We spoke to Mark Senior, Chief Executive at dock10, about how dock10 has grown into the UK’s leading television facility and media services company since it opened its doors in 2011, how it coped with the pandemic-induced lockdowns, and its future plans.
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Over the past decade the media industry has hailed the adoption of the cloud as a way of introducing new efficiencies, as well as improving content protection and business continuity. For many media companies so far, the cloud has been all about storage. But of course, storing content is far from the only thing the media industry does. In some ways, the current iteration of the cloud, let’s call it Cloud 1.0, is not built for the needs of complex media workflows and what comes next must address these concerns. So where is cloud today and where is it heading, and could Cloud 2.0 be on the horizon?
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Put your hand up if you’re bored of virtual events! Most of you are sitting at your home desk with your hands held high. As restrictions slowly ease we’re seeing plans for more in-person and hybrid events in place for Q4, particularly with IBC and NAB on the move, and we’re all hoping that we’ll get to walk through the gates of a conference centre as soon as it’s safe to do so.
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Cloud playout is not a new idea; it’s been discussed in our industry for at least a decade, including early attempts at creating and supplying solutions. But it’s only more recently that it has become a reality and it’s certainly an important part of the future. Globecast is leading the way.
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Ivanka Vassileva is CEO and co-founder of systems integration specialist PBT EU, offering customised solutions to the broadcast, media, and AV language services industries. Products include the EXEcutor™ broadcast server line, subtitling platform SubtitleNEXT, and Profuz Digital’s business process management system LAPIS.
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In the media and entertainment world, content is king and central to your business model – critical investments and revenue that must be secured. Content piracy is nothing new and the pervasive idea that “piracy is not a serious crime” still writes it off as nothing more than user misbehaviour. Commercial piracy today is a full-time job, stealing and reselling for profit, driving significant illegal business activities. The numbers speak for themselves: the value of pirate video services will exceed US$67 billion by 2023, according to Parks Associates.
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The world, slowly but surely, is re-opening its tired eyes to what we called ‘normal’ before COVID-19 struck, shutting down everything and anything worldwide. Measures are being reworked and we’re able, in some locations, to return to normality by heading back to the office, going to the movies and resuming face to face contact.
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In the past couple of years, consumers’ insatiable and growing demand has increased content consumption over streaming media. We have witnessed a barrage of new players launching streaming services into the market. Recent examples include the launch of Quibi and Peacock in April 2020, and HBO Max is planning to expand into Latin America by June 2021. The increasing demand has left content creators and owners to scramble for new or repurposed content for these platforms while meeting the platform’s standards in video and corresponding metadata. This critical metadata includes closed captions and, as is the case with video, closed captions must meet standards and style guides mandated by individual streaming platforms.
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A case study from Rexcel within the performing arts industry.
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We are joined by Object Matrix’s Chief Revenue Officer Nick Pearce to discuss Cyber Security and how their product MatrixStore helps companies to protect their content from internal and external threats.
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