The news that the Writers Guild of America (WGA) and Alliance of Motion Picture and Television Producers (AMPTP) have reached a tentative agreement to halt the current strike is giving hope to members of the film and TV industry around the world.

Early this morning UK time, the two sides said they had reached a “tentative agreement” to end the strike, which began 146 days ago.

“We can say, with great pride, that this deal is exceptional – with meaningful gains and protections for writers in every sector of the membership,” the WGA’s negotiating committee wrote in an email to members.

“To be clear, no one is to return to work until specifically authorised to by the Guild. We are still on strike until then,” the WGA message added.

The WGA’s negotiating committee will decide on Tuesday whether to recommend the agreement to the board of the WGA West and council of WGA East so that they can vote on it. Should that go ahead, the Guild’s 11,000 members will then be asked to vote.

But while the WGA has reached some agreement, the actors’ unions remain on strike.

Fred Black, analyst at Ampere Analysis, tells TVBEurope he believes it is “highly likely” that the WGA members will agree to the new deal. “The lengthy work stoppage has hurt the struck companies, but it has hurt working writers more [as they] have mostly been out of a job for the past five months. Now a deal has been agreed, I think the overwhelming desire will be to get back to work as soon as possible.”

One of the key negotiating points has been the WGA’s Minimum Basic Agreement on pay, which is understood to have undergone some drastic changes, adds Black. “The other sticking point towards the end of the negotiation process was around generative AI, with the language in this contract very carefully constructed. The agreement of a minimum basic staffing level for episodic TV is also likely on the cards, as it was a red line when we started way back in May.

“Perhaps the most important part of the deal though, will be the agreement on residuals for streaming- both for the immediate benefits to writers who feel their content on streaming platforms has been undervalued, but also as a potential blueprint for the ongoing SAG-AFTRA negotiations.”

Black adds that as many of the issues at the core of the actors’ strike are the same or similar to those covered in the prospective WGA deal, there will be pressure on both sides to use this agreement as a blueprint to bring about a swift resolution to the strike.

“The impact of the writers’ strike has been huge, largely shutting down production before the advent of the actors joining the strike,” says Black. “The resolution has important impacts too – in the new world of streaming, the terms of these agreements will set the playing field for the future of the TV and film industry, serving as the starting point of negotiations between creatives and business leaders for years to come.”

However, even though the writers could be back at work very soon, most of ‘Hollywood’ will remain shut down until the actors and the AMPTP reach an agreement.

“The resolution of production now depends entirely on the SAG-AFTRA strike,” states Black. “While the potential blueprint of the WGA agreement, and the AMPTP negotiators’ undivided attention ought to expedite that process, there is no guarantee of a swift resolution at this point. [Everyone] in Hollywood will be keeping a keen eye for any signs of the desired swift progress towards a resolution.”

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Gravity Media has extended its deal with the All England Lawn Tennis and Croquet Club to continue providing NetCams for Wimbledon.

The new agreement from 2024 builds on the company’s successful deployment of NetCam at The Championships since its debut in 2018.

NetCam, designed by Gravity Media Australia, features a dual UHD camera platform with two simultaneous 12g-SDI digital video transmission outputs (one from each camera).

The cameras are mounted within the centre strap of the net, just behind the white vertical adjustment strap, enabling viewers to enjoy the match from an entirely new vantage point. With a courtside fibre converter transforming signals into the optical format, shots from the centre of the court can be transmitted via a mobile control room or production truck, said Gravity Media.

Speaking about the deal, Paul Davies – head of broadcast, production and media rights, The Championships, Wimbledon, said: “The use of NetCam on Centre and No. 1 Court brings a unique and dynamic perspective to the broadcast coverage during The Championships.

“The delicate challenge of integrating these cameras within the grass courts has always been sensitively managed between Gravity Media Australia and our ground staff and we look forward continuing this long standing partnership.”

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Maidstone Studios has played host to Wes Anderson’s new Netflix film, The Wonderful Story of Henry Sugar.

The 39 minute film, which stars Benedict Cumberbatch, Ralph Fiennes, Dev Patel, Ben Kingsley and Richard Ayoade, shot in the facility’s 12,000 sq. ft Studio 1, one of the largest independent, regional studio facilities in the UK, and Studio 2 (6,000 Sq ft).

The production also employed several outdoor sets constructed within the backlot at Maidstone, while production made use of many of the Studios’ ancillary spaces for hair, make up, props and catering.

The film is based on a story by Roald Dahl about a rich man who learns about a guru who can see without using his eyes and sets out to master the skill in order to cheat at gambling.

Chairman and owner of Maidstone Studios, Geoff Miles said: “We are enormously proud and delighted to have worked with Wes Anderson and Indian Paintbrush on their latest short film for Netflix. It was an absolute pleasure to work with such a talented team across the year and on such an iconic Roald Dahl story.”

The Wonderful Story of Henry Sugar debuts on Netflix on 27th September.

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Global SVoD revenues will reach $127 billion by 2029; up from $107 billion in 2023, according to new figures from Digital TV Research.

