LONDON—IBC announced today that its most prestigious honour, the International Honour for Excellence (IHFE), will be presented to world-renowned editor Thelma Schoonmaker. The award recognizes her extraordinary achievements and lifetime contribution to the art and craft of filmmaking, spanning more than five decades and helping shape modern cinema through her close collaboration with Martin Scorsese.

The award will be presented in person on Sunday, Sept. 14 at 18.00 CEST on the main stage of the IBC Conference in the RAI Amsterdam. Earlier in the day at the IBC Conference, Schoonmaker will also participate in a Fireside Chat about her life in film, hosted by journalist and author Carolyn Giardina, Consulting Editor of American Cinema Editors’ ‘Cinema Editor’ Magazine. The session will be free to attend for all IBC2025 attendees.

Schoonmaker has been at the forefront of moving picture innovation for over 50 years, having helped Scorsese edit his first feature in 1967 and gone on to collaborate with him in the editing of his creative vision in every major work since Raging Bull. Her credits include Goodfellas, The Wolf of Wall Street, The Irishman, and most recently, Killers of the Flower Moon.

She is the only editor to receive nine Oscar nominations, winning a record three Academy Awards for Raging Bull, The Aviator and The Departed. Schoonmaker has also won BAFTAs for Raging Bull and Goodfellas, and in 2019 received the BAFTA Fellowship—the British Academy’s highest honor.

A passionate advocate for film restoration, she continues to champion the legacy of her late husband, director Michael Powell, and the landmark works of Powell and Pressburger. The influence of the editing in Scorsese’s films extends across generations of filmmakers, documentary makers and editors, inspiring technical mastery, creativity and unwavering passion for the craft of storytelling.

Michael Crimp, IBC’s Chief Executive Officer, commented: "Thelma Schoonmaker’s unique contribution and legacy is felt across the entire media world. Her dedication to storytelling, technical brilliance and lifelong commitment to collaboration exemplify the very best of our industry. People are at the heart of IBC, and we’re proud to honour those who have not only shaped the media we all know and love—but who continue to inspire new generations to come."

Globo Recognised with Special Award for 100 Years of Innovation
IBC is also recognizing Globo, Latin America’s largest media company, with a Special Award for its continued leadership, innovation and support for global media advancement. Alongside consistent commitment to industry collaboration, cultural storytelling and audience connection, Globo is leading new initiatives to accelerate Brazil’s next broadcasting evolution with the rollout of TV 3.0.

Globo is, above all, a great storyteller of Brazilian stories, reaching 70 million Brazilians daily and 160 million monthly across all its platforms—open TV, pay TV, streaming, and digital. In 2025, the group celebrates a century of media leadership in Latin America, since the launch of its newspaper O Globo in 1925.

As it looks to the future, Globo reaffirms its commitment to innovation, Brazilian talent, and continuous reinvention. The company is at the forefront of the media industry, leading the implementation of TV 3.0 (DTV+) and strategically and ethically integrating AI across its operations, from content creation to personalised audience experiences, all while upholding strong governance and valuing human talent.

Swiss Team Awarded Best Technical Paper for Research on AI for Trusted News
Alexis Allemann, Sebastien Noir and Andrei Popescu-Belis are being awarded the coveted Best Technical Paper at IBC2025 for their work developing an AI Chatbot for Trusted News, underpinned with strict editorial standards and transparency. The paper is entitled EBU NEO – A sophisticated multilingual chatbot for a trusted news ecosystem exploration.

The authors—from the European Broadcasting Union (EBU) and la Haute École d'Ingénierie et de Gestion du Canton de Vaud (HEIG-VD)—sought to address the quality, bias and transparency concerns of commercial news chatbots. Their approach was to optimize Retrieval Augmented Generation (a technique used to enhance Large Language Models). The result is a database of over 3.5 million articles growing by 3000 news stories per day, and an invaluable tool for both professional journalists and the public to explore the news.

Paul Entwistle, Chair of the IBC Technical Papers Committee and Peer Review Panel, said: "The paper was very well written, providing an excellent technical disclosure, innovative improvements, detailed performance comparisons and a case study with important lessons on deploying a public-facing AI. The topic itself, trusted news in the age of AI, is critically important, with the EBU uniquely positioned to develop such a system. The paper highlights the scale and complexity of the task, the impressive capabilities that AI can bring, as well as reminding us of its current limitations. This is excellent work—and significant beyond our own industry."

The paper—alongside 22 other successful Technical Papers—was selected by IBC’s international peer review panel of 20 media technology experts from 337 submissions covering original research on solutions to real-world problems faced by the international broadcast and digital media industry.

The Best Technical Paper will be formally presented at the IBC2025 Conference on Saturday Sept. 13 at 13:30 CEST and celebrated at the IBC Innovation Awards presentation on Sunday Sept. 14, alongside Thelma Schoonmaker, Globo, and all other award winners, at an invitation only event.

Thelma Schoonmaker’s free-to-attend session will take place on Sunday, Sept. 14 at 16:15 CEST on stage 1 of the IBC Conference. For more information on the IBC Conference, please visit: https://show.ibc.org/conference-experience

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

SAN JOSE, Calif.—Brazilian video streaming platform Globoplay has deployed Harmonic’s VOS 360 Media SaaS solution for low-latency live streaming during the 2025 Campeonato Brasileiro Série A soccer championship.

Globo-owned Globoplay, Brazil’s largest video streaming platform, is using the Harmonic platform to stream matches with pristine video quality and near-real-time viewing experiences, the company said.

“Streaming over 300 matches across 38 rounds of Brazil’s top football championship requires us to lean on a technology partner that can deliver true broadcast-grade performance at scale,” Diego Ramos, digital platform director at Globo, said.

“After a rigorous evaluation process, we selected Harmonic for their proven low-latency streaming technology, cloud flexibility and exceptional DevOps support—all of which enable us to captivate fans with unforgettable live sports streaming experiences.”

Harmonic’s VOS360 Media SaaS simplifies all stages of media processing and streaming delivery, according to the company. Globo is running the solution in a public cloud region geographically close to its operations. The deployment was the result of a collaborative effort involving multiple Globo teams with support from Harmonic. The joint work spanned adjustments to video systems, fine-tuning of the CDN and ensuring compatibility across players, contributing to a robust and reliable rollout, Harmonic said.

“We’re thrilled to support Globo in transforming how football fans across Brazil experience live sports,” Gil Rudge, senior vice president, solutions and Americas sales, video business at Harmonic, said. “This win reinforces Harmonic’s leadership in powering live sports streaming at scale and highlights our commitment to enabling superior viewer experiences across any screen.”

Harmonic will demonstrate the streaming solutions at SET Expo 2025, Aug. 19-21, in Sao Paulo, Brazil, in the SDB Multimidia booth 38.

