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.

LONDON— The Media Talent Manifesto (MTM) has announced the return of the World Skills Café at IBC2026, positioning the event as a critical industry forum to confront the widening talent, skills and diversity gap across the media and entertainment sector.

Taking place Thursday, Sept. 10, 2 PM - 5 PM at the RAI Amsterdam just prior to the show opening, The event will open with a keynote from Evan Shapiro, widely known as the industry’s “Media Cartographer,” who will deliver a data-led perspective on the structural shifts reshaping the workforce and the urgent need for change.

The World Skills Café has rapidly become the industry’s global focal point for tackling workforce challenge—bringing together leaders from across the industry to drive practical solutions and collective accountability, according to Shapiro.

“Let’s stop pretending this is a pipeline problem,” said Evan Shapiro. “The map of media has been completely redrawn by creators, platforms and new economics. But our approach to talent hasn’t caught up. The World Skills Café is where the industry comes to face that truth and start doing something about it.”

Alongside the event, IAMT will publish a new report, ‘Talent Trends in MediaTech’, offering fresh insight into how skills demands are shifting across the sector and where the most urgent gaps remain. The findings will help inform discussions at the World Skills Café and support industry-wide action.

The World Skills Café will once again feature a series of keynotes, panels and expert-led discussions designed to move beyond conversation and toward tangible commitments. Attendees will collaborate to identify the most critical skills gaps, explore new pathways into the industry, and accelerate diversity and inclusion across all levels of the workforce.

Carrie Wootten, Co-Founder of MTM, said “The pace of change across our industry is only accelerating, but the way we attract and develop talent hasn’t kept up. The World Skills Café is about bringing the industry together to address that disconnect head-on. What makes this initiative powerful is its focus on action – ensuring that the ideas and commitments made translate into real progress year-on-year.”

Jo Mayer, Head of Marketing at IBC, added, “Talent and skills development are central to the future of the industry. The World Skills Café plays an important role in bringing these conversations into focus at IBC, creating a space where the industry can come together to address shared challenges and drive meaningful progress.”

The Café will also cover initiatives such as On Air, the world’s largest student-led global broadcast, have emerged directly from the collaboration and ideas generated through the World Skills Café. First launched in 2025 with more than 500 students participating worldwide, the initiative is expanding significantly in 2026 into a multi-channel global broadcast spanning news, sport, film and culture, providing hands-on experience across the full media workflow.

IBC2026 takes place Sept. 11-14 at the RAI Amsterdam. Registration to attend the World Skills Café is now open here. The World Skills Café at IBC2026 is sponsored by AWS, Deluxe, DTG, IAMT, Platform Communications and Vizrt.

LONDON—IBC has announced that its call for Technical Papers is now open for the IBC2026 Conference, inviting innovators from across the global media, entertainment, and technology community to share original research and practical breakthroughs shaping the future of the industry. The deadline is Friday, Feb. 20. The 2026 IBC Show takes place at the RAI Amsterdam, Sept. 11-14

For more than 50 years, IBC’s Technical Papers have set the benchmark for engineering excellence, showcasing the ideas, prototypes, and deployments that move media forward. From AI-driven workflows and trusted news systems to immersive formats, cloud production, 5G infrastructure, and sustainable media practices, the programme provides insight that goes well beyond headline trends.

Mike Crimp, CEO of IBC, said: “IBC is world-renowned for the quality, timeliness, and innovative subject matter of its Technical Papers. They are where genuine technological progress meets real-world application, and where the industry’s brightest minds share knowledge that benefits the entire media ecosystem. We encourage researchers, engineers, and practitioners from every discipline to take part in IBC2026 and help shape the next chapter of our industry.”

Open to the whole media technology community
The programme welcomes entries from all sectors of the broadcast, communications, electronic media, and entertainment landscape. Submissions may come from any discipline—whether the author is a professional or a professor, part of an R&D team, working independently or within a global organisation.

