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.

NEW YORK—AES Show Nashville 2026 has released new details about the audio tech event , which is currently offering Bird registration with discounted rates available through August 27.

As part of an effort to revitalize and reimagine the show, which is taking place Oct. 30 to Nov. 1 at the Gaylord Opryland Resort & Convention Center in Nashville, the organizers have also announced a growing roster of exhibitors and partners.

Participating companies and brands include Abbey Road, Allen & Heath, AMS Neve Ltd., API, ATR Service, Inc., Audeze, Audinate, Audio Alchemist, Audio Distribution Group, Audio-Technica, Audioscape Engineering Co., AudioShake, Austrian Audio, AuviTran, BeesNeez Microphones, Belmont University, Blackmagic Design, Chameleon Labs, Chandler Limited, Clear-Com, Cloud Microphones, Dangerous Music, DiGiCo, Digigram, Eleven Dimensions Media, EMI, Eventide, Ex Machina Soundworks, Ferrofish, Firehouse 12, Fostex, FullScale AV, Genelec, Google, Grace Design, Gyraf Audio, Harrison Audio, Hear Technologies, Hisong Global, Immersive Design Labs, Jam Industries USA, JamRacks, JoeCo, L-Acoustics, Lauten Audio, Lawo, Lectrosonics, Marian, MyMix, Neumann, Niron Magnetics, Nordic Audio Labs, One F Sound, PACE Anti-Piracy, Peluso Microphone Lab, Prism Sound, PSI Audio, RCF, Recording the Masters, Reloop, RME, Rupert Neve Designs, Sennheiser, Shure, Solid State Logic, Sony Electronics, Sound Ideas, Sound Radix, Soundproof Windows, STAGETEC North America, Synthax Inc., TELEFUNKEN Elektroakustik, Triad-Orbit Advanced Stand Systems, Violet Audio, WAVE Distribution, Waves, Wolff Audio, Yamaha and Zynaptiq.

Designed to encourage meaningful interaction between brands and attendees, the organizers said that AES Show Nashville will combine exhibits with technical sessions, workshops, research presentations, studio tours, networking and special events.

Recording and production, live sound and touring, installed audio, broadcast, immersive audio, education, AI and machine learning, game audio and emerging technologies will all be represented, creating new opportunities to discover products, exchange ideas and build relationships across the audio industry.

“Nashville is more than a destination — it is one of the world’s great centers for music production and audio technology,” said AES Show Nashville Convention Chair Graham Kirk. “Bringing the AES Show to Music City gives manufacturers, developers and audio professionals an opportunity to connect across multiple disciplines while becoming part of a new Show experience built around the people, technologies and ideas shaping what comes next in audio.”

Kirk leads the AES Show Nashville committee alongside Co-chairs Russ Long and Brian (Bt) Gibbs. The leadership team includes Areti Andreopoulou and Braxton Boren, Papers; Ian Corbett and Angela Piva, Education & Students; Jim Kaiser, Recording & Production; Jonathan Wyner, AI & Machine Learning; Steve Martz, Game & XR; Vince Lepore, Networking; Mary Mazurek, DEIR; Jim Jordan and Jim Gilmore, Facilities; Brad McCoy, Historical; Matt Pogorelc and Scott (Scooter) Hernbeck with Ryan Shelton, Live Sound/Touring/Install; Michael Hanson, Volunteers; and Robert Clyne, Special Events/Keynotes.

The show also stressed that the Nashville setting will be central to the new experience, with programming and activities designed to extend beyond the traditional show floor and connect attendees with Music City’s renowned studio, production and professional audio community.

Early Bird registration rates are available through August 27. Exhibitors and sponsors can also still secure opportunities to showcase products, demonstrate technologies and put their brands directly in front of an engaged professional audio audience.

More information on registering, exhibiting and the show is available at AESShow.com.

GENEVA, Switzerland—GlobalM today announced that it is integrating its GMX software-defined media platform with Oracle Cloud Infrastructure (OCI), bringing together Oracle’s global cloud infrastructure with GlobalM’s technology for live media contribution, processing, and distribution.

The integration will enable GMX Cloud services to run across OCI regions, giving broadcasters, sports organizations, and media companies access to a significantly expanded global footprint for live media workflows, GlobalM said.

At enable improved automation, GMX creates a software-defined media network on OCI, automatically deploying the compute, networking, media processing, and routing resources required for each service. Infrastructure is spun up and configured on demand, point to multipoint contribution and distribution paths are established automatically, and resources can be scaled as requirements change before being automatically released when services finish.

This allows broadcasters to schedule and consume OCI infrastructure dynamically without having to manually build and configure the underlying cloud environment for every production, the company said.

OCI is particularly well-suited to professional broadcast applications because of its high-performance networking and flexible compute architecture. OCI Flexible Shapes allow compute and memory resources to be configured according to individual workload requirements, enabling GMX to optimize infrastructure for applications ranging from SRT and RIST gateways to transcoding, remultiplexing and high-throughput media distribution.

Oracle’s global cloud footprint also complements GlobalM’s distributed architecture. GMX processing and routing nodes can be automatically deployed across OCI locations, allowing contribution feeds to enter the cloud close to their source and receiving broadcasters to connect through infrastructure close to their destination. This helps keep the unmanaged first and last miles as short as practical while the core media workflow operates across managed cloud infrastructure.

The collaboration will also extend GlobalM’s hybrid capabilities. GMX1 processing and routing nodes deployed within customer facilities will be able to operate alongside GMX Cloud resources running on OCI. Combined with Oracle’s hybrid cloud capabilities, this will allow broadcasters to integrate existing facilities with dynamically deployed cloud processing, international distribution, additional capacity, redundancy, and disaster recovery.

GlobalM (1.A11) and Oracle (5.A21) will showcase GMX running on Oracle Cloud Infrastructure at their booths during the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

CESSON-SÉVIGNÉ, France—Broadpeak is launching Multiview as a Service on broadpeak.io, the company’s SaaS platform at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. The fully managed self-serve SaaS offering enables broadcasters, streaming platforms and broadband providers to launch user-curated multiview experiences for live events with greater speed and simplicity.

Multiview allows audiences to choose their preferred layouts and watch multiple channels, live events or camera angles simultaneously, creating a richer viewing experience designed to increase engagement, encourage longer viewing sessions and help reduce subscriber churn, the company said.

“Multiview has quickly become one of the most requested capabilities for premium sports streaming, particularly across a huge summer of live sporting events, but the cost and complexity of deployment have prevented many providers from bringing it to market,” said Jacques Le Mancq, president and CEO of Broadpeak. “Bringing Multiview to broadpeak.io removes those barriers and makes sophisticated viewing experiences accessible to a wide range of service providers via a nimble, cost-efficient model.”

Broadpeak says its cloud-based service significantly accelerates time to market. Customers can introduce Multiview across a broad range of devices through a flexible, usage-based SaaS model, eliminating upfront CAPEX investment and aligning costs with service usage.

Broadpeak also manages the underlying infrastructure and provides continuous service supervision through its team of video streaming experts. Proactive monitoring helps ensure consistent service performance, while detailed KPIs enable customers to optimize their service settings over time.

Broadpeak will be in Booth 1.F83 at the show.

LONDON—The organizers of IBC 2026 have announced that show's most prestigious honor, the International Honor for Excellence (IHFE), will be presented to Olympic Broadcasting Services (OBS) in recognition of the company’s decades of innovation in live sports production and its far-reaching impact on the global broadcast industry.

IBC also announced the winners of its Best Technical Paper award, which this year recognizes research into reducing interaction barriers for older viewers of internet-delivered TV.

The IHFE and The Best Technical Paper will be presented at the IBC Innovation Awards event, which takes place Sunday 13 September at the IBC2026 Conference, which runs from Sept. 11 to 14 in Amsterdam.

In announcing the IHFE award, the IBC noted that for decades, OBS has set the benchmark for innovation in live sports production, consistently pushing the boundaries of what is technically possible. Through pioneering developments in ultra-high-definition production, immersive audio, remote production workflows, artificial intelligence, cloud-based technologies and next-generation storytelling, OBS has transformed the way audiences around the world experience the Olympic Games.

Beyond its technical achievements, OBS has played a defining role in raising standards across the wider broadcast sector, the IBC said. The innovations developed to meet the unique demands of the Olympic Games have frequently become catalysts for industry-wide adoption, influencing broadcasters, technology partners, manufacturers and production teams across every genre of live television.

“We are truly honored to receive this award and sincerely thank IBC for this recognition,” Yiannis Exarchos, OBS CEO said. “This distinction is a tribute to the passion, expertise and dedication of everyone at Olympic Broadcasting Services, whose work enables us to bring the Olympic Games to audiences around the world. It recognises our team’s commitment to innovation, excellence and service to the Olympic Movement, as we continually seek new ways to enhance the coverage and audience experience of the Games. We are especially proud to receive this award from IBC, whose role in bringing together the international broadcast community is so highly regarded.”

OBS has previously received multiple broadcast and sports industry awards. At IBC, this has included the IBC2024 Innovation Award for Content Creation, with OBS winning, along with its technical partners, for its live broadcast production for the Paris 2024 Opening Ceremony, which used more than 200 smartphones contributing video, and a sea-based 5G network for Olympic sailing competitions in Marseille.

The IBC also announced that Emma Maier, Jodie Pearton, Anna Stewart, Arina Mnatsakanyan and Jonathan Freeman, of i2 media research are being awarded the coveted Best Technical Paper at IBC2026 for their work entitled 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 so they can access everyday services with confidence. Using observational testing with adults aged 65–89 at the i2 media research lab at Goldsmiths, University of London, it identified how design barriers including a lack of hierarchy, layered menus, unclear feedback and unfamiliar terminology can make everyday tasks harder than expected. It then demonstrates how a simple, optional age-informed overlay interface can reduce barriers and support more confident, independent viewing.

Andrew Dumbreck, Chair of the IBC2026 Technical Papers Committee, explained that “among many excellent papers in this year’s IBC Technical Conference, this paper on how to make TV more usable for older viewers clearly reports a well-conceived and executed scientific study. It is highly relevant to the current thinking about how to transition to greater delivery of content by internet while retaining public service goals of universal coverage and access. We can also look forward to a diversity of top-quality papers from the broadcast industry and academia including from: BBC, UK; NHK, Japan; RAI, Italy; and RTÉ, Ireland.”

The IBC2026 Technical Paper Program brings together the technical media and broadcast community to consider what direction technology should take for the industry. It features original research on solutions to real-world problems faced by the international broadcast and digital media industry.

Its expanded scope this year includes papers dedicated to technical policy alongside traditional technical papers, with focused sessions spanning AI Production, Coding, Trust & Provenance, XR & Multiview, the Future of TV Distribution, Dynamic Media Facility developments and AI Indexing.

The IHFE and The Best Technical Paper will be presented at the IBC Innovation Awards event, which takes place Sunday 13 September at the IBC2026 Conference.

For more information on the IBC Technical Papers Program, please visit: https://show.ibc.org/technical-papers.

Learn more about the IBC Awards at: https://show.ibc.org/ibc-awards.

BOTHELL, Wash.—The Alliance for IP Media Solutions (AIMS) and the Video Services Forum (VSF) have announced the full IP Showcase on the Water presentation schedule taking place during IBC2026.

The free, one-day event will be held from 10 a.m. to 5 p.m. on Sunday, Sept. 13, on canal cruise boats launching from Strandzuid at the RAI in Amsterdam. Complimentary registration is now open to reserve a seat for any of the seven one-hour cruises.

