NEW YORK—Pearl TV has secured new pricing from patent owners, technology licensors as well as testing and security providers necessary to one day making affordable accessible NextGen TV converters available to consumers.

The broadcast business group made up of seven of the nation’s largest station groups made the announcement on the eve of NAB Show New York, which opens Oct. 21 in Manhattan at the Javits Center.

“A successful transition to NextGen TV requires more than advanced broadcast technology. It requires affordable products that enable all consumers to continue enjoying free over-the-air television,” said Anne Schelle, managing director of Pearl TV. “Our work with technology licensors, manufacturers, testing organizations and the consumer technology industry is focused on reducing costs for consumers and establishing a clear market path for NextGen TV converter boxes to advance the ATSC 1.0 to ATSC 3.0 transition.”Affordable converter boxes will enable all consumers to access this content without buying a new television.

Pearl TV’s Converter Box Program brings together organizations from across the broadcast ecosystem to support the development of affordable devices. Participating patent owners through the Advanced Broadcast licensing platform, along with Dolby and Advanced HDR by Technicolor, are supporting the initiative through licensing arrangements tailored to qualifying converter boxes. Discussions are also continuing with additional intellectual property licensors and component manufacturers.

Testing provider Resillion and the ATSC 3.0 Security Authority have also established special pricing for the program, lowering the cost of both certifying and securing qualifying products.

“This is what industry collaboration looks like. Patent owners, technology licensors, testing and security providers, and manufacturers are all contributing to a shared goal of making affordable NextGen TV converter boxes a reality,” said Schelle.

“Together, we’re making meaningful progress toward affordable devices that connect to existing televisions through an HDMI connection, so that consumers can receive NextGen TV without needing to buy a new TV set. Millions of these receivers will be needed to complete the transition, and this collaboration is helping lay the groundwork,” she said.

Pearl is working with several manufacturers developing low-cost ATSC 3.0 converter boxes, with new products expected to be unveiled in early 2027. The group is also working with the Consumer Technology Association to help consumers easily identify qualifying products at retail.

“As the transition continues apace,” Schelle added, “consumers and broadcasters alike can have confidence in converter boxes using the famous NextGen TV logo and meeting its testing requirements.”

Converter Box Program specifications now require qualifying converter boxes to support ATSC 3.0 Advanced Emergency Alerting recommended User Interface requirements that aim to ensure a consistent user experience in the delivery of richer, more accessible, geo-targeted emergency information delivered in the over-the-air broadcast signal.

“The emergency information experience supported by the Converter Box Program is built on a user interface and user experience framework developed by Sinclair and ONE Media through the NAB NextGen TV News Technology Lab, an NAB initiative supported by a grant from the John S. and James L. Knight Foundation,” said Mark Aitken, president of ONE Media and senior vice president of Advanced Technology for Sinclair Broadcast Group.

“The framework sets a common standard for how NextGen TV emergency information looks and behaves, so viewers get the same clear, predictable experience on any channel, any device, and any screen. It was shaped by input from about 300 emergency managers and focuses on what people need most under stress -- what is happening, where, how urgent it is, and what to do,” he said.

More than 600 NextGen TV services (or channels) are currently on-the-air from broadcasters throughout the U.S. Broadcasters are sharing transmission facilities to maintain both ATSC 1.0 and ATSC 3.0 services during the transition period, ensuring continued access to free over-the-air television.

“As the industry prepares for an eventual transition involving more than 1,600 commercial television stations, affordable consumer equipment, improved broadcast services and a clear transition timeline will be essential,” Schelle said.

SOUTHWICK, Mass.—Kokusai Denki Electric America will highlight its latest innovations in professional broadcast imaging and production control during NAB Show New York, Oct. 21-22, at Javits Center in Manhattan.

The company will feature solutions that deliver premium 4K picture quality, flexible camera operation and efficient production workflows, including its flagship 4K broadcast camera, versatile 4K box camera, advanced RU-2500JY remote control panel and new VF-EL20HP broadcast camera viewfinder.

The company’s SK-UHD7000, a professional 4K UHD camera system engineered for demanding broadcast and live production environments, incorporates three 2/3-inch CMOS image sensors with native 4K resolution, capturing detailed 3840x2160 UHD images with outstanding color reproduction, sensitivity and low-noise performance.

The camera’s global shutter technology minimizes unwanted artifacts, such as flickering and banding, associated with LED lighting and large-format displays. an SK-UHD7000-S2 configuration offers a flexible entry point to 4K through an optional license upgrade with instant activation.

The company will also demonstrate its DK-H700 multiformat box camera, a compact solution that combines broadcast-quality imaging with flexible deployment options. Designed for applications where camera size, positioning and operational versatility are essential, the DK-H700 is particularly well-suited for sports venues, live event production, broadcast studios and specialized point-of-view camera installations. It incorporates 2/3-inch CMOS imaging technology, advanced digital signal processing and HDR support to deliver sharp, detailed images with lifelike color fidelity, excellent sensitivity and low noise.

The DK-H700 can operate as a standalone production solution or complement the SK-UHD7000 in larger multicamera environments.

The company will also demonstrate the RU-2500JY remote control panel in combination with the SK-UHD7000. Designed to maximize operational control within limited production space, the RU-2500JY features a 3.2-inch (82 mm) width that allows side-by-side installation of five units in a standard 19-inch rack.

The panel integrates a 3.5-inch color touchscreen, illuminated controls, precision joystick and dedicated camera shading functions that give operators intuitive access to essential picture adjustments during live production. Advanced HDR and SDR controls, color matrix adjustments and scene file recall support consistent image quality across multicamera productions.

With support for both serial connectivity and IP-based control via Power over Ethernet (PoE), the RU-2500JY accommodates established broadcast infrastructures as well as evolving REMI and decentralized production workflows. Its USB interface also enables operators to store and recall camera configurations, simplifying setup and maintaining consistency across multiple production environments.

Kokusai Denki will also make the global debut of its new VF-EL20HP broadcast camera viewfinder at the show.

The VF-EL20HP combines a 0.7-inch Full HD OLED eyepiece with a 3.5-inch Full HD flip-out LCD monitor, allowing camera operators to transition between traditional eyepiece viewing and flexible off-axis monitoring without additional external displays. The OLED provides exceptional contrast, deep black levels and precise focus representation, while the high-brightness LCD supports alternative camera positions and collaborative viewing during live production.

Integrated waveform monitoring, vector scope, and histogram tools give operators immediate access to critical picture and signal information directly from the viewfinder.

Kokusai Denki will be in booth 430.

GARBSEN, Germany—Proton Camera Innovations says it will demo its new PROTON IS miniature broadcast camera at NAB New York 2026, Oct. 21-22, at Javits Center in Manhattan.

Incorporating image stabilization and an innovative lens/body split structure to provide image clarity in immersive contexts, the PROTON IS was demonstrated as a concept during IBC206 in December. The camera will be available for delivery in Q1 2027.

The PROTON IS brings professional-grade image stabilization to a form factor where conventional stabilization systems, such as gimbals, gyros and mechanical dampers, are simply unable to function.The camera uses a two-part architecture that separates the imaging head—measuring .8 x .8 x .9 inches (20x20x22.5mm) drawing 0.5W—from the processing unit and power supply which measures .9x.9x2.75 inches (23x23x70mm) and draws 2.3W with passive cooling.

Together, these are connected via a flexible cable up to 35 inches (90cm), which allows the sensitive processing components to remain safely hidden away while the tiny imaging head captures footage in the heart of the action.

With 1080p60 footage in 10-bit quality, the PROTON IS incorporates Proton’s VEGA broadcast-grade shading for color accuracy and dynamic range required in professional production. An integrated stereo microphone captures embedded audio, while the low total power draw of 2.8W across a 4.7-24V range enables integration into power-constrained environments. The camera fits any SDI transmitter system, with full remote control available via RS485.

The PROTON IS is well-suited to body-mounted applications, where the stabilization system compensates for the jarring and distracting bobbing motion of the human gait, while retaining the immersive perspective of a POV shot. The split architecture also allows for even weight distribution and moves heat-producing components away from the subject’s forehead.

Proton Camera Innovations will be in Booth 560.

More information is available on the company’s website.

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Glodina Lostanlen, chief revenue officer at Imagine Communications.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Glodina Lostanlen: AI will undoubtedly be one of the biggest themes at NAB Show New York, but the conversation is changing. The question is no longer whether AI has potential, but where it can deliver practical, measurable value in day-to-day media operations. We’re already seeing applications emerge across the media business, from advertising sales, forecasting, and scheduling to playout, control, monitoring, and diagnostics. We’re also seeing increased interest in technologies such as Model Context Protocol (MCP), which provides a structured way for AI systems to interact with applications and operational data. But ultimately, the objective isn’t technology for technology’s sake. Customers are looking for concrete ways they can use AI to make media operations more efficient and easier to manage, so people can focus their expertise on where it creates the most value.

TVT: What’s your key product announcement for the show, and what problem does it solve?

GL: The bigger story for Imagine this year is how we’re bringing practical AI capabilities across our portfolio and into the systems our customers already use to run their businesses. For example, in our widely deployed Magellan Control System, we recently launched Magellan PanelFlex freeform control surfaces and PanelFlex-AI, which uses MCP to provide AI systems with structured access to information from live production environments. We also introduced advances in our XVR media server, demonstrating AI-augmented playout operations and Media Exchange Layer (MXL) interoperability.

In our ad tech portfolio, we’ve had strong market response to the introduction of AI‑assisted scheduling in our Landmark Rights & Scheduling platform. By embedding machine learning (ML) that applies existing business rules at speed and scale, we’re helping customers shorten scheduling cycles and free their teams to focus on higher-value editorial decisions that drive performance.

What ties these developments together is a common customer challenge. Media companies are tasked with managing more channels, platforms, and workflows while controlling costs and protecting core operations. We’re applying AI where it can remove repetitive work, surface useful information faster, and enable our customers to generate real profitability without introducing new sources of risk.

TVT: How does this new solution stand out from what’s available on the market?

GL: One of the questions we hear most often from customers is how much change AI will require. It feels transformative enough to warrant a clean slate, yet most broadcasters already have workflows that successfully deliver content, run channels, and serve audiences.

Our approach starts with the systems customers already trust. These platforms sit at the center of critical revenue and operational workflows and contain years of market, workflow, and operator intelligence. We don’t believe AI replaces that intelligence; we think its greatest value comes from making it more accessible and actionable.

That’s also why openness and governance matter. Imagine has a longstanding commitment to open interfaces and protocols, and we’re extending that philosophy to AI. MCP gives us a way to provide AI systems with structured, governed access to information and capabilities while protecting the underlying systems of record.

TVT: What makes NAB Show New York so essential for your business, and what brings you back each year?

GL: NAB Show New York gives us an opportunity to have focused conversations with customers and partners about the realities they’re facing in their businesses right now. It brings together the people making technology and business decisions with the people solving operational problems every day, which makes it a particularly valuable environment for understanding where the industry is headed.

That exchange works both ways. We can share what we’re developing and where we see the technology going. But just as importantly, we hear directly from customers about their priorities, what’s working, and where they still need better solutions. Those conversations help shape our development priorities and keep our innovation grounded in real-world requirements. That direct connection with customers and partners is what continues to make NAB Show New York such a valuable event for us.

Visit Imagine Communications in NAB Show New York Booth 138.

WHITE PLAINS, N.Y.—SMPTE expanded its presence in Africa with a pair of industry events in South Africa this month.

On Oct. 15, the organization for media professionals, technologists and engineers hosted its first Young Innovators event outside the U.K. with a panel and mixer at the Fak’ugesi African Digital Innovation Festival in Johannesburg.

Ahead of that, on Oct. 12, SMPTE staged an AI white paper brainstorming session at the 17th Durban FilmMart.

“There’s tremendous talent, creativity and innovation coming out of South Africa, and we’re excited to strengthen SMPTE’s connections with this growing community,” SMPTE Executive Director Sally-Ann D’Amato said. “For us, this is about building relationships, opening doors, and making sure the next generation of industry talent has access to the knowledge, resources and global network that SMPTE offers. We see enormous opportunity here, and these events are just the beginning.”

The Oct. 15 panel, held in Johannesburg’s Tshimologong Precinct, titled “Career Pathways in Film, Television & Broadcast in the AI Era,” included students working to establish a SMPTE student chapter in South Africa. The discussion explored emerging career opportunities, AI’s impact on media and entertainment and the skills and connections students need to succeed in a quickly evolving media landscape, SMPTE said.

“A South Africa student chapter is significant because it opens members up to a global community of engineers, creatives and industry leaders, and to the standards that keep our industry connected,” SMPTE South Africa initiative Co-Chair Tami Kusvabadika said. “Broadcasting is changing fast, with technologies like SMPTE ST 2110 and AI reshaping how content is made and delivered. This chapter will make sure our student members are equipped and stay up to date, whether they’re working in a control room, an edit suite or a classroom.”

The Oct. 12 brainstorming session at Durban FilmMart brought industry participants together to explore emerging technologies and their media production implications, SMPTE said.

Also at the Fak’ugesi Festival, SMPTE will have a presence in Magic Lightbox’s exhibition stand, giving attendees a chance to learn more about its standards, education, membership and global-community building efforts.

“October is a month of firsts for us,” SMPTE South Africa initiative Co-Chair Sondia Viljoen said. “The first African student chapter developing, the first Young Innovators Panel outside of the U.K., and a new beginning. The beginning of new relationships, new possibilities and new pathways towards greater collaboration, industry development and cohesion across the continent and the globe.”

For more information on SMPTE and its global programs, visit the group’s website.

The future of media is coming to the media industry’s capital city on Oct. 21–22 when NAB Show New York convenes once again at Manhattan’s Javits Convention Center.

NAB Show New York is more than just a chance for busy professionals who can’t make the trip to the massive spring NAB Show in Las Vegas to catch up on the latest content creation technologies and trends. It’s the East Coast’s go-to event for content creators and production professionals across TV, broadcasting, podcasting, radio, advertising, marketing and film.

And this year’s event will offer plenty of learning opportunities and product demonstrations across those fields, said Karen Chupka, executive vice president, Global Conferences and Events at the National Association of Broadcasters.

“There is a lot of great content on the floor,” she said. “We have about 60 sessions that we run throughout the program. And we're taking a look at everything related to what's happening in the creator economy, how you can work with brands, how creators are building audience and things like how AI is impacting the newsroom.”

Each day of the show will be organized to help attendees focus on their interests. Wednesday’s content will emphasize matters of interest to broadcasters, such as sports content and local news. Thursday’s program will focus more on AI and the creator economy. Streaming will be spotlighted across both days.

Areas of focus include the growing business of live sports, new revenue opportunities for local TV stations and how AI is helping to make broadcast newsrooms more efficient.

Spotlight on Sports
Wednesday’s sports-themed content will kick off with the session “Game On: The Power of Sports on Broadcast.”

Clay Travis, Fox Sports contributor and host of “The Clay Travis Show” on FS1, will chat with NAB President and CEO Curtis LeGeyt on such topics as the future of sports media, evolving fan expectations and why broadcast is still essential for delivering live sports at scale.

Sports gambling, one of media’s biggest growth areas, gets the spotlight in the panel session “The Future of Sports Betting: Growth, Media & Responsibility.”

CNN’s Clare Duffy will speak with FanDuel President Christian Genetski and Craig Carton, the WFAN New York and Fox Sports personality who serves as FanDuel’s responsible gaming ambassador, about the convergence of betting and media, the changing regulatory landscape, the future of fan engagement and the industry’s responsibility to address problem gambling.

“Inside the Live Sports Economy With Jon Ledecky” will address the business side of sports media. Ledecky, co-owner of the NHL’s New York Islanders, will speak with Stathletes Co-Founder and CEO Meghan Chayka about the opportunities for companies that operate at the intersection of content, technology, distribution and fan engagement.

The Business of Local
Wednesday’s programming also includes the Local TV Strategies conference, presented in partnership with TV NewsCheck. This content track will address the business pressures local station groups face in a shifting economy.

“It’s looking at everything from where are opportunities for new growth and the next revenue sources to what's happening on the finance side and where investment is going to help grow that market,” Chupka said.

“We’re also looking at things that can connect with younger audiences, how to get more eyeballs, especially across the omnimedia landscape with younger consumers who are obviously bouncing around on different platforms. “I don't even think that's just younger audiences,” she added. “That's everybody now, right?”

Those issues will be explored in sessions on local TV finance, the advertising marketplace and streaming strategies.

Finance executives from Cox Media Group, Hearst Television, Nexstar Media Group and Sinclair will discuss investment and new business opportunities, while a separate panel will bring together media buyers and sellers to examine the advertising outlook for 2027.

The streaming panel will feature Dean Littleton of E.W. Scripps, Meredith McGinn of NBCUniversal Local, Mike Braun of Gray Media and Sahand Sepehrnia of CBS News, Stations, Entertainment and Sports. They will discuss how local media companies are developing streaming audiences and building sustainable business models.

AI will also be a focus, with sessions on how station groups are developing AI road maps and how stations are applying the technology to news production and other aspects of their business.

Convening Creators
Thursday’s programming will be geared to content creators, and how that segment has shifted from audience-building to building businesses, Chupka said.

“From Following to Franchise: Building the Next Generation of Creator-Led Entertainment” will explore how creators and media companies can use their original programming and IP to turn fan engagement into long-term commercial value.

Michael Kassan, founder and CEO of 3C Ventures, will moderate a panel that includes UPROXX Co-Founder and CEO Jarret Myer; Christine Cotter, managing director and head of social innovation at 360i/Dentsu; and Chelley Bissainthe, a content creator and contestant on reality show “Love Island.”

“Seoul Search: Leveraging ATSC 3.0 and K-Culture to Unlock New Opportunities” will explore the intersection of next-generation TV technology and the global popularity of K-pop.

NAB Chief Innovation Officer and Senior Vice President of Emerging Technology John Clark and Sinclair Broadcast Group President of Technology Del Parks will discuss how ATSC 3.0 could open up new opportunities for streaming entertainment built around K-pop and the broader lifestyle interests of its fans.

Chupka said NAB Show New York is also building community among creators through its VIP Creator Club, which now has about 100 members.

Launched ahead of this year’s NAB Show in Las Vegas, it brings content creators together to share information and help one another grow their businesses.

”It's a really active and interesting community,” she said. “They all want to help each other. They all want to help other creators grow.”

She said one member started out as a college student and has since built a business with an estimated 30 to 40 employees.

Building Community and Skills
Another opportunity for NAB Show New York attendees to hone their skills will come at Post|Production World, which runs Oct. 20-21.

