SIEGAN, Germany—Guntermann & Drunck (G&D) and Netgear AV have announced a new solution that simplifies deployment of professional KVM-over-IP systems by removing one of the most time-consuming steps in the process: manual network configuration.

Through the G&D KVM-Over-IP Plugin for the Netgear AV ecosystem, integrators and KVM administrators can apply a dedicated KVM-over-IP profile directly to ports or sections of Netgear AV Line infrastructure. In a single step, the plugin automatically activates key network parameters such as VLAN configuration, IGMP Snooping Querier, QoS, and other required settings for G&D KVM-over-IP deployments.

The result is a faster, more consistent and more reliable setup process, the companies said. Planners benefit from greater configuration certainty from the outset. Integrators reduce repetitive manual work at the switch level and minimize the risk of inconsistencies across installations. KVM administrators can provision expand, and maintain infrastructure with significantly less effort, G&D and Netgear said.

This is especially important in broadcast, Pro AV, and mission-critical control room environments, where device categories, switch types, and bandwidth classes must operate reliably within a shared IP infrastructure. By turning complex network configuration into a structured and repeatable process, the joint solution helps teams deploy scalable KVM-over-IP environments with greater confidence, the companies said.

“The partnership with G&D was a logical step for us, as we share a common understanding of the requirements of modern, mission-critical IP workflows,” said Laurent Masia, senior director of product line management at Netgear AV. “By combining G&D’s proven KVM expertise with Netgear AV’s networking technology, we are creating powerful, scalable, and easy-to-deploy solutions for control rooms, broadcast environments, and other professional applications. Together, we are helping our customers make the transition to KVM-over-IP efficiently, reliably, and with a future-proof approach.”

G&D contributes its longstanding KVM expertise to the collaboration, including advanced security features, high video quality through bluedec, ultra-low-latency transmission, and workflow-optimizing capabilities such as FreeSeating and CrossDisplay-Switching. Resilience concepts such as DirectRedundancyShield further support reliable operation in demanding professional environments.

Netgear AV provides the network infrastructure for these workflows, with AV-optimized switches, high-performance networking, PoE++ support, redundancy options, and centralized configuration through an intuitive user interface. The ability to combine different switch types and bandwidth classes within a single environment also gives customers greater flexibility when designing scalable IP-based infrastructures.

“In contrast to DirectKVM, with KVM-over-IP we hand over the core of KVM distribution – in other words, the central part of signal distribution – to the network infrastructure,” said Andreas Gerlach, executive vice president of innovation at G&D and VuWall. “If the network does not function correctly or is configured incorrectly, the KVM data cannot perform with the level of quality users expect from G&D. This makes us all the more pleased to be working with a partner like Netgear AV, which has specifically optimized its expertise and versatile networking hardware for G&D’s KVM-over-IP projects.”

More information is available at www.gdsys.com.

As consumer brands, B2B organizations and government agencies continue to increase their reliance on video to distribute both external and internal messaging, the need to connect creators and storytellers with corporate communicators is growing.

While the latter group may not reside in the traditional realm of broadcasting and entertainment, the companies it represents are, in their own way, fast becoming media platforms, too.

This has driven NAB Show to introduce a new Enterprise Video Strategies education track for 2026.

Designed to demonstrate how organizations are leveraging today’s video production technology to achieve meaningful business results, sessions include: “Efficient by Design: Cloud-Based Production for Modern Brands,” “The Enterprise Studio: Redefining How Organizations Create,” “From Corporate Video to In-House Studio: How Enterprises Are Becoming Media Machines” and “Architecting ROI: Scalable Virtual Production for Enterprise Teams.”

Video Gets More ACCESSIBLE

Lori H. Schwartz, CEO and principal at StoryTech, an experiential marketing firm based in Los Angeles and curator of experiences for NAB Show, said the evolution of enterprise video from simple internal messaging (think corporate training videos) to much more elaborate, external-facing campaigns is, in large part, the result of what she calls the “democratization” of video production technology.

In other words, the hardware and software have become more accessible, easier to operate and in some cases are developed with nonbroadcast users in mind.

