Five years ago this week, everything stopped. Countries across the globe quickly enacted plans to effectively close their doors in an attempt to defend against an advancing threat – Covid-19. For weeks, the news had carried stories of a new and unknown virus tracking around the world. There was a real “Eve of the War” feeling abroad. We all knew it was coming, but nobody could possibly grasp the extent of the carnage it would bring.
March 23rd 2020 was unseasonably warm in the UK. That evening, as the Prime Minister began to address the nation, there was a palpable air of disbelief among the populace. Moments later, reality dawned. The first stay-at-home order was announced and the country was in lockdown.
What followed brought many changes: we all adapted to new ways of working, socialising, and living. The media and entertainment business was thrown into turmoil. Thankfully, the pandemic is now receding into the memory. But as we reach the fifth anniversary of our first Covid lockdown, TVBEurope has asked leading figures from throughout the industry to share their thoughts, answering a single question in their own words.
How has the media and entertainment industry changed since the Covid-19 crisis?
Michael Lantz, CEO, Accedo
Today I think most industry insiders will reflect on the macro-economic challenges over the past few years which have impacted the industry a lot. Instead, I would like to reflect on how the average consumer has changed. Prior to Covid, streaming premium video was still largely an early adopter market. Now, just a few years later, streaming has penetrated almost all consumer segments and countries. Had it not been for Covid and consumers, desperate for entertainment, quickly embracing new technologies and user experiences the development would likely have been three to four years slower. We’ve seen record growth of mass market adoption of any technology, with Covid playing a significant role.
André Rosado, head of product, AgileTV
The crisis reshaped the media and entertainment industry, accelerating shifts that were already in motion, while introducing new consumption patterns and business models, especially on the Ad-supported paradigm. As audiences turned to digital platforms in record numbers, companies had to rethink how content was produced, distributed and monetised. The result? A transformed landscape where flexibility, efficiency and diversification became the keys to success.
With lockdowns keeping people at home, streaming services saw explosive growth, solidifying on-demand consumption as the new norm. Binge-watching soared and the so-called “streaming wars” intensified as platforms fought for audience attention. Yet, live sports remained a major draw, with tech giants like Amazon and Apple investing heavily in sports rights to secure their place in the competitive streaming market.
Cost pressures pushed telco and media companies to optimise operations. Cloud-based workflows and automation became essential for content production and delivery, generating cost savings and enabling faster deployments, changes that are now permanent fixtures in the industry. Broadcasters and OTT providers embraced these tools to streamline everything from video editing to distribution, ensuring scalability and resilience in an increasingly competitive landscape.
As subscription fatigue set in, streaming platforms leaned into ad-supported tiers. Services like Netflix and Disney+ introduced lower-cost, ad-based options to attract price-sensitive audiences while diversifying revenue streams. This shift reflects a broader industry trend: finding new ways to monetise content without alienating consumers.
The proliferation of OTT platforms led to content fragmentation, pushing consumers to juggle multiple subscriptions and UI experiences. Now, the industry is shifting towards “re-bundling,” where partnerships and content aggregation efforts on the telcos and ISPs services mimic traditional cable, offering convenience without sacrificing choice. Telcos are experimenting with bundled packages that combine streaming services, mobile plans and even consumer utilities services
Social media platforms like TikTok thrived during the pandemic, driving a surge in short-form video consumption. Traditional media players adapted, producing snackable content to engage audiences in this fast-paced digital landscape. Even legacy broadcasters are now leveraging vertical video and AI-driven recommendations to stay relevant.
The pandemic didn’t just disrupt the media. It accelerated its evolution. Streaming dominance, ad-supported models, cloud-driven efficiency and shifting content formats are shaping a future where adaptability is key.
Ben Grafchik, vice president of business development at BitFire
The Covid-19 crisis forced instant change for broadcasters. Suddenly, the standard playbook — pack a truck full of gear, roll into a venue, and throw 30 people at the problem — wasn’t an option. The industry had to adapt fast, and that meant embracing remote production in ways that had always been talked about but rarely implemented at scale.
