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.
As series designer of Netflix’s Black Mirror, Joel Collins was integral to creating the look of the Charlie Brooker series. But after four series he has moved on to a new challenge – working on the hugely complex BBC/HBO adaptation of Philip Pullman’s His Dark Materials. He reveals how he ...
Jodie Comer and Hugh Grant were among the winners of the Broadcasting Press Guild Awards today, judges praised the “brilliance of the output.”
IBC365 marvels behind the scenes of Disney’s first female-fronted superhero release.
IBC365 asks why balance is better? Industry experts point to organisational performance, problem-solving and creativity as imperative to dynamic teams.
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.
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.
The National Theatre is home to world-class productions and performances, but how are the plays broadcast to cinemas around the world?
The European Broadcasting Union has called for immediate action to protect journalists and the freedom of expression.
Oscar-nominated cinematographer Lukasz Zal reveals how he created the black-and-white look for Pawel Pawlikowski’s Soviet-era love story.
With World Radio Day taking place on Wednesday 13 February, Paul Robinson assesses the health of radio and its role in society.
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.
Production spend on film and TV in the UK reached £3.1bn in 2018, which the BFI said was a vote of confidence in the UK’s crews, facilities and locations.
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.
Leading figures from the worlds of theatre, technology and media are behind an ambitious project to create mixed reality, immersive visitor experiences at The Natural History Museum and The Science Museum in London.
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.
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.
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.
Award-winning documentary maker Deeyah Khan’s work has educated, empowered and inspired change. She explains what motivates her and why storytelling is so vital.
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 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.
The Rory Peck Awards last night honoured the work of freelancers covering worldwide news and current affairs from dangerous and fascinating locations.
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…
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.
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.
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.
This paper describes a search for natural ways to make responsive media, investigating the techniques used in oral performances and contrasts these with ways which start from a fixed, recorded form.
In this paper Chouette Films explores the potential of virtual reality (VR) technology to be used in the preservation of cultural rituals and heritage for posterity.
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.
JB Perrette is totally changing the look and feel of Discovery Networks International.
This paper introduces the key concepts of blockchain and smart contracts and proposes a design to ensure the traceability of media assets in a potentially untrustworthy environment.
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.
AI represents almost limitless possibilities for the future and is already having a transformational impact in many areas, including live football production.
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: VR and 360 productions need a well thought out story and an even more detailed script.
IBC2018: Sky VR Studio Technical Director Richard Mills points to some of the best VR work being produced to show how the medium is developing.
IBC2018: High end cinema drones were put through their paces by programme makers in an HBO documentary which premiered at IBC.
IBC2018: CNN’s Tommy Evans says “US President makes a lot of news and news is good for CNN”
IBC2018: Al Jazeera Digital and Brave Bison execs outline strategies for targeting Gen Z viewers.
A multi-disciplinary media executive with over 12 years of experience in cross media production and business development. Matt Tabaccos leads the commercial strategy at Ruptly Video News Agency, helping the company become the go-to brand in news media.
The former Channel 4 boss discusses his role in saving the British pubcaster from privatisation and reveals more details of his latest venture, which fuses high-end content production with brandcasting and data insight.
The IBC International Honour for Excellence will be awarded to Joan Ganz Cooney and Sesame Workshop for devotion to the educational and social development of children around the world.
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.
The world’s leading media companies are grappling with how they can best adapt their business model to cope with the disruptions ushered in by the digital age. MTG has directed efforts towards a content-led hunt for Generation Z’s attention, according to experienced executive Jette Nygaard-Andersen.
The global drama hit is produced with environmental considerations firmly in mind, aiming to reduce its carbon footprint year on year.
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?
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 ...
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.
From newsrooms to sports and TV production, AI is already being used to speed up and boost the creative process. But could it replace humans altogether?
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.
There is a major new market emerging in the creation of branded video content - and it is being filled by small, multi-skilled digital production companies, who have no particular interest in broadcast TV.
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.
Andy Serkis speaks about the “liberating tool” of performance capture and reveals all about his latest project Mowgli.
In the second part of our look at ethnic diversity in broadcasting, it’s plain that wholesale change – not just in one sector or area of opportunity – is required for the good of the industry.
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.
With many broadcasters still grappling with how to collaborate with freewheeling creators, has BBC Wales hit on the ideal model for community interaction?
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.
IBC365 speaks to three VR and 360-degree video directors and cinematographers about how they capture immersive content and what the future holds.
Capturing and crafting immersive content requires specialist tools. Dick Hobbs looks at some of the latest technology for creating VR, AR and 360-degree video.
Mobile video journalists (MoJo) from CBC, RTE and BBC offer insight into how technology has revolutionised reporting, the impact of mobile apps and the threat to traditional reporting.
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.
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.
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.
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.
A focus on functionality, utility, and efficiency may have produced a long list of recent innovations, but are we exploring the creative potential in new technology?
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.
Ed Miliband and Hilary Mantel were among the winners of the Broadcasting Press Guild (BPG) Awards for podcast and radio programme of the year.
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.
Sir Ridley Scott awarded the highest honour at the Baftas as Three Billboards, Darkest Hour and The Shape of Water scoop top awards.
The creative talent responsible for VFX and editing of big screen blockbusters Maze Runner: The Death Cure, Downsizing and Paddington 2 discuss their craft.
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.
Technicolor CTO Jon Walkenhorst and colleagues discuss how emerging technology is changing the way stories are told.