This makes it convenient to expand video communications beyond the conventional 30-second television ad into spots specifically designed to run on social media such as Facebook, Instagram, TikTok and YouTube.

Enterprises, Schwartz said, have become their own content creators.

At the same time, many nonbroadcast or nonmedia companies seek the expertise required to develop engaging video content. Schwartz notes that this presents new opportunities to creators and producers who, up until now, have dedicated their work to television and film almost exclusively.

The 2026 NAB Show Enterprise Video Strategies track aims to build a bridge between these two groups.

“[We want] to get the people that need work to see that there are other ways they can use their skills,” Schwartz said.

“We also want to show the enterprise folks that if they come to NAB Show, they would meet the people that have the latest virtual production skill sets [for example]. They would learn about the tools and meet the right people so that they can keep expanding their content pipelines.”

For this first year, Schwartz explained, the sessions that make up the Enterprise Video Strategies track will give attendees a good idea of how the corporate world is applying video content and technology for its communications. In the future, she envisions more specialized themes.

“The best way to start, I believe, is by showing what’s happening out there,” Schwartz said. “I think it will grow over time, and then we can start to get into more niche topics inside of that.”

A Lower Barrier to Entry

At Matrox Video, a video systems developer with headquarters in Dorval, Canada, Manager of Strategic Partnerships Rob Moodey pointed to several technological advancements that have made production technology more accessible to the enterprise. He cited the growth of video-over-IP deployments as an example.

“Instead of relying on traditional interfaces like HDMI, DisplayPort or SDI — all of which are used in [the] enterprise — modern systems increasingly handle video as network-based data streams,” Moodey said.

This means that companies may leverage standard IT infrastructure without having to worry about procuring dedicated switching and cabling.

The same applies to video compression formats, Moodey added. Depending on their requirements related to bandwidth, cost, latency and quality, enterprise video teams may choose between delivering low-latency, uncompressed video; light compression formats like JPEG-XS and NDI-Full; or high compression through H.264 and H.265.

“Importantly, many of these formats can run on standard computing hardware using CPUs or GPUs, reducing the need for highly specialized equipment and lowering the barrier to entry,” Moodey said.

When Video is Mission-Critical

While “traditional” enterprise video may be about connecting customers with brands, there is another category of nonbroadcast organizations that rely heavily on the medium.

Fred Poole is director of space — Intel/Civilian at Haivision MCS, an Atlanta-based subsidiary of Haivision, a video networking and visual collaboration systems developer headquartered in Montreal. Haivision MCS serves aerospace, enterprise, government, military and public-safety clients that require mission-critical video solutions.

These customers prioritize technology that can deliver bandwidth efficiency (and the ability to control it), low latency, quality and reliability, Poole said.

He illustrated a standard U.S. Department of Defense video application with a sports analogy.

“The connection between professional sports and what happens in the DOD and the (U.S. Intelligence Community) are very strongly parallel,” Poole said.

“I want the ability to see the best video quality I can for the plays being made. I also want to be able to go back and see: Was he out of bounds? What was he carrying? What was that person doing at that time? Where were they located?”

These types of operations employ a similar number of cameras and camera controls as required in sports broadcasting, Poole explained.

AI: The Big Enabler

As in other industries, artificial intelligence is giving video production professionals every­where the ability to be more efficient by fulfilling some of the more repetitive or mundane tasks associated with creating and managing content. Schwartz pointed to basic camera operation, data analytics and content personalization as several examples of this.

In the context of mission-critical video, Poole noted that AI can serve to decrease latency and improve video quality. “We’re looking [at] what is being developed in the AI world to be able to impact and affect things in the video, how we view it [and] in how it’s delivered,” he said.

For NAB Show, Schwartz underlined that the goal this year is to bring together two different groups of professionals: creators who have traditionally focused on television and film and enterprise-level communications practitioners who can benefit from their knowledge and experience.

“They just need to meet each other,” Schwartz said. “NAB Show has always been good about being that home for people to connect. This is the next bastion of that.”

© 2026 NAB

LISBON—NDI has announced that Crestron has officially completed the NDI certification process for its 1 Beyond p-Series and i-Series cameras.

