IBC365 pays tribute to the international cinematographers who have shaped the art of motion pictures and asks ASC members who they think is the greatest of all time.
Robert Richardson ASC describes recreating the summer of 1969 for Quentin Tarantino’s new blockbuster.
VFX supervisor Jean-Claude Deguara discusses creating a fantasy world straight out of the minds of Terry Pratchett and Neil Gaiman
Rocketman editor Chris Dickens explains how he helped create the true fantasy of shy piano prodigy turned international superstar and the challenge of creating the perfect ending.
Henley Royal Regatta has seen a growth in entries and interest after it opted to live stream its races through YouTube. Ian Volans looks at the 180 year old rowing event’s streaming strategy.
Under increasing pressure from OTTs, R&D is more important than ever says the BBC’s Matthew Postgate and the EBU’s Antonio Arcidiacono.
As scrutiny on green issues grows, broadcasters and content creators are finding different ways to talk about climate change.
The rise of the streaming platforms has sparked a production boom, affecting superindie groups through to smaller indies. It has had a major impact on all genres of programme making too - and the way that shows are now financed. Tim Dams reports.
The seventh annual American Cinema Editors’ London EditFest offered insights into cutting for factual, TV drama, and features, George Jarrett reports.
Public service news is facing increasing pressures from politicians to declining audiences and attacks on impartiality. But is it all doom and gloom? – Raymond Snoddy investigates.
NASA has always known the value of good publicity so, as well as the towering technological achievement of the Moon landings, it also put huge efforts into making sure the American public got to see them happen in realtime.
AI/ML and deep learning is having a huge impact in computer graphics research with potential to transform VFX production.
ITN Productions has adopted Sony CI cloud platform. George Jarrett speaks with head of postproduction Olly Strous to find out what Impact the technology has had to ITN’s workflow
Alongside audio quality and RF spectrum efficiency, the call for more discreet form factors is driving the design of broadcast microphones – especially in this era of increasingly high-resolution TV, writes David Davies.
BBC broadcaster James Burke speaks to IBC365 about the future of TV 50 years after covering the live Apollo 11 moon landing
Leading tech giants have linked up with the Royal Shakespeare Company in an ambitious project to re-imagine the future of theatre-going using immersive technology.
A new documentary film about the Apollo 11 Moon Landing features previously unseen 70mm footage that helps provide a whole new take on the mission and its legacy as it nears its 50th Anniversary.
AI is one of the buzzwords across all sectors, but what impact is it and machine learning having on live sports production? Andy Stout investigates.
During Pride Month, LGBTQ+ global streaming network Revry simultaneously broadcast the Trevor Live gala across multiple global channels reaching more than 9.4 million viewers.
From AR to the use of gaming engines, producers of live sports coverage increasingly have an armoury of new methods with which to present information and maintain viewer interest. A trio of the leading technology providers speak about their latest innovations.
SB.TV founder and entrepreneur and Media Production Show keynote speaker Jamal Edwards explained the power of storytelling and harnessing new media.
IBC365 goes behind the scenes of Dota 2 and speaks with industry experts on the broadcaster opportunities to monetise, engage and deliver.
BT Sport COO Jamie Hindhaugh outlines how the broadcaster’s Champions League final coverage will be the first time a live sports event will be broadcast in HDR to mobile devices.
At SportTech 2019, a key panel featuring the BBC, DAZN, Tennis TV and Ostmodern discussed the challenges of producing live sport.
From an iPhone to an expensive full-frame digital cinema camera, you can shoot a TV show or even a movie on a range of devices. But what do most mainstream productions use? These rental houses reveal all.
Bond 25, the next instalment of the 007 franchise, is employing a sustainability consultant on its shoot to ensure greener practices.
Five years after the first few installations took place, the BBC has signed off on its new centralised virtual local radio infrastructure. David Davies finds out more from lead project manager Geoff Woolf.
Cinematographer Dan Laustsen brings visual panache to the stunt-fuelled franchise
Red Bull is using biometric data to transform the viewer experience. Chief innovation officer Andreas Gall explains how, and explains why he thinks audio is so important.
Film trailers play a vital role in marketing budgets that can cost hundreds of millions of dollars, but different changing consumption methods have changed the nature of trailers.
From Facebook to Twitch to YouTube, cleverly integrated production solutions and lower price-points are making high-quality live streaming accessible to those who want to share content across a vast array of platforms.
The iPhone’s position as the go-to device for mobile journalists could be under threat by the Huawei P30 Pro, thanks to the latter’s “phenomenal” camera.
Although support for 4K/UHD production is steadily growing in importance, value for money, general functionality and flexibility remain priority concerns for users.
As the industry moves to embrace IP production, Swiss broadcast service provider TPC has made history by offering the first uncompressed, UHD OB vehicle entirely based around SMPTE ST2110.
NAB 2019: The ethics of digitally recreated performances by actors who have passed away was questioned during an SMPTE panel at NAB.
A noticeable shift toward greater risk-taking and collaboration by French broadcasters was one of the big talking points at the MipTV programming market in Cannes.
The jury is out on the aesthetic qualities of high frame rates (HFR) for cinema but the technique seems an inevitable part of the future theatrical experience.
NAB 2019: 4K HDR emerges as the live production benchmark and 8K becomes an option for 4K workflows.
