Labor relations, legal issues, and a lack of knowledge about filmmaking will all stall the adoption of GenAI by Hollywood, says Doug Shapiro.

Company 3 colorist Matt Osborne recounts “pushing certain colors in directions that aren’t associated with modern filmmaking.”

Driven by creator-led content, social commerce stands out as one of the most significant trends for marketers to watch out for in 2024.

Spatial computing has been adopted by Apple to describe its latest “wearable,” Vision Pro. But there are those wondering if this isn’t the metaverse by another name.

The writer-director discusses his new “disaster” movie, “Leave the World Behind,” that explores our over-reliance on technology.

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

Filmmakers Andrew Haigh and Jonathan Alberts discuss how they blended supernatural elements into the deeply personal “All of Us Strangers.”

As meditation on the madness of power, a cultural studies professor argues that Ridley Scott’s “Napoleon” needn’t be historically accurate.

David Fincher’s go-to editor Kirk Baxter helps achieve a new kind of subjective cinema with Michael Fassbender’s character in “The Killer.”

Celebrating creativity, Dushawn (Dusan) Jovic was announced as the winner of the “Empire State of Mind” photo contest at NAB Show New York.

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

In ‟El Conde,” Chilean director Pablo Larraín turns the story of General Augusto Pinochet into a stomach-turning tragicomic melodrama-horror movie.