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.
UK productions Game of Thrones, Killing Eve, Bodyguard and Fleabag lead the 2019 Emmys nominees with limited series Chernobyl and When They See Us recognised as expanding the TV landscape.
Under increasing pressure from OTTs, R&D is more important than ever says the BBC’s Matthew Postgate and the EBU’s Antonio Arcidiacono.
Pixar director of photography Patrick Lin explains how he brings a live-action filmmaking approach to computer animation.
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.
Editing films is “very instinctual”, says Oscar winning editor Lee Smith
AI/ML and deep learning is having a huge impact in computer graphics research with potential to transform VFX production.
In a major UK expansion, Netflix has signed a multi-million pound deal to create a production hub at Shepperton Studios outside London.
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.
The MIB reboot opened last week. IBC365 goes behind the scenes with VFX Supervisor Alessandro Ongaro to find how he created a world with aliens living on Earth.
BBC broadcaster James Burke speaks to IBC365 about the future of TV 50 years after covering the live Apollo 11 moon landing
The NEP Group is to acquire HDR Group, a full-service production services firm based in Stockholm, Sweden.
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.
The director of Captain Phillips, United 93 and The Bourne Supremacy has condemned nepotism that holds back the UK’s film industry.
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.
Comcast-backed Sky has confirmed it will double its Europe-wide investment in the development and production of original new content.
American Society of Cinematographers’ (ASC) Martin Ruhe captures the insane heat of George Clooney’s satirical anti-war serialisation of classic Joseph Heller novel Catch-22.
For some cinematographers, it is the technical aspects that make them fall in love with the role. But for Polly Morgan, who’s credits include Legion, Inception and 6 Balloons, it was her love of colour.
In his latest documentary, director Asif Kapadia unearths the complex and sympathetic man behind the enigmatic Argentine football legend.
Finnish-based Elisa TV has successfully collaborated and expanded into China to co-produce content and collaborate driving audience engagement and revenue beyond Scandinavia, Elisa’s director of binge business Einari Kanerva tells IBC365.
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.
Bafta will work with Netflix to take its flagship talent scheme to new markets worldwide.
Join IBC365 on demand to explore how emerging technology and innovative workflows are transforming live sports production.
Laura Jans Fazio explains how an interest in art and design led her to become the colourist for the likes of House of Cards, Mr Robot, and A Series of Unfortunate Events.
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.
Bond 25, the next instalment of the 007 franchise, is employing a sustainability consultant on its shoot to ensure greener practices.
Robert Richardson ASC describes recreating the summer of 1969 for Quentin Tarantino’s new blockbuster.
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.
VFX supervisor Jean-Claude Deguara discusses creating a fantasy world straight out of the minds of Terry Pratchett and Neil Gaiman
Netflix is reportedly on the verge of agreeing a £6m per year deal for studio space at Pinewood
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.
Join IBC365 on demand to explore how pixels, higher frame rates, wide colour gamut and high dynamic range are transforming the production process.
Cinematographer Dan Laustsen brings visual panache to the stunt-fuelled franchise
Killing Eve and Patrick Melrose were among the programmes celebrated at last night’s Baftas with special mention to BBC’s Bodyguard and Britain’s Got Talent.
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.
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.
BBC TV dramas A Very English Scandal and Killing Eve were among the winners last night at the Bafta Television Craft Awards.
SVT CTO Adde Granberg speaks about how the Swedish public service broadcaster is using the cloud and the barriers to adopting remote production.
NAB 2019: The ethics of digitally recreated performances by actors who have passed away was questioned during an SMPTE panel at NAB.
Former Apple and Warner Bros executives have partnered to launch a European production company focused on high-end TV and feature films.
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 filmmaker’s principal job is tell a story but the conventions of narrative can be a straitjacket for those like cinematographer Natasha Braier who believes in experimenting.
Join IBC365 on demand to explore why creators are turning to cloud to transform the way they make great content.
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
Chris Lebenzon, Tim Burton’s regular collaborator in the edit room, explains how they brought their CG lead character to life
Passionate about sports and storytelling, Vera Bichler speaks to IBC365 about being the first female football director at Austrian broadcaster ORF
Jodie Comer for Killing Eve and Lucian Msamati for Kiri were among those celebrated last night at the Royal Television Society Programme Awards.
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
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.
Changing the culture of production companies and breaking up the “boys club network” should be a top priority according to Brave Bison boss Claire Hungate.
