1、:2:3THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTCo-founder:Chris Sanderson Co-founder:Martin Raymond Managing director:Cliff Bunting Head of foresight:Tim Noakes Head of strategy:Rachele Simms Head of marketing:Rodrigo TobalForesight editor:Kathryn Bishop Senior fore

2、sight writer:Holly Friend Foresight writer:Abi Buller Foresight writer:Lavinia FasanoSenior creative researcher:Olivia Houghton Creative researcher:Savannah Scott Creative researcher:Emily Rhodes TFL intern 2021/2022:Isabelle JonesStrategic foresight editor:Adam Steel Senior strategic foresight writ

3、er:Darian Nugent Presentations editor:Tilly ThornsStrategy director:Louise French Futures director:Victoria Buchanan Futures analyst:Rachael Stott Senior strategic researcher:Maryam Amjad Strategist:Tamara Hoogeweegen Junior strategist:Sophie Boldog Junior futures analyst:Gursharan PanesarArt direct

4、or:Britt Berden Designer:Samuel Davies Senior sub-editor:Ian Gill Senior production planner:Madeleine Watts Senior events manager:Philip Franklin-SlatteryBrand and content marketing manager:Louise Lee Marketing assistant:Emily KellyThe Future Laboratory 26 Elder Street,London E1 6BT,UK Phone:+44 20

5、7791 2020 Email:The Future Laboratory is one of the worlds foremost strategic foresight consultancies.Members of our trends intelligence service LS:N Global get exclusive access to the mindsets defining tomorrow and the early adopters driving global change across eight industry sectors.Find out more

6、:LSN.global: Contact:For further information on all our services please contact or call+44 20 7186 0776ContentsForeword:4Part One:Foresight Overview:6Part Two:A New Landscape:9Part Three:Media&Broadcasting Futures:01 Hybrid&Immersive:13:02 Democratised&Decentralised:20:03 Streamlined&Consolidated:27

7、:04 Sustainable&Collaborative:33Part Four:Conclusion:37:4:5THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTForewordAfter two years of Covid-19 sending disruptive waves around the worlds of politics,industry and civil society,this is a fitting time to take stock of the fu

8、ture of the virtual and other digital technologies that have been our life rafts throughout the pandemic.These technologies have enabled and enhanced every aspect of our lives,from how we work from home,how we keep connected with our families and friends and how we shop and consume,to how we keep ou

9、rselves informed,educated and entertained.The media and entertainment industries are at the heart of the pioneering technologies that continue to push the frontiers of what is possible,and as tech forges ahead,industry business models must evolve and adapt to keep pace.To give our partners and commu

10、nities insight into what is next for these industries,Sony has commissioned The Future Laboratory to produce this MEDIA&BROADCASTING FUTURES report.Integration,collaboration and consolidation are key words that define how the industry is responding across its operations from content creation,product

11、ion,distribution and consumer engagement to the sustainability of its ways of working.This report provides an in-depth assessment of the development of different business models and new revenue streams for industry players.Media owners need solutions that will enable them to digitise their businesse

12、s,as a digital business model allows them to increase the volume of content created while lowering costs.Broadcasters require bespoke solutions that include cloud and distributed platforms to help balance operational effectiveness with flexibility and cost efficiencies.We at Sony have been working a

13、s an end-to-end provider in partnership with industry professionals for more than 50 years.With that commitment to collaboration and innovation,we are excited to be supporting the industry in this next phase of its evolution with cloud and distributed platforms technologies such as our HIVE collabor

14、ation platform and our Ci suite of cloud solutions.Were proud to be participating in our mission as a future-proof supplier to help broadcasters rewrite the future of our collective industry not as the new normal,but as the new extraordinary.:6:7THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE

15、:LABORATORY:SONY REPORTPart One:Foresight OverviewIntroductionThe media and broadcasting industry has experienced unprecedented turbulence over the past 18 months.The unique challenges posed by a global pandemic have transformed consumer behaviour,accelerated technological developments and impacted

16、how everyone,from large broadcasters to amateur auteurs,creates,produces and distributes content.After a period of uncertainty,the outlook for the industry is increasingly promising.While a degree of turbulence is likely to continue in the years to come,the innovation spurred by the pandemic is now

17、enabling media and broadcasting to thrive once again,with digital transformation,mindset shifts and new behaviours transforming what the industry is capable of,says Martin Raymond,co-founder of The Future Laboratory.In this report,we explore the social,cultural and technological forces that are shap

18、ing the future of the media and broadcasting across Europe.We examine:The emergence of hybrid media and broadcasting,where IRL and URL blur to enable truly global,communal and immersive experiencesAn accelerated decentralised future for media fuelled by smaller content creators,with access to conten

19、t creation tools democratised The streamlining impact of digital transformation on the industry,enabling people to do more with lessThe adoption of new,holistic and collaborative approaches to sustainability Through this examination,we have identified the emerging trends that are shaping media and b

20、roadcasting and inspiring all-new capabilities for the industry,enabling the creation of a new extra-ordinary,rather than a new normal.:While a degree of turbulence is likely to continue in the years to come,the innovation spurred by the pandemic is now enabling media and broadcasting to thrive once

21、 againMartin Raymond,Co-Founder of the Future Laboratory :8:9THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTANGHAMI LAB CONCEPT IN PARTNERSHIP WITH ADDMIND,SWANAPart Two:A New LandscapeA series of shifts unfolding today is set to determine what the media and broadcastin

22、g industry will look like tomorrow.Importantly,opportunities abound,as brands look to harness a new landscape to meet and exceed consumers evolving needs.The pandemic didnt just temporarily alter our way of working but has accelerated a range of developments that have transformed the industry for go