Each cruise will accommodate up to 35 attendees and feature two 20-minute sessions from industry experts, for a total of 14 presentations on a wide range of IP-related topics. In addition, the IP Showcase partners are again sponsoring the decodeTV Green Line — an initiative aimed at promoting more sustainable travel to IBC.

The IP Showcase, which is committed to educating attendees at major industry events on the business and creative potential of IP media solutions, said that this year’s event will include presentations by top speakers from Amazon Web Services (AWS), Appear, BFE Studio und Medien Systeme GmbH, Grass Valley, Imagine Communications, Lawo, Matrox Video, NSI2 Consulting, NVIDIA, PlexusAV, Skyline Communications, intoPIX, and Ross Video.

“At IBC2026, the IP Showcase on the Water gives attendees direct access to the experts who are advancing media workflows through open standards,” said Andrew Starks, director of product management at Macnica and AIMS board member. “This year's presentations highlight the technologies and collaborative innovations shaping our industry, from Dynamic Media Facility (DMF) and orchestration to AI, security, cloud technologies, and IPMX certification. By bringing together industry leaders from across the media technology ecosystem, the program provides practical perspectives on how open standards are helping broadcasters and Pro AV professionals build more connected, flexible, and interoperable workflows.”

The IP Showcase on the Water session topics include:

• Session 1 and Session 2 – MXL & Dynamic Media Facilities
• Session 3 – Managing Dynamic Media Facilities
• Session 4 – Troubleshooting & Cyber Resilience
• Session 5 – Control Planes for AI & Cloud
• Session 6 – IPMX Case Studies & Certification
• Session 7 – Cameras, GPUs & Open Control

Boats will be departing on the hour from Strandzuid, located near RAI Amsterdam at Europaplein 22, 1078 GZ Amsterdam. The current IP Showcase on the Water presentation schedule is available online here. Attendees can register for free here.

In addition to presenting the IP Showcase on the Water, AIMS and the VSF are sponsoring the decodeTV Green Line to IBC2026. Setting out from London, the Green Line offers IBC attendees a low-carbon direct route to Amsterdam, as well as an afternoon of networking and socializing with fellow industry professionals — all while honoring a commitment to creating a more sustainable media and entertainment industry. This year, the Green Line will depart from London’s St. Pancras Station on Thurs, Sept. 10, 2026 and roll into Amsterdam Centraal Station just over 4 hours later.

“As we return as sponsors of the decodeTV Green Line for a second consecutive year, we're reaffirming our commitment to helping build a more sustainable future for the media industry," added Starks. "The Green Line is a creative and practical initiative that demonstrates how small changes can make a meaningful difference in reducing our industry's environmental impact. Beyond providing a lower-carbon way to travel to IBC, it brings people together to exchange ideas and reinforces the spirit of collaboration that drives innovation across both the broadcast and Pro AV communities."

WHITE PLAINS, N.Y.—SMPTE announced a program of expert-led sessions, professional workshops and networking events for IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The program will deliver practical guidance on AI, open-source media workflows, cloud infrastructure and other technologies shaping the future of content creation and delivery.

“As a proud partner of IBC, SMPTE has the privilege of presenting sessions and workshops that explore the latest media trends and help technologists at all stages of their careers navigate this period of rapid change,” said SMPTE president Rich Welsh.

"From AI and cloud infrastructure to open-source solutions and evolving production architectures, media organizations are facing important technology decisions. Our IBC program is designed to provide practical insight — not just into what's changing, but how these technologies can be applied today. Whether you're an engineer, architect or technology leader, these sessions offer valuable perspectives from the people defining tomorrow's production workflows."

SMPTE will present four sessions within the IBC 2026 Partner Program. Free to attend, these expert-led sessions will explore the technologies, workflows and business models reshaping the media industry. They include:

• “Sovereign AI and Sovereign Cloud,” Hans Hoffman, deputy director of technology and innovation at EBU, Saturday, Sept. 12, 2:30-3:30 p.m., Room E102.
• “Dynamic Media Facility: Why It Matters, and Why Now,” Willem Vermost, senior IP media technology architect, Saturday, Sept. 12, 3:30-4:10, Room E102.
• “OGraf: Making Broadcast Graphics Open and Accessible,” Paola Sunna, senior technology innovation manager at Eurovision Italy/EBU and Niels Borg of TV2.DK, Saturday, Sept. 12,, 4:10-4:50 p.m., Room E102.
• “The Innovation Flywheel: How Open Source and Standards Reinforce Each Other,” Thomas Bause Mason, director of standards development at SMPTE, Saturday, Sept. 12, 4:50-5:30, Room E102.

SMPTE will present two in-depth professional education workshops on Monday, Sept. 14. Designed for engineers, architects and technology leaders seeking a strategic and practical roadmap for the modern media enterprise, these workshops require paid registration. They include:

• "Technology Roadmap for the Modern Media Enterprise," course modules include Visual Quality Formats, Codec Strategy, The Transition to IP, The Dynamic Media Facility, Graphics Workflows and Cinematography in Broadcast. Speakers include Pierre Hugues Routhier, advanced imaging technologies specialist at the Canadian Broadcasting Company. Monday, Sept. 14, 9:30 a.m.-12:30 p.m., Room G106.
• "DMF in Practice: Design and Operation for Software-Defined Production," course modules include Dynamic Media Facility: Why It Matters, Building Blocks of a Software-Defined Media Facility, From Concepts to Practice and Live Demonstrations. Speakers include Willem Vermost, senior IP media technology architect at EBU; Wim Van Roy, education architect at LAWO Academy. Monday, Sept. 14, 1:30-4:30 p.m., Room G106.

SMPTE will also present two networking events at IBC 2026. The include:

• “The Green Line Media Networking Event,” a unique rail journey to IBC that combines networking, industry discussion and sustainability-focused programming. The event will also feature a guest D.J. set from SMPTE president Rich Welsh. Thursday, Sept. 10, London St Pancras to Amsterdam Centraal.
• Evertz and SMPTE drinks and networking event. The two are partnering to provide relaxed networking and complimentary refreshments. Current members and those interested in learning more are welcome. Registration is available online.

See SMPTE the IBC2026 Owner Pavilion, along with the other international bodies, in the Hall 8 lobby and stand 7.P14.

For more information about SMPTE, please visit smpte.org.

CINCINNATI—GatesAir will launch its next-generation Maxiva XTK software-defined exciter at IBC2026, Sept. 11-14 at the RAI Amsterdam, positioning the platform as the next-generation signal processing engine for its Maxiva family of digital television and DAB/DAB+ radio transmitters.

Designed to support broadcasters across worldwide digital transmission standards, Maxiva XTK combines exceptional signal processing power, advanced Transport over IP (TSoIP) capabilities and software-defined flexibility to simplify digital broadcasting today while preparing networks for tomorrow's transmission technologies.

Maxiva XTK delivers optimal signal quality across all major digital television standards worldwide, including DVB-T2, ATSC 1.0, ATSC 3.0, ISDB-Tb and Brazil’s emerging DTV+, while extending the same software-defined architecture to DAB and DAB+ networks, according to GatesAir. Its advanced FPGA-based platform significantly increases processing capacity and incorporates sophisticated Real-Time Adaptive Correction techniques that optimize signal performance across a wide range of RF amplifier configurations, ensuring reliable, high-performance operation for broadcasters regardless of network architecture.

Designed as the next-generation software-defined exciter for GatesAir's Maxiva transmitter portfolio, the XTK establishes a common technology platform that supports today's transmission requirements while creating a flexible foundation for future digital standards through simple firmware updates in the field. The modular architecture also provides a path for optional internal satellite and RF input capabilities, further extending the platform's long-term value, the company said.

The Maxiva XTK comes standard across GatesAir's newest Maxiva television transmitter platforms and is fully compatible with previous-generation Maxiva UHF and VHF transmitters, as well as many Harris legacy digital television systems. The platform's backwards-compatible design enables broadcasters to modernize signal processing while preserving existing transmission infrastructure, reducing upgrade costs and simplifying transitions to new digital standards.

GatesAir will be in Stand 8.B75 during the show.

PISCATAWAY, N.J.—The IEEE Broadcast Technology Society (BTS) has announced that Charles Einolf of the U.S. will receive its 2025 Jules Cohen Award.

The Jules Cohen Award is the society's highest honor, recognizing individuals who have made outstanding contributions to the broadcast industry and shown unwavering integrity and professionalism, as well as a sustained commitment to sharing knowledge for the benefit of colleagues and the industry as a whole, IEEE BTS said.

The group said Dr. Einolf has demonstrated exceptional technical leadership and service to broadcasting throughout his career in several influential roles.

From 1996 to 2003, Dr. Einolf served as deputy drector of the Advanced Television Test Center (ATTC). Under his leadership, the ATTC produced objective, technically rigorous test results that were instrumental in the adoption of the Grand Alliance digital television system, which ultimately became the foundation for the ATSC digital television standard. The ATTC's reports were recognized for their depth, accuracy and professionalism. Dr. Einolf consistently stood behind the integrity of the findings, even when the results generated controversy, earning the respect and trust of colleagues throughout the industry.

Dr. Einolf also represented the U.S. on the ITU Study Group 6 delegation, where he played a key role in advocating for the preservation of broadcast spectrum. His technical expertise, thoughtful leadership and clear, well-reasoned contributions were instrumental in protecting critical spectrum resources for the broadcasting community, the group said.

In addition, Dr. Einolf served multiple terms on the IEEE Broadcast Technology Society Administrative Committee (AdCom). During his tenure, he exemplified the highest standards of integrity, professionalism and dedication to advancing broadcast technology. His leadership and service have benefited not only broadcasters and consumer electronics manufacturers, but ultimately the millions of viewers who rely on broadcast television every day.

Historically, this award has been made as part of the BTS’s Fall Symposium activities. However, there was no Fall Symposium event in 2025.

As a result, both the 2025 and 2026 awards will be made at the society’s Oct. 27–28 tech conference, rebranded this year as the “IEEE BTS Broadcast Technology Forum.”

WHITE PLAINS, N.Y.—SMPTE has opened early registration for the 2026 Media Technology Summit (MTS) and announced initial program highlights, including the debut of the SMPTE Media Tech Business Forum.

Early registration rates will be available through August 31.

The annual summit, taking place November 16-19, 2026, in Pasadena, California, brings together engineers, technologists, business leaders, innovators, and decision-makers shaping the future of media technology. This year's conference program will feature peer-reviewed technical papers, keynote presentations, and executive panels tackling today’s most pressing media technology issues.

“The Media Technology Summit is more than a technical conference,” says SMPTE executive director Sally-Ann D’Amato. “It's where our industry comes together to exchange ideas, build relationships, and move media technology forward. This year's program spans everything from AI and sustainable media workflows to the role of media technology in adjacent fields such as space exploration, giving attendees a unique perspective on where our industry is headed."

Programming highlights include Tuesday's keynote presentation from NASA. Astronaut Donald R. Pettit will discuss his unique images taken from the International Space Station, followed by a panel discussion on the Artemis II mission and imagery beyond low Earth orbit.

New for MTS 2026, the SMPTE Media Tech Business Forum will open the summit on Monday with a dedicated program delivering market intelligence and executive perspectives from senior leaders shaping the future of media technology. Executives from leading studios, technology companies, and industry analyst firms will participate in keynote conversations, panel discussions, and interactive roundtables focused on the business forces transforming the industry.

"Our MTS programming on day one is dedicated to business strategy, keynotes from global industry leaders, an outlook on what comes next, and the health of our industry," notes Hans Hoffmann (EBU), chair of the Media Tech Business Forum. "This program shares the vision of industry leaders and brings them into dialogue with users. We offer profound insight from decision-makers, big tech in dialogue with start-ups, and critical strategies for shaping the future. Our industry is changing rapidly, and the Media Tech Business Forum is critical for anyone who needs to understand where our industry is heading, where decisions have to be made, and where opportunities will emerge.”