IBC Technical Papers present unpublished technical disclosures of original, novel research and innovation focused on real-world challenges. At this initial stage, entrants are invited to submit a 300-word synopsis outlining the key topic, what is unique and novel about the work, and its practical relevance to the industry.

All submissions are rigorously reviewed by a panel of professional experts. Papers accepted for presentation at the IBC2026 Conference will be eligible for the Best Conference Paper Award, presented at the IBC2026 Awards.

Building on the 2025 Program
The 2025 edition demonstrated the extraordinary breadth of technologies influencing media. Topics ranged from facial recognition and machine learning in news to generative AI for targeted advertising, large-scale streaming to tens of millions of concurrent viewers, XR and neural radiance fields, advances in video coding, 5G field trials, and sustainability.

The coveted Best Technical Paper Award 2025 was presented to a Swiss-led team from the European Broadcasting Union (EBU) and HEIG-VD for their work “EBU NEO – A sophisticated multilingual chatbot for a trusted news ecosystem exploration”.

Selected alongside 22 other papers from 337 submissions, the winning paper was chosen by IBC’s international peer review panel of 20 experts. It highlighted both the promise and current limitations of AI in public-facing journalism, underlining the real-world impact that Technical Papers deliver.

Key information:

Submission requirement: 300-word synopsis

Deadline for submissions: Friday 20 February 2026

Submit entries at:IBC Technical Papers | IBC2026 Show 11-14 Sep 2026

Many U.S. broadcasters have refused to see mobile as an important part of their future, Sinclair senior vice president of advanced technology and ONE Media Technologies president Mark Aitken says. But he hasn’t.

Sure, the path to linear NextGen TV on mobile phones will be difficult, especially as carriers and device makers control the device ecosystem. But that hasn’t dissuaded him.

Returning from IBC in September, Aitken said he had conversations with fellow broadcasters from Brazil and India that illustrate the challenges of getting linear TV onto cellphones, as well as a possible solution.

In this interview, Aitken discusses the lessons broadcasters can learn from the ISBD-T SEG-1 mobile phone experience of Brazilian broadcasters, the role India and its direct-to-mobile (D2M) strategy may play, the growing ecosystem of ATSC 3.0-enabled consumer devices, and other key business opportunities that 3.0 offers U.S. broadcasters.

(An edited transcript.)

TV Tech: Broadcasters are on the cusp of greater certainty with respect to an eventual shutdown of 1.0 and, ultimately, 3.0 finishing the transition. Is there any reason to think that the wireless carriers and their device vendors will enable linear TV to be received on mobile phones?
Mark Aitken: I think the answer to that is no. Not linear TV, but what we have to offer through ATSC 3.0 that is not TV in the conventional sense they will, over a relatively short period of time, come to understand that the multicast broadcast capabilities of ATSC 3.0 can work to their advantage.

TVT: Let’s set datacasting aside for a moment and focus on linear TV to mobile phones and devices offered by carriers. Why won’t that happen?
MA: I think the issue of controlling the device is a very real issue. One example came out during conversations at IBC with some Brazilians. As you know, Brazil recently adopted ATSC 3.0 for their terrestrial television.

Part of the Brazilian experience brought to light what ended up happening as it relates to ISDB-T. Previously, they elected to use ISDB-T for their physical layer and ended up doing their own version of some of the middle layers of the ISO stack, but they wanted mobility.

They were very aspirational and saw a future that U.S. broadcasters have long refused to see as a future. They see mobility as being an important part of their future, and they made the decision for ISBD-T.

[Editor’s note: Brazil officially adopted ISDB-T in June 2006. In August 2025, it adopted the ATSC 3.0 physical layer for its next-gen DTV+ system.]

And just as use of their linear mobile channel was available and a flood of devices that came to the Brazilian market—because the other alignment for ISDB-T was Japan, as Japan already had it—you had a large number of mobile device manufacturers that were already building ISDB-T 1-SEG-enabled mobile devices.

