makers is our bi-annual magazine for the international production community. Featuring interviews, comment and opinion from leading figures in all types production from around the world, makers celebrates the very best in film, commercials and television production. Packed full of production intelligence, makers is a global briefing for creatives – covering everything a production needs in its journey from the script to screen.

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As always, makers is packed with real insight into global production:

The media and entertainment industry is still facing existential questions about its future in the age of AI but it is in better shape than reports suggest. Global revenues will top USD1 trillion in 2024, according to the latest Omdia analysis, and if online video streaming takes the lion’s share (USD367 billion) then traditional television is not done yet. It is expected to rake in USD345 billion this year.

What’s new is the business model. Advertising will make up the bulk of that money: 62% of all online video revenues and 43% of TV money will come from ads not subscriptions. Even a third of revenue from games this year will come from ads.

All major studios are moving ahead more forcefully with ad-centric strategies like Free Ad Supported TV (FAST) channels and premium AVOD tiers.

Expect too a rise in shoppable television (see page 40). Driven by the penetration of Connected TV (CTV), the drain of audiences from linear television, and changing consumer behaviour, the path between brand exposure and direct purchase can be short circuited. Most importantly, consumers seem to like it. Over half of CTV users wish they could shop online using their television, according to a recent survey by LG.

As a retail first platform Amazon is in prime position. It has already experimented using on-screen QR codes to offer discounts on its store with predictions it could leapfrog Netflix to make over USD2 billion in ad revenue this year. All this means that brands and agencies heading to Cannes are going to have to get creative with more personalised campaigns than ever before.

The new free and freemium online video landscape has also seen the era of peak television (2013-2023) replaced by a programming line-up of reality TV, sports and longer running episodic shows that looks a lot like the network television of old (see page 52). Some things never change.

But other things do. Could the release of the Apple Vision Pro (see page 80) kickstart a new round of immersive VR experiences and herald a new era for creative storytelling using depth, haptics and data sucked from the very movement of our eyes?

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