‘You’ll have to forgive me,’ Jonathan Nix says in a tired voice over the phone, ‘I’m very weary.’ After finishing his latest film literally the day before we talk, he’s due to jump on a plane in mere hours and can’t get his DVD software to work.

Accepting projects on everything from traditional film to CD ROMs full of Final Cut pro data, they still have to deliver cans of film reels to distributors and cinemas, so how do they transform our mishmash of data and images?

A historic experiment in film and media was all ready to take place before a battle erupted between producers and the union. Drew Turney finds out more. One of the observations Naomi Klein makes in her seminal anti-globalisation work No Logo is that the big corporations have got out of the ‘making’ business and into […]