This year’s program features an expanded AI focus as well as practical content-creation skills, Chupka said, with topics running from sound to Cinema 4D effects to documentary video production. Sessions offer hands-on training and a chance to learn from experts.

Tuning Into Audio
The Audio Engineering Society (AES) is back at NAB Show New York this year with a half-day of programming on Thursday afternoon. Sessions will tackle audio, remote production and wireless applications.

Also, the 34th Radio Wayne Awards will take place on Wednesday.

Over both days of the show, a career fair will give jobseekers a chance to learn about openings and meet potential employers. Hiring companies can benefit from NAB Show New York’s location in a region with a deep pool of universities and media talent, Chupka noted.

The show floor will feature some 250 companies, including 37 first-time exhibitors and at least 65 that did not participate last year.

Exhibitors of note, according to Chupka, include BirdDog, whose tools help teams capture, produce, manage and share professional video, and CuttingRoom, which enables users to edit timelines while a stream is live. Ribeye Media offers tools for streaming TV advertising and digital ad workflows aimed at local media, while Lost in Space helps filmmakers and creators take projects from concept through production and delivery.

And it’s a global mix of companies: Some 90 countries will be represented at Javits. Many international exhibitors use NAB Show New York to introduce products to the U.S. market, she said.

Close to Home
Chupka said the broad range of programming and exhibitors is part of the appeal of a show that can be easy for local industry professionals to overlook.

“Sometimes we don't think about things being in our backyard as much as we think about some place where we maybe have to travel to,” she said. “But I think there's a lot of great content on the floor, and [not going is] a missed opportunity for anybody who’s in the industry.”

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Alex Keighley, senior vice president of sales, Americas, at Grass Valley.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Alex Keighley: I think we’ll continue to see the industry move toward hybrid production environments. Most customers are not starting from a blank sheet of paper. They have SDI, SMPTE ST 2110, modular infrastructure, software applications, cloud and edge resources, and they need those environments to work together.

Two important developments in this context are the Dynamic Media Facility (DMF) and open media exchange through MXL [the Media eXchange Layer]. The Dynamic Media Facility is already a reality for Grass Valley customers. AMPP enables this model today, combining distributed production, shared compute, software-defined media functions, orchestration and monitoring across cloud, on-premises and edge environments.

So, I expect openness and interoperability to remain important. Native MXL integration within AMPP makes high-performance media exchange part of the production architecture, helping connect systems and workflows. The broader challenge is how to bring these capabilities together while allowing customers to modernize at their own pace, without abandoning the infrastructure that still works for them.

TVT: What’s your key product announcement for the show, and what problem does it solve?

AK: A key highlight for us at NAB Show New York will be AVORA, which we launched at IBC in September. This will be the first opportunity to see it demonstrated in the United States, both in the Grass Valley booth and the Broadfield booth.

AVORA is a standalone, all-in-one live production solution for teams that need professional production capabilities without assembling a full production stack for every show. It combines switching, graphics, audio, remote guests, content, replay, recording, monitoring, playout and delivery in one system. Teams can prepare, save, duplicate and recall complete productions, with the flexibility to use either visual shot-based production or traditional program/preset operation. Built on the founding principles and technology of GV AMPP, AVORA operates as a standalone Grass Valley solution, not AMPP Lite.

Beyond AVORA, we’ll demonstrate how different parts of the Grass Valley portfolio work together across capture, production, content and playout.

On the camera side, we’ll be showing the LDX 180, which brings Super35 cinematic capture into live production, and the LDX 150, designed for high-speed UHD and HD production. Both sit within the same LDX 100 Series ecosystem.

We’ll also demonstrate Event Producer X with an AMPP-connected Korona panel, showing a production workflow for repeatable corporate events such as town halls and leadership communications.

Finally, we’ll connect Framelight X with Playout X to demonstrate the path from media management, editing, review and publishing through to channel delivery.

GV: How does this new solution stand out from what’s available on the market?

AK: I think what makes AVORA different is that it brings the main elements of live production together in one standalone system, without requiring teams to build a complete production setup from separate components for every show.

It covers everything from switching, graphics and audio to remote guests, replay, recording and playout. Teams can also prepare and save productions, then duplicate and recall them for future events, which is particularly useful for organizations producing regular shows with consistent requirements.

There is also flexibility in how teams work. AVORA supports both visual, shot-based production and traditional program/preset operation, so operators can choose the approach that suits them.

And although it operates as a standalone solution, AVORA is built on the technology and principles behind GV AMPP. It draws on Grass Valley’s experience in software-defined production, packaged in a system designed for teams that need an integrated, repeatable production environment.

GV: What makes NAB Show New York so essential for your business, and what brings you back each year?

AK: NAB Show New York gives us the opportunity to meet directly with customers, understand the challenges they are facing and discuss how they can get more from their existing infrastructure while adopting new technologies.

It is also a valuable opportunity to demonstrate how hardware, software and hybrid workflows can work together in practice, and to have conversations about what that means for different production environments.

Each year, the value is in those direct exchanges with customers and partners, understanding their priorities and exploring how our solutions can support the way they work today.

Visit Grass Valley at NAB Show New York in Booth 121.

Apple today announced the next generation of Apple TV 4K, which it says will deliver “its most immersive home theater experience yet.”

At the heart of the new box is Siri AI, an entirely new version of Siri powered by the next generation of Apple Intelligence, which the company says will “transform” how users search and discover content. It also features built-in far-field microphones for hands free communication with Siri AI.

The new Apple TV 4K delivers even faster performance and, when paired with four HomePod mini 2 or HomePod (2nd generation) speakers, unlocks the most immersive home theater surround sound setup Apple says it has ever offered. As a home hub, Apple TV 4K also allows for improved smart home management with Apple Intelligence-generated camera activity descriptions and summarized notifications in the Home app, and control of accessories and scenes.

“The new Apple TV 4K is our most immersive home theater experience yet,” said Bob Borchers, Apple’s vice president of Worldwide Product Marketing. “With Siri AI, finding something to watch becomes a full-screen, conversational experience, and with built-in far-field microphones, it’s completely hands-free. Pair it with HomePod for the best surround sound setup we’ve ever offered, and it makes managing your Apple Home accessories easier than ever. Now, alongside HomeView, HomePod mini 2, and Apple Home Collection, it’s part of the most connected Apple Home we’ve ever built.”

The A19 chip in the new Apple TV 4K delivers up to 50% faster CPU performance and up to 2x faster GPU performance than the previous generation, for greater responsiveness, faster navigation, and smoother animations, the company said. The A19 chip also includes a new, dedicated AV1 decoder, enabling more efficient, high-quality streaming while using less bandwidth.

The new Siri Remote keeps its familiar design while adding Find My support with Precision Finding and an option to play a sound on the remote — making it far easier to locate.

Pairing HomePod with Apple TV 4K will allow users to create a four-speaker surround sound experience with Apple TV 4K (4th generation) and HomePod mini 2. The four speakers work together with Apple TV 4K to intelligently recognize their position in the room so audio timing and levels are automatically calibrated to the space. HomePod (2nd generation) can also be used in this four-speaker setup for the ultimate audio experience, as long as the front and rear speaker pairs match.⁵

The new Apple TV 4K also serves as a home hub, giving users control of their smart home accessories from anywhere.

The new Apple TV 4K retails for $299 and can be pre-ordered starting today, with availability beginning November 13.

Check TV Tech sister brand TechRadar for the latest updates.

Engineers, IT and technical staff are invited to attend a technical symposium put on by Chapter 39 of the Society of Broadcast Engineers and American Tower in November.

It will be held on Nov. 12 at a Nielsen facility in Oldsmar, Fla.

Chapter 39 is based in Tampa Bay.

“This event offers a full day of excellent broadcast engineering and technology content for just $20, including breakfast, lunch and refreshments,” according to Roz Clark, who is one of the chapter’s officers.

“It’s one of the most affordable and valuable training opportunities available for broadcast engineering technologists. We have some heavyweight presenters covering all sorts of technology including cyber, advanced networking and AWS for Broadcast. This will also be the final year the symposium is held at the Nielsen facility before its closure.”

The agenda appears below on a poster shared by the chapter. Register at www.sbe39.com.

Riedel Communications said it has deployed its private 5G platform to support coverage of Germany’s DTM racing series.

Developed in collaboration with (Deutsche Tourenwagen Masters, or German Touring Car Masters) series and broadcast service provider TV Skyline, the infrastructure uses Riedel’s Easy5G private 5G platform as the primary transmission system for onboard camera signals, aiming to enable more immersive motorsports coverage and opening the way to fully digitally connected cars on track, according to Riedel.

The solution enables reliable transmission of high-resolution video signals directly from the cars, with data rates remaining robust even at top speed, Riedel said. All 21 DTM cars feature on-board cameras; six are equipped with additional action cameras. Production of the Porsche Sixt Carrera Cup Germany incorporates 24 different camera angles, providing viewers with enhanced views of the action.

From the outset, the architecture was designed to scale, providing the technical foundation for additional camera angles, higher data volumes and future production requirements, Riedel said. Additionally, the company’s DIVA+ infrastructure (Data, Intercom, Video, and Audio) forms the technical foundation for on-site production near the track, the company said.

Operating at 100 MHz, the private 5G network achieves uplink data rates of up to 140 megabits per second. Efficient spectrum utilization enables high network capacity with comparatively low bandwidth, also ensuring growing data volumes are processed reliably. The topography-optimized design requires only four to seven antenna locations depending on the track’s characteristics, aiming to minimize infrastructure requirements, the company said.

“With Easy5G, we’re bringing private 5G into live operations for an international racing series for the first time—and this is just the beginning,” Riedel CEO, Managed Technology Luz Rathmann said. “This isn’t just a one-off solution; it’s a future-proof platform for professional live productions.”

Added TV Skyline CEO Wolfgang Reeh: “As the DTM’s TV production partner and technical service provider, we are constantly working to innovate and further develop our product. We have identified a limitation in the area of onboard cameras, which we plan to resolve in the future using private 5G technology.”

Claudia Wagner, managing director of DTM, added: “With our continued development of private 5G, we are laying the digital foundation for the next generation of DTM production: scalable, data-driven, flexible, and independent. With this technology and the ability to show spectacular onboard footage of all participants in every race, the DTM is setting a new standard. This gives us the foundation for new content formats and innovative fan experiences, thereby creating opportunities for sustainable new business models in motorsports.”

NAB Show New York will again be held at the Javits Center this month.

Its conferences take place Tuesday, Oct. 20, to Thursday, Oct. 22, with the exhibits open on Wednesday and Thursday.

The show promises to explore “AI, creators, streaming, sports and broadcasting alongside the technologies and business strategies shaping the future of media.”

The list of 200-plus exhibitors includes names familiar in radio, including AWS, Calrec, Comrex, ENCO, GatesAir, Lawo, Nautel, Orban, Radio.Cloud, RCS, Telos Alliance, Wheatstone, WideOrbit, WorldCast Systems and Xperi.

On the show floor, four theaters will offer free educational programming.

Last year’s show drew a reported 11,500 people.

The session list for 2026 is heavy with content for TV professionals. There’s a conference on Local TV Strategies, as well as NAB Show New York Post|Production World, in partnership with Future Media Conferences, which is for editors, producers and motion designers in TV, film and video. One of the floor theaters will have a dedicated sports track.

Separately, a “SMPTE Bootcamp: Precision Timing for ST 2110” will discuss precision timing systems that keep distributed media in sync and the network mechanics that carry audio and video across IP infrastructure.

“Real-World Newsroom Results”
A Wednesday afternoon session offers highlights from NAB’s Google AI Training.

“Learn how broadcasters are applying Google AI tools following NAB’s Google News Initiative training program,” organizers stated.

That training was offered to NAB members and was conducted virtually this summer.

“Participants will share practical workflow learnings for deep research, document analysis, information integrity and building more resilient newsrooms, while discussing how AI can strengthen journalism, improve daily operations and better serve audiences across broadcast and digital platforms.”

Sports Betting
A session called “The Future of Sports Betting: Growth, Media & Responsibility” takes place Wednesday afternoon.

Christian Genetski is president of FanDuel, while Craig Carton of WFAN New York is an award-winning sports broadcaster and “Responsible Gaming Ambassador” for FanDuel as well as an inductee to the New York State Broadcasters Hall of Fame.

They plan to talk about the convergence of betting and media, the changing regulatory landscape, the future of fan engagement and the industry’s responsibility to address problem gambling.

Future of Media
Show organizers say that as legacy business models come under pressure and investors demand greater focus, media companies are rethinking their portfolios through mergers, acquisitions, divestitures and spin-offs.

What are the implications of this trend for audiences, advertisers and investors? The question will be explored on Wednesday in “The Future of Media: Consolidation or Spin-Off?”

It will be moderated by media and sports reporter Alex Sherman of CNBC. Among those speaking is Jessica Reif Ehrlich, managing director and senior media and entertainment analyst at BofA Securities,

Here’s a link to info about the exhibit floor.

AUSTIN, Texas—Apple is bringing Dolby Atmos alongside Dolby Vision to Formula 1 for Apple TV subscribers beginning with coverage of the 2026 U.S. Grand Prix, Oct. 23-25, from the Circuit of The Americas in Austin, Texas.

For the first time, fans in the U.S. with an Apple TV subscription will be able to experience every Formula 1 race weekend in both Dolby Vision and Dolby Atmos.

“We’re always looking for new ways to make Formula 1 on Apple TV even better for fans,” said Oliver Schusser, Apple’s vice president of Music, Sports, Apple TV, and Beats. “The sound of Formula 1 is such an important part of what makes the sport so exciting, and with Dolby Atmos joining Dolby Vision, fans can experience the energy and intensity of every Grand Prix in a whole new way. It’s another example of how we’re continuing to innovate across the viewing experience to bring fans closer to the action.”



Dolby Atmos brings immersive audio to viewers, from team radio communications and race commentary to the roar of the engines, while Dolby Vision offers richer colors, greater contrast, enhanced brightness and lifelike clarity.

Formula 1 in Dolby Vision and Dolby Atmos is available through the Apple TV app on supported Apple devices and compatible Dolby-enabled TVs, soundbars and home theater systems.



"Formula 1 is one of the most captivating sports in the world, where every circuit, team, and race weekend has its own visual and sonic identity," said John Couling, senior vice president of Entertainment at Dolby Laboratories.

Apple TV is the exclusive U.S. home of Formula 1, delivering every practice, qualifying, Sprint session and race live and on demand.

More information is available on the company’s website.

Disney+ will stream Super Bowl LXI on Sunday, Feb. 14, 2027, the company announced today.

Disney+ subscribers in the United States can stream the traditional game presentation airing on ESPN and ABC, with Joe Buck, Troy Aikman, Lisa Salters and Laura Rutledge on the call, as well as the Spanish-language telecast on ESPN Deportes.

Outside of the U.S., Disney+ will stream ESPN’s Super Bowl in more than 55 international markets, including Spanish-speaking Latin America, Brazil, the Caribbean, South Africa and Australia/New Zealand. In conjunction, ESPN’s linear platforms will carry the Super Bowl in more than 130 countries and territories.

In addition to Super Bowl LXI, two Monday Night Football regular-season games will be available to Disney+ subscribers in the lead-up to the big game: The Oct. 26 matchup between the Dallas Cowboys and a second game to be announced.

Both games will continue to air as scheduled on ESPN/ABC and ESPN Deportes, with the option to stream both the English- and Spanish-language broadcasts on Disney+. These add to the expanding roster of domestic and global live sports available on Disney+.

The 2027 Super Bowl is the first time ABC has broadcast the game since 2006, before Disney+ existed. Today's announcement is of most interest to subscribers to Disney+’s basic service, who don’t have access to ABC or ESPN’s live network feeds. While CBS has streamed the Super Bowl over Paramount+, NBC has streamed it on Peacock and Fox on Tubi and Fox Sports, this marks the first time the Super Bowl will be streamed on Disney+.

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Francesco Scartozzi, vice president of sales and development at Matrox Video.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Francesco Scartozzi: Software-defined production will continue to be a defining theme. The conversation has moved beyond whether software belongs in live production and is now focused on how software, standard IT infrastructure, and purpose-built hardware work together to create more flexible media facilities.

We also expect growing momentum around the Dynamic Media Facility (DMF) vision and the Media eXchange Layer (MXL). These industry initiatives reflect the move toward more open, interoperable architectures that simplify media exchange, improve resource utilization and give customers greater flexibility to build production environments around their operational needs.

At the same time, organizations are increasingly looking for ways to seamlessly connect edge devices, on-premises infrastructure and cloud resources. Broadcasters want the freedom to deploy applications wherever it makes the most operational and economic sense while maintaining a unified workflow across their entire operation.

Hardware remains essential at the edge. Signal capture, transport, synchronization, monitoring and control require technologies that complement software-defined infrastructure and deliver the performance and reliability live production demands. The opportunity is not cloud versus on-premises, but creating a unified media environment that connects the edge, the ground and the cloud through open, software-defined architectures.

TVT: What’s your key product announcement for the show, and what problem does it solve?

FS: Our key focus is Matrox ORIGIN, our software-defined media framework that enables developers, broadcasters, OEMs and technology providers to build flexible production applications on commercial off-the-shelf IT infrastructure.

Broadcasters want to become more agile and efficient while maintaining reliable operations. They need technologies that work with existing infrastructure, support applications from multiple vendors and give them room to evolve as production requirements change.

Matrox ORIGIN addresses these needs by providing a complete framework for building software-defined production environments. Its MXL-compatible fabric helps organizations realize the Dynamic Media Facility vision today, supporting more flexible media exchange and integration across an open ecosystem of applications.

Beyond interoperability, Matrox ORIGIN dramatically reduces the complexity of building and deploying professional media applications. Developers can leverage a rich catalogue of production-ready media services, open APIs, and modern software development tools to accelerate innovation while avoiding the cost and complexity traditionally associated with broadcast infrastructure.

Matrox ORIGIN’s asynchronous architecture enables media services and applications to operate seamlessly across edge, on-premises and cloud environments. This allows organizations to connect the edge, the ground and the cloud as a single logical production environment while modernizing at their own pace and leveraging existing infrastructure investments.

TVT: How does this new solution stand out from what’s available on the market?

FS: Matrox ORIGIN combines an asynchronous media framework with an open ecosystem approach, giving organisations the flexibility to build production applications on generic IT equipment and integrate technologies from multiple vendors.

Its MXL-compatible fabric supports the industry’s direction toward more interoperable, software-defined media facilities. Customers can develop workflows around their needs while connecting existing infrastructure with new applications and capabilities.

