ASIA

IBC Trend 5: Digital Watermarking

This is the fifth report in Steve Ahern’s series on new trends at IBC24 in Amsterdam.

Electronic watermarking has been around for a while. It has been used to track pirated copies of music and video using digital rights management (DRM) techniques since CDs were introduced and digital content piracy proliferated across the internet.There are a range of techniques used to watermark content which range from visible watermarks such as transparent logos in films and tv shows, to invisible metadata code insertion in audio tracks and video files. There is even a new cryptographic based embedded blockchain code developed by South African company Custos, using Amazon Web Services, that alerts a user to piracy and offers them a bitcoin reward for reporting it.AI generated content has just increased the stakes for content creators in three main areas:
Tracking the original content that has been used to train AI.
Identifying content created by AI.
Verifying the authenticity of news content.
Content creators will want to track how much of their original works have been used by AI to create new pictures, videos, songs, news reports and books, with a view to trying to get some revenue for the part their work played in training the AI.Authentication is going to be needed in years to come as more and more content on the internet is created automatically by AI, leading to inaccuracies and hallucinations that will get out on the world wide web and be used as the basis for more AI tools to develop more inaccurate content. Evaluating whether something is true will become more difficult without the ability to authenticate sources and trace claims back to their source.With deep fake editing now so easy, it takes very little effort to hijack a tv news report and manipulate it using deep fake pictures and synthetic voices. A credible report can be manipulated to feed misinformation, so verifying whether the report was changed will be crucial to maintaining trust in responsible media publishers.

These trends may undermine the financial viability and the credibility of responsible media companies if regulations and technological tools don’t keep up.At IBC a range of technical and policy papers tackled the issues of verification, especially using different types of watermarking techniques.Technology companies such as Google, one of the major players developing AI systems, are planning to embed watermarking technology into AI created music tracks so that AI and original content can be identified.Tracks made with YouTube’s impressive new Lyria generative music tool will be watermarked.Deep Mind says: “Our team is also pioneering responsible deployment of our technologies with best-in-class tools for watermarking and identifying synthetically generated content. Any content published by our Lyria model will be watermarked with SynthID, the same technology toolkit we’re using for identifying images generated by Imagen on Google Cloud’s Vertex AI.”Verifying the authenticity of News Content was brought home to delegates by Laura Ellis, the BBC’s Head of Technology Forecasting (main picture), who described an ‘Aha moment’ at the BBC.In April 2022 a BBC news report claimed that Ukraine was behind a missile attack on a Donbas station that killed 57 people. The video opened with a BBC logo and had the broadcaster’s watermark in the corner. It was a fake, as a BBC Verify journalist pointed out on X but it was also a wake-up call to the broadcaster to do something about rising deepfake disinformation.“Everyone was horrified to see the fake video but the only thing we could do was tweet denials. For some it was the ‘Aha!’ moment when they fully realised we needed to do more.” Read a full report here.John Simmons and Joseph Winograd from Verance Corporation in a Technical Paper on interoperable provenance authentication explained:Any attempt to address false information on the web must proceed from an understanding of how people come to place trust in information.The prevalence of information ‘bubbles’ demonstrates that people primarily place trust in specific sources of information. If information appears unaltered and from a trusted source, we often consider that information to be factual. In other words, most of us judge what is factual based on the provenance and authenticityof the information, where provenance refers to the origin, history, and chain of custody of a piece of audio-video content, and authenticity refers to whether the content has been manipulated or altered in a way out of the control of the trusted source of the information.There are two general methods for conveying provenance and authenticity metadata in association with audio-video content. Metadata can be cryptographically bound to the audio-video content, perhaps stored at the audio-video container level. Metadata can also be embedded as a watermark in the audio-video elementary stream. Read the full paper here (free registration required)Blocking content is also another way of limiting piracy. Reporting on blocking trends for IBC, David Davies wrote:“The rise of blocking is more recent and has attracted some controversy because of perceived drawbacks like the possible inadvertent obstruction of legitimate services. For instance, the recently launched Pirate Shield project in Italy, which aims to protect the big sports rights holders – such as DAZN, Sky, Prime Video and Infinity – by blocking unauthorised viewing of live events has attracted criticism from some ISPs, VPNs and consumers. At the least, further refinements would seem to be inevitable.”“Pirates are really well-organised now, and there is potentially a lot of money for them to make – as well as a lot for the media industry to lose in terms of attacks on its revenue. That’s why you really need solutions such as watermarking, in particular to protect against the live redistribution of content,”  said Mélanie Langlois, Product Manager, Anti-Piracy Services at Viaccess-Orca. Read the full report here.As many thought leaders and technology suppliers told me, “it’s a game of whack-a-mole… an arms race… we find a way to watermark or verify then the bad actors think of something else.”The race continues.Related IBC Trends Articles
IBC Trends 1: Artificial Intelligence

