In just a few weeks’ time, the global media and entertainment industry will convene at the RAI in Amsterdam for this year’s IBC. As usual, technology innovations and new business models will be on show, along with the usual presence of informative and influential speakers.
Favoriz Production used Haivision technology for agile live production in the French Alps – a landscape with limited 4G coverage and no public IP infrastructure.
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Celebrating its 40th anniversary, Live Aid made an impact in the summer of 1985 that continues to be felt today. Kevin Hilton explores the background to the seminal charity concert and hears from those who made the broadcast happen.
SVT’s all-software approach to covering the Winter Olympics looks to provide a new blueprint for broadcast operations.
Podcasting has changed markedly since the early days of iPods and MP3 files, as the democratisation of high-end video technology and evolving consumer habits have ushered in a new age of video-first formats. James McKeown discusses the landscape with the UK’s leading podcast producer, Goalhanger.
The combination of manual and AI-supported stem separation and spectral editing now provides audio engineers with unprecedented levels of precision and flexibility in modern post-production. John Maxwell Hobbs reports.
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The Stamping Your Content (C2PA Provenance) project aims to provide open-source tools to enable media organisations and media consumers to verify the authenticity of content of all types.
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Remote production takes centre stage as Sky teams up with Stan Sport to deliver UHD footage at the heart of the action.
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Image generators such as Veo 3 can now convincingly simulate human emotions, interactions and voice but the speed of development leaves production companies crying out for ethical LLMs.
Big Blue Marble is a new joint venture between ORS Group and Insys Video Technologies, whose mission is to ‘create a connected world where accessing media is simple, secure, and inclusive for all’. At a time when global demand for digital video is on the rise and broadcasters seek new ways to diversify their revenue streams, does such a proposition meet the moment? James McKeown finds out.