The latest drama from This is England writer-director Shane Meadows was created in a semi-improvised fashion which required highly flexible production planning from indie producer Warp Films
From interactive episodes of Black Mirror to Bear Grylls’ latest series, Netflix’s post-production operation and supply chain is responsible for servicing the insatiable appetite for original content that will see it deliver more than 1,000 branded shows this year.
4K, IP and immersive audio are among the technologies impacting dramatically on the design and build of new OB units, writes David Davies.
Foley artists whose credits include Breaking Bad, The Revenant, Killing Eve, Black Mirror and Suicide Squad explain all about Foley.
While UK VFX and animation houses operate in the almost certain knowledge that Brexit will dent their global competitiveness, facilities in Europe expect to benefit.
One of the world’s leading specialists in 3D production, Demetri Portelli’s credits include Oscar winner Hugo through to Ang Lee’s upcoming sci-fi film Gemini Man – and he thinks that 3D filmmaking remains vital to the future of cinema
Major economies are leading the development of Latin America’s media market, but many countries in the region lack the infrastructure and resources to develop their broadcast industries, according to an IABM report.
Supercar Blondie, an influencer with over 500K subscribers on YouTube and 2.2m followers on Instagram, specialises in driving and reviewing rare and unique cars.
With their millions of young followers, online stars and influencers are increasingly being booked by traditional media in an effort to boost ratings and attract crucial 16-34-year-old audiences. But do their millions of followers really translate into millions more viewers for TV?
With the number of programmes, platforms and services that need to be accommodated growing all the time, developers of studio control systems need to ensure that this does not translate into ever-increasing operator complexity.
The UK’s VFX houses warn that cost of visas under current Brexit proposals risks the sector’s global competitiveness
From the transition to digital broadcasting to the adoption of OTT, the IABM’s newly published report on Middle East and Africa outlines the prospects for growth in the region
IBC365 marvels behind the scenes of Disney’s first female-fronted superhero release.
Tips on how to succeed in the sometimes male-dominated creative, technical and leadership positions in the media, entertainment and tech industry.
From an eccentric costume drama to the story of the ultimate stadium rockers, what all the nominations in the best film editing category have in common is that their stories are based on real life biographies.
The National Theatre is home to world-class productions and performances, but how are the plays broadcast to cinemas around the world?
Oscar-nominated cinematographer Lukasz Zal reveals how he created the black-and-white look for Pawel Pawlikowski’s Soviet-era love story.
The 4K/UHD expectations of some leading streaming services mean that the home viewing experience could soon rival that encountered in commercial cinemas, writes David Davies.
IABM Lead Research Analyst Lorenzo Zanni takes an in-depth look at how increases in processing power and storage capabilities are broadening Artificial Intelligence applications throughout the broadcast, media and entertainment industry.
With many camera and lens manufacturers making announcements and revealing upgrades at the BSC Expo in London, Andy Stout looks at the latest developments in the world of high end cameras and lenses.
For vendors, arguably the greatest challenge at this point resides in satisfying the continually evolving ways in which broadcasters and content creators wish to apply immersive audio techniques, writes David Davies.
From shooting in black and white to creating in-camera effects, we take a look at the technology and technique behind Oscar nominated films.
Vendors are helping broadcasters to rise to the challenge of 4K/HDR production while maintaining best-quality for existing HD/SDR workflows.
Leading figures from the worlds of theatre, technology and media are behind an ambitious project to create mixed reality, immersive visitor experiences at The Natural History Museum and The Science Museum in London.
Ethan Van der Ryn and Erik Aadahl, the supervising sound editors of Oscar-nominated A Quiet Place, on establishing the rules of silence and the shock of what happens if you break it.
The sonic soundscape of Neil Armstrong biopic First Man fuses authentic reconstruction with the insanity of the race into space.
Environmental issues, like climate change, are having an impact on broadcasting – most noticeably on screen, where the success of programmes like the BBC’s Blue Planet II was such that it has changed attitudes to single-use plastics. Behind the camera there is also now a greener tinge around the edges.
Cinematographer Robbie Ryan on the bold lens choices for Yorgos Lanthimos’ acerbic awards-tipped period drama.
Bafta has revealed the shortlist for this year’s Film Awards, with The Favourite nominated in 12 categories.
Queen biopic Bohemian Rhapsody scooped the award for best drama at last night’s Golden Globes.
From to the use of VR at the Winter Olympics, find out which articles were the most-read in 2018.
From the restoration of Peter Jackson’s WWI epic They Shall Not Grow Old to behind the scenes of Love Island and the impact of AI, holograms and Brexit on the media industry, we look at the most popular Production articles of 2018.
Oscar winning cinematographer Dion Beebe has described using ultra high frame rates to film Ang Lee’s sci-fi actioner Gemini Man, as part of the future of cinema.
In the second part of our 2018 review we look back at the milestones, mergers, deals and innovations that dominated the second half of the year.
From the auction of Sky, to the rising interest in 5G and growing adoption of AI, IBC’s owners share their highlights and reflections of the last 12 months.
The first instalment of a two-part round-up of the main talking points of 2018 includes the battle for net neutrality, 5G advances at the Winter Olympics, the Premier League rights battle and a Facebook scandal that still haunts the social media giant.
As 2018 draws to a close, it’s time to look ahead – and try to pick out some of the likely themes and trends for 2019 in the broadcast and production sectors.