The US and China will account for half of the 2029 total, said the analysts, with the US adding $2
billion of the $20 billion extra SVoD revenues between 2023 and 2029. Brazil, Germany, Japan and South Korea will each increase by $1 billion.

The six big US-based platforms will add $12 billion in SVoD revenues between 2023 and 2029 to take their combined total to $72 billion, predict the analysts. Netflix will remain the leader of the pack with $34 billion expected by 2029 – more than Disney+, HBO Max and Paramount+ combined.

Speaking about the findings, Simon Murray, principal analyst at Digital TV Research, said: “The key metric for the main SVoD platforms has moved away from subscriber growth to profitability.”

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Production equipment and services provider CVP has opened the doors to a new flagship showroom in Fitzrovia, London.

The new showroom at Great Titchfield Street features a state-of-the-art lighting and virtual production set, said the company, with multiple cine and broadcast cameras including the ARRI ALEXA 35, Sony VENICE 2 8K and RED V-RAPTOR S35 fully rigged to provide a hands-on showcase for potential customers.

The showroom also includes the recently launched Sony BURANO 8K digital cinema camera, the Angenieux EZ3 multi-format tele lens and the Cooke Optics SP3 full frame prime lens series.

• CVP expands European operation due to ‘challenges of Brexit’

Additional solutions on display include a range of motion solutions from DJI, Ronin 2 and Steadicam, as well as PTZ cameras, an LED volume stage, lighting solutions including Litepanels, ARRI, Aputure and Prolycht, and a Monitor Wall featuring 30 monitors side by side from brands including Atomos, Ovide, Eizo and Sony, added the company.

Jon Fry, CEO, CVP, said, “We’ve designed this innovative new showroom with our community in mind. It offers an environment where our valued customers can interact with state-of-the-art technology, foster engaging discussions, and stay updated with advancements happening at the forefront of our industry. The space will also serve as a hub for knowledge sharing, with educational workshops, technical training and networking events already scheduled.”

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The European Broadcasting Union (EBU) has updated its procedures for managing vulnerabilities in the media industry.

The latest version of EBU R 160 covers pre and post-purchase stages for both buyers and vendors, and includes security and testing guidelines.

In its latest iteration, EBU Recommendation 160 – Vulnerability Management for Media Companies and Media System Vendors provides a framework for organisations both prior to and after the procurement of a media product, and throughout its entire lifecycle, said the EBU. The organisation is urging vendors to adhere to the procedure before and after the release of a product.

The framework harmonises with established best practices in vulnerability management within the realm of Information Technology, added the EBU, such as adhering to the CVE process, ensuring the distinctive identification and assessment of vulnerabilities.

The recommendation also encompasses a set of security and testing guidelines that media organisations and vendors can follow to test their media systems’ security.

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Amazon has announced it is adding commercial breaks to Prime Video.

The company said the move will enable it to invest further into content.

The adverts will be introduced in the UK, Germany, United States and Canada in early 2024, followed by France, Italy, Spain, Mexico, and Australia later in the year.

Subscribers can opt out of the adverts, but they have to pay to do so. Details of the UK/European fee have not been revealed, but for US viewers the non-advertising tier will cost an extra $2.99 per month.

Amazon said it intends to run fewer ads on Amazon Prime Video than traditional broadcasters or broadband rivals.

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As the dust settles on IBC 2023, TVBEurope hears from a number of exhibitors on their view of this year’s show.

Matthew Williams-Neale, VP marketing, Appear

In terms of stand presence, visitor numbers, and quality of conversations, IBC 2023 was our biggest show yet. We had 700+ visitors from 65+ countries representing 550+ companies. The feedback from our visitors about our stand design and hospitality at our sports bar-style experience was incredibly positive and helped create a relaxed and welcoming environment for all who engaged with us. The show generally also felt much busier than last year, indicating an optimistic outlook for the industry and a growing appetite to connect in person.

Sustainability was a hot topic of conversation at IBC 2023 – but the industry needs to continue to do far more. As technology vendors, we must all address the roles we can play and work closely with media companies to tackle the challenge of building a more sustainable future head-on in everything we do. During the show, it quickly became apparent which companies were serious about creating sustainable solutions and if they could substantiate their claims. It seems clear that sustainability will continue to be a major focus at future trade shows, and we’re looking forward to sharing how we will continually advance our portfolio and culture around this vital topic.

Kjetil Horneland, CEO, Ease Live

At IBC, it was interesting to see how cloud production technologies have expanded the realm of user interaction beyond the primary live stream, enabling viewers to engage with a broader spectrum of content. The industry is actively seeking ways to deploy such services across web, mobile, and connected devices and to reach their entire audience without imposing substantial upfront costs or lengthy time-to-market delays. 

Also, if you look beyond the discussions around expensive content rights and consolidation in the market, it’s clear that many OTT platforms are finding themselves grappling with the task of recouping their investments within a highly competitive marketplace. They understand that powerful interactive experiences are pivotal to increasing fan engagement, building loyalty, driving greater participation, and acting as a powerful catalyst for growth. 