See Harmonic at IBC2025, Sept. 12-15, in Amsterdam in Stand 1.B20.

More information is available on the company’s website.

MONTREAL—Brazilian broadcaster Globo announced today that it is deploying Grass Valley’s AMPP as the backbone of its future production operations.

The announcement marks an expansion GV has with Latin American’s largest broadcaster and is part of a major initiative to modernize and future-proof its live production capabilities. The agreement marks a new phase in Globo’s long-term technology transformation program, centered on the deployment of Grass Valley AMPP (Agile Media Processing Platform).

Since 2022, Globo and Grass Valley have worked closely to deploy AMPP across Tier 3 content production environments, embracing a flexible, software-defined architecture. The success of this initiative laid the groundwork for this next chapter: a multiphase migration of Globo’s primary production control rooms, including those used for marquee Prime-Time events, to a platform powered by the AMPP ecosystem, Grass Valley said.

A clear example of this technology in action was seen during the 2024 and 2025 seasons of Big Brother Brasil, one of Globo’s largest and most complex live productions. The project combined a full 2110 IP infrastructure with AMPP’s on-premises microservices architecture, showcasing how native-IP workflows and software-defined control can co-exist in high-pressure environments.

In this deployment, AMPP was used as a 24/7 time-shifted playout system for 100 consecutive days, all within a highly integrated IP-based setup. This strategic partnership has been formally sealed through the signing of a multi-year Enterprise Agreement, ensuring the joint evolution of the AMPP ecosystem in close collaboration with Globo’s technical and operational teams.

At the same time, Globo is expanding its 2110 IP-based infrastructure through a major new project signed alongside the Enterprise Agreement, a critical step in preparing for Brazil’s next-generation digital broadcast standard, DTV+ (TV 3.0). As part of this evolution, the new AMPP-based control infrastructure will also support 4K workflows, meeting key DTV+ requirements and reinforcing Globo’s commitment to scalable, future-ready production.

“With this shift to a software-defined platform, we are enabling agility and scalability in our production supply chain in order to respond quickly to the demands of a constantly evolving market”, said Mauricio Felix, Technology Executive at Globo.

“We are honored to strengthen our partnership with Globo in this strategic transformation,” said Tim Banks, CRO at Grass Valley. “AMPP offers a powerful, agile, and efficient hybrid-cloud platform that will support Globo’s most demanding live production workflows now and in the years to come.”

WASHINGTON—The Advanced Television Systems Committee named Luiz Fausto vice president of standards development, succeeding ATSC vice president Jerry Whitaker, who will retire at the end of August.

Fausto has held various engineering positions at Globo TV Network in Brazil since 2006. Most recently, he was Globo’s technology regulatory specialist and recently concluded his tenure as technical module chairman of the Sistema Brasileiro de Televisão Digital (SBTVD) Forum by delivering the TV 3.0 (DTV+) project technology selection recommendation to the Brazilian Ministry of Communications. Fausto will oversee standards development processes, guide industry adoption and foster relationships with global stakeholders, ATSC said.

“My strategic vision for ATSC standards development is to build on its strength as a comprehensive, flexible toolbox,” Fausto said. “I believe ATSC standards should evolve within a unified framework that empowers broadcasters worldwide, making it easy to mix, match and extend standardized technologies,” said Fausto.

“By fostering strong international relationships, staying ahead of broadcast technology trends and ensuring that the standards remain responsive and relevant, I aim to help ATSC further increase the adoption our standards in the Americas and worldwide,” he said.

In his new role, Fausto will lead the ATSC’s technical and strategic efforts in evolving and deploying its standards internationally. He will develop and oversee processes for harmonizing standards among countries adopting ATSC and participate in ATSC’s overall strategic development with a focus on the technical roadmap.

He will work with ATSC technology, specialists and ad hoc groups as well as manage ATSC’s participation in international organization, such as the International Telecommunication Union (ITU), India’s Telecommunications Standards Development Society (TSDSI) and the Organization of American States’ InterAmerican Telecommunication Commission (CITEL).

“Luiz Fausto brings to ATSC deep technical expertise, strategic vision, and leadership in the international broadcasting and standards communities,” ATSC President Madeleine Noland said.

Whitaker, who joined ATSC in 1990, is a fellow in both the Society of Broadcast Engineers and a the Society of Motion Picture and Television Engineers. He has also been an SBE board member and vice president. He is the author and/or editor of more than 30 books on technical topics.

“Jerry Whitaker’s incredible career over the past 25 years has spanned the ATSC 1.0, 2.0 and 3.0 standards, the launch of HDTV, the U.S. digital transition, the pioneering development of next-generation standards and ATSC’s international expansion,” said Noland. “ATSC stakeholders around the world join me in thanking Jerry for his significant contributions, and we wish him all the best for this next chapter.”

More information is available on the ATSC website.

RIO DE JANEIRO & WASHINGTON, D.C. — Brazil is not the first country to adopt internet-protocol over-the-air television. It’s just the biggest, and the most likely to have an impact felt across the Western Hemisphere. The form that over-the-air (OTA) broadcast television will take in Brazil —known as ATSC 3.0 — represents a full departure from the early 2000s digital phase that resembled analog TV, but with more resolution.

Back then, the potential of IP-based digital media was not clear. YouTube was cat videos. Netflix mailed out DVDs. Twenty years later, they are streaming juggernauts while broadcast TV has become passé, at least in the United States. Still, it remains the sole nationwide platform that supports 100 million-plus people watching the same thing live.

With its decision to adopt ATSC 3.0, Brazil could bring about a broadcasting renaissance. While Brazil is not the perfect analogue of the U.S. or vice versa, the parallels are enough to make it a significant model.

With this in mind, a small group of U.S. observers and stakeholders recently spoke with Raymundo Barros, director of Strategy and Technology at Globo, Brazil’s largest media company as well as its largest broadcaster; and president of Brazil’s broadcast standards body, the Fórum do Sistema Brasileiro de TV Digital Terrestre (Fórum SBTVD).

Barros is at the forefront of Brazil’s historic conversion to IP-based over-the-air television — in time for the 2026 World Cup, no less. Via emails and Zoom, he shared Brazil’s vision, its motivation and its strategy for rolling out nationwide, non-backward-compatible, broadcast TV for more than 70 million over-the-air households. We spoke about how Brazil and the U.S. compare, the timing of their decision, the consumer-facing platform, rollout logistics, North American implications and what’s to come.

HOW BRAZIL AND THE U.S. COMPARE

Marketshare
US: Brazil is such a compelling model for the United States. We’re comparable in area and population, but broadcasting has far more marketshare in Brazil than it does in the U.S.

