John O’Loan is CEO at iOMedia Group LNS. After launching Sky News, he assisted in the launch and operations of more than 40 other news, sport and documentary channels around the world. He holds an Executive Masters Degree in Culture Change at HEC Paris and The University of Oxford. In this article, he discusses how companies can best protect themselves from cyber threats.
Mitigating the effects of ransomware on television post-production
Unlike a car crash, a ransomware attack is most likely uninsurable. So, the effects on a major media enterprise, production company or post facility can be totally devastating. Here’s why we should all be concerned, however big or small an organisation.
Protecting Media Assets – Risk and Resilience
The sudden shift to remote working within the media industry saw an incredible turnaround, with workflows being instated quickly to ensure that quality content creation could continue. Existing media tools were adapted to enable workers from around the globe to access content and contribute to production, all whilst the industry came to terms with wider logistical challenges. A quick rollout of infrastructure saw big changes in how the industry managed their assets; suddenly, data that would have been very difficult to access needed to be available to workers from their homes.
Content Protection – more things to consider
The recent IABM report on content security trends in conjunction with our good friends at Axinom made for some interesting reading. As Roger Thornton mentions in his summary article, perhaps the most surprising takeaway is the discrepancy between a stated intention to invest in content, and a far lower priority in investment in content security technology to safeguard against the theft of that content, especially given the financial, operational and potentially creative resources that will be required to produce or acquire it. As Roger summarises, this seems counterintuitive, but budgets are finite and it could be argued that prioritizing content over business processes is where dutiful media providers should concentrate their majority resource.
Why Responsive Video is becoming the industry standard
Broadcasters have long been tempted to push their linear TV content to digital platforms in an unchanged format. But we would argue that it is now high time to end this copy-paste approach.
IP KVM in media and broadcast
This is the age of multi-tasking and multi-production. Behind the scenes of every news, sport and live broadcast channel is a team of people who make the content come to life, and here in 2022, almost every aspect is driven by computer technology. These live production environments rely on multi-server, multi-PC and multimonitor infrastructure, where people take control through our default peripherals; the keyboard and mouse.
What Can Newsrooms Gain from the Cloud?
Today’s newsrooms are facing unprecedented challenges. While newsroom workflows are always in a state of flux, competing to adapt to new and emerging technology and storytelling practices, the COVID-19 pandemic took one aspect of the evolution in an unexpected direction. Faced with social distancing mandates, many newsrooms instructed staff to work from home.
Avrotros chooses Octopus X
Octopus and Avrotros started their relationship several years ago when the Dutch broadcaster was searching for a new newsroom system for their news programs.
CGI OpenMedia Newsroom Solutions
The enterprise newsroom system OpenMedia provides journalists with all the functionality they need to accomplish their jobs. The core system includes searching agency wires, scheduling broadcasts, managing video and audio clips and writing and distributing news stories. OpenMedia means collaboration. From innovative research and planning tools and scripting, to multi-platform output, OpenMedia manages the complete journalistic workflow.
AI in News – “the best Assistant Producer you ever had”
In 2019, the Associated Press (AP) – the world’s largest international news agency – instigated a project to leverage AI technology to shorten its production process so that its customers could receive content more quickly, while significantly reducing manual input, freeing its own staff for more creative purposes. AP turned to Limecraft to enable the transformation, using Vidrovr for scene description, facial recognition and gesture detection alongside Trint for audio description, which together deliver a single, coherent and frame-accurate description of every individual shot.