Finally, I noted that several customers and partners are targeting advancements in advertisement formats to simplify the delivery of targeted programmatic ads and sponsorship “on top of the stream” when their traditional inventory has sold out. This is providing food for thought for many global sports leagues, particularly as they look for long-term strategies in structuring interactive content (the partnership of La Liga and Play Anywhere is just one recent example).

Sally Winship Comollo, director, communications, Edgio

IBC 2023 was a great show for us and a fantastic opportunity to meet with our European and global customer community. One of the biggest talking points was around trying to do more with less – driving profitability and reducing complexity were top of the agenda for many major media organisations at the show. 

Streaming at scale is becoming increasingly demanding and complex. Media companies are looking for a simple way to tie together the multiple fragmented solutions required to form a complete streaming tech stack. Whether you have top quality content and an audience, but need a full streaming workflow – or whether you already have several existing elements of the tech stack – bringing this ecosystem together can be a confusing, expensive, and painstaking process. As a result, we’re seeing growing interest in the managed service approach with pre-integrated partners that provides customers one central point of contact and a quick route to market. 

Customers are looking for flexibility. They want easy access to a flexible, pre-integrated ecosystem that allows them to create a full chain streaming solution while simplifying disparate workflows. Right now, media businesses don’t have the time or headspace to think about managing multiple vendor relationships and complex technology integrations – they want to focus on creativity, content, and subscriber growth.

Vijay Sajja, CEO, Evergent

Maximising monetisation while reducing costs was a massive talking point at IBC 2023. Facing economic headwinds, media organisations have a huge focus on driving subscription revenues while experimenting with new business models at multiple cost points. Post-pandemic, previously rapid streaming subscriber growth is slowing down, so content providers are looking for new ways to retain and grow their audiences to secure profitability.

Churn was the top challenge we discussed with media customers at the show. Whether tackling involuntary churn, (e.g. when a subscriber’s card payment is declined), or voluntary churn (e.g. choosing to cancel a service), streaming companies need a multi-faceted approach. Even making small improvements across a number of these areas can deliver a significant uptick in revenues. Having dedicated, specialist technology with all the right partners, payment platform integrations and local market customisations will deliver tremendous results. 

Minimising churn and keeping hold of your customers is paramount – leading media brands are quickly realising they need a lot of high quality data and a full suite of specialist tools to help them achieve that.

Blair Harrison, CEO and founder, Frequency  

Let’s start with the positives. Media companies came to IBC looking to thoughtfully invest in new technologies and platforms that automate their services and reduce operational costs. The selection of technology suppliers exhibiting on the show floor was much more nuanced, but some of the smaller players – who helped get trends such as FAST channels off the ground a few years ago – were not as active. It is clear that customers are seeking premium-grade solutions that bring reliability and technological maturity.

Let’s be frank – there is a lot of caution across the industry. As SVoD stagnates, traditional TV declines, and cloud economics continue to disrupt traditional value chains, we will see sales cycles continue to lengthen, and I think the next three quarters will prove very challenging. Everyone is trying to find value wherever they can.

I’m optimistic there will be a substantial improvement in the second half of 2024. As the lines between traditional TV and FAST continue to blur, there is a great opportunity for companies like Frequency to invest now in advance of market maturity. While many of our customers are focused on cutting costs – largely by replacing their traditional TV infrastructure for non-critical channels and services with cloud-based tools – they are also actively seeking ways to monetise and maximise the value of their deep-pocketed content libraries. It means FAST channels are back on their radar once again.

Rick Young, SVP, head of global products, LTN

IBC 2023 was another huge success for LTN and the industry. It was great to get together to discuss the most significant trends that are shaping the future of media technology.

LTN had plenty of conversations with customers and other attendees that focused on moving to more scalable solutions underpinned by IP-based video transport. Video transmission solutions today must be robust and flexible enough to support a modern, multi-platform global distribution model. In 2023, media companies both in EMEA and elsewhere are quickly realising that transitioning to IP makes sense from both a business and technology perspective. 

IP-based video transport is enabling organisations to push new boundaries in content distribution and unlock greater flexibility, scale, and monetization that will help them thrive today and in the long term. It was tremendous to see the determination from many media companies to futureproof their business with IP-first solutions such as LTN Wave and LTN Arc, both of which were central to our discussions at the show.

LTN will continue to enhance and evolve its product portfolio over the coming months. Our 2024 innovation roadmap looks more exciting than ever.  

Mark Fisher, VP of marketing and business development, Qwilt

Consolidation has been a big theme in the broadcast world over the last few years, so much so that in the US, six big companies control an estimated 90 per cent of the US media marketplace. With the reach of IP extending past the traditional limitations of broadcast spectrum and operator licences, the consolidation is now global for many of these big brands. The key driver for this outreach is a desire for these brands to remain relevant and increase scale to compete with streamers like Apple, Amazon and Netflix. 