At BitFire, we understood that this shift was more than a temporary workaround; it was the next step in the evolution of live production. Our IP-based transmission network helped broadcasters keep feeds in sync and maintain visual quality. We also created a live production platform that behaves the way television people expect it to, providing true broadcast-grade tools that can be accessed, configured, and deployed via the cloud.
Remote and cloud production have grown up fast since that first coronavirus lockdown, and today they’re bringing unprecedented flexibility and scalability to our industry.
Henry Goodman, director of product management, Calrec
By the time Covid hit and global lockdowns were implemented, remote production had reached a tipping point. Calrec had already been working with broadcasters on remote production for over three years with its RP1 remote control audio processing engine, and while broadcasters were using it to deliver full remote productions, many were running parallel broadcasts with remote production alongside traditional workflows, to simply test the limits.
For many broadcasters, remote working was a possibility rather than a necessity. Covid changed all this, and in a remarkably short timescale, broadcasters were delivering broadcast-quality audio in both remote and distributed workflows. The main enabler for remote and distributed production was the realisation that broadcasters could harness more control through IP connectivity.
Calrec was again ahead of the curve here, having launched its ImPulse processing core two years before Covid struck. Calrec was able to utilise the power of resources with its Bluefin DSP technology – Blu3fin. Fast forward to 2025, we’re seeing broadcasters also adopt the cloud to augment or replace physical on-prem and edge processing in response to the industry’s demands for more flexibility and control. This could mean augmenting an existing console with additional processing, mixing in parallel with cloud-based playout to deliver a single transmission mix, or even accessing a virtualised mixer alongside existing technologies.
Since the launch of Calrec’s cloud-based processing software, ImPulseV at IBC 2024, Calrec has been working with broadcasters to deliver more and more workable implementations. Broadcasters are beginning to consider workflows that can make the best use of the technology. From a support perspective this means getting involved in much more complex workflows where consoles no longer operate in isolation. More importantly, centralising production enables broadcasters to create more content for more channels.
Moving forward, the expansion of production ecosystems is where the real value is. As the adoption of sustainable and cost-effective remote and distributed production workflows continues to develop, the ability to control any system from anywhere creates an incredibly agile way to work. Providing access to more cores, more faders, more surfaces, and more control from any location gives users ultimate flexibility delivering content to air.
Michael Pfitzner, vice president consulting expert at CGI
The pandemic acted as a catalyst for digital transformation across the broadcasting industry. Broadcasters had to rapidly adapt to new ways of working, leveraging cloud-based infrastructure, AI-driven automation, and remote collaboration technologies to maintain continuity. These innovations, initially introduced as emergency measures, have now become integral to modern broadcasting, reshaping the future of media production and delivery.
One of the most significant shifts has been the adoption of cloud-based remote production workflows. With restrictions on physical presence, media organisations turned to scalable, cloud-driven solutions that enabled teams to produce, edit, and distribute content from anywhere in the world. As a result, hybrid production environments—combining traditional studios with virtualised workflows—have become industry standards, ensuring operational agility and cost efficiency.
AI and automation have also played a crucial role in this transformation. Broadcasters now rely on intelligent automation for metadata tagging, real-time content indexing, and audience analytics, enhancing both content personalisation and distribution. AI-powered tools streamline post-production, speech-to-text transcription, and even virtual presenters, reducing manual workloads while improving speed and accuracy.
The evolution of live broadcasting and event coverage has also accelerated. Cloud-native broadcasting platforms and 5G connectivity enable real-time, high-quality video transmission without the need for extensive on-site teams. Virtual and augmented reality (VR/AR) are now seamlessly integrated into broadcasts, creating immersive viewing experiences that redefine audience engagement.
Furthermore, the shift toward digital-first and on-demand content strategies has permanently changed content consumption habits. Traditional linear broadcasting is no longer the dominant format—broadcasters are increasingly investing in OTT platforms, AI-driven content recommendations, and hyper-personalised media experiences to meet evolving audience expectations.
The pandemic also redefined workforce dynamics. Many media organisations have embraced hybrid work models, supported by secure, cloud-based environments that ensure seamless collaboration between distributed teams. By leveraging AI-enhanced workflows and automation, broadcasters can optimise efficiency, reduce costs, and drive innovation in a competitive media landscape.
