Neal Michie, Director of Product Management at PACE Anti-Piracy, discusses how intellectual property in the form of algorithms deployed on the edge can be reverse engineered and stolen, and how a white-box solution can prevent this process from taking place.

The Alliance for Open Media (AOM) shares some of the challenges of the growing demand for UHD-quality streaming services and how the adoption of the new AV1 codec can help deliver new capabilities in storage and distribution.

Frank Copsidas, President of the 5G Broadcast Collective, discusses the transformative potential of 5G Broadcast technology, a novel platform for delivering content directly to smart devices equipped with a 5G broadcast-enabled modem chip.

Ophélie Boucaud, Principal Analyst - Media & Telecom at Dataxis, provides a European perspective on overcoming the current challenges associated with fragmented viewer and advertising metrics.

IT-based broadcasting is continually evolving and engineers face new challenges in key growth areas such as IP-based production and cybersecurity. John Maxwell Hobbs breaks down the resources at hand to help broadcast engineers stay on top of their game.

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.