Raymundo Barros: Yes, broadcasting holds a strong market share in Brazil largely because it remains the primary source of television for many regions, especially in remote and rural areas. While urban centers have broader access to broadband and subscription-based services, large parts of Brazil rely exclusively on over-the-air OTA broadcasting.

This is due in part to the country’s expansive geography and socioeconomic factors that make it challenging to deploy infrastructure in less populated areas. Broadcasting’s reach ensures equitable access to information, education, and entertainment nationwide, reinforcing its importance.

Receivers
US: U.S. broadcasters cover about 75% of the United States with ATSC 3.0 signals, but receivers aren’t nearly as widespread. Brazil tied the transmission and receiver standards-development process together. How did that work?

R.B.: We launched the Fórum 18 years ago when we started standardizing TV 2.0, digital terrestrial broadcasting. The government is part of the Fórum — the Ministry of Communications and Anatel [Brazil’s version of the Federal Communications Commission]. They don’t vote, but they orchestrate how the Fórum operates. At that time, they decided the Fórum would be a private entity with the participation of broadcasters and the receiver industry, each with four votes; the transmitter industry and universities, each with two votes; and the software industry with one. It’s the same today.

Everybody normally agrees with the same decision. We are in alignment, but it took a lot more work this time. The stakes were broadcaster prominence; the “out-of-the-box” experience of the broadcast channels. As the chairman, I had to go to each commissioner on the Fórum to convince them of our vision, so we finalized all the technical standards for TV 3.0 receivers.

[The resulting 900-page standards document, which covers everything from transmission to reception, was sent to the government and the Brazilian Association of Technical Standards (ABNT), in late November, with publication expected next March and the final stroke of the president’s pen at the beginning of 2025.]

R.B.: This means that, in order to get the tax waivers and incentives the government gives TV set makers for their operations in the rainforest, they need to comply with these standards. In Brazil, TV manufacturers have their facilities in the rainforest area.

The government decided 30 years ago it would improve the economics and somehow preserve the rainforest. The cost to operate in the rainforest is high because of logistics, so the government gives them enough of a tax incentive to make a 32-inch TV in Brazil cost as much as a Google TV dongle [about US$40]. They also need to use a certain number of memory chips manufactured in Brazil, and to comply with TV standards. We expect the same policy will apply to TV 3.0.

Antennas
Our goal was to have the antenna built into the TV set, pretty much like the cellphone. You know how many antennas we have in a device like that? WiFi, Bluetooth, 600 MHz, 700 MHz, 900 MHz, 12.5, 3.5 — more than six antennas. If they can put six antennas in a cellphone, can’t they get the antenna in a huge TV set?

However, in the process of trying to get to alignment on the standard, we also allowed the antenna to come inside the box [with the TV and not within the TV as initially proposed].

Public Awareness
US: As we mentioned above, ATSC 3.0-based TV is available in around 75% of the United States, but there is little public awareness of it.

R.B.: Consumer awareness is a top priority, which is why Brazil has introduced a brand and logo for TV 3.0, known as DTV+. This branding will make it easy for the public to recognize compatible services and devices, helping to drive awareness and adoption.

The DTV+ brand emphasizes the benefits of next-generation broadcasting and solidifies the identity of TV 3.0 as the future of over-the-air television in Brazil, signaling advanced features and an enhanced viewer experience.

Consumer Incentives
US: Given that legacy TVs will not receive TV 3.0, what will be the most compelling features to get people to buy a new TV set?

R.B.: Personalization. Our vision for TV 3.0 is to provide a deeply personalized experience that adapts to each viewer’s preferences, creating a viewing experience that is engaging and uniquely tailored, whether that means ultra-high-definition video, immersive audio, interactive social TV, or customized ads and content.

This level of experience management—where the entire viewing journey is managed and customized—represents a true evolution for Brazilian TV. TV 3.0 will bring together the ease of broadcast and the versatility of digital, creating a cohesive, personalized ecosystem that elevates television viewing beyond what traditional and streaming services offer today.

Regulatory
US: The U.S. government has taken an indirect approach to IP-based OTA TV via ATSC 3.0. Brazil’s has been more proactive.

R.B.: I think the government here supports broadcasters and this process because everywhere in the world, the media is dominated by big tech. The only relevant media platform that is truly Brazilian, is broadcast — radios and TV. Those companies, by law, need to be controlled by Brazilians; native Brazilians. Which means, if broadcasters vanish from this ecosystem, those local governments will have to deal with big tech, and you have heard what happened with X in Brazil.

In Brazil, free television is considered a public service. We have access to the spectrum, but on the other hand, we have a lot of obligations in order to operate.

US: As of the end of November, there remains one more presidential decree necessary for deployment, correct?

R.B.: Yes. This is expected by the end of this year or by the beginning of 2025, and is a fundamental milestone in this developing process. This decree is anticipated to cover crucial aspects such as the prominence of over-the-air television in receiver interfaces, ensuring that broadcast content is easily accessible and prioritized on devices, as well as the rules for simulcast periods.

While we await these guidelines, it is important to note that the regulatory framework will define the conditions broadcasters must meet, though the exact requirements are not yet confirmed. The ruling is expected soon, which will allow broadcasters like Globo to adjust their deployment strategies accordingly and ensure compliance.

TIMING

Motivation
US: What’s driving your timeline?

R.B.: We need to build a digital relationship with consumers while we still have the majority of viewership. Free-to-air is the mainstream media platform in Brazil. Almost 60% of media consumption time in the home is free-to-air television.

When you look at traditional DTV, it was only the physical layer we made digital. The relationship we’ve had with each customer is pretty much the same as it was in the ’50s. TV 3.0 is digitizing the relationship with customers and the advertising market — and of course we’re going to provide 4K, HDR, immersive sound and interactive applications.

It is a bold decision with great opportunities to move into the TV 3.0 ecosystem, but it is also a defensive move. Money is already moving from traditional advertising products to digital ones. Eventually, we won’t have enough revenue to keep sports rights, high-end quality production, etc., and then broadcast will decline in Brazil.

Target
US: A transition to a non-backward-compatible system will be disruptive. Brazilian broadcasters have nonetheless elected to adopt ATSC 3.0 and deploy it in time for the 2026 World Cup in 18 months.

R.B.: Adopting ATSC 3.0 as our physical layer represents a strategic choice to unlock the full potential of next-generation broadcasting. While this transition is indeed non-backward-compatible, we see it as a necessary step to achieve significant, long-term benefits for viewers.

(Read also: Three Reasons Why Brazil’s TV 3.0 Decision Matters Here)

In recent years, Brazil has explored incremental improvements through TV 2.5, which added enhanced interactivity and functionality while building on our existing infrastructure. However, with TV 3.0, we are targeting a more transformative approach that will bring viewers substantial gains in quality, interactivity, and service flexibility.