In summary, the pandemic did not just disrupt broadcasting—it accelerated its digital evolution. With cloud, AI, and automation now embedded in broadcasting operations, the industry is more agile, data-driven, and prepared for the future of media consumption.
Chris Phillips, MD, CJP Broadcast
Since Covid-19, the media and entertainment industry has adapted to more flexible and technology-driven ways of working. Virtual production is no longer a niche tool – it’s now a key part of how content is made, giving products more creative control while cutting costs and reducing environmental impact. Remote and hybrid workflows have become standard practice, allowing teams to collaborate across locations without the need for extensive travel.
At the same time, there has been a major push to develop the right skills for this evolving landscape. As a result, higher education institutions have heavily invested in industry-standard virtual production facilities, recognising that skilled talent is the key to sustaining the industry’s growth. At CJP, we’ve played a significant role in this shift, and we’re now seeing this investment in people not only supporting the ongoing use of virtual production in TV and film but also driving its expansion into new media-driven sectors.
Dominic Ridley, CEO at Clear Angle Studios
The industry has shown great resilience in the wake of Covid-19, with ancillary services adapting and diversifying in the changing market. Increasing demand for content from audiences has meant that high-end TV now makes up a higher percentage of our work overall than before.
Due to the nature of Clear Angle Studios’ work, our capture crew need to be hands-on with our LiDAR, full-body, head scanning, and prop scanning systems, but most of our back-end teams now work from home. Many of our processing staff work remotely in the UK, and also now in Hungary, South Africa, and Greece, where we’ve set up business entities and have started offering capture services.
A key financial impact has been the record level of creative tax incentives globally for the industry since Covid-19, and we anticipate a potential for ancillary services to be treated similarly, as they’re just as important as the industry itself.
Digital Azul owner and founder, João Tocha
Since Covid, we at Digital Azul have seen the industry completely transform. Remote production isn’t just a backup plan anymore – it’s how business gets done, with the added benefit of reducing carbon footprints. Companies now expect their virtual events to work flawlessly across platforms with minimal delays, just like traditional broadcasts. Another major shift is the way audiovisual professionals are now expected to be fluent in IP technologies. It’s no longer just about operating cameras or switchers. What’s really interesting is how organisations have shifted their thinking – rather than treating online events as one-off special occasions, they’re building them into their ongoing communication strategies. We’re regularly working across Europe, the Middle East and Asia in the same month, something that would have seemed extraordinary before the pandemic.
Andy Waters, head of studios at dock10
During lockdown, the broadcast industry explored many new ways of making television to keep services on-air. For the first time, domestic video platforms were used to enable guests to remotely participate in shows, especially news programming. This has now become an accepted practice. Entertainment shows were recorded without their live studio audiences, and while most have welcomed the return of audiences, a few shows have continued to record without them.
The biggest ongoing change has been with remote production. Before Covid-19, dock10 demonstrated how remote galleries could be used to reduce environmental impact and save costs at the same time. A successful broadcast of the FA Cup proved that the technology would work, but the industry still had reservations about whether production teams would want to work in this way. The lockdown restrictions changed everything. Remote production was quickly adopted as the operational norm and became a part of almost every show: it enabled major events like the Tokyo Olympics and the FIFA World Cup to be broadcast. Five years on, with further improved technologies and workflows, remote production is standard practice and a serious option for broadcasters.
Simon Parkinson, MD of Dot Group
The pandemic elevated high-speed data transfer from an operational advantage to the essential backbone of production. We’ve seen productions genuinely rescued by technologies that could move massive files across continents in minutes rather than days. This capability, born of necessity during lockdowns, has matured into sophisticated workflow architectures that continue to deliver value well beyond the initial crisis.
Drew Banerjee, MD, EGG VFX
The Media and Entertainment industry has been on a wild ride since 2020 and the onset of Covid. There have been ups…and sadly a few downs.
In the world of VFX, the post Covid period will no doubt be looked back on as a Golden Age. The hiatus in production caused by the pandemic as well as lots of greenscreen/virtual production shoots during the period to circumvent the challenges of lockdowns, allied to the ‘streaming wars’, produced a glut of pent up and new work in the immediate aftermath of Covid.