What truly differentiates ORIGIN is that it goes beyond the vision of software-defined production to provide a complete, production-ready implementation. It combines media transport, processing, control, deployment, resilience and scalability within a single framework while remaining open to third-party applications and services.

ORIGIN also delivers capabilities including location-independent routing, intelligent transport optimisation, and built-in multiproducer redundancy. These technologies simplify deployment, improve resilience, and enable seamless scaling across edge, ground, and cloud environments without requiring complex reconfiguration or custom failover mechanisms.

The result is a platform that enables organizations to build, deploy, and operate software-defined production systems faster, with greater reliability, and with the flexibility to evolve alongside industry initiatives such as DMF and MXL. The growing ORIGIN ecosystem reflects that approach, giving customers greater choice and the ability to modernize at their own pace.

TVT: What makes NAB Show New York so essential for your business, and what brings you back each year?

FS: NAB Show New York provides a valuable opportunity to connect with customers, partners, developers and technology providers and discuss the operational challenges shaping their next investments. Digital communication keeps us connected throughout the year, but in-person conversations offer a deeper understanding of what organizations need and how those priorities are changing.

Customers want to know how technologies integrate into complete workflows, work alongside existing infrastructure and fit within a broader ecosystem. The show gives us an opportunity to have those conversations and exchange ideas with the people building and operating these environments.

For Matrox Video, those conversations help shape our product development and ensure that our solutions continue to address real operational challenges.

Visit Matrox Video at NAB Show New York in Booth 827.

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Matt Williams-Neale, vice president of marketing and communications at Appear.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Matt Williams-Neale: Recent conversations at IBC2026 reinforced demand for adaptable infrastructure, and we expect that to continue at NAB Show New York. Broadcasters want to combine hardware, software and cloud according to each workflow, while developments such as DMF [Dynamic Media Facility] and MXL [Media eXchange Layer] for interoperable, software-defined broadcast facilities are part of more practical discussions.

With the upper C-band set for auction by July 2027, broadcasters using C-band satellite capacity need to plan their move to IP now. They want a phased migration that maintains broadcast-grade control and reliable live services.

Live production workflow is equally important as sports coverage expands across more venues and increases in scale. Customers need low-latency transport from venue to production facility or cloud, with secure connectivity and resilience over networks with unpredictable performance. These requirements are shaping investment in remote production as teams look to cover more events without an increase in resources.

TVT: What’s your key product announcement for the show, and what problem does it solve?

MWN: At NAB Show New York, we're highlighting how our X Platform hardware and VX software solutions work together across live event contribution, IP distribution and live production workflows. Broadcasters need to deliver more content while controlling costs and making better use of their infrastructure.

X Platform provides low-latency processing and predictable performance at the venue, while VX extends contribution feeds into the cloud and enables processing and workflow functions to run in software. This gives teams more options for expanding remote production across different event scales.

Hardware-accelerated SRT enables secure transport over unmanaged networks, helping broadcasters transition from satellite, leased circuits and SDI infrastructure. Customers can introduce these capabilities in stages, retaining dedicated hardware where performance is critical and adding software as their production requirements evolve.

TVT: How does this new solution stand out from what’s available on the market?

MWN: Our approach combines X Platform hardware and VX software so customers can choose where to run different parts of their workflow while maintaining control over live production. VX is natively integrated with X Platform, allowing teams to introduce software processing while retaining dedicated hardware where predictable performance matters most.

Support for JPEG XS, SRT and ST 2110 gives customers the flexibility to accommodate changing formats and production models within the same infrastructure, reducing the need to replace systems as requirements evolve. Support for multiple codecs and hardware-accelerated SRT helps us address those requirements across different production scales, including contribution over unmanaged networks.

TVT: What makes NAB Show New York so essential for your business, and what brings you back each year?

MNW: We’re already successful in the U.S., and we strongly believe that there is further room for growth in North America. NAB Show New York gives us an opportunity to speak directly with customers and partners about their investment plans, from satellite-to-IP migration to expanding live event contribution and REMI. The value comes from the quality of those conversations and having the right people involved. Understanding how customers use our technology, where they need more flexibility and what they want us to develop helps shape our product priorities.

A successful show strengthens existing relationships and opens discussions around new projects. It gives us a clearer understanding of how U.S. broadcasters and production companies plan to operate, helping us support their requirements as we continue to grow in North America.

Visit Appear at NAB Show New York in Booth 129.

NEW YORK—Last December, when the Academy of Motion Picture Arts and Sciences and YouTube struck a multiyear deal to give the streamer exclusive global rights to the Oscars starting in 2029, it marked an inflection point in the transition of live marquee TV events from traditional broadcast to streaming,

Now the Emmys have followed suit.

The Television Academy said it has inked a six-year deal to make Amazon’s Prime Video the exclusive home of the Emmy Awards starting next year.

The agreement succeeds the rotation among ABC, CBS, Fox and NBC, which concludes with this year’s telecast. This new alliance ensures that TV’s premier honors will continue to adapt to a changing media landscape, embracing the future of how audiences consume great television, the Academy said.

The 2027 ceremony will continue to anchor the fall TV season by streaming live in September and will not be paywalled, Amazon said. The Emmys stream will be made available free to audiences worldwide.

This year, the Emmys telecast on NBC and Peacock drew 6.7 million viewers, down from the 7.42 million that watched the 2025 ceremonies on CBS and Paramount+, its highest ratings since 2021.

Prime Video thinks it can greatly expand that number by leveraging its offerings and services to elevate the Television Academy’s mission, delivering new experiences and entry points for fans to discover, engage with and celebrate what they love about TV, it said.

“Television has never been more global, and the Emmys should be a celebration that the world can share,” said Cris Abrego, chair of the Television Academy. “Now Prime Video audiences in more than 200 countries will be able to experience the Emmys live with no subscription required.

Abrego thanked broadcasters but said it was time to move on.

“Our broadcast partners have been tremendous stewards of the Emmys for many years, helping to build them into the cultural institution they are today,” he said. “Having a dedicated home with Prime Video allows us to build on that legacy with unprecedented global reach and a broader commitment to the Television Academy and our mission throughout the year. Amazon shares our deep respect for the history of the Emmys and brings the investment, innovation and scale to help us shape their next chapter.”

More information is available on the Television Academy’s website.

Nominations for the 2026 annual Media and Entertainment: Best in Market Awards are now open. The awards are open to companies that launched a product/service or brought new upgrades to an existing product/service in 2026.

They are comprised of three Future-brand categories: TV Tech, TVBEurope and and Radio World.

Winners will be promoted on the selected brand’s website, publications and newsletters as an official Best in Market award winner. They will also receive a fully-licensed winner’s badge that can be used to promote the product as a winner, both domestically and internationally.

All entrants—whether selected as a winner or not—will receive a nominee badge to promote their entry.

Entries must be submitted by 23:59 PST on Nov. 20th, 2026. Winners will be announced in mid-December.

More details are available here.

Prominent names and faces from across the media and entertainment industry gathered at New York’s Ziegfeld Ballroom on Sept. 29 for the Broadcasting+Cable Hall of Fame, the gala annual industry event that is a Future B2B sister brand to TV Tech.

Among the honorees this year were CNN’s Wolf Blitzer, Bravo reality maven Andy Cohen and celebrity chef Bobby Flay; leading executives including NBCUniversal Telemundo chairman Luis Fernandez, Fox News Media CEO Suzanne Scott and Disney President, Global Advertising Rita Ferro; franchise of the year “Star Trek,” celebrating its 60th anniversary and, from the tech world, smart TV pioneer William Wang, founder and CEO of Vizio.

Click the gallery below to view photos from the evening’s festivities.

For more on the B+C Hall of Fame class of 2026, read the digital edition of the event program here.

(Photos by Mark Reinertson)

MELBOURNE, Australia—Mediaproxy, a provider of software-based IP compliance monitoring and multiviewing solutions, will give NAB Show New York attendees a look at new AI-powered capabilities within its LogServer compliance and analysis platform.

Also on tap for the Javits Convention Center from Oct. 21–22 is the first-ever NAB Show New York demonstration of Monwall Web, Mediaproxy’s interactive, browser-based multiviewer.

LogServer, the company’s flagship compliance and analysis system, will add several AI features designed to streamline live broadcast operations, the company said. The new release incorporates intelligent event detection, automated reporting and expanded quality-of-experience (QOE) monitoring.

Mediaproxy said the enhancements will let operators offload routine checks to the system while gaining insight into real-time issues more quickly within fast-moving broadcast environments. Visitors to Mediaproxy in Booth 561 can see a demonstration of LogServer performing automated tasks typically handled by human operators, including real-time alerting and data-driven analysis. The company called the new AI tool set a significant shift toward more efficient, data-driven monitoring workflows.

Monwall Web, which marks its first appearance at the New York event, incorporates Mediaproxy’s software-defined multiviewer into the web browser, allowing operators to interact with live mosaics from every location. The platform is designed for flexible, low-latency remote monitoring, the company said, and supports Low-Latency HLLs (LL-HLLs) and the Media over QUIC (MoQ) protocol. It also includes remote audio output monitoring and the ability to rewind live layouts.

Mediaproxy also said it has signed on to the open-source Media eXchange Layer (MXL) initiative, integrating the technology’s high-performance, in-memory media transport into its software-defined workflows.

For more on the latest developments from Mediaproxy, visit the company’s website.

BOSTON—The Massachusetts Broadcasters Association (MBA) has announced that it will honor longtime Boston 25 (WFXT) anchor Gene Lavanchy with its Broadcaster of the Year Award.

Lananchy will received the award at the association’s annual Sound Bites conference to be held November 19 at the Renaissance Framingham Hotel and Conference Center, Framingham, Massachusetts.

Lavanchy, a Massachusetts native, has been a familiar face in New England homes for more than 37 years, informing, entertaining, and connecting with viewers through his approachable style, local perspective, and genuine appreciation for the communities he serves, MBA reported.

“Gene represents everything that makes a great broadcaster,” said Todd Brown, vice president and general manager of Boston 25, which is owned by Cox Media Group. “For years, he’s been a trusted and familiar presence in our community, bringing professionalism, passion, and a genuine commitment to the viewers we serve. Gene has been part of the stories that matter most to our local community- celebrating its people, highlighting its accomplishments and being there during its most important moments. Gene has not only been an important part of the station’s history but has helped shape the legacy we continue to build today. We are incredibly proud to honor him as Broadcaster of the Year.”

Lavanchy began his Boston television career in 1989 as the studio host for Boston Bruins hockey broadcasts on TV38, a role he held for four seasons. In 1992, he joined WHDH-TV as weekend sports anchor before rising to Sports Director and lead sports anchor. During his 11 years at the station, Gene also hosted the popular Sunday night program Sports Xtra. His work earned him multiple Emmy and Associated Press awards, as well as recognition as Massachusetts Sportscaster of the Year by the National Sportscasters and Sportswriters Association.

“Gene Lavanchy epitomizes ‘localism’ in broadcast television,” said MBA executive director Jordan Walton. “From his work in the sports world, which we take very seriously in New England, to his time 20+ years as a news anchor at Boston 25, Gene has developed an incredible connection with his viewers and we look forward to honoring him at Sound Bites 2026 this November.”

In 2003, Gene became a vital part of the launch of Boston 25 Morning News. Its “all local, all morning long” combination of news, traffic, and weather offered viewers a distinctly New England alternative to national morning programs. Since then, it has grown into a go-to source for busy viewers preparing for the day ahead.

For the past 23 seasons, Gene has also served as the field anchor for Boston 25 Morning News’ popular Zip Trips. Broadcasting live from cities and towns across Massachusetts, he has visited more than 300 communities and met thousands of remarkable people along the way.

Lavanchy will be the thirteenth recipient of the MBA Broadcaster of the Year Award.

Sound Bites is the MBA’s annual learning, meeting, and mingling event which provides seminars for sales, programming staff, and managers, offers a networking reception and dinner program led by the MBA’s annual meeting, industry guests and speakers, and the annual Sound Bites Awards, which recognizes the best in Massachusetts radio and television broadcasting over the previous year.

Tickets for Sound Bites can be purchased on the association’s website through November 12.

Visit www.massbroadcasters.org for more information.

WASHINGTON—NAB Show New York 2026 has announced programming and speaker highlights for the event, which is taking place Oct. 21–22 at the Javits Center.

The East Coast marketplace for media innovation will bring together more than 150 speakers across 60-plus educational sessions broadcast, streaming, sports, the creator economy and AI, along with the technologies, business strategies and new models reshaping how content is created, produced, distributed and monetized.

During the show this year, the organizers reported that the NAB Show New York is expanding its focus on the business of media and entertainment in 2026 by connecting technology innovation more directly to investment, growth, monetization and real-world implementation.

Business strategy moves to the forefront with new conversations around consolidation and investment, creator-led companies and the changing economics of sports, while AI programming increasingly focuses on how organizations are putting the technology to work.

On the show floor, more than 240 participating companies will give attendees opportunities to compare technologies and evaluate tools and workflows for immediate implementation.

“NAB Show New York reflects a media industry where technology and business strategy can no longer be separated,” said Karen Chupka, executive vice president, Global Connections and Events at NAB. “Whether you’re building a creator-led company, rethinking a streaming product, investing in sports or modernizing a newsroom, the decisions being made today are about both how content gets made and how media businesses grow.”

More specifically, the show will also be putting a spotlight on some of the industry’s biggest structural changes during “The Great Media Reshuffling: Consolidation, Spin-Offs and the Battle for Scale” panel featuring Jessica Reif Ehrlich, managing director and senior media and entertainment analyst at BofA Securities; Eric Menell, global head, Media and Communications Investment Banking at J.P. Morgan; and Aaron Sobel, partner at Apollo Global Management. CNBC media and sports reporter Alex Sherman moderates the discussion of the forces reshaping the media business.

Creator businesses are part of that changing landscape. Michael Kassan, founder and CEO of 3C Ventures, will lead “From Following to Franchise: Building the Next Generation of Creator-Led Entertainment,” exploring the evolution of creators from audience builders into owners of scalable media businesses and entertainment brands. He will be joined by Jarret Myer, co-founder and CEO of UPROXX, and Chelley Bissainthe, TV personality and “Love Island USA” season 7 contestant

Additional programming will examine monetization, advertising, streaming and the economics of local television as established media companies and new entrants compete for audiences, investment and growth.

Sports: From Media Rights to Investment and Fan Engagement

Another major highlight will be sports programming examining the increasingly interconnected worlds of media, investment, betting, production and audience engagement.

“The Future of Sports Betting: Growth, Media and Responsibility” features FanDuel President Christian Genetski and Craig Carton, TV host and FanDuel responsible gaming ambassador at WFAN Radio. “Investing in Sports Media Today” features Laurie Freeman, partner at Bruin Capital, and George Barrios, director and investor at Isos Capital Management, while “Inside the Live Sports Economy with Jon Ledecky” features New York Islanders co-owner Jon Ledecky on the economics, ownership models and opportunities shaping sports media.

“Game On: The Power of Sports on Broadcast” features OutKick founder Clay Travis in conversation with NAB President and CEO Curtis LeGeyt. Other sessions explore sports marketing, production innovation and new approaches to fan engagement.

AI Moves from Experimentation to Implementation

Artificial intelligence runs throughout the program, with an emphasis on how organizations are putting AI to work in newsrooms, production environments and content operations.

“Creating an Environment of FOMO: AI in the Newsroom” features Ryan Struyk, director of AI innovation at CNN, and Christina Hartman, vice president of emerging technology operations at The E.W. Scripps Company, discussing organizational adoption and practical newsroom applications. “Can AI Help Solve the Local News Crisis?” brings together Axios COO Allison Murphy and former CBS News President and CEO Wendy McMahon to explore how AI could help build more sustainable local journalism while preserving trust and human reporting. Another session will share practical newsroom lessons from NAB’s Google AI training initiative, including applications for research, document analysis and information integrity.

Streaming and Next-Generation Media Technology

Streaming leaders will examine how platforms are evolving around changing audience expectations, personalization and product performance.

“Providing a Personalized Playback Experience: What Customers Want and What’s Coming Next,” moderated by VP of OTT at Vimeo Francesca Sussman, features Isaac Josephson, senior vice president of product management at Fubo, and Srebrina Tanova, senior director of software engineering, content discovery experience services and tools at Warner Bros. Discovery. “Inside Paramount Skunk Works” offers a look at Paramount’s approach to rapid experimentation and streaming product innovation with Vice President of Engineering Tom Schultz.

NASA+ General Manager Rebecca Sirmons and NASA broadcast technology leaders will explore the future of streaming in “Streaming the Next Frontier with NASA+,” which also includes longtime Kennedy Space Center broadcast engineer Ron Gonser. “Seoul Search: Leveraging ATSC 3.0 and K-Culture to Unlock New Opportunities” examines the intersection of NextGen TV technology and emerging content opportunities with Sinclair Broadcast Group President of Technology Del Parks and NAB Chief Innovation Officer and Senior Vice President of Emerging Technology John Clark.

Local Television Leaders Tackle Streaming, AI, Revenue and Technology

The Local TV Strategies conference on Oct. 21 brings together senior executives from major station groups to examine the business and operational transformation of local television.

Programming will explore streaming strategy, new revenue opportunities, AI implementation, technology investment and the 2027 advertising marketplace, with executives representing CBS, Cox Media Group, Fox Television Stations, Gray Media, Hearst Television, NBCUniversal Local, Nexstar, Sinclair, Scripps and Tegna.

Creators, Streaming and Sound

Creator-focused programming will examine how independent creators and emerging media companies are turning audiences into sustainable businesses through monetization, production efficiency, partnerships and platform strategy. The program also includes streaming-focused sessions and AES@NAB New York, bringing professional audio into the broader conversation around the future of content creation and distribution.

Technology Discovery Across the Show Floor

The show floor will feature 225+ exhibiting companies, including more than 40 new exhibitors and 53 international companies, spanning production, post, broadcast, streaming, cloud, AI, audio, workflow and infrastructure technologies.

Attendees can compare technologies side by side, see demonstrations and connect directly with vendors and partners as they evaluate tools and workflows for immediate implementation. The show is expected to draw professionals with significant buying influence across corporate enterprise and brand studios, film and television, creators, broadcasting, systems integration, streaming and sports.

In addition, the Career Fair returns both days, connecting students and early-career professionals with employers across the media industry. Post|Production World New York runs Oct. 20–21 with in-depth training for editors, motion graphics artists, visual effects professionals and post-production specialists. The NAB Marconi Radio Awards take place Oct. 20 at the Edison Ballroom ahead of the Show. (Tickets must be purchased separately from show passes.)