23、od,says Teresa Azcona,vice president of Spain Film Commission.Its a landscape thats still emerging,but one that has arrived faster than we could have imagined.:Digital AccelerationAccording to research from McKinsey,society experienced five years of digital transformation in the first eight months o

24、f the pandemic alone.In Spain,digital adoption jumped from 84%to 96%,according to McKinsey,while Equinix research reveals that 41%of digital leaders in Germany say they have accelerated digital transformation plans because of the pandemic.For the media and broadcasting industry,restructuring around

25、digital solutions initially provided a means to survive,as lockdowns and stay-at-home orders necessitated remote work.But increased digitisation is now enabling the industry to thrive in new ways too.Cloud-based and software-based solutions have created a newfound agility within the industry and an

26、ability to scale more easily Sbastien Audoux,Head of sports digital content at Canal+Cloud is playing a central role,with 57%of companies reporting that more than half of their infrastructure is now in the cloud,and 64%saying they expected to be fully in the public cloud within five years,according

27、to CloudCheckr.As Sbastien Audoux,head of sports digital content at Canal+,states:Cloud-based and software-based solutions have created a newfound agility within the industry and an ability to scale more easily.Production is another case in point,becoming less linear and more fluid as a result of in

28、creased digitisation.Digitisation has impacted how we produce,says Teresa Azcona.Visual effects,for example,used to be a post-production afterthought,but now we begin thinking about them from the beginning.:Virtual SafetyResearch from trade publication Pollstar shows that the global live events indu

29、stry lost over 26.5bn worldwide in 2020 due to restrictions and lockdowns.The global film and television industry is projected to lose a staggering 141bn of growth over the next five years.Transformed consumer mindsets sit at the heart of this economic reckoning,with research from YouGov revealing t

30、hat globally almost half(43%)of consumers remain uncomfortable about visiting live events such as sports,music concerts,or festivals.But its not all bad news.While some parts of the industry were decimated by the pandemic,others saw an uptick in usage,with streaming services key among them.For examp

31、le,Netflix added 36m new subscribers in 2020 with almost 16m subscribers in the first three months of 2020 alone.Disney+was another big winner,despite having only launched in November 2019.Since then,it has amassed around 116m subscribers worldwide.:10:11THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTT

32、HE:FUTURE:LABORATORY:SONY REPORTThis rapid migration to digital behaviours is now enshrined in the day-to-day lives of consumers across Europe.The new opportunities it presents will help sustain the media and broadcasting over the next few years and beyond,becoming its lifeblood.Changes in customer

33、behaviour,propelled by habits gained in the pandemic,in many cases,look set to continue well beyond it Dan Bunyan,strategic director at PwCThese shifts are playing out almost everywhere in the entertainment and media sector,says Dan Bunyan,strategic director at PwC.Whether its box-office revenues sh

34、ifting to streaming platforms,rising e-commerce helping to boost digital advertising or brands looking to find potential customers across new entertainment platforms and games,there is one common driver:changes in customer behaviour,propelled by habits gained in the pandemic,in many cases,look set t

35、o continue well beyond it.:Creativity RisingAmid the doom and gloom of the global pandemic,the constraints placed on people have served to spark a creativity revolution among consumers,giving them an outlet and pushing us from an information-based society towards a future where value is driven by im

36、agination.According to WeTransfer,more than 61%of people who started new jobs in 2020 say theyre having more creative ideas than ever.In media and broadcasting specifically,this creativity wave promises to deliver a burgeoning generation of creators who could redefine content for good.With a record

37、number of employees quitting or thinking about doing so in the search for balance across all industries putting pressure on sectors like media and broadcasting that traditionally have functioned through long hours or require intensive travel new blood and new ways of working look set to offer a rout

38、e forward.The pandemic has caused people to take stock,and many people are turning away from production in favour of better work/life balance.New opportunities and digital roles will be required to ensure people dont leave the industry en masse,says Patrick Lenkeit,technical specialist at Bright!stu

39、dios.:Whole-System ThinkingThe pandemic put a new focus on the worlds supply chains and highlighted just how interconnected we remain in an increasingly globalised world.This appreciation has seen a shift in how consumers understand sustainability,with a more holistic view replacing mindsets once fo

40、cused specifically on the environment.Responding to the increasingly eco-minded consumer climate,the world of media and broadcasting is now being challenged to follow in the footsteps of industries like fashion,and drive new sustainability standards across the sector.Improving sustainability through

41、 increased efficiencies represents a huge part of the future of media and broadcasting,says Sbastien Audoux.It will require a new era of cross-industry collaboration,but its a future that is emerging quickly.Cross-sector guidelines and regulating bodies are emerging to drive sustainable collectivism

42、 and set industry standards,illustrating a future where organisations are forced to hold themselves and their industry mates accountable.Improving sustainability through increased efficiencies represents a huge part of the future of media and broadcasting Sbastien Audoux,Head of sports digital conte

43、nt at Canal+:12:13THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTDIGITAL TWINS:LOST HORIZON:LOST HORIZON VIRTUAL FESTIVAL,UKLooking ahead,this accelerated change is likely to become exponential,as innovation fuels new opportunities.For Martin Raymond,co-founder of The F

44、uture Laboratory,its a watershed moment and an opportunity to build back better and disrupt differently.Weve spent our time fretting about the new normal,when we should be talking about the new extra-ordinary,he says.The pandemic has precipitated scientific advancement,championed innovation and ushe

45、red in a new age of collaboration,challenge and change.Through our research,we have identified four themes that represent the future of media and broadcasting.Here,we explore the themes set to define how the industry evolves over the next five years and beyond,and the microtrends they will inspire.0

46、1 Hybrid&Immersive As the world begins to adapt to the inter-Covid climate,the virtual spaces which have provided a temporary lifeline for brands are going nowhere.Instead,get ready for a future of hybrid media and broadcasting,where IRL and URL will blur to enable truly global,communal and immersiv

