The Media Production & Technology Show (MPTS) once again delivered a vibrant mix of innovation, inspiration, and industry insight. With AI, collaboration tools, colour theory, and even robotic dogs taking centre stage, the BearJam team was out in full force-soaking it all in and returning with fresh ideas, reflections, and excitement for the future of production.
Here’s what each of us took away in our own words:
"This year at MPTS felt slightly different-a bit more IT-focused and a bit less practical. Walking around the main floor, it was less about the latest lights you need to buy now or checking out a new jib, and more about how this SaaS / AI could automate your production."
Among all the insights shared, it was Brett Danton's talk that really stuck with me. It gave a genuine sense of hope about how generative AI video is putting creative control back into the hands of filmmakers. He showed how we can now manipulate individual objects within videos, and the demonstrations were incredibly convincing. It felt less like the machines taking over and more like tools helping us be more creative.
"Between eating my sandwich and side-stepping a robotic dog, I managed to catch three talks at MPTS this year."
First up was the Blackmagic Cloud Collaboration showcase, and honestly, it blew my mind. It's rare to see a system designed with such attention to all of its users. So much flexibility! We’ll definitely be having chats about this in the BearJam office.
Then I saw the second half of the talk with Joe Stabb, colourist for The Greatest Night in Pop on Netflix. It was super interesting to hear how he handled archival footage, striking a balance between enhancement and intentional degradation to maintain the footage's authenticity.
But the biggest highlight for me? A session on Shaping Brand Perception Through Colour with Philip Hambi and Peter Oppersdorff of Absolute Post. They dove into how colour grading helps convey emotion and meaning in commercials. One standout was Stonewall’s Proud Mistletoe campaign - they used contrast and saturation to evoke the rainbow, turning darkness and fear into gay joy. Another was Delta’s Kaleidoscope, which followed a woman escaping her world of "greige" for a colourful, post-COVID world. Each scene was a feast for the eyes.
At the end, Peter advised aspiring colourists to visit art galleries. It reminded me of something Alan Rickman once said to young actors: "Go to art galleries and listen to music... form opinions, develop your own taste... so that your imagination has something to bounce off of." Great advice for any creative person.
"There was a strong message at MPTS this year: AI isn’t something to fear-especially when we understand the difference between automation and intelligence."
I attended the talk about the report "Let’s Fix It In Post", which was all about safeguarding post-production and demystifying AI. Many people are confusing AI vs Automation and fearing both. But intelligent automation can actually help us.
One of the best sessions I saw was from Blackmagic, showcasing what's coming in Resolve 20. The new tools are a post-pro’s dream: Intelliscript, Animated Subtitles, Beat Detection, Magic Mask v2, Dialogue Matcher, Voice Convert & Audio Assistant. They all aim to make editing more seamless, efficient, and powerful.
The Blackmagic Cloud system also impressed me-a great way to collaborate on one project without stepping on each other's toes.
Finally, I went to an awesome VFX talk from David Scoot of BlueBolt, who worked on Nosferatu. They were involved from the script stage, deciding early what would be CGI vs practical effects. The director wanted as much in-camera as possible. They used a Scotopic Filter to create a unique look and built a LUT to match it digitally. We got a breakdown of a key scene, and it was so detailed and beautifully executed.
"Just got back from The Media Production Show, and I’m feeling inspired."
I attended a variety of talks that touched on some of the most important-and fast-evolving-topics in our industry:
The show offered a brilliant snapshot of where the industry is now-and where it’s heading. Lots to think about and even more to be excited about.
Trey – Director
Adapt or Die?
Okay-maybe that’s a bit dramatic.
But this year’s Media Production & Technology Show hit differently.
I’ve been to MPTS five times now, and usually I’m like a kid in a candy store-darting from shiny new cameras to fancy lenses, lights, drones, grip gear, post-production toys. Magpie mode: fully activated.
And sure, I’d dip into a few talks along the way.
Not this year.
This time, I barely looked at a single piece of kit. Didn’t care about the latest lens or low-light sensor.
Because this year, it was all about the talks.
All about AI.
All about the future.
Sessions like AI: The Future of Production and Directing the Future of Video Production were packed-queues snaking around stands, people craning necks to hear speakers because there weren’t enough headsets to go around.
And there’s a reason for that.
We’re in a strange-and slightly scary-moment.
On one side, the industry’s struggling: productions slowing, indies folding, post houses shutting up shop.
On the other, AI is moving faster than anyone expected.
It’s not coming. It’s here.
And it’s changing everything.
One stat that stuck with me:
“30% of the world’s content will be AI-generated by 2027.”
And a line from Future Technology Trends: Shaping the Next Era of Media hit even harder:
“This is the biggest technical change I’ve seen in my entire career.”
That’s not just interesting.
That’s existential.
So no-maybe it’s not too dramatic to say: adapt or die.
Because if you’re lucky enough to still be working in this business, the pressure’s on-not just to keep going, but to evolve. Fast.
At BearJam, we’re diving in headfirst.
Right now, we’re producing our first fully AI-powered brand film. We’re weaving AI tools into our creative and production workflows-not to replace our thinking, but to enhance it.
To unlock bigger, bolder human ideas.
To execute them faster, slicker.
To tell your story more clearly than ever.
This new normal doesn’t have to be scary.
It can be exciting.
And we’re all in.
"I caught a glimpse behind the curtain-from writing chaos to live broadcast brilliance."
At the Screenwriters’ Chat, Michael Foott (The Au Pair) and Robert Poppa (Friday Night Dinner) gave an honest, often hilarious insight into writing for TV. Robert’s wild CV stunt (claiming to be a plane crash survivor) actually got him his first job. Michael talked about the chaos of rewriting characters on the fly when working with big names. Both agreed that flawed characters are the most fun to write, and that writing is chaos-but worth it.
Then there was the session on EastEnders' 40th Anniversary Live Episode. Pulling off a live broadcast like that is an incredible feat. Everything was mapped out in meticulous detail-six live locations, live viewer voting, precise camera cuts, and even a now-iconic newborn baby scene handled with twin infants and two stand-in mothers. It was a logistical minefield pulled off with total precision.
Beyond the tension, there were light moments too-actors lobbying to ditch their doubles, golf buggy sprints across the set, and plenty of raw, unfiltered emotion. As the cast said goodbye to a beloved character live on air, many admitted to shedding real tears.
One producer summed it up perfectly: "2,330 people had to do the right thing at the right time-and we did it."
From creative breakthroughs to technical revolutions, MPTS 2025 gave us a front-row seat to the future of media. Whether it was colour grading as emotional language, AI as a co-creator, or the seamless power of cloud-based collaboration, one thing’s clear: this industry is moving fast-and we're excited to keep pace.
At BearJam, we’re always looking for ways to blend creative ambition with smart, scalable production. This year’s show only reinforced that the future is bright, collaborative, and endlessly creative.
Got a project in mind? Let’s talk