Dutch football club Ajax has showcased an artificial intelligence supported production of one of its matches, which the club’s technology partners say could remove the need for production facilities, camera crews and directors.
Cinematographer Dion Beebe explains how he mixes digital production techniques with hand drawn animation and London location work to recreate Disney’s whimsical nanny.
With around half of Fantastic Beasts: The Crimes of Grindelwald’s $200m budget comprising VFX shots, Framestore Creative Director Christian Manz reveals the VFX story to IBC365, detailing work on key scenes, the re-invention of Paris and the creation of some of the more fantastic of the beasts.
The Royal Television Society (RTS) 2018 Craft and Design Awards have awarded the best in UK broadcast television from directing and effects to costume and make up.
IBC365 spoke with the One Strange Rock, The Crown and Katy VFX teams shortlisted for last night’s RTS Craft and Design Awards.
There’s a raft of new options available to help camera operators make their handheld shots flow as smoothly as possible. David Fox weighs up the latest powerful yet budget-friendly grip offerings.
To mark World Television Day, we have assembled a list of five influential television programmes that have gone on to have a distinct impact on society.
Award-winning documentary maker Deeyah Khan’s work has educated, empowered and inspired change. She explains what motivates her and why storytelling is so vital.
What does the popularity of large format sensor digital cinema cameras mean for the lens market? David Fox reports.
Gameshow Taskmaster has been a standout hit for UKTV and is now entertaining audiences around the world. Creator Alex Horne and execs from UKTV and production company Avalon explain how the show was exported to 17 countries.
The Tour De France is the world’s most well-known cycling race and a monumental challenge for broadcasters. The TM Forum, through its Catalyst programme, set out to examine how 5G technology could be used to cover the event.
The rapid development of LEDs is now leading to a greater quest for consistency and improved colour rendition during production. David Fox reports for IBC365.
The Royal Television Society (RTS) has announced its 2018 Craft and Design Awards with The Windsors Royal Wedding Special, The End of the F***ing World and A Very English Scandal, leading the nominations across four categories.
Based out of Kilkenny in Ireland, Irish animation studio Cartoon Saloon has racked up Oscar nominations and interest from streaming platforms. Paul Young of Cartoon Saloon explains how OTT content hunger is fuelling the global animation market.
The Rory Peck Awards last night honoured the work of freelancers covering worldwide news and current affairs from dangerous and fascinating locations.
It’s rare when something can be truly said to represent a revolutionary approach to filmmaking. Attendees of a jaw-dropping Big Screen session at IBC2018 got to see for themselves how game technology is fundamentally changing the way films are made.
Far from being killed off by digital, practical special effects are routinely used to heighten the effectiveness of scenes and emotional beats in a way impossible in a computer.
Audio is key to bringing natural history stories to life, say filmmakers who have used Dolby Atmos to enhance their films.
Sky is one of a handful of global broadcasters taking a prominent role in evolving the use of Dolby Atmos in live events, Andy Stout reports.
A raft of new technology is enabling people to watch their favourite artists in many different ways – and all from the comfort of their own homes.
In consciously opting against a hybrid solution for its new broadcast centre, German sports producer Plazamedia has created a modern, future-proof system as SMPTE 2110 approaches.
There’s a huge amount of change taking place in the audio business, driven by the move towards immersive sound. Nowhere was this clearer than at this year’s IBC.
The Editor and Production Designer of Freddie Mercury biopic Bohemian Rhapsody tell IBC365 how the film recreated the classic Live Aid concert from Wembley Stadium – with 800 extras at Bovingdon airfield near Hemel Hempstead.
Grainy, black and white footage of World War One has been given the ultimate restoration treatment to startling effect in They Shall Not Grow Old.
NEP’s latest acquisition, a deal for connectivity services firm SIS Live, was announced yesterday. And it’s unlikely to be the OB giant’s last, writes Adrian Pennington.
New immersive audio standards have been published by SMPTE for distribution and consistent playout of various immersive sound systems.
In this Tech Talk and accompanying technical papers we hear from researchers and vision scientists - from the BBC, RheinMain University and Technicolor - on how they are ensuring the precision of HDR and colour in image capture.
Explore the next generations of immersive media with technical papers from leaders in the field including Fraunhofer Heinrich Hertz Institute and Ubisoft Paris.
Read Dolby Laboratories, Sennheiser, EVS, UEFA and BT Technology technical papers and watch their presentation from IBC2018 on the exciting technology developments in sports production.
IBC2018: Positioned at the centre of the changing media, entertainment and technology industry, IBC has confirmed visitor attendance of 55,884, across the six day event.
IBC2018: One of the world’s biggest production companies is increasingly using artificial intelligence to power creativity and cut costs.
IBC2018: The exhibition and the features areas not to miss on the last day of IBC2018.
IBC2018: Advertisers as well as TV and the sports production industry should wake up to the huge potential of eSports says MTGx CEO Arnd Benninghoff.
IBC2018: India has eight versions of Big Brother, while young people are abandoning conventional TV in the Middle East… The challenges of operating in the Asia Pacific and Middle East markets were laid bare in two IBC panels.
IBC2018: Lily Cole and Kwame Ferreira’s business incubator looks to support technology companies focused on sustainability.
IBC2018: The immersive market “will really start to grow next year”, says VR Industry Forum president Rob Koenen, pointing to creative and tech developments in the sector.
IBC2018: The strongest case for the use of AI production tools is in lower cost genres of television, says BBC AI Research Engineer Craig White.