IBC Trends 2: The Cloud

IBC Trends 3: Automated Content Detection

IBC Trends 4: Using AI to make talkback and reporting more efficient

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ASIA

IBC announces call for challenges for Accelerator Programme 2025

IBC announces the Call for Challenges for the 2025 Accelerator Media Innovation Programme, inviting proposals for transformative, fast-track innovation projects that will help shape the future of the media and entertainment technology sector. The deadline for submissions is Friday 6th December 2024.IBC will select 12 project proposals that will go forward to be pitched in person at the IBC Kickstart Day on Wednesday 12th February 2025 after reviewing all applications. For the first time, the Kickstart event will be held at the BBC’s iconic Radio Theatre and Media Café in central London. While the event is open to all, numbers are strictly limited due to venue capacity. To attend, please register your interest here and you’ll be the first to be notified when registration for the event opens.The IBC Accelerator Programme has established itself as a catalyst for collaborative innovation within the media and entertainment ecosystem – where project challenges are proposed by the buyers of technology who then form project teams with specific expertise to explore and develop solutions in a matter of months. The solutions are ultimately showcased and discussed as Proof of Concepts (PoCs) at the IBC Show in September 2025. Submission Guidelines and the Entry form can be found here.“The IBC Accelerator Programme has really delivered as a safe and trusted space for the media sector to work together, better understand complex challenges, learn and lean into solving common pain points around transformation,” said Mark Smith, Head of the Accelerator Programme for IBC. “The 2024 projects clearly hit a seam of critical challenges that resonated across the industry, from our AI Media Production Lab, the News & Disinformation and Digital Replicas projects through to the Evolution of the Control Room and Connect & Produce Anywhere software defined Production project. There was a wealth of value in the compelling PoCs and showcases at IBC2024”.For 2025, IBC is seeking challenges that address pressing issues in content creation, live production and distribution, audience engagement and technology integration, intelligent automation, sustainability, innovative ad-tech, connectivity, and many other areas of emerging media R&D. Selected projects will have the opportunity to collaborate with world leading media brand Champions, the industry experts, that provide leadership for transformative innovation.Entry is open to all in the media technology ecosystem, with projects covering a wide range of relevant industry challenges in topical areas such as AI, Connectivity, Sustainability, IP Evolution, News & Disinformation, Ad Tech, Cybersecurity & Content Protection, Immersive XR Tech among many other areas of media technology evolution.“The IBC Accelerator Programme has become integral to the industry, looking at some of the key subjects and areas that are driving the future of what we do,” said Morwen Williams, Director of Media Operations for the BBC. “I am delighted that we are hosting this event at the BBC and look forward to hearing the great pitches that will come forward!”More than 300 organisations have taken part in the programme since its foundation in 2019. All 2024 project PoCs were showcased live at IBC2024 at the IBC Accelerator Zone and as a Final Showcase Session on the Innovation Stage, and each project can be found here. […]

ASIA

ABU discusses opening TV Song Festival to radio members

The 61st Asia-Pacific Broadcasting Union (ABU) General Assembly commenced with a Programme Committee Meeting in Istanbul, led by Claire Gorman (ABC-Australia) and Inoue Tatsuhiko (NHK-Japan), and opened by the ABU Secretary-General.Key discussions included a proposal to open the ABU TV Song Festival to radio members, enhancing inclusivity across platforms.Currently, the ABU TV Song Festival is open to television broadcasters who are members of the Asia-Pacific Broadcasting Union. Since its first edition in 2012, over thirty broadcasters have participated in the event.While radio members have not been able to participate in most editions of the ABU TV Song Festival, Nepalese radio station Radio Tulsipur had an entry in the virtual ABU TV Song Festival in 2020.Earlier, between 2012 and 2019, the ABU organised the ABU Radio Song Festival which was open to radio broadcasters only. The event showcased unsigned music talent from across the Asia-Pacific region but was cancelled in 2020 due to the COVID-19 pandemic. The Radio Song Festival saw twenty-eight countries participate across six editions, including participation from broadcasters in countries who have not participated in the ABU TV Song Festival. […]

ASIA

Taliban planning to convert state television into radio stations

The Taliban is reportedly planning to convert state television stations into radio outlets following its ban on broadcasting images of living beings, according to a report by Afghanistan International.Sources said that staff from the national television network in Kabul and various provinces will likely be reassigned to work at the new radio stations, aimed at promoting the group’s policies and disseminating its religious views.“Radio Bayan-e Shomal” will be renamed “Radio Hurriyat,” with its broadcasts managed by the Taliban’s intelligence services. There will also be dedicated radio stations for the Ministry of Interior, and for the military.Taliban also intends to shut Afghanistan’s national television and replace it with “Radio Shariat,” which was a key media outlet during the Taliban’s first regime under Mullah Omar.Yusuf Ahmadi, the head of national television under Taliban control, stated in a meeting with media managers that the decision to stop television broadcasts was made by the Taliban leadership. The Taliban has already halted national television transmissions in Kandahar and Takhar.This move follows a recent statement by the Taliban’s Ministry for the Promotion of Virtue, which indicated that the group is gradually enforcing a law banning the broadcast of images of living beings. […]