The timing aligns with the 2026 World Cup, a high-profile event that allows us to showcase this technology on the world stage. Deploying ATSC 3.0 in time for the event positions Brazil as a leader in broadcast innovation, offering a world-class viewing experience that combines cutting-edge technology with the rich interactivity our audiences expect.

This shift demonstrates our commitment to future-proofing Brazil’s broadcasting infrastructure and elevating the experience for viewers nationwide.

CONSUMER-FACING PLATFORM

World Cup
US:. Globo TV demonstrated some of the capabilities of ATSC 3.0 in a live broadcast from the 2022 World Cup in Qatar using its ISDB-T-based TV 2.5 architecture, including real-time multistandard compression, simultaneous 1080i and 1080p, and a live social channel. What did you learn and what’s new for 2026?

R.B.: The 2022 World Cup experimental broadcast taught us valuable lessons in delivering seamless, high-quality content while managing real-time data and interactivity. These experiments underscored the potential of ATSC 3.0 to enhance the viewer experience by providing multiple resolutions and integrating interactive social channels.

For 2026, we plan to build on these capabilities, potentially introducing features like targeted advertising, expanded data services, and further options for audience interaction that align with Brazil’s interactive DTV Play ecosystem.

US: The 2026 World cup, the first in North America since 1994, will be hosted in 16 cities across Canada, the United States and Mexico. What has to be deployed on the production side to provide the enhanced features of TV 3.0?

R.B.: In terms of high-quality video production and the need to cover multiple venues, I don’t think we will have much additional complexity compared to the World Cup 2002 when Korea and Japan shared it. It’s going to be a huge one, but today, technology makes the production side of this process easy.

The point here is, what other experiences would we like to offer consumers based on 3.0 technology? Do you want to have a male or female narrator, or no narrator at all? Do you want to manage sound objects? Do you want more crowd noise or do you want to hear the ball kicked? Giving consumers the ability to play with sound objects is part of the standard.

It will present us with complexity in terms of production, because I won’t be able to just take the 5.1 mix coming from the host broadcaster. I need to take the sound groups, so I will be able to pass those sound objects to the consumer.

We are also going to integrate one-click sport betting, now approved in Brazil. We are going to provide T-commerce, so you can buy the jerseys of all the teams in partnership with the marketplace here in Brazil. There are many new features that will enhance the total experience of the World Cup.

Dynamic Ad Insertion
US: You mentioned the DTV Play ecosystem, the interactivity middleware developed by the Fórum and deployed by the government in 2020 with a goal of integration in 90% of LCDs produced in 2023. What is the penetration of DTV Play?

R.B: DTV Play is what we’ve called “TV 2.5,” which is our current standard with some enhancements. We have around 30 million TV sets with DTV Play middleware. That middleware is capable of supplying a fully interactive experience, which means we do have several shows every day that have interactivity, pretty much like the NBC Lounge during the Olympics.

We have applications on soccer games for choosing the most valuable player. You can vote on reality shows, or get statistics on the game or the player and, on top of that, we are also using DTV Play for dynamic ad insertion.

We have free-to-air dynamic ad insertion in Rio de Janeiro and São Paulo. So if a DTV set with DTV Play middleware is connected to an antenna and the internet; and if this set has what we call a “Globo ID,”— our identification manager, which almost every Brazilian connected to the internet already has — by identifying the viewer, it is possible to target content and advertising according to their profile and preferences.

During the regular broadcast break, we have the traditional advertising and then I have one slot in each break that I can replace with targeted advertising that comes from the internet, to that specific household. Next year, we are scaling up in other major cities. Free-to-air dynamic ad insertion will be available almost on a nationwide basis with the new DTV Play.

US: How is the market responding?

R.B.: Quite well. Dynamic ad insertion is growing by two digits, year after year. We launched two years ago on the streaming product, Globoplay, and then launched it last year over-the-air as well. It’s available for each of our 120 stations as well. So now, when the advertiser signs a contract with Globo for addressable advertising, we reach their objectives, but they really don’t care if it’s on Globoplay or TV Globo over-the-air. The programming is the same.

Content Delivery
US: You talked about this sort of platform fluidity with regard to the way Globo thinks about content delivery.

R.B.: We have to stop thinking about TV Globo going through the broadcast channel. We have to think about the content consumers are demanding most at that time, and that content will be distributed over the broadcast CDN.

Globo has two content delivery networks (CDNs). One is the broadcasting CDN and the other is the UDP CDN. Our content will be distributed over the CDN that is more suitable, depending on consumer behavior. That’s the vision we are incorporating into TV 3.0 here.

Think about the middle of the night in Brazil, during sports gaming happening in Asia at three in the afternoon. Our free-to-air TV doesn’t have rights for that, but our streaming service does. I’m going to have maybe millions of people watching that, so why not have that game at 3 a.m. going through the broadcast CDN?

It’s going to be more cost-effective to have this content distributed over the broadcast CDN, and from a consumer point of view, it doesn’t matter. The TV set’s going to be connected to both CDNs at the same time, and the underlying middleware will take care of where it comes from. The consumer doesn’t have to take any action.

US: The broadcast CDN concept hasn’t taken hold in the U.S. Meanwhile, the Mike Tyson - Jake Paul boxing match streamed on Netflix in November fell apart for millions of people.

R.B.: In Brazil, the maximum number of devices connected to the internet to simultaneously watch a live event was 5 million during the pandemic. I have the third largest UDP CDN in Brazil, after YouTube and Netflix. Globoplay is our streaming platform. We have around 25 million unique users. If I take the full capacity of my UDP CDN, which is 15 Tbps, and, given the 3 mbps picture quality, I can’t go out to 5 million people watching at the same time, and 5 million people is nothing compared to the free-to-air ratings in Brazil.

Datacasting
US: Is there a pure data market in Brazil? There’s interest in automotive software downloading in the U.S. market. Is this an opportunity in Brazil?

R.B.: The business model is still under evaluation. Brazilian broadcasters are keen to explore datacasting as a new potential revenue stream, enabling the delivery of various types of content and services—such as software updates, educational content, and emergency alerts—over the existing broadcast network.

Within Globo, the potential for datacasting is being carefully studied to ensure that it aligns with market demand and operational feasibility. This model is expected to evolve as testing and validation continue, with broadcasters focused on maximizing the benefits of data transmission.

Ancillary Services
US: What ancillary services does Globo envision with ATSC 3.0?

R.B.: Brazilian public and commercial broadcasters plan to leverage TV 3.0 to offer a range of ancillary services that go beyond traditional broadcasting. These services include advanced emergency alert systems that provide real-time, geo-targeted information with rich media content during critical situations.

Public broadcasters, in particular, aim to deliver public service information, such as health advisories and community updates, fostering stronger community engagement.