The Solutions Hub will return, giving attendees the opportunity to experience emerging technologies, engage directly with leading technology providers, and explore real-world applications through presentations from artists, users, and solution providers. Expanded networking events and roundtable discussions will create additional opportunities for collaboration throughout the week.

“The Media Technology Summit has always been where our industry comes together to learn, collaborate, and prepare for what's next,” says Juan Reyes, Summit co-chair. “This year, we’ve implemented further measures to equip industry leaders, mid-career professionals, and newcomers with the skills needed to navigate future challenges.”

More information about the 2026 Media Technology Summit can be found here.

With cable operators rebranding themselves as “broadband providers,” the term “cable TV” has fallen out of favor in recent years. The impact of cord cutting, increasing retransmission fees, increased competition from streaming services and changing demographics have all contributed to an industry approach that now considers “video” just another service from the local operator.

While the larger providers can often protect themselves from the changes in consumer interests, smaller, independent cable operators have to continuously evaluate the rising costs and routinely ask themselves, “is it still worth it for me to offer a video service?”

That was the focus of a panel discussion, "Video is Evolving: How to Win in a Changing Video Ecosystem" at The Independent Show held by the NCTC at Disney World this week.

I moderated a panel that included Mark Rankin, CFO, of Summit Broadband in Orlando, Geoff Shook, President & GM, Buckeye Broadband in Toledo, Ohio, and Sandra Tilley, senior vice president of Brand Strategies, EPB, Chattanooga, Tenn.-based provider of broadband services.

‘Hard Conversations’
Providers now see offering video as a service as one of numerous options that will attract and keep customers rather than one that will automatically improve a broadband provider's bottom line, the panelists said.

“In and of itself, I don't believe that video is still a strategic product on its own,” Rankin said. “Having said that, though, I think you need to think about where you deploy it, how you deploy it, how it helps broadband, and certainly as a bulk provider in Florida, serving 55-plus communities, it's a strategic product for us in how we go to market and win business.”

Shook agreed that video is still essential, but with caveats.

“Our philosophy is there'll always be a video product as a part of our catalog, [but] I think that we continue to have the hard conversations over what that product looks like and how we make it affordable,” he said.

Shook acknowledged the importance of his shrinking list of “video-only” customers and said “we don't want to walk away from that,” but he also cited the growing costs that have forced Buckeye to reconsider what channels to carry on a regular basis.

“We've made some really difficult decisions regarding carriage because we just cannot afford to continue to take video rate increases from the programmers,” he said. “Our customers push back and when they get a change in their bill they don't just shop video, they shop everything and so we've walked away from several programmers, but we've also provided resources and options for those customers to find another way to to still get the video and still depend on us to help facilitate it.”

EPB’s customer base is primarily older, according to Tilley, so video still plays an important role. Nevertheless, she continues to look for new ways to partner with third parties to maintain and improve their services.

“We've been able to maintain our market share, and we haven't seen any decline in our broadband because of a loss of video,” she said. “But we do have a customer base which is primarily older that has a high value, and we're looking at how we can continue to offer a quality product. We're working with TiVo now to try to see how much cost we can get out of it by going managed, and we think that that allows us to hold our pricing, keep it at a value for our customers, and still make a short, small margin.

“We don't look at video as a big margin producing product, but I will say we are looking for anything that is the right next thing to bundle to protect our broadband market share,” Tilley added. “So we're going to continue to watch what happens with video and look at maybe broadband TV.”

Simple and Seamless
With increased competition from streaming services, particularly in live sports, panel members agreed on the importance of making it simpler for customers to navigate the increasing variety of sources as well as the complexity and fragmentation of the current scenario.

In response to this, Rankin said he isn’t as concerned about the fact that more big ticket sports are now only available on paid streaming services.

“We don't see that as the bigger problem; it's finding it that’s the challenge and the complexity that customers feel,” he said. “It's middleware that's hard to navigate that is a problem. So the more that our vendors can help us with middleware that makes it easy for customers, I think will make a big difference.”

Tilley cited a campaign by EPB to help their customers better understand the changing video landscape and provide the needed assistance, regardless of who they choose to sign up with—whether it’s their video service or a streaming bundle.

“About five years ago, we rolled out what I call our ‘cord-cutting campaign,’ but really the whole point of it was to say, ‘we want you to have TV the way you want it; we want you to have choice, and we're here to help you,” she said. “Whether it's ours that you want to buy, if you do, we want to sell that to you, and we want it to be a product you like. If it's not ours, we want to help you learn how to stream and find what you're looking for.”

Buckeye Broadband offers a program called “Brain and Stream Assist,” that helps its customers consolidate billing, passwords and navigation, according to Shook.

“We have a pay call center that is there to help those that need the help to figure out how to set up their billing and remember their passwords and connect through to the apps that they choose,” he said. “Our positioning is that we've heard from multiple generations that our video consumers wanted choice and control.”

Understanding how their customers consume TV is essential to a better overall experience, regardless of their age, Rankin added.

“The younger generations probably prefer an app-based search experience, and certainly the older demographic, they love the guide and the big remote,” he said.

Rankin pointed to the TiVo Manager app in helping Summit to “marry” those environments.

“TiVo Manager is doing that well for us,” he said. “We can give the grid guide experience and still create that app experience. And it brings deep search capabilities, such that if you are subscribing to Paramount or Netflix or something else, you know your search will present those options to you. And so, so we think that's the best of both worlds right now.”

Tilley summed up the panel’s philosophy by noting the delicate balance small independent operators need to maintain to continue to offer video while keeping an eye on the bottom line.

“We try to keep the price as affordable as possible while covering costs at a small margin,” she said. “That's our philosophy of how we approach video.”

LONDON—IBC has unveiled the finalists for the IBC2026 Innovation Awards, recognizing collaborative projects from around the world that solve real-world challenges and demonstrate notable tech advances in the media, entertainment and technology industries.

This year’s finalists cover four categories—Content Creation, Content Distribution, Content Everywhere and Social Impact. The awards celebrate projects that show how collaboration between media organizations and technology partners is delivering meaningful innovation in production, distribution, audience experiences and societal impact.

"The number and standard of entries received from around the globe for the 2026 Innovation Awards has been amazing – truly outstanding," said Fergal Ringrose, Chair of the IBC2026 Innovation Awards Jury. "Seeing more than 120 high-quality deployed innovation projects competing for recognition underlines the ever-growing appreciation of our unique Awards across the media and entertainment community.”

The IBC reported that this year's finalists reflect an industry embracing AI, cloud-native and software-defined workflows, open standards, new approaches to live production and distribution, personalized audience experiences, and greater accessibility.

The winners of the IBC2026 Innovation Awards will be announced on Sunday September 13 at 18:00 CEST on the main stage of the IBC Conference at the RAI Amsterdam.

The 2026 Finalists for Content Creation:

• How Collective Newsroom powers BBC India — Building a unified, multilingual production operation from scratch against a fixed deadline. Working with the BBC and nxtedition, supported by Adobe, Blackmagic Design, Calrec, Ideal Systems and Ross Video.
• 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.
• Formula E Strategy Agent — Developed with Google Cloud, the AI architecture processes and contextualizes a sub-millisecond, multi-feed torrent of racing car data within a compressed window to predict and simplify complex racing strategies for the viewer. Technical support: Aurora Media Worldwide.

The 2026 Finalists for 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.
• Transforming broadcast distribution in Malaysia — Technical Content Delivery (TCODE) is a centralised digital contribution and workflow orchestration platform for Radio Televisyen Malaysia, developed with Ideal Systems. Technical supporters: Blue Lucy Media, Emotion Systems, and Fortinet.
• Server-guided ad insertion at scale — RTBF Belgium migrated from CSAI/SSAI to standards-based SGAI. Launched for the FIFA World Cup, with Bitmovin’s Player, AIP’s AdBlendr, HLS interstitials and SVTA2053. Technical support: Dotscreen, Red Bee Media, and Régie Média Belge.

The 2026 Finalists for 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.
• The connected fan experience — Built with Microsoft, the Premier League Companion powered by Copilot reimagines fan engagement at global scale, connecting 1.8 billion fans in 189 countries to 30 seasons of Premier League content through personalized, real-time AI conversational experiences. Technical partner: Beyond Sport.
• Tilly Norwood (and the Tillyverse) — Created by Particle 6, with its talent studio Xicoia, the AI-generated performer has reached an estimated 80 million people globally with approximately 500 million cumulative impressions.

The 2026 Finalists for Social Impact:

• AI for Good — Established by the International Telecommunication Union, the platform convenes governments, start-ups, researchers, UN agencies, industry leaders, civil society and youth from over 180 countries, with the mission of unlocking AI's potential to serve humanity.
• IOC Cyber Abuse Protection Service (CAPS) — This system protects athletes, teams, coaches and officials from online abuse at the Olympic Games. Technical supporter: Signify AI.
• 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.
• The IBC2026 Awards presentation will also feature the IBC International Honour for Excellence, recognizing an outstanding contribution to the global media industry, along with the Best Technical Paper, selected from the peer-reviewed papers presented during the IBC2026 Conference.

Learn more about the IBC Innovation Awards and finalists at: https://show.ibc.org/ibc-awards

IBC2026 takes place at the RAI Amsterdam from September 11-14.

INDIANAPOLIS—The Society of Broadcast Engineers has named the late Joseph A. DiMaggio as the Robert W. Flanders SBE Engineer of the Year, the top honor in the 2026 SBE National Awards recognizing outstanding achievements by SBE members, local chapters and SBE Sustaining Member companies.

DiMaggio, who retired as chief engineer of NBC-owned WVIT New Britain-Hartford-New Haven, Conn., where he worked for 47 years, is being recognized posthumously for his outstanding contributions to broadcast engineering and SBE Connecticut Valley Chapter 17, of which he was a founding member.

DiMaggio and the other honorees will be recognized at the SBE 2026 National Meeting and Midwest Regional Broadcasters Clinic, Sept. 15-16 in Middleton, Wis.

“The SBE Awards Program recognizes the outstanding efforts of SBE members and chapters,” said Zuhlieta Ibisheva, CBTE, CBT, the SBE awards committee chair. “Peer recognition is the highest honor, and the recipients and nominees exemplify the ideal of being an SBE member.”

Also to be honored in Wisconsin is Jerry Brown, CPBE, of Oxford, N.C., this year’s James C. Wullman SBE Educator of the Year and a member of Chapter 93 Raleigh-Durham. An SBE member since 1983, Brown played a key role in creating the North Carolina Association of Broadcasters’ Broadcast Technology Academy in 2025. The multiweek course also utilizes SBE’s Technical Professional Training Program, the group said.

The 2026 SBE Technology Award winner is Dielectric, recognized for its RingMaster FM antenna system, a technology that delivers full-bandwith FM performance with fewer components, reduced weight and lower costs, SBE said. To date, RingMaster has been adopted in more than 20 major installations worldwide, the organization said.

The Facility Innovation of the Year Award was won by John-Erik M. Rempillo, CBPE, of CBC, for “Testing Kit on the Go,” which enables safe, off-site diagnosis and repair of faulty power supplies in the Canadian broadcaster’s NV and VS series transmitters, eliminating the risks of live-system troubleshooting. CBC used the portable kit to restore five of eight faulty modules at its Toronto operation, SBE said, saving $7,500 in procurement costs and reducing electronic waste.

Chapter 39 in Tampa, Fla., won the Best Chapter Communication Award for electronic newsletter “Quarterly Digest,” produced by Membership Chair Isaiah Chavez.

