As well as being a music producer and composer, John Maxwell Hobbs is CEO of music tech startup Streamline, media consultant and the former Head of Technology at BBC Scotland.
The IBC Accelerator special incubator project Connect and Produce Anywhere, Phase II (CAPA II) had an early run out at the recent Formula E London ePrix. John Maxwell Hobbs reports.
How can we make processing, streaming and the consumption of media more sustainable? That’s the question posed by the ECOFLOW: Energy-Conserving Optimization for Future-ready, Low-impact Online Workflows project, proposed by Humans Not Robots and Accedo.tv, with support from Champions ITV and BBC.
Benedict Evans will deliver the Day 1 Keynote presentation, ‘Navigating a changing media landscape: AI and Everything Else,’ at this year’s IBC Conference, illustrating how disruption has become the new normal in today’s media and entertainment ecosystem.
Digital Replicas and Talent ID: Provenance, Verification and New Automated Workflows is one of the eight challenges in this year’s cohort for the IBC2024 Accelerator Media Innovation Programme. The project is championed by Paramount Global and includes participant HAND (Human and Digital)
The IBC2024 Accelerator Programme continues to revolutionise live event production with its latest initiatives aimed at leveraging cutting-edge technology to overcome challenges in the broadcasting industry. Building on the successes of previous years, the Connect and Produce Anywhere, Phase II project focuses on enhancing production capabilities through innovative uses of cloud and edge computing, ensuring high-quality output even under varying connectivity conditions.
The combination of Unreal Engine and LED volume stages has taken virtual production to another level, but have skillsets kept pace? IBC365 learns more about the UK’s first dedicated certificate in virtual production.
Advances in how 3D spaces and objects are captured to create immersive, interactive content are helping redefine how stories are told and experienced. Integrating volumetric capture into mainstream media however requires a new set of skills, blending creative storytelling with advanced technical knowledge.
Can ML-powered ad-targeting solutions offer notable advantages over current algorithm-based systems? John Maxwell Hobbs reports.
Sony Music recently sent a letter to hundreds of AI companies demanding to know if they had used their music for training or scraping, and that this represented copyright infringement. While some AI developers are happy to embrace the current Wild West landscape of AI regulation, others have employed responsible best practices from the outset, often being met with resistance from investors and other third parties who insist they will be left behind. IBC365 speaks to one developer advocating the implementation of fair principles from the start.
Is GenAI even capable of producing a long-form masterpiece and at what point does something become an AI original that deserves copyright protection? IBC365 delves deeper into the key ethical debates surrounding GenAI and media production.