IBC2018: Awards presented to Eurosport, Medialaan, RTÉ, Econet Media, BBC R&D as well as Sesame Street co-creator Joan Ganz Cooney
IBC2018: Highlights from across the conference and exhibition with a must-see innovation keynote and Big Screen screening of Jurassic World tonight in the Auditorium.
IBC2018: VR and 360 productions need a well thought out story and an even more detailed script.
IBC2018: Sky VR Studio Technical Director Richard Mills points to some of the best VR work being produced to show how the medium is developing.
IBC is benefiting from the convergence of technology, says Chief Executive Michael Crimp.
IBC2018: Money raised by the 4K 4Charity Fun Run will go to organisations focused on increasing diversity and inclusion in media and entertainment industry
IBC2018: Highlights from across the conference and exhibition and your invitation to the IBC Awards ceremony with a special guest from Sesame Street.
IBC2018: Companies in the broadcasting industry will be more successful if they improve on- and off-screen diversity, delegates at IBC sessions on diversity and gender equality are told.
IBC2018: Highlights from across the conference and exhibition including the Big Screen and content everywhere.
IBC2018: Growth of the British creative industries will be hit by Brexit, agree executives at an IBC session.
IBC2018: Ambition is to create ‘drag and drop’ web interface allowing programme makers to use AI to develop new forms of content
IBC2018: Al Jazeera Digital and Brave Bison execs outline strategies for targeting Gen Z viewers.
IBC2018: New fund will back drama and comedy shorts, announces BBC Studios boss Tim Davie in keynote IBC address.
IBC2018: Highlights from across the conference and exhibition featuring gender equality lounge talk and spotlight on the Future Zone.
IBC2018: Broadcasters must partner with digital platforms like YouTube, WhatsApp, Twitter and Facebook to launch shows that attract young audiences, says Endemol Shine’s Peter Salmon.
IBC2018: Creative deal making, speed and solid financial backing are vital for broadcasters like the BBC to secure the best content, says BBC Studios CEO Tim Davie.
IBC2018: European public service broadcasters are under pressure to “create great things together” says new EBU Director of Technology and Innovation Antonio Arcidiacono
The launch of Sony’s Virtual Production solution has thrown a spotlight on the possibilities of remote production. But, as David Davies discovers, plenty of other vendors are gearing up to make the most of this particular revolution.
In the first instalment of a two-part feature, we speak with three startups companies transforming the industry.
As post-production technology has become more accessible and cheaper, a big question facing many production companies is: should post production be brought inhouse? Three leading indies explain the pros – and cons – of going inhouse.
SingularDTV Co-Founder and film producer Kim Jackson will deliver the convention keynote exploring the impact blockchain technology is having on the media and entertainment industry.
From cameras through to the edit, IBC365 rounds up the very latest production techniques for immersive content.
Sports federations are increasingly partnering with sports producers to broadcast their niche events, IBC365 talks to leading sports producers about the do’s and don’t of covering smaller tournaments.
BT, BBC R&D and NHK are among the exhibitors showcasing exciting concept technologies and cutting edge-solutions in the IBC Future Zone.
Jonathan Bramley is a busy man. As Executive Producer of the BBC coverage of the inaugural European Championships he needs to win gold at logistics and be ace at juggling too.
The global drama hit is produced with environmental considerations firmly in mind, aiming to reduce its carbon footprint year on year.
Welcome to this first edition of Insight, your new guide to this year’s show and conference. The aim of this magazine is to introduce you to the technology trends, industry themes and keynote speakers that will shape IBC2018.
The rise of unreliable information on the internet has raised issues of trust and distrust for the media throughout the developed world - and is a subject that will be examined in detail at IBC2018 in Amsterdam.
Does news that Vivendi is to close its Studio+ mobile focussed short content platform only two years after launch point to wider weaknesses in the short-form market?
Football star Eden Hazard’s augmented reality interview on Belgian TV went viral soon after it aired during the World Cup. Here’s how it was produced.
With the deadline to Brexit fast approaching, IBC365 asks leading media executives about the big issues they want government to resolve.
With more dramas and films now delivering in HDR, IBC365 asks leading colourists to reveal all about the pros and cons of grading in the format.
From interactive game shows to holographic headsets that allow sporting action to play out in front of you, mixed reality promises groundbreaking new experiences – but there are hurdles before the tech becomes mainstream.
BBC R&D has scooped the Best Conference Paper Award for its research into practical uses of AI for production.
With more video being produced than ever before and an increasing array of platforms on which to consume content, the DPP set about examining how today’s production companies work.
Executives from Amazon, Viacom and Wonderhood Studios have ben added to the line-up of IBC2018 keynote speakers.
Netflix leads the tally of 2018 Emmy nominations with 112 nods, surpassing HBO’s 108.
Senior executives from Vevo, Nordic Entertainment, MTG, Discovery Networks and WPP will gather at the IBC2018 Leaders’ Forum to debate the current media landscape and share insights on the direction of the future.
Behind the scenes of ITV’s summer hit that has sold all over the world to countries including Germany, Australia and Finland.
CCTV, RTÉ, ESPN and Discovery are among the broadcasters shortlisted for the IBC2018 Innovation Awards.
