Behind the scenes of ITV’s summer hit that has sold all over the world to countries including Germany, Australia and Finland.
The dramatic entanglements of Love Island’s contestants are nothing if not minutely documented. But less well known is how every kiss, mugging off and argument is captured, analysed, clipped and aired for almost instant public consumption.
The fourth season of the hit ITV2 show, produced by ITV Studios, regularly pulls in around three million viewers keen to follow every move of the islanders holidaying in a villa on the east coast of Mallorca.
The matchmaking show is stripped weekdays into hour-long episodes for eight weeks until the end of July and uses a total of 73 cameras, four more than the 2017 season.
The post production demands and fly-away kit has grown too, which - given the confines of the space in and around the villa - forced ITV to...
You are not signed in
Only registered users can read the rest of this article.
Closing the security execution gap: “We are in a crisis… we collectively need to be aware”
Gathering at an IBC Roundtable, the industry’s top security experts confronted the 2026 TPN Star Report’s urgent results, the sharp increase in threat exposure, and the missing execution step for broadcasters, studios, and service providers alike.
The dish is not dead: Why the future of TV delivery is hybrid
IP is clearly gaining ground. Yet, infrastructure and distribution specialists suggest that it’s no silver bullet for the reliable, personalised, instantaneous delivery that today’s audiences demand. In this context, has satellite lost relevance, or is it simply no longer the only player in orbit?
World AI Film Festival: “There is no emotion in AI”
The World AI Film Festival fielded new and established storytelling voices, but the jury is out on whether AI can capture the human spirit of cinema. Adrian Pennington reports.
IBC Content Everywhere: Cloud adoption reaches a critical point
The adoption of cloud-based working practices is an ongoing process within the Content Everywhere industry. While most streaming companies have embraced the cloud, there have been concerns in the past about a lack of strategic focus and whether providers are adopting cloud-native solutions rather than relying on virtualised or cloud-ready solutions.
Virtual production after the hype: Where it actually works now
Virtual production is no longer being treated purely as spectacle or novelty – it is becoming a production tool, with clear strengths, clear limits, and a growing body of experience around how to use it well across a range of budgets. IBC365 investigates.



.jpg)