As they started to come into the market, suddenly other options for delivery of video came along, and that was the business of the carriers, and the broad availability of these free-over-the-air-capable phones suddenly dwindled down to just a couple of devices that were available, squeezed out by the mobile network operators.

It's clear. They’re in the business of making money. People want to watch relevant content. There was and continues to be a large amount of relevant content that TV broadcasting delivers, whether it’s local news or sports.

But they squeezed ISDB-T as a free service out of existence because they control the device universe. When someone like Qualcomm makes the statement: “We have no intent to build separable chips for broadcast services. 5G Broadcast is part of our silicon,” you know what they are making very clear is that the services and capabilities that the mobile network operators are demanding at the core of the devices that serve their consumers at the end of the day they will control.

Just because 5G exists as a small area on a 7nm chip structure in the middle of a phone doesn’t mean the carriers are going to allow its use. There are lots of ways to figure that one out.

In the U.S., you can use MediaFLO as an example. At the end of the day, Verizon could never come to business terms with a separate entity to operate the MediaFLO network.

(Read: Opinion: Why European broadcasters need to gain control of the mobile device ecosystem)

Verizon tried to operate it themselves, and they began to realize there’s a lot to this business that they didn’t understand. There’s a lot to the licensing side. There’s a lot to the IP royalty side.

This all enhances at least this one guy’s opinion: Thinking that Qualcomm and the mobile network operators are going to allow broadcasters to continue in the business of operating free-over-the-air television to mobile devices, it's insane to imagine that that's going to be the case. And I believe it’s a trap.

Will ATSC 3.0 ever make its way onto a system on a chip at the heart of a phone? I think that, again, it comes back to having success in showing a plentiful device universe.

TVT: Where does development of that universe stand?
MA: Well, I think that some years after we have success in showing a plentiful device [ATSC 3.0] universe is when 3.0 as a system on a chip may emerge.

By the way, we showed smartphones, tablets and obviously television sets, USB dongle devices and feature phones [with 3.0 receivers] at IBC in September.

Feature phones are a class of devices that I would venture to say you will never find Qualcomm engaged in supplying because the economics aren’t there.

We see that as an opportunity, particularly in a country like India or any number of developing nations, and we’re clearly going after some of those market opportunities.

My point is, we’ve had discussions with MediaTek and Qualcomm. By the way, MediaTek provides more SoCs [system on a chip] in the mobile phone market than Qualcomm—more than anybody in the world.

They are very clear. Show us a market that wants ATSC 3.0 and it’ll be on the SoC.

Until then, we've got a more than capable chipset. The fact that I can show you a half-dozen different types of devices that fill out that ecosystem shows that if we can do it, I would venture to say just about anybody can.

It's not our core business, but we feel that strongly about mobile that we’ve put in much effort to make that happen.

TVT: You brought up India, which has announced it favors a direct-to-mobile (D2M) strategy but hasn’t yet selected how it intends to make that happen. Where do things stand with ATSC 3.0 as the solution?
MA: Look, you know, if India adopts ATSC 3.0 for D2M and every imaginable device, that would be huge.

At IBC, we spent a lot of time with the chairman of Prasar Bharati, the public broadcaster in India, discussing exactly the future in India.

Has ATSC 3.0 been chosen? No, not yet. You’ve got a bureaucracy that’s being navigated. At the same time, you have other interests that don’t see that it’s to their benefit that ATSC 3.0 is chosen. So, we don’t have a slam dunk in India, but at the same time, most stakeholders in broadcasting have been engaged in support of ATSC 3.0.

Will a minority faction win out? Well, I guess some of that will come down to money and how much people are willing to lie. And you can quote me on that.

TVT: You mentioned how important feature phones with 3.0 reception will be in developing markets like India. Are there any other devices?
MA: I did leave out another class of devices. Intel now has a reference for ATSC 3.0 on their laptops. One of the reasons for that is remote learning, which is an exceptionally important piece of the puzzle in India. I can tell you that there is a another very large, well-known PC manufacturer that is moving to integrate ATSC 3.0.