Most stories about new broadcast facilities are all about beautiful buildings designed by ‘starchitects’ featuring soaring atriums and state-of-the-art studios and production systems. This is not one of them. This is the story of tin-roofed, mudbrick buildings with no air-conditioning, and brand new, old-fashioned analogue production kit.
This year’s Cannes Lions showcased how creatives the world over are putting new technology – like AI, blockchain, VR, voice and facial recognition - to highly imaginative uses.
Oscar winning director Kevin Macdonald and his production team tell IBC365 how they overcame poor quality 1980s home video archive to bring his latest feature doc, Whitney – about the iconic but troubled star - to the big screen.
There is a major new market emerging in the creation of branded video content - and it is being filled by small, multi-skilled digital production companies, who have no particular interest in broadcast TV.
The business of being funny is no laughing matter. Compared to genres like factual, reality and drama, comedy can be too expensive, too regionally specific and just too much of a risk.
Reviews for VR coverage of the World Cup have so far been mixed. Yet many in the VR industry say it is too soon to judge the technology, and that the best is yet to come.
Amazon’s estimated £100 million purchase of an English Premier League football package puts beyond doubt any question that the future of live sports viewing is now in the hands of the tech giants.
Increasing audience demands for more content and more engagement are driving a new wave of remote production, but the big players stress that, as ever, connectivity is a key factor.
In the second part of our look at ethnic diversity in broadcasting, it’s plain that wholesale change – not just in one sector or area of opportunity – is required for the good of the industry.
Post-production companies, long considered to be the ‘last stage’ in the broadcast and film chain, are often the most enthusiastic early adopters of cutting edge technology.
With many broadcasters still grappling with how to collaborate with freewheeling creators, has BBC Wales hit on the ideal model for community interaction?
The Digital Production Partnership (DPP) has announced the release of a new guide designed to aid news organisations and suppliers of news systems in easily exchanging metadata.
Coverage of the UEFA Champions League Final is set to be another UHD and VR 360 spectacular, while chances seem high that the BBC will commit to UHD HDR live streaming of FIFA World Cup in Russia.
Attitudes might be moving in the right direction but there’s still an imbalance facing black, Asian and minority ethnic (BAME) talent in the broadcast industry
From Tie Break Tens tennis to Power8 Sprints rowing, bite-sized sports are shooting for digital audiences with short attention spans.
Love Island, This Country and Detectorists were among the programmes honoured at last night’s Baftas, with Peaky Blinders and The Handmaid’s Tale also triumphing in their categories.
Women are under-represented in all areas of broadcast, from leadership roles at hardware and software firms, to directors and script writers, camera operators and engineers.
Capturing and crafting immersive content requires specialist tools. Dick Hobbs looks at some of the latest technology for creating VR, AR and 360-degree video.
Mobile video journalists (MoJo) from CBC, RTE and BBC offer insight into how technology has revolutionised reporting, the impact of mobile apps and the threat to traditional reporting.
The phenomenon of eSports is a transformational concept, a genuine disrupter. While acknowledging the use of the obvious cliché, it is a game changer.
Game of Thrones wins three awards including a special award for “pushing boundaries”.
NAB 2018: In the past few years there has been more parity between audio and video, and no longer is the cliche “audio is the poor relation to video” trotted out at exhibitions.
NAB 2018: The range of cameras with larger sensors from the likes of Arri, Panavision, Red and Sony offer more choice than ever when it comes to acquisition formats and lens options.
NAB 2018: A glut of statistics on consumer interest in UHD, as well as the unveiling of kit from the likes of Sony, Blackmagic, Canon and Panasonic point to the steady uptake of UHD.
The power of archive is dramatically on show in Lionsgate’s Michael Caine-fronted feature documentary My Generation, which traces the cultural revolution that occurred in the 1960s.
Black Mirror, Line of Duty, The Crown and Three Girls have all been nominated in three categories for the 2018 Bafta television awards.
The IABM has announced the shortlist for its new Broadcast and Media Awards (BaMs) which will be presented during NAB 2018.
In the second instalment in a series of articles that look at job roles and their relationship with technology, Alana Foster speaks with three unmanned aerial vehicle (UAV) operators.
With the quality of audio capture integral to the success of a production, IBC365 speaks with industry experts to examine the changing requirements production sound mixers and the response of manufacturers.
A focus on functionality, utility, and efficiency may have produced a long list of recent innovations, but are we exploring the creative potential in new technology?
The Royal Television Society recognised BBC’s Planet Earth II, ITV’s Love Island and C4’s The End of the F***ing World for excellence in British television.
The ongoing fight for TV audiences in one of the world’s fastest growing sports, mixed martial arts, has found a new and unusual battleground.
European broadcasting experts have called out Facebook, Amazon, Apple, Netflix and Google platforms to fight the spread of fake news and online disinformation.
In the first of a series of articles that look at job roles and their relationship with technology, Alana Foster speaks with three digital imaging technicians whose credits include Black Mirror, Skyfall and McMafia.
The Royal Television Society (RTS) has announced its 2018 programme awards nominations.
The Royal Television Society (RTS) took the lilt and inference of the property and design franchise show Love It or List It for an evening panel session on the stark implications of eye-catching buy-outs in the media markets.
The Shape of Water scooped the Best Picture gong during the 90th Academy Awards with I, Tonya, Three Billboards and Darkest Hour also awarded across the categories.
The power of Facebook, Amazon, Apple, Netflix and Google was a recurring subject on the opening day of the conference at Mobile World Congress.
