A raft of new laws are being drafted in a bid to deliver restraint to the increasingly rapid rollout of AI. But what do media technology developers think should be the priorities for legislation, and is it realistic to hope that some of the bleaker prognoses can still be avoided, writes David Davies.
To mark World Television Day, commemorating the United Nation’s first World Television Forum in 1996, IBC365 looks back at the past year’s achievements, advancements and innovations in TV and broadcasting across the globe.
The world of IP-based video is defined at present by a couple of major technologies. David Davies examines their primary points of difference and wonders ‘what’s next’ for media connectivity and transportation.
Pressure from Wall Street and the weak economic landscape could drive further M&A among US media giants, but weather the next 24 months and they might all survive, reports Adrian Pennington.
Girls with money, men with power. A group of fun-loving young American girls explode into the stiff upper lipped London season of the 1870s, kicking off an Anglo-American culture clash in Apple TV series The Buccaneers, reports Adrian Pennington.
The precision design of David Fincher’s hit-man feature mirrors its subject, writes Adrian Pennington
Virtual production technology has reached a new level of sophistication and many productions are now being written with a Volume in mind. However, it is not right for all stories and some tech gremlins remain, writes Adrian Pennington.
Cinematographer Oren Soffer discussed bringing guerilla-style filmmaking to sci-fi blockbuster The Creator with Adrian Pennington.
Paul Cameron is a distinguished cinematographer who is now making a move into the director’s chair. IBC365 spoke to him about his latest project, Special Ops: Lioness, a military drama for showrunner Taylor Sheridan.
Covid-related venue closures and the giant rise of streaming have cost the cinema culture a significant loss in audience numbers, and now with the aftershock of the Hollywood writers’ strike, cinema needs an innovative force if it is to avoid a prolonged decline in viewership, writes Sheryl Hickey.
