Please explain your IBC Accelerator project
A Framework for Generative AI is one of the most creative yet, let’s be honest, super challenging technical initiatives I’ve ever been part of. At its core, the project focuses on a very real need: helping broadcasters, TV channels, and production houses navigate the Wild West of generative AI tools to actually produce high-end content.
Picture this: the generative AI ecosystem is like a massive supermarket. Content creators walk in with a basket and immediately freeze, overwhelmed by all the shiny tools, FOMO, endless options, and zero idea where the cereal aisle even is.
Our project acts as the friendly-but-blunt store manager. We’re building a framework that helps creators choose the right workflows to produce premium content, whether it’s scripts, highlights, short-form, promos, TV ads, and marketing materials. With the right prompts, assets, and audience data, the system delivers high-quality, customised content in minutes.
Who is involved in the project?
I’m pretty sure we’re the most international project in the entire IBC Accelerator lineup. We’ve got broadcasters like RAI from Italy, Globo from Brazil, YLE from Finland, ITV from the UK, and the EBU on board. Then there’s our team of creatives and AI experts, including Tim Deussen (Studio Deussen) from Berlin, a few brilliant minds from the UK and India, and myself from Israel. In an ever-changing world, this kind of global power super group isn’t just nice to have; it’s our secret weapon. We’re not just building frameworks, we’re exchanging workflows, closing the gap between tech and creativity, and reimagining how we can make television in the age of AI.
Why do you believe the project is important to the media industry?
After years in the television industry, developing formats, hunting TV formats and trends, working with broadcasters, and being part of creative teams, I have to admit, even I was surprised by how wide the gap is between the hype around AI and the reality on the ground.
Yes, the media is a creative, forward-thinking industry. Yes, everyone loves to talk about AI. But when it comes to actually implementing it, embedding it into the real production cycle, most broadcasters are stuck at the starting line. That’s where our project comes in. We’re not here to throw another shiny tool at content creators and say, “good luck.” We’re building a clear, usable framework, a kind of creative bridge, designed specifically for people who know how to tell stories but don’t speak fluent machine learning. My role in this is very grounded: I bring that on-the-floor knowledge of what content creators actually need. I’ve been in writers’ rooms, in edit bays, in brainstorms that last 6 hours and end with just one decent tagline. I understand how chaotic the creative process can be and how frustrating it is to be told that some generic AI tool is going to “streamline your workflow”. This project respects the craft. It empowers creators to use AI without losing control, without dumbing things down, and without becoming tech engineers overnight. That’s why it matters. And that’s why I’m in it.
REGISTER FOR IBC2025
What’s been the biggest challenge you’ve faced as part of your project?
One of the biggest challenges has been bridging two very different worlds: the tech minds building AI architecture and the content creators who just want to make great television without needing a PhD in prompt engineering. AI moves fast, sometimes too fast, and media moves emotionally, intuitively, and yes, occasionally chaotically.
So my role often feels like being a simultaneous translator in a high-stakes UN summit (and as an Israeli, I really wish someone would do just that): turning abstract AI capabilities into something that makes immediate sense to a showrunner, editor, or creative director. Not every AI tool is going to revolutionise television; some are just going to waste a lot of perfectly good sleeping hours. As a cool hunter, I see my job as the person constantly cutting through the hype. Our project is all about separating the noise from the real opportunities and building something creators will actually use.
Why did you want to be part of this year’s IBC Accelerator programme?
The Accelerator felt like the one place where I could actually do something with AI hype rather than just talk about it on yet another panel. I’ve spent the last couple of years working with broadcasters and production companies who are curious (and slightly terrified) about AI. They know they need to innovate, but they don’t want to lose their creative soul in the process, and not always know how. I joined the IBC Accelerator because it offered something rare: a fast, collaborative sandbox where technologists and content people could actually sit down together and build something practical. Also, let’s be honest, it’s hard to resist the chance to shake things up at one of the most influential media stages in the world.
What can IBC Show attendees expect to see from you in Amsterdam?
Oh, wow. Our creative team went all in on developing a bold new scripted format which is made 100% AI.
We’ve developed Echoes of Rome, a scripted format that feels like Succession meets Black Mirror with a twist of something entirely its own. We brainstormed, battled it out in creative ping-pong sessions (Hi Tim!), and iterated a concept that I genuinely believe every broadcaster or streamer will want on their slate. We built consistent, compelling characters, tackled high-stakes content challenges, and used every AI tool we could get our hands on to shape an original virtual world, complete with a historically accurate timeline. This is not just a concept; it’s proof of how AI can enhance the creative process without replacing it. If you’re curious about where premium storytelling meets next-gen production workflows, come find us. You’ll want a front-row seat.
See all of this year’s projects at the Accelerator Zone in Hall 14 and watch the Final Showcase Session on Friday 12th September at 12:30pm CET on the Future Tech Stage.