47、e experiences.Part Three:Media&Broadcasting FuturesAs the rapidly shifting landscape demonstrates,the pace of transformation within the media and broadcasting industry has never been higher.A series of huge shifts is happening all at once,causing the industry to consider things today it didnt have t

48、o a few years ago,says Giacomo Margutti,an Italy-based senior content producer.Invigorated by new technologies,captive audiences and the advancement of 5G,the virtual events that were once categorised as sub-standard alternatives are reaching new,and often enhanced,heights.For Marco Giberti,co-autho

49、r of Reinventing Live,a new era for live events is fast emerging.Events were built to succeed hundreds of years ago but they are built to fail in the 21st century,he says.Post-Covid,virtual events will be unrecognisable.It will be like comparing traditional tv with streaming,print magazines with tab

50、lets or music CDs with Spotify.Communities will interact through the combination of virtual and face-to-face experiences in ways that will increase their return on investments and improve efficiencies.These new realities are being embraced by audiences who have had no choice but to adapt and recalib

51、rate their entertainment values and demands.Research from Accenture reveals that over half(58%)of consumers said they would be excited about a connected,end-to-end extended reality experience,with a vast majority(84%)willing to pay for it.This welcomed hybrid future,freed from physical limitations,w

52、ill lead to the expansion of three trends:the emergence of Digital Twins,the revival of Communal Events and Venues Reimagined.:Digital TwinsDigital twins of physical,real-world spaces are fundamentally transforming how and where people engage with live entertainment pointing to a future where entert

53、ainment is unrestricted by geography,physical space or accessibility.Traditionally,digital twins were primarily used to model scenarios and answer what ifs for supply chains and logistics.Now,however,the wealth of new :14:15THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPOR

54、Tdigital formats created inter-pandemic has pushed the envelope of the events experience redefining the landscape for attendees and producers alike and transformed digital twins from a purely B2B solution into immersive,virtual and curious spaces where people can explore,meet others and even hang ou

55、t.By creating a digital platform to experience art and music in a new way,we are at the forefront of defining the next generation of live entertainmentKaye Dunnings,creative director of Lost Horizon.No longer limited to a physical space,and with unrestricted capabilities,digital spaces are solving l

56、imitations and uncovering the possibilities beyond IRL.Lost Horizon,the worlds largest music and arts event in virtual reality,is one case in point.Created by the team behind Shangri-La,a section of the famous Glastonbury Festival,the fully interactive,multi-stage event could be experienced via comp

57、uter,VR or mobile.The Shangri-La x Lost Horizon October 2021 event was streamed live to global viewers.Featuring computer-generated avatars and green-screen hologram performances,the experience included dance floors and hidden venues,mimicking its real-life Shangri-La counterpart.By creating a digit

58、al platform to experience art and music in a new way,we are at the forefront of defining the next generation of live entertainment,explains Kaye Dunnings,creative director of Lost Horizon.Other future-facing platforms are stepping up to forge this new future offering event organisers ready-made virt

59、ual reality(VR)spaces or personalised digital twins of their own IRL venues.Virtual events platform Touchcast is one leading example.Its Iconic Venue Collection is the worlds most technologically advanced virtual venue portfolio,comprising arenas,theatres,auditoriums and the recently unveiled Touchc

60、ast Tower.Each space boasts its own unique set of capabilities,and guarantees immersive virtual experiences with multiple camera views,special effects,instant language translation and the ability to chat with other attendees in real time perks that far exceed the potential of in-person programming.A

61、s tv producer Lynsey Martenstyn explains:Digital twins of live events open up a new world of possibilities.It means you can have an audience there physically,and an audience of global fans from all over the world,with geography and accessibility no longer an issue.Event design platform OnePlan is fu

62、rther enabling organisers to unlock these new capabilities.Its latest offering,Venue Twin,provides a fully interactive,centimetre-accurate 3D digital twin of any venue.Boasting huge operational and commercial benefits,Venue Twin enables stadiums and arenas to harness advanced 3D seat view options to

63、 boost ticket sales and gain audience traction offering enhanced VIP tiers akin to IRL experiences,and audience-dependent advertising space.Cameras like Sonys BRC-H900 with integrated artificial intelligence(AI)will prove integral to helping this future flourish.BRC-H900 has sensitive 1/2-inch type

64、Exmor 3CMOS image sensors capturing detail packed full HD footage,so images shot on it will benefit from less noise and from enriched information in a 2K or 4K production,meaning the camera is particularly well suited for VR and in-camera VFX setups,delivering an immersive experience and realistic i

65、mages.As we approach the next decade,AI-powered algorithms will help virtual spaces move one step further,creating deepfake versions of stadiums that replicate physical locations accurately in real time,from harnessing hyper-real haptic technologies to mimic IRL touchpoints,to utilising audio-spatia

66、l sound advancements to create ultra-unique sonic landscapes.:Communal EventsHybrid and immersive technologies will enable new social opportunities for media and broadcasting,as the consumption of entertainment at home moves from the personal to the communal.The pandemic forced consumers into a glob

67、al state of stasis,and many replaced binge-watching with the slow gratification of weekly instalments signalling a return to the traditions of communal watching and commentary.In the UK,the BBC was quick to cater to these new demands.It released youth favourite I May Destroy You in dual instalments

68、on BBC iPlayer weekly,while Normal People was aired weekly on BBC Three,and received record-tripling viewing figures.A return to semi-traditional programming strategies is a quick fix for broadcasting organisations looking to facilitate water-cooler moments of togetherness,but hybrid and immersive t

69、echnologies will go one step further in aiding truly interactive,communal experiences.Digital twins of live events open up a new world of possibilities.It means you can have an audience there physically,and an audience of global fans from all over the worldLynsey Martenstyn,TV Producer:16:17THE:FUTU

