As video becomes a core enterprise capability, broadcast AV is being redefined. It’s less about better hardware and more about network-native, production-grade media systems that can scale, are interoperable and operate reliably inside modern IT environments.
For much of the past decade, the language of the creator economy has been defined by social platforms, influencers, and independent media businesses. Yet, quietly, the same forces have been reshaping large organisations.
You are not signed in
Only registered users can read the rest of this article.
MIP London: “A lot of creators feel held hostage by algorithms”
Digital creators, television producers, platforms, distributors, buyers, and brands across all genres gathered at the IET and Savoy Hotel this week to attend the second-ever iteration of MIP in London.
Sundance: Representation matters, today more than ever
As minority communities face attack in the US, two new films screened at Sundance Film Festival offer powerful takes on Latino American and Chicano culture.
IBC Content Everywhere: Keeping the customer
Consumers have a lot of choices these days when it comes to streaming video content. Indeed, the sheer number of available services can seem overwhelming, leaving customers with often difficult decisions to make about which services to choose, especially when they already have several other demands on their wallets. In this piece, Content Everywhere companies explore what streaming providers can and should be doing to retain existing customers and attract new ones where possible.
Virtual thinking: Is education keeping pace with industry requirements?
Investments in university-led facilities and studio partnerships throughout the UK have seen virtual production, real-time engines and hybrid pipelines move from the margins into mainstream curricula. But is higher education matching the skills demand from the industry? Michael Burns reports.
Vertical dramas: Market disruptor or passing fancy?
As studios begin to embrace the potential of vertical micro-dramas, should their rise be dismissed as merely a fad or a profound shift in the production, consumption and gender-bias of global storytelling?