The Best Chapter or Regional or Regional Educational Event Award went to Chapter 37 Washington, D.C., for “AntennaFest 2025: Shared Signals.” Held at the Arlington, Va., headquarters of WETA Washington, AntennaFest brought together industry leaders and companies such as Nautel, American Amplifier Technologies, Dielectric, Electronics Research and American Tower Corp. for a day of expert presentations on shared antennas and combining systems, SBE said.

The SBE also recognized local chapters for driving membership growth and professional development throughout 2025, dividing honors into Class A (under 25 members) and Class B (25 or more members) based on year-end statistical data. Top statistical honors went to Chapter 85 (Central Western, Okla.) and Chapter 15 (New York City) for highest percentage growth of new members; Chapter 115 (Southern Idaho) and Chapter 131 (Inland Empire, Calif.) for highest percentage of certified members; and Chapter 38 (El Paso, Texas) and Chapter 69 (Alamo Area) for highest percentage of meeting attendance.

Individual chapters also selected their own Chapter Engineer of the Year, to be automatically considered for the Robert W. Flanders SBE Engineer of the Year award: Sharon Gould (Chapter 1); Joseph DiMaggio (Chapter 14); Edward Smith (Chapter 17); William Harrison (Chapter 37); Bruno Cruz (Chapter 38); Dylan Scott (Chapter 39); Saul Perez (Chapter 47); Bob Long (Chapter 70); and Davit Robakidze (Chapter 148).

For more on the SBE Awards Program, including lists of previous winners, visit the SBE’s website.

Olympic Broadcasting Services (OBS) has revealed some of its plans for the next Summer Olympics, taking place in Los Angeles in 2028.

At a meeting of rights holders last week, OBS said it intends to provide approximately 3,800 to 4,000 hours of competition and Ceremonies coverage.

The host broadcaster added it is expanding its use of first-person-view (FPV) drones, real-time 360° and stroboscopic replays, point-of-view (POV) cameras, microphones on officials and coaches, dynamic graphics, back-of-house access and enhanced digital content at LA28.

The broadcast ecosystem will be designed around virtualization, cloud-based workflows and AI-ready infrastructure, said OBS, to deliver increased flexibility, resilience and operational efficiency across broadcast operations.

Plans include expanded cloud services, AI-assisted production workflows, enhanced digital content delivery and new approaches to content distribution.

Work on the IBC fit-out will begin in early 2027, added OBS.

This article originally appeared on TV Tech sister brand TVBEurope.

President Trump criticized ABC and NBC for their decisions not to air his primetime address about his claims of “election fraud” live on Thursday night, saying their actions “should mean a revocation of their licenses.”

When the president announced the subject of his speech would be about “election integrity,” earlier this week, media outlets debated about how to cover it. It was expected that he would dredge up old conspiracy theories that have long been debunked and to which the majority of Americans don't share his conclusion that the 2020 election was "stolen."

Much of what he said last night did follow that pattern along with the announcement that the administration would release new unclassified material that would implicate that China meddled in the 2020 election, which he lost to Joe Biden.

Cable news channels decided their own path of coverage, with CNN fact-checking Trump’s speech in real-time, while MS NOW ran regular programming but broke in with analysis when warranted. Fox News, stung by a 2022 defamation lawsuit that forced the network to fork over $787.5 million to Dominion Voting Systems, reminded its viewers that it has seen no proof to Trump’s claims.

“Fox News has not seen that evidence yet and is not in a position to evaluate the accuracy of the president’s statement and claims at this time,” a reporter said during the speech.

Tony Dokoupil, news anchor for CBS News, which has come under considerable criticism from Trump’s opponents, was candid in his response to the speech.

“This is a vitally, vitally important topic, and the president has a terrible track record on it,” he said.

While both NBC and ABC chose not to air the speech live, they did break in when appropriate and held post-speech analysis special reports.

The networks’ decisions on whether to air the speech are not unprecedented. Networks have declined to cover certain speeches by Trump’s predecessors as well.

This didn’t mollify the president, though.

‘“They and others in the media are part of a plot,” he claimed. “They want to continue this fraud for whatever reason. They want to keep it going. They want to protect the radical left. They can’t have a great country. And that’s true. You can’t have a great country without free and fair elections.”

FCC Commissioner Anna Gomez criticized the president for his threats.

"It is ridiculous to call for broadcasters to lose their license simply for making the same editorial decisions they've made under presidents of both parties," Gomez said. "Those editorial decisions are protected by the First Amendment, and the FCC has no authority to punish a station for refusing to air a blatantly political speech. This is a naked attempt to bully broadcasters, and the FCC should have no part in it."

Hitomi Broadcast will introduce Spectra, a new HDR color verification tool as well as its Matchbox Panorama timing solution at IBC2026, Sept. 11-14 at the RAI Amsterdam. Expanding its capabilities beyond timing and synchronization, Spectra helps engineers confirm that color remains accurate as pictures move through complex production and distribution routes, the company said.

Live workflows now carry more formats and versions through the same facility, including SDR and HDR outputs from a single production. As signals pass through converters, routers, processors, LUTs and software workflows, one configuration error can leave the program technically wrong even when the picture looks acceptable during initial checks.

“In the pressure of set-up, errors in a video source can be missed because there is a recognizable picture,” said Russell Johnson, Director at Hitomi. “If the color path is wrong, that problem can travel through the workflow and affect the final program.

“Engineers are dealing with more sources, more formats and more delivery paths than ever before,” Johnson added. “With MatchBox, we made timing checks fast, objective and simple. With Spectra, we are applying the same thinking, giving teams certainty that the image is being handled correctly before it reaches the viewer.”

Hitomi’s color verification solution generates a defined set of test colors at the source, sends them through the normal program route and analyzes them at the end. By comparing the received colors with the expected result, it can highlight incorrect LUTs, unexpected conversions and routing errors between SDR and HDR paths.

That gives engineers a fast, objective check which reduces reliance on visual judgement alone and helps catch configuration errors before they become visible on air, according to the company.

MatchBox Panorama will also make its IBC debut following its launch at the 2026 NAB Show in April. Matchbox provides a wide view of timing throughout the entire production workflow of a live broadcast. Panorama brings timing measurements from across complex production workflows into one central view, helping teams identify where delay is being introduced across facilities, remote production and software-based environments.

MatchBox Panorama is a standalone software product designed for larger production environments. It is already proven within the Grass Valley AMPP ecosystem, with further integrations with other manufacturers to be released soon.

Hitomi will be in Stand 10.A40 during the show.

BOTHELL, Wash.—The Alliance for IP Media Solutions (AIMS), the Video Services Forum (VSF) and the European Broadcasting Union (EBU) have announced the second IPMX Product Testing and Certification Event.

Scheduled for Aug. 24–28 at the EBU headquarters in Geneva, Switzerland, the week-long gathering is open to AIMS and VSF member companies and will expand the growing IPMX-certified product ecosystem while introducing formal certification of new capabilities developed as part of the IPMX roadmap.

The Geneva certification event follows a "dirty hands" interoperability session scheduled for July 20–24 at the Matrox Video facility in Montreal, Canada. That members-only session will give AIMS participants hands-on testing of new IPMX developments ahead of the formal certification event, continuing the model of pre-certification interoperability work that has proven effective throughout the IPMX program.

The August event will introduce certification for capabilities that have been in active development prior to the launch of the full realized standard in 2026. These include Host Key Exchange Protocol (HKEP) and HDCP handling for protected content, and the Privacy Encryption Protocol (PEP) security layer, which enables interoperable content encryption across multi-vendor deployments. HEVC and AVC compression profiles, which have seen strong industry interest in enabling efficient transport across existing infrastructure, are also progressing toward certification.

“The first certification event in January established that IPMX works across vendors at scale,” said Sam Recine, IPMX Pro AV Working Group Chair at AIMS. “The August event is where we take the next steps, expanding the certified product base and validating the capabilities that integrators and end users have been asking about since certification launched. Each event builds on the last, and the momentum we’re seeing from member companies reflects real confidence in where IPMX is headed.”

IPMX is a set of open standards and specifications designed to bring ST 2110-based media transport and NMOS-based control to a broader range of markets, including Pro AV, live events, corporate media, education, and beyond. Building on the certified product base of 48 products from 11 manufacturers introduced at ISE 2026, the certification program continues to evolve with new capabilities that address the practical requirements of deployed systems.

More information about AIMS and its work is available at www.aimsalliance.org.

As broadcasters continue transitioning to IP-based workflows, industry leaders are exploring new approaches that could improve interoperability, collaboration and operational flexibility.

At the heart of these discussions is the Dynamic Media Facility (DMF) and related Media eXchange Layer (MXL), emerging frameworks intended to help broadcasters determine how the next generation of software-defined workflows could work.

The topic was explored during a panel hosted by the North American Broadcasters Association (NABA), in conjunction with the Advanced Media Workflow Association (AMWA), featuring moderator Steve Reynolds, CEO, Imagine Communications, and guest speakers Naveed Aslam, senior vice president of Production Technology and Engineering, CBS/Paramount; John Mailhot, senior vice president of Product Management, Imagine Communications; Willem Vermost, senior IP media technology architect, EBU; and Andy Rayner, CTO, Appear.

“Much of media processing now runs in software, in a combination of on-premises and in the cloud,” Reynolds said. “And so, if everything is now moving to software, we have to ask the question: are we still designing our facilities in the right way?”

Panelists said DMF was created to address this question, driving the industry forward while solving key business challenges such as how to improve efficiency and allow broadcasters and their partners to share “very expensive resources” amongst more productions.

“I think, from our perspective, SMPTE ST 2110 and IP-based workflows have largely been understood and embraced as being the next industry evolutionary step,” Aslam said. “From our perspective, the DMF initiative is truly the key to start unlocking the practical and technological benefits that we can derive from an IP infrastructure, the opportunities that arise from that, and it just truly starts to give us an opportunity to explore what IP workflows can be.”

The panel explained that neither DMF nor MXL are meant to replace SMPTE ST 2110, the technical standards that gives broadcasters a means to transport broadcast-quality signals over IP networks, enabling them to scale workflows and providing a foundation for interoperability.

Rather, all three are designed to work together: DMF provides a framework for the next generation of more dynamic, software-defined facilities, while MXL provides a specific mode for connecting applications and services, effectively enabling interoperability inside of a computing cluster.

“It’s really the goal of the DMF to organize those upper layers so that you can actually have a dynamic facility,” Mailhot said. “I think that 2110 and MXL will work together to achieve that, but there’s a lot of work to do to fill in all those blanks.”

“If we work in an asynchronous way, suddenly more media functions can be run than ever before. Within the same time frame, of a frame, multiple operations can be run,” Vermost said.

“If you look at it from that point of view, it seems like a revolution. But, if you look at it from your broadcast plant and how you operate it, it’s an evolution. We’ll get there step by step.”

Panel discussion is available on demand on NABA's YouTube channel.

TV Tech is now accepting nominations for the IBC2026 Best of Show Award.

The awards are open to IBC2026 show exhibitors and offer a valuable platform for companies to raise awareness for the new products and solutions they will be launching or showcasing at the RAI Amsterdam, Sept. 11-14.

Participating brands include TV Tech, TVBEurope, Radio World, AV Technology, Installation, Sound & Video Contractor and ITPro. Each publication announces its own list of winners, which will be announced at the show.

All award entrants will receive a placard at the show for display, with winners receiving an additional placard to display their success.

The nomination page includes answers to frequently asked questions. Deadline for entry is August 28th.

WHITE PLAINS, N.Y. — As media technology workflows become increasingly software-defined, IP-based, and interconnected, organizations need professionals with the skills to implement, manage and support them. To help meet that need, the Society of Motion Picture and Television Engineers (SMPTE) is expanding access to practical, industry-focused education through open standards, foundational learning, instructor-led education, and hands-on training.

