If there’s one thing the industry loves, it’s a good dichotomy. Tape or tapeless. SDI or IP. Linear or streaming. And lately, the debate that seems to define every trade show aisle and panel discussion: Cloud or physical hardware?
As ever, there’s something deeply satisfying about a binary argument – simple, dramatic, headline-friendly. But in our world, production is rarely that quiet. It’s messy, dynamic, occasionally brilliant, frequently exasperating. And like most binary arguments, this one misses the point entirely. The question isn’t which side wins. It’s how we can deploy the two together to deliver the flexibility, scalability, and reliability that modern content production actually requires.
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Founded by broadcast executives, NECF launched a global e-commerce marketplace using patented AI systems transforming how media production resources are organized, traded, and monetized worldwide. Its flagship platform, MediaXBook, is the world’s first media production exchange, an e-commerce marketplace connecting broadcasters, studios, and creators worldwide with under-utilized production capacity. By matching supply and demand in real time, NECF enables media companies and video producers to save time, reduce costs, and expand creative possibilities while providing vendors with better utilization rates and new opportunities.
To understand its impact, imagine the difference between booking a single flight by email and calling an airline to having online access to an entire airline marketplace. Previously, producers had to contact and price out multiple vendors, negotiate contracts, and move crews and/or equipment, sometimes across borders. MediaXBook simplifies this all. It works like a digital exchange—showing who’s available virtually, what equipment can be used in the cloud, and how projects can be done more efficiently using shared or virtual resources.
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In today’s fast-paced media and post-production landscape, efficiency is everything. Projects are more complex, teams are distributed across multiple time zones, and delivery deadlines are tighter than ever. Amid these challenges, creative businesses need more than project management solutions, they need a system that seamlessly connects creative workflows with financial performance.
That’s exactly what Cirkus delivers. Developed by farmerswife, a trusted name with over 25 years of proven experience in media and post-production management, Cirkus is designed by people who understand the unique challenges of creative production. Built with media professionals in mind, the platform mirrors real production environments: from scheduling and approvals to budgeting and delivery.
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In opera performances, the conductor is the heartbeat of the show—guiding not only the orchestra but also providing rhythm cues for singers and performers on stage. However, in many opera houses, including the Baltic Opera in Gdańsk, the orchestra pit is located below stage level, making it nearly impossible for singers and backstage staff to see the conductor directly.
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Post-production teams today are expected to deliver more content, across more platforms, and always faster. Lost in Space is a post house built for that reality; one that combines premium workflows with the flexibility and efficiency modern productions demand.
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CanariaTV, the public television of the Canary Islands, has completed an ambitious global technological renovation that marks the end of its definitive transition to HD. Datos Media has been key in the design and implementation of the news infrastructure, covering both production sets and news systems. Recognized with the award for Best Infrastructure Renovation Project in the 2025 edition of the TM BROADCAST Awards, the initiative responded to the obsolescence of old equipment and the need for modernization to improve broadcast quality.
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Both healthcare and media production face the same operational challenge: managing a large, specialized workforce under volatile, high-stakes demand. In hospitals, patient inflow unpredictability strains staffing, while in media production, fluctuating project pipelines drive overtime, budget overruns, and resource conflicts. Healthcare has already solved this problem at scale using predictive census AI—forecasting demand with >90% accuracy and optimizing staffing in real time. Media production follows a structurally similar pattern: patient flow mirrors project flow, departments mirror production units, and clinical resources map to crew, studios, and equipment. By adapting healthcare’s proven architecture—time-series forecasting, ensemble models, and visual operational dashboards—media companies can shift from reactive scheduling to proactive workforce management, unlocking significant reductions in overtime, idle time, and budget variance.
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There is this dream in our industry that eventually everything in post will live in the cloud; apps, storage, workflows, the whole pipeline. A clean, centralized model where local infrastructure becomes obsolete.
It’s a compelling idea, and in certain corners of the industry, it’s already happening. But for the vast majority of post teams we work with, things are more layered, more distributed, and more hybrid.
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Troveo is a video licensing platform helping creators monetize unused footage: Content owners, creatives, basically anyone with unused video can license their content libraries for AI training. The company provides a new revenue stream for content owners, while enabling AI companies to develop high-quality, legally compliant content models.
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Media never sits still. In the past decade, we’ve swapped tape for digital, cable for streaming and edit bays for global remote workflows. Every shift opens new doors for creativity and new challenges for how we work.
But behind every blockbuster, ad campaign or streaming series lies a cost the industry has often swept under the rug: the carbon footprint of media production. Terabytes of footage are duplicated, stored and transferred across multiple facilities and networks.
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