In the final part of our investigation into MAM’s current and future relationship with AI, James McKeown analyses where the technology is likely to take asset management capabilities next, and the other factors driving the evolution of the space.

For all the slippery perspectives in psychological thriller Disclaimer, the truth is lying in plain sight, explains Editor Adam Gough.

Saudi Arabia's cinema market is experiencing a cultural renaissance, driven by increasing local productions and a growing appetite for diverse storytelling, reports Adrian Pennington from the Red Sea International Film Festival.

Mystery, suspense and a game of thrones in the Vatican lensed by cinematographer Stéphane Fontaine.

In part two of IBC365’s exploration of the MAM ecosystem, James McKeown finds out where AI is currently having the most positive impact on media workflows.

Opposing colours in the same frame, 6000 lightning cues and shooting 17 sound stages - one the size of four American football fields, all merit why Wicked is the ‘latest hurrah to the golden days of epic studio filmmaking,’ writes Adrian Pennington.

Forms of AI and automation have been making efficiencies in media asset management (MAM) systems for some time, but as the technology becomes more powerful and its potential applications more expansive, what are the major considerations and risks of AI’s role in MAM? James McKeown explores in the first of a three-part investigation.

Channel 4 recognised as most successful commissioner with multiple finalists in three out of four categories, including two from Katie Arnold in the same category. For the first time, winning entries across all four categories focus on one story, Gaza.

The director of 12 Years A Slave and Small Axe has created a historical aesthetic of a tragic and turbulent London, depicting lives subjected to a permanent black out, in Blitz, Steve McQueen’s new film based on authentic anecdotes and inspired by filmmaker archives of the era.

Exciting opportunities for automating workflows, enhancing personalisation and repurposing existing content mean that AI has a very bright future in streaming, writes David Davies.