Building on its open-access Standards Library, SMPTE's education offerings help professionals progress from learning the fundamentals to applying them in real-world IP media environments. The journey begins with the free, self-paced ”Essentials of Media over IP (EMIP)” course available on-demand, and continues with the instructor-led “Understanding SMPTE ST 2110” virtual course, beginning July 21.

Developed in collaboration with EVS, the free EMIP course introduces the fundamentals of IP networking for media. Participants can then continue with “Understanding SMPTE ST 2110,” where live instruction, demonstrations, and interactive discussions explore the standards, technologies, and workflows used in professional IP media facilities.

Graduates of Understanding SMPTE ST 2110 are eligible to participate in the SMPTE ST 2110 Practical Lab, an immersive hands-on experience developed in collaboration with Lawo. Understanding SMPTE ST 2110 is a prerequisite for the Practical Lab, where participants configure, synchronize, test, and troubleshoot IP media systems using technologies from leading industry partners including Lawo, Arista Networks, Meinberg, Bridge Technologies, Matrox Video, AJA Video Systems, Macnica, Leader Electronics, NVIDIA, Embrionix, and others.

The course is led by Willem Vermost (EBU), Wim Van Roy (Lawo), Gerard Phillips (Arista Networks), Chris Lapp (Cisco) and Leigh Whitcomb (Meinberg). Guest lecturers include Felix Poulin (Radio-Canada), Andreas Hildebrand (Lawo), Olivier Ettlin (Simplexity), Pedro Ferreira (Bisect), Stefan Ledergerber (Simplexity) and François Legrand (Radio-Canada).

“Making SMPTE standards freely accessible was the first step,” said Maja Davidovic, director of education at SMPTE. “We’re building on that foundation with a connected learning experience that takes professionals from foundational knowledge to practical application, helping them develop the skills needed for today's evolving media technology landscape.”

Beyond its online courses and hands-on training, SMPTE delivers immersive education through the SMPTE Roadshow at NAB Show New York, technical programming at IBC and the annual SMPTE Media Technology Summit, giving media professionals opportunities to continue developing their expertise throughout the year.

Registration is now open for the next session of “Understanding SMPTE ST 2110,” beginning July 21. Learn more and register here.

Registration for NAB Show New York, set for Oct. 21-22 at the Jacob K. Javits Convention Center in Manhattan, is now open.

Last year's event drew 11,500 registered attendees from 95 countries, according to NAB, adding that roughly 10% of attendees came from outside the U.S., and 62% were first-time participants—evidence of the show’s expanding international reach and a fresh wave of creators, producers and decision-makers, organizers said.

Attendees will discover practical insights, evolving workflows, emerging business models, technology adoption and new opportunities across the media ecosystem. Sessions and programming will center on AI, the creator economy, streaming, sports and TV/radio broadcasting for a total of about 80 hours.

On the show floor, four unique theaters offer free educational programming, including keynote presentations, technology showcases, AI and creator sessions and specialized programming focused on sports media and professional audio.

Brands that will be represented include Sony, B&H, Blackmagic Design, EVS, Evertz, Ross Video, Grass Valley, Canon, Enco, Riedel Communications, Lawo and Facilis Technology. More than 200 exhibitors are expected to attend, with 10% of currently registered companies as first-timers.

"The media industry is navigating rapid change in technology, business models and audience behavior, and professionals need opportunities to understand what those changes mean for their work," said Karen Chupka, executive vice president of NAB Show.

"In the media capital of the world and a global hub for live production, NAB Show New York connects big industry conversations with practical insights, new tools and the people shaping what comes next."

TV Tech's complete coverage of the 2025 event can be found here and here.

Click here to register.

ALBANY, N.Y.—The New York State Broadcasters Association, has announced a new class of inductees for the New York State Broadcasters Hall of Fame.

The induction ceremony will take place at a luncheon gala in the Rainbow Room, 30 Rockefeller Plaza, New York, on Oct. 22.

“The Hall of Fame Class of 2026 sets the ‘gold standard’ for broadcasters throughout New York State and the nation,” NYBSA President David Donovan said. “The inductees represent a lifetime of achievement serving their profession and their communities. We are honored to have them join the Hall of Fame.”

This year’s inductees are:

Bill Ritter — Journalist/ Anchor — WABC-TV, New York
Bill Ritter started at WABC’s “Eyewitness News” in 1998, anchoring weekends while working full time Monday through Friday as a correspondent for ABC News and “20/20”. In 1999, he began anchoring the 11 p.m. newscast and then added the 6 p.m. newscast in 2001. Ritter stepped away from anchoring in June 2026 following a diagnosis of early-stage Alzheimer’s. He will continue to cover special projects for Eyewitness News, with a focus on Alzheimer’s and related conditions.

Ritter has reported major events since joining ABC as founding co-host of “Good Morning America Sunday” in 1993.

Originally from Los Angeles, he reported on both the Rodney King trial and the subsequent riots in the city for Foxearly in his career. Between August 1991 and February 1992, Ritter worked as a reporter for Fox’s nationally syndicated show “Entertainment Daily Journal.” From February 1990 to August 1991, he was an investigative reporter at Fox-owned KTTV-TV Los Angeles, where he also anchored coverage of the Gulf War. He began his television career as a business and investigative reporter for KNSD-TV (an NBC affiliate) in San Diego from February 1987 to January 1990. Before working in television, Ritter was a reporter and business editor for the San Diego County edition of the Los Angeles Times and worked as a reporter and editor at the San Diego Business Journal.

Ritter received the NYSBA Excellence in Broadcasting Award for “Operation 7: Save a Life,” which promoted fire safety. He was a board member and chairman of Crash Inc., a San Diego drug prevention nonprofit, and served on the San Diego State University Business School Advisory Board from 1984 to 1985.

Ritter earned his bachelor’s degree in liberal arts from The New School in Manhattan. He graduated in May 2016, 44 years after initially being expelled from San Diego State University for leading an anti-war protest.

Rosanna Scotto — Journalist/Anchor — WNYW, New York

Rosanna Scotto has been with Fox-owned WNYW News since 1986. The Emmy Award winning journalist is currently co-host of “Good Day New York.” Scotto began her career at WTBS Atlanta, where she was a reporter for two local programs and an associate producer of the station's evening newscast. She returned to her native New York in the early 1980s as a reporter for WABC-TV’s “Good Morning New York,” which eventually became “Live with Regis and Kathie Lee.” A year later, Scotto joined WABC-TV's “Eyewitness News" as a reporter, where she remained until she joined Fox 5.

Scotto has covered the tri-state area, and her assignments have taken her to Israel, Rome, across the United States. As a reporter, she won an endless string of coveted assignments including the first exclusive interview with Diana Bianchi, the other woman in the Christie Brinkley divorce case, the Woody Allen/Mia Farrow child custody battle, the notorious "Preppie Murder Trial," and the trials of Joel Steinberg and the "Swiss Nanny." Scotto also led FOX 5 News to the forefront in getting Marty Tankleff a new trial and was granted an exclusive interview with him in jail.

Scotto has won six Emmys for anchoring FOX 5 News at 10 and Good Day New York. She won the 1995 New York State Associated Press First Place Award for her report "New York Survival Guide." She is also the winner of three other Associated Press First Place Awards, including two special Associated Press Award nominations.

Scotto has received a host of honors and awards for her community service work. She is a graduate of Catholic University and received honorary doctorates from Mount St. Mary College and St. John's University. Born and raised in Brooklyn, Scotto lives in the New York area with her husband and their two children.

Sid Rosenberg – Morning Host – 77WABC Radio, New York City

Sid Rosenberg is the nationally known host of the morning show on 77 WABC in New York City. Sid connects with his audience because he is the audience. A native of Brooklyn, Sid is as New York as you can get –- he shares his honest opinion, and he doesn’t hold back. Sid has direct access to some of the most powerful people in New York, the country, and the world. His interviews are insightful and range from informative to entertaining — often both at the same time!

His radio career started in Florida in the late 1990’s, with the syndicated sports radio program, “The Drive on Sports Fan Radio Network.” In 2000, he returned to New York City to co-host WNEW-FM's morning show, the “Sports Guys.” A year later, he joined the “Imus in the Morning” program, sharing sports broadcasting duties with Warner Wolf before becoming the full-time sports reporter. In addition, he became the co-host of the midday show on WFAN, holding both broadcasting positions until 2005. Sid also hosted the radio pre-game shows for New York Giants home games. In 2016, Rosenberg became the co-host of the “Bernie and Sid Show” on 77 WABC, with Bernard McGuirk and was a sports contributor for “Imus in the Morning.” On March 8, 2018, Rosenberg and Bernard McGuirk replaced the retiring Don Imus. Following McGuirk's death, Bernie and Sid in the Morning became known as “Sid and Friends in the Morning.”

He is the author of “You're Wrong and You're Ugly: The Highs and Lows of a Radio Bad Boy” and “Sid-izens United: Salacious Spiels, Stories, Suggestions, and Solutions to Withstand a Woke World.” He has BA in Business from Baruch College. He and his wife Danielle were married in 1992 and have two children.

Dan Miner – Station Manager - WCKM-FM, WCQL-FM, WWSC-AM & FM, and WDKM-FM, Glens Falls

Dan Miner made his on-air debut in 1983 on WGFR-FM, SUNY-Adirondack’s college radio station in Glens Falls, where he was also named student of the year. Miner made his professional debut less than a month later on WIPS-AM in Ticonderoga and WXTY-FM later that year. Miner would go full-time on WXTY after graduation. Miner not only took his regular air shifts, including mornings, but also covered local sports for the combo, including play-by-play duties for football, basketball and baseball. He also covered the Adirondack Red Wings for the stations. Miner was the station’s Operations Manager from 1986 to 1991. In 1991, Miner moved to WENU-FM where he would do afternoon drive, production, play-by-play and cover the Adirondack Red Wings. In the fall of 1992, Miner became the arena host for the Red Wings and host of Red Wings Rap, a weekly hockey show. Miner would take over for morning drive in ’94 on WSTL-FM. In June of 1996, he worked at WHTR-FM, WBZA-AM and WENU-FM as the morning drive host and operations manager. In 1997, Miner found his way to WCKM-FM as the host of “The Morning Club,” where he has been since. Miner is the “go-to” voice for local professional sports, having been on the mic for local professional hockey teams as the pubic-address nnouncer including the Adirondack Thunder since 1999. He was inducted into The Adirondack Hockey Hall of Fame in 2020. Miner is also the PA announcer for the Glens Falls Greenjackets football team. Miner is also the host and owner of The Talkin’ Smack Podcast. Miner, the winner of multiple NYSBA Awards, continues as the station manager for WCKM-FM, WCQL-FM, WWSC-AM & FM, and WDKM-FM.

Pete Cloutier — Morning Co-Host and Sales — WCKM-FM, Glens Falls
Pete Cloutier started on the radio in 1966 on WWSC-AM. Pete’s career started with “Saturday Night a Go-Go,” the first rock ‘n’ roll show in the tri-counties. He took rock ’n’ roll dedications and requests for six hours every Saturday night. Cloutier also brought the first rock ‘n’ roll show to Glens Falls in 1966 with Gary Lewis and the Playboys. Cloutier found his way into promotions with a very successful run of WWSC’s “Battle of the Bands” promotions to standing-room crowds. Cloutier left WWSC in 1983 but found his way back to radio in 1987, creating a new Saturday night show, “Great Gold Plus” on WAYI-FM. Cloutier also made his debut in sales, capitalizing on his on-air popularity. In 1989, Cloutier began producing more concerts. He worked with the top names in the industry for a successful run of shows at the Glens Falls Civic Center and an almost 30-year run of “Summer Jam” shows. Cloutier moved to WKBE-FM for sales, promotions and the continuation of his Saturday night show in 1991. In 1994, Cloutier was on the move again, this time for his last stop on WCKM-FM, once again with sales and promotions and also to take on the sidekick role on “The Morning Club,” which he still holds down today at the age of 81.

