Tech Feed
Feeling good about TV again

With the proliferation of streaming video services, watching TV is starting to become a chore. Reelgood has a solution

Lotte Louise de Jong: art, sex – and AI

Lotte Louise de Jong’s art experiment exposed AI to adult content – with some surprising results

The future of connectivity

Will new connectivity tech create a more unified society, or a more fractured one?

Fashion meets AI in updated archive of 50 years of style

Videofashion’s archive of five decades of the fashion industry is being given new life by AI

Virtual sets get real

There is an explosion of virtual set technologies. Once reserved for top-tier broadcasters, video magic is now becoming available to anyone

Your robot is a racist: The trouble with human-trained AI

Machine learning is only as smart as the humans training it. Given human fallibility, what does our AI-augmented future look like?

Weavr Consortium make esports a dream

Weavr Consortium is a UK-funded project using data and AI to make esports a fully immersive experience.

Going the distance with Iron Man Australia

Innovative solutions from Dejero allowed Next Up Digital to deliver a robust live stream of the latest Ironman Australia race using 4G mobile networks

Dalet: the art of data

Dalet is using data to create better experiences for viewers – and helping viewers create better experiences for themselves

Defining the future with SDVS (Software Defined Visual Storytelling)

Software-defined visual storytelling promises a content creation world of greater flexibility and service to customers

Cloud-based editing enables ‘edit & roam’

Forbidden Technologies was doing cloud-based video editing before most companies thought it was possible. The company’s new incarnation, Blackbird, aims to takes its pioneering technology mainstream

AI in broadcast: Destination transformation

The potential for AI to revolutionise broadcasters’ real-time production and use of archive materials is only starting to become clear. Dalet’s new AI solution is delivering new flexibility and efficiency to those workflows

Content Focus
Sex and streaming

Adult video companies are fighting back against free content using direct monetisation, elearning, VR and smart sex toys

Games without frontiers

HQ Trivia is a pioneer behind interactive game shows on mobile. Companies like Primetime are taking the format to the next level

2019 wrap-up: Revelations and resolutions

We asked some of our friends about the past year and their hopes for 2020

Cycling fans enjoy new live video programming

A new channel powered by AWS allows fans of keirin cycle racing to keep track of all the action, with lower latency than ever before

BT Sport uses latest tech to turn fans heads

How BT Sport is leading the way in media tech innovation with experiments in live VR and 360 part of its DNA…

Round Table: Winning the advertising space race

Advertising is one of the most rapidly developing parts of the digital media ecosystem. This month, we ask our experts to help us understand the opportunities for advertising in this new environment and what it might look like in the future

The great AI war: whose side will you be on?

As artificial intelligence becomes ever more sophisticated, should we be scared of the inevitable changes… or optimistic?

AI and football make a beautiful game

The IBM Player can help sports teams improve, enhancing the viewer experience through added content. We find out how it all began

What happens to trade shows in a zero carbon world?

The next decade is going to require a rapid decarbonisation of the global economy, so what’s the future of industry networking?

Interactive video

Wirewax describes itself as a creative video technology, which manifests itself primarily as an interactive video studio where its customers can upload videos and use its computer technology – which understands those videos – to make them interactive via creative layers.

Synthesia: deep fakes get respectable

A new start-up is aiming to put AI-driven video production into the hands of creators

Fake followers and rotten reviews

Buying likes and followers has become a common strategy for boosting social media accounts. Is it time to get honest about the influencer inflation?

Start-Up Alley
Start-up: HoloMe, UK, 2017

HoloMe is a London Bridge-based start-up that Amstutz founded in 2017, producing AR software for creators and brands that allows people to exist in hologram-like form

Start-up: Streamix, Italy, 2017

Streamix is a multi-camera live streaming and cloud-based video mixing application for smartphones for people without high-level production skills or big budgets

Start-up: Holographics, Netherlands, 2019

Holographics is a start-up that evolved out of the Amsterdam-based video production firm, Stream My Event

Start-up: Soundwhale, USA, 2017

 Ameen Abdulla is the CEO and founder of Soundwhale, a creative platform that allows users to control their mix for videos

Start-up: Rippla, UK, 2017

Rippla’s aim is to bring concert streaming away from computers and mobile phones and back into the venues

Start-up: PromoMii, Denmark, 2016

Danish-born, London-based Michael Moss had identified was a need in the market for an AI-driven media-editing tool that analyses existing content and cuts it down into teasers for show promotion, which could be personalised according to user preferences. 