This certification further demonstrates NDI’s growing relevance as an IP video connectivity standard in ProAV cameras, with seamless integration with leading platforms like Microsoft Teams Rooms and Zoom Rooms, NDI reported.

The Crestron 1 Beyond cameras, which offer AI-driven presenter-tracking and intelligent switching, are now fully NDI certified and will soon be listed in the NDI Product Finder. This includes the upcoming addition of NDI support to the i12 camera as well as the recently launched TAA-compliant cameras, designed for Government deployments.

“Completing NDI certification is a big step forward in ensuring our customers have flexible, high-quality, and interoperable video technology at their fingertips,” said Connor Bright, group product manager, intelligent video and airmedia at Crestron. “Building upon the previous success of NDI with the Automate VX multi-camera switching solution, the addition of these cameras enables more seamless integration into workplace environments, and empowering IT and AV teams to deploy smarter solutions with confidence.”

"Having Crestron go all-in on NDI for 1 Beyond cameras is a milestone moment, not just for NDI, but for the entire ProAV ecosystem," said Charles Dobson, business development at NDI.

“Crestron has always supported technologies built on standards. They recognize that promoting these standards help the entire industry grow.”

More information is available here.

LONDON—The number of corporations adopting professional video production is quickening, creating a fast-growing market for broadcast tech and pro audio-visual (AV) vendors that can tap into the right strategy to reach new buyers.

This is according to a new report, “Lights, Camera, Enterprise!,” from Futuresource Consulting that reveals that 89% of companies are now producing video content in-house. Sales of broadcast-grade video cameras to corporate users tripled between 2019 and 2023, while large-sensor camcorder shipments have skyrocketed by 487% since 2019. A major factor in this growth is Gen Z reshaping expectations, with over 60% of professionals aged 22–26 actively creating video content for online consumption, the researcher said.

“The convergence of traditional broadcast and enterprise video is happening at a rapid pace,” said Alistair Johnston, Head of Consulting and Advisory at Futuresource Consulting. “Whether they see their products and services as professional, ‘prosumer’, or pro AV, vendors need to grasp enterprise as a huge opportunity. It’s the growth engine for the next decade of professional video.”

Emerging as a core strategic tool for marketing, sales, corporate events, internal communications and training, professional video production is now commonplace across retail, finance, healthcare, education, house of worship, and other non-media industry sectors. The report shows a surge in demand for professional-grade cameras, editing software and live production tools.

“High quality video has become the norm for business, driven by lower equipment costs, digital fluency and the continued evolution of hybrid working,” said David Lawrence, Managing Director at Platform Communications. “This is the moment for tech vendors to ensure they have a marketing and communications strategy that will properly engage new audiences and drive sales.”

The report notes that in the retail sector alone, 42% of enterprises will be producing their own external marketing videos by 2025, creating both short and long content for the web and social media platforms. Meanwhile, many leading retailers are operating their own advanced video production studios, according to the researcher.

The report details some of the factors that differentiate enterprise video from traditional broadcast such as the importance of results over technical details, the importance of tailoring production to specific audiences, hiring the right integrators who understand vertical markets, and the use of real-world case studies and data driven insight to build trust and visibility.

The report is available here.

SYDNEY—Sony is adding 14 professional BRAVIA 4K HDR displays to its portfolio of displays with the launch of the BZ50L, BZ40L, BZ35L and BZ30L series.

The displays, which are optimized for commercial environments where reliability, picture quality and broad compatibility are required, will be on display at InfoComm 2023 on Sony’s booth, #1701, from 14-16 June in Orlando, Florida, USA.

Options for the displays cover high-end, mid-range and standard needs, and range in sizes from 43 inches to 98 inches.

The bright BZ40L series features a state-of-the-art panel treatment and the BZ40L’s Deep Black Non-Glare Coating offers both high haze and low reflection, while maintaining deep blacks and high contrast. 