Explore the full NAB Show New York speaker lineup and view the 2026 education program.

Registration for NAB Show New York 2026 is now open.

TORONTO—The North American Broadcasters Association will hold Cyber University 2.0, a full-day cybersecurity summit, Oct. 20 focused on defending against growing cyber threats facing the broadcast and media industries.

The summit will take place at The Greene Space at WNYC, 44 Charlton St., New York, N.Y., from 9:30 a.m. to 5 p.m. EDT.

Following the inaugural Cyber University in 2023, this year's event will bring together cybersecurity practitioners, broadcast and technology leaders, law enforcement officials and industry experts to share practical insights into protecting media organizations against an increasingly complex cyber threat landscape.

“Broadcasters are increasingly adopting IP-based production, cloud infrastructure, remote workflows and interconnected technology ecosystems, which bring with them new security vulnerabilities,” said Rebecca Hanson, NABA director-general. “Cyber University 2.0 is [a] forum to identify these emerging vulnerabilities, share real-world experiences and discuss practical strategies for strengthening cybersecurity and operational resilience.”

Cyber University 2.0 will feature sessions across a range of topics, including ransomware response, building executive and board-level support for cybersecurity investment, the security implications of agentic AI, cloud and identity protection, law enforcement perspectives on cyber threats and content supply-chain security.

The full slate of guest speakers covers a diverse range of cybersecurity expertise and include leading organizations such as Google, the Federal Bureau of Investigation (FBI), the Royal Canadian Mounted Police (RCMP), Sinclair, FOX, CBS/Paramount, PBS, NYPR, Mandiant/Google Cloud, CYPFER, Wiz, OKTA, Trusted Partner Network (TPN) and Columbia University.

Who should attend Cyber University 2.0?

• Broadcaster Chief Information Security Officers (CISOs) and other cyber support professionals.
• Broadcast network engineers, including for IP-based networks and cloud workflows.
• Production and news tech engineers overseeing automation systems and IT infrastructure.
• General managers responsible for overall station operations.

Summit registration and additional information is available online.

As a veteran of 25-plus IBC Shows over the past nearly 30 years, I can attest that navigating the annual gathering has its own particular quirks that distinguish it from the NAB Show, particularly the tone of the locale. Apart from the fact that Amsterdam is the “wet and humid” show and NAB is the “dry” show (but only when talking about the climate), IBC also represents a more relaxed tone that reflects the nature of the ancient city itself.

Nevertheless, most of the themes were similar, and before we set our sights on the next gathering (NAB Show New York), I wanted to share some of my thoughts around the central themes:

AI: IBC reported 41,225 attendees for the show, which ran Sept. 11-14 at the RAI Amsterdam, down 6% from 2025. Although consolidation, particularly among U.S. broadcasters, is often cited as one of the main reasons for the decline, I also think it represents a cooling off from the past three or four years, when interest was higher after COVID. (That’s not to mention that the number of attendees from the U.S. has declined since trade shows resumed in 2022.)

But I also think artificial intelligence is playing a role, as more processes become automated. I was reminded of this after hearing Grass Valley Chief Technology Officer Ian Fletcher’s rule that “complexity doesn’t go away, it just moves around.” As the process of media management, production and distribution becomes more automated and software-based, more people are moved out of the media production chain.

Seeing a software demo on the show floor can certainly have more impact than over Zoom, but is it still worth the cost of travel?

This is an ongoing issue that won’t be resolved by the oft-repeated trope that those same people who were doing rote tasks are simply being moved to other areas where they can “focus on other more important work.” Attrition is real and growing.

Collaboration: In our industry, companies have a long history of partnering with competitors, but that seems to be increasing—and this is more of a reflection of the increasing focus on software.

Nowhere was this better illustrated than by the growing influence and impact of MXL (Media eXchange Layer), a critical component of the EBU’s Dynamic Media Facility initiative. Tech demos showcasing partnerships between Grass Valley and Lawo, Matrox and EVS, as well as multivendor demonstrations at the Techex, Qvest and AWS stands, just to name a few, demonstrated how quickly MXL is moving beyond the proof-of-concept stage toward real-world deployment.

The EBU-led MXL initiative also received significant recognition at IBC, winning an IBC 2026 Innovation Award in the Content Creation category. The growing number of vendors incorporating MXL into commercial products and demonstrations suggests the technology is increasingly becoming part of the broader software-defined media ecosystem.

Cybersecurity: Alarmed over recent news of disruptions created by “rogue” AI agents, the security of media production systems was also top of mind for many attendees. As more media and media processing moves into the cloud, concern over potential vulnerabilities increases. This has prompted more production to become hybrid-based, with certain content and processes stored both in the cloud and on-prem.

It has also led to more interest in “MCP,” or Model Context Protocol, a framework that allows customers to establish guardrails to limit information accessible to AI agents.

Tariffs: The “T-word” was back, having been overshadowed by AI and the memory and chip shortages that were the talk of earlier shows. With many of the media tech industry’s largest companies based in Canada, President Donald Trump’s recent imposition of a 50% duty on targeted goods has forced some vendors to raise prices. And although some goods are exempt and vendors are attempting to absorb costs, the tariffs—along with the continued pressure on memory and chip availability worldwide—are cause for concern. However, the increased influence of software-defined production is helping to ameliorate the impact.

I’ll share more of my thoughts about my conversations with IBC exhibitors in the October issue of TV Tech.

AMSTERDAM—The organizers of IBC2026 have announced that the event welcomed 41,225 attendees from 170 countries and more than 1,300 exhibitors.

That was down from 43,858 visitors in 2025 and a further decline from 45,085 attendees reported for IBC2024. But across the exhibition, 256 companies made their IBC debut, an increase of 36% from 2025 while many established global brands expanded their presence.

A variety of initiatives, including Future Tech Ignite, Braindate and the expanded Talent & Skills Development Program, also created more ways for ideas, expertise and commercial opportunities to develop across the global IBC community, the organizers reported.

The organizers also announced that IBC will return to the RAI Amsterdam from Sept. 10–13, 2027, for its 60th anniversary.

“IBC’s superpower is the power to convene our industry,” IBC CEO Mike Crimp said. “Our industry has always been at its best when people come together, embrace new technology, and work through challenges to create real opportunity. That’s why IBC remains so important. We bring together all corners of the industry to demonstrate how innovation can solve practical challenges.”

Several exhibitors described the show as an important venue for meeting customers.

“It’s a massive opportunity for our product teams to get a direction on where the industry wants to go and for us to share ideas with the industry and get that feedback loop going,” said Jeff Moore, executive vice president and chief marketing officer, Ross Video, citing a first-day sale of one of the company’s new solutions. “That shows you right there the value of IBC.”

“We increased our presence for IBC2026 and saw a real buzz on the booth this year, with high-quality visitors and customer conversations throughout the show,” added Kara Martin-Beijer, vice president, corporate marketing at Avid.

“The caliber of conversations and folks who have been attending here across every sub-vertical within media and entertainment has been very high value and really engaging,” Jean Blatchford, senior product marketing manager, global industry, Microsoft said in a statement.

The organizers also stressed that a number of newer initiatives helped make the show an increasingly important forum for new ideas and technologies.

During the show, Future Tech, introduced in 2025, expanded its role as a focal point for emerging technologies, collaborative innovation and new industry talent. New for 2026, Future Tech Ignite brought together more than 70 startups and emerging companies, connecting them with investors and established organizations from across media and entertainment.

“The Future Tech zone has been the ideal place for us to make our IBC debut and launch into Europe,” said Ashish Agrawal, founder and CEO of EON Media. “We’ve had great customer conversations and a lot of drop-by visitors who were truly engaged.”

Future Tech Ignite was supported by EIT Culture & Creativity, part of the European Union-backed European Institute of Innovation and Technology, as Innovation Partner.

The new Braindate Lounge, available through the IBC Exchange pass, extended the emphasis on connection through curated one-to-one and small-group conversations. Participants could find people with relevant knowledge, compare experiences and explore specific professional challenges away from the formal stages and meeting schedule.

The IBC Accelerator Media Innovation Program also provided a number of clear examples of innovative collaborations that produced practical results.

As part of the program, broadcasters, streamers and technology companies worked together on nine real-world challenges spanning agentic AI, immersive experiences, private 5G, accessibility, content provenance and live-event streaming. The proof-of-concepts tested technologies that address practical industry needs – shortening the path from experimentation to deployment.

“IBC creates a very unique opportunity… to be able to come together and look at where everybody's headed,” said Caroline Ewerton, senior vice president, content operations and technology at DAZN, which championed multiple Accelerator projects.

The three-day IBC also brought leaders from across media, entertainment, technology and sport together to examine the decisions facing the industry.

Speakers from organizations including Banijay, BBC Studios, CNN, FIFA, Globo, Google, ITV, JioStar, Meta, Netflix, Snap, UEFA, Warner Bros. Discovery and YouTube addressed AI in practice, shifting business models, the economics of live sport, changing patterns of content discovery, security, trust and content provenance and more.

Access our complete IBC2026 coverage here.

Covering everything “from content creation and origination to transmission and reception,” the IEEE Broadcast Technology Society plans to highlight media delivery technologies at its upcoming forum next month.

Taking place Oct. 27–28 in Washington, D.C., the IEEE BTS Broadcast Technology Forum will be held at the National Association of Broadcasters headquarters.

[Editor's note: For TV- and video-focused attendees there are sessions touching on ATSC 3.0, BPS, spectrum management, MINO and other topics.]

For radio-focused attendees, technical program offerings we spotted of interest include sessions on studio-to-transmitter links, hybrid radio tools, AM synchronous boosters and liquid cooling for high-powered transmitters.

Bob Weller, vice president for spectrum policy at NAB, and Guy Bouchard, vice president of IEEE BTS, are co-chairing the event. The forum is the result of an evolution from the former IEEE Broadcast Symposium, which was last held in 2023.

“The format of the forum is pretty much the same as the old symposium,” Weller told Radio World. “But the forum is intended to be less formal, with no proceedings and more open discussion and Q&A.”

Weller added that IEEE BTS was able to reduce attendance costs for this year’s gathering. Early-bird pricing is available through Sept. 27.

The schedule features a joint luncheon with the Association of Federal Communications Consulting Engineers on Tuesday, Oct. 27, and the BTS Awards luncheon on Wednesday, Oct. 28, where Charlie Einolf will receive the 2025 Jules Cohen Award for Outstanding Broadcast Engineering.

Weller and Bouchard have finalized a preliminary schedule, and it can be accessed in its entirety here.

[This article originally appeared in our sister publication Radio World. Their coverage and this article is available here.]

AMSTERDAM—IBC unveiled the winners of the prestigious IBC2026 Innovation Awards at an event held at the RAI Amsterdam on Sunday 13 September.

During the event, previously announced recipients of IBC2026’s International Honor for Excellence, Best Technical Paper and IBC Accelerator Project of the Year 2025 were also presented with their awards

The Innovation Awards celebrate collaborative, real-world breakthroughs across four categories – Content Creation, Content Distribution, Content Everywhere and Social Impact.

The awards recognize projects bringing organizations and technology partners together to address some of the media industry’s most significant challenges, with this year’s winners spanning open-source media workflows, live news distribution, the convergence of broadcast and broadband, and AI-powered accessibility.

“Our 2026 IBC Innovation Awards winners share a common thread in breaking down previously insurmountable geographical, language, and organizational barriers to open media workflows,” said Fergal Ringrose, Chair of the Innovation Awards Jury. “Each winner realizes a transformational environment for collaborative, cloud-native, software-first digital ecosystems.”

The 2026 IBC Innovation Awards winners across the four categories were:

• Content Creation. Media eXchange Layer (MXL) – An open-source initiative established by the European Broadcasting Union in collaboration with the North American Broadcasters Association, hosted by the Linux Foundation and deployed by CBC/Radio-Canada. The project involved contribution from a wide range of industry partners.
• Content Distribution. Capacity that follows the live news story – Reuters replaced fixed-capacity infrastructure with a Global Shared Memory ecosystem powered by TVU Networks' MediaMesh, enabling event-driven, API-orchestrated news distribution, including partner integrations: InSync, Kinetiq, Sony, Elecard and TAG Video Systems.
• Content Everywhere. Implementation of DTV+ in Brazil – Through DTV+, Globo has combined the reach of free-to-air television with the personalization and measurability of digital media. By integrating broadcast and broadband, it reconnects mass audiences with digital capabilities. The project involved collaboration across government, broadcasters and industry.
• Social Impact. Closing the sign language gap – G&L Systemhaus brought together AI company Signapse, software company Norsk/id3as and CDN provider Akamai to build a broadcast-grade, AI-powered sign language solution for live and on-demand streaming.

Additional awards previously announced and presented at the event included:

• International Honor for Excellence (IHFE). This year’s IHFE was awarded to Olympic Broadcasting Services (OBS), recognizing the company’s decades of innovation in live Olympic sports production and its significant impact on the global broadcast industry. Through advances in ultra-high-definition production, immersive audio, remote production workflows, artificial intelligence, cloud-based technologies and next-generation storytelling, OBS has helped transform how audiences around the world experience the Olympic Games.
• Best Technical Paper. The award for Best Technical Paper was given to Emma Maier, Jodie Pearton, Anna Stewart, Arina Mnatsakanyan and Jonathan Freeman, of i2 media research, for their paper titled Measuring and reducing interaction barriers in internet-delivered tv systems through age-informed human factors design. The paper explores how internet-delivered TV can be made easier for older viewers, identifying design barriers that can make everyday tasks harder and demonstrating how an optional age-informed overlay interface can support more confident, independent viewing.
• IBC Accelerator Project of the Year 2025. Selected from the Challenges showcased at IBC last year, the 2025 Accelerator Project of the Year was presented to AI Agent Assistants for Live Production. The project demonstrated an AI Assistant Director acting as an orchestrator of a suite of production agents, enabling simpler voice control and natural language coordination of complex control room workflows. The project also developed an open, vendor-agnostic framework for AI agents working across live production, with an emphasis on augmenting human decision-making while maintaining editorial control. It was Championed by broadcasters ITN, BBC and Channel 4, with Participant vendors CUEZ, Amira Labs, Highfield AI, Monks, CuePilot, Shure, EVS, Moments Lab and Google Cloud.

AMSTERDAM—TV Tech has named its Best of Show Awards winners for IBC2026, which wraps up today, Sept. 14, in Amsterdam. Entrants were judged by a panel of industry experts on the criteria of innovation, feature set, cost efficiency and performance in serving the industry.

Winners will be published in the October issue of TV Tech. In addition to TV Tech, other Future brands that participated in the Best of Show Awards included TVBEurope, Radio World, Installation and ITPro. Nominees paid an entry fee to enter.

Here are this year’s winners:

• Adobe: Generative Media Tool in Premiere
• AJA Video Systems: AJA Video Systems FS8
• Akta: Akta AI First Video Platform
• Amagi Corporation: Amagi Newspulse
• Amazon Web Services (AWS): AWS Elemental MediaPackage Dynamic Multiview
• Appear: Appear X Platform Media Firewall - Hardware-Enforced IP Media Trust Boundaries
• Astera: QuikBeam
• Avid: Avid Media Composer 2026.8
• Beamr: AI Quality Enhancement, Verified on Your Content by Real Viewers in Days
• BeckTV: BeckFlow, the first schematic documentation platform designed specifically for the media and entertainment technology industry by a systems integrator
• Bridge Technologies: TS Playout Feature
• Clear-Com: FreeSpeak Cell
• Cobalt Digital: Hybrid Satellite Solution
• Dejero: Dejero TITAN: World's First Triple 5G Mission-Critical Connectivity Platform
• DJI: DJI Osmo Pocket 4P
• Eluvio: Eluvio Global Broadcast Fabric: First Unified Platform for Broadcast, Streaming, and AI Video Intelligence
• Eluvio: Eluvio Video Intelligence — Inline, Frame-Accurate Video Intelligence & the Eluvio Video Intelligence Editor (EVIE)
• ENCO: enCue AI Production Tool for Video Editing and Content Repurposing
• ENCO: ENCO enCaption Solutions with Multilingual Captioning and On-Prem Translation
• Evertz: ENX Liquid Cooled
• Flanders Scientific, Inc.: GaiaColor AutoCal & Analyzer
• Guangdong SIRUI Optical Co., Ltd: SIRUI Aurora 15mm F1.6 Full-frame Autofocus Lens
• Haivision: Makito ONE
• IN2CORE: Native 12G-SDI multichannel I/O for iPad with ThunderFace 4K Duo+
• InSync: MCC-UHD-XT
• Marshall Electronics: Marshall Electronics CV320
• Mediagenix: Mediagenix Agentic Workflows for Media Operations
• NETGEAR Enterprise: NETGEAR Align Controller
• NetOn.Live: LiveOS
• Proton Camera Innovations GmbH: PROTON IS
• PTZOptics: PTZOptics Rise 4K Broadcast Camera
• QuickLink: QuickLink StudioEdge™ – Expanded Multi‑Platform Remote Guest Contribution Solution
• Ross Video: XPression Chameleon MOS Hybrid HTML5 Workflow
• Shure: Action Isolator with DCA901
• Signiant: Signiant Verify
• Techex: tx darwin
• TSL: Hummingbird Dante
• TrueNAS: TrueNAS V-Series
• Venera Technologies: CapMate - AI-driven cloud-native Caption & Subtitle Verification, Correction, and Generation
• Verimatrix: Verimatrix Streamkeeper Suite
• Vizrt: TriCaster Vizion AI/R
• wTVision: R³ Engine macOS Edition: Bringing Apple Silicon Performance to Professional Live Graphics

AMSTERDAM—Ikegami has unveiled four additions to its UNICAM XE range of 4K cameras, including the UHK-X700VN, UHK-X750VN, UHK-X600VN and UHK-X650VN here at IBC 2026, Sept. 11-14.

Developed from the established UHK-X700, X750, X600 and X650 broadcast and professional video production cameras, the VN versions offer new creative features normally associated with digital cinematography, including seamless depth of field adjustability, Bokeh effects and seamless exposure adjustment.

Integral to the VN models is an advanced variable neutral-density filter that allows camera operators to maintain their existing iris setting and depth of field while precisely controlling exposure, regardless of changes in the amount of incoming light. This supports a wide range of creative applications, including naturally blurring the background to emphasize the subject. Applications include reducing interference patterns when shooting LED walls in news studios or in virtual production environments.

Conventional variable neutral-density filters typically cause light loss when switched from a clear-filter state to variable neutral-density operation. The new cameras employ a proprietary Ikegami filter structure to provide seamless and stepless variable neutral-density control, starting from a zero-attenuation state.