Yet consolidation is not just on the content publisher side. IBC saw an explosion of new exhibitors at the end of the last decade with 2018 hosting around 1700 exhibitors compared to the 1250 that IBC reported this year. This is not to say that the event was any less important or vibrant, in many ways, this was one of the best. However, it is notable how many optimistic start-ups have either been acquired or fallen by the wayside in a market where previously conservative suppliers have ramped up investment in areas like cloud and of course the move to software over hardware-based solutions.

Consolidation on both sides has a beneficial knock-on effect and especially in the content distribution business. In areas like service interoperability and emerging technology such as open edge caching, these new behemoths are effectively setting industry standards and direction that is making it easier to gain a critical mass for innovative ideas.  

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Warner Bros Discovery has announced it intends to expand Leavesden Studios by a further ten sound stages by 2027.

Warner Bros Studios Leavesden’s production capacity will grow by 50 per cent as part of the project, with work due to begin in the second quarter of 2024.

The expanded WBSL will become a primary production hub for DC Studios, said the company.

The expansion will boost the total stage count from 19 to 29 and the overall production space from 1.14 million sq. ft to 1.78 million sq ft, added WBD.

Recent film and television shows shot on WBSL soundstages include Barbie, House of the Dragon; and the upcoming film Aquaman and the Lost Kingdom.

DC Studios Co-Chairmen and CEOs James Gunn and Peter Safran will consult with the expansion team to ensure that their ideas are incorporated into the new studio and production facilities.

It is anticipated that the expansion will drive the creation of another 4,000 new direct and indirect jobs across the UK and grow WBSL’s contribution to the UK economy by more than £200 million, raising the total value of film and television production at WBSL to an excess of £600 million annually, said the company.

The expansion plan has been developed in close consultation with Three Rivers District Council and Watford Borough Council with careful consideration given to prioritising sustainability, added WBD.

Leavesden will also include an on-site training centre to support existing crew, create career pathways for people of all backgrounds and “foster the next generation of talent using the wealth of industry expertise on site”.

Simon Robinson, chief operating officer of Warner Bros. Discovery Studios, said: “Warner Bros. Studios Leavesden is globally recognised for its exceptional soundstages and facilities, and with this planned expansion adding significant capacity and capabilities, it will be home to even more incredible storytelling for both film and television projects. We are proud to not only be growing our productions in Leavesden and making it the main hub for DC Studios, but also to be growing our economic and community contributions to the UK’s creative sector.”

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The media and entertainment industry has been taken by surprise by the announcement Rupert Murdoch is stepping down as chairman of News Corp and Fox.

In a statement, Murdoch said he was in good health and was “truly proud of what we have achieved collectively through the decades”.

He will hand over the reins to his son Lachlan in November, who steps up from his role as executive chair of Fox Corporation and Nova Entertainment.

Rupert Murdoch added: “The time is right for me to take on different roles, knowing that we have truly talented teams and a passionate, principled leader in Lachlan who will become sole chairman of both companies.”

Among the people thanked by Murdoch are “the skilled operators behind the cameras or the computer code”.

Speaking to TVBEurope about the 92-year-old’s decision to step down, media analyst Paolo Pesctaore said Murodch’s decision has come “out of the blue as he has not shown a willingness to throw in the towel”.

“Undoubtedly he will still be involved and not want to remove himself entirely given the media empire he has created. It is always hard to let go, even though we are not getting any younger.”

Pescatore went on to say that Murdoch has had a “significant” impact on the media and entertainment industry, adding that it “cannot be underestimated from content creation to delivery and the way users access media across connected devices.”

Asked what he thinks the future will have in store for the company, Pescatore said Lachlan’s first job will be to manage the transition as smoothly and seamlessly as possible to ensure there is no instability.

“It is too early to say what the future holds and unclear what direction the company will take under Lachlan’s stewardship,” he added. “In the short term, there should not be any drastic changes given he has been heavily involved for some time. However, he will want to cement his own position and create his own legacy.”

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While media organisations still have the resources to offer the most polished and well-researched broadcasts, they can’t be everywhere at once. The capture and distribution of breaking news was previously managed by outlets that needed to ensure journalistic integrity and be accountable to their audience. Now with the ubiquity of mobile devices, the face of news gathering has changed beyond recognition.

To fully understand complex global issues such as climate change, viewers need the right context and background to make informed decisions. Quality reporting requires time to fact-check and build a story, but broadcasters need to adapt to an increasingly fragmented media landscape. The challenge broadcasters face is the veracity of citizen journalism – if anyone, anywhere, can produce a news story, then accuracy cannot be guaranteed. There are quality independent outlets that are leveraging social media to disseminate well-researched stories, but not everyone has the experience, or the motivation to ensure accurate reporting.

The role of user-generated content

There are several reasons to remain skeptical about user-generated content and the majority of these revolve around objectivity. It is not uncommon for groups with vested interests to bend the story to support their cause, destroying any impartiality. It is certainly easy to mislead an audience with selective editing or the removal of vital context. But even worse, in some cases the action presented in a news piece might have been completely staged and doesn’t reflect a genuine event.