TVT: Earlier, you said you believe carriers ultimately will recognize the multicast broadcast capabilities of ATSC 3.0. Why?
MA: This is because of the IP nature of the standard and the work that is going on openly now in ATSC with B2X [broadcast to everything.]

B2X is a two-stage program. It’s activity that ONE Media started and has been engaged in for more than three years. For more than the last year, it’s transitioned to a small group inside ATSC. The membership knew about it, but now it has become public-facing. ATSC has broadcast to the rest of the world that this activity is underway and is inviting folks from across the spectrum of telecom to participate.

What ATSC 3.0 has to offer is its unique multicast broadcast capabilities lend themselves to providing an economic incentive for large mobile network operators to contract capacity inside of our spectrum. Sinclair and ONE Media have been public about some of that activity. We've done webinars with a large focus on automotive.

I can tell you that it was a learning experience. It was one of the reasons that we internally decided to develop B2X broadcast-to-everything because we began to understand the needs of those folks who we saw as being potential clients in that datacasting activity.

We’ve also talked about CDN [content delivery network] offloads. When you dig deep into those verticals, it’s certainly not the same vertical we’re in as televisioners, but you begin to understand the unique relationship they have with the carriers and the uniqueness of that carrier infrastructure.

To be really attractive to them as a carrier of their bits, our bits and their bits need to be equals in the way they are formed, and the way that they are received and processed. That’s what B2X is all about. It is a bridging technology that’s nearing completion.

With the dust now settled on IBC2025, TV Tech sister brand TVBEurope took the time this week to reflect on the biggest talking points and trends of the show in a special webinar.

The panel, Larissa Görner-Meeus, managing director at LaraMedia, Caretta Research co-founder Robert Ambrose, and Simon Hawkings, director of sales strategy and business acceleration at Ross Video, discussed multiple topics, including the Media eXchange Layer, cloud adoption, live production and the future of the industry.

One of the biggest talking points of the show was FinOps. “Finance has always been on the table when we were buying something. But now finance is a very central discussion that you have in any purchase or in any solution purchase,” explained Görner-Meeus.

“In this software-defined world that we’re moving so fast into, there are just new skills that we need and new disciplines that we need,” agreed Ambrose. “License management is one that comes up all the time in this world where we have all of this flexibility and floating licenses.”

This led the panel on to discussing the cloud, not a new talking point, but Ambrose told the audience he feels the industry is moving to a more pragmatic approach.

“There was a little while where everybody was cloud, cloud, cloud at all costs,” he explained. Now there’s much more focus on using the cloud where it makes sense. And, of course, it makes sense for lots of things. There’s a whole range of use cases where the cloud is superb. At the same time, there’s a lot of live production and broadcasting workflows, which are pretty constant workloads, and where that and cost and latency all make it much more sensible to just have it running on-prem on cheap servers. And I think, exactly what we’re seeing.”

“Maybe that’s another example of FinOps,” said Ambrose. “It’s understanding how to access the resources that you need and where’s the most economical place to have them.”

Hawkings agreed with Ambrose’s point, citing conversations at the show around the use of private cloud and customers building their own data centres in order to protect both costs and security.

“The move to software does not necessarily mean public cloud. It could end up looking in a way quite similar to how things are today, a room full of boxes with flashing lights doing things. But they’re running software. They’re not running FPGAs and hardware.”

The panel shared their overall thoughts from the show, with all three agreeing that they feel that in 2025, the pace of change in the industry is starting to increase. “It feels like we’ve got so much to talk about now in the way the industry is changing,” stated Ambrose.

“But we do always need to be careful, and this is always the danger of IBCs, that we can get caught up in the bubble. I think it’s always crucial to step back. We love new tech and love looking at the latest shiniest thing, but always step back and say, well, how is that going to change what we do for the better? How do we use it for real? Is this just a bubble, or is this something that is going make a change?

