ITV is the second largest broadcaster in the UK. With an exponential rise in the demand for quality subtitling, they turned to Limecraft’s AI-driven solution to streamline its subtitling processes to increase operational efficiency.
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At the end of 2021, and for the foreseeable future, both national and international TV broadcasters face the challenges of how to find the balance between fast-changing external market forces, the business model chosen, and the technologies implemented to gain market success.
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In this IABM TV interview, Simen Frostad (Chairman & Co-Founder, Bridge Technologies) discusses Bridge Technologies' successful 2021, and the new integrations and functionalities being developed for 2022.
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The Cloudverse is in motion, and it gravitates towards ARM technology. In this webinar, we’ll discuss the benefits and maybe drawbacks of transitioning your Linux-based workflows from x86 to ARM processors.
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The digital video world is evolving at a rapid pace, and 2022 is likely to be a landmark year as we see the 8K ecosystem and new codec technology, especially VVC, boldly emerge as HEVC and AVC continue to skyrocket. There is no doubt that OTT streaming is here to stay, and with the Beijing Olympics looming large and Hollywood back in full production mode, 2022 should be a banner year for Media, Entertainment & Broadcast.
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When you are in the throes of a new job, you don't always realize just how much your organization has accomplished. So, I thought I'd take stock of 2021 and share the highlights with y'all as we prepare to roll into 2022. (And, to be honest, one of my favorite personal highlights is how colleagues from Aachen to San Diego have picked up my Texan habit of saying "y'all.") But, on to more important matters!
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ATP Media already has a B2B commercial archive site in the cloud that hosts the ATP Tour Masters 1000 and Nitto ATP Finals match content for commercial exploitation. There was however, a wider asset management challenge - the aim to migrate and preserve all other match and video content across the Tour and present a globally accessible Production Asset Management service.
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A digital rights management (DRM) solution alone simply doesn’t do the trick when it comes to premium playback apps. Cyberattacks are becoming increasingly advanced and although the DRM has delivered secure viewing experiences, the user’s device still presents risks.
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Consumers do not care how content gets delivered to them. They want to watch what they want, where they want. But they do expect a certain level of quality and performance and will quickly move on to the next provider if this is not delivered.
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