This minimizes the exposure shift and changes in image characteristics that can occur when variable neutral-density control is initially engaged. Exposure can thus be adjusted even during live production, maintaining the desired iris setting and depth of field as well as providing greater creative freedom.

The VN cameras include new control modes based on the variable neutral-density filter. Among these is a mode allowing the operator to define the variable range of the lens iris. This is particularly effective when maintaining optimal optical lens performance as a priority or when a specific depth of field is desired.

In addition, an automated mode delivers continuous exposure control across a wide range by enabling simultaneous control of the variable neutral-density filter, lens iris and electronic gain. The camera system optimizes exposure while maintaining the operator's desired visual characteristics.

The UHK-X700VN incorporates 2/3-inch CMOS 4K sensors with global shutters to eliminate rolling shutter distortion and flash-banding artifacts. It includes full support for HDR imagery with HLG as well as BT.2020 and BT.709 chroma spaces.

When combined with the BSX-100 base station, the UHK-X700VN optionally supports simultaneous output in 4K and HD video formats, including mixed sources. 4K video is available as a 12G-SDI feed directly from the camera head, allowing the UHK-X700VN to be integrated into a wireless system. High frame rate shooting at up to 2x speed in 4K or up to 8x speed in HD via the base station is possible as an option for applications such as capturing fast motion in sport or stage events.

The UHK-X750VN is a full studio camera with all the UHK-X700VN features except those that apply to portable shoulder operation. It offers a lower center of gravity than the UHK-X700VN plus easier staging compared to a portable camera with telephoto lens and supporter.

The UHK-X600VN and UHK-X650VN are HD variants of the UHK-X600 and UHK-X650 respectively, upgradeable to native UHD by adding a software license key.

See Ikegami at IBC 2026 stand 12.A31.

More information is available on the company’s website.

AMSTERDAM—Ross Video has released highlights of its plans at IBC2026 to show new products and software updates across its live production portfolio, spanning media infrastructure, replay, sports analysis, production switching, automation, robotics, and control.

Ross Video is exhibiting in Hall 8, Stand B91 at RAI Amsterdam during IBC2026 between September 11 and 14.

Highlights of the solutions and technologies on display include:

• Ultrix FR30: Ross Video’s newest and largest Ultrix platform brings hyperconverged media infrastructure to enterprise scale. Supporting up to 576×576 UHD I/O in a single chassis, Ultrix FR30 helps organizations increase capacity and processing power without increasing infrastructure complexity (view press release here).
• Rio XL: The new 3RU server expands the Rio Replay platform with greater capacity for UHD production and super slow-motion replay. Supporting up to 16 HD cameras and eight replay outputs, Rio XL gives broadcasters, venues, and schools more flexibility to capture and replay every moment while maintaining the familiar Rio Replay operator experience.
• PIERO 21.1 gives sports broadcasters and venues the tools to captivate fans, create more sponsor inventory, and deliver deeper analysis on air. Features include AI-powered player tracking, intelligent zero-click calibration, a new ice hockey data module, and more, all designed to give operators less setup time and more time to focus on the story that matters.
• NRG 3RU: Expands Ross Video’s next-generation affordable SDI routing platform with greater capacity while maintaining the simplicity and efficiency of NRG.
• Ultrix Flexible Licensing: Enables processing licenses to be shared and allocated across Ultrix frames as production requirements change.
• OverDrive 25.2: Introduces the new Aura user experience alongside updates to control, integrations, and system flexibility.
• DashBoard 10: Delivers improved security, performance, and stability alongside dark mode and updated development capabilities.
• Ross Platform Manager (RPM): Adds new capabilities for centralized, browser-based access, management, and licensing across Ross production environments.
• Carbonite v12.2: A significant update for customers that unifies the Carbonite range on a common software platform, extending flagship capabilities, such as Resource Pool, across the portfolio.
• XPression Chameleon: Brings HTML5 output to your existing XPression workflow. Build a graphic once. Deliver it everywhere. On-premise, no subscription required.
• Voyager 8.2 delivers photorealistic virtual production that fits inside the workflows users already run. Creative changes happen live without specialist knowledge.
• Indigo v1: Introduces a new approach to live production workflows, bringing greater flexibility and efficiency to how production teams create and manage live content.
• SmartShell 8.2: Enhances robotic camera safety with improved robot-to-robot collision avoidance, alongside customizable studio maps and expanded operator controls.
• At IBC2026, Ross Video will introduce AudioEdge and Lama Server as part of its Audio Systems portfolio, alongside its Lama Software Solutions.
• The show also marks Vertex’s first IBC appearance with Ross: the AV production suite brings video, audio, lighting and control together on one platform for interactive and immersive broadcasts and live productions.

Visitors can see live demonstrations, meet with Ross experts, and explore the latest developments across the Ross production ecosystem. Ross Video, Hall 8, Stand B91 at RAI Amsterdam, September 11–14.

To learn more or book a meeting, visit: https://www.rossvideo.com/go/events/ibc-2026/.

AWS Elemental has announced that it will be showing four new capabilities that bring AI, personalization, and intelligent monetization to the live video workflow during IBC2026 in Amsterdam Sept. 11-14.

The new capabilities were created in response to the fact that live video audiences now expect content-aware streams, per-viewer personalization, and monetization opportunities that respond to what's happening on screen. But deployments of these features had been difficult in the past because each has historically required its own vendor, its own pipeline, and its own operational overhead and deployments.

The new features on display during IBC2026 are:

1. AWS Elemental MediaPackage Dynamic Multiview – Viewers choose their own multi-camera layout from a single set of encoded sources, delivered to any device over standard HTTP Live Streaming (HLS) or Dynamic Adaptive Streaming over HTTP (DASH), without per-layout encoding costs
2. AWS Elemental Inference Contextual Metadata – AI-generated metadata extracted from live video in real time, powering personalized video experiences and contextual ad decisioning
3. AWS Elemental MediaTailor Yield Optimization – Automated backfill of unfilled ad inventory using Amazon Publisher Services (APS) demand, giving streaming TV publishers incremental revenue with zero setup cost
4. AWS Elemental MediaTailor Low-Latency Ad Insertion – Extends personalized ad insertion of MediaTailor to low-latency streams using Apple's HLS interstitials, so publishers no longer have to choose between fast delivery and ad revenue

In terms of the MediaPackage Dynamic Multiview offering the company noted that multi-feed viewing has become a necessity across live content: multiple camera angles for a single sporting event, simultaneous games on one screen, or curated linear bundles combining different content types like news, sports, or entertainment into a single view.

But existing approaches force trade-offs. Tiled encoding limits reach to High Efficiency Video Coding (HEVC)-capable devices. Client-side compositing demands custom SDKs per device. Server-side compositing requires pre-encoding every layout combination, each costing as much as a new channel. Large operators using server-side compositing vendors spend $2M–$12M per year on infrastructure alone, and most streaming platforms can't justify the investment at any price.

MediaPackage Dynamic Multiview stitches multi-camera and multi-feed layouts on demand from encoded sources, delivered as a single adaptive bitrate stream through HLS or DASH. Sources encode one time through AWS Elemental MediaLive. AWS Elemental MediaPackage assembles layouts in the compressed domain with no re-encoding. The output reaches more than 95% of consumer devices with a single digital rights management (DRM) key and requires no SDK, per-device builds, or new vendors.

"AWS Elemental MediaPackage Multiview lets us deliver multiple synchronized camera angles within a single stream, putting our subscribers in control of how they experience live sports. The server-side composition approach scales this premium experience to over 100 million viewers without multiplying origin complexity or CDN costs, giving us a true differentiator in India's competitive OTT landscape" explained Akash Saxena, CTO (JioHotstar).

By compositing in the compressed domain rather than re-encoding per layout, MediaPackage Dynamic Multiview provides up to 97% cost savings compared to solutions that require a separate video stream for every viewing combination.

In terms of the Elemental Inference Contextual Metadata offering, the company explained that personalizing video experiences requires understanding what's happening on screen. Whether that means surfacing the right highlight clip, recommending related content, or matching an ad creative to the moment, it starts with metadata. Until now, generating that understanding at broadcast scale required either manual tagging or bespoke machine learning (ML) infrastructure.

Elemental Inference Contextual Metadata uses AI to generate rich, scene-level metadata extracted from live video in real time. Computer vision models run in parallel with encoding to identify objects, actions, brands, on-screen text, and sentiment from real video content. The metadata is emitted through a standard API, aligned to the Interactive Advertising Bureau (IAB) content taxonomy and the Global Alliance for Responsible Media (GARM) brand suitability categories. As displayed in the following flow diagram, this powers downstream workflows including automated highlight clipping, content discovery, contextual ad decisioning through Elemental MediaTailor, and content moderation, all without custom ML infrastructure.

In terms of Elemental MediaTailor Yield Optimization, this feature fills available ad slots from Amazon Ads inventory during ad insertion, turning dead air and slate video into monetized impressions. It delivers incremental revenue with no cost to enable and no additional infrastructure. Because the ads are inserted server side (stitched directly into the stream before it reaches the viewer), they play seamlessly on every device, can't be blocked, and transition without buffering. At launch, MediaTailor Yield Optimization is available to APS streaming TV publishers.

"Our team set out to monetize low-latency streaming without giving up the latency itself, which had not been done on our platform before. Through DSPORTS's coverage of the FIFA World Cup 2026, we held six seconds glass-to-glass with ads running across every match, built on AWS Elemental MediaTailor and Amazon CloudFront," explained Claudio Rodrigues da Silva, head of IT (Streamco)

The capability is built for large-scale live events like professional league championships, with low latency and fast response times. It remains brand safe by filtering demand by category to avoid competitive conflicts within the same break. For example, if a sports drink brand is running a direct-sold spot, MediaTailor Yield Optimization won’t fill an adjacent slot with a competing beverage advertiser. Publishers set their own price floors and category rules throughout.

In terms of monetizing low-latency streams with MediaTailor Low-Latency Ad Insertion, the company noted that AWS Elemental MediaTailor already delivers personalized, server-side ad insertion at scale.

MediaTailor Low-Latency Ad Insertion now extends that capability to low-latency streams, using HLS interstitials, a server-guided ad insertion (SGAI) approach. As audiences increasingly expect streams to keep pace with social (a goal scored, a breaking headline, a viral moment), publishers can no longer afford latency that lets the timeline spoil the moment before their stream delivers it.

AWS also stressed that these four capabilities share a design philosophy: intelligence layered inside the video pipeline, not bolted on after.

They all run within the same AWS Elemental services that power millions of live streams globally, with the same 99.9% service level agreements (SLAs), the same operational model, and no new vendors to onboard.

The value compounds across the stack. AWS Elemental Inference generates metadata that enriches yield decisions, MediaPackage Dynamic Multiview delivers personalized viewing and ad experiences at scale, and MediaTailor low-latency insertion help to avoid impressions being left behind regardless of how fast the stream moves.

Visit AWS at IBC 2026 in Amsterdam (September 12–15) to see live demonstrations.

LOS ANGELES—Tiger Commercial & Industrial (C&I) has announced that it will offer more than 500 lots of high-quality audiovisual and broadcast-production equipment from a national broadcasting studio in Eden Prairie, Minnesota.

The timed online auction features more than 500 lots of diverse equipment and gear with an original at-cost value of approximately $1.5 million.

Bidding opens on Tues., Sept. 15, at 10 a.m. (CT) and closes on Tues., Sept. 22, at 10 a.m. (CT) at SoldTiger.com.

“Tiger is pleased to have been selected to auction a complete studio broadcast facility,” said Jonathan Holiday, senior director of Tiger C&I, a division of Tiger Group. “All the gear and support equipment is in excellent condition and was manufactured by premier brands in the industry. This is a perfect opportunity to purchase from the sale and immediately put equipment to use in active productions.”

The auction features broadcast cameras, lenses, lighting, LED-wall technology, audio and video equipment, complete control rooms, camera-support systems, jib cranes and studio infrastructure from leading manufacturers, including Sony, Fujinon, Absen, Chroma-Q, Kino-Flo, ETC and Vinten. “The scale and depth of available equipment is a strong draw for TV stations, production companies, corporate media departments, rental houses and other buyers looking to expand capacity well below new-equipment cost,” Holiday said.

Highlights of the sale include:

• Professional Sony broadcast cameras and Fujinon lens packages
• Camera-support systems and pan-tilt heads
• Studio and field-production accessories
• Jib cranes and camera-movement systems
• Complete broadcast control-room equipment
• Large-format Absen LED video wall with controllers
• Video-processing and routing equipment
• Broadcast-monitoring and production systems
• Extensive inventory of studio and location lighting
• LED soft lights and space lights
• Fresnels, fluorescent fixtures and soft lights
• Professional theatrical and broadcast lighting equipment
• Pipe grids and chain hoists
• Pallet racking and storage systems
• Standing sets and studio-support assets
• Office and facility equipment, including Konica copiers

Inspection is available by appointment on Mon., Sept. 21, from 10 a.m. to 4 p.m. (CT) in Eden Prairie, Minnesota.

To arrange an inspection or obtain additional information, email support@soldtiger.com or call (805) 497-4999.

Asset photos, descriptions, bidding and additional information are available here.

WOODSTOCK, Ill.—Other World Computing will unveil two new Thunderbolt 5 solutions at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. The new additions include OWC Thunderbolt 5 Dock with Dual HDMI, and the Thunderbolt 5 (USB-C) Cable now available in a 1.5-meter length.

With the OWC Thunderbolt 5 Dock with Dual HDMI one connection provides the displays, storage performance, networking, power, and connectivity of an enterprise-class desktop workstation, without the need for a pile of adapters and workarounds. Its key features include:

• Two HDMI 2.1 ports built right in. Any monitor that has HDMI plugs directly into the dock with zero compatibility guesswork;
• Single Thunderbolt 5 connection delivers dual displays, wired networking, storage, card readers, and full laptop charging simultaneously;
• 140W Power Delivery: Keeps MacBook Pros and high-performance Windows laptops fully charged at peak performance while running the entire connected setup;
• Front USB-C port delivers up to 30W of charging;
• Downstream Thunderbolt 5 port runs external SSDs and RAID arrays at full rated speed;
• 2.5GbE delivers the throughput needed for NAS workflows, large file transfers, and secure corporate environments;
• UHS-II SD and microSD slots let photographers and video editors offload footage without a separate card reader;
• Supports dual HDMI displays at up to 4K 240Hz or dual 8K 60Hz with DSC on Thunderbolt 5 hosts. A third display is possible via Thunderbolt or USB-C;
• Compatible with Thunderbolt 5, Thunderbolt 4, USB4, USB-C, and Thunderbolt 3 (Mac) hosts across Mac and Windows environments;
• OWC Innergize Enabled: A complete health, performance, and field update management app when using OWC Atlas SD memory cards with the dock's SD memory card reader;
• Supports both horizontal and vertical desk placement, and
• OWC Dock Ejector unmounts every connected drive in a single click. On macOS, an included driver also enables Apple Super Drive support through the dock.

“Thunderbolt 5 gives you tremendous performance and capability. The real question is what you do with it,” said Larry O’Connor, Founder and CEO, OWC. “With the OWC Thunderbolt 5 Dock with Dual HDMI your laptop is no longer the compromise. One connection gives you the displays, storage performance, networking, power, and connectivity of a serious desktop workstation – without the pile of adapters and workarounds. We didn’t set out to build another Thunderbolt 5 dock. We set out to build the one professionals will measure the others against.”

O’Connor added, “This addition to our dock line-up is a result of customer feedback. Our goal is to continue to ensure our customers always have a choice when it comes to picking the solution(s) that best meet their individual desktop/workflow requirements."

Key features for OWC Thunderbolt 5 (USB-C) Cables, now available in a 1.5-meter length include:

• Since it's 100% USB-C compatible, it connects to current, future as well as older Macs, PCs, iPads, Chromebooks, Surface, and other devices with a Thunderbolt 5, Thunderbolt 4, Thunderbolt 3, USB4, or USB-C port;
• Up to 80Gbps of bidirectional data speed and up to 120Gbps for higher display bandwidth needs;
• Connects to millions of docks, displays, eGPUs, PCIe expansion, external SSDs, RAID storage, and accessories;
• Lab-certified to safely deliver up to 240W to charge the most power-hungry notebook computer;
• Connects to the latest and future Thunderbolt, USB-C, and DisplayPort displays for incredible 4K, 5K, 6K, and up to three 8K displays, and
• Three-Year OWC Limited Warranty.

The OWC Thunderbolt 5 Dock with Dual HDMI will be generally available (GA) in November and priced at $349.99. The Thunderbolt 5 (USB-C) Cable in a 1.5-meter length availability is planned for the middle of October and will be priced at $58.99.

OWC will demo the new additions at Stand 7.A60 during IBC 2026. For more information, visit www.owc.com

AMSTERDAM—Rise Academy, the broadcast and media skills charity dedicated to delivering practical media technology learning experiences, careers resources and work experience opportunities for young people, is welcoming the industry back to this year’s IBC here with the return of Race 4 The Future.

The much-loved annual 4-kilometer charity run/wal, raises funds to support the development of the next generation of media and technology talent. Whether racing for time or strolling with friends, every step taken supports Rise Academy’s work to open doors for underrepresented young people breaking into the industry.

Taking place Saturday, Sept. 12, at 9:30 a.m., the fun run will once again unite attendees of IBC Show in Amsterdam as they compete for a good cause.

Originally launched as the 4K 4Charity Fun Run by AWS Elemental, Rise Academy is honored to continue the race’s legacy with renewed energy and the same mission to create meaningful, positive impact.

This year’s race gain honors the Sam Blackman Medal, named in tribute to AWS Elemental co-founder Sam Blackman. Presented to the participant who best embodies community, inclusion and purpose—not just speed—the medal continues to honor his inspiring commitment to harnessing technology for positive change.

Beyond athletic achievement and awards for the fastest male and female competitors, Race 4 The Future will once again celebrate creativity and camaraderie. Other awards include:

• Best Fancy Dress (expect themed costumes and playful vibes)
• Biggest Team Turnout
• Most Enthusiastic Runner
• Best Team Theme
• Top Social Post (so get tagging!)

This energetic, inclusive gathering is set to once again kick off the IBC weekend with joy, connection and real purpose.

With an affordable entry fee of just 25 pounds, every participant directly supports Rise Academy’s programs dedicated to educating, inspiring and informing underrepresented young people. Proceeds fund vital initiatives, including mentorship, training, work placements and industry exposure, designed to dismantle barriers and amplify diverse talent in media tech.

