Features

The Paris 2024 Olympics marked a significant milestone in the effectiveness of 5G technologies for live broadcast, with Neutral Wireless and the BBC leading the charge.

As the year draws to a close, it seems an opportune time to ask Content Everywhere companies for their views on the top trends in 2024. As always, key industry players have been keen to respond with comments and views on how the past year shaped up both for them and the wider industry.

In the final part of our investigation into MAM’s current and future relationship with AI, James McKeown analyses where the technology is likely to take asset management capabilities next, and the other factors driving the evolution of the space.

For all the slippery perspectives in psychological thriller Disclaimer, the truth is lying in plain sight, explains Editor Adam Gough.

Saudi Arabia's cinema market is experiencing a cultural renaissance, driven by increasing local productions and a growing appetite for diverse storytelling, reports Adrian Pennington from the Red Sea International Film Festival.

Mystery, suspense and a game of thrones in the Vatican lensed by cinematographer Stéphane Fontaine.

In part two of IBC365’s exploration of the MAM ecosystem, James McKeown finds out where AI is currently having the most positive impact on media workflows.

Opposing colours in the same frame, 6000 lightning cues and shooting 17 sound stages - one the size of four American football fields, all merit why Wicked is the ‘latest hurrah to the golden days of epic studio filmmaking,’ writes Adrian Pennington.

Forms of AI and automation have been making efficiencies in media asset management (MAM) systems for some time, but as the technology becomes more powerful and its potential applications more expansive, what are the major considerations and risks of AI’s role in MAM? James McKeown explores in the first of a three-part investigation.

Channel 4 recognised as most successful commissioner with multiple finalists in three out of four categories, including two from Katie Arnold in the same category. For the first time, winning entries across all four categories focus on one story, Gaza.