It is not easy working in broadcasting if you’re disabled, as Chris Lynch has discovered during his 20 years in the industry. He wanted to be a camera operator and DoP, “but there are so many physical barriers that prevent people with disabilities from taking on these roles”.
For German startup Phont, subtitles simply aren’t working hard enough, and it is on a mission to make them way more expressive.
Austria-based ORS Group and Insys Video Technologies are exhibiting for the first time under their joint international Big Blue Marble brand as they present their shared mission to “create a smarter, connected, secure future for content distribution”.
Making it even easier to use as a fully featured production camera, Blackmagic Design is launching Blackmagic Camera ProDock, a new dock that adds professional camera connections to iPhone 17 Pro and iPhone 17 Pro Max.
A billion hours of YouTube is watched on TV every day, and broadcasters need to figure out how to adapt.
Qvest is commissioning a new media production facility in London to allow England’s Premier League to bring all its international coverage in house. The facility will deliver 380 matches annually from the start of the 2026/27 season.
At IBC2025, top representatives from RheinMain University of Applied Sciences, INSA Hauts-de-France, and SMPTE took a look at the education landscape and the work being done within schools and FE to bridge the relationship with the media industry.
Apantac is showing an ST 2110 workflow, plus a compact new multi-codec 16-channel HDMI to Dante converter.
In an IBC keynote, the CTOs of Warner Bros. Discovery and ITV concluded that AI has moved beyond the experimentation phase to deliver positive benefits to the business, and that metadata is the key.
Expanding its support for SMPTE ST 2110-30 and AES67, Audinate is aiming to further strengthen Dante’s integration with broadcast networks at IBC2025.
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