Luca Guadagnino differentiated “Challengers” from other tennis movies through a “kinetic experience” rather than “televisual stillness.”

Alex Garland’s “Civil War” is less interested in assigning blame to the right or left than in asking why we might end up there again.

High-end productions like “Civil War” and “The Creator” are turning to prosumer and even consumer gear for cinematic-quality visuals.

Cinematographer Sam Care and director Peter Hoar pay tribute to 1970s “Crossroads” star Noele Gordon, affectionately known as “Nolly.”

The latest travel film by Grafton Create utilized the Sony FX6, “the obvious choice” for the low-light imagery they wanted.

Curtis used no-cut “oners,” swirling camera moves, a contrasted lighting pattern, and a large format sensor combined with portrait lenses.

New technologies aim to make high-end motion capture more accessible to productions of all sizes.

ILM creates “ABBAtars” for the members of the legendary Swedish band ABBA, taking them back to 1979 for a virtual concert tour.

Many virtual production setups rely on motion tracking to locate the camera, even when motion capture isn’t being for animation.

With broadcasters embracing mirrorless and cine-style cameras, the new Sony HDC-F5500 brings a cinematic look to live productions.

Vancouver’s Volumetric Capture Systems employs the Unity game engine for simulated dream sequences in Blomkamp’s new horror feature.

Japanese artist Ryoji Ikeda set out to create art composed of data. The end result is his Data-verse Trilogy, which transforms binary patterns into an immersive audiovisual experience.