Chuck Samuels — VP & General Manager — WHAM-TV, Rochester (retired)
Samuels retired last November following a distinguished 19-year tenure as vice president and general manager of WHAM-TV, Rochester, N.Y.’s ABC and The CW affiliate, and WUHF-TV, Rochester’s Fox affiliate.

A 1983 graduate of the University of Florida with a master’s degree in journalism and communication, Samuels was also an All-America swimmer at Florisa. He began his broadcasting career at country music station WDVH Gainesville, Fla., where he reported and anchored afternoon drive newscasts. He also contributed color commentary and pool-deck interviews for swimming events televised by ESPN. Samuels later held producing roles in Jacksonville and Tampa before joining KDKA-TV Pittsburgh in 1988, where he advanced to executive producer and assistant news director.

In 1993, Samuels was named News Director at WKBW-TV Buffalo, N.Y. Three years later, he moved to WHAM-TV Rochester, where he was news director for nearly a decade, then was promoted to vice president and general manager in 2006. Under Samuels’ leadership, WHAM earned three National Edward R. Murrow Awards and numerous regional honors. His team also launched Buffalo Plus, a successful podcast focused on the Buffalo Bills.

Samuels was actively involved in the Rochester community, serving on boards for organizations including the Rochester Ad Council, the American Diabetes Association, and the American Cancer Society. From 2008 until his retirement, Samuels served on the board of the New York State Broadcasters and served on the Executive Committee. Following his retirement, Samuels returned to Gainesville with his wife, Diane, bringing his career full circle.

Bob Krummenacker — VP & General Manager — WBNG-TV, Binghamton (retired)
Bob Krummenacker retired last October after a 44-year career with Gray Media’s Binghamton, N.Y., properties, WBNG-TV (CBS), Binghamton’s CW and MeTV, serving in his final role as Vice President and General Manager. Bob dedicated the last 14 years to developing the leadership and driving strategic direction of the market’s dominant station and news leader. In that time, Bob managed a complete station rebrand from on-air graphics, news set, and marketing to the station’s ever-expanding digital capabilities. He guided the sales operation to execute multiple new revenue-generating programs to leverage the station’s leading position and strengths to deliver record-setting accomplishments and business results to create value for WBNG-TV and its partners.

Krummenacker started his television career at WBNG-TV in 1981 as an Account Executive. His strong business skills and personable demeanor helped him advance quickly to other positions at the station, including local sales manager, regional sales manager, new business development manager and general sales manager. Throughout his career, Krummenacker committed to industry excellence through his involvement in the National Association of Broadcasters and the New York State Broadcasters Association. He is a graduate of NAB’s Broadcast Leadership Program completed through Northwestern’s Kellogg School of Management. In addition, he served as a past chairman of the New York State Broadcasters Association. As a long-time member of the board of directors, he also served on the Finance Board and Investment committee for NYSBA. For his contributions to the industry, Krummenacker was recognized by the Radio & Television Business Report as a Top Local TV Leader in 2020.

Krummenacker’s commitment to the people of Binghamton is unsurpassed, serving as a founding board member of the Binghamton Ad Club, co-founder of Sock Out Cancer, giving more than 15 years of service to both the Binghamton Boys and Girls Club and the American Red Cross. He currently serves on the Board of Directors for Visions Veterans Memorial Arena and the Friends of the Forum.

Bob graduated from Fredonia University, earning a bachelor’s degree in marketing with a minor in economics. Prior to WBNG-TV, he was an account executive at WQYT radio in Binghamton, rounding out a remarkable 46-year career in media in a single local marketplace.

For information about the New York State Broadcasters Association’s Hall of Fame, visit the NYSBA website.

HACKENSACK, NJ—LAt the 2026 IBC Show, Sept. 11-14, LiveU will showcase what it refers to as its "Q Era," which uses AI-driven connectivity intelligence in a modular, open IP-video EcoSystem to automate live production workflows across news, sports, entertainment and other live events.

Among the highlights at its booth are the LU900Q, LiveU's Intelligent Production Unit, the first unit built natively around LiveU IQ (LIQ). The unit applies AI-driven connectivity intelligence and smart operator selection to optimize performance in real time, helping crews stay reliably connected in challenging conditions, according to the company.

Built for multi-camera workflows, the LU900Q combines native LIQ connectivity, advanced eSIM technology, optimized 5G modems and a MIMO antenna array with support for SDI, HDMI, USB and IP camera input. It delivers HD/4K transmission with 10-bit HDR 4:2:2 encoding, up to 32 audio channels, dual video return, dual intercom with built-in Bluetooth audio and wireless file transfer for faster field-to-production turnaround.

LiveU will also showcase its expanded collaboration with Sony Corporation, first announced at the 2026 NAB Show. On display, and currently available, will be the LiveU TX1—a compact, camera-mounted unit purpose-built for Sony's professional camera range—delivering fast, reliable bonded file transfer directly from the camera. Also demonstrated will be the Sony RXS Connection License, enabling direct file transfer from compatible Sony cameras to the PWA-RXS solution via supported LiveU field units, starting with the compact LU300S.

LiveU has also announced that Cuez has signed up as its latest EcoSystem partner, extending workflow automation into cloud-based newsroom and rundown management.

As a member of the EBU's working group, LiveU is actively involved in advancing the MXL shared-memory architecture – enabling multiple applications to access the same video frame simultaneously, eliminating redundant processing and reducing latency.

Together, these developments reflect the broader LiveU EcoSystem approach, supporting the full arc of live production, across live and file-based workflows.

Also at the LiveU booth is LiveU Nexus, a universal gateway for digital and IP workflows that converts, normalizes, and routes feeds across LRT, SRT, and RTMP, bridging social, online, and remote sources with traditional broadcast operations. As well as offering seamless digital source integration for Zoom, Teams and YouTube, it can be used as a scan converter for any web content, the company said.

LiveU Studio is a cloud-native production service for video switching, audio mixing, graphics, and more. It enables multi-output cloud production, allowing teams to deliver multiple feeds in multiple formats from a single production. Together, Nexus and Studio give newsrooms and digital teams a faster, leaner path from live event to published content—across every platform simultaneously.

Also on tap, LiveU Ingest, which replaces fragmented, manual processes with a single story-centric workflow for live and file based—from planning and scheduling through ingest, and metadata enrichment.

Actus Digital, a LiveU company, will showcase the latest capabilities of Actus X – a modular, browser-based platform that unifies compliance logging, low-latency multiviewing, QA monitoring, clip creation, and AI-powered media intelligence.

LiveU will be in Stand 7.C24 at the RAI Amsterdam.

About one third of the way through the 2026 FIFA World Cup and Fox Sports is assessing the first two weeks of coverage in the quadrennial tournament. As the host U.S. broadcaster, Fox Sports is working out of the International Broadcast Center at the Kay Bailey Hutchison Convention Center in Dallas, where HBS, (Host Broadcaster Services). The facility serves as HBS's global broadcast operations center for 180 broadcasters covering the tournament taking place across 16 host cities in Canada, Mexico and the USA, June 11-July 19.

As expected, the technical operations have run smoothly with the biggest challenges being pure logistics and preparing for the unexpected, according to Kevin Callahan, senior vice president of field operations and engineering for Fox Sports.

“The biggest challenge is by far the weather and travel in North America and the size and enormity of the coverage,” he said. Criss-crossing between stadiums on the west coast to the east coast in one day while managing coverage of multiple matches simultaneously is no easy task but Callahan believes the network has created the kind of memorable event that resonates with soccer fans.

“What we are bringing to the viewer is truly amazing,” he said. “We want to be where the fans are, we want to create that sense of FOMO for fans—if you're not out at the matches, you're missing the big party of this tournament.”

NEVER ENOUGH
In broadcast, one can never have enough redundancy and that philosophy extends to the World Cup like perhaps no other event, especially one played in the middle of summer when weather plays such an important role, from whether a game is played on schedule or technical or on-air talent have to travel from city to city.

“We have plans in place for every scenario that we can think of,” Callahan said. "I have a firm belief, if you have one, you have none; if you have two, you have one. So, when it comes to equipment redundancy, we have that in place. We have some personnel redundancy, but we also have backup plans when it comes to travel.”

One area that Callahan noted was the impact of construction on maintaining connections.

“It’s construction season in the summer in the U.S., particularly in northern routes, and we've certainly dealt with our fair share of fiber cuts,” Callahan said, adding that none of those cuts have resulted in the loss of signal “because of the diversity that our network engineering and architecture team has put in place.”

All matches have commentators in-venue, but Fox Sports’ studio show travels to venues across the three countries as well, giving Fox a presence inside each stadium while keeping much of the production engine in familiar facilities.

Fox Sports is leaning on its HRP (Home Run Productions) workflows for both its match and studio coverage. Upgraded for the World Cup, HRP’s REMI infrastructure is a standards-based IP workflow that uses Appear’s X platform to support both JPEG XS and low-latency HEVC on a single platform.

Although the matches themselves are produced by HBS on behalf of FIFA, Fox picks up the feed at the International Broadcast Center in Dallas and sends it to production facilities in L.A.

The link between traveling studio teams and the L.A.-based hub includes Fox’s BRISK systems, which Callahan describes as ST 2110-based flypacks that integrate with the company’s permanent facilities, with JPEG XS encoding from Appear used to support low-latency feeds from venues back to the control rooms.

In practical terms, the model allows Fox to keep the live feel of a stadium production without having to replicate the same full-scale setup in every city. Commentators and hosts can remain close to the action, while core production staff work from a consistent base.

'MASTERS OF RESILIENCY'
When the HBS opened last month, FIFA President Gianni Infantino hailed the facility as "the most technologically advanced and top of the art international broadcast center that the world has ever seen."

Callahan sang the praises of HBS as well.

“They truly are masters of resiliency and redundancy as well—they have a plan for everything,” Callahan said. “The signals that they've been able to provide us in the world have been, the signals themselves look pristine. The super slow mo replays that they've added more of this year have been fantastic and really help share the emotion of the tournament.”

Callahan was particularly happy with HBS’s increased attention to audio.

"Over the years, we've been commenting to HBS that we want more field effects—we want to hear more of what's actually going on on the pitch,” Callahan said. “One of the challenges that you face when it comes to soccer is just the sheer size of the pitch and the distance you can actually put a microphone from where the sound is coming from. HBS has done a fantastic job at being able to capture those close ball effects a lot better, and what's going on on the pitch a lot better, and I think this tournament they've nailed it more than anything.”

Since early May, Fox Sports has produced all its content in HDR, and Callahan noted the progress the network has made on the standard.

“Fox switched our entire facility to HDR for the first time, so everything that we're doing in the building is coming natively as HDR, Callahan said. “In the past, when we've done these events, [some of] our studio programming would have originated in SDR. So this is the first time that truly everything is HDR.”

Having a consistent look throughout the expanded 104-match tournament has been a goal from the first day and Callahan says HBS’s role is crucial in this respect.

“You'll be hard pressed to be able to tell the difference between one vs. the other when it comes to the quality of replays, the quality of coverage, they're all consistent, which is really what you want.”

WASHINGTON—The Library of American Broadcasting Foundation (LABF) today announced the release of a new series of pre‑produced radio and television spots as part of its “Before It Was History, It Was Broadcast” initiative supporting America’s 250th Anniversary.

