State broadcast associations are backing the NO FAKES Act, a federal bill aimed at unauthorized AI replicas of a person’s voice or likeness. The practical question is how far Congress goes without creating new clearance headaches for legitimate news, satire and production work.
Kuaishou’s generative video tool is being promoted to filmmakers, but the useful question is still whether short AI clips can move from creative tests into rights-cleared production work.
The deal folds Mango New Edit’s remote dailies and offline editorial services into MTI Film’s post-production business, reducing one more handoff between set, edit and finish.
HBS is centralising key World Cup 2026 operations at a Dallas broadcast centre, with venue feeds, replay, graphics and data moving through a much larger IP-based production network.
Production teams testing generative video need to decide which models handle which jobs, how assets move between them, and how much risk they accept when a vendor changes the rules.
The state’s new law requires conspicuous labeling when ads use synthetic human-like performers, creating another approval checkpoint for agencies, brands and media companies.
SynthID and C2PA checks are moving closer to everyday users, but watermarking and content credentials are still verification aids, not a universal truth machine.
The Video Services Forum’s RIST Satellite-Hybrid work lets broadcasters keep satellite as the main distribution path while using the internet to recover lost or corrupted data.
WWDC26 updates add live production formats, iPhone and iPad playback support, and static foveation tools that could make Apple’s immersive format easier to produce and distribute.
Clear Angle’s new Volumetric Capture Rig and Union’s relighting work aim to make captured performers more useful as digital humans and crowd elements inside real VFX pipelines.