70、RE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTOMA CINEMAS MODULAR PODS SEAT THE ENTIRE AUDIENCE IN PRIME POSITION,VIETNAM:19THE:FUTURE:LABORATORY:P.E NATION:INNER STRENGTH 2030 REPORT:18THE:FUTURE:LABORATORY:SONY REPORTThis demand is already being verified beyond the hype of a

71、 comedy/drama mini-series.Over one third(39%)of live sports viewers are interested in watching sports together virtually,according to a Minerva Networks survey,while research from Hulu indicates that 32%of streamers say that watching tv shows or films with others and having a community of fellow fan

72、s is very important to them.Netflix has been quick to cater to these hyper-interactive expectations.Its group feature,Teleparty,allows a group of subscribers with similar viewing preferences to watch a show virtually together,synchronising playback and aiding on-screen chats.The extension is also co

73、mpatible with Disney,Hulu and HBO streaming services.Outside of broadcasting,events organisers are also recognising the value in these types of virtual interactions.Tobacco Dock Virtual,developed in partnership with VR platform Sansar,presents shows and events at the same time as the physical venues

74、.Drawing on gaming cues,it assigns each guest an avatar that can navigate the dynamic virtual space allowing users to interact with other attendees,listen to live performances and ask questions in real time.:Venues Reimagined As our digital and physical worlds continue to blur,spaces from sports sta

75、diums to music venues and cinemas will be reimagined for the phygital age.VR technologies are helping the media and broadcasting industries realise the full potential of physically optimised spaces,and products,services and equipment must now be designed with this new landscape in mind.As Teresa Azc

76、ona,vice president of Spain Film Commission explains:The theatrical experience is already changing.When we go to a cinema,we will need something different from what we get at home,and I think that will involve a different technology and perhaps a completely different experience.Paris-based Oma Cinem

77、a is already rethinking the traditions of its physical spaces,unveiling a radical retake on the traditional cinema interior.The design replaces conventional rows of seats with circular booths placed vertically across the rear of the theatre hoping to combine the intimacy of the home with the scale o

78、f the cinematic experience.In music,prominent Middle East-and North Africa-focused music streaming company Anghami has announced plans to launch a string of hybrid entertainment venues across the world.The Anghami Labs will be equipped with lounges,stages and studios where creators can experiment wi

79、th music inspired by both Arabic and international cultures.Anghami is more than just a streaming platform.It has elevated the value of the music industry in the Middle East as a whole Tony Habre,CEO of AddmindThe concept also includes a partnership with hospitality provider Addmind,to offer a fusio

80、n of Arabic and international cuisines.Tony Habre,CEO of Addmind,comments:Anghami is more than just a streaming platform.It has elevated the value of the music industry in the Middle East as a whole.Engaging audiences through co-created music and foods that borrow from a variety of cultures,Anghami

81、is expanding its reach beyond the virtual to offer a 360-degree brand experience.Universal Music Group(UMG)is also betting on these new types of wholly immersive,physical experiences.Partnering with entertainment investment group Dakia U-Ventures,the music giant is launching UMusic Hotels,a series o

82、f global music-focused experiential hotels.Featuring immersive experiences for fans,guests and musicians,each hotel will complement the local architectural landscape.As Bruce Resnikoff,president and CEO of Universal Music Enterprises,notes:Through musics unique power to inspire and unite especially

83、given UMGs unparalleled roster of artists and labels UMusic Hotels will both highlight these cities rich music heritage and provide new opportunities for artists to reach fans in immersive,innovative and authentic ways.When it comes to streaming these events be they concerts,festivals or corporate e

84、vents Virtual Production,Sonys cloud native live production switcher,enables multi-camera production without the need for any dedicated infrastructure.It can be used as the user requires,and leverages a pay-as-you-go model for ultimate convenience.What Now?With the event landscape ushering in a new

85、phygital wave,the time is now for brands to reconfigure their offerings,designing future-smart equipment that chimes with the needs and regulations of new venue types and media consumption habits.Think VR architecture,instead of acoustics,and modular design that suits the ephemeral qualities of seco

86、nd-generation venues.:20:21THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTContent and its creators are everywhere.Booming global smartphone usage and the unprecedented popularity of short-form social videos are giving a new understanding of what it means to be a creator

87、.Research from SignalFire indicates that more than 50m people around the world consider themselves content creators,with 93%(46.7m)of this cohort describing their status as amateurs.Their self-categorisation may be modest,but their influence is anything but.Data from WordStream reveals that more onl

88、ine video content is uploaded every 30 days than major television networks in the US have created in the past 30 years,while research from Zenith highlights that in 2021 the average person will spend 100 minutes watching online videos.Emboldened by numbers and popularity,this new dawn of content cre

89、ation is demanding increasingly professional outlets,functional knowledge and intuitive technologies,making way for brands to give burgeoning creative communities platforms to showcase their work.50m people around the world consider themselves content creatorsSource:SignalFireContent on platforms wh

90、ere people can self-publish is increasingly being picked up by broadcast tv makers daring to be different,says tv producer Lynsey Martenstyn.Its leading us toward a future where we see a broader range of people producing content with high-quality production values,community stories and different vie

91、wpoints.This decentralised media future is leading to the expansion of three trends:the support of Creator Communities,the growing inclusion of Sideline Studios and the development of Intuitive Tech.:Creator CommunitiesCreative communities are ushering in a new era of decentralised production,prompt

92、ing established platforms to learn from,and embrace,Generation Creation.Youth-driven values are fuelling a reformation in the creation and consumption of content.Sceptical of traditional educational formats,and tired of the homogeneous saturation of mainstream media,young creatives are seeking solac

93、e in all-inclusive production tools that allow them to tell new stories on their own terms.Grassroots community initiatives are already paving the way for this kind of equitable media future.Minneapolis-based Speak MPLS is a member-based media centre that gives young people access to media labs,stud

94、ios,equipment,tailored production classes and free airtime for members on its native public-access channel Speak MPLS TV.At the beginning of the pandemic,we saw a wealth of new training initiatives that saw people come together and learn new skills relevant to the tv industry,says tv producer Lynsey

95、 Martenstyn.Its helped to create new communities of people looking out for each other in tv production.Pluc.tv is striving to create the technological solutions and new self-sufficient communities,that are proving integral in the age of the creator economy.The India-based platform provides guidance

96、and tools at every step of the production journey,allowing users 02 Democratised&Decentralised A creativity revolution is emboldening a new wave of creatives to explore fresh routes to production making way for a media horizon where the future,and the tools needed to get there,is accessible for all.

