Features

In a world of green screen and AI, the sets for Gladiator II might be the last great build in movies.

The transition to IP using SMPTE 2110 has been broadly successful in a studio environment but interoperability in the live and near live domain still has work to go. A recent innovation from the BBC could provide the answer.

Editor Jeff Groth asks for the film to be judged on its artistic merits and explains his process with flashbacks, story cards and musical numbers.

Olympic Channel Services created an AI tool to help its editorial team deal with the huge deluge of live content, supporting creative decisions rather than reducing headcount. John Maxwell Hobbs reports.

Cinematographer Paul Guilhaume explains how a transgender cartel musical is told with magical realism.

In last month’s review of key trends at IBC this year, Mark Strachan, chief product officer at Telstra Broadcast Services, made the observation that the media and entertainment industry remains a “very male-dominated industry with more work needed to create change”.

In a world where 80% of ad spend goes to outcome-based performance channels, how can TV compete effectively?

AI has the potential to automate point tasks in the existing ad management chain and even to transform the entire way media is transacted.

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?

Semi-improvised, guerrilla-style filmmaking brings gritty realism to Sean Baker’s beleaguered love story.