January has only just come to an end, but we are already looking ahead to the next IBC, which takes place as usual at the Amsterdam RAI in September. In the meantime, Content Everywhere companies are polishing their crystal balls and making predictions about what might lie ahead for the video services and streaming industry in the next twelve months.

Films shot on film, fake AI controversy, a collection of CG apes, and a trio of nods to Robbie Williams make the list of nominees for Cinematography, Editing and VFX Academy Awards.

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.

This year’s ISE is expected to feature a significant presence of vendors and executives with at least one foot in media and entertainment – a sector which is now fuelling ProAV growth, according to trade body and ISE show co-organiser AVIXA. Adrian Pennington reports.

As broadcasters seek to provide more content with fewer resources, they are looking to IP streaming protocols within the production and contribution part of the workflow to deliver efficiencies.

All the talk will be about the remarkable lead performance but creating an environment for Timothee Chalamet to shine is as much down to the subtle camera, nuanced lighting and family on-set atmosphere that DP Phedon Papamichael achieves with regular directing partner James Mangold.

Playout was one of the earliest broadcast functions to embrace the cloud, but cloud-based playout is still far from universal. The economic case for different technological solutions is still evolving.

Volumetric video may hold the promise of revolutionising the way we consume live concerts and other events, but it could also transform consumption and interaction with pre-rendered video.

Cinematographer Lol Crawley finds the monumental visual language to capture an artform that is essentially static.

Part two of our insight into AI ethics and regulation continues with observations on industry efforts around standards and best practices, and why human impact should be the guiding force. James McKeown reports.