The new :30 spots feature archival audio and visuals drawn from the Library of American Broadcasting Special Collection at the University of Maryland. Each piece highlights the essential role radio and television stations have played in documenting the nation’s most defining moments as they unfolded. Topics covered range from children’s programming and game shows to I Love Lucy and historic moments of national consequence.

These pre‑produced messages complement the customizable shells LABF previously released, giving stations two ways to participate in the national commemoration. The new versions are fully produced and ready for immediate on‑air use, complete with narration, archival elements, and royalty‑free music. Television spots also include patriotic visuals reflecting the campaign’s theme.

“Broadcasters have always been the trusted link between historic events and the communities they serve,” said LABF Co-Chairs Deborah Parenti and Dave “Chachi” Denes. “These spots celebrate the journalists, storytellers, and stations that have brought defining moments into America’s homes. They also showcase the incredible depth of the Library’s archival treasures.”

Stations may download the pre‑produced spots—along with the previously released customizable shells – by contacting Mary Collins, Executive Director, at Mary@LABFMedia.org or 847‑910‑8878.

This week organizers for the annual IBC Show offered a preview of its plans for the upcoming annual event, Sept. 11-14 at the RAI Amsterdam.

IBC CEO Mike Crimp said the show will increase its emphasis on networking opportunities both at the show and online.

To that end, the show is launching the “Braindate Lounge” an initiative that will help attendees prepare in advance of the show.

Braindate Lounge will enable attendees to form their own peer groups online prior to the show and will be seeded with expert discussions from IBC consultants and from the show’s conference program around key topics, according to Crimp.

“People can go on there and form their own key topics and gather a group of people around them to do that,” he said. “I suppose the power of IBC is, in a way, is the power to convene, so all of those people will be able to take their meetings online to create an actual meeting between them on site in the Braindate Lounge, and they will be able to sit down, discuss their topics, discuss what they've seen, create their own knowledge networks.”

The show’s “Future Tech” zone, in Hall 14, will increase its focus on startups with the launch of “Future Tech Ignite,” dedicated to startups, emerging tech, future talent, and the creative community, according to Joe.

“We're also extending our partnership with EIT Culture and Creativity, and they are going to become the Future Tech Ignite innovation partner, which will really help strengthen IBC links with Europe's creative innovation communities,” said Jo Mayer, head of marketing for IBC.

Expanded from a single day to all four days of the show, “Ignite Stage”in the Future Tech area, will feature startup pitches, future-focused sessions, and talent/skills content across all four days of the show, Mayer added.

Key themes for this year’s show are: the transformation of sport, trust and authenticity, and new commercial models, which tie into the show’s three guiding pillars of shifting business models, transformative tech, and increasingly, people and purpose, according to Crimp.

“Those pillars are a consistent framework for the conversations that matter most to the industry,” he said.

Exhibition space itself should exceed 45,000 square meters this year with more than 1,200 exhibitors across 14 halls, according to Steve Connolly, IBC’s director of sales.

Last year, the show had 46,000 square meters of exhibition space and an estimated 1,300 exhibitors.

“Some key areas of the show are performing particularly strongly,” Connolly said. “Future Tech in Hall 14 and Content Everywhere in Hall 5 are both significantly ahead of last year in terms of bookings.”

Crimp said that they’re confident that attendance will be strong and that they'll be able to weather some of the issues that plagued the NAB Show in April, where attendance was softer than previous years.

“I think at the moment we are tracking really strongly against last year,” Crimp said. “We're an international show and a very welcoming show. Who knows what’s going to happen in the Middle East, if that's going to get worse, but I at the moment we're very confident that we will deliver numbers sort of in line with last year."

To register for the show, visit https://show.ibc.org.

HUNT VALLEY, Md.—Sinclair’s One Media Technologies has announced that it will host its annual ATSC 3.0 NextGen TV Interoperability Event from June 23-26, 2026, at its headquarters in Hunt Valley, Maryland.

The in-person event will bring together receiver manufacturers, technology partners, broadcasters, and industry stakeholders to test and validate interoperability across a broad range of NextGen TV services and applications.

During the event, participants will have access to live over-the-air ATSC 3.0 broadcasts in the Baltimore market, as well as a comprehensive suite of interoperability and performance testing scenarios designed to support continued advancement of the NextGen TV ecosystem.

“The continued success of NextGen TV relies on interoperability across devices, networks, and services,” said Mark Aitken, senior vice president of advanced technology at Sinclair Broadcast Group and President of One Media Technologies. “Our annual event provides an important opportunity for industry participants to collaborate, validate implementations, and accelerate innovation across the ATSC 3.0 ecosystem.”

During this year’s event areas of focus will include:

• Broadcaster Application interoperability, including Run3 TV Framework testing and Advanced Emergency Information (AEI) functionality
• Digital Rights Management (DRM) and signal signing validation across DASH and MMT environments
• Signaling enhancements, including new service categories, broadband signaling servers, dynamic service changes, and RSAT implementation
• Hybrid broadcast and broadband service delivery
• Physical layer performance, including dynamic ModCod changes, Layered Division Multiplexing (LDM), and Broadcast Positioning System (BPS) testing
• Dynamic Ad Insertion (DAI) implementation and A/344 API testing
• MIMO backward-compatible configurations
• App-based services including ROXi and GameLoop
• Testing of the Broadcast-Enabled Streaming TV (BEST) channel and live Baltimore ATSC 3.0 OTA signals

More information is available at www.onemedia.tech.

Caretta Research has released its latest forecast predicting record revenues for the 2026 FIFA World Cup.

A record $8.9 billion in total revenue is expected, said the company, representing a 54% increase over the 2022 tournament. Growth will predominantly be driven by the rise in commercial and matchday revenues, with sports rights also having an effect.

FIFA’s decision to increase the number of teams from 32 to 48 is seen as a key driver for growth, with the number of games rising from 64 in 2022 to 104 this year, providing further opportunities to sell content. Commercial revenue is expected to rise by nearly $300 million, as traditional advertising opportunities are augmented with the inclusion of cooling breaks and an expanded half-time Super Bowl-style show.

Revenue from sports rights sold to media organizations is predicted to grow by $1 billion, a 32% increase on 2022, although its overall share will be reduced, falling below to per cent for the first time since at least 1998, said Caretta. The higher number of matches to be broadcast has diluted the rights value per game, which has decreased by 19%.

Regional time differences present a “significant difficulty for international media,’ said the company. The total volume of broadcast deals has fallen to 443 from 495 in 2022, a decrease of 11%. This highlights FIFA’s shift towards fewer broadcast partnerships with substantially higher individual values. Secondary broadcasters and sub-licensers have stepped away from the market, due to the challenges presented by time zone differences.

A clear regional split has been defined, with the total number of broadcast deals across Latin American and the Caribbean increasing by 18% while in Asia, the number fell by 21%.

Commenting on the findings, Evangelos Vrysellas, research analyst at Caretta Research, said, “Even though FIFA is set for record-breaking total revenue in 2026, the international broadcast landscape is becoming increasingly difficult. Media rights now represent a smaller portion of the overall revenue pie, with the value of each individual match dropping by 19%. The combination of middle-of-the-night kick-offs for major global markets and rising production expenses has discouraged many potential bidders, leading to a 11% drop in the total number of broadcast deals”.

This article original appeared on TV Tech sister brand TVBEurope.

MONTREAL—Grass Valley is launching AMPP Edge Live, a purpose-built production system designed to bring professional production capabilities to enterprise teams. The company will unveil AMPP Edge Live at InfoComm 2026 in Las Vegas, June 17 to 19 (North Hall: N7369-MR).

Media production teams within enterprise organizations such as education, government, corporate communications, houses of worship and live events are often asked to do more with limited resources, yet existing production systems often lack the flexibility to support new workflows without significant additional investment, Grass Valley said.

AMPP Edge Live addresses this challenge by providing a flexible production foundation that grows with organizational needs, by combining Grass Valley hardware, NVIDIA Blackwell GPU acceleration and AMPP OS in a single solution, according to the company.

“Production requirements are constantly evolving as audience expectations shift, creating challenges for enterprise organizations whose production infrastructures were not designed for today’s demands,” said Jonathan Lyth, Product Director for Enterprise Media, Grass Valley. “Businesses need production platforms that combine operational agility with the confidence of reliable performance. AMPP Edge Live delivers both, enabling organizations to adapt and scale production capabilities without adding operational complexity.”

The solution is available in two models that serve different production demands:

AMPP Edge Live 4000 is ideal for live event production and provides the performance to run solutions such as Event Producer X, which brings production switching, graphics, audio mixing, recording, streaming, monitoring and production control into a single browser-based interface.

AMPP Edge Live 6000 adds processing performance for more demanding production requirements and supports Sport Producer X, which combines switching, graphics, scoring, timing, data integration and instant replay for sports production.

Across both models, operators can manage workflows that previously required multiple specialist systems and dedicated personnel, all through one production environment, Grass Valley said.

AMPP Edge Live also simplifies lifecycle management through a unified ownership model. Grass Valley designs, validates and supports AMPP Edge Live as a complete solution, managing hardware validation, software compatibility, updates and support through a single point of accountability. This removes much of the integration burden associated with multi-vendor environments while helping ensure organizations remain ready for future production requirements.

AMPP Edge Live is built on a short-depth 4 RU chassis with redundant power and modular AMPP I/O cards, so connectivity can be tailored to each workflow. It includes enterprise-grade security, centralized management and role-based access controls, and forms part of the Grass Valley Media Universe, supporting on-premise, hybrid and cloud-connected workflows.

AMPP Edge Live is available now in the L4000 and L6000 appliance models, with SDI 8 and SDI 12 AMPP I/O card options and media storage choices of 2 TB or 4 TB.

CINCINNATI—The E.W. Scripps Company is kicking off extensive coverage leading up to America’s 250^th birthday on July 4.

Scripps’ local and national media platforms will bring Americans together around the stories, people and places that define the nation’s past and shape its future.

“America’s 250th anniversary is an opportunity to connect neighbors, share stories that inspire pride in our country and reaffirm the freedoms that make those stories possible,” said Dean Littleton, Scripps executive vice president of media broadcast operations. “Scripps has been that connection point since 1878. Our coverage will not only mark the milestone in our nation’s history but also reflect the very mission on which we were founded: to give light and the people will find their own way.”

Anchored by Scripps News special events anchor Alisyn Camerota, Scripps News will produce a 60-minute special to air on July 4, which will celebrate the people that embody the spirit of America. The program will combine local reporting with in-depth national storytelling and will be available across all Scripps local stations and Scripps News Group streaming platforms.

During the special, Scripps News Group is partnering with the Scripps Howard Fund to surprise five nonprofit organizations with a total of $75,000 in grants to further their mission and impact. From supporting children and families and fighting hunger, to creating jobs for people with special needs and providing service dogs to veterans, five organizations will each receive $15,000.

“These organizations are doing extraordinary work to uplift their communities,” said Meredith Delaney, president and CEO of the Scripps Howard Fund. “Behind every neighborhood is a network of nonprofit organizations that educate, heal and connect people. Leveraging the power of Scripps’ nationwide footprint, we’re able to highlight their remarkable work to a national audience. By sharing their stories broadly, we aim to spark compassion, service and generosity that turns community needs into community solutions all across America.”

Scripps News Group coverage July 4 includes:

• 3 p.m. EDT: “JFK: Fact & Fable.”
• 4 p.m. EDT: “250: Celebrating America.”
• 5 p.m. EDT: “Happy Birthday, USA!”
• 6 p.m.-midnight: “4^th of July –Live from the Capitol.”

