidt employed a blend of practical and digital techniques for David Fincher’s latest film, “The Killer.”

Filmmakers Donal Boyd and Frank Nieuwenhuis sought to help people understand the impact of climate change on Iceland’s glaciers and on Icelanders.

Surella CEO Mike Nichols compares broadcast and cinema workflows — how they differ (or the same) and how productions can benefit from each.

Through “The Eras Tour,” Taylor Swift is “passing a $100M screen test,” according to Variety, and other critics agree the concert film is worth a watch.

Sports cinematographer Domenick Satterberg charts the history of NFL Films and reveals the camera techniques he uses to capture the action.

Director and star Michael B. Jordan’s collaboration with DP Kramer Morgenthau on “Creed III,” aimed to reinvent how boxing scenes are shot.