“Race 4 The Future is about far more than completing 4 km,” Rise Academy Chair Andy Beale said. “It’s about covering the distance between where our industry is today and the truly inclusive future we know it can become. Every step, every laugh, every shared moment brings us closer to a media tech sector where talent from all backgrounds can thrive and find opportunity.”

Businesses and brands are invited to sponsor the event or key elements—including medals, water stations and race bibs—offering meaningful visibility and alignment with Rise Academy's mission.

Rise Academy also invites volunteers to sign up as Race Makers, to help ensure the safe success of the event. Volunteers should email info@rise-academy.live

To register for the fun run, visit its website.

The Television Academy and the National Academy of Television Arts & Sciences announced the recipients of their Emmy Awards given to individuals, companies or organizations for their developments in television engineering, science and technology.

The awards ceremony will be held Wednesday, Oct. 14, at the Television Academy's Saban Media Center in North Hollywood, California.

This joint Engineering, Science and Technology recognition follows the announcement that the two organizations are currently exploring reunification. Previously, the organizations combined these ceremonies for the 2014 awards season.

The combined awards include:

• Charles F. Jenkins Lifetime Achievement Award: Barry B. Zegel (recipient)
• Philo T. Farnsworth Corporate Achievement Award: Chapman/Leonard Studio Equipment Inc. (recipient)

Engineering, Science & Technology Emmy Award recipients include:

• Adobe for the development of Adobe Premiere
• Avid Technology for the development of Avid DNx
• Benjamin Graf of Accentize for the development of Chameleon
• James Robinson of Hitomi for the development of MatchBox Glass
• Roland Hathaway, Darcey Crownshaw, Frank Balzer and Dean Hathaway of Snow Business USA for the development of Snowbase
• Starlink Services LLC, a subsidiary of Space Exploration Technologies Corp., for the development of Starlink
• Curt O. Schaller and Dr. Roman Foltyn for the development of the Trinity 2 Hybrid Camera Stabilizer System
• SipRadius, NBCU, Grass Valley, CBS Sports, Disney, Game Creek, Amazon and Vindral, for web-based, frame-accurate remote monitoring systems for distributed broadcast production
• OBS, Proton, Wave Central and Above Media, for FPV drone camera systems for live sports broadcast coverage
• ATSC, the Broadcast Standards Association, for standardization of ATSC 3.0 NextGen TV for digital broadcasting
• Advanced Media Workflow Association, Sony Corp., BBC and Streampunk Media Ltd, for development of AMWA NMOS discovery, registration and connection
• Telecast Fiber Systems, Bluebell Opticom Ltd and MultiDyne Electronics for SMPTE hybrid cable format converter and power injector, and
• Disney Research, Rising Sun Pictures, Digital Domain and Metaphysic (Brahma AI), for AI-based face replacement and performance-preserving post-production transformation

"Television has always been shaped by those who dare to imagine what's possible and then create the technology to make it a reality," said Cris Abrego, chair of the Television Academy. "The recipients of our Engineering, Science & Technology Emmy Awards represent the extraordinary ingenuity and innovation that continues to propel our industry forward, and we are proud to recognize them."

"These organizations have given creators greater freedom, helped teams solve complex challenges and enriched the experience of viewing audiences everywhere," said Wendy Aylsworth and Paul Debevec, co-chairs of the Television Academy's Engineering, Science & Technology Committee.

"We congratulate and celebrate these great minds and great organizations who continue to advance our ever-evolving medium," said Terry O'Reilly, chair of the National Academy of Television Arts & Sciences. "The most meaningful technological innovations don't simply improve television, they redefine what it can be."

"This year's crop of winners are at the intersection of necessity and ingenuity, and we are thrilled to be able to team up with the Television Academy's committee for this exceptional night," said NATAS Technology & Engineering Chair Joe Inzerillo.

The following is a more detailed list of awards and recipients chosen for recognition by the Television Academy:

• Charles F. Jenkins Lifetime Achievement Award. Honors a living individual whose ongoing contributions have significantly affected the state of television technology and engineering. This year, the Charles F. Jenkins Lifetime Achievement Award is bestowed upon Barry B. Zegel in recognition of his decades of sustained leadership that helped define and improve the technical infrastructure, standards and operations that are the foundation of modern television production. His career demonstrates the rare combination of engineering expertise, executive leadership, industry governance and mentorship that define the qualities of lifetime achievement honorees. Zegel's professional career was spent at CBS, culminating as senior vice president and general manager of CBS Television City — one of the world's most influential and state-of-the-art television production facilities. Throughout that career, Barry championed the adoption of emerging technologies that improved how television is produced rather than simply maintaining existing systems, helped guide the industry through the high-definition television transition, and served as rapporteur for the United Nations' International Telecommunication Union (ITU) in Geneva, Switzerland. He played key engineering and operational roles for the CBS Network coverage of three Winter Olympic Games, including serving as director of Olympic operations for the Lillehammer Winter Olympics, earning him two Emmy Awards. Recognizing that technologists lacked adequate representation within the Academy, Zegel was the prime driver in founding the Television Academy's Science & Technology Peer Group, creating a permanent home for engineers and technologists within the organization. This organizational legacy will continue benefiting future generations of industry professionals.
• Philo T. Farnsworth Corporate Achievement Award. Honors an agency, company or institution whose contributions over time have significantly impacted television technology and engineering. This year's recipient is Chapman/Leonard Studio Equipment Inc. For more than 80 years, Chapman/Leonard has been a leading and pioneering custom camera support equipment manufacturer and supplier for television and motion picture productions, accredited with fundamentally expanding the creative possibilities of camera movement in production. The company's original Hercules Mobile Crane offered crab steering, an electric battery drive and first-of-its-kind hydraulic self-leveling. The Lenny Arm became an industry standard for its modular design, wide payload and high reach. Their Hustler and PeeWee dolly series provided responsive boom hydraulics, maneuverability, and versatility on and off track. Their work in sports broadcasting led to the development of its Olympian series of sideline vehicles utilized in the Olympics and NFL. Chapman/Leonard continues to push boundaries with new inventions big and small, like the Hydroscope Telescoping Crane, which can be submerged underwater, and its smallest dolly, which utilizes a 4-stage nitrogen pneumatic column. Founded in 1945 when Ralph Chapman created Chapman Studio Equipment to design and manufacture a more versatile camera crane, Chapman later merged the business with his son Leonard's company in 1965 to form Chapman/Leonard. Still a family-run business, Charles Leonard, Ralph's great grandson, is currently president and CEO.

Engineering, Science & Technology Emmy Awards are presented to an individual, company or organization for developments in engineering, science and technology so extensive an improvement on existing methods or so innovative that they materially affect the production, recording, transmission or reception of television and have elevated the storytelling process. Information about these Emmy Awards are as follows:

• Recipient: Adobe Inc. for the development of Adobe Premiere. Premiere is a professional non-linear editing system for assembling, shaping and finishing television content. Editors, assistant editors, story producers and post-production teams across all forms of television production worldwide use it daily. With over two decades of continuous development, it has repeatedly delivered capabilities that the professional editing industry subsequently adopted as standard practice. Its format-agnostic architecture makes mixed cameras, codecs, frame rates, and aspect ratios editable together in a single timeline, removing transcoding and conform operations as preconditions of creative work. Adobe continued to innovate Premiere by including machine-learning and generative AI functionality as part of native timeline operations rather than having to use external utilities. These intuitive features provide clear, transparent identification of AI-generated work throughout the production process. Often first to market with features, the impact of Premiere is cumulative and measurable. Work that once required specialist hands, dedicated bays, or a return to set now happens inside the edit room in tandem with creative decisions. Premiere has materially changed the speed, cost, and location-dependence of television post-production, putting professional-grade tools within reach for productions of every budget. For more information, please visit Adobe.com.
• Recipient: Avid Technology for the development of Avid DNx. Avid DNx is a production mezzanine codec family designed to carry creative intent intact from acquisition through post-production and delivery. Its low-complexity intraframe compression and constant-bit-rate design give editors frame-accurate random access and predictable real-time playback on multi-stream layered timelines so creative teams can stay focused on a show's narrative and performance rather than renders and format friction. The same media conforms from lightweight, HDR-capable proxies to high-quality finishing without translation loss, using a single broadcast-ready master format in editing, color, VFX interchange, playout and archive. These properties, combined with support for all the professional color spaces and operating systems and being standardized by SMPTE, have made DNx a foundation of television production worldwide. For more information, please visit Avid.com.
• Recipient: Benjamin Graf of Accentize for the development of Chameleon. Chameleon is an audio plug-in that analyzes location or studio-captured sound recordings and duplicates their reverberation characteristics. It uses a neural network to create custom reverb programs that mimic the reverberation tails and early reflections of the measured audio. This allows the user to apply these custom reverberation profiles onto other recordings. Prior to Chameleon's development, impulse responses had to be captured on set and loaded into a reverberation plugin, or manually finding similar preset reverb programs and manually adjusting their controls to create an acoustic match. Chameleon lets the user simply drag an audio file onto the plugin, or audition existing audio assets inside of the workstation, to create a reverb program and profile in a matter of seconds. The plug-in can also create surround reverb programs from mono or stereo inputs. This workflow allows audio professionals to quickly match reverberant audio captured at different locations, times and spaces. This also facilitates more seamless integration of ADR post-production dialog into the final sound mix. The quality, ease of use and speed of Chameleon lets audio professionals spend more time focusing on other creative aspects when mixing. For more information, please visit Accentize.com.
• Recipient: James Robinson of Hitomi for the development of MatchBox Glass. MatchBox Glass transforms a standard mobile iPhone into a precision lip sync and latency measurement instrument, deployable instantly at the point of capture, replacing traditional manual test methods and dedicated hardware generators. It enables accurate end-to-end measurement of audio/video synchronization across live, remote, and cloud-based television production environments. MatchBox Glass generates a calibrated visual and audio reference directly in front of the camera and microphone, allowing true "from the glass" measurements. This eliminates the need for dedicated hardware, signal insertion, or controlled baseband access; historical approaches that are increasingly impractical in modern distributed production workflows. The result is a reliable product used ubiquitously in the live broadcast industry to ensure accurate synchronization at the audio/video capture source. For more information, please visit Hitomi.tv.
• Recipients: Roland Hathaway, Darcey Crownshaw, Frank Balzer and Dean Hathaway of Snow Business USA for the development of Snowbase. Snowbase is a biodegradable, eco-friendly, artificial snow made from pure wood pulp cellulose. It is completely free of peroxide bleaches and chemical fire retardants, designed for both indoor and outdoor use at any temperature, and safe to apply on living flora and fauna. The immediate nature of Snowbase's application reduces both production time and cost. When airflow is applied to it, Snowbase lays, drifts, and settles exactly like real snow. When passed through a high-pressure, low-volume water mist, it instantly adheres to any surface, including vertical and inverted ones. It also retains water to mimic the slightly opaque look of real snow slush. Given that Snowbase is not an ice-based formula, it can remain applied for multiple hours and days without need for reapplication. Moreover, it can be modified by adding water, dirt, and other materials to represent the aging of snow. Snowbase cleans up just as efficiently as it applies: it can be easily cleared with standard air blowers or water hoses, keeping strike times short and costs low. For more information, please visit SnowBusinessHollywood.com.
• Recipient: Starlink Services, LLC, a subsidiary of Space Exploration Technologies Corporation, for the development of Starlink. Starlink is a constellation of low-orbit satellites that enables high-speed, low-latency broadband almost anywhere on Earth. It has transformed the creation and the consumption of television, removing the connectivity constraints that long dictated where programming could be made and who could receive it. Orbiting at an altitude of roughly 550 kilometers rather than the 35,786 kilometers of geostationary satellites, it reduces round-trip latency from over 600 milliseconds to approximately 25 milliseconds, unlocking live contribution, remote collaboration and real-time review from locations that previously supported none. Its mobile, turnkey units allow productions to transmit live feeds and move footage to post facilities from virtually any location. Starlink has significantly extended the production and contribution capabilities of the television industry, allowing creation of stories from locations not previously accessible. For more information, please visit Starlink.com.
• Recipients: Curt O. Schaller and Dr. Roman Foltyn for the development of the Trinity 2 Hybrid Camera Stabilizer System.
• The Trinity 2 hybrid camera stabilizer system offers unparalleled camera movement. The concept, design, and technical implementation enable users to operate the system effortlessly to produce innovative, highly creative, complex camera trajectories. Its versatility includes low to high transitions, 360-degree rotation, consistent stability and horizon, use of interfaces for cooperative control and the provision of metadata and modular setups for every situation. It can overcome weather or dynamic environment influences that previously hindered similar shots. It gives camera operators, cinematographers, and directors freedom for storytelling that previously required use of several different pieces of equipment over multiple shots. Now creatives can smoothly combine setups into one fluid movement, up or down stairs, through crowds and in tight spaces for long continuous takes. The Trinity 2 has become a mainstay for most major award shows, live concert films, high-end reality competitions, narrative action scenes, and major sporting events. For more information, please visit Arri.com.

For NATAS, the more detailed list of innovations recognized by the 2026 Technology & Engineering Emmy Awards are:

• Web-Based Frame-Accurate Remote Monitoring Systems for Distributed Broadcast Production. Recipients: SipRadius, NBCU, Grass Valley, CBS Sports, Disney, Game Creek, Amazon, & Vindral. During the COVID-19 pandemic, the live television industry rapidly developed new technologies to enable high-quality, real-time production from remote locations. These innovations evolved through early 2024 and are now standard across major broadcasters, cable networks and streaming platforms, fundamentally transforming the live production landscape. The recipient organizations independently created and implemented these groundbreaking technologies during this pivotal period.
• FPV Drone Camera Systems for Live Sports Broadcast Coverage. Recipients: OBS, Proton, Wave Central and Above Media. First-person view (FPV) drone camera systems represent a significant advancement in live sports production. The technology combines high-speed aircraft, miniature broadcast cameras, low-latency RF transmission and specialized stabilization systems to deliver immersive, athlete-following coverage previously unattainable with conventional camera platforms. The 2026 Winter Olympics demonstrated the technology's maturity and broad application across multiple sports.
• Standardization of ATSC 3.0 NextGen TV for Digital Broadcasting. Recipients: ATSC, the Broadcast Standards Association. ATSC 3.0 standardization represents a significant advancement in television broadcasting, establishing the industry's first fully IP-based broadcast standard to reach commercial scale. Through a multi-year, consensus-based engineering, drafting and balloting process led by the Advanced Television Systems Committee (ATSC), the standard has enabled new capabilities including UHD, HDR, immersive audio and interactive services. ATSC 3.0 is now commercially deployed across the United States and internationally, reaching millions of households and driving significant changes across the broadcast equipment, consumer electronics and regulatory landscape.
• Development of AMWA NMOS Discovery, Registration and Connection. Recipients: Advanced Media Workflow Association, Sony Corporation, British Broadcasting Corporation, Streampunk Media, LTD. SMPTE ST 2110, together with AMWA NMOS IS-04 and IS-05, established an open, standardized framework for transporting, discovering and connecting video and audio over IP networks. Supported by industry-wide testing initiatives, automated test suites and open-source implementations, these technologies accelerated the adoption of IP-based workflows across the television industry. Today, NMOS and SMPTE ST 2110 are widely adopted and have been used in thousands of television productions worldwide, fundamentally advancing the way broadcast media is transported and connected.
• SMPTE Hybrid Cable Format Converter and Power Injector. Recipients: Telecast Fiber Systems, Bluebell Opticomm Ltd, Multidyne Electronics Inc. SMPTE camera chains are fundamental to broadcast production, connecting cameras and base units through standardized hybrid cabling. Format converters extend these camera systems over existing single-mode fiber infrastructure for distances of multiple kilometers while maintaining video, data and power connections. The technology enables greater flexibility in venue and mobile production environments while significantly reducing cable weight and improving operational efficiency, with substantial savings possible when replacing long runs of traditional SMPTE camera cable.
• AI-Based Face Replacement and Performance-Preserving Post-Production Transformation. Recipients: Disney Research, Rising Sun Pictures, Digital Domain, Metaphysic (Brahma AI). AI-based facial transformation technology enables a performer's appearance to be digitally adjusted while preserving natural expression, movement, lighting and scene realism. These systems maintain continuity throughout a sequence and adapt to changes in pose, lighting, occlusion and performance. Applications include visual effects, de-aging, stunt work, identity protection and real-time production environments. Technologies developed by companies such as Metaphysic and Disney Research have been used in major film and television productions to digitally de-age actors and enhance on-screen performances.

Also honored at the upcoming October ceremony will be the technology "Pioneers":

• Practical Transduction developed by Theodore Willard Case, Georges Claude and
• First Demonstration of Recognizable Television by John Logie Baird.

NATAS also announces the nominees in the competitive category, "Excellence in Production Technology — Application." Now in its third year, this category recognizes not the technology itself, but the innovative use of applied science and engineering products to produce television in new and unique ways. The winner will be announced on October 14, in conjunction with the show. This year's nominees are:

• Good Morning America - ABC News - The Walt Disney Company
• ABC News |The Walt Disney Company
• Prime Vision NFL's Thursday Night Football (TNF)
• SportsMEDIA Technology (SMT)
• Star Wars: Skeleton Crew
• Disney+

MONTREAL—Haivision announced today that its Makito ONE video transport platform now supports Bonded 5G support via the CellLink 5G external modem and antenna array.

Commonly used as a low latency contribution encoder over Ethernet-connected networks, Haivision says its Makito ONE is now the first device of its kind to also leverage cellular connectivity for contribution, all from a single hardware blade.

Makito ONE is Haivision’s low latency, dual channel multi‑codec encoder/decoder designed for pristine 4K, HD, and high dynamic range (HDR) broadcast contribution. Engineered for remote production workflows that demand high quality video and low latency, the Makito ONE supports HEVC, H.264, and JPEG XS workflows and provides native SRT protocol support for secure and reliable streaming over wired connections.

The Haivision CellLink 5G modem and antenna array features three 5G modems and dual antennas for MIMO 2x2 performance. Encased in a weather‑resistant enclosure with magnetic pad and thread mounts, CellLink 5G can be easily installed on vehicles, poles, or buildings and easily connects to Makito ONE via standard Ethernet.

With CellLink 5G, Makito ONE can contribute high-quality video over bonded networks including Ethernet and multiple cellular modems leveraging SST protocol, enabling broadcasters to build robust contribution workflows with greater throughput and network load balancing across wired and wireless network paths to maximize live video quality for any production, Haivisio said.

