Broadcast is the essential source for business information about the British TV industry, providing breaking news, ratings data, production case studies, and exclusive interviews. It serves large and small production companies, post-production professionals, and the UK's public service and commercial broadcasters. The publication has evolved from a print magazine into a multi-platform brand including a website, app, daily newsletters, and live events, maintaining independent journalism that drives industry debate. Its coverage of key issues like the future of Channel 4 and its comprehensive Broadcast Intelligence database set it apart as a trusted industry forum.
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Conor Dignam
Chief executive
At the Edinburgh TV Festival, Particle 6 CEO Eline van der Velden reported widespread, albeit secretive, adoption of AI tools across US studios and UK independent production companies. Industry leaders urged public service broadcasters to prioritize AI training to maintain creative competitiveness and support the broader production ecosystem.
ITV Studios has integrated camera tracking technology into its daytime broadcast studios in partnership with consultancy xplor. This upgrade enables virtual environments to extend beyond physical LED walls, allowing for more dynamic and realistic scenery that responds to camera movement.
The Finish Line has launched Production Buddy, a remote media platform that centralizes production assets and automates transcription and visual detection for rushes. The tool integrates with LucidLink and allows for direct export of assemblies into professional editing software like Avid, Resolve, and Premiere.
Post-production scheduling software provider Freispace has launched a physical media tracking module designed to manage LTO tapes, camera cards, and ingest drives. The new feature replaces manual tracking methods by integrating media metadata and automated workflow triggers directly into the platform's scheduling engine.
Gravity Media has secured the host broadcast contract for the 2026 Esports World Cup, providing the full technical infrastructure for the event. The deployment will utilize a massive scale of production hardware, including over 150 cameras, 28 EVS XT-VIA servers, and a large-scale Dante-based audio network.
Post-production facility The Look detailed the HDR and SDR grading workflow for the second season of the Disney+ series Rivals. The project utilized DaVinci Resolve Studio to manage look development, Dolby Vision trims, and multi-format deliverable consistency.
MediaCity Post completed end-to-end post-production for the ITV drama The Blame, utilizing a remote workflow powered by Signiant for media movement and FilmLight Baselight for ACES-based HDR color management. The production design facilitated remote editorial and collaboration across multiple UK locations while meeting high-end international broadcast delivery standards.
Senior figures from production firms Sunset+Vine, SailGP, and Two Circles identified cloud-based remote production as the most significant technological shift for modern sports broadcasting. The panel highlighted how cloud infrastructure enables complex multi-stream workflows, real-time data integration, and increased operational efficiency for large-scale sports events.
ME Engineers design associate Jason Lemiere discusses how stadiums can leverage real-time data, Unreal Engine, and LED display systems to create interactive fan experiences. The commentary focuses on using venue-based technology infrastructure to compete with high-production home broadcasts.
Virtual production firm Quite Brilliant integrated the Chaos Arena path-tracing engine with Unreal Engine to achieve in-camera VFX for a Warburtons commercial. The workflow allowed the production team to review near-final frames on set, reducing the need for post-production adjustments for complex lighting and reflections.
