Features

Much of the caution voiced around AI technology’s increasingly omnipotent influence in media and entertainment has focused on ethical practice and application. How can a technical asset of seemingly unlimited potential power be responsibly deployed by media companies without compromising the safeguards and security of systems, rights, and people? And should regulation and standards play a gatekeeping role? James McKeown provides the first of a two-part report.

The breakthrough in the making of Here was not the authenticity of a de-aged Tom Hanks, but that the face-swapping technique could be achieved live on set.

Over the past decade, media companies had a strong focus on the way programmes were viewed – we’ve seen HD, 3D, 4k, 8k, HDR, VR, and AR presented as the next big thing. In 2024, things shifted. John-Maxwell Hobbs digs into production and delivery practices, cloud, AI and sustainability trends of the past 12 months.

The Paris 2024 Olympics marked a significant milestone in the effectiveness of 5G technologies for live broadcast, with Neutral Wireless and the BBC leading the charge.

As the year draws to a close, it seems an opportune time to ask Content Everywhere companies for their views on the top trends in 2024. As always, key industry players have been keen to respond with comments and views on how the past year shaped up both for them and the wider industry.

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.

For all the slippery perspectives in psychological thriller Disclaimer, the truth is lying in plain sight, explains Editor Adam Gough.

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.

Mystery, suspense and a game of thrones in the Vatican lensed by cinematographer Stéphane Fontaine.

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.