The IBC Accelerator project envisions AI-driven production assistants that seamlessly integrate into control room workflows, enhancing live production with intelligent automation.

While questions remain over genAI’s impact on the creative sector, few can argue against the automation of mundane tasks bringing order to unprecedented volumes of footage.

The project aims to develop and explore a framework for leveraging generative AI to create media content such as scripts, animations, and adverts, streamlining workflows and enhancing audience engagement.

Vizrt’s Jeremy Morris takes a stroll down memory lane to discuss some of the crucial events that helped accelerate the convergence of broadcast and proAV. John Maxwell Hobbs reports.

What was once a process of physically storing film reels and manually logging footage has become an intricate dance of digital ingestion, advanced metadata tagging, and cloud-based workflows. With productions now generating thousands of hours of video per show, managing media efficiently is no longer optional; it’s a necessity.

Once dominated by GEO satellites, live content distribution has entered a new era as broadcasters look to blend connective technologies, bringing both flexibility and resilience. John Maxwell Hobbs reports.

Over the past two decades, the over‐the‐top (OTT) industry has undergone a remarkable transformation from a niche experiment to a multi‐billion‐dollar ecosystem, writes John Maxwell-Hobbs.

As virtual production technology becomes more ubiquitous, the need for real-world training and development for professionals of all levels becomes paramount. John Maxwell Hobbs explores the education and training programmes on offer from academic institutions and industry organisations.

The IBC Accelerator Kickstart Day 2025 marked the beginning of another year of groundbreaking innovation in media and entertainment technology. John Maxwell Hobbs reports.

Virtually non-existent before 2019, the term ‘creator economy’ has been on a rocket-like trajectory in recent years. But what exactly is it, and how does it differ from the economies that exist around traditional creative industries like broadcasting and film? John Maxwell Hobbs investigates.