For instance, Makito ONE can use public internet as the priority network (with Ethernet), but in the event of internet congestion, can leverage cellular networks as backup until the priority network performance returns to normal. This can ensure that there is no disruption in video quality.

In addition to its integration with the Makito ONE, the CellLink 5G is also compatible with the rest of Haivision’s mobile video transmitters including Falkon, Haivision Pro, and Haivision Air transmitters, making resilient cellular bonding a core connectivity option across Haivision’s entire live video ecosystem.

Haivision will showcase Makito ONE support for Stand 2.B32 during the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

BERLIN—TiVo today unveiled significant enhancements to its TiVo OS media platform, expanding generative AI-powered content discovery experiences, more free streaming content, enhanced sports experiences, interactive commerce capabilities and platform optimizations that the company says could reduce costs for smart TV manufacturers.

TiVo, a wholly-owned subsidiary of Xperi, also announced the appointment of Tal Bone as senior vice president and general manager of TiVo OS. Bone, who brings more than a decade of experience building and scaling global smart TV and entertainment platforms most recently served as vice president of global product and chief technology officer at VIDAA, Hisense's smart TV operating system.

The company made its announcements in advance of the the IFA 2026 tech show, which takes place Sept. 4-8 in Berlin.

Expanded TiVo Channels Offering
TiVo announced that it has added hundreds of new global and local FAST channels to its TiVO Channels platform and added a new mini guide for faster channel navigation and personalized content carousels that offer relevant programming based on viewers’ preferences.

TiVo has also enhanced sports discovery across search, recommendations and the home screen on its OS, allowing viewers to more easily discover, follow, and access live games and sporting events through improved surfacing of sports content and real-time event promotion directly within the TiVo OS experience.

And in a nod to expanding its presence overseas, particularly in Europe, TiVo also announced that its OS now supports DVB-I, a protocol that adds IP capability to the DVB standard. DVB-I enables broadcasters to deliver television content over the internet while simplifying access for consumers. The enhancement allows viewers to discover and watch local broadcast channels without requiring a traditional aerial or antenna.

TiVo has also significantly reduced the TiVo OS memory footprint, enabling deployment on devices with as little as 1 GB RAM and 4 GB eMMC. These improvements are designed to help reduce bill-of-material costs, allow for more efficient hardware configurations, and expand deployment opportunities across a wider range of smart TVs and connected entertainment devices, the company said.

AI Enhancements
TiVo is also collaborating with IRCODE in a partnership that now combines AI and computer vision technologies to recognize on-screen content and enable immediate viewer interaction on its OS, unlocking “new opportunities for commerce, content discovery, advertising and companion experiences, allowing consumers to engage with content in entirely new ways while creating new monetization opportunities for partners,” according to the company.

TiVo said it plans to implement the soon-to-be released AI-powered discovery product, Agent TiVo, which is designed to enable consumers to navigate entertainment through natural conversation and help them discover content more intuitively and efficiently. Rather than relying on traditional keyword searches, viewers will be able to describe what they're looking for and receive personalized recommendations and guidance, creating a richer and more engaging content discovery experience, the company said.

LEXINGTON, Mass.—Signiant will showcase the latest evolution of the Signiant Platform at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

Topping the list is Media Shuttle's new Intelligent Transport, which allows customers to take greater advantage of all their high-bandwidth infrastructure with multi-threaded and multi-gigabit transfers that adapt to live network conditions.

Also new is Signiant Pulse, a new line of secure connected services designed to help media organizations work with content where it sits.

Signiant Pulse includes:

• Pulse Essentials: Unified content visibility, access, and action across every connected storage location, included free with the Signiant Platform
• Pulse Review & Approve: Collaborative, frame-accurate content review without needing to upload or download content
• Pulse Plus: AI-generated descriptions, tags and transcripts using the customer's chosen AI provider rather than a vendor-hosted model
• Pulse AI Studio: Multi-step AI agent workflows across enriched content libraries, with MCP-governed access and usage-based cost controls
• Signiant MCP Server: Connects MCP-capable AI clients, including ChatGPT, Claude and Gemini, enabling agents to search, validate and route content while operating within existing permissions and audit controls that govern transfers

Signiant will also showcase Signiant Verify, which enables media to be checked against delivery specifications before it is transferred. Content that fails validation can be held and suppliers will be notified before submission, rather than after delivery as well as Verify aiQC, which extend Verify’s capability with deeper inspection of the picture and sound.

Signiant will be in Stand 5.C74.

GRASS VALLEY, Calif.—AJA Video Systems today unveiled OG-FiDO-4, a new family of openGear-compatible cards offering four channels of conversion between 12G-/3G-SDI and fiber, expanding the OG-FiDO-4 family to nine different modules. The product line is designed to enable reliable, uncompressed SDI transport over LC fiber and includes DashBoard software support for centralized monitoring.

The new cards will be demonstrated at the IBC Show, Sept. 11-14 at the RAI Amsterdam.

“At a time when multicamera setups are growing in size and complexity across broadcast, live production, and proAV environments, extending SDI infrastructure over fiber has never mattered more. The OG-FiDO-4 family delivers practical, cost-efficient solutions with the channel density, signal integrity, and dependability that mission-critical environments demand,” said AJA President Nick Rashby.

The nine models available include the base card and AJA Fiber SFP variations such as 12G-SDI, 3G-SDI, single-mode, and multi-mode models. Each model features independent, isolated SDI-BNC connectors that enable different rates to be carried simultaneously and an integrated rear I/O card unlocks high-density transport, up to 40 channels in an openGear frame.

DashBoard software streamlines installation, configuration, monitoring, and service updates on Windows and macOS with support for HDR video and pass-through of SDI metadata.

The models also feature Input Present and Input SMPTE Lock LEDs, automatic data rate detection and reclocking and are compatible with current AJA FIBERLC TX and RX SFP Modules, as well as the OG-X-FR and OG-3-FR openGear frames. Power consumption is 8W maximum.

The OG-FiDO-4 family will be available soon for purchase through AJA’s network of resellers starting at $2,295 and $2,695 US MSRP.

AJA will be in Stand 7.B25 during the show.

WHITE PLAINS, N.Y.—The Society of Motion Picture and Television Engineers will put on the “SMPTE Roadshow: Future of Media Infrastructure” during IBC2026, Sept. 14, from 9:30 a.m. to 4:30 p.m. in Room G-106 of the RAI Amsterdam Convention Center.

The SMPTE Roadshow will help leaders assess where technology investment can create operational and business value and give attendees a practical look at implementing emerging approaches.

The program moves from strategy to practice over two complementary three-hour sessions. The morning session, “Strategic Media Infrastructure: A Technology Roadmap for Executive Leadership,” will examine six major areas of technology investment through a business and operational lens. In the afternoon, “DMF in Practice: Designing and Operating Dynamic Media Facilities for Software-Defined Production” will tackle the technologies, architectures, tools and live demonstrations behind software-defined media production.

Pierre Routhier, media production architect at CBC-Radio Canada, will lead the morning session. His work spans advanced imaging, media production architecture and emerging production technologies.

Designed for executives, technology leaders, strategists and others involved in infrastructure planning, the session will examine:

• UHD, HDR, 1080p and 8K
• Codec strategy
• The transition from SDI to IP
• Dynamic Media Facilities
• HTML5 and OGraf graphics workflows
• Cinematic approaches to broadcast production

Attendees will examine total cost of ownership, time to market, operational efficiency, infrastructure readiness, audience engagement and competitive position. The session will provide a framework for determining where investment makes sense and how technology choices connect to wider organizational goals. It does not require an engineering background.

Willem Vermost, senior IP media technology architect for the European Broadcasting Union, and Wim Van Roy, educational architect at Lawo, will lead the afternoon session focusing on DMF, which will examine the DMF approach to software-defined production and the technologies making it possible. Topics will include modern Ethernet networking, RDMA and RoCEv2, server and compute architecture, NUMA and CPU affinity, GPU pass-through, virtualization, Linux, containers, Kubernetes/k3s and the Media eXchange Layer (MXL).

Attendees will see how these individual building blocks come together as DMF concepts move from trials and proofs-of-concept toward real production environments.

Live demonstrations will provide a closer look at three implementations: a container-based Docker deployment using YAML configuration; an AWS-based MXL deployment demonstrating cloud-scale operation; and an SMPTE Lab reference environment illustrating interoperability and standards-based design.

Participants will also receive QR-code access to curated GitLab repositories and resources they can use to continue exploring the technologies after IBC. No prior DMF experience is required, and attendees are encouraged to bring a laptop.

Attendees can participate in the complete program or register separately for either the morning or afternoon session. Full-day registration is $500. Individual sessions are available for $275 each. Use code 20OFF at checkout for 20% off registration.

To register, visit SMPTE Roadshow online.

IBC2026 visitor passes are available for free with code EXFRKQFR7 on the IBC registration page.

CLEVELAND—Telos Alliance will highlight its latest product line for TV, streaming, and radio at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

Visitors to Stand 8.D37 will find two European product debuts as well as major updates and additions across intercom, live production audio, and file-based audio workflow tools.

New this year for Jünger Audio flexAI, is flexAI CastCompanion. Powered by JAIC, the Jünger Audio Intelligent Companion, flexAI autonomously manages live voice sources that may arrive at very different levels, with varying quality and background noise. JAIC analyzes the incoming audio and helps optimize parameters, while Jünger’s deterministic algorithms handle the actual processing, delivering predictable latency and broadcast reliability. CastCompanion combines automixing, AI-assisted de-noising, voice enhancement, and loudness management to create consistent, intelligible mixes without an operator constantly riding levels.

Telos Alliance will show new flexAI support for 12G-SDI and NDI and will demonstrate how flexAI now integrates with the TVU MediaMesh cloud-native live production platform, allowing producers to extend Jünger’s powerful processing ecosystem across hardware, server, IP, partner, and cloud workflows.

The company will also highlight new Infinity MK2 hardware panels for the Telos Infinity IP intercom range. Designed for use in the studio and in the field, the larger buttons feature bright TFT displays, programmable colors, flexible Talk/Listen controls, three shift pages, a Reply to Last Caller function, and four-way “compass” controls.

For sports commentators, Infinity VCP Virtual Commentator Panel now integrates directly with Elgato Stream Deck+, adding compact physical controls to its browser-based commentary environment without requiring a traditional dedicated commentary box. VCP also uses adaptive bitrate control to help maintain contribution audio intelligibility and network reliability.

Also making its debut in Europe is Axia Pulsar, a compact AoIP console, that features an 8-fader Master Module that uses dual operating layers to provide access to 16 inputs; an optional Expansion Module gives physical access to all 16 faders. Axia Pulsar features bright TFT displays, touch-sensitive encoders, spill-proof 100mm motorized faders, programmable controls, Show Profiles, and integrated EBU R128 loudness metering. Powered by the 2RU StudioCore engine, the compact Pulsar integrates directly into all Livewire and AES67 environments. Optional Pulsar Soft browser-based control also makes remote operation possible from a computer, tablet, or smartphone, according to Telos Alliance.

Minnetoka AudioTools Server v7 will debut at IBC, with new A.I./machine-learning modules that include Language Detection, Dialog Intelligibility, and a powerful new tool, AudioTools Source Separation by AudioShake. This new subscription module can extract dialogue, music, and effects from finished program audio to give broadcasters, studios, streaming providers, and content owners new ways to work with existing material when original multitrack sessions are unavailable or incomplete.

Dialogue can be isolated for dubbing or intelligibility enhancement, music can be replaced for creative or licensing reasons, and clean M&E tracks can be created for alternate-language versions and new distribution opportunities. Because source separation runs inside AudioTools Server, it can also be combined with existing loudness, QC, transcoding, language, and delivery processes to create repeatable, automated workflows at scale.

For radio, the Omnia XII will mark its European debut at the show. Its new processing architecture combines wideband AGC, five bands of intelligent multiband AGC and compressors, six bands of multiband limiting, smart dynamic EQ, refined bass management, and a new “Clemenza” clipper, designed to deliver competitive loudness without the distortion and listener fatigue that can come with aggressive processing.

Along with products featured at IBC, Telos Alliance will showcase its work with industry partners to advance interoperability and more consistent audio workflows.

As part of the IBC Accelerator “Crystal Clear” project, Telos Alliance is collaborating with Nugen Audio, RTW, Steinberg, Fraunhofer IDMT, Channel 4, BBC, ITV, and others on standardized dialogue intelligibility measurement across the industry.

Telos Alliance will take part in Grass Valley's AMPP demo, with Minnetonka Audio ARC loudness processing and UPMAX up/down/cross-mixing interconnected via MXL to enable higher-quality, lower-latency audio processing within AMPP workflows.

Telos Alliance will also participate in Qvest’s Dynamic Media Facility demonstration, a portable, multi-vendor production environment handling live feeds, real-time audio and video processing, Dolby Atmos upmixing, signal monitoring, and multiviewing. Telos Alliance processing will operate alongside tools from other vendors, with MXL providing the common connection between applications. The demo shows how MXL can simplify integration and reduce latency across on-prem and cloud workflows.

Telos Alliance will be in Stand 8.D37.

OSLO, Norway—Bridge Technologies has announced that its flagship VB440 production probe now supports monitoring of Blackmagic Design's IP10 codec and will provide demos in its booth as well as Blackmagic’s booth at the upcoming 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

IP10 is Blackmagic's lightweight, low-latency codec designed to address a specific challenge in ST 2110 environments: fitting high-frame-rate Ultra HD video through a 10 GigE connection while maintaining broadcast-quality, 10-bit 4:2:2 colour performance.

With a latency of just eight-pixel samples and an extremely small FPGA footprint, IP10 is license-free and open, allowing broadcasters to deploy ST 2110 workflows without the expense of 25GE or 200GE switching infrastructure. For broadcasters operating in OB trucks, remote locations, or smaller facilities where high-speed network infrastructure is not available, IP10 offers a pragmatic path to uncompressed-quality IP production over widely available 10GE links, Bridge said.

The VB440 itself is equipped with dual 200 GigE interfaces, capable of handling uncompressed ST 2110 streams at the highest data rates. But in contexts where the wider network infrastructure is operating on smaller bandwidth channels—with IP10 being used precisely to address that limitation—the VB440's native support for the codec means engineers can monitor IP10-encoded streams with the same depth of visibility they expect from uncompressed workflows, according to the company. This ensures that even in bandwidth-constrained environments, the VB440 remains a viable and powerful monitoring presence.

Facilities using IP10 as an underlying codec will thus have full access to the extensive range of tools present within the VB440, which itself represents a uniquely powerful production tool that combines both network monitoring and a full suite of practical production tools within a single RU appliance, thus drastically truck roll weight, energy consumption and the cost and space associated with screens and cabling, Bridge said.

The demos will take place at Bridge Technologies stand (Booth 1.A71) and Blackmagic’s (7.C49) during the show.

MARLOW, UK—At IBC2026, TSL will present a series of enhancements and expansions to its monitoring, control, orchestration, and power management solution with the goal of operating IP and hybrid infrastructures more efficiently.

TSL will showcase new network-based control integrations within the TSL Hummingbird ecosystem, helping broadcasters manage increasingly diverse IP infrastructures. Dante router control will be on show at IBC2026 for the first time. Together with support for NMOS, the expansion enables broadcasters to control multi-vendor environments across SDI, ST 2110, NDI and Dante workflows operating side-by-side.

TSL will also highlight how it has improved Hummingbird support for NDI, Amagi Tally, TSL v5 Server and VDCP-IP. The additions enable broader integration with third-party production, routing, and playout systems, giving broadcasters greater flexibility to build interoperable IP workflows, the company said.

TSL says it will also launch a new software app that supports complex workflow virtualization and automation at scale at the show.

Following TSL’s acquisition of JL Cooper Electronics earlier this year, IBC2026 offers the first major opportunity to showcase how its specialist human-machine interface (HMI) and machine-to-machine interface (MMI) technologies expand TSL Hummingbird control options for broadcast, proAV, education, live events and creator workflows.

The latest generation of TSL’s AMUs will be integrated into new workflow displays at IBC, with updated hardware and firmware to meet the critical demands of modern IP and hybrid live production environments. Multiple price-point and form factor options are available for users across Analogue, 3G-SDI, 12G-SDI, Madi, Dante, Ravenna, ST2110-30, AES3, AES67 and Dolby also featuring added resiliency with ST2022-7 redundancy.

TSL will also showcase its latest release for its range of intelligent, managed PDUs, extending operational visibility and control beyond media to the critical power and IT infrastructure that underpins mission critical operations. Designed for data centers, live production facilities and central machine rooms, the PDUs provide engineers with real-time power monitoring, remote diagnostics, and remote management and control to improve resilience and operational efficiency and help drive down costs and power usage to support sustainability goals, according to the company.

“The conversation has shifted from simply moving media over IP to efficient and easy-to-deploy control and orchestration across both multi-vendor and multi-technology environments,” said Matthew Quade, CEO, TSL. “Broadcasters need solutions that bring together unified control, intuitive operation and open interoperability, without locking them into single vendor systems or adding complexity, as well as wanting choice for deployment options in software and hardware.

"By extending TSL Hummingbird’s capabilities, expanding our range of HMI and MMI control interfaces and continuing to invest in response to market demands across audio monitoring and power, customers have the flexibility to manage today’s infrastructures more efficiently while building in future-readiness to enable change at their pace and within their budgets,” he added.

TSL team will be Stand 7.B12.

WHITE PLAINS, N.Y.— SMPTE today announced its 2026 Honorees, recognizing individuals and organizations whose contributions have advanced media technology and the entertainment industry. The honors will be presented at the annual SMPTE Awards Gala on Thursday, Nov. 19, at the conclusion of the 2026 SMPTE Media Technology Summit at the Pasadena Convention Center.

“I want to congratulate all of this year’s honorees,” says Renard T. Jenkins, Fellows Committee Chair and SMPTE Past President. “Their dedication to SMPTE and to our industry is an inspiration, and their contributions have had a lasting impact on media technology and the people it serves. We are proud to recognize their achievements.”

This year, 32 individuals and organizations will be recognized across 13 SMPTE honors. Among them is the Society’s highest distinction, Honorary Membership, recognizing individuals who have performed eminent service in the advancement of engineering in motion pictures, television, or the allied arts and sciences. Past recipients include Thomas Edison, Walt Disney, George Lucas and James Cameron.

2026 SMPTE Honorees
Honorary Membership will be conferred on John Dykstra, ASC, in recognition of more than four decades of contributions to motion picture imaging engineering. A founding figure in modern motion picture visual effects, Dykstra pioneered groundbreaking technologies and techniques for Star Wars that helped transform visual effects production.