And, as already mentioned, similar to the U.S., Brazilian broadcasters are also analyzing the business case for automotive applications, such as real-time traffic updates, weather information, and infotainment options that enrich in-car experiences.

Software Development
US: TV 3.0 opens a green field for software developers. How is Globo engaging and leveraging this community?

R.B.: Drawing from past experience, we recognize the importance of broadcasting applications and enabling interactivity from day one.

The Brazilian government’s pilot station will support this ecosystem by providing a live testing environment where developers and broadcasters can experiment with applications and refine interactive features. To ensure consistency and compatibility across a horizontal market for consumer products, Globo and other industry stakeholders are collaborating with regulatory bodies and development communities to establish operational guidelines and testing suites. These efforts aim to create a seamless consumer experience and minimize compatibility issues across devices.

This approach not only fosters innovation but also guarantees a smooth, reliable user experience as new services are launched. By engaging developers early and providing a stable, standardized platform, Brazilian broadcasters are laying the foundation for a robust ecosystem that will drive the growth of ATSC 3.0 applications throughout Brazil.

ROLLOUT
Deployment

US: Globo has five owned-and-operated stations plus 115 affiliates. Is the intent to have them all broadcasting TV 3.0 by 2026?

R.B.: The deployment plan for TV 3.0 is currently in development. During the previous [2007] digital transition, the process took around seven years to complete nationwide. This time, however, we anticipate a more accelerated rollout. Initial deployments are planned for key cities, with either governmental or commercial stations launching in São Paulo, [pop. 22,806,700] Rio de Janeiro, [pop. 13,824,300] and Brasília [pop. 4,935,270]. Once these primary sites are operational, other major cities are expected to follow shortly after, creating a faster and more efficient transition compared to the previous one.

By starting in Brazil’s largest urban centers [covering half or more of Brazil’s TV households] we aim to establish a strong foundation and demonstrate the capabilities of TV 3.0 early on, encouraging adoption across the country and the rapid availability of receivers.

Early deployment in key cities will send a clear signal to manufacturers, thus enabling viewers nationwide to access the benefits of the new standard within a much shorter timeline than previous rollouts.

Spectrum
US: Anatel has until Dec. 31, 2024, to prepare a frequency plan. How many stations are likely to have to change channel assignments? How disruptive will 3.0 deployment be to the TV frequency band?

R.B.: The transition and frequency allocation plan for TV 3.0 in Brazil presents an intricate challenge, given the country’s size and diverse broadcast landscape. Anatel’s immediate task is to assess the available frequency range and determine technical parameters, such as the required field strength, to support the rollout of ATSC 3.0.

A comprehensive national allotment plan will take several more years to develop, gradually addressing regions from larger to smaller cities and enabling a phased rollout of the new standard. Initially, however, many retransmission [translator] stations will adopt a spectrum-sharing approach similar to the “lighthouse” model used by American broadcasters, as promoted by Pearl TV. In this model, broadcasters share transmission resources on a single channel, allowing both TV 3.0 and current broadcasts to coexist temporarily within the same spectrum.

While channel reassignment will be necessary for some stations, Anatel’s spectrum-sharing framework is expected to help streamline the process, reducing disruptions and maintaining service continuity for viewers.

Following the standard publication, Anatel will start the spectrum allotment plan. We have talked with Anatel about starting with the same process done in the analog-to-digital transition, considering there is now an even greater spectrum dispute in the UHF band. When we launched digital television, every broadcaster got a second channel to start simulcasting, but this will be more challenging since we don’t have enough channels on traditional VHF and UHF bands to accommodate one-to-one simulcast in the transition period.

Repacking
Anatel is considering granting additional spectrum at the 250 MHz to 350 MHz to broadcast TV 3.0. This frequency range is heavily used and needs further interference evaluation and repacking. It is anticipated that up to 14 channels might be released in the near term.

Naturally, this is not enough to allow for simulcast of all the available DTV channels, therefore we expect full-power TV stations to get a second channel; but the retransmitters may need to be in a spectrum-sharing arrangement.

Backchannel
US: A so-called “backchannel” — a signal return path — is necessary for interactivity. ATSC 3.0 relies on other carriers for its return path. What will TV 3.0 use for a backchannel?

R.B.: Brazil has about 100 million TV sets with about 66 million of those connected to the internet. By capitalizing on existing broadband networks, broadcasters can implement return-path functionalities efficiently, offering services like on-demand content, targeted advertising, and enhanced interactivity. This integration strategy aligns with Brazil’s goal of maximizing accessibility and simplicity while delivering the full potential of interactive applications.

This approach makes interactive and personalized features accessible to a broader audience without requiring additional equipment or complicated setups.

US: We’ve learned from you that Brazil has 8,000 ISPs, so how does this work?

R.B.: We don’t need a lot of bandwidth for those applications. There is no high bit rate going through the backchannel.

For many years, ISPs were a business only for the big telcos, but they weren’t going to lay fiber in medium and small cities, so those cities started ISP businesses—that’s why broadband access in Brazil exploded. Those guys can have a very lean business, so they don’t charge much to consumers. They typically offer broadband with pay TV as a bundle, and also pay TV only with streaming. Globo TV has many agreements with those small ISPs. They bundle Globoplay with broadband and data, which is good for us and good for them as well.

FUTURE

North America
US: At the 2024 Set Expo in São Paulo, you said that ATSC 3.0 has the potential to be a standard for all of the Americas from “Alaska to Patagonia.” What other advantages do you see in this besides cheaper and more ubiquitous devices?

R.B.: By aligning the entire region under a single standard, we would create consistency in technology, reduce fragmentation, and enhance the overall consumer experience, which is extremely valuable in the current media environment.

Beyond cost efficiencies, a unified standard would foster regional content exchange, simplify regulatory processes, and open up cross-border opportunities. It would also facilitate regional partnerships in content and technology development, creating a collaborative ecosystem for the Americas.

Broadcasters in Brazil are working closely with government agencies and consumer electronics companies to ensure a smooth shift to TV 3.0 and a strong transition plan that sets an example for the region.

US: Are there any discussions with the TV technology standards community in Mexico?

R.B.: We have not yet engaged in official discussions with Mexico or other countries in the region about ATSC 3.0, due to the fact that Brazil has not yet issued its final decree. However, Brazil has been actively sharing updates and test results with regional organizations such as CITEL, ensuring that countries in the region are aware of our progress.

This ongoing exchange of information helps lay the groundwork for regional cooperation, which will be crucial if ATSC 3.0 is widely adopted across the Americas. Establishing this collaborative spirit is essential for ensuring a smooth transition and maximizing the benefits for all countries involved.

5G & ISDB-T
US: Why did ATSC 3.0 ultimately win out over alternative formats such as Brazil’s legacy digital broadcast standard, ISDB-T, developed with Japan and adopted there and across South America; and 5G?