97、SIDELINE STUDIOS:HIGH STREET RESIDENTIALS LLEWELLYN RESIDENCE,US:22:23THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTAt the beginning of the pandemic,we saw a wealth of new training initiatives that saw people come together and learn new skills relevant to the tv indust

98、ry.Its helped to create new communities of people looking out for each other in tv production Lynsey Martenstyn,TV Producerto create,market and monetise content.Gen Zs altruistic intentions on themes ranging from pollution to inequality and farming are often at the heart of the videos,with some crea

99、ting direct policy change in India.For founder and CEO Tamseel Hussain,Pluc.tv helps to balance the gap between top creators those who have stories to tell without the resources to tell them:Were disrupting and re-balancing the current creator ecosystem,by spotlighting and supporting new talent in a

100、n arena held hostage by top creators.We enable people who want to do something good but do not have enough influence on the internet.Beyond democratised production,innovative brands are utilising the data behind media consumption to create hyper-localised,reactive content.Wattpad Studios is one pion

101、eering example.It harnesses the power of Gen Z storytellers,real-time insights and fandom to create audience-centric content that celebrates its diverse community.The studio works directly with its storytellers,and their fans,through the entire production process,with audience data and fan comments

102、informing everything from the script to the colour palette to the soundtrack.Boasting 90m monthly users,1bn uploads and one of the worlds largest IP libraries,Wattpads entertainment universe is fundamentally reshaping content production.From providing the tools to facilitating exposure,established b

103、rands are increasingly recognising the power of these new creative communities.Sonys latest smartphone,the Xperia PRO-I,is setting a new standard for smartphone photography.It boasts 4K recording capabilities,BIONZ X for noise-free images and Dolby Atmos sound to provide content creators with all-in

104、clusive technologies at their fingertips.Netflix is also paying attention.Along with Adobe famous for its ubiquitous image and video editing software its launching a contest on TikTok where users can submit pitches in the form of a trailer for a Great Untold story.:Sideline StudiosWith the Creator E

105、conomy booming,broadcast studios are becoming an essential element of future residential,hospitality and leisure development,transforming the production landscape.Bedroom pop artists and amateur podcasters are getting a studio upgrade.As the hobby economy reaches new heights,brands and developers ar

106、e tuning into the needs of budding creators.Research from SignalFire reveals that 46.7m of 50m creators consider themselves amateurs illustrating a future where creatives seek accessible spaces to pursue their sideline passions.Los Angeles-based developer High Street Residential is betting on this b

107、ehaviour with the unveiling of its creator-friendly complex Llewellyn.The 318-unit building includes a soundproof room fit for musicians,video producers and social media creators.Its a multipurpose room,which functions as a recording studio and a space to rehearse or even record yourself,explains Al

108、ex Valente,senior vice president of Trammell Crow Company,which owns High Street Residential.Elsewhere,in the Canadian province of Ontario,real estate investment trust RioCan is developing a two-tower residential project with a communal content studio for video and audio production.Featuring a green

109、 screen for special effects,production-grade lighting and acoustic panels,the space enables residents to create professional content without leaving their apartment complex.Its a way to expand Cape Verdes cultural impact,create a platform for local musicians,and bring international artists to record

110、 and co-create Kunl Adeyemi,Architect and designer of the Floating Music HubOutside of the home,travel and hospitality venues are catering for creators on the go,with recording studios built into tourist destinations.Centred on creating enriching cultural experiences,Ibizas Six Senses hotel offers g

111、uests a sense of community through an array of amenities ranging from music and art to sustainable fashion and wellness.As well as facilitating connections through its programme of creative experiences,its Beach Caves music venue hosts emerging artist sessions,live events and a recording studio avai

112、lable for private hire.By empowering guests to explore their creative potential while on holiday,Six Senses is meeting demand for engaging media-tels.In similar vein,the Floating Music Hub off the island of So Vicente,Cape Verde,is tuning into the youth-driven democratisation of music communities.Th

113、e West African performance venue promotes :25THE:FUTURE:LABORATORY:P.E NATION:INNER STRENGTH 2030 REPORT:24THE:FUTURE:LABORATORY:SONY REPORTa collaborative exchange of creative ideas between local residents and visiting creators.Comprising three floating vessels,the venue includes a multipurpose liv

114、e performance space,a state-of-the-art recording studio,a bar and caf,and a central triangular floating plaza for gatherings.Kunl Adeyemi,architect and designer of the Floating Music Hub,explains:Its a way to expand Cape Verdes cultural impact,create a platform for local musicians,and bring internat

115、ional artists to record and co-create.As more people self-identify as creators,this career gear change will affect other sectors.Brands with physical assets should find ways to build flexible broadcast studios into their upcoming developments.:Intuitive Tech New technologies are increasing accessibi

116、lity and democratising creativity allowing people to take part in production without the need for formal education.Savvy tech brands are updating their offerings to do more for less,creating user-friendly solutions that forgo the need for an expansive kit or ultra-specialised knowledge.IPhone camera