In the latest in IBC365’s series of interviews with inspirational women, director of photography Mandy Walker reflects on working on projects as diverse as Baz Luhrmann’s Australia, Ted Melfi’s Hidden Figures and Niki Caro’s upcoming Disney blockbuster Mulan.
Nolan has urged filmmakers to give audiences a reason to leave the house and to continue inventing new genres for the future success of cinema.
In the second in a series of interviews with inspirational women in the run up to International Women’s Day, director of photography Carolina Costa reveals what motivates her.
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.
In the first of a series of interviews with inspirational female leaders in the run up to International Women’s Day, IBC365 spoke with Maryann Brandon about how she became an editor and what it takes to succeed in a male-dominated part of the industry.
Bohemian Rhapsody, Black Panther and Roma were among the big winners at Sunday night’s Oscars ceremony.
Roma editor Adam Gough on his route into the industry and what it was like working with Alfonso Cuarón on the Oscar-nominated film.
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.
Join IBC365 on-demand to explore how remote production is changing the way sports broadcasters think and act.
A drama commissioning club for telcos, Atrium launched nearly two years ago with great fanfare and a mission to help regional telcos compete with global streamers for high-end drama projects. Tim Dams checks in on Atrium’s progress so far.
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.
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.
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.
From shooting in black and white to creating in-camera effects, we take a look at the technology and technique behind Oscar nominated films.
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.
Reporting its Q4 2018 results, Netflix has revealed its revenues grew to $16 billion and concluded the year with 139 million paying memberships.
Diversity and inclusion are the key to delivering engaging content, says Mill Film’s Lauren McCallum.
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.
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.
The VFX wizard behind movies like 2001: A Space Odyssey and Blade Runner, Douglas Trumbull has spent the last decade developing Magi, which can capture and show films at high resolution and high frame rates – and deliver the immersive experience he says cinema audiences are looking for.
How did ITV manage to relocate post and production departments out of its South Bank HQ on Friday and into the new one on the following Monday?
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.
With esports growing fast, there are opportunities for broadcasters to get involved, the head of games trade body Ukie Dr Jo Twist tells IBC365.
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.
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.
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 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.
Ben Davis’ extraordinary list of credits includes Marvel blockbusters through to lower budget gems. This year alone he shot multi-million dollar shows Captain Marvel and Dumbo, back to back. He talks to Adrian Pennington about the art of the Director of Photography (DoP), his influences and the future of cinematography
The craft of cinematography is at risk in this era of digitally shot films, warns Oscar-nominated DoP John Mathieson, whose latest films include Mary Queen of Scots and Pokémon: Detective Pikachu.
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.
Despite the light-hearted company name of Space Beers, co-founder Maurice Schutte is very serious about filmmaking and utilising blockchain to help him do so. IBC365 spoke to Schutte to discover more…
The Swiss company SingularDTV is one of the world’s leaders in developing blockchain applications for creative industries. IBC365 spoke to its co-founder Kim Jackson to go ‘under the hood’ of what blockchain is all about.
Three-time Oscar winning DoP Robert Richardson reflects on a career that has spanned 30 years, working with directors such as Martin Scorsese, Quentin Tarantino and Oliver Stone – and working in formats ranging from digital 3D to ultra-wide 70mm.
How many people does it take to cut a Hollywood feature film? More than one, in the case of The Predator, Editor Harry Miller tells IBC365.
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.
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.
Growing your audience means understanding not only what they want, but how and why they want it, says BBC World Service’s Catherine Blizzard.
Andrew Dunne brought unique perspectives about high dynamic range and distribution to the IBC Big Screen session ‘HDR focus: Blue Planet II and The Grand Tour’. George Jarrett was able to dive deep and explore his point of view.
Jack Watts doesn’t shy away from having strong opinions about Digital Cinema Packages, demanding clients and film industry politics. IBC365 got his thoughts on these topics and much more.
Working on over 50 blockbusters and critically-acclaimed feature films, the award-winning colourist Maxine Gervais has always been passionate about creative expression with technology and colour. Now she brings that enthusiasm to IBC.
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.
Period epic Peterloo required some innovative VFX to recreate the crowd scenes that sit at the heart of Mike Leigh’s latest film.
One of the key factors in making Game of Thrones a worldwide television phenomenon is the style and look of the sets. Art director Hauke Richter spoke to IBC365 to reveal the secrets behind the show’s designs.
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.
Alongside the creative challenge of producing and distributing great video content internationally, there is a huge administrative burden. The contributors to the production – writers, director, actors, musicians, and more – all have to be paid. This paper explores blockchain as a fresh approach to managing these relationships.