VFX studios globally were overwhelmed with work, as the studios, streamers and broadcasters looked to refill inventories that were denuded in 2020 and early 2021. The challenge then was getting enough artists to meet and deliver to tight deadlines on a huge number of big and small budget projects. However the good times were not to last.
The writers and actors strikes of 2023 put an even bigger brake on production than the global shutdown caused by a medical emergency. In truth Hollywood and the US market – still the main driver of global production, not least because even global streamer spend is controlled on the West Coast of America – had tapered production levels down in preparation for a potential strike.
Green lights for shows and films were reduced in early 2023, and once the strikes were called, production slowed to a trickle. In response to reduced revenues, EGG VFX, like many global studios, had to drastically reduce crews that had grown rapidly in the post Covid period.
One of the challenges for everyone in the TV and film production chain was that there was no sense of when the strikes could end. And as it turned out, they lasted over six months. The impact of the strikes can be overstated, but what is certainly true of the period is that Netflix saw its share price rise while its spend on production plummeted. The realisation that spending huge amounts of money on content made a global streamer less profitable took hold, and as the industry made its way out of the strikes, the reduced spend on productions caused by them was not reversed.
Also in the mix was the price of money. Informed by the performance of Netflix and the widely held sense that they were the winners of the streaming wars alongside the poor subscriber uptake and retention for other platforms, the institutions and companies that had spent or lent huge sums to be spent on content and merger and acquisition activity began turning off the taps.
Allied to this, terrestrial/traditional broadcasters who had been using streaming platform and distributor advance co-funding for episodic drama suddenly found previously reliable partners on these expensive projects had gone out of business or were unwilling to support a range of locally inspired dramas.
In addition, and more particularly as a direct result of Covid, movie-going numbers became more unreliable. The returns on feature film investment are increasingly uncertain and the range and scope of distributor financing options for this type of content have begun to dry up.
A particular challenge for the VFX industry is AI. Though the tools to produce pixel perfect AI generated imagery aren’t there yet, they are coming. With the past couple of lean years, studios will have to face into and incorporate these workflows with reduced cash and artist reserves.
Until global production rises again (and there is no guarantee it will)l everyone in the global production value chain has to cut their cloth accordingly.
The good thing is that as an agile, can do company, we can see a path to growth. EGG VFX was founded in 2011, and we have always serviced the big budget international market while working with local productions and their tighter budgets, while always leveraging the Irish 32 per cent Film and TV Tax credit to make sure our clients get world class VFX at a reasonable price. Right sizing teams and costs while maintaining first rate creative output is at the core of our approach to any project.
In addition we are also ensuring that we find time to innovate. For example we are undertaking a 3 year R&D project with Trinity College Dublin and The Foundry, with support from Enterprise Ireland, to explore novel AI VFX workflows and approaches.
Kira Baca, CRO, Fabric
The pandemic dramatically reshaped the media and entertainment industry, accelerating content distribution strategies towards streaming faster and bolder than anticipated. With theatres shut down, production pipelines disrupted, and people isolated in their homes, streaming became the dominant mode of consumption. The streaming platform landscape exploded, with over 130,000 platforms worldwide. However, as subscription-driven growth slowed, the industry shifted toward ad-supported models. FAST services like Pluto TV, Tubi, and Plex gained traction, pushing content studios to lean deeper into catalogues and rediscover the hidden value of nostalgic content.
To remain competitive, media companies have had to become more agile, adapting to evolving consumer preferences with speed and precision. Technology has played a crucial role in optimising content distribution and monetisation. Fabric has responded to this need by bringing together solutions that unify media operations, enriches data, and empowers teams with automation and AI-driven insights, ensuring companies can scale efficiently in the evolving streaming landscape.
Chief revenue officer at Foundry, Alex Foulds
COVID accelerated the shift to remote work, and for our customers in VFX and animation that opened access to a global talent pool overnight. But they now face new challenges in maintaining creative cohesion, mentorship and training. Five years on, studios are still refining how to balance remote flexibility with the need for real-time collaboration and the vibrancy of an in-studio culture.
For our customers in the VFX and animation industry, the past five years have been a rollercoaster — from the excitement of the post Covid content boom to the challenges of the post strikes slowdown. At the same time, the industry has undergone technology change driven by virtualisation, remote working, and evolving workflows. Through it all, the resilience and adaptability of individual artists continue to inspire me, and I’ve never been prouder to call this industry home.
