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Remote monitoring is 🎬 essential 🎬 for film and broadcasting! Want to learn more? In our latest blog, Dan breaks it down: - The remote monitoring process for filmmakers - Why filmmakers 🧡 using Switcher for remote monitoring - How to create your own remote monitoring setup. #videocontent #videoforbusiness #smb

Mexico’s media, broadcasting, and film industry presents some niche opportunities for U.S. firms. The industry is experiencing rapid growth, driven by increasing demand for content and advancements in technology. With a population of over 126 million and a growing middle class, Mexico is one of the largest media markets in Latin America. The Mexican government (at the state and national level now) has also been supportive of the industry, offering incentives for film production and investing in digital infrastructure. The major OTT platforms are present in Mexico and it is expected that Mexican production content will continue to grow.

MRM joins the 61st Spring International Television Market, MIPTV, as the organizer of the Ukrainian stand and coordinator of the Ukraine Content Club initiative. The stand will be home to key Ukrainian media companies and creative powerhouses, including FILM.UA Group, Starlight Media, 1+1 media, and Public Broadcasting Company of Ukraine | Suspilne Ukraine, during 8-10 April 2024 at Palais des Festivals, Cannes. Analytical note on the Ukrainian market by MRM: 2023 was a period of recovery for the Ukrainian AV industry, searching for opportunities and moving from the survival models that emerged with the beginning of Russia's full-scale invasion to full-fledged work and development in the new environment. As a result, the Ukrainian ad market grew by 77% over the year, demonstrating the return of some sectors to pre-war levels. TV rebounded quicker than anticipated, while Digital TV (ad on OTT platforms) emerged as a new direction, projected to grow by up to 70% this year. 17 new TV channels appeared in the country, including 7 nationwide ones. Major film festivals and industry events resumed, and 13 new cinemas opened. The total box office in 2023 amounted to over $60 mln, exceeding the figures for 2020, 2021 and 2022 in national currency. Additionally, the share of Ukrainian films in the BO reached 14.7%, marking a significant increase from the previous maximum of 10%. In 2023, the largest Ukrainian channels broadcast over 300h of series and over 600h of TV shows created during the full-scale war. In 2024, this positive trend continued: in less than three months, 10+ new shows debuted. These included adaptations of popular formats such as MasterChef, The Floor, I Love My Country, Family Feud, and Who Knew. Additionally, 15 new series premiered, totaling over 150h, with most produced during the full-scale war. Currently, at least 60h of drama series are in production and scheduled to premiere this year. Ukrainian docs production has increased significantly, with almost 150 factual titles airing on TV last year. Moreover, some of them performed as well as drama and entertainment shows. Additionally, there is a growing demand for documentary mainstream films, which are finding success both on TV and VODs. This trend has led to the development of a distinct production niche, in which industry experts see significant business potential for collaboration between Ukrainian and international market players. “All of this allows the industry to remain moderately optimistic. Everyone at MIPTV is very welcome to Ukrainian stand at P4C14 to find out more about our market and diverse business opportunities provided by the members of the Ukraine Content Club” – says Kateryna Udut, CEO of MRM consultancy and coordinator of the UCC initiative. To schedule a meeting with the Ukrainian delegation feel free to text us here on LinkedIn! Endless gratitude to RX Global for sustainable support for Ukraine and its media community. See you at MIPTV next week!

MEDIA LAWYER, TV AND IMMERSIVE ENTERTAINMENT, LONDON, PART-TIME (3 OR 4 DAYS) OR FULL-TIME #tvproduction #filmproduction #iplaw #media #medialaw #parttime