In these technical papers, authors from Arqiva, Orbitalize, EBU and Groupe Média TFO describe real-world applications in: media contracting, intellectual property, media asset management and a legitimate peer-peer video sharing model.
Barry Alexander Brown has edited over 100 Spike Lee ‘joints’, and is an acclaimed filmmaker himself. He tells Adrian Pennington about a career that encompasses editing legendary films such as Do The Right Thing and Malcolm X through to Lee’s latest, Blackkklansman.
The benefits to using audio as a primary method of delivering new experiences, particularly during a sports event, it is the audio that best engages consumers with the atmosphere of the stadium.
This paper describes recent BBC research into potential production benefits of AI algorithms, using visual analysis and other techniques.
NHK has developed a new AI-driven broadcasting technology called “Smart Production” to quickly and accurately gather and analyse diverse types of information from society and deliver information to a wide range of viewers.
Providing narrative perspective in a US news environment that’s in total overdrive is a daily challenge along with the changing audio consumption habits Lisa Tobin confronts, executive producer of audio and editor of The Daily podcast at the New York Times.
Antenna Group is an Athens-based multinational broadcaster with a very strong presence in Greece (with its ANT1 free-to-air channel) as well as radio stations, and channels in Serbia, Montenegro, Slovenia and Romania. Its media investments include broadband services, publishing, music labels, and even a credit card business. IBC365 speaks to ...
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: High end cinema drones were put through their paces by programme makers in an HBO documentary which premiered at IBC.
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: 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.
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.
Wonderhood Studios Chief Executive and Founder on what the future will look like for broadcasters, their relationship with the technology giants and the “great opportunities” on the horizon.
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.
Broadcasting veteran Peter Salmon has a job that demands he be ubiquitous, crossing platforms, formats and countries alike as he spins ideas around the ‘internationally travelling community’ of one of the world’s biggest content factories.
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.
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.
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.
Watch on demand as IBC365 previews the anticipated themes and highlights of IBC2018.
The global drama hit is produced with environmental considerations firmly in mind, aiming to reduce its carbon footprint year on year.
IBC is the perfect meeting point for the converging worlds of media and telco, writes IBC Chief Executive Michael Crimp.
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.
BBC Studios Chief Executive Tim Davie on the need for talent, a ready supply of content and the importance of co-productions as scale becomes vital for broadcasters.
Ultra High Definition (UHD) and High Dynamic Range (HDR) are set to be two of the hottest topics at IBC2018.
As telcos look toward verticals for 5G, IBC Chief Executive Michael Crimp and TM Forum Chief Executive Nik Willetts explain how the TM Forum’s Catalyst programme can develop use cases within the media and entertainment industry.
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.
He doesn’t draw or paint nor animates in the traditional sense but give Joe Letteri a computer and he can figure out how to create any image in the world – or a world yet unknown. The four times visual effects Oscar and BAFTA winner has shaped three decades of ...
Jeremy Fox, along with former Sony boss Sir Howard Stringer, has a new scheme to provide ammunition to telcos wanting to rival Netflix and Amazon. And it’s working.
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.
Jean-Clément Soret on the mystery of being a colourist and the different requirements of grading commercials, film and TV.
Netflix leads the tally of 2018 Emmy nominations with 112 nods, surpassing HBO’s 108.
CCTV, RTÉ, ESPN and Discovery are among the broadcasters shortlisted for the IBC2018 Innovation Awards.
Programmers have taught AI platform IBM Watson to learn the meaning behind expressions, fan reaction and body language, allowing Wimbledon to get highlights from Centre Court online faster than ever before.
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.
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.
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.
Norway’s new technology and broadcasting hub Media City Bergen is a shining example of collaboration and innovation.
Disconnected, disillusioned or indifferent to cyber warfare? IBC365 speaks to Tony Gee about ethical hacking and how broadcasters can defend against cyber security attacks.
Galvanised into action the media industry can claim some success in reducing incidents of illegal streaming. But the threat remains high as pirates turn to more sophisticated methods of attack.
Andy Serkis speaks about the “liberating tool” of performance capture and reveals all about his latest project Mowgli.
The proliferation of devices and platforms has meant that younger audiences are changing their viewing patterns, which in turn is shaping broadcaster and IP owners’ content strategies for a new generation of children.
A broadcast news organisation needs flexible reactions and infrastructure to deliver current affairs on time, but also forward planning and skills investment to guarantee continued success, according to ITN’s Bevan Gibson
Cutting films for an auteur is a tough challenge, one that demands a deep immersion in the script and the personality of the filmmaker. Imagine then what a balancing act must have to be performed when you are the go to editor for two of the world’s leading directors.