The David Sarnoff Medal is being awarded to Jerry C. Whitaker in recognition of his visionary leadership in the creation and deployment of digital television standards, including ATSC 1.0 and ATSC 3.0.

This year’s recipient of the Progress Medal is Robert P. Seidel, in recognition of his decades of sustained contributions to HDTV deployment, digital television standards, multichannel audio, and the architecture of next-generation broadcast infrastructure.

The Excellence in Education Medal will be presented to Anil Kokaram for his outstanding contributions to academic and extracurricular engineering education.

The Workflow Systems Medal will be awarded to Bruce Devlin, in recognition of his pioneering leadership in the development, standardization and adoption of interoperable media workflows, transforming the industry from tape-based operations to modern file-based and software-defined production.

The James A. Lindner Archival Technology Medal will be presented to Nicholas Bergh in recognition of his pioneering contributions to audio preservation technology.

The Excellence in Standards Award recognizes individuals who have played an active role in advancing SMPTE Standards, activities and processes. This year’s award will be presented to Jerry Pierce (posthumous) and Wade Hanniball, in recognition of their sustained leadership in the development, standardization and worldwide deployment of digital cinema technologies.

Polly Chesnokova, from the AFI Conservatory, will be the recipient of the Louis F. Wolf Jr. Memorial Scholarship, designed to assist students in furthering their undergraduate or graduate studies in motion pictures and television, with an emphasis on technology.

The Journal Award for the best paper originally published in the SMPTE Motion Imaging Journal during 2025 will go to Charles Q. Robinson for “Cinema Sound Playback Level and Audience Satisfaction.” Journal Certificates of Merit will be awarded to David Long, Rod Bogart, Spencer Stephens, Catherine Meininger, Joseph Goldstone, Tim S. Kang, Kathryn Brillhart and Jim Geduldick for “Color Management Principles for LED Panels in On-Set Virtual Production,” and to Tania Pouli, Khaoula Ounajim and Daniel Menard for “Evaluating the Energy Impact of Different Dimensions of UHD.”

The Student Paper Award will be presented to Miles Katz for his paper, “Evaluating Cybersecurity Vulnerabilities in SMPTE ST 2110 Media Networks.”

In memoriam, Henry (Hank) Mahler will join the SMPTE Honor Roll in recognition of his extraordinary engineering leadership and innovation across broadcast audio, color television, sports production and high-definition imaging.

SMPTE Fellows
Nine new SMPTE Fellows will be recognized at this year’s Gala for their outstanding proficiency and contributions to the motion picture, television and related industries. The 2026 inductees are Zandra Clarke, Jimmy Fournier, Thomas Heritage, Harvey Landy, Steve LLamb, Yukihiro Nishida, C.V. Rao, Allan Schollnick and Marc Zorn

More information about the 2026 SMPTE Honorees, including full award citations and honoree information, can be found here.

For information on SMPTE Awards Gala sponsorships and congratulatory Program Book ads, contact Anthony Catalano.

BOSTON—EditShare will unveil new developments across EFS, FLOW AI, MediaSilo and EditShare One at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

EditShare will launch new all-in-one Ultimate EFS configurations for EFS 310 and EFS 410 with FLOW media management and GPU-powered FLOW AI processing built into the nodes. By combining shared storage, media management and AI processing, the new configurations provide a more accessible route to AI-assisted media discovery for teams that do not require the processing scale of a dedicated standalone GPU system, the company said.

FLOW AI has now expanded transcription support across 13 languages: English, Catalan, Croatian, Czech, Danish, Dutch, French, German, Greek, Italian, Portuguese, Spanish and Turkish, with Hebrew and Arabic following shortly after. The expanded language support will help broadcasters, production companies and post-production teams apply AI-assisted search and discovery across a wider range of international content.

EditShare will also preview how MediaSilo is expanding beyond review and approval into a broader production media hub. Media Drives, a new connected-storage capability, will allow authorized users to access approved S3-compatible storage directly through MediaSilo, including on-prem EFS storage presented through S3 and supported third-party on-prem and cloud platforms.

Teams will be able to browse folders, search mounted media by filename and preview content where it is stored. They can then copy only the files they need into MediaSilo, rather than transferring everything before they know what is needed.

Once there, MediaSilo AI allows users to search transcripts, on-screen text, people, logos and scenes. The same workspace supports timecoded feedback, version management, dailies, approval tracking and protected external review.

EditShare will also demonstrate the latest developments in EditShare One, giving users a faster and more intuitive way to access and manage content across EFS and FLOW.

Users can archive and restore complete media spaces or folders directly from EditShare One, making it easier to manage large collections without handling assets individually. The expanded archive workflow also supports integrations with Telestream DIVA Archive and Spectra Logic Rio MediaEngine in addition to the currently supported 3rd party storage capabilities within FLOW.

EditShare will be in booth 7.B18.

NOVI, Mich.—Enco Systems will feature its latest advances in five key areas, including captioning, translation, AI production tools, automation and virtual production during IBC2026, set for Sept. 11-14 at the RAI Amsterdam Convention Center.

Several solutions will debut at IBC as Enco demonstrates how broadcasters can apply AI, cloud technologies and intelligent automation across the content life cycle. Highlights include the next generation of Enco’s enCaption technology, the European debut of its enSpeak real-time voice translation solution, new AI tools for television and radio and the IBC debut of the latest Qimera Virtual Production innovations.

IBC highlights will include:

• Captioning: Enco will demonstrate the enCaption suite for automated, highly accurate live captioning. The company will also demo its next-generation enCaption Sierra platform, which offers flexible on-premises and cloud deployment and improvements in language support and accuracy, as well as its Raptor cloud captioning encoder.
• Translation: Enco will show how enTranslate and enSpeak can expand standard captioning capabilities into multilingual text and audio. The enTranslate tool converts live captions into translated text in real time, while enSpeak enables natural-sounding low-latency voice translation.
• Artificial Intelligence: Enco will preview a new AI-powered video solution that automatically identifies and extracts compelling segments from long-form programming for repurposing across social and digital platforms. It will also demonstrate SPOTai, an AI tool that rapidly generates professional video advertisements for television, digital and social media.
• Automation: The company returns to IBC with its VDESK system for visual radio and video production applications and its streamlined A-LIST TV automation system.
• Virtual Production: Enco will showcase Qimera, its Unreal Engine-based real-time 3D compositing platform for immersive virtual environments, augmented reality graphics and dynamic live productions. It will complement Qimera with a whisper-quiet robotic pan/tilt head engineered to position larger camera and lens payloads precisely while supporting VISCA-over-IP control. 

“Broadcasters everywhere are being challenged to do more with less, and Enco offers intelligent, easy-to-use technologies to caption and translate content, create and repurpose programming, automate daily operations and produce compelling live television and radio broadcasts,” Enco President Ken Frommert said.

“European broadcasters operate within very specific staffing and business guidelines, so technology that simplifies workflows and enables smaller teams to accomplish more can have an immediate impact,” he added. “Our IBC showcase demonstrates how Enco is applying AI for audience accessibility and automation/production tools to help broadcasters work more efficiently and increase audience size.”

See Enco at IBC2026 Stand 7.A34. More information is available on the Enco website.

HEBDEN BRIDGE, U.K.—As the broadcast industry moves toward more flexible production platforms, Calrec will present various improvements to its audio ecosystem at IBC 2026 (Stand 8.C47) that include upgrades and solutions developed as part of the company’s ongoing commitment to the EBU's Dynamic Media Facility (DMF) project.

More specifically, its IBC demos will include previews of enhancements to its ImPulseV DSP software, developed to support DMF. Calrec is also committed to adding support for the Media eXchange Layer (MXL) to ImPulseV.

“The ImPulseV DSP software enhancements previewed at the show align with the EBU’s Dynamic Media Facility (DMF) project,” explained Henry Goodman, director of product management at Calrec. “The idea of a shared server stack that can host all the production software a facility needs, with users spinning up whichever tools a given job requires, is a powerful driver for broadcasters focused on reducing costs and maximizing their investment to deliver a broader range of content.

“The DMF project and the associated Media eXchange Layer (MXL) development aim to solve many of the real-time challenges of moving to software-defined workflows,” he added. “It vastly reduces compute by enabling containerized software functions from multiple vendors to use shared memory to transfer video, audio, and metadata on the same server. It gives broadcasters the ability to take advantage of best-of-breed technology within the same flexible software stack, while retaining the tried-and-trusted feature set they've come to expect from Calrec, without committing to a one-off investment in processing hardware up front.”

In addition, Calrec will explain how its Argo ecosystem combining physical and virtualised user interfaces as part of its software-defined ImPulseV engine, giving broadcasters freedom of choice in how they build, scale and evolve their infrastructure.

Handling up to 256 processing paths and supporting all immersive audio formats, ImPulseV can be deployed on-prem on a standard COTS server, on public cloud infrastructure, or across a hybrid. It can be accessed from any Calrec Argo surface, or via the browser-based Calrec Assist interface, giving broadcasters the freedom to scale depending on the size of the project.

New, smaller DSP pack sizes of 96 and 140 processing paths join the existing 256-path configuration, tailored for smaller systems that still demand uncompromising, broadcast-grade audio performance. Calrec has also introduced short-term, flexible licensing options, including 1-year, 12-week and 4-week subscriptions. This lowers the barrier to entry for ImPulseV, giving broadcasters production capacity exactly when they need it, without long-term commitments or high upfront costs, making it ideal for temporary, variable or one-off productions.

Introducing ImPulseV v1.5

As part of Calrec’s ongoing work with Grass Valley’s AMPP ecosystem, ImPulseV will support the AMPP control SDK, giving applications running on AMPP direct control over console parameters, including fader control. This is supported by ImPulseV 1.5 update that will be demonstrated at the show.

Calrec's new AMPP Bridge control application installed as a workload on an AMPP node, will provide bidirectional control between an ImPulse core and the AMPP environment. Calrec-Bridge carries control data with AMPP handling audio through Dante, NDI and ST-2110 interfaces.

ImPulseV will also be available on the NEP Platform, a service offering orchestrated, rapid deployment of leading production applications like ImPulseV on server-based hardware, unifying multi-vendor applications into a single interface for end-to-end production workflows.

Calrec noted that support for COTS hardware reduces reliance on niche equipment, with Calrec currently benchmarking ImPulseV's performance on standard server hardware. ImPulseV will also include NDI connectivity as an alternative to Dante for routing audio into and out, supporting up to 256 mono-equivalent channels across a maximum of 16 streams, with up to 64 channels per stream.

ImPulseV will also add support for automated deployment using Cloud-Init and Terraform, tools that let broadcasters set up and configure new systems automatically rather than manually. Cloud-Init modules can configure surface layout, system and core names, manage licenses, and DSP engine addressing. New 'Online' licenses handled through an online licensing server, allow licenses to be added via key rather than file, and work with automated deployment. Terraform support is provided via example scripts from Calrec, which can be edited for individual deployments.

“The ImPulseV DSP software enhancements previewed at the show align with the EBU’s Dynamic Media Facility (DMF) project,” explained Henry Goodman, director of product management at Calrec. “The idea of a shared server stack that can host all the production software a facility needs, with users spinning up whichever tools a given job requires, is a powerful driver for broadcasters focused on reducing costs and maximizing their investment to deliver a broader range of content.

“The DMF project and the associated Media eXchange Layer (MXL) development aim to solve many of the real-time challenges of moving to software-defined workflows,” he added. “It vastly reduces compute by enabling containerized software functions from multiple vendors to use shared memory to transfer video, audio, and metadata on the same server. It gives broadcasters the ability to take advantage of best-of-breed technology within the same flexible software stack, while retaining the tried-and-trusted feature set they've come to expect from Calrec, without committing to a one-off investment in processing hardware up front.”

Calrec will also give visitors to IBC 2026 a first look at its Argo v1.5 software release, part of its ongoing commitment to continually developing and enhancing the Argo ecosystem.

Key enhancements to Argo v1.5

The new update will allow Offline Assist users to access the Argo Assist UI to configure shows, memories and presets without an ImPulse core or Argo surface, including importing a 'Desk Package' to configure against a specific physical surface. Also included are new True Peak Limiters, keeping audio in line with broadcast loudness standards, with 64 channels available in Assist, assigned per leg.

I/O patching has been streamlined: Desk Outputs and Desk Inputs have been renamed, and fader inputs now sit in their own discrete category, delivering faster switching when patching.

A new Bulk Advanced Configuration option lets users save advanced device settings across multiple devices in one action, specifying which options to save, and which devices to save them to. Calrec Connect will also display richer stream information for third-party transmitters, including channel count, packet time, sample rate, codec, media clock offset and payload type.

"Ultimately, these updates are about giving broadcasters greater freedom by delivering an infrastructure that fits today's production requirements and adapts to tomorrow's," says Goodman.

That freedom extends across the whole Calrec IP-native ecosystem, with the award-winning Argo console range at its center. It's a platform that supports a broad range of production workflows, giving broadcasters the flexibility to deploy resources where they're needed most while driving greater operational efficiency and cost savings.

HPA has opened its call for entries of the HPA Awards Innovation & Technology that will be given out at a ceremony on February 18, 2027 at the HPA Tech Retreat.

Entries are invited in five categories:

• Innovation in Pre-Production
• Innovation in Production & Capture
• Innovation in VFX, Virtual Production & Animation
• Innovation in Post-Production
• Innovation in Distribution & Audience Experience

Entries will be evaluated by an expert judging panels based on innovation, industry impact, technical merit, and adoption readiness, HPA reported.

Submissions are due on October 2, 2026 with judging panels and interviews taking place December 7–11, 2026. Nominees will be announced in January of 2027.

Entries can be submitted here.

The Georgia Association of Broadcasters has announced this year’s GAB Honors Awards recipients.

The four honorees will be presented their awards at the association’s annual convention, GABCON, held Sept. 25–26 at the Gas South District Convention Center in Duluth.

“These four honorees represent the very best of Georgia, from broadcasting and public service to innovation and community impact,” GAB President Randy Gravley said in a release.

Ditty-McLemore Engineering Award: Michael Williams

Michael Williams of WSB(TV) is the recipient of GAB’s award which recognizes contributions to broadcast engineering.

Williams is the senior manager of IT at WSB and has around 30 years of experience in the broadcast industry. He has spent the last 18 years with WSB, beginning as a maintenance engineer before advancing to his current role.

His career with Cox Media Group began 10 years prior to joining WSB, when he worked as a radio engineer.

Golden Mic Award: Estelle Parsley

Estelle Parsley, the vice president of news for WRDW(TV) in Augusta, is the recipient of the GAB’s award that recognizes those whose efforts and support have made a lasting impact on Georgia’s broadcasting industry.

Under Parsley’s leadership, WRDW has earned 10 National Edward R. Murrow Awards, 40 regional Murrow Awards and 14 Southeast Emmys.

Legislator of the Year: Clint Crowe

This GAB award honors a Georgia Lawmaker whose leadership and dedication strengthen local broadcasting and its service to the community.

State Representative Clint Crowe represents Georgia House District 118, which includes Butts County and portions of Monroe and Newton counties.

Georgian of the Year: Jesse Cole

This award is presented to an individual who has made a significant and lasting impact on the citizens and state of Georgia.

Jesse Cole is the founder of Fans First Entertainment and owner of the Banana Ball Championship League, which includes the Savannah Bananas.

[This article was originally posted in our sister publication Radio World. You can read their industry coverage here or signed up for the Radio World SmartBrief newsletter here.]

MUNICH, Germany—Rohde & Schwarz announced today that it plans to introduce “a new addition to its transmission portfolio designed to optimize efficiency, secure long-term investments, and simplify daily operations” at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

Although it didn’t identify the new product or where it fits into a broadcasters’ RF infrastructure, the company said it falls in line with the company's IBC focus on “emphasizing operational efficiency and sustainable technology evolution.” Alongside this launch, Rohde & Schwarz will also host its Innovation Theatre at its booth, offering presentations on new business fields and emerging industry trends.

Rohde & Schwarz says it will also demonstrate its terrestrial transmission solutions featuring native support for 5G Broadcast and ATSC 3.0. The company says its transmitter platforms and software-defined receivers allow broadcast network operators to seamlessly adapt to changing standards and enable the deployment of new services such as datacasting, Positioning, Navigation, and Timing (PNT), and multimedia emergency warnings.

As satellite network operators face the challenge of updating critical space-to-ground communication links, the company says its R&S PKU100 Ku-band uplink amplifier showcased at the event provides a viable migration path from legacy tube-based systems to a highly efficient solid-state architecture. The solution allows for a direct 1:1 replacement of aging tube amplifiers within existing configurations, significantly reducing installation effort. By upgrading to this technology, satellite networks achieve immediate improvements in reliability and operational efficiency, while integrated self-monitoring capabilities minimize maintenance requirements and lower the total cost of ownership, according to the company.

"For decades, Rohde & Schwarz has built a reputation in broadcasting founded on innovation and reliability," says Steven Edwards, Vice President, Broadcast Distribution at Rohde & Schwarz. "Our latest TV, radio, and satellite solutions deliver exceptional performance while meeting growing technical and audience demands. At IBC 2026, we are proud to showcase our next-generation solutions, ensuring our customers' investments remain secure and adaptable for decades to come."

Rohde & Schwarz will be in Booth 8.B70.

Avid Content Core will be the key focus at Avid’s booth at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

Debuting at IBC2025, Avid says its Avid Content Core platform “continues to evolve as the intelligence layer connecting Avid's agentic ecosystem across news and post production.”

At IBC2026, Avid will introduce native asset management capabilities, connecting media across customers’ own cloud and on-premises environments—including Avid NEXIS, AWS, Google Cloud, Microsoft Azure and other third-party storage, facilitating the ability to index, search, manage, and work with content wherever it resides. Beyond a traditional MAM, this connected media understanding provides the foundation for agentic automation to execute work within trusted production workflows, without requiring everything to be migrated into a single repository, according to the company.

For news production, the company will demonstrate how connected planning, modern rundown, production, and publishing workflows across Avid Content Core, MediaCentral and Wolftech News, help teams accelerate content delivery across every platform.

For post production, Avid will demonstrate how Avid Content Core's media intelligence, understanding of media identity, location, metadata, and production context help enable agentic editing across Media Composer and Avid Content Core.

Avid will also showcase its latest Pro Tools updates for audio post production, helping creative teams deliver world-class audio across increasingly complex productions. Highlights include support for the immersive broadcast standard MPEG-H plus previews of new powerful integrations that streamline audio post production from editing and ADR through final mix.

Avid will be in Booth 7.B59.