Murdoch extends Sky News promise and Disney and Marvel break box office records.
Making sure that metadata remains with material, the use of AI to search archives and workflows that allow journalists to publish one story to multiple platforms simultaneously - George Jarrett completes a two-part look at the newsroom technology market.
Sir Ridley Scott awarded the highest honour at the Baftas as Three Billboards, Darkest Hour and The Shape of Water scoop top awards.
The creative talent responsible for VFX and editing of big screen blockbusters Maze Runner: The Death Cure, Downsizing and Paddington 2 discuss their craft.
It’s not just the athletes that have broken records at the XXIII Winter Olympics in PyeongChang - the technology has set new standards too.
The Broadcasting Press Guild (BPG) has shortlisted traditional and online-first television programmes for its 44th annual awards.
In the first of a two part series on newsroom technology, George Jarrett talks to the BBC and vendors about enabling journalists and delivering content to digital and broadcast platforms.
Students eager to pursue a career in television production and broadcast journalism are being encouraged to apply for the Royal Television Society (RTS) Undergraduate Bursary Programme for 2018.
The Royal Television Society has announced the nominations for its 2018 Television Journalism Awards.
With increasing demand for UHD and HDR content, colour management and workflow optimisation are at the heart of product development.
“Good enough,” is not a phrase usually heard in the corridors of broadcasters unless it’s following the words “that’s not”, writes John Maxwell Hobbs.
The Royal Television Society (RTS) has launched its fourth career event to help those keen to forge a career in the television industry.
IBC365 previews the technical categories for the 90th Academy Awards in which digital acquisition dominates.
No one can really see into the future, of course, but there are experts out there who might just be able to offer us a glimpse of what is to come. End users, analysts and consultants consider what 2018 might bring across TV, cinema and online.
The first set of virtual reality (VR) industry guidelines will be presented during CES in January by the Virtual Reality Industry Forum (VRIF).
The making of the BBC’s Blue Planet 2 and the rise of virtual reality content were among IBC365’s most-read Production articles of 2017.
Disney’s deal for Fox will give the media giant global reach and the ability to sell direct to consumers, but will it be enough to compete with the growing threat from the likes of Netflix and Google?
Broadcasters responded to the threat of Facebook, Apple, Amazon, Netflix and Google through increased collaboration, consolidation and direct to consumer offerings, writes Kate Bulkley.
Planet Earth II and Taboo were among the programmes honoured at last night’s Royal Television Society Craft and Design Awards.
Remote production makes sense for some types of TV and it could usher in a new wave of innovative formats, writes Tony Gregory.
Remote production has been heralded as a way for broadcasters to respond to audiences’ increasing appetite for content, but what are the other drivers for adoption?
Brexit is causing unease among the UK’s production and wider creative industries but could the country’s “unique” mix of financial, legal and creative services protect it from any negative side-effects?
The European Broadcasting Union (EBU) has launched a campaign to demonstrate that public service media (PSM) is key to a strong society.
Last month, NEP UK opened its doors to students, showcasing the world of outside broadcast with experts from across the industry offering career advice.
All the numbers surrounding eSports tournaments seem increasingly stratospheric. Is now the time to be investing?
The Royal Television Society Craft and Design Awards celebrate excellence in broadcast and recognise the variety of skills and processes in programme production.
Is this the most dangerous time to be a journalist? Industry figures spoke to IBC365 on reporting in a conflict zone, facing threats and the fake news phenomenon.
Technical papers on audio presented at IBC2017 included UK startup Salsa Sound, which went on to win the IABM Annual Conference Dragons’ Den competiton earlier this month for its live sports broadcast system.
As it looks to the future, SMPTE is set to drive revitalisation across Sections, champion standards and reinvigorate its roadmap.
At IBC2017, industry leaders spoke of the likelihood of consolidation among vendors, but what is driving M&A activity and what will it mean for the industry?
Machine learning (ML) is an integral part of Google’s plans for hosting cloud-based production and delivery tools, according to Jeff Kember, Technical Director for Media in the office of the CTO at Google.
Apple’s recruitment of former Channel 4 creative boss Jay Hunt is a shot across the bows of both traditional broadcasters and digital rivals, writes Kate Bulkley.
In the second part of IBC365’s special report on the making of the BBC’s Blue Planet 2, Will Strauss looks at the post-production work that was completed for the returning natural history series.
Last night’s Rory Peck Awards recognised the achievements of freelancers working behind the camera in some of the world’s most hostile environments.
Sony Pictures President Wayne Garvie will chair the RTS 2018 annual programme awards to recognise excellence across the TV industry.
The filming techniques and camera technology used to capture elements of the world’s oceans that have never been seen before.
The Royal Television Society has opened entries for its Television Journalism Awards calling entrants for creative and excellent journalism.
IBC2017 provided further evidence that cloud-based technologies have entered a mature phase, from production through to playout.
In a keynote address at IBC2017, Brian Sullivan, President and Chief Operating Officer Digital Consumer Group 21st Century Fox, speaks about the US market and the impact of consumer power and what the industry must do to keep viewers engaged.
Advances in technology have paved the way for single users to take on tasks that were previously carried out by entire teams.
Hall 12 proved to be a fertile hunting ground for those in search of gadgets and gizmos for acquisition and camera support, writes David Fox.
IBC2017 has confirmed a year-on-year increase in visitor numbers, marking a record attendance of 57,669 across the six-day event.