To avoid misinterpretation there is an urgent need to get accurate news contribution reports in front of viewers, before inaccurate versions of a story become widely disseminated. Especially as social media rewards controversial content to achieve higher levels of engagement. Citizen journalism can offer several benefits, so it’s important to harness the positive aspects to ensure that news broadcasting evolves in the right direction. If a news piece is shot and edited by someone with intimate local knowledge, it can be a raw and truthful reflection of what is happening on the ground. This is especially true in culturally sensitive situations where without a full news team, citizen reporters can access newsworthy events as if they were just another member of the public.

Challenging unverified content

One way to counter the deluge of inaccurate information is to publish the verifiable version as soon as possible. There’s a simple logic, if you can get a news event out before everyone else then your piece will get the most engagement. But the challenge is that breaking news has to be online within minutes, if not seconds, to beat the smartphones that also captured the footage.

Recent technological developments are helping genuine news gatherers to post polished, branded news items on-air or on social media almost immediately. Camera to cloud involves sending a proxy file directly from the camera into the cloud, where it can be quickly edited and packaged before sharing. Just a few years ago, this was experimental technology and barely a proof of concept, but it is now affordable and reliable and is helping to challenge the impact of misleading or biased content.

Connectivity and latency

As mobile bandwidth continues to improve and terrestrial mobile connectivity migrates to 5G, high speeds and low latency are becoming the norm. Proxy workflows in the cloud can also leverage multiple bonded 4G/LTE connections for reliable and fast news contributions. For locations where there’s no mobile coverage, Low Earth Orbit (LEO) satellite constellations offer usable bandwidth. Within two or three years, there won’t be anywhere on Earth that doesn’t have a reliable mobile internet connection to facilitate Camera to Cloud.

Cameras don’t typically have any ability to upload proxy files, but Atomos has developed products for this purpose, and this enables users to record a master camera file at the same time. The ability to upload footage in the background while still shooting drastically reduces the time it takes to capture, edit, and share content. Proxy files have also improved significantly and can be good enough to publish directly, without relinking with the original camera files. 

Transforming news production

Technical innovation is changing the face of news production, editing your cloud video files in a browser removes the need for a traditional workstation. Once edited, you can send your media – without transcoding it – directly to social media platforms or straight to a newsroom. Camera to Cloud is a catch-all description for a bouquet of technologies that are revolutionising the newsgathering landscape. It is likely to become the default modus operandi for all types of production, not just news and current affairs. It offers professional news gatherers and producers the same sort of immediacy as citizen journalists but allows them to retain the values of accurate reporting. 

In the face of a relentless 24-hour news cycle, camera to cloud protects the professional editorial chain and maximises decades of cumulative experience in producing news content. This matters because, while many citizen journalist contributions are outstanding and the world is a better place because of them, it is just as easy to propagate false information as it is factual material. As the saying goes, a lie flies around the world before the truth has got its trousers on. So, for a commercial news organisation, if you get breaking news published first, you’ll get the engagement first. In a world where attention is also proportional to revenue, that’s a big deal.

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Digital Catapult has joined forces with Target3D and PROTO to launch the UK’s first network of Advanced Media Production studios, which it says will “amp up” digital entertainment by democratising access to cutting-edge screen production technologies.

The studio network, which connects London to the North East, will leverage motion capture, virtual production, 5G private networks, XR equipment and photogrammetry to meet demand for compelling content, said the companies.

Creatives will have access to LED screens, graphics processing  (GPU) and rendering compute power, 360 live-action filming facilities, photogrammetry, and 4D videogrammetry stages as part of the network.

Utilising a sophisticated private 5G network, the UK’s first interconnected 5G-enabled studio provides a permanent facility that will enable different types of media content to be created at the same time, the companies added.

The network of studios adds to the 20 facilities that Digital Catapult already has across the UK.

Jeremy Silver, CEO of Digital Catapult said: “For the last decade, Digital Catapult has been a pioneer of investment in digital entertainment, concentrating our efforts on the UK’s creative industries, and strengthening the relationship between technology and the arts. We are thrilled to unveil the UK’s first network of Advanced Media Production studios in collaboration with Target3D and PROTO.

“Through our concerted efforts including years of direct industry engagement and the support of InnovateUK, Digital Catapult has built the case for new public investments such as the AHRC’s  CoSTAR programme to secure funding, to further advance the success of the UK’s creative industries at scale. Our vision is to continue to push at the boundaries, ahead of mainstream adoption and thus ensure that UK expertise leads the world in a new era of entertainment that combines sustainability and creativity, and redefines how media is produced, shared, and experienced.”

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TVBEurope celebrates the winners of our Best of Show at IBC 2023 Awards.

Congratulations to the winners.

You can read the full list of winning entries here.

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Sustainability in the media and entertainment industry organisation albert has released an in depth guide to help the screen industry reduce its impact on biodiversity in every area of production from planning to props.

The guide includes a clear categorisation of the kinds of impacts a production could have on biodiversity, including in the supply chain and production practices.