Throughout the summer, local Scripps TV stations will bring viewers original stories from the communities they serve, told by journalists who know those neighborhoods best. Coverage will capture local traditions, events and perspectives – from small-town parades and concerts to historical reenactments and civic ceremonies – highlighting how America 250 celebrations are bringing people together and showcasing the resilience and innovation at the heart of the American experience.

Scripps will also air a series of America 250 vignettes on its local stations and on Scripps News. These short features will honor everyday heroes, such as nurses, teachers and firefighters, alongside moments of innovation and cultural significance that embody the American spirit.

The station group has launched a dedicated “America 250” digital hub on all Scripps local station websites and ScrippsNews.com, offering event information, coverage highlights and stories from communities across the country.

Scripps’ “America 250” coverage is available online.

The 2026 FIFA World Cup will be one of the most-watched sporting events in streaming history. It will also be one of the most complicated for viewers to navigate.

For fans, the question sounds simple: where do I watch the match? But across connected TV, the answer is no longer as straightforward as turning on a channel. Viewers may encounter the tournament through a smart TV home screen, sports hub, streaming app, platform search, voice navigation, YouTube preview, or AI-powered recommendation.

With 104 matches and 48 teams, combined with multilingual coverage across multiple platforms, YouTube’s first 10-minute viewing window, and connected TV operating systems playing a larger role in content discovery, the tournament is shaping up to be a major test of the modern streaming experience.

The Home Screen Is the New Sports Guide
Today, the TV home screen is becoming the front door to live sports. The apps a viewer sees first, the events promoted in hero banners, the matches surfaced in live sports rows, and the results returned through search can all influence where audiences go and what they watch.

That matters because live sports discovery is different from entertainment discovery. A movie can be found later. A series can sit on a watchlist. But a live match has a start time, a halftime, and a final whistle. If fans cannot quickly find the right destination, the moment may be missed.

Because of that urgency, placement, timing, accuracy, and context all matter. A World Cup match prominently promoted on a TV home screen has a very different discovery advantage from one buried behind multiple clicks or unclear app navigation.

Live Sports Merchandising Is More Complex
The scale of the World Cup will make this even more complex. The tournament will include multiple daily matches, different kickoff times, national teams with varying levels of audience demand, and different viewing preferences across language, region, and platform. FIFA has predicted that 6 billion viewers will watch the tournament.

A fan searching for “Mexico live,” “World Cup highlights,” “soccer on now,” or “watch Argentina” may expect an instant answer. Whether that answer appears clearly will depend on how well platforms organize, tag, promote, and surface live sports content.

Apps still matter, but operating systems increasingly shape the path viewers take before they ever open an app. Sports hubs, recommendation rows, search tools, voice assistants, and AI-driven prompts can all guide fans toward one viewing path over another.

YouTube Could Reshape the Funnel
For the 2026 World Cup, match discovery could increasingly begin on YouTube, where official media partners will have the option to stream the first 10 minutes of every match on their YouTube channels.

That model adds an important new dimension to the viewing journey. By giving rights-holding broadcasters a way to showcase the opening minutes live on YouTube, FIFA is creating a new top-of-funnel entry point for fans who may encounter matches through previews, clips, creators, search, or algorithmic recommendations.

YouTube could become a powerful discovery channel, particularly for younger viewers and casual fans. But the real test will be the handoff: once the preview ends, can viewers easily find the full match on the correct app, language feed, or platform destination?

The more friction involved, the greater the risk that viewers drop off before reaching the full match experience.

Small UI Errors Can Create Big Problems
The 2026 World Cup will also expose the operational challenges behind live sports merchandising. At Looper Insights, our data has found an average of 1.3 user interface errors per live sports event. These can include incorrect tiles, incorrect start time listings, outdated promotions, missing event information, broken navigation paths, or inconsistent placement across devices.

For general entertainment, these issues are frustrating. For live sports, they can be costly. When a fan is trying to find a match already underway, even a small error can mean missed viewing time, confusion, or abandonment.

The impact extends to advertisers as well. If fans miss the opening minutes of a major World Cup match because the game is difficult to find, brands lose access to some of the most valuable live viewing moments: pre-game build-up, kick-off, early in-game attention, and the shared urgency that makes sports advertising so powerful. For sponsors and media buyers investing in marquee matches, discovery friction can weaken the value of campaigns that depend on audiences arriving on time and at scale.

That is why verification will matter as much as promotion. Broadcasters, streamers, rights holders, and platforms will need to know whether placements appeared as planned, whether event information was accurate, and whether issues were resolved before they affected viewers. At the World Cup scale, a missing tile, outdated promotion, or incorrect start time can affect tune-in, advertiser value, and the overall fan experience.

The Winners Will Make Discovery Effortless
The companies that perform best during the World Cup will not simply be those with the biggest campaigns. They will be the ones that make the viewing journey effortless: surfacing the right match at the right time, guiding fans from previews to full-match viewing, and ensuring promotions accurately reflect what is live now.

As streaming becomes more fragmented, visibility becomes more valuable. For live sports, visibility is not just about awareness. It is about access, timing, and conversion.

The match may start on the pitch, but for millions of viewers, the journey will begin on the home screen.

WHITE PLAINS, N.Y.—SMPTE has launched its summer 2026 education lineup, which includes two standalone courses, an intensive boot camp and a hands-on practical lab built to develop expertise in IP networking and SMPTE ST 2110.

Introduction to IP Networks and the ST 2110 Intensive Boot Camp begin June 11, with Understanding ST 2110 starting later in the summer.

Introduction to IP Networks (ITIPN), June 11-July 9, provides a foundation in IP networking suited to those new to the field as well as experienced professionals seeking a refresher. Participants work through every layer of the network stack, cover multicast and protocols, such as DNS and RTP, and gain hands-on experience with Wireshark, earning a certificate of completion and eligibility for the SMPTE Practical Lab.

The comprehensive ST 2110 Intensive Boot Camp for IP Networking Professionals, June 11-Sept. 1, includes 20 modules across three courses, Introduction to IP Networks, Understanding ST 2110 and IP Network Design. Participants progress from networking fundamentals through PTP timing, synchronization and redundancy, network design and operational change management. Live coaching sessions, led by technologists from organizations, including the EBU, Lawo, Arista, Cisco and Meinberg, run Tuesdays and Thursdays and are recorded for on-demand access. Participants who complete the program and pass the final exam earn the industry-recognized SMPTE Certificate of Achievement.

Starting later in the summer, Understanding ST 2110, July 21-Sept. 1, offers an in-depth, practical exploration of the ST 2110 standard, covering uncompressed and compressed video, audio and data encapsulation, timing and synchronization, redundancy and network traffic shaping.

The SMPTE Practical Lab, available to those who complete Introduction to IP Networks, Understanding ST 2110 or the full Boot Camp, provides a sandbox environment in which to design, sync and troubleshoot live-production workflows. The Practical Lab is made possible by the support of partners, including Lawo Academy, Arista, Blackmagic Design, Meinberg, Bridge Technologies, Matrox and AJA Video Systems.

The standalone courses and the boot camp are instructor-led with live coaching sessions recorded and available on demand within 24 hours so participants can take part from any time zone.

“The move to IP is one of the most significant shifts our industry has seen, and our goal is to make the expertise behind it accessible to everyone who needs it,” said Maja Davidovic, director of education at SMPTE. “Our instructors are real-world practitioners who design and run these systems every day, our live sessions bring in special guest participants, and the learning stays hands-on and interactive throughout. Whether you’re taking your first steps in IP networking or preparing to lead a full ST 2110 migration, you'll be working through real challenges alongside the people shaping the field.”

SMPTE is offering member and non-member pricing for the courses, including:

• Introduction to IP Networks (ITIPN): $399 for members and $599 for nonmembers.
• Understanding ST 2110: $399 and $599.
• ST 2110 Intensive Boot Camp: $799 and $999.
• Practical Lab: $99 and $199.

Student and hardship discounts are always available for all SMPTE Education courses. Registration is available online.

WASHINGTON and OVERLAND PARK, Kan.—The National Content & Technology Cooperative (NCTC) and ACA Connects have released further details about the program and events at the 21st annual Independent Show, which is themed “Imagination Meets Innovation”.

The event will take place July 26-29 at Disney’s Yacht & Beach Club Resorts in Lake Buena Vista, Fla., and reflect NCTC’s commitment to delivering practical value and resources for its members by focusing on turning industry innovation into immediate operational results, it said. Both the NCTC and ACAC represent smaller, independent cable operators.

“This year’s TIS is designed to make scaling networks, launching advanced services and supporting customers easier than ever for independent ISPs,” NCTC CEO Lou Borrelli said. “Every session, workshop and keynote will equip members with the strategies and turnkey solutions needed to expand and compete at enterprise scale as more broadband choices and smarter connectivity reshape the market. Attendees will leave Florida with a practical framework for enhancing the subscriber experience, whether through profitable mobile bundles, smart AI tools or seamless network convergence.”

Building on NCTC's growing portfolio of mobile virtual network operator (MVNO), programming, and network infrastructure solutions, The Independent Show will introduce expanded tactical workshops focused on mobile device strategies, bundling frameworks and network optimization, equipping members with the tools to offer converged services and increase long-term subscriber retention. These sessions will address the industry's evolving regulatory landscape while guiding members toward seamless customer experiences through the convergence of fiber, Wi-Fi, mobile and video.

Attendees will also learn about NCTC’s latest initiatives in AI, broadband, streaming and other areas shaping the future of connectivity, it said.

“On every front, we’re empowering independent operators to innovate, prepare for the future, and invest in their networks,” ACAC President and CEO Grant Spellmeyer said. “ACA Connects looks forward to leading conversations at The Independent Show with the most influential leaders driving broadband, video, and mobile policy, including FCC Commissioner Olivia Trusty. Attendees will not just leave with a more strategic playbook to navigate the regulatory world; they will gain the confidence they need to run their businesses and win.”

ACAC will also deliver an insider analysis for Independent Show attendees, breaking down key policy debates in ways that will help the industry navigate upcoming regulatory and deregulatory changes in Washington.

Expert-led panels and interactive breakout sessions will also focus on topics such as:

• Mobile bundling strategies to strengthen broadband value and customer retention.
• AI deployment, data readiness and governance for B2B applications,
• The evolving video ecosystem and driving customer stickiness with NCTC Broadband TV.
• Network infrastructure optimization and convergence across fiber, Wi-Fi and mobile.
• Regulatory shifts, including permitting reform, AI oversight, universal service reform and changes to the video marketplace.

Keynotes and general sessions on the show’s agenda include:

• Noelle Russell, Founder & Chief AI Officer of the AI Leadership Institute – In the show’s opening keynote, Russell will share practical, real‑world insights on how independents can use AI to strengthen operations, serve customers better and stay competitive without losing what makes them unique.
• Olivia Trusty, FCC Commissioner – Shortly after the keynote on Monday, Trusty will join Spellmeyer for a fireside chat on empowering independent providers to expand broadband access, drive investment and strengthen rural communities.
• David and Jonah Stillman, Generational Experts – In Tuesday’s keynote, a father‑and‑son duo representing Gen X and Gen Z will share research on how different age groups influence technology adoption, culture and team dynamics.
• Jimmy Zasowski, President, Platform Distribution, Disney Entertainment and ESPN – Directly following Tuesday’s keynotes, Zasowki will share new insights in an exclusive fireside chat with NCTC's CEO.

In a pre-show event on July 26, the Marketing Innovators Group (NCTC members only) offers a hands-on AI workshop for marketers to sharpen competitive strategies, user groups to learn from peers and a welcome party at Epcot Pavilion, where guests can experience all four Disney parks in one night.

More information is available here.