R.B.: ATSC 3.0 was selected due to a combination of technical strengths, flexibility, and proven readiness. Its high data throughput allows for ultra-high-definition video and immersive audio, while its robust transmission capabilities ensure consistent performance in varied geographic and environmental conditions—a vital consideration for Brazil’s diverse terrain. ATSC 3.0 also stood out for its strong performance in lab and field tests conducted under the SBTVD Forum’s guidance, which confirmed its readiness and suitability for deployment.

Emissions
US: Globo takes environmental, social, and governance (ESG) reporting seriously. In Globo’s 2023 ESG report, there’s no reference to energy consumed by TV/data transmission. Was there a component of efficiency in selecting ATSC 3.0?

R.B.: We have invested a lot in clean energy in Rio de Janeiro. We received an award last year from IBC for the best ESG in media.

However, in the beginning of discussions about ATSC 3.0, we didn’t talk about it being more green. After I got a report from Europe where they compare the carbon footprint of 10 million people watching content over the internet versus over terrestrial broadcast [which is 10x more energy efficient and 10x less CO2 emissive], we started making part of our argument that broadcasting’s relevance in the media ecosystem is that it’s greener than streaming. Anytime you have millions of people watching the same content, it doesn’t make sense to distribute it over traditional UDP CDN.

Five Years Out
US: What does broadcast television in Brazil look like in five years?

R.B.: In five years, Brazilian broadcast will be highly interactive, with a mix of live broadcasts, on-demand content, and personalized services. Viewers will enjoy higher-quality audio and video, while broadcasters leverage data services for targeted advertising and new forms of engagement.

The viewer will no longer need to think about whether content is delivered through over-the-air broadcast or internet streaming, as both will be integrated into a single, fluid experience. TV 3.0 will also leverage real-time data and census-based measurement, offering broadcasters deep insights into audience preferences and viewing patterns. This data will empower them to serve localized content, enhancing engagement by delivering programs that resonate with specific regions and communities.

Overall, Brazilian broadcast television will evolve into a high-quality media and a highly interactive and personalized ecosystem that rivals the capabilities of current streaming platforms while maintaining the key attribute of a free-to-air distribution. The holistic, data-driven, and flexible nature of TV 3.0 will ensure that broadcast television remains relevant, competitive, and compelling in the digital media landscape.

Article sponsored by One Media, dedicated to deploying NextGen Broadcasting across the U.S.

SAN JOSE, Calif.—Globo, the largest media conglomerate in Brazil, says it is using Harmonic's cloud-native VOS Media Software to launch linear playout channels faster, increase its workflow efficiencies and reduce expenses.

"Today, Globo's linear channels reach over 100 million people across multiple platforms, and we want to continue to provide a state-of-the-art experience to our customers on every screen," said Mauricio Felix, technology director at Globo. "Adopting a cloud-based workflow will keep us at the forefront of technology innovation. We chose Harmonic as our strategic partner based on its mature cloud-native media software solution, extensive expertise in cloud playout deployments and world-class local support."

Globo will integrate VOS Media Software with an Aveco automation system to streamline its playout operations. Running seamlessly on Google Cloud, the advanced software provides Globo with increased scalability, flexibility and reliability. VOS software connects and synchronizes all microservices for every workflow, end to end, Harmonic said.

"Harmonic's VOS Media Software puts Globo in the position to be the first media company in the LATAM region to deliver 24/7 channels with a cloud-based playout and automation solution, which is an amazing achievement," said Gil Rudge, senior vice president, products and Americas sales, video business, at Harmonic. "Offering unparalleled agility, resiliency, security and scalability, our VOS Media Software will allow Globo to expand playout channels easily as its business evolves."

RIO DE JANEIRO—Advanced HDR by Technicolor, Fraunhofer IIS and Globo showcased high dynamic range (HDR) and MPEG-H Audio content that is compliant with Brazil's TV 2.5 standard on Hisense TVs during the just completed Paris Olympics.

The demonstration showed how standard dynamic range (SDR) content can be upconverted to deliver a premium viewing experience while watching live broadcasts of major outdoor sports  and other events, Advanced HDR by Technicolor said.

Advanced HDR by Technicolor delivered premium HDR content by leveraging the solution suite’s Intelligent Tone Mapping (ITM) feature to upconvert live SDR content to HDR while adding SL-HDR dynamic metadata to create a TV 2.5 HDR signal in an SDR backwards compatible manner. TVs that support the TV 2.5 standard received the HDR experience without compromising the quality of SDR delivered to legacy devices, it said. 

"HDR enhances outdoor sports event experiences by delivering the most vivid images to TVs capable of receiving HDR content," said Valerie Allie, Video Solution Group senior director with InterDigital. 

"As a result, the details of athletic performances, stadium environments and overall action are more vibrant, providing a more immersive viewing experience," she said.

Advanced HDR by Technicolor is a collaboration between Philips, InterDigital and Technicolor.

Fraunhofer IIS provided MPEG-H Audio technology that delivers an immersive 3D sound experience. The Next Generation Audio system provides unique personalization features in addition to an enveloping audio experience, said Fraunhofer.

This is made possible by the metadata accompanying the audio content. It contains all control information required for user interactivity and optimizing the reproduction and rendering on the end-device for the best audio experience on any platform, it said.

"MPEG-H Audio delivers an immersive experience, creating a sense of being in the middle of the action. Audio elements like the cheering crowd, athletes' movements and venue ambience are clear and realistic. The personalization options also allow viewers to customize the audio experience, by, for example, switching from a traditional to a venue mix. This enriched audio quality adds depth to the broadcast, making the experience more engaging and captivating for the audience," said Adrian Murtaza, senior manager technologies and standards at Fraunhofer IIS.

A new generation of Hisense TV models that comply with the country's TV 2.5 standards were used for the demonstration.

These advanced TV models promise to deliver a superior viewing experience by combining ultra-high-definition (UHD) and HDR-enhanced picture quality with immersive 3D sound.

"Hisense TVs integrate features like Mini-LED, Quantum Dot Color, 144Hz refresh rates, vibrant highlights, AI video processing and AI Sports Mode, which enhance the viewing of live sports. Hisense is looking forward to providing immersive visual and audio experiences that will redefine home entertainment in Brazil," said Wood Bi, assistant vice president of Hisense International.

More information is available on the Advanced HDR by Technicolor, Fraunhofer IIS and Hisense websites.

MONTREAL—Grass Valley has announced that it has signed a multi-year deal with Brazilian media giant Globo to help it migrate media and broadcast live production operations for small and medium-sized events to the cloud. 