It includes practical tips, checklists for how to avoid, minimise and restore potential impacts and details on legal requirements alongside further reading.

Speaking about the guide, Kirstie Shirra, chair of albert’s Biodiversity Working Group, said: “At albert, we have been leading the way in cutting carbon in the screen industries but it will not be possible to achieve climate targets without also addressing biodiversity. Declining biodiversity makes us more vulnerable to climate shocks like floods, fire, and drought, whereas healthy ecosystems can help store carbon. By encouraging productions to consider their biodiversity impacts, we have a real opportunity to both support nature recovery and achieve our climate goals.”

Danielle Mulder, BBC director of sustainability, added: “The publication of this new guidance marks a crucial step in empowering our sector to address the loss of biodiversity.  Aiming to have a positive impact on the natural world is central to the BBC’s sustainability strategy – that’s why we are working hard to reduce our own biodiversity footprint and have supported BAFTA albert to develop this production guidance for the wider industry.”

The guide is available to download here.

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DPA Microphones has opened a new headquarters in Kokkedal, a suburb of Copenhagen.

The new space will put an emphasis on the brand’s research and development facilities, with significant upgrades and new studio spaces, said the company.

The new facility is due to include a full anechoic chamber that will aid in the creation of DPA’s microphones. Additionally, a planned multi-room space will feature a video studio and controlled listening area for live and recorded demonstrations, said the company.

The new 1,700-square-metre facility is environmentally conscious, with WindowMaster climate solutions, energy-conscious LED lighting and electric vehicle charging stations.

“DPA continually aims to inspire sound professionals looking to improve their solutions, and we are confident that the new headquarters will further enable this growth,” said DPA Microphones CEO, Kalle Nielsen.

“The facility offers a great environment for close collaboration across the organisation and with outside partners, which is the foundation we need to provide strong solutions. This high-tech environment will be the homebase for some of the world’s best microphone specialists, enabling them to create even better microphones and provide more education to the pro audio community.”

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A new report from Sky reveals that the broadcaster’s technology resources are currently deployed one day a week on regulatory requirements.

The report, produced in conjunction with Public First and Oxford Economics, calls on the UK government to “take a more prominent role in the growth and development of the media and entertainment industry”.

It sets out a number of key policy priorities for success in the creative industries:

Innovation: Sky proposes that all new regulation is subject to an Innovation Impact Assessment, requiring government departments to explicitly consider the effect of new rules on companies’ ability to innovate. At present, one day a week of Sky’s technology resources are deployed on regulatory requirements: This time and effort could be better placed elsewhere, said the broadcaster, such as developing new services or optimising existing business practices to boost productivity.

Skills: The government should expand the scope of the Apprenticeship Levy so that it covers freelancers who move flexibly between productions and allow funds to be used for broader retraining and retention.

Incentives: The government should maintain a world-leading AV tax framework by committing to a regular benchmarking exercise assessing UK incentives against competing jurisdictions, as well as broadening R&D tax credits eligibility to include creative endeavours.

Space: The government needs to proactively support production studio infrastructure by streamlining planning processes and rethinking the Valuation Office Agency’s property tax rating for studios, states Sky. There are currently development proposals for 44 new studio spaces across the country, but progress is slow with ongoing funding and planning obstacles to overcome. Sky suggests central government and local authorities should embrace the economic and employment potential of the screen sector, and streamline the planning processes that can bring this pipeline to fruition.

Connectivity: Sky is calling for a national Internet Protocols (IP) roadmap in anticipation of a wholesale shift to IP distribution, including a coordinated effort to end digital exclusion to allow people to engage with online-only content.

The research also found that the sector could be worth an additional £10 billion to the UK by 2033 and could contribute an additional 40,000 jobs.

Speaking about the findings, Dana Strong, group CEO, Sky said: “We face a unique opportunity for the UK to be a global powerhouse of creative production, scaling up to meet growing demand both at home and overseas.

“If our industry and the UK government work together to invest in skills, innovation, and key infrastructure, we will succeed in creating more prosperity for communities across the country. As a result, the media and entertainment sector could be worth an impressive additional £10 billion to the UK economy by 2033.

“There’s so much more to do, and Sky is determined to be an engine for that growth – powering creativity in the UK and across the world.”

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As part of its coverage of next summer’s Euro 2024 championship in Germany, RTL Deutschland has agreed a full production partnership with Deutsche Telekom to employ 5G.

The solution has been piloted by the two companies and is now being officially launched for other media companies to employ.

Matthias Dang, co-CEO RTL Deutschland said: “We are very pleased to be able to drive this development forward as a partner with our extensive live TV know-how and Telekom’s high level of technological expertise. Telekom’s 5G standalone network meets the high demands of TV production.”

• Deutsche Telekom, RTL Deutschland test live video production over 5G

“We will increasingly use the technology for live broadcasting in the future. With RTL+, we have already established a successful partnership with Telekom at MagentaTV. For UEFA EURO 2024, we most recently agreed a full production partnership. Our collaboration on 5G live production is now another milestone in technology development and innovation in the German TV market.”