Marc Wilson, managing director of Glensound
Remote contribution. Whether you were a Member of Parliament or a commentator, there was an immediate demand to be able to do a broadcast job from home. Glensound spent a lot of time in that first year working on remote contribution systems.
What began as a necessity during the pandemic has now transformed into a new standard in the industry, opening doors to new possibilities and giving broadcasters and engineers much more freedom in how they operate today.
Steve MacMurray, digital media specialist at Globecast UK
It is almost hard to believe that the Covid-19 crisis began five years ago. The media and entertainment industry has evolved very rapidly since then – and characteristic of any evolution, it has not been a smooth, predictable climb, but a mix of slow changes and sudden leaps. And the transformation of remote production, often seen previously as a secondary option for cost savings and logistical convenience, has undoubtedly taken one giant leap to the fore.
The pandemic fundamentally changed the business of remote production, accelerating trends that were already well underway, tramlining media organisations to adopt new technologies and workflows at an unprecedented pace and push the boundaries of existing infrastructure. Lockdowns and travel restrictions made remote production the only viable solution, leading to a dramatic shift in how content was created, managed, and distributed. ‘New Normals’ began to happen in every walk of life, and the media and entertainment was no exception.
One of the most significant changes to occur was the rapid adoption of cloud-based collaboration tools. Platforms like Zoom, Microsoft Teams, and cloud-based editing and commentary suites allowed production talent to work together from different locations, in real time. This not only reduced reliance on physical studios but also engaged a more globalised workforce, where skill sets from anywhere in the world could contribute to a project without the need for travel.
Pandemic constraints pushed innovation in live broadcasting. Sports rights holders, news agencies, and entertainment companies had to find fundamentally different ways to deliver high-quality content remotely, leading to virtual production environments and remote-controlled camera systems becoming viable and reliable first choice options. This aligned perfectly with cloud-based broadcasting solutions, which are hugely adaptable and robust, and with a ‘Black Swan Event’ such as the Covid-19 crisis, that resiliency was key.
The huge positive from this unprecedented industry pivot, which we have fully embraced at Globecast, is that an unforeseen, disruptive impact has accelerated our roadmap. It has enabled us to advance our remote production solutions to a point where we offer tangible cost savings, enhanced flexibility, and high-quality live content delivery as a primary option, whilst significantly improving efficiency and helping to meet sustainability targets.
We’ve grown from delivering four fully remote commentary positions at our UK production hub, for the 2021 Macau Grand Prix, to our latest nine camera deployment in Rome for the 2025 New Years Day Parade, with director, Unity intercom, graphics and commentary all taking place at our facility in Alton. For the media and entertainment sector, it’s been a unique opportunity to take forward a silver lining found in the cloud.
Russell Johnson, COO and co-founder, Hitomi Broadcast
The Covid-19 crisis served as a powerful catalyst for change in our industry, accelerating transformations that were already underway but might otherwise have taken years to fully materialise.
Remote production has seen perhaps the most dramatic acceleration. When lockdowns began, broadcasters suddenly needed solutions for distributed teams and talent. At the Scottish Parliament, we witnessed firsthand how they navigated the challenges of hybrid working models, particularly in ensuring synchronisation across their complex system of sources. What began as a necessity has evolved into standard practice, with many organisations permanently adopting these more flexible approaches.
The industry’s transition from SDI to IP-based production has also reached a tipping point. Before the pandemic, there was understandable hesitancy around SMPTE ST 2110 adoption. The technology required significant infrastructure investment and demanded that traditional broadcast engineers develop networking expertise. The complexity of IP systems meant that fault-finding wasn’t as straightforward as tracing a broken cable.
However, these concerns have largely been overcome. A critical mass of expertise has developed within the industry, and enough successful deployments have demonstrated that IP-based production is not just viable but advantageous. Many major broadcasters now readily accept ST 2110 feeds, creating a snowball effect that’s driving adoption across the sector.