117、s are starting to get to the point where you can shoot cinematic videos without an expensive DSLR or cinema cameraJoshua Davies,CEO at FXHomeSonys range of smart software already offers these kinds of intuitive capabilities.Its movie edit add-on is an image editing application for smartphones that s

118、upports image stabilisation by creating smooth videos(as if using a gimbal)and enables intelligent framing,while its transfer and tagging add-on has been specifically designed for on-site professional sports and news photographers to speed up the workflow of transferring still images.For Film softwa

119、re company FXHome,the key to accessibility is providing software solutions without the need for hardware upgrades.Its iOS app,CamTrackAR,captures videos and 3D tracking data simultaneously from Apples ARKit mapping out environments real-time to allow seamless capture tracking and anchors.IPhone came

120、ras are starting to get to the point where you can shoot cinematic videos without an expensive DSLR or cinema camera,explains FXHome CEO Joshua Davies.This is bringing a lot of accessibility to filmmakers and content creators who are just starting out on a shoestring budget.We wanted to extend that

121、to VFX,give creators the tools they need to not just shoot cinematic footage but also add realistic effects without the need for expensive software.Intuitive tech solutions are one of the keys to unlocking a new equitable media horizon,and traditional brands must update their offerings to prevent be

122、ing shut out.As these software solutions are increasingly embraced,hardware too will be designed with accessibility and,crucially,compatibility in mind,ensuring seamless production and creation processes for users regardless of kit size or education.What Now?As media and broadcasting outsiders utili

123、se the egalitarian options afforded by media collectives,instinctive tech and unbridled access,savvy organisations should facilitate multi-beneficial partnerships that embed social accountability and equitable employment models as key business tenets.:26:27THE:FUTURE:LABORATORY:P.E NATION:SONY REPOR

124、TTHE:FUTURE:LABORATORY:SONY REPORTCONNECTED AGILITY:FRAME.IO CLOUD-BASED VIDEO REVIEW AND COLLABORATION PLATFORM,USThe impact of global lockdowns and the subsequent safeguarding initiatives brought the media production industry to a halt.While teams were forced to downsize,work remotely or collabora

125、te across continents,digital solutions emerged to re-enable these new production processes and consolidate and streamline methods that were already looking outmoded.But rather than do more with less,this new era is enabling people to do more with more.As Patrick Lenkeit,technical specialist at Brigh

126、t!studios,explains:These shifts go beyond efficiency to help deliver more creative freedom.Its creating a more adaptable workforce and a more rapidly adaptable workflow,opening up huge new opportunities.Flexible and digital solutions will prove increasingly relevant to the future of media production

127、,leading to the expansion of two key trends for workforces:Connected Agility and Virtual Production.:Connected Agility Media and broadcasting businesses have connected once-fragmented supply chains in the wake of the pandemic,embracing intelligent processes that harness the power of AI,analytics and

128、 automation to fuel creative collaboration.Covid-19 has reinforced the value of a flexible supply chain that can be easily altered to accommodate new requirements and limitations with agility,elasticity and responsiveness proving key to functionality.In lots of ways people have been required to acce

129、lerate changes more quickly than they were expecting to do due to the circumstances,says Steve Sharman,founder of AI-oriented media consultancy Hackthorn Innovation.Genuine remote production of sport is one obvious example.Continued migration to the cloud and increased use of AI are helping the futu

130、re to emerge,ensuring that supply chains can contract or expand seamlessly and eventually in real-time.AI is a huge difference maker,says Canal+s Sbastien Audoux.In sport,automated clipping,for instance,can lower the cost of production and essentially produce games automatically.It also means we can

131、 tailor more content to each market and each demographic a huge challenge that can only be solved with the help of AI.AI is a huge difference maker.In sport,automated clipping,for instance,can lower the cost of production and essentially produce games automaticallySbastien Audoux,Head of sports digi

132、tal content at Canal+While events may have previously relied on physical infrastructure and IRL staff,new formats and live experiences are now utilising the collaborative and scalable perks of the cloud format too unlocking the potential for media companies that could not previously support the inve

133、stment needed for high-quality live broadcasting.Supported by Sony Innovation Fund(SIF),Kiswes end-to-end video platform is just one example of these new consolidation tools.It utilises cloud infrastructure and browser-based remote production to allow rights holders to create multiple streams and di

134、gital experiences.Similarly,utilising these new hybrid processes,production company Filmnova worked with live production platform Graybo to deliver in-depth coverage of the 2021 World Paralympic Triathlon Series for BBC Sport Online.A scaled-back production crew worked collaboratively in the cloud t

135、o combine live feeds from four mobile cameras,adding live graphics and video on demand(VoD)assets from around the event.UFC has similarly harnessed Graybos progressive technology,making use of its remote contribution app,Graybo Producer for its Facebook Live show,Quick Hits.Allowing users to contrib

136、ute audio and visual content to a live broadcast remotely,this new format helped to personalise the broadcast for viewers and hosts alike,and it proved popular,delivering more than 70m views in 2020.03 Streamlined&Consolidated As Covid-19 laid bare the fragile nature of supply chains,media productio

137、n was forced to embrace digital techniques in order to survive.These tools are now emerging as streamlined solutions rather than lesser alternatives to standard production processes.:29THE:FUTURE:LABORATORY:P.E NATION:INNER STRENGTH 2030 REPORT:28THE:FUTURE:LABORATORY:SONY REPORTA highly fragmented

138、supply chain with many niche solutions is inefficient and difficult to manage.This is likely to lead to industry consolidation with a smaller number of go-to platforms Dan Goman,CEO of OwnzonesThese types of multi-use production tools illustrate the future of streamlined production.As Dan Goman,CEO

139、of Ownzones,explains:A highly fragmented supply chain with many niche solutions is inefficient and difficult to manage.This is likely to lead to industry consolidation with a smaller number of go-to platforms.One such platform is Frame.ios new service Camera to Cloud,which allows multiple people to