The latest professional BRAVIA display series consists of the following models:

• The flagship BZ50L with Sony XR processing and unrivaled picture quality boasts 780 nits of brightness in a larger sized display with the FW-98BZ50L (98 inch). Additional highlights of the 98-inch BZ50L include a 22% reduction in weight and 28% slimmer bezel width when compared to Sony’s professional BRAVIA BZ40J series. To help make the large model more portable and installation friendly, ergonomic horizontal handles are incorporated into the bottom of the display, while vertical handles are featured on the top.
• The high brightness, non-glare BZ40L series with X1 processing achieves 700 nits at a high 47% haze with anti-reflection (except for the FW-85BZ40L, which achieves 650 nits at 58% haze), without loss of contrast. It is available in FW-85BZ40L (85-inch); FW-75BZ40L (75-inch); FW-65BZ40L (65-inch); FW-55BZ40L (55-inch).
• The enhanced BZ35L series features increased storage and 550 nits of robust brightness and an X1 Processor and is available in FW-75BZ35L (75-inch); FW-65BZ35L (65-inch); FW-55BZ35L (55-inch)
• The complete BZ30L series offers a full range of sizes, X1 processing (except for the FW-98BZ30L, which is equipped with an XR Processor) and 440 nits of brightness in the FW-85BZ30L (85-inch); FW-75BZ30L (75-inch); FW-65BZ30L (65-inch); FW-55BZ30L (55-inch); FW-50BZ30L (50-inch); FW-43BZ30L (43-inch)

All 14 models incorporate sustainability elements – from the use of SORPLASTM recycled plastic and less ink usage on the cartons to an optional stand for less waste and ECO Dashboard for better understanding power consumption based on settings configuration.

Additional common features include 24/7 operation, one step setting of pre-sets for easy configuration and customization, mirroring capabilities, Pro Mode technology for simplifying operations, a uniform bezel design, flexible installation for portrait and tilt mounting, as well as support for multi-display installation to enable tiling and a side logo for blend-in design purposes.

The BZ50L, BZ40L and BZ35L series include an increased internal storage of 32GB for more flexibility and ease of use. All models, feature a new center alignment rail kit for easy mounting, while the 98-inch options come standard with center aligned VESA patterns. The portfolio also incorporates a common chassis design for easily choosing suitable brightness models without requiring installation re-design. 

The new professional BRAVIA display line-up will also support Sony’s Alliance Partner Network, allowing for even further integration and compatibility with established and emerging solutions providers across corporate, education, transportation and retail applications. 

In Australia and New Zealand, the new BZ40L, BZ35L and BZ30L series will be available from October 2023 through authorized Sony Professional Resellers.

For more information on Sony’s professional display technologies, please visit:

https://pro.sony/en_AU/products/professional-displays

What trends are in store for the professional video market in 2020? What do the economics of the industry tell you? As AVIXA’s senior director of market intelligence, it is Sean Wargo’s responsibility to research and provide insight into the pro-AV industry and what lies ahead.

Wargo will share the economics behind the ever-expanding visual side of AV and the opportunities for growth in his session “The Economics of Video” at The Video Show, a two-day event in Washington, Dec. 4–5.

The Video Show caught up with Wargo for just a minute ahead of the show.

The Video Show:Why should AV professionals care about economics?

Sean Wargo: Ultimately, the pro-AV industry provides goods and services to just about every underlying market in a given economy. Whether corporations or residential, these markets rely on AV technology to solve specific needs. As a result, the rise or fall of these markets can mean more or less available project work for an AV company. This rise and fall is exactly what economics measures and forecasts. So paying attention to economics can help provide an early warning system to potential changes in future demand for pro-AV products and services. GDP is an example of a metric to watch, as it summarizes the total economic activity within and across the globe. We’ll cover a bit about AVIXA’s take on GDP growth and the context it provides for our industry during our session.

TVS: What are the top three areas for growth in pro AV according to your research?

SW: Growth is an important distinction in pro AV because, looking forward, there is an important distinction between the largest areas and those that are growing the fastest. For example, right now the biggest solution area in pro AV is conferencing and collaboration at $38.6 billion globally. However, digital signage is growing faster and is expected to become the largest solution area by 2024, realizing compound annual growth of 5.8%. But that’s not all—performance/entertainment solutions, or the fixed installation of AV in venues like concert halls, houses of worship or corporate event facilities, are forecast to be the fastest growing over the next five years, rising by 8.9% on average per year. Security/Surveillance/Life Safety is another area of strong growth as country governments in particular invest in this type of infrastructure as part of smart-city initiatives.