Start-up: Jump, Spain, 2019

In Start-up Alley, we take a look at an  machine learning algorithms for OTTs

Start-up: One Hamsa, Israel, 2016

The Hamsa hand is an ancient Middle Eastern amulet symbolising happiness, luck, health and good fortune. In Hebrew, it also represents the number five. So, for five Israeli developers looking to stake their claim in the VR gaming market, the name is appropriate.

Start-up: Artomatix, Ireland, 2014

Creative AI is a field that has underpinned Eric Risser’s entire career, he believes his start-up, Artomatix, can solve some of the pain points in industries using 3D-generated graphics.

Start-up: Axonista, Ireland, 2010

At the grand old age of nine, Axonista is more of a scale-up than a start-up, but it’s still a significant presence in Dublin’s tech scene. 

Start-up: Zender, Belgium, 2018

Hendrik Dacquin has always been interested in the interaction of broadcasting, interactive media and gaming – it’s a confluence he’s been circling for most of his career.

Start-up: Orbie, Greece, 2018

Athens-based start-up Orbie has created a news aggregator that pulls content from websites and collates it into one automated video stream for publication on smart TVs, VR, mobile and in-car entertainment systems

Genius Interviews
Erika Lust: I decided to create an alternative porn and an adult cinema that reflected my values

Erika Lust is an icon of feminist porn filmmaking, she makes the films she would like to watch herself – but in a world of mass piracy, her artisanal approach

Camilla Young, Vualto: “No one’s watching proper telly, so I think we are in the right business”

Vualto provides video on-demand services for big broadcasters and big government. FEED talks to company co-founder Camilla Young about the history of streaming, VOD developments and getting more girls into IT 

Dr Taha Yasseri, Oxford Internet Institute: “We can have value judgement only when we are completely isolated from social information”

Dr Taha Yasseri from the Oxford Internet Institute discusses the influencer economy and how ‘group think’ affects us more than we like to admit

Geert Lovink, Institute of Network Cultures: “The more arrogant they are, the more they speed up their own demise”

Geert Lovink is a Dutch activist and writer on digital technologies. His Sad by Design book is a collection of essays on the evolving – or devolving – state of our digital reality

Sabina Hemmi, Elo Entertainment: “When I see data I just see opportunity”

Sabina Hemmi is co-founder and CEO of Elo Entertainment, the company behind gaming data sites Dotabuff, Overbuff, Fortbuff, Artibuff and Trackdota. She talks to FEED about being a tech entrepreneur, the beauty of data and negotiating sexism in the games industry 

Greg Gilderman & Kevin Hayes, The Weather Company: “One thing I’ve learned covering climate change is that it’s not a far-off problem”

The Weather Company’s editor in chief and global head of video, Greg Gilderman, and executive editor of, Kevin Hayes, on providing climate information through video, podcasting and raw data

Nicola Mazzanti, Cinematek: “The sales of 1% must pay for 100% of the collection. The problem is, you never know which 1%”

We continue the exploration of our round table content management scenario with an in-depth analysis from one of the world’s top film archivists.

Brian Scheil, Entertainment Services LA: “A lot of opportunities have come along from knowing this technology”

Brian Scheil’s production company started during the early days of streaming. A firm believer in LiveU streaming technology, he is now called on to stream live content in high-profile and data-challenged environments

Nonny de la Peña, Emblematic: “It’s going to be up to us to educate people before they push that share button”

Nonny de la Peña has been called the ‘godmother of VR’. She talks to FEED about the power of VR to transmit real life experiences and ways of making VR creation more accessible

Stephen McConnachie, BFI: “The aim of a public archive is to be permanent and to persist through time”

Stephen McConnachie, BFI’s head of data and digital preservation, talks to FEED about building an archive, open source formats and digitising 100,000 titles in five years

Dr Florian Block, Digital Creativity Labs: “For us, esports is also an incredible space for experimentation”

Digital Creativity Labs at the University of York is a centre for studying the impact and possibilities of the rapidly growing genre of esports. Dr Florian Block leads the team and believes esports can unlock a whole new world of data analytics and content production

Aaron Matthews, Bafta: “The principle impact we have is via the content we make”

FEED talks to Aaron Matthews, Bafta’s head of industry sustainability, about saving the planet through the Albert Consortium, one episode at a time