TDious Experiences volume II: The Remote Broadcast Production Technical Director [Part 1: Mobile Unit Setup] Ask any 5 Technical Directors (TDs) to describe their role leading up to a live broadcast production and you’ll get anywhere from 5 to 50 different answers. That’s because the role has a number of seemingly dissimilar responsibilities that, in any other occupation, might be split among several different people. For example, a concert pianist generally doesn’t have to tune their own piano, assign the notes to the keys, build the conductor’s podium, compose the transitions from movement to movement, then ultimately play a three hour concerto on that piano nonstop, simultaneously monitoring each note on the piano offline to ensure tonal quality while performing LIVE before an audience of millions! Actually, that’s probably not the best analogy; a piano only has 88 keys. The world’s most popular Video Production Switcher, the Grass Valley Kayenne panel & K-Frame, has 1,326 buttons (or “keys”), 6 knobs, 4 fader bars and a joystick. The pianist in this scenario has the luxury of concerning themselves only with their ultimate performance. Everything else is taken care of for them. Not so for a remote TD. If it’s going to be a visual element within the show, it ultimately passes through the TD in one way or another. Video that will be mixed into the production itself must pass through the TD’s video switcher, while other signals, such as video going to monitors in the control room, can pass directly via the router. The router of a television mobile unit is the signal distribution core for any production. Any video or audio source that is going to be part of the production must exist within the mobile unit’s router. The TD is responsible for ensuring the correct video lands in the appropriate place in production monitor wall, its layout determined by the producer & director, as well as video switcher and all router control points in the control room. This is the part of the engineering setup that takes the most time to accomplish. The Engineer in Charge (EIC) is the sole manager of the router grid. It is critical that all inputs to the router and outputs from the router be managed by one individual. From there, especially in the IP world of media transport, every department has the ability to manage their own routing needs. It’s at this point that the TD can finally begin to focus on building out their “piano.” This begins with switcher input & output (I/O) documentation. Traditionally this is generated by the EIC, but with the increased flexibility offered in the IP world, this becomes a joint effort between the EIC, the TD and a dynamic document, such as a shared Google Sheet. In Part II I’ll delve into the mindset of the TD as they begin laying out sources for the production on the video switcher’s panel, as well as some important things to keep in mind when doing so. If you have Qs, thoughts or ideas for future TDious posts, drop a DM!

🗓️On June 27, 1967, "Our World," the first live, international satellite television broadcast, airs.  🌎 The historic event was a two-hour program that linked five continents and featured segments from 14 countries. The goal was to showcase global unity and technological progress through satellite communication. 'Our World' was created to demonstrate the capabilities of satellite broadcasting by showing live footage from around the world. The British Broadcasting Corporation (BBC) produced the program in collaboration with broadcasters from various countries. Each participating country presented segments that illustrated their culture, accomplishments, and daily life. One of the most memorable segments included a live performance of 'All You Need Is Love' by the Beatles from a studio in London. The program reached over 400 million people and demonstrated the potential of live satellite transmission for global communication and bringing together large groups of people through the use of technology.    🛰️Ah, the optimism of the 1960s. Well, so much for that. In today’s hyper-connected world, technology SHOULD have the potential to bring people closer than ever before. And yet we remain as divided, and technology as divisive, as ever. Here are a few reasons why: ☮️Miscommunication in the Digital Age. The lack of Non-Verbal Cues in Digital interactions means we often miss the nuances of body language and tone ,which are crucial for understanding context. ☮️Digital Overload and Burnout. Information Overload is a real, daily experience. The sheer volume of online information can be overwhelming. Prolonged screen time can lead to fatigue, reducing the quality of interactions. ☮️Reduced Interpersonal Skills. Heavy use of digital tools can erode important interpersonal skills. You may have noticed last time you attempted a conversation with a stranger younger than you are. ☮️Generational Gaps. Varying communication styles across generations can create barriers. And older generations might resist new technologies, leading to disconnects. ☮️Echo Chambers and Polarization. Algorithm Bias means you see more of what you like or agree with. Social media algorithms often create echo chambers, limiting exposure to diverse viewpoints. Online communities can intensify polarization, reducing tolerance for differing perspectives. 🎸Modern investors should pay special attention to the last. Talking to the same people about the same things day after day may be entertaining. However, it is not the way to grow and evolve as an investor. As John, Paul, Ringo, and George likely realized decades ago, you actually need a bit more than love. Getting out of your comfort zone, turning off the echo chamber of mass media and keeping an open mind are keys to recognizing and evaluating new opportunities. 

