Opinion

What are the main considerations for using 5G for live production? David Thompson, DPP’s Technologist Strategist, provides an oversight of key pointers and potential pitfalls when adopting 5G.

According to recent stats from the British Film Institute (BFI), spending on film and high-end television production in the UK reached £4.2bn in 2023. While this is great news at face value, Sarudzayi Marufu, founder and executive producer of Euras Films, argues that domestic film and TV producers are being neglected, representing only 11% of the total spend. Marufu believes that the return of private equity could help bring UK indie film back from the brink.

Ophélie Boucaud, Principal Analyst at Dataxis, sheds some light on the quest for more relevant and comparable performance metrics in the ad-supported streaming world, and what needs to happen to create greater transparency.

In January 2020, when global pandemics were thought only to happen in movies, the Consumer Electronics Show (CES) attracted a staggering 171,000 visitors.

Over the past three years, the media and entertainment (M&E) industry has undergone dramatic changes. For starters, cinema saw an unprecedented 70.4% decline at the start of the decade, according to World Economic Forum, a shift that prompted the movie industry to rethink everything from the ground up. Meanwhile, streaming platforms like Netflix, Disney+, Amazon Prime, and others experienced a proportionally unprecedented surge in demand for film and TV content delivered over the internet—all of which was catalysed by the pandemic—putting many studios in a difficult spot, as the future of the industry appeared to be a moving target.

The entertainment and media industry is currently undergoing a significant transformation, evoking memories of past disruptions that maintain their impact. Actions like calculated strategic shifts by prominent players, the emergence of NFTs, and the evolving social media landscape driven by TikTok signify the ongoing breakdown of established norms in entertainment and media.

In the realm of streaming services, the constant battle to safeguard digital content from piracy and cyber threats persists. While Digital Rights Management (DRM) was once at the forefront of content protection, today’s landscape demands a broader, more holistic security approach. As hackers continually refine their tactics, securing OTT/PayTV streaming applications extends beyond DRM, encompassing app infrastructure, device hardware, and operating systems. This article explores a renewed OTT/PayTV app defense approach, delving into security best practices and strategies that stretch beyond conventional content protection. By adopting a security-first mindset and harmonising backend and app-based defenses, streaming service providers can raise the bar against cyber threats, ensuring the highest standards of content protection and viewer data security.

In the fast evolving landscape of journalism, technology continues to shape the way news is gathered, produced and delivered. latakoo, an end-to-end video workflow solution used by broadcasters worldwide, is at the forefront of this transformation.

By now, most media organisations realise that utilising the cloud for their media supply chain makes good sense. With the demand peaks and valleys that come with a dynamic, fast-moving industry, having technical infrastructure that can easily scale up or down is essential to achieving the agility and efficiency needed in today’s media operations. And while the initial decision to move to the cloud is an easy one, the choices about how to take advantage of the cloud have far more implications.

Professional press, analysts, and even media agreed that FAST should be seen not as competition, but as an additional source of revenue to SVOD and broadcast licensing. Everybody is jumping into this new distribution model by leveraging massive dormant catalogues of old content, from small boutiques to independent network and big studios.