“That’s always a crucial question to ask after any of the big events.”

The full webinar is now available to watch on-demand here.

BACKNANG, Germany—Hiltron featured its HMAM-XY motorized antenna mount and other satellite communications products and system integration skills at IBC2025, which concluded mid-September in Amsterdam.

The motorized antenna mount, introduced as a prototype at last year’s IBC, is now in full production. Hiltron highlighted the product along with its range of satcom control, monitoring and antenna de-icing technology as well as the Premium Line D-SNG platform.

“Following a well-attended GovSatCom and its near-namesake GoSatCom, IBC remains a well-timed event attracting major broadcasters and broadcast-related telco service providers from many countries,” Hiltron Communications managing director Antonio Monteverde said.

“System integration continues to be the core element of successful ground station operation, ensuring fully coordinated monitoring, control and long-term reliability in all weather conditions.”

The HMAM-XY was well-received and recognized for its ability to provide stable transmit and receive links to LEO, MEO, smallsat satellite constellations and drones as well as traditional geostationary satellites, he said.

The new motorized mount accommodates parabolic reflectors and planar antennas up to 9.84 feet (3 meters) in diameter and operates in the L, S, C, X, Ku and Ka bands with circular or linear polarization, the company said.

Among its key features are fast tracking speed with low backlash and full hemispheric coverage with no zenith keyhole.

“We also promoted our satcom system upgrade capabilities, including 3D laser scanning and evaluation of teleport antennas,” Monteverde said. “This resource is far more accurate than the commonly used photogrammetry technique and can be conducted without interrupting the subject antenna’s operating schedule.”

More information is available on the company’s website.

Visitors to the 2025 IBC Show were eager to discuss the latest trends and test out new products and services, all with the goals of content monetization and learning more about improving the cost, efficiency and speed of producing that content.

Whether you're a traditional broadcaster, streaming service, sports producer or content creator, the show, which took place Sept. 12-15 at the RAI Amsterdam, had something for everyone—whether you were focused on improving production efficiency and flexibility through cloud and IP-based workflows, using AI to automate tasks, optimize archives and expand content discovery, or learning about new standards that promote interoperability.

“IBC2025 has delivered real business outcomes with overwhelmingly positive feedback from attendees,” IBC CEO Michael Crimp said. “What struck me most was the sense of optimism and purpose—exhibitors, visitors, speakers and partners all came here to shape the future of our industry. We look forward to continuing the journey together next year.”

The show reported 43,858 visitors, a slight decrease from the 45,085 who attended in 2024. Attendees came from more than 170 countries and there were more than 1,300 exhibitors scattered throughout the 14 halls that make up the RAI labyrinth.

More Options for Viewers, Broadcasters
Thomas Lind, product management director at Appear, summarized today’s media consumption market and the impact younger viewers are having on how media companies will respond.

“The younger generation uses everything, but the way we distribute the TV content to the consumers has changed,” he says. “The underlying technology to do that is fundamentally the same—yes, we may have new codecs, different network structures bringing live video. We’re consuming more and more video, it’s just coming from different sources.”

Jeff Moore, executive vice president and chief marketing officer at Ross Video, commented on how product development has been impacted by the move from hardware to software.

“There’s always incremental improvement, but I think we’re just used to a pace of improvement that has increased over the years,” he said. “The amount of change that's happening in business is huge, and it’s true on the supplier side as well; the amount of innovation that we can drive across the board on our products is accelerating. It’s gotten easier to build things. First of all, we used to have to develop all this stuff almost from scratch. And then we went to software-based libraries, platforms, Windows or Linux or things like that, that gave us some capabilities that we didn’t have before.”

Remote Production Comes of Age
With the move to work-from-home scenarios accelerated by the pandemic, companies now have a much wider pool of professionals to pull from, Moore added. While sales will always need to be within close proximity to their customers, tech developers can come from anywhere in the world now.