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.
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 giant CES 2018 show opens on January 7 and it is widely expected that more than a few stands will be showcasing 8K video content on giant displays.
Planet Earth II and Taboo were among the programmes honoured at last night’s Royal Television Society Craft and Design Awards.
The European Broadcasting Union (EBU) has launched a campaign to demonstrate that public service media (PSM) is key to a strong society.
Is this the most dangerous time to be a journalist? Industry figures spoke to IBC365 on reporting in a conflict zone, facing threats and the fake news phenomenon.
IBC2017: Choosing the right camera for filmmaking is easier and cheaper with digital products offering flexible solutions.
IBC2017: Reuters focusses on audience engagement, newsgathering and delivering reliable journalism to news organisations and audiences globally.
360 degree film making necessitates a new language for storytelling, the case study is based on material from two user studies on a 360 video profile of an artist.
Last night’s Rory Peck Awards recognised the achievements of freelancers working behind the camera in some of the world’s most hostile environments.
The filming techniques and camera technology used to capture elements of the world’s oceans that have never been seen before.
With a plethora of platforms to serve and in the era of fake news, the task of managing a team of journalists and delivering more digital content is arguably tougher than it’s ever been.
IBC2017: A self-shooting ’one-man band’ set himself the challenge to re-equip his video production kit with the latest equipment for less than €20,000.
With social networks signing live sport deals and commissioning original content, are they a broadcaster’s friend or fiercest rival?
Edgar Wright’s action and crime drama Baby Driver redefined the cinematic post-production workflow with the integration of music storyboarding from start to finish.
A range of technologies are enabling new methods of producing and distributing content to the cinema, TV and online.
From an immense space city to a Lexus inspired spaceship, Rodeo FX played a crucial part in bringing director Luc Besson’s vision of the graphic novel to the big screen
Dunkirk is the latest release in the new and rather specialised sub-genre of war films pushing film technology in new directions.
Hybrid broadcast broadband TV (HbbTV) Association with the HD Forum Italian (HDFI) Association have announced the 2017 HbbTV Symposium at the Auditorium Antonianum in Rome on 17-18 October.
The 2017 programme for the Hollywood Professional Association (HPA) Tech Retreat UK promises rich content on artificial intelligence (AI), machine learning (ML), cloud and high dynamic range (HDR).
The phenomenal changes in the way content is consumed has disrupted the media and technology supply chain for broadcasters and revolutionised the production world.
Celebrating excellence in British broadcasting across television the Royal Television Society (RTS) has opened entries for its 2017 Craft and Design awards.
Naomi Climer will be awarded the Lifetime Achievement honour at the annual TVBEurope Awards.
Virtual reality (VR) will transform into a unique medium of its own, according to Telegraph Group Creative Director Matt Simmonds.
SMPTE Director of Standards and Engineering Howard Lukk, Education Vice President Richard Welsh and Executive Director Barbara Lange will speak at key industry events throughout 2017.
For virtual reality (VR) to flourish creatives should keep experimenting with the technology which also needs to be embraced by the wider broadcast industry, according to Sky Creative Director Richard Nockles.
The 12th annual Hollywood Professional Association (HPA) awards have opened for submissions across a range of creative categories.
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.
21st Century Fox Chief Executive James Murdoch will deliver a keynote address to delegates at the upcoming RTS convention.
Established camera manufacturers were keen to show their virtual reality (VR) credentials at NAB, with Sony, Panasonic and Blackmagic Design among the firms to showcase tools for acquiring content.
Barbie’s video blogs are probably not on your YouTube favourites list, but they are part of an important trend which is rapidly snowballing: the use of gaming render engines to create broadcast and online material, quickly and very cost-effectively.
If you think VR in TV and film is just another passing fad, Sol Rogers, CEO and founder of Rewind, would like to change your opinion.
The Hollywood Professional Association (HPA) opened the call for entries for its Engineering Excellence Award at the Future of Cinema Conference at NAB.
Avid kicked off NAB with a customer and press event that focused on the company’s roll out of cloud-based apps and services.
IBC introduces new categories in response to changing industry trends and dynamics.
Meticulous planning and pre-visualisation were used to create Disney feature The Jungle Book.
The prime movers for virtual reality are gaming and real estate, with other applications in areas such as healthcare and education.
Olivier Schaak, Creative Director, Canal+, on the challenges of storytelling in a multiplatform world
Olivier Schaak offers advice on how to develop a story in a multi-platform world.
One of the UK’s most high profile cinema producers and cultural envoys discussed how British and European cinema must evolve, why cinema and media needs to retain its trusted status, what Brexit means for creative industries
It’s almost a cliché now: we are living in a ‘golden age’ of scripted TV. But what drives this TV renaissance and how it will evolve is a matter of ongoing debate.
Details of the adherence criteria and deadline dates announced
Programme details for The Society of Motion Picture and Television Engineers (SMPTE) conference
Virtual reality (VR) is a hot topic across the media industry and is already beginning to find traction in areas such as sports broadcasting, says Stan Moote.
The Royal Television Society (RTS) revealed its annual Programme Award winners at a gala ceremony in London.
The writer behind one of the biggest dramas of 2016 believes the success of the programme marks the beginning of something big for German TV.
The top 10 television service providers in the United States lost 937,000 television customers in 2016.
Sports as a content genre can be characterized using certain keywords – live, unscripted drama, conversational, loyal audiences