140、start working on a shot the second the director films it,greatly reducing the number of people on set and increasing the number who can contribute while maintaining safe social distance.Sony Professionals Media Solutions Toolkit a new suite of cloud-based microservices is providing another holistic

141、solution.Within the Media Solutions Toolkit,businesses can choose and combine a number of cloud-native,specialised services,each addressing a particular function,such as import or workflow management.Because each microservice can work independently of the others,customers can upgrade,add,remove or s

142、cale them as needed,with minimal disruption of service.This modular approach will allow Sony to build and design tailored systems quicker than ever before.And media companies will avoid a long-term commitment to a fixed set of technologies,giving them tight control of their spend,better ROI and a lo

143、wer total cost of ownership.:Virtual Production Progressive production platforms are taking the lead from the world of gaming to enable virtual production beckoning a new era defined by flexibility,fluidity and speed.As with many virtual shifts,the pandemic has helped reframe virtual production as a

144、 bona fide alternative to IRL processes,while also illuminating the game-changing benefits of these new realities.Until about a year or so ago,it virtual production was just theoretical,more or less.There werent many productions actually using it.But now several triple-A productions and even smaller

145、 ones are starting to use it,says Mark Pilborough-Skinner,virtual production supervisor at Garden Studios in London.These new technologies are ushering in new industry standards and specialisms.Xon Studios is one of South Koreas leading virtual production and extended reality(XR)stage studios offeri

146、ng revolutionary creative solutions across film,broadcast,animation,VFX,motion design,and immersive entertainment.The cutting-edge facility originally made waves by becoming the first studio in Korea to incorporate mixed reality(MR)technology,with the studios creative ideas and execution becoming sy

147、nonymous with the future of visual entertainment.Gamings powerful capabilities are now being utilised by filmmakers,too.Unreal Engine is a video game creation tool that allows filmmakers complete control over the set and surrounding environment at a moments notice.Artists can create a photo-realisti

148、c 3D background that moves strictly with the cameras field of view,known as the frustum causing the camera angle to shift precisely and seamlessly with the background.These methods were put to the test on Disneys The Mandalorian,of which over half was filmed indoors on a virtual set.For Patrick Lenk

149、eit,technical specialist at Bright!studios,virtual sets are able to tackle chronic production concerns.One of the core points about virtual production is that you have a perspective correct render of the scene for one camera,spot on,he says.Its extremely important to have a spot-on tracking solution

150、.Auto-calibration can also work really well,it offers so much more flexibility.It feels like it will solve a lot of problems.For broadcasters already looking at the next step for their set-up,a move to a fully distributed and cloud native infrastructure will ensure yet more safety and savings on res

151、ources.Between its Virtual Production Service Hive,XDCAM air,Ci Media Cloud Services and NavigatorX,Sony has a full portfolio of solutions and services for future-proofing production infrastructures in this new virtual landscape.What Now?With intuitive processes and virtual shortcuts reigning suprem

152、e,media and broadcasting organisations must ensure ultimate compatibility lies at the heart of new software developments and new working models.As professionals look to multifunctional software to fulfil their needs,ready-made cloud suites and virtual production hubs will be on standby throughout pr

153、oduct processes.:30:31THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTVIRTUAL PRODUCTION:XON STUDIOS VIRTUAL PRODUCTION AND XR STAGE SPECIALISTS,SOUTH KOREA:32:33THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTIf we cant assure our customers

154、that we are being considerate with the environment,that we are taking into account our impact,then we are not going to sell Teresa Azcona,vice president of Spain Film CommissionIn light of the latest Intergovernmental Panel on Climate Change report and COP26,new holistic approaches to sustainability

155、 will come to replace outmoded promises and virtue signalling forging a future where eco credentials and concerns are built into the core of industry practices.Consumers are increasingly demanding the brands and organisations they interact with match their own sustainable pledges.As Teresa Azcona,vi

156、ce president of Spain Film Commission,explains:If we cant assure our customers that we are being considerate with the environment,that we are taking into account our impact,then we are not going to sell.As customers,we are being more conscious with our decisions we have to apply the same sentiment t

157、o how we produce and create.With this new wave of consciousness driving the industry to rethink(best)practices,two key trends will take hold:a push for Total Transparency and a new era of Climate Collaboration.:Total Transparency The media and broadcasting industry will embrace total transparency ar

158、ound environmental impact,as emissions reductions and net-zero targets are enshrined in companies operations and data on progress is demanded by consumers.The environmental footprint of film and production is vast:large films have a carbon footprint of 1,081 metric tons,while medium films have a sim

159、ilarly substantial carbon footprint of 769 metric tons.As consumers come to understand the weight of their own actions,they are increasingly demanding the same of the products they interact with.Research from the Carbon Trust indicates that 67%of consumers support the idea of a recognisable carbon l

160、abel to demonstrate that products have been made with a commitment to measuring and reducing their carbon footprint.As we approach the next decade,demonstrating measurable sustainability credentials will become endemic to brands and organisations.Beyond the media and entertainment industry,EY predic

161、ts that 17.7 trillion is set to flow into ESG funds over the next two decades,illustrating a future where sustainable business standards make both ethical and financial sense.67%of consumers support the idea of a recognisable carbon label to demonstrate that products have been made with a commitment

162、 to measuring and reducing their carbon footprintCarbon Trust The gigs and festival industry has a captive audience to action its sustainable plans.UK act Coldplay has announced its next world tour will have a net zero carbon footprint and released a sustainability plan that includes direct air carb

163、on capture technology by Climeworks.Elsewhere,sustainable pledges in tv production are emerging,with Netflix announcing plans to cut its direct emissions from fuel and electricity by 45%by 2030 against its level in 2019.To reach its net zero goal by 2022,it will compensate for existing emissions by