The Video Show will feature more than 100 sessions on nine presentation stages, as well as a dedicated screening room, demo areas, streaming studio and dynamic exhibit floor. Want to hear more about this topic? Visit theThe Video Show websiteto learn more and register.

As the need for specific audio and video format conversions has increased, so too has the demand for engineering flexibility and processing speed during studio and remote productions. In many instances the studio or truck will often have a collection of video frame syncs and converters at the ready. While these devices are historically thought of as video processors, they can also usually convert audio as well. One such device is the AJA FS2 Frame Sync and Video Processor.

At Georgia Public Broadcasting, under the leadership of Chief Technical Officer Adam Woodlief, we recently redesigned our control rooms to focus on enhancing performance and flexibility to meet growing production demands (Fig. 1). As part of the process, we discovered a need to originate AES-based audio from embedded HD/SDI video sources.

In addition to the AES audio needs, color correction capability was also specified for two video channels of the production control room graphics system. With these specific needs, and in large part due to a surplus availability, the AJA FS2 unit was implemented for both audio and video processing without the need for additional hardware.

In Fig. 2, a block diagram from the FS2 manual shows two independent processors for video and two processors for audio, which can both push AES or analog audio. When using the AES option, the Audio 1 processor is set up to pass either analog or AES. Unlike the video processors, the audio processors can pass converted audio from more than one source at a time—this capability is often overlooked when the focus is strictly on video.

On the back panel of the FS2, a DB-25 AES output connector will allow eight (2) channel AES output groupings of either or both SDI input channel combinations.

It is important to note that there are two separate processor blocks in the block diagram and that the processors are not fixed to a specific input channel. The Audio Input Crosspoint matrix allows audio associated with either SDI input channel to be mapped to the AES/EBU output port on the rear DB-25 connector by way of the Audio Output Crosspoint Matrix.

For our conversions, we used the Audio 1 processor to deliver AES audio associated with each of the two graphics video channels. A key point when configuring is to select the Audio Map parameters and map both the SDI 1 and SDI 2 input embedded audio sources via the “Audio 1” processor (Fig. 3). These assignments can be made by accessing the Audio 1 processor either by front panel access or the browser-based GUI.

In the “Audio 1” menu settings, go to Menu Sub section 1.17 on the front panel, Audio1 Map Ch 1/2, and select SDI1 Ch 1/2.

Next, go to Menu Sub section 1.18 Audio1 Map 3/4 and select SDI2 Ch 1/2 (Fig. 4).

Once these changes are made using either access method, there will be two independent SDI-based AES channel subgroups; Ch 1/2 from the SDI1 Video source, and Ch1/2 from the SDI2 video source. These four collective AES channels are output to the DB-25 (Fig. 5.) on the corresponding Ch 1/2 and Ch 3/4 (three-pin) groupings.

Using the FS2 in our facility allowed us to configure our AES audio channels to serve as two independent stereo audio channels for both graphics video output channels, with the ultimate result being the delivery of video- and audio-processed signals from one box. The AES signals were then distributed to a 1RU Wohler AES audio monitor at the graphics operator station in the control room, and to a Studer Vista 9 series audio console via a digital I/O unit. The color corrected SDI signals from the graphics system were further distributed for use elsewhere in the facility via HD routing. Initial setup of the FS2 unit via front panel access is shown below in Fig. 7.

The resulting output on the Studer audio console corresponds to two (2-channel) AES groups. Fig. 8 shows both a 1 kHz audio signal originating from a test unit as well as a second audio signal from an independent SDI source.

The desire to streamline engineering often drives integration of signal processing into a single unit, resulting in fewer components and lower costs. Organizations like Georgia Public Broadcasting can realize enhanced performance and flexibility while achieving critical cost savings using this approach. 

Daniel Hall is a broadcast engineer with Georgia Public Broadcasting.