As part of Globo’s ongoing digital transformation plans, Globo will be relying on Grass Valley’s Agile Media Processing Platform (AMPP). The platform allows advanced media operations to be deployed in the cloud and is designed to help companies modernize and grow their content creation capacity without being tied to costly hardware investment cycles. AMPP offers Globo a pay-as-you-go OpEx eliminating certain operating expenses.

“Grass Valley has been a Globo partner for years and has helped to modernize the station's infrastructure and systems, including IP migrations, and is now an important partner for our migration to the cloud,” commented Mauricio Felix, technology director at Globo. “It’s been a journey of learning and collaboration between Globo and Grass Valley and our cloud migration is a cornerstone of our transformation, not only providing cost-savings, but mainly a greater agility to increase our content production at a dramatically increased scale.”

“As leading media companies like Globo transform their operations, they need partners that can support them in their transition to the cloud. Grass Valley is perfectly placed to enable this growth,” said Tim Banks, chief revenue officer of Grass Valley. “As Brazil’s largest media group, Globo and its innovation focus combined with Grass Valley’s world-leading cloud solutions and extensive product portfolio is a perfect match."

LONDON—The LCEVC Showcase will be returning to the 2023 NAB Show, where it will be highlighting practical examples and demonstrating an expanding ecosystem of support for MPEG-5 LCEVC across broadcasting, streaming, social media and the metaverse. 

The showcase will include demonstrations of LCEVC-enhanced content on TVs, mobile apps, web browsers, and new XR applications, all powered by a number of key solution providers including Allegro, AMD, Amlogic, Ateme, Harmonic, Intel, MainConcept, NETINT Technologies, NVIDIA, PresenZ, RealTek, RedpillVR, Steinwurf, THEOplayer, Videon, and V-Nova. 

For video streaming applications, the ability to add MPEG-5 LCEVC at the player level will be demonstrated with integrations of LCEVC already available for popular projects such as Shaka Player, ExoPlayer and FFmpeg. 

LCEVC will also be shown running at the driver level on video chipsets used in set-top boxes and TVs, demonstrating the ability to quickly deploy the technology also for large-screen viewing. 

The availability of small-footprint silicon IP will also be presented. 

One of the key demonstrations will simulate the LCVEC trials that Globo performed during the World Cup at the end of 2022 and during the Brazilian Carnival in 2023. 

They showcased the ability to carry an enhanced High Dynamic Range (HDR) 10-bit layer on top of an SDR channel for enabled receivers as well as the first end-to-end trial over DASH streaming of an LCEVC-enhanced VVC video. 

Finally, the showcase will host demonstrations of how LCEVC, together with V-Nova Point Cloud Compression, benefits applications such as Cloud Gaming and Cloud XR rendering. The combination of these technologies enables photorealistic 6DoF PresenZ media to be streamed to lightweight client devices, in support of the companies and services that are driving the future of the Metaverse. 

“It is amazing to see the support of LCEVC in the video ecosystem growing from tradeshow to tradeshow,” explained Guido Meardi, CEO, V-Nova. “At NAB this year we’re seeing all the elements needed to deploy LCEVC in broadcasting, streaming, social media platforms, cloud gaming, and future XR applications, all coming together. LCEVC now offers diverse and cost-effective deployment options for both encoding and decoding. Video service providers will therefore be able to quickly monetize the benefits of more efficient, lower latency, higher density, and more sustainable video delivery.” 

The showcase will be in the West Hall, Connect Area, booths W3074 and W3075. More information about LCEVC and scheduling appointments with the LCEVC team at NAB Show is available here. 

LONDON—Globo, Brazil’s largest broadcaster, recently collaborated with V-Nova, a developer of video compression solutions, to test the delivery of an LCEVC-enhanced stream for the 2023 Carnival in São Paulo and Rio de Janeiro, Brazil. The live stream was set up alongside the existing AVC/H.264 feed to demonstrate the benefits of MPEG-5 LCEVC in live streaming applications, where it is paramount to obtain maximum quality within the real-time constraints, especially on detailed and complex content such as that of the Brazilian Carnival parades. 

LCEVC (Low Complexity Enhancement Video Coding) is a new MPEG standard that can boost the compression efficiency of any existing or future video codec, enabling higher quality at up to 40% lower bitrates.

The streaming trial featured a MainConcept LCEVC-enhanced H.264 live encoder creating a ladder of 6 profiles peaking at 1080p29.97 @ 4500kbps. This was compared to the  incumbent AVC/H.264-only channel of 8 profiles, where the top profile was 1080p29.97 @ 5500kbps. The streaming employed HLS in 6 second TS segments and delivered via AWS CloudFront. Playback was available on a demonstration website using Shaka Player v4.3  which natively includes an LCEVC decoding option. 

The LCEVC-enhanced H.264 produced a higher quality output with a ~40% bandwidth saving compared to the existing H.264-only stream. V-Nova says this significant reduction promises to make large-scale streaming events accessible to millions on congested networks while simultaneously reducing delivery costs for the video service provider.  The trial was carried out live, delivering content across the world using LCEVC-enabled encoding and player solutions that are already available on the market.  

 “The Carnival is as beautiful to watch as it is challenging to compress at high quality," said Guido Meardi, CEO of V-Nova. "We are proud of our collaboration with Globo, which proves the tangible benefits of LCEVC for enhancing resolution and picture quality in large-scale live events while improving efficiency in both the CDN and backend. Critically, these real-life trials demonstrate that this new technology can be deployed today with broad encoder and decoder support available.” 

Deacon Johnson, SVP & General Manager at MainConcept said, “We are pleased to continue the work we started in 2022 with V-Nova and Globo. MainConcept values our partnerships with industry leaders, such as V-Nova and Globo, who share our commitment to the quality, reliability, and performance we demand in our products.”    

LCEVC is the selected enhancement layer for the upcoming TV 3.0 system in Brazil. Globo and V-Nova already successfully showcased the use of live LCEVC-enhanced  video during the FIFA World Cup Qatar 2022, proving its effectiveness in a complex broadcast scenario. The 2023 Carnival streaming can be watched here: https://lcevc.globo-carnival.tv/ 

PARIS—The Brazilian media company Globo has been pushing the boundaries of audio distribution for over-the-air broadcasting in Brazil as the country moves toward TV 3.0, the country’s next-generation Digital Terrestrial Television (DTT) system. 

In those efforts, it has been using Ateme’s KYRION encoder platform to provide low-latency immersive audio codecs. In addition, Ateme is providing enabling technologies behind the immersive sound experience that Globo is currently delivering to viewers during all matches in the World Cup in Qatar, held from November 20 to December 18, 2022. 

The improved audio experiences are available to viewers over the commercial free-to-air television in Rio de Janeiro, Sao Paulo and Globo's Recife market, based on Dolby ATMOS and MPEG-H formats which are presented in the current TV 2.5 Brazilian standards. 