During tests, RTL and Deutsche Telekom’s technical teams transmitted video signals in real-time using 5G network slicing, which allows multiple, virtual network slices to operate independently of each other.

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As the sun sets on another successful IBC, it’s important to reflect on some of the trends that will help shape changes in the media industry in the months ahead.

This year’s show covered everything from virtual production to camera launches, gaming and more, but there are some themes I felt stood out that will make major waves in the industry.

Fundamentally, a new wave of innovation was paramount as industry leaders discussed how to keep their audiences engaged and businesses profitable. AI was probably the most frequently discussed topic of all, especially generative AI. That’s because the delegates at the show were all very aware of the impact it can make across the entire media value chain.  

Generative AI is already being implemented in the industry to help boost human creativity across content creation and production as a creative co-pilot, helping to speed up the production process. It is also helping to distribute content to broader, yet still highly targeted audiences and manage media assets effectively. Generative AI will turn passive viewing experiences into something much more participatory, taking engagement to the next level. And for media businesses, audience engagement is the top priority. It directly impacts revenue, brand perception, and the ability to adapt to an ever-changing landscape. Using AI and analytics combined, puts businesses in a strong position to really understand their audience and engage with them effectively to drive growth. 

The power of cloud

Another example of how technology is driving audience engagement at the show came in conversations about the use of cloud, particularly in newsrooms. The core pillars of news production have always been the same: gathering, creating, and distributing. But the way we get our news has changed, which is altering the quality and quantity of the news we consume, and the pace at which that news reaches people around the globe.

To tackle the issue of rising costs and a decline in profits, newsrooms are modernising their physical and digital workflows and associated technologies within the content supply chain and are finding new ways to remonetise content and extend its lifecycle. 

In newsrooms, time is of the essence. The faster media companies can produce, localise, and distribute content that meets consumer demands, the better their bottom line. But coordinating teams, workflows and processes in the traditional way takes time.

By centralising content in the cloud, it provides a single point for development, contribution, editing and distribution. All tasks can be performed in one production control room in the cloud and the entire workflow can be managed from anywhere, at any time. The centralised structure minimises costs, duplication of media, and reduces errors and improves security.

Access to a single storage pool enables contribution from anywhere – critical in today’s virtual world. This element of live contribution, together with channel origination and distribution means businesses are taking local products to any platform capable of receiving a stream and they are reconfiguring that content quickly to localise it and offer highly tailored experiences. 

The crackdown on password sharing

As technology evolves, so does the industry and we see that with streaming services now. We’ve already seen major companies start to crackdown on password sharing and we’re likely to see other companies making similar moves. But who will win, the streamers or the consumers? 

Consumers fundamentally want a ‘super’ streaming platform – one place to go and get the movies or TV shows they want and have only one bill to pay. But with the streaming companies unlikely to open their APIs and lose their captive audience, it will be interesting to see if the tipping point ever happens to force change. No one had answers to what the future holds at the show, but it was certainly a conversation many people had outlining their own predictions.

A final thought

Disruption will continue in the media industry, so between now and next year’s IBC, leaders need to think about how these technologies and themes can help them innovate within their own businesses. With tight budgets, it’s important that wise investments are made to help the industry evolve and thrive.

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Amid idyllic or luxurious backdrops, darkly satirical dramas are becoming more commonplace, exemplified by hits like Big Little Lies and The White Lotus. In this trend, narratives deftly interlace flashbacks, crafting captivating tales often initiated by deaths or crime scenes. No Escape adeptly adheres to this pattern, revealing its tale through a haunting opening scene that instantly captures audience attention from the outset.

Based on Lucy Clarke’s novel The Blue, the seven-part series on Paramount+ follows two best friends, Lana (Abigail Lawrie) and Kitty (Rhianne Barreto), who, in an attempt to escape their lives in the UK, decide to embark on a journey aboard a yacht (The Blue) in the Philippines. Before long, the vessel is discovered adrift in the waters of Queensland, devoid of any occupants. A modern-day Mary Celeste, if you will. 

Developed by New Pictures and Viacom International Studios, the show’s aesthetics are enhanced with a healthy dose of VFX. Whilst it’s not unusual for a show or feature film to spread these shots across different vendors – particularly if there are specialist scenes – Vine FX was responsible for 500 shots across the entire season of No Escape. 

Vine FX’s work was entirely focused on post production, so anything it introduced was to its own pipeline. “For us, having a solid background in high-end TV shows (War of the Worlds, The Lazarus Project, The Serpent) and strong connections with VFX producers really helped land us a spot on No Escape,” explains Laura Usaite, managing director, Vine FX. “We ended up working across set extensions, environments, 3D modelling, matte painting, and compositing.” 

She explains that the role of a VFX supervisor is to make sure that the plates they receive are in as good a condition as possible for the work that needs to be done. Of course, what that entails varies from shoot to shoot, “but the core principles are usually the same”. That requires working very closely with DOPs and gaffers to refine what’s in a frame and how a particular scene might be approached.