All Media Capital, a leading lending source that specializes exclusively in the Professional Video, Audio, Broadcast/Television Production, Postproduction, Digital Cinema and Signage Media Industries, is pleased to announce that it can now finance The Guitammer’s Company “ButtKicker® Cinema System” as part of either a large cinema financing package or on a standalone basis. Guitammer’s “ButtKicker Cinema System” (“BKCS”) has been deployed worldwide with over 45,000 cinema seats installed in over 14 countries for exhibitors such as AMC, Regal, regional and small US circuits, as well as worldwide installations in Hong Kong, Mainland China, Saudi, Qatar, UAE and Europe. BKCS works for any type of seat – traditional, tip-up and recliner, and any type of movie in any language automatically giving all exhibitors the level of immersion they desire at an affordable price. BKCS installations are maintenance free so that the total cost of ownership year one, year five, ten or more years will continue to be on budget as part of OPEX and not CAPEX. “ButtKicker is our secret sauce….the system is worth every penny and we’re glad we added them.” “[We are] very pleased with the results …. and the guest reactions we have received.” “ButtKicker is an essential part of our PLF offering and we wouldn’t do one without them.” All Media Capital offers an attractive five-year lease rate on the ButtKicker Cinema System that can average less than $1,000 / month for an average auditorium of approximately 100 seats with a return on investment in less than one year for exhibitors. Additional terms and rates are available as well.** For more information on All Media Capital, please visit www.allmediacapital.com or contact Jeff Thomas at 714-671-4100 / JThomas@allmediacapital.com or Chase Quinn at 714-985-6208 / Chase.Quinn@allmediacapital.com. For more information on the ButtKicker Cinema System please visit cinema.guitammer.com or contact Mark Luden at mark@guitammer.com. ALL MEDIA ICAPITAL Financing The Professional Media Business a Providence Capital Funding Company ***Legal Disclaimer*** The information in this press release is for general purposes only. All Media Capital and The Guitammer Company do not guarantee the accuracy, completeness, or reliability of this information. All Media Capital and The Guitammer Company are not liable for any loss or damage arising from using this press release. The mentioned lease rate is illustrative; actual rates may vary and are subject to credit approval and terms. For detailed information, please contact All Media Capital directly. 2951 Saturn Street, Suite E, Brea CA 92821 | allmediacapital.com

For many advertisers, the notion that broadcast and professional TV commercial production is unfounded. There’s still a viable reason to invest in high-quality production. #TVCommercials #VideoProduction #Filmmaking #FilmStudios #HigherFilmmakers #StreamingCommercials #BroadcastCommercials

Movies and Entertainment Market (2024-2030) The global "Movies and Entertainment Market" was valued at US$ 89860 million in 2023 and is projected to reach US$ 115230 million by 2030, at a CAGR of 3.6% during the forecast period. >>>Download a free Sample Report PDF: https://shorturl.at/nEffB The Movies and Entertainment industry encompasses the production, distribution, and exhibition of films, television shows, and other forms of visual entertainment. It includes a wide range of activities, from the creation and development of content (such as screenwriting, directing, and producing) to the marketing, distribution, and monetization of that content through various platforms like cinemas, television networks, streaming services, and home video. Key components of the Movies and Entertainment industry include: 1. Film Production: Involves the entire process of making a movie, from scriptwriting and financing to shooting and editing. This includes major studios as well as independent filmmakers. 2. Television Production: Similar to film production, but focuses on content for TV networks and streaming platforms, including scripted series, reality shows, documentaries, and more. 3. Distribution: The process of getting films and TV shows to the public through various channels, such as cinemas, TV channels, online streaming platforms, and physical media (like DVDs and Blu-rays). 4. Exhibition: Refers to the presentation of films in cinemas or other venues, as well as the broadcasting of TV shows. 5. Streaming Services: Platforms like Netflix, Amazon Prime, Disney+, and others that provide on-demand content to subscribers over the internet. 6. Merchandising and Licensing: The commercial use of film and TV show characters, logos, and themes for products, toys, games, and other consumer goods. 7. Media Companies: Large corporations that often own multiple assets in the Movies and Entertainment industry, including film studios, TV networks, and streaming platforms. The industry is a significant part of the global economy, driven by consumer demand for entertainment and influenced by factors such as technological advancements, cultural trends, and changes in consumer viewing habits. Major Players Covered: -ViacomCBS -Sony -Disney+ Hotstar -WarnerMedia -Comcast -China Film Group Corporation -Beijing Enlight Media Co., Ltd. -Huayi Brothers Media Group -Bona International Film Group -Shanghai Film Group Co. Ltd. >>>Download a free Sample Report PDF: https://shorturl.at/nEffB #MoviesandEntertainment #MoviesandEntertainmentMarket #MoviesandEntertainmentMarketSize #MoviesandEntertainmentMarketShare #Ict #Media

The Telecom Regulatory Authority of India's (TRAI) has issued recommendations on content for formulation of the national broadcasting policy. While advocating for local and regional content on OTT platforms, TRAI's involvement has stirred debate over its jurisdiction in OTT regulation. Our Partner, Jasmine Damkewala discusses with Hindustan Times that OTT services differ fundamentally from traditional broadcasting and should be regulated separately, primarily by the Ministry of Information and Broadcasting. Read the full article here: https://lnkd.in/gUiJZpKF #TRAI #Broadcasting #OTT #Media #Law #Legal #Lawfirm #CircleofCounsels