The Cultural Algorithm

In the fast-paced world of media and entertainment, the buzz around transformative technologies can shift in the blink of an eye. Just two short years ago, blockchain was the rage, with its promise of revolutionizing content rights management, royalty payments, and fan engagement. Fast forward to 2024, and the industry's gaze has turned to the inspiring potential of artificial intelligence (AI). From content creation to image generation to personalized recommendations, AI has swiftly become the new darling of the M&E sector, leaving blockchain as a mere footnote in people's memories.

Spherex, a global technology and data company serving the Media and Entertainment industry, will showcase SpherexAI™, its pioneering AI platform for video content compliance and analysis, at NAB 2024 in Las Vegas from April 13 to 17. The SpherexAI™ platform empowers content owners to adapt their narratives for the broadest international audience while avoiding regulatory restrictions and censorship barriers. Spherex will be exhibiting at Booth W2217 in the West Hall of the Las Vegas Convention Center.

The rise of generative AI is transforming the film and television industry, promising to revolutionize everything from scriptwriting to animation. But before jumping on board the hype train, Media and Entertainment (M&E) companies need a clear vision of integrating generative AI into their workflows. Here are three critical criteria to help you decide if it's cut out for your production:

In the digital age, the proliferation of inappropriate or objectionable content in social media, film, and TV has become a significant concern. This content, which can range from explicit material to hate speech, poses a threat to individual users and businesses that operate within these platforms. This issue becomes even more complex when we consider the global nature of these platforms and the need for content localization. The advent of Artificial Intelligence (AI) can play a pivotal role in addressing these challenges, including some of those it is expected to cause.

Navigating international distribution is challenging and risky.In the ever-evolving media and entertainment landscape, the intersection of legal constraints and cultural sensitivities is a pressing concern for creators and industry professionals. The recent controversy surrounding the film "Mentega Terbang" in Malaysia, highlighted in three insightful articles: Time , Free Malaysia Today , and South China Morning Post , shed light on the complex challenges of navigating legal and cultural issues.

Ask the average consumer if there's any difference between film and TV ratings, and they'll probably say "No." However, there are significant differences, as the above image from the MPA and TV Parental Guideline Monitoring Board indicates. From a content creator and distribution standpoint, preparing a title for television can require as much, if not more, content analysis and work to ensure it complies with local regulations.

Where and when ads are placed is a big deal.That Was ThenNot long ago, ad placement was simple. If it were a household product, the ad would air during programs catering to women, such as game shows or soap operas. Sporting events hawked alcohol. And Saturday morning cartoons were packed with promotions for toys and sugary cereals. There was rarely drama about ads and where they appeared.

Insights from IBC2023It's hard to believe nearly a year has passed since Generative AI's coming out party. The WGA and SAG-AFTRA strikes had AI at the center of their negotiations. Industry conferences, including the recently concluded IBC 2023, spent many hours discussing, publicizing, and revealing Generative and Predictive AI products. The investor community is intensely focused on it, investing a reported $91.9B in the industry last year. Academics and regulators try to understand and predict AI's impact and influence on society, and critics wonder if Gen AI might be this year's NFT. AI certainly has people's attention.

25-35% of consumers watch international content.When the summer box office hinted the movie business was returning to pre-pandemic normal, the WGA and SAG/AFTRA strikes halted productions , and studios once again needed a source of new content. Although some titles were completed, the strikes meant that until the parties reached an agreement, no union members were available to promote films or series. As has been reported at this year's Toronto International Film Festival (TIFF), deals aren't happening because all sales must conform to the final negotiated settlements, and studios are reluctant to spend money on deals until the terms are known.