IBC2017: The final instalment of the popular What Caught My Eye series of sessions concluded with producer and social media expert Muki Kulhan scouring the exhibition halls to come up with her best buys for web-broadcasters.
Cinematographer and visual effects pro David Stump, ASC, sees light-field technology as a huge opportunity for film, TV, virtual reality and other areas of content creation.
There are now more than 50 commercial Ultra HD services worldwide, but for many broadcasters, moving to UHD is a more distant aspiration.
IBC2017: BBC R&D is looking to engage a generation of Snapchat-addicted viewers with a technology that breaks news stories down, taking them on non-linear journeys aimed at deepening their understanding of important stories.
IBC2017: The exhibition and the features areas not to miss on the last day of IBC2017.
Industry excellence and thoughtful design were recognised at the IBC Innovation Awards at the RAI Auditorium on Sunday evening.
There’s no doubt that the roll out of UHD services has been slower than the adoption of HD. IBC held a conference session on UHD to allow senior figures from Sky, Sony Pictures Entertainment, Netflix, Ericsson and Molinare to air the reasons why.
The IBC Legends took on Lucky Ajax in a charity football match at the Friendship Sports Centre in Amsterdam last night.
IBC2017: What not to miss at the conference and exhibition on Monday, including the Big Screen movie and Future Reality Theatre.
IBC2017: A self-shooting ’one-man band’ set himself the challenge to re-equip his video production kit with the latest equipment for less than €20,000.
The Berlin Philharmonic orchestra will be available in Ultra HD and HDR from next month, using new video facilities to capture weekly performances.
In entertainment at least, broadcasters and social media networks are more friends than foes as they harness social media to innovate new content and increase ratings.
IBC2017: What to see on Sunday at the show, including a discussion on VR, MR and AR and the IBC Awards.
IBC2017: Is anything possible now in the cloud? For vendors the possibilities are limitless, for broadcasters it’s only a matter of time.
IBC2017: The power of presence will prove to be vital in developing more engaging media, especially in VR.
IBC2017: What to see in the conference and exhibition, including the Big Screen film Baby Driver and sessions on cyber security.
News chiefs have warned that broadcasters must develop strategies for alerting viewers to fake news and preventing social networks from cannibalising their content.
ESports is finally emerging as a major new opportunity for broadcasters to build younger audiences.
TV networks need to start thinking – and commissioning – digitally in order to reach a youth audience, according to a panel at the IBC Conference.
IBC2017: Despite declining viewing figures, there remains plenty of demand for childrens’ TV.
Donald Trump’s tweets, fake news and the future of artificial intelligence in newsgathering were all on the agenda at the first day of the IBC Conference.
IBC2017: What to see in the conference and exhibition including a keynote from Fox Group President and COO and insight into launching a VoD service.
BBC Deputy Director General Anne Bulford and BBC Natural History Unit exec Mike Gunton are amongt nine leading executives awarded RTS Fellowships.
HDR, which recreates an image that’s close to what we see with the human eye, is gaining traction in the broadcast environment, says INSIGHT TV CEO Rian Bester.
The iconic Television Centre in West London has reopened, with The Jonathan Ross Show the first production to use the overhauled studios that were dubbed ’the home of British television’.
Dennis Bergkamp, Edwin van der Sar and John Heitinga are among the Dutch stars set to play in a charity fundraising match as part of IBC’s 50th anniversary celebrations.
Sky Sports is pulling no punches when it comes to the Floyd Mayweather and Conor McGregor fight, broadcasting boxing’s biggest event of the year.
As technologies such as Dolby Atmos ramp up what is possible in the cinema, so productions are responding in turn.
As IBC celebrate its 50th, David MacGregor – the only person believed to have attended every single IBC - shares his memories of the industry.
One Championship CEO Chatri Sityodtong on creating a new generation of Asian martial arts heroes, and delivering new audiences to broadcasters.
IBC2017: Audience engagement, business opportunities and rights management are driving live sports to evolve, traditional and alternative games are explored.
Producers continue the search for innovation and social engagement to enhance the viewers’ experience across their live sports premium content offering.
Edgar Wright’s action and crime drama Baby Driver redefined the cinematic post-production workflow with the integration of music storyboarding from start to finish.
Advances in technology mean that operational staff need to know more – not less – about the tools used to create TV.
From standard specifications and industry trends to advances in media and technology, SMPTE will showcase its past and present groundbreaking work at IBC2017.
Sky’s Group Chief Operating Officer Andrew Griffith and Managing Director, Content, Gary Davey will deliver the opening session at the Royal Television Society (RTS) Cambridge Convention.
A range of technologies are enabling new methods of producing and distributing content to the cinema, TV and online.
Content creation across social media platforms is shaping the future of creativity and
The advent of UHD and HDR has made the need for accurate monitoring in the field and post production suites more acute than ever before.
IBC2017: The Business Transformation Tech Talks Conference stream will provide insight into cutting-edge technologies.
The IBC2017: Audiences and Advertising conference stream will focus on the realities of the changing consumer landscape – reaching, engaging and monetising viewers.
From an immense space city to a Lexus inspired spaceship, Rodeo FX played a crucial part in bringing director Luc Besson’s vision of the graphic novel to the big screen
Dunkirk is the latest release in the new and rather specialised sub-genre of war films pushing film technology in new directions.