“For example, if there’s a moving camera and we’re adding elements in post production then we’ll need to do a 3D camera track,” Usaite says. “That takes time, and can lead to unforeseen challenges. So, we’ll suggest approaches to get the best results possible. Something that can often be overlooked is reflections. Not just painting out cameras or crew reflections in post, but making sure that HDRIs are captured on set for adding correct environment reflections onto any CG elements. We’ll also record where light is coming from, what lens focal lengths are being used, and even the white balance of the camera. Everything that can help smooth out the work of post-production teams.” 

Although set in the Pearl of the Orient, most of the in-camera work was done 1,400 miles west in Thailand. “The ocean assets we developed were designed to be flexible so they could be reused and reworked easily, and our joint-based approach to stingray movement was an innovative way of creating authenticity in the shots,” explains Usaite. “We had to extend and replace a lot of landscapes along with creating the look for the South East Asian oceans. Being given that level of creative input is very rewarding for us and helps to set the tone of the entire show. We also created most of the storm effects. Almost everything you see in intense weather scenes is CGI, and we had to develop a look that wouldn’t jolt viewers out of the story. Most of our work is invisible and covers environments, set extensions, CG creatures and more.”

In fact, Usaite is most proud of the work done to create the storm effects. “Water is notoriously difficult to simulate in CG, so we spent a lot of time in R&D to ensure our approach would work,” she says. “Our job is to make what we do invisible — an audience shouldn’t be pulled out of a good story by obvious visual effects. Good VFX can’t be seen and shouldn’t call attention to itself in context either.”

When it came to extending environments, Vine FX typically took a line from a natural landmark like a shoreline or mountain. “Then we add in digital matte paintings or full CG extensions that match the colour and tone of what was shot live,” Usaite adds. “It’s the same for the storm effects, rotoscoping around actors and adding water elements on top.” 

When it was time for interior shots, like inside the airport, team Vine FX used greenscreens on TVs that could be easily swapped out for departure boards. “Green is often the best choice for these sorts of replacements because it’s furthest in colour from human skin so it’s easier to pull a key,” she says. 

Working with inanimate or static structures, such as airports is one thing but when it comes to recreating the movement of sea creatures, it requires a rather different approach. For example, crafting dynamic movements for sea creatures presented a distinct challenge. “Developing realistic movements for the stingrays was an interesting process,” Usaite recalls. “They glide through water like birds, with elegant twists and turns. Capturing this grace in CG was both demanding and exhilarating. We developed rows of joints in our CG stingray models, manipulating these to create controlled sin waves, which were then mapped onto a secondary skeletal structure to drive their movements. This approach allowed our animators to seamlessly integrate several stingrays into a scene, adjusting their paths and speeds to match the shot’s requirements.”

No Escape is available on Paramount+.

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Guendalina Cobianchi, SVP business development and partnerships, V-Nova

Talk us through an average day in your role

As a founding team member of V-Nova, my role has been evolving throughout the life of the company, always trying to contribute to the best of my capabilities, mixing business savviness with a deep understanding of our technology. 

More recently, I’ve created the Strategic Analytics and Business Insights (SABI) team, aimed at analysing data to define and communicate our technology’s value proposition (namely MPEG-5 LCEVC applications ) to our customers and to the industry in general. 

One of the best aspects of my role is that there’s no such thing as an “average” day. My office days are typically packed with meetings, either with clients around the world, or colleagues across all V-Nova teams, but I do spend significant time generating and analysing the data to trigger business insights. 

I love presenting at events and conferences, but I also enjoy in-depth problem-solving conversations with R&D on how to address business challenges via new solutions. 

Analytics plays such a significant role in my job that if you ask my kids what “mamma” does, they will half-jokingly say: “mamma looks at curves”.

How did you get started in the media industry?`

Almost by chance. I didn’t have a media background when I decided to join V-Nova as a young startup. At that time we were looking at multiple industries to create value with our video compression IP. Media, obviously, turned out to be a key one, and here I am!

What training did you have before entering the industry?

I’m a management engineer from the Politecnico of Milan and I hold an MBA from the INSEAD business school in Fontainebleau. But the core of my training comes from the 10 years I spent at McKinsey & Company, which forged some of the core skills I so much rely on in my work at V-Nova, including analytical thinking, coupled with the capability of ‘seeing the big picture’ and of course, the famous “80-20” rule. 

Why do you enjoy working in the industry?

I love technology and even more, helping to solve complex problems via innovation. This industry has given me the opportunity to stretch the boundaries of what’s possible and contribute to achieving results that many thought impossible, such as the MPEG standardisation of our data compression IP, to mention one.

What piece of advice would you offer someone looking to explore a role like yours? 

I left a safe path in a top consultancy firm to follow an extremely promising new venture, with people I trusted and enjoyed working with. I never look back and think “what if…” I rather embrace the journey and put all of myself to making it the ultimate and most fulfilling choice! I’d definitely encourage younger colleagues to pursue their passions and intuitions, transforming them into their own best decisions.

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