Features

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.

Opposing colours in the same frame, 6000 lightning cues and shooting 17 sound stages - one the size of four American football fields, all merit why Wicked is the ‘latest hurrah to the golden days of epic studio filmmaking,’ writes Adrian Pennington.

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.

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.

The director of 12 Years A Slave and Small Axe has created a historical aesthetic of a tragic and turbulent London, depicting lives subjected to a permanent black out, in Blitz, Steve McQueen’s new film based on authentic anecdotes and inspired by filmmaker archives of the era.

Exciting opportunities for automating workflows, enhancing personalisation and repurposing existing content mean that AI has a very bright future in streaming, writes David Davies.

A usually quiet show dedicated to cinematography erupted into controversy around female representation.

Second screening may have interactive advantages for content platforms but for advertisers, multiple devices means multiple players and a whole host of challenges.

Developers believe 6G will usher in photo-realistic holographic communication complemented by multisensory extensions - and experiments are already happening today.

Re-recording Mixer Tony Volante and Cinematographer Jomo Fray explain how they told a drama from the perspective of its lead characters.