“Remote collaboration has gotten easier,” Moore said. “You can hire experts and they don't have to move to Ottawa [Ross’s home base] to be part of the team.”

As has been the case for years now, interest in using IP and cloud computing for live production was top of mind for many attendees. What was once a growing trend turned into a tech tsunami five years ago when remote production became the default for broadcasters worldwide. Moving to that phase meant taking the cloud and IP more seriously.

But each case can be different—the demands of live sports can be different from broadcasting a legislative session or town hall, for example. While some low-profile events can be broadcast entirely in a cloud-based platform, the vast majority of live production is done in a hybrid on-prem and cloud architecture.

Jon Wilson, the new CEO of Grass Valley, noted as much when discussing how customers are deploying Grass Valley AMPP, the company’s cloud-native live production platform.

“Let’s demystify the fact that AMPP is a cloud-only solution, as over half of our customers today are running AMPP on-premise with COTS compute, whether it’s a single remote control solution, a monitoring tool or a full end-to-end software-defined production,” he said.

Emerging Standards
As an industry that operates on standards-based technology, new protocols such as IPMX and MXL were also most popular discussions on the show floor.

Developed by the AIMS Alliance (Alliance for IP Media Solutions) to bring the functionality of the SMPTE 2110 video-over-IP transport protocol, IPMX has gained substantial ground in AV and, in many ways, is helping to blur the lines between television and AV.

Suzana Brady, senior vice president of worldwide sales and marketing, discussed the advantages IPMX brings to both customers and vendors, many of which share the same goals and infrastructures.

“IPMX is a simplified version [of 2110] for Pro AV,” she said. “So now Pro AV companies that deploy equipment in high densities of many vendors together—if all vendors are on the open-standard IPMX, it’s so much easier. Everything talks, it’s easy to implement, and you don't need new personnel, because it’s very, very basic.”

To address this expanding market, Cobalt has introduced two new Sapphire BBG mini converters that were illustrative of the industry’s move to bridge both worlds. “It’s a 2110 IPMX conversion to HDMI and SDI and vice versa,” Brady says. “So you can put it in a truck and receive JPEG-XS content, or IPMX content onto HDMI monitors.”

Another emerging industry standard that was the talk of the exhibitor floor was MXL, also known as Media eXchange Layer. Just prior to NAB Show in April, the Linux Foundation, an organization that promotes collaboration on open-source software, hardware, standards and data, announced the Media eXchange Layer Project in collaboration with the European Broadcasting Union (EBU) and the North American Broadcasters Association (NABA). MXL is designed to enable seamless, real-time, in-memory exchange of video, audio and timed metadata between media functions within modern, software-driven, distributed media production environments.

Andreas Hilmer, chief marketing officer for Lawo, says MXL advances a more open approach to IP-based media production.

“The concept is basically to build a facility where the processing is based on standardized servers running software with licensing that also allows you to allocate your resources flexibly,” Hilmer says.

Characterizing SMPTE 2110 as a “linear approach,” Hilmer says MXL will bring more interoperability between vendors in a 2110 environment.

“With ST 2110 going into a server, you do your processing, and you're getting out again, but in a production workflow, usually it is multiple elements from different vendors and this can cause delay,” he says. “The concept of MXL is that it is a standard server compute … the signal is already in the memory of that device. So we need to basically define how multivendor access is possible to that image, which is already in memory—that is Media eXchange Layer. It’s about standardizing on principles which allow us to keep multivendor environments up and running without this need to get in, get out, get in, get out, which obviously adds latency as well and have direct access to anything.”

Del Parks, president of technology for Sinclair Broadcast Group, touched on the importance of MXL at the Grass Valley Forum just prior to the opening of the show, announcing that NABA had just joined the company’s GVx customer council.