Ateme’s technology-agnostic, low-latency video and immersive-audio codec enables immersive-audio experiences in the TV 2.5 expanded live channel, as well as providing a clear path for the transition to TV 3.0., the companies said. 

“The World Cup is a tremendous opportunity for us to take a significant step to improve user experience with the current TV standard and to look forward to the next generation soon,” explained Uirá Moreno at TV Globo. “We welcome the support of trusted partners like Ateme whose expertise and dedication will enable us to complete this crucial step for TV 2.5 production.”

Julien Mandel, Solution Marketing Senior Director, Contribution & Distribution Segment at Ateme added that “TV Globo is a major player in the Brazilian broadcast sector. As such, its forward-thinking and proactive approach is crucial to the successful implementation of TV 2.5. Ateme is proud to be part of TV Globo’s live production project to affirm the possibilities for next-gen audio for TV 2.5 over-the-air broadcasting.” 

Brazilian broadcaster Globo has launched what’s described as the "world’s first broadcast" of an MPEG-5 LCEVC-enhanced channel during the FIFA World Cup.

MPEG-5 part 2 LCEVC (Low Complexity Enhancement Video Coding) specifies an enhancement layer which can boost the compression efficiency of any existing or future video codec, enabling higher quality at up to 40 per cent lower bitrates.

The Globo trial includes a live broadcast channel that leverages the enhancement layer of LCEVC to convert an existing TV 2.0 signal into a High-Dynamic Range (HDR) 10-bit channel for enabled receivers. Transmission takes place over the existing ISDB-Tb system.

The showcase also features the first end-to-end trial over DASH streaming of an LCEVC-enhanced VVC video, as an example of the capabilities that are developing to support the upcoming TV 3.0 standard, Brazil’s next-generation DTT system that is due to be deployed in 2025.

According to V-Nova, it is the first time these technologies have been used in a complete end-to-end production to provide 4K HDR video with immersive and personalised audio. The system also facilitates the distribution of current and future formats, including 8K resolution, HDR and Next-Generation Audio (NGA) to over-the-air broadcast (OTA) and over-the-top (OTT) streaming platforms, added the company.

Carlos Cosme, innovation specialist at Globo, said: “It is amazing how fast this ecosystem is being formed, with various implementations based on software and hardware. Globo, at the technological forefront, is experimenting for the first time in Brazil the joint operation of the MPEG-5 LCEVC codec with the H.264 codec, all of this is associated with an immersive and personalized acoustic experience.

“In this showcase, the base layer is a 1080i, 8-bit, SDR, BT.709 signal targeting current Brazilian TV sets. Using the information present in the enhancement layer, the LCEVC codec enhances the quality of the base layer and provides a video signal with improved quality, i.e., 1080p, 10-bit, HDR10, and BT.2020,” added Cosme.

“In the second showcase, using the 4K production signal from the World Cup, we demonstrated the joint use of LCEVC with VVC, both technologies chosen by the SBTVD Forum to make up the technology stack of the future 3.0 TV in Brazil. We are very proud to be able to experience first-hand all these technologies operating together.”

The LCEVC live showcase runs during the FIFA World Cup Qatar 2022, Nov. 20-Dec. 18.

This article originally appeared on TVB Europe.

SAN FRANCISCO—Digital video technology provider Bitmovin has announced that Globo in Brazil used its encoding technology to deliver 8K streams from the Tokyo Olympics.

Using Bitmovin, Globo debuted the Tokyo 2020 Olympics 8K VOD content on Globoplay for free, as a limited experiment. This marked the first time the Olympics have been streamed in 8K outside of Japan.

“With the industry moving to a TV 3.0 model, we wanted to work with a partner to debut 8K in a high-visibility cultural moment,” said Lucas Stephanou, video platform product owner at Globo. “Globo’s Olympic Games broadcast presented a unique opportunity to showcase 8K HDR to the widest possible audience, and help subscribers maximize their experience on the platform.”

The cloud-based system provided the elasticity needed for a job that demands tremendous processing power in a short period of time to preserve the quality while transforming the content offered in Ultra HD 8K HDR into a size that can be transported over broadband internet connections, Bitmovin said.

Bitmovin has over 400 customers across the globe including BBC, ClassPass, DAZN, discovery+, fuboTV, Globo, and Hulu Japan.

TOKYO—Brazilian TV broadcaster Globo relied on 16 TVU Networks TVU One mobile transmitters for its coverage of 33 sporting events during the Olympic Games, the company announced.

Use of the IP-based wireless transmitters made it possible to the broadcaster’s reduced staff in Tokyo to provide live broadcast-quality video of the games.

Globo, a premiere media channel serving Brazil and Latin America, dedicated 1,040 hours to live coverage of the Summer Games. Globo reporters were on site at event locations and provided exclusive coverage of Brazilian athletes, the company said.

“Because of safety standards imposed by COVID-19, Globo sent only part of its staff to Japan, but that didn’t affect the quality of their coverage at all,” said Paul Shen, TVU Networks CEO. 

“They were able to produce incredibly dynamic footage from all locations in a safe and reliable way thanks to TVU One 5G and its Inverse StatMux technology. This has been a difficult time to produce the Games, but we’re proud of how customers like Globo have risen to challenge by employing new ways to maximize viewer engagement. Their coverage excited fans all over Brazil,” he said.

More information is available on the company’s website.

RIO DE JANEIRO — Live 8K video transmission has come to the 2018 World Cup as part of a museum exhibition with the assistance of satellite communications specialist Intelsat and Brazilian broadcaster Globo.

Museu de Amanhã, a Rio di Janeiro museum of science innovation, is showing off 8K coverage of matches from Russia through July 15. The 8K signal is being transmitted as a 200 Mbps video stream from the Broadcast Center in Moscow and transported to Tokyo. From there it will be carried to Intelsat via the Intelsat point of presence in New York.

The signal will be transmitted via the IntelsatOne terrestrial network to the company’s teleport in Atlanta, where it will be re-encoded at 90 Mbps using an NTT 8K HEVC real-time encoder.

Once compressed the signal will be modulated by a Newtec MDM-6100 modem in DVB-S2 and uplinked to Intelsat 14, part of Intelsat’s HD and 4K content distribution neighborhood for Latin America.

“While 8K technology is still evolving and further advancements in compression technology standards are needed, Intelsat’s premier video neighborhoods have proven that they are equipped to distribute 8K content to millions of viewers around the world,” said Rob Cerbone, Intelsat VP and GM, Media.

Intelsat 14 is the latest of the company’s satellites delivering video to Latin America. Others include Intelsat 11, Intelsat 21 and Intelsat 34. 

More information is available on the Intelsat website.

[Want more information like this? Subscribe to our newsletter and get it delivered right to your inbox.]