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Sport Streaming Piracy Has Moved Into the Pipes

When access becomes complicated, alternatives become tempting. Piracy has quietly become a symptom of fragmentation rather than a fringe criminal behaviour. And that changes how the industry has to respond.

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Why Streaming Demands a Different End-to-End Workflow From Broadcast

When pre-existing live broadcast operations add streaming for the same events or content, there's a temptation to "bolt on" streaming to the existing workflow and treat it as just another output or destination, but Warner Bros. Discovery distinguished video platform engineer Neal Roberts insists that doing so means sacrificing the streaming end-user experience in this conversation with Alchemy Creations founder and principal Andy Beach at Streaming Media Connect 2025. He says that also means duplicating operator requirements and goes on to discuss comms between streaming and broadcast teams and other best practices for optimising experiences for all viewers regardless of platform.

Where Do Cloud and Remote Production Reduce and Increase Streaming Costs?

The now-familiar narrative of livestreaming in the pandemic tells us that when social distancing compelled streamers to migrate from on-prem to remote production and the cloud, massive cost savings were our reward. But cloud-based streaming also carries hidden costs. NBCU's Paul Kirchberg, Live X's Corey Benkhe, and Sargeway's Sarge Sargent discuss the true costs and savings of cloud and REMI operations and how to avoid the pitfalls in this clip from Streaming Media Connect 2025.

How AI Is Transforming Localisation for Live Content

AI/ML made swift subtitling de rigueur on YouTube and for videoconferencing several years ago. But now LLMs are changing the game for real-time translation and localisation and language-mapped reanimation for news and other live content, as PADEM Media Group's Allan McLennan, Alchemy Creations' Andy Beach, and Dubformer's Anton Dvorkovich discuss in this clip from Streaming Media Connect 2025.

How Can Streaming Publishers Predict Where Pirates Will Strike Next?

Curtailing streaming piracy can be a bit like a game of whack-a-mole, whether it's anticipating where the leaking or leeching will come from on a premium live event, or predicting which content pirates are most likely to target. EZDRM Co-Founder Olga Kornienko has helped a broad swath of clients try to get in pirates' heads and stay one or more steps ahead of their attacks, and in this discussion with Integration Therapy's Rebecca Avery from the latest Streaming Media Connect 2025, she discusses pirate strategy and psychology as she's observed it over the years and practical ways to make sense of it and use of it.

Streaming Media Columns

If Netflix Gets the Library, Can It Take the Stadium?

What the potential Netflix-Warner Bros. deal means for sport. And why it is not simple.

YouTube self-policing isn't working

As deceptive ads, scams, and deepfakes flood YouTube's airwaves, Britain's Liberal Democratic Party argue that YouTube adverts should meet the same rigorous standards applied elsewhere in the ecosystem in which YouTube now operates. Industry bodies Clearcast and Radio Central vet the majority of ads broadcast on TV and radio before the air, while YouTube remains free to regulate itself.

The Long and Short of It: Measuring YouTube on TV

YouTube makes short-form viewing in­creasingly commonplace, measurable, and monetised on CTV, and other channels inevita­bly rush to adopt and repeat the formula, time will tell when "YouTube is the new television" gives way to "Television is the new YouTube."

Talking Localisation

Today, localisation remains a critical budgetary line item for content owners delivering shows to diverse and transnational audiences, and it is probably one whose typical costs have not, until recently, changed considerably in quite some time. The increasingly prevalent use of AI in content localisation, subtitling, and translation promises to change all of that—particularly through the controversial and ethically fraught use of imitative synthetic voices.

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