The merits of server-guided ad insertion (SGAI) were one of the big ad-tech talking points at this year’s IBC, but does the technology represent a step change for publishers?
Choosing the best way to insert addressable adverts into streams is one of the key technology dilemmas currently facing ad-supported streaming services.
Server-side ad insertion is often seen as the lynchpin of ad-tech in the streaming age, as media companies look to grow digital revenues to offset linear TV’s decline.
Historically, ads in OTT have either been inserted into a stream by the client (at the player or device level), or stitched into the stream by the server, without the need for client-side integration...
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AI and the evolution of MAM: Part three – future outlook
In the final part of our investigation into MAM’s current and future relationship with AI, James McKeown analyses where the technology is likely to take asset management capabilities next, and the other factors driving the evolution of the space.
RSIFF: Kingdom underlines ambitions to become filmmaking powerhouse
Saudi Arabia's cinema market is experiencing a cultural renaissance, driven by increasing local productions and a growing appetite for diverse storytelling, reports Adrian Pennington from the Red Sea International Film Festival.
AI and the evolution of MAM: Part two – current applications
In part two of IBC365’s exploration of the MAM ecosystem, James McKeown finds out where AI is currently having the most positive impact on media workflows.
AI and the evolution of MAM: Part one – risk analysis
Forms of AI and automation have been making efficiencies in media asset management (MAM) systems for some time, but as the technology becomes more powerful and its potential applications more expansive, what are the major considerations and risks of AI’s role in MAM? James McKeown explores in the first of a three-part investigation.
The Rory Peck Awards 2024: Protecting freedom of expression and democracy
Channel 4 recognised as most successful commissioner with multiple finalists in three out of four categories, including two from Katie Arnold in the same category. For the first time, winning entries across all four categories focus on one story, Gaza.