“MXL is going to be really important,” he said. It will allow us to freely exchange information, video files, without a lot of transcoding, without a lot of interference,” he says. “It really is a very important step in our industry.”

AI on the Floor
As was the case at the past couple of shows, artificial intelligence was also front and center among attendees and vendors. At the AWS stand, more than 70% of the demos featured generative AI workflows in one form or another, according to Stephanie Lone, Global Director of M&E Solutions Architecture for AWS,

Lone talked about the use of multiple AI agents that can now be used to handle automated workflow tasks in the media supply chain.

“What we're trying to show here is how to optimize your workflow [with agentic AI],” she said. “For example, a piece of content can come in, and one agent takes a look at the content and through video understanding, it says, 'this is a film, OK?' So the first thing I'm going to do is, I'm going to go check its compliance check its color, check this, check this or that.

“So it starts calling out to all these other agents…what's that agent really good at?” she continued. “Well, this one's really good at checking the frame rate. This one's really good at checking color correction, etc. So it's farming out in these little sub jobs, basically, to all of these agents, and getting the responses back and then deciding what to do next.”

Jean Macher, senior director of Global SaaS Solutions for Harmonic expounded on how his company is deploying AI to manage elements in a media production.

“AI brings three types of benefits," he said. "First, better quality experiences, so you improve your video quality with AI. We do video compression, which has been using machine learning for years that delivers great results in terms of compression efficiency. But then there’s also lower operational costs; you can use AI to detect ad breaks, to come up with highlights automatically, wherever human labor can be reduced.”

The third benefit is of course, monetization opportunities and Macher described recent steps Harmonic has taken to improve targeted advertising.

“In the past year, we have introduced new ad units for live sports,” he said. "We call them ‘in- stream’ where they merge the live content with the ad using double box format or L shaped format, but we do that on the SSAI [server-side ad insertion]. “We do that at the streaming level, server side, which means that you can sell that based on impressions, and you can tap into the programmatic ad ecosystem.”

Macher talked about how Harmonic’s use of AI can better manage ad breaks amid the randomness of live sports.

“You can use AI to analyze, in real time, the live sport action and contextually detect certain moments, and then, based on that, trigger the insertion of these ad units, because you don't have a pretty fine ad break," he said. "This is all happening randomly based on the action in the game.”

The Mood
Costa Nikols, Telos Alliance's strategy advisor, M&E, summed up the mood at the show, comparing it to the NAB Show, which was overshadowed by the Trump administration’s tariff threats, a topic that didn’t seem to impact IBC as much.

Nikols noted that the uncertainty that tinged the spring gathering in Las Vegas over future projects was less of a factor at IBC.

“Day one was pretty busy. Day two had more of an ebb and flow,” he said. “But there was a level of consistency in the conversations that we did have that projects are happening, customers are buying things. People are talking about the technology trends like virtualization, AI, even a continuation of 2110 projects, all that stuff is going on. So it does seem to be a little bit more buoyant.”

AMSTERDAM—TV Tech has named its Best of Show Awards winners for IBC2025, which wraps up today. Entrants were judged by a panel of industry experts on the criteria of innovation, feature set, cost efficiency and performance in serving the industry.

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

This list has been updated.

Here are this year’s winners:

