The move to file-based delivery of finished programmes means that archive copies for long-term storage will also be file-based. The industry is still working on agreeing standard file formats for master copies, and storage media and platforms are regularly up-dated as technology evolves, some becoming obsolete.
Beyond promos, how do you build a buzz around the nation’s hottest television events such as Game of Thrones, Death in Paradise and Cold Feet? Press interviews? Social media? How about a news-grabbing stunt in the middle of central London? Public relations campaigns use a variety of eye catching techniques to grab attention, but can they match advertising in generating audience interest?
After an illustrious career at the BBC and RDF Media, Stephen set up Studio Lambert ten years ago, creating a wide range of programming, from internationally formatted shows such as Gogglebox, Four in a Bed and Undercover Boss, to moving and award-winning dramas like Three Girls.
80 years ago this month, in November 1936, the BBC started its television service from Alexandra Palace in North London. Following initial transmissions of interview and magazine programmes, it started to experiment with other types of show and tried out drama formats along with entertainment and factually-based productions.
The IET welcomes the RTS to the recently refurbished Savoy Place on the banks of the Thames as they collaborate on this important update on new technologies and trends from IBC. Every September in Amsterdam the IBC Exhibition and Conference cover the entire supply chain of broadcasting and media content creation, management and delivery from acquisition to audience. This year's theme is Transformation in the Digital Era: Leadership, Strategy, Creativity in Media and Entertainment.
Our Dinner Dance
Experience the magic behind the screen as industry experts Reece Ewing, Ben Turner, and the team dissect key scenes, revealing the intricate process of seamlessly integrating visual effects into storytelling. From opulent palaces to sweeping landscapes, witness how technology intertwines with artistic vision to transport viewers to another era.
Many will know Evan Shapiro as the official, unofficial cartographer of the Media Universe since Deadline published his first Media Universe Map.
It has since been adopted by businesses, executives, analysts, and colleges as the unofficial official representation of the map of media. Using his specific point of view, Evan charts the media’s future through his essays in the Media War & Peace Newsletter and with his change agency, ESHAP.