Sustainability has become increasingly important in our post-pandemic operations. For international events like motorsport, we’ve seen a dramatic shift from shipping multiple aircraft worth of equipment to operating with streamlined fly-packs and extensive remote production. This not only reduces the carbon footprint but also allows for more efficient use of technical expertise, with specialists able to work multiple events without extensive travel.
Production budgets have faced increased pressure since the pandemic, with broadcasters looking for technologies that allow them to do more with less. We’ve observed a pragmatic approach to image quality, with many favouring HDR implementations at HD resolution over full 4K UHD. When properly implemented, this delivers noticeable quality improvements without the bandwidth demands of full UHD.
The complexity of modern broadcast chains, particularly in distributed working environments, has highlighted the critical importance of precise timing and synchronisation – something we at Hitomi have been focused on since our founding. Minor misalignments that might have been tolerable in traditional workflows can become significant issues in hybrid or remote setups.
Finally, we’ve witnessed a fundamental shift in viewing habits and content distribution. Major sports organisations are increasingly investing in their own streaming capabilities rather than relying solely on traditional broadcasters – a trend accelerated by pandemic-era consumption patterns.
These changes represent not just technical evolutions but enablers of new business models, more sustainable operations, and innovative viewing experiences. Our industry has demonstrated remarkable resilience and adaptability in response to the challenges presented by the pandemic, and these transformations will continue to shape our future long after the immediate crisis has passed.
Anupama Anantharaman, vice president of product management, Interra Systems
The crisis accelerated the transformation of the media and entertainment industry in profound ways. For example, the shift towards remote production — particularly in live sports — became a necessity, driving innovation in cloud-based workflows and remote collaboration tools. Content consumption habits also changed dramatically, with streaming services experiencing a significant surge in demand. This, in turn, increased the need for robust quality control and monitoring solutions to ensure flawless delivery across diverse platforms.
Furthermore, the industry saw a greater emphasis on automation and AI-powered solutions to enhance efficiency and address the challenges of remote work. At Interra Systems, we witnessed these changes firsthand, adapting our solutions to support the evolving needs of our customers. We’ve seen a growing demand for cloud-native QC platforms, AI-driven content analysis, and remote monitoring capabilities and this has prompted tech vendors to adapt their solutions to align with a post-pandemic media landscape — empowering broadcasters and video service providers to navigate this no matter the changes it faces.
Lawo PR manager, Wolfgang Huber
Even before the pandemic, some parts of the industry had hesitantly begun to embrace IP-based remote production and flexible workflows. The lockdowns nevertheless acted as a catalyst, accelerating a momentous transition with a lasting effect on the industry. Suddenly, broadcasters faced unprecedented challenges: studios and control rooms became inaccessible, on-site productions were severely restricted, and decentralised workflows became a requirement rather than an option.
Lawo’s solutions, built on open IP standards, provided the agility needed to rapidly adapt, ensuring seamless remote operations while maintaining high-quality productions. Lawo customers were in a good position as Lawo was already a pioneering force in the transition from traditional broadcast infrastructures to IP-based systems, leading the industry toward enhanced flexibility, agility, and efficiency.
The long-term impact of this shift is undeniable. What started as a response to crisis conditions has firmly established itself as the new standard in broadcasting. Remote production is no longer just a contingency plan; it is an integral part of how content is created and delivered. Broadcasters all over the world have invested heavily in IP infrastructures, recognising the benefits of scalability, resilience, and cost-efficiency. Public and private broadcasters, major sports networks, and production companies have all embraced IP-based workflows, leveraging Lawo’s solutions to optimise operations and future-proof their infrastructure. Projects like the “Remote Audio Control Room” (RACR), for instance, that provides live remote immersive audio mixing would probably be unthinkable without the industry’s readiness to adopt new workflows in the wake of the pandemic.
Beyond immediate pandemic-driven needs, the industry has now fully embraced the advantages that Lawo has long championed. IP-based production is not just about working remotely—it’s about maximizing resource utilisation, enabling flexible collaboration across locations, and creating a future-proof foundation for innovation. The evolution from trend to an established industry standard is all but complete, and Lawo remains at the heart of this transformation, providing the tools and expertise to support broadcasters in this new era.
Part two of our look back at how Covid-19 impacted the broadcast industry follows tomorrow.