IBC2017: As cyber attacks become increasingly hostile, leading industry figures will offer insights to mitigate risks and protect organisations from cyber threats.
IBC2017: Leading figures from traditional, alternative sports and esports will feature at IBC2017 to discuss expanding business opportunities, fan engagement and rights management.
A London UHD conference, organised by satellite operator SES, heard speakers endorse High Dynamic Range as the de-facto production standard, especially for high-end drama.
IBC is organising a charity fundraising football match against a team of Dutch footballing legends as part of its 50th anniversary celebrations.
With the range of tools available for acquiring HDR content greater than ever, productions are embracing the opportunity to create “natural and life-like images”.
Sky will host the third-quarter SMPTE Technology Committee meetings at its London HQ in September.
Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR) will be scrutinised and explored in real-world deployments from content creation to user experience.
There is a need for further education in the broadcast market on the benefits of IP, according to several systems integrators.
Arena and Timeline have become the reference points for moving outside broadcasting into the promised land of IP.
Hybrid broadcast broadband TV (HbbTV) Association with the HD Forum Italian (HDFI) Association have announced the 2017 HbbTV Symposium at the Auditorium Antonianum in Rome on 17-18 October.
The Royal Television Society (RTS) launched an innovative bursary programme in 2015, with the aim of attracting computer science and engineering graduates into the broadcast industries, writes Simon Pitts.
Several years ago shooting video on DSLRs was a big new trend, then video manufacturers responded with their own large-sensor camcorders. So, what place do the latest DSLRs have in broadcasting?
Advances in technology mean that broadcast engineers have an increasingly important role to play in aiding the creative process, says John Maxwell Hobbs.
Harmonic, Bridge Technologies and Teleste were among the companies honoured at the Society for Broadband Professionals (SCTE) awards, which also celebrated individual achievements for work in the broadband arena.
Production companies and distributors are tapping into “considerable” demand for UHD and HDR content.
The 2017 programme for the Hollywood Professional Association (HPA) Tech Retreat UK promises rich content on artificial intelligence (AI), machine learning (ML), cloud and high dynamic range (HDR).
The phenomenal changes in the way content is consumed has disrupted the media and technology supply chain for broadcasters and revolutionised the production world.
The Steve Hewlett Memorial Fund has been set-up in memory of the celebrated broadcaster who died earlier this year from cancer.
William Lewis, reporter, editor and media executive is part of the future of news – and a relentless opponent of fake news in all its forms and those who facilitate its spread.
Celebrating excellence in British broadcasting across television the Royal Television Society (RTS) has opened entries for its 2017 Craft and Design awards.
Naomi Climer will be awarded the Lifetime Achievement honour at the annual TVBEurope Awards.
Virtual reality (VR) will transform into a unique medium of its own, according to Telegraph Group Creative Director Matt Simmonds.
BT Sport and MTG are among the broadcasters that will show the first-ever live 360-degree coverage of the Champions League final.
SMPTE Director of Standards and Engineering Howard Lukk, Education Vice President Richard Welsh and Executive Director Barbara Lange will speak at key industry events throughout 2017.
Senior executives from Facebook, Liberty Global, MTG, Fox Networks and HTC will deliver keynote addresses at the IBC2017 Conference.
For virtual reality (VR) to flourish creatives should keep experimenting with the technology which also needs to be embraced by the wider broadcast industry, according to Sky Creative Director Richard Nockles.
The 12th annual Hollywood Professional Association (HPA) awards have opened for submissions across a range of creative categories.
The industry is facing rapid change driven by technological advancements, fundamentally altering the media supply chain as consumers demand higher quality content delivered instantly.
Light field technology could help to cut the cost of creating visual effects (VFX) for film and TV productions by doing away with the need for green screens.
21st Century Fox Chief Executive James Murdoch will deliver a keynote address to delegates at the upcoming RTS convention.
Established camera manufacturers were keen to show their virtual reality (VR) credentials at NAB, with Sony, Panasonic and Blackmagic Design among the firms to showcase tools for acquiring content.
Barbie’s video blogs are probably not on your YouTube favourites list, but they are part of an important trend which is rapidly snowballing: the use of gaming render engines to create broadcast and online material, quickly and very cost-effectively.
As forecast by many, that catch-all phrase ‘the cloud’ was one of the dominant themes of this year’s NAB.
The Hollywood Professional Association (HPA) opened the call for entries for its Engineering Excellence Award at the Future of Cinema Conference at NAB.
Avid kicked off NAB with a customer and press event that focused on the company’s roll out of cloud-based apps and services.
Producing virtual reality content for any of the many VR headsets now available is no longer a concept confined to gaming or the IBC Future Zone.
Advances in display technology have paved the way for the delivery and consumption of HDR TV.
Meticulous planning and pre-visualisation were used to create Disney feature The Jungle Book.
The prime movers for virtual reality are gaming and real estate, with other applications in areas such as healthcare and education.
Projections for virtual reality hardware are extraordinarily positive, with findings from UK-based Business Insider Intelligence suggesting in excess of five-fold growth over the the next five years.
Details of the adherence criteria and deadline dates announced
Programme details for The Society of Motion Picture and Television Engineers (SMPTE) conference
In 2016, the European Broadcasting Union (EBU) updated all of its loudness specifications, except for the core, EBU R128 itself.
The Royal Television Society (RTS) revealed its annual Programme Award winners at a gala ceremony in London.