Your guide to what’s happening this week in the media, entertainment and technology industry.
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.
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
A second IBC365 roundtable discussion, hosted by Claire Tavernier, explores the relationship between traditional sports and the emerging eSports community.
Looking back on almost 50 years of iconic films, ranging from The Shawshank Redemption and The Big Lebowski to Skyfall and Blade Runner 2049, the British cinematographer discusses his creative approach and his life in pictures.
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.
Oscar-nominated sound designer Julian Slater speaks about new ways of editing sound and why the term ‘immersive’ can be a red herring.
The phenomenon of eSports is a transformational concept, a genuine disrupter. While acknowledging the use of the obvious cliché, it is a game changer.
BBC Studios Chief Executive Tim Davie, Discovery Networks International President and Chief Executive Jean-Briac ‘JB’ Perrette and YouTube Chief Product Officer Neal Mohan are to deliver keynotes at the IBC2018 Conference.
The key challenges facing the broadcast industry are not just to do with technology, according to Al Jazeera’s Mohamed Abuagla.
In the first in a series of interviews with industry-leading craft talent, Goldcrest’s Jet Omoshebi speaks about breaking into the world of grading and the essential attributes of a colourist.
Game of Thrones wins three awards including a special award for “pushing boundaries”.
With ever-increasing competition among broadcasters for viewers and revenue, John Maxwell Hobbs asserts there is no ‘magic bullet’.
Watch now to hear key players discuss real world experience of the role AI is taking in live sports.
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.
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.
From building new playout centres to strengthening MTG’s triple play offering, Bartek Gudowski explains the priorities of a modern CTO and why cyber security is a global issue.
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.
Not everything that happens in Vegas stays in Vegas: IBC365 is joined by a panel of industry experts to review what went on, what was hot, and what happened at the NAB 2018 conference and show floor.
In the second instalment of our CTO Series, 21st Century Fox’s Paul Cheesbrough speaks about the challenges of delivering content to more platforms than ever before and explains why cyber security is his number one priority.
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.
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.
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.
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.
The way we shoot and deliver TV and film may have changed, but despite the constant cycle of change, cinema and TV is still in good health, says John Maxwell Hobbs.
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.
This Future Reality Theatre Fireside Chat covers networks, studios and creators’ efforts to distribute and monetise immersive content.
Sir Ridley Scott awarded the highest honour at the Baftas as Three Billboards, Darkest Hour and The Shape of Water scoop top awards.
Belden’s decision to buy SAM and combine it with Grass Valley continues a long history of acquisitions for both companies, but what are the challenges in merging the firms and what does the deal mean for the wider industry?
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.
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.
IBC2017: Panellists offer insights and ideas on fusing the creative and technical sides of VR and 360-degree video production.
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.
All the numbers surrounding eSports tournaments seem increasingly stratospheric. Is now the time to be investing?
From SDI to IP, HEVC and the cloud, and the adoption of VR, conversations were diverse but focused on one goal: moving the industry forward with practical product releases.
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.
IBC2017: Despite declining viewing figures, there remains plenty of demand for childrens’ TV.
The use of mixed reality technology has enabled the creation of formats with levels of interactivity that have not been seen before, says FremantleMedia’s Petter Testmann Koch.
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’.
Advances in technology mean that operational staff need to know more – not less – about the tools used to create TV.
Dunkirk is the latest release in the new and rather specialised sub-genre of war films pushing film technology in new directions.
The IT industry’s ‘one best way’ approach isn’t always compatible with the media industry, writes John Maxwell Hobbs.
Advances in technology mean that broadcast engineers have an increasingly important role to play in aiding the creative process, says John Maxwell Hobbs.
Broadcaster and journalist Andrew Neil spoke to delegates at the Digital TV Group (DTG) Summit in London where he delivered a stark warning to British broadcasters.
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.
As VP of Technology, Warner Bros. Michael Zink is responsible for exploring the emerging technologies that could enhance Warner Bros.’ capabilities in production, post production and distribution.
For the past three decades, FM broadcasters have been engaged in what have become known as the “loudness wars”,
The move to all-IP production has generated a lot of interest from broadcasters as a means of both saving costs and enabling innovation in production methods.
With the advent of distributed systems where every node has a sufficient amount of local resources to perform given tasks partly independently from all other units, reliable and timely data communication became a mandatory requirement together with the need for a common notion of time or at least a method ...