164、purchasing offsets and funding conservation 04 Sustainable&Collaborative With 2021s global sustainability summits forcing every industry to rethink its place and its purpose amidst the global crisis,the next decade will see the media and broadcasting industry place sustainable action front and centr

165、e.:35THE:FUTURE:LABORATORY:P.E NATION:INNER STRENGTH 2030 REPORT:34THE:FUTURE:LABORATORY:SONY REPORTprojects such as grassland restoration.Walt Disney and the BBC are also following suit,with a goal of achieving net zero targets for 2030.Streaming may be facing up to the carbon footprint of producti

166、on costs,but promoting transparency around the consumption of content is still in early stage,with official figures released by Netflix excluding the emissions from the transmission of its shows to customer devices as well as the electricity used by a particular television or computer.External appli

167、cations are stepping up to provide answers for sustainable streaming solutions.Dimpact is a pioneering web app that enables the digital media industry to map and manage its carbon impact covering digital video streaming,publishing,advertising services and business intelligence.Gaming and music strea

168、ming modules are next on the agenda.The Dimpact tool presents a really clear picture of how our shows get all the way to viewers,and maps out for us the carbon footprint of our content,says Tim Davis,principal architect EA at ITV.While the tool is currently only being used for reporting purposes,fut

169、ure functionalities could see the model used to enable technology teams to reduce overall emissions.:Conscious CollaborationsAs new industry-wide sustainability standards emerge,media and broadcasting companies will look to harness collaboration to tackle issues that require cross-industry action.Br

170、ands and organisations are coming together to tackle issues beyond the reach of individual businesses.In Germany,leading broadcasters,film producers and streaming companies have unveiled a new environmental initiative a collective agreement to take a more sustainable approach to the production of fi

171、lms and tv series.Known as the green shooting initiative,this will see producers and commissioners commit to certain minimum ecological standards,such as using LED spotlights on set,switching to vegetarian food in canteens and avoiding short-haul flights to reduce their environmental impact.Elsewher

172、e,industry institutions are providing standardised frameworks for ethical practice.In the UK,a recent landmark report from the BFI gives recommendations and case studies for sustainable practices in four areas of film production:production materials,energy and water,studio building and facilities,an

173、d studio sites and locations.Entitled A Screen New Deal A Route Map to Sustainable Film Production,the report has been designed to allow filmmakers to address their ecological impact in a systemic way,ranging from simple to structural changes and from everyday practices to long-term solutions.The Di

174、gital Production Partnership(DPP)is another example of how the industry is facilitating ethical standards across the board.Its Committed to Sustainability programme provides organisations with a practical tool to assess their progress against key environmental measures,with each given the option to

175、obtain a sustainability score and the DPP stamp of approval through the completion of a checklist.Members include Sony,Sky and BT.These types of collaborative initiatives are also emerging across music and gig production with US entertainment company Live Nation Entertainment launching its Green Nat

176、ion Touring initiative to help artists adopt and scale sustainable touring practices.Its Green Nation sustainability charter focuses on everything from planning to production,sourcing and community aspects of touring,illustrating a future where open-source,shared sustainability resources will help t

177、o set standards across entire industries.In the future,one centralised production tool in the cloud could produce highlights for everyone,with one individual supervising the AI doing most of the work.It would enable greater efficiency and reduce the need for travel significantlySbastien Audoux,Canal

178、+Looking ahead,a new collaborative mindset could also see broadcasters work more closely together day to day in order to improve efficiencies and reduce carbon footprints.In the world of sport,Canal+s Sbastien Audoux states:Currently,when it comes to creating highlights for a game,there are many peo

179、ple working on similar tasks but for different platforms.In the future,one centralised production tool in the cloud could produce highlights for everyone,with one individual supervising the AI doing most of the work.It would enable greater efficiency and reduce the need for travel significantly.What

180、 Now?With the industry taking steps to empower eco solutions,organisations must be proactive rather than reactive to key issues reconfiguring their own processes to ensure sustainability is endemic to what they do.:36:37THE:FUTURE:LABORATORY:P.E NATION:SONY REPORTTHE:FUTURE:LABORATORY:SONY REPORTXON

181、 STUDIOS VIRTUAL PRODUCTION AND XR STAGE SPECIALISTS,SOUTH KOREAPart Four:ConclusionAmid Covid-enforced shutdowns,shifted consumer values and a certified technological boom,the media and broadcasting industry is re-emerging transformed,bringing fresh expectations and recalibrating the ways in which

182、content is created,produced and shared.Agile in its response to unprecedented turbulence caused by the pandemic,organisations and amateurs alike have set out a blueprint for the future of the industry,says The Future Laboratorys Martin Raymond.Its one that looks more equitable,accessible,intuitive a

183、nd,because of all those things,more sustainable.In the face of change and uncertainty,the industry adapted,and for the better,ushering in technological development from virtual production to seamless software and intuitive tech that promotes a fresh wave of opportunities both in and outside media an

184、d broadcasting.As we approach this seismic shift in the structures,processes and apparatus of the industry,organisations must ensure these fresh values are supported,adapting their offerings to meet new demands by:Embracing hybridity as the future,ensuring software and hardware work together seamles

185、sly to enable the smooth running of operations for both producers and consumers Empowering next-gen creatives with the tools needed for success from providing accessible tools to boosting the unique cultures of grassroots organisationsUtilising the unprecedented capabilities of next-wave production,

186、creating streamlined workflows that embrace the fluidity and flexibility of digital Embedding sustainable practices into every aspect of production,collaborating across the industry to ensure impactful pledges are prioritisedOrganisations that innovate to create new products,workflows and practices will become the vital touchpoints of tomorrows media and broadcasting industry,providing the tools and climate needed to usher in a new extra-ordinary era.: