Comment – Page 2
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CommentNurturing emerging talent in an AI world
Thomas Pearson, global director of people at Bitmovin, on how the industry can continue to train while integrating AI tools
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CommentWhy AI’s video future will be built in the open
Max Sebti, founder and CEO of Score, on why he believes AI is set to be open source across editing, reformatting, scene detection and more
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CommentTrue indies must partner with digital creators and each other to thrive
Indies without a global parent company need to shake up their way of thinking and embrace the digital world, says Lisa Chapman
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CommentThe BBC Trump scandal is about more than one bad edit
There are deep structural problems which led the BBC to its current predicament, writes Hugo Ward
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CommentDorothy Byrne: The BBC’s biggest problem is its silence
The BBC has shot itself in the foot, not through inherent bias but by failing to take action when the crisis hit
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CommentWhy engaging a colourist early can elevate a series
Residence Pictures co-founder and colourist Paul Harrison explains why a colour grade is just as vital as performance, cinematography, or sound design
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CommentWhy in-person events need to be designed around the at-home experience
Hicham Chahine, Ninjas In Pyjamas Group co-CEO, reveals what the esports company has learned from prioritising the viewer at home
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CommentLeader: Trump troubles tipped Tim Davie over the edge
The energetic and determined DG has called time on his tenure after the cumulative pressure of controversy after controversy, writes Chris Curtis
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CommentMark Urban: The BBC must get a grip on its internal approach to tackling bias
Ex-BBC journalist Mark Urban on the workforce divisions at the root of what has become a deep crisis for the BBC
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CommentSky and ITV have been here before - so what’s changed?
The pay-TV giant’s former chief operating officer Mike Darcey explores whether the stumbling blocks which thwarted the deal 19 years ago still exist
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CommentWhat producers need to know after the Getty AI ruling
Benjamin Field, CEO of Deep Fusion Films, looks at the latest legal battle over AI and what it means
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CommentHow we impressed Hollywood with a $3k film produced in our garage
Navaz and Roman Dowling extensively used virtual production to produce Entrenched, a polished Star Wars fan film that has seen them gain work in film and TV
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CommentFatima Salaria: In difficult times, simple things make a difference
As resilience wears thin, we need to reach out and support each other
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CommentThe “speed of thought” era in TV and film production
Guy Gadney, co-founder and CEO of Charismatic.ai, looks at how AI could change production
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CommentIn an evolving media landscape, we must work together to amplify new voices
ITN Productions’ head of digital content Rubina Pabani on how the company is platforming new talent
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CommentAI should be seen as an asset for sport broadcasters, not an enemy
Pawel Osterreicher, CEO of ReSpo.Vision, looks at where AI could make a difference
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CommentHow Mipcom 2025 provided a new perspective
Blue Ant Studios’ Diane Rankin says adaptability and grit are delivering returns in a shifting landscape
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CommentWhy graphics need to be more than just aesthetics
Relo Metrics CEO Jay Prasad looks at the impact of Prime Video’s new Champions League graphics
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CommentMipcom 2025: a market of proactivity, partnerships and positivity
Like A Shot West boss Henry Scott shares his key takeaways from Cannes
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CommentAI from Greenlight to Glass: The implications for broadcasters
Kim Chua, partner at OC&C Strategy Consultants, specialist in media, broadcasting, and digital transformation, looks at how broadcasters should approach the technology