Few industries are as fast paced and highly pressurised as the media industry. What was already a competitive field has become even more so, as the demand for content has increased in-line with the explosion of OTT services. To manage this high volume of throughput, content supply chains have become more complex, with multiple teams all contributing towards content preparation.
Staking your fortune on FAST? Don’t neglect the data!
Linear TV isn’t dead, but the internet has changed it forever. At a time of global downturn, an increasing number of content owners are pinning their growth hopes on ad-funded live or VOD-to-live FAST channels. But drawing eyeballs and maximising ad revenues in this increasingly crowded marketplace will rely on more than just an EPG and good promos.
P.O.S.T SCHEME CASE STUDY From famine to feast: How accelerated training is helping to alleviate the shortage of post-production talent.
From famine to feast: How accelerated training is helping to alleviate the shortage of post-production talent.
Fernanda graduated in 2020 with a degree in Film Production. She spent the next year producing social media content for her mum’s small business. James studied film and media at college but ended up working in kitchens while trying to break into audio editing. Stories like these are common as during the pandemic the development of junior entrants in the post-production industry practically ceased altogether. So, when the sector bounced back and the volume of post-production work increased, the absence of junior talent moving up through the ranks over the last two years contributed to an industry skills shortage, with post houses left scrambling for staff.
Ability Post Production Academy: BaM Shortlist – Support
Ability Post Production Academy is the first Online Video and Film Editing Academy that is affordable, inclusive and accessible; all our courses can be delivered live online with an Experienced Tutor / Film / TV Editor.
The University of Texas at Austin (UT-Austin): Laboratory for Image and Video Engineering (LIVE)
Researchers in UT-Austin’s LIVE (UT-LIVE), Directed by Professor Al Bovik, have singularly pioneered the use of visual neuroscience to create picture and video quality measurement and monitoring tools that control the quality and bandwidths of a large percentage of all streaming videos, television, and social media. Their breakthrough inventions include the iconic Structural Similarity (SSIM), Multi-scale SSIM (MS-SSIM), and Visual Information Fidelity (VIF) “reference” visual quality tools, which delivered dramatic leaps in performance when introduced, and are still dominant today. These tools are used today to control the quality of most streaming and social media pictures and videos in the US and beyond. Bovik and his team also disrupted the field by inventing the first accurate and practical “blind” visual quality models (BRISQUE and NIQE), using models of neuro-statistical distances, at the neural level, between distorted and distortion-free visual signals. These tools are also globally marketed and used in numerous industry applications, including inspection of streaming and social video uploads, control of cameras, and remote video transcoding in the Cloud.
FilmTrack: BaM Shortlist – Monetize
Vubiquity: BaM Shortlist – Manage
With growing consumer demand for content across an increasing array of platforms, territories and languages, suppliers are creating and localizing massive amounts of new content and resurfacing existing libraries. This immense content volume requires high-quality metadata for accurate and compelling content description to power search, discovery and recommendation.
Accedo: Tata Play Binge Mobile App
Amidst India’s rapidly evolving video landscape it is becoming increasingly difficult for consumers to discover the content of their choice. Currently, in India there are many OTT apps, each with vast content libraries consumers have to download, register, subscribe, use and renew separately. Key features like content recommendations based on watching history, resume watching incomplete content etc are also specific to each app.