Behind the scenes of ITV’s summer hit that has sold all over the world to countries including Germany, Australia and Finland.
The dramatic entanglements of Love Island’s contestants are nothing if not minutely documented. But less well known is how every kiss, mugging off and argument is captured, analysed, clipped and aired for almost instant public consumption.
The fourth season of the hit ITV2 show, produced by ITV Studios, regularly pulls in around three million viewers keen to follow every move of the islanders holidaying in a villa on the east coast of Mallorca.
The matchmaking show is stripped weekdays into hour-long episodes for eight weeks until the end of July and uses a total of 73 cameras, four more than the 2017 season.
The post production demands and fly-away kit has grown too, which - given the confines of the space in and around the villa - forced ITV to...
You are not signed in
Only registered users can read the rest of this article.
IBC Accelerator: Bringing order to the studio selection process
A new project, kickstarted and nurtured as an IBC Accelerator, aims to deploy digital twin technology to streamline discoverability of the UK’s studio space and help producers make smarter, more sustainable choices.
Media over QUIC: M&E's transport revolution has arrived
For media companies preparing for the next decade of streaming, MoQ may be the most important standard they haven’t yet deployed.
Crystal Clear: Boosting speech intelligibility in media
For an issue that affects almost every television viewer, dialogue intelligibility remains surprisingly difficult to define.
IPMX, ST 2110, and the battle for the network
As the reach of the IP Media Experience (IPMX) initiative continues to grow, David Davies looks at the origins of the initiative, the areas it has achieved greatest traction to date, and what the future might bring.
Wimbledon 2026: ESPN gears up for record breaking year
ESPN is the biggest international broadcaster for Wimbledon for which it is paying around $95m annually for exclusive rights in the US until 2035 (from 2024). It’s a vital partner to the All England Lawn Tennis Club (AELTC) which own the Championship and which manages the host broadcast internally under Wimbledon Broadcast Services (WBS).



