Active viewers want to be a part of the show they care about, says Kiswe Mobile chief technology officer Francis Zane.
It’s not just the wellbeing of those on-screen that is being neglected; we need to face up to the uncomfortable truth for those toiling behind the scenes, says CEO of the Film & Television Charity Alex Pumfrey.
With SVOD set to be the biggest media story of 2019, Brave Bison CEO and IBC Content Steering Group chair Claire Hungate asks if linear broadcasters have overlooked innovation and ignored their audiences.
With Sky News celebrating its 30th birthday, former anchor Martin Stanford recalls the early years of the rolling news channel.
With women remaining notably absent from this year’s Academy Awards nominations, it is of vital importance that the industry does more to attract and retain women, says Digital Orchard managing director Sam Margaritis.
The film and TV industry must overcome the stigmas of inclusion as a top priority and address diversity beyond skill set and skin colour, writes Mama Youth Founder Bob Clarke.
To guard against cyber attacks, the industry needs to work together and adopt some common best practice, says Mark Harrison.
Major challenges in the production and distribution workﬂow could hamper innovation, and that is why non-proﬁt technology research lab MovieLabs has been working with its members on how best to integrate new technologies, writes Richard Berger, MovieLabs.
Women are underrepresented in leading roles in sport production, and while training and increased opportunities will help to address the situation, real change will only come from the top, writes Birgit Schiller.
The UK TV industry is diversifying both culturally and geographically and the Royal Television Society (RTS) is at the heart of championing this change, says Theresa Wise.
AI can play an increasingly important role in the production of live content, says Mobile Viewpoint managing director Michel Bais.
Cloud-based service delivery could enable a remote video production service capable of efficiently producing high-volume, high-quality live and on-demand video content with fast turnarounds, says Epiphan Video CEO Mike Sandler.
Remote production in the cloud is the next step for broadcast coverage, writes Haivision EVP & CMO Peter Maag.
Sports fans are particularly demanding, and rights holders and production companies are under ever-increasing pressure to produce more content, says Tedial vice president products Jérôme Wauthoz.
Diversity and inclusion are the key to delivering engaging content, says Mill Film’s Lauren McCallum.
If 2017 was the year that smart speaker hype reached its peak, 2018 may well prove to be the year they will have moved into the mainstream, writes EBU Project Manager Ben Poor.
The audio renderer has long been a bone of contention in the standardisation work on Next Generation Audio (NGA), writes EBU Senior Project Manager Roger Miles.
Amsterdam has always been a thriving business and tech hub, home to innovative startups and scale-ups, creative agencies, multinationals and international tech tycoons that have chosen the city as their European headquarters.
Transmitting via IP offers broadcasters the possibility of interconnecting radio, video and internet perfectly, writes 2wcom Chief Executive Werner Drews.
The broadcast industry has been experiencing a tremendous transformation since the arrival of the Internet, and digital convergence has become a reality, writes Genelec R&D Director Aki Makivirta.
For traditional broadcasters, the world of sport provides inspiration for stirring up fan engagement. Google’s Strategic Partner Lead for Broadcast & Sport Ben Napier explains how.
To meet the viewer expectations of instant news and coverage of anything that moves, broadcasters and brand owners are pressured to accelerate their output. At the same time, budgets are shrinking, says Mobile Viewpoint Managing Director Michel Bais.
Women are drastically underrepresented in the media, entertainment and technology sector, with women in leadership roles still the exception and not the norm. IBC wants to help change that, writes IBC Council Chair Naomi Climer.
Fitting out a new ‘pay as you go’ news studio required a focus on future proofing and building an infrastructure with the resilience and contingency to handle 4K from cameras to cables, writes Wesley Dodd.
Event visitors expect an exciting programme, enhanced with visual techniques and storytelling, that gives them more than just information and facts, says Nynke Lipsius.
The UK has a world-renowned visual effects (VFX) sector, but the impact of Brexit could undermine the industry through a chronic shortage of skilled workers, writes Neil Hatton.
How can event organisers make best use of new technologies and how can they distinguish valuable applications from temporary fads and how can technology experts help them with that, ask Pim Schoonderwoerd and Paul Hassink.
To remain successful companies will need to disrupt, change and reinvent says Rob van den Dam.
Drones have become as much of a mainstream accessory product as tripods or batteries, writes Douglas I. Sheer.
Eurovision Media Services is involved production and broadcast services through to content distribution. Chief Operating Officer Graham Warren explains more about the business.
Moving to the cloud makes sense for VFX firms, says Jellyfish Pictures’ Jeremy Smith.
Euro 2016 was arguably the most immersive football championship to date with augmented reality putting viewers firmly in the middle of the action – wherever they were in the world.
Manipulating video to share with an audience is no longer the preserve of the established few, says Christian Dutilleux, CEO, Deltacast
Fashions may come and go but quality, crafted lenses always show their class, says Seth Emmons, marketing director CW Sonderoptic
Jörg Houpert, head of technology, Cube-Tec International explains what next level auto QC and media correction means.
Douglas Sheer, CEO, D.I.S. Consulting Corporation said while the virtual and augmented reality trend has been generating increasing interest among consumers it remains in the early stages as far as producers and broadcasters are concerned.
Engineers may prefer the safety of working with trusted vendors but now is the time to put your faith in the cloud, explains Mark Harrison, Managing Director, Digital Production Partnership.
The biggest impact of IP will be to live production workflows and the engineering skillsets required to manage them, says Paul Robinson, CTO, Video Product Line, Tektronix.