Adrian Pennington

A last-minute pivot to Paris brought its own set of challenges as ESL FACEIT assembles the world’s largest esports event. Adrian Pennington reports.

Art and technology combine for epic storytelling, if you believe the marketing for Christopher Nolan’s latest.

A new project, kickstarted and nurtured as an IBC Accelerator, aims to deploy digital twin technology to streamline discoverability of the UK’s studio space and help producers make smarter, more sustainable choices.

For media companies preparing for the next decade of streaming, MoQ may be the most important standard they haven’t yet deployed.

ESPN is the biggest international broadcaster for Wimbledon for which it is paying around $95m annually for exclusive rights in the US until 2035 (from 2024). It’s a vital partner to the All England Lawn Tennis Club (AELTC) which own the Championship and which manages the host broadcast internally under Wimbledon Broadcast Services (WBS).

The elimination of OB trucks is just the start of the light revolution. For the media industry, a rewiring of the transport network from electrons to photons promises to unlock AI driven production, immersive formats, and globalised workflows while dramatically cutting energy consumption.

Funding remains a puzzle, but the documentary and factual entertainment genres are thriving at Sheffield Documentary Festival.

Alongside financially motivated cybercrime, politically motivated hacktivists are also likely to target organisations linked to the tournament through distributed denial-of-service attacks, website defacements, and disinformation campaigns.

The Marvel universe series is designed to work both as a gritty monochrome detective story and as a stylised, visually saturated comic book world.

Time-zone differences, travel demands, and the geographic spread of host cities are forcing FIFA’s host broadcast and rights holders to rethink traditional production approaches.