• Adobe:Adobe Premiere Pro: Generative Extend
• AJA Video Systems: AJA Video Systems IP25-R
• Akta: Akta - AI First Video Driving Innovation at IBC 2025
• Appear: SIx300
• ASTERA: Astera_QuikPunch
• Avid: Avid Content Core
• Beamr: High-Efficiency, Cost-Effective Live 4K AI Quality Enhancement
• Bridge Technologies: VB440 Container
• Camera Corps:Camera Corps UHD Underwater Camera
• Clear-Com: freespeak icon
• Cobalt Digital:ST 2110 and HDMI/SDI SAPPHIRE BBG-2110 Mini-Converters
• Eluvio:Eluvio Content Fabric and Application Suite - Bangkok Release
• ENCO:ENCO Raptor Cloud-Based Virtual Encoder Service
• Evergent Technologies: Evergent Captivate 2.0: AI-Powered Churn Management
• Evertz:ENX
• Facilis Technology: Facilis Technology HUB Post Production Workflow
• Frequency: Studio Live
• Iconik by Backlight: Iconik Review: Academy Award-Winning Collaboration for Every Company
• Imagine Communications: Imagine Monitoring Solution
• InSync:MCC-UHD + dual channel HD standards converter
• Lawo: Lawo Workspace UIs
• Mark Roberts Motion Control: Cinebot Nano
• Mediagenix: Humanized Semantic Search
• NAGRAVISION Sarl: NAGRAVISION-OpenTV ENTera
• NANLUX/NANLITE: Evoke 600C
• NUGEN Audio: NUGEN Audio DialogCheck
• PROTON CAMERA INNOVATONS GmbH:PROTON PIO-E for IP and Bluetooth control
• Quantum: Quantum Scalar i7 RAPTOR
• Ross Video: NRG
• Saramonic: Saramonic Witalk9 Full-Duplex Wireless Intercom System
• SDVI: SDVI Rally Connect content and metadata exchange service
• Shure: DCA901 Planar Array Microphone
• Storj: Modernizing Media Production Workflows with Storj
• Strada:Strada
• swXtch.io: groundSwXtch On-Prem Multicast Network Overlay from swXtch.io
• Techex:tx edge for Uniquely Capable Live Contribution
• Telos Alliance: Minnetonka Audio AudioTools® Server V7
• Vizrt: Viz Arena 6
• Whale TV: Whale TV
• Yospace Technologies Ltd: Dynamic Prefetch Solution

BURLINGTON, Mass.—Avid has introduced Avid Content Core, a new content data platform designed for news and entertainment production that uses AI and agentic workflows to transform content from static files into intelligent, connected, actionable data, the company said.

Avid will showcase Avid Content Core at IBC2025 in Amsterdam Sept. 12–15 at Stand 7.B59.

Avid calls Avid Content Core “the industry’s first true cloud-native production platform that unifies asset identity, ingest, storage, metadata, orchestration, and rights information into a single intelligent layer.”

Avid Content Core platform manages media assets and processes as interconnected data rather than isolated files, turning siloed creative tools and media libraries into an interoperable ecosystem, according to the company. From newsrooms and streaming platforms to broadcasters and post facilities, Avid Content Core accelerates creative output while delivering the scalable infrastructure and data intelligence media companies need to streamline operations, increase content value, and adapt to rapidly evolving audience demands.

"Avid Content Core is a key component of Avid’s News solution, says Craig Wilson, product evangelist, artist relations at Avid. “It will help journalists find material more easily, connecting them more efficiently with their colleagues, and let reporters use impactful AI and automation services. All of this will create efficiency and allow journalists to focus on creativity and storytelling — tailored to multiple platforms to expand audience reach and boosting opportunities to generate revenue from their output.”

Wilson adds that current Avid marquee products including iNews and Media Composer’s Newcutter are integrated into Avid Content Core.

“In terms of iNEWS and Media Composer’s Newscutter option, these remain highly valued by our customers, trusted by some of the biggest broadcasters in the world. They will be fully part of the Avid Content Core world, which delivers hybrid workflows with on-premises solutions connecting to the cloud. In addition, we are expanding our web editing capabilities in Avid Content Core and building a pathway to a cloud-hosted NRCS solution in the future.”

Richard Berger, CEO at MovieLabs, noted: “Avid Content Core represents a significant step toward realizing the MovieLabs’ 2030 Vision, where assets are created in the cloud, identified with unique IDs, enriched by metadata and shared securely via authorized access across interoperable systems. With this move, Avid is demonstrating the importance of interoperability using the MovieLabs Ontology for Media Creation for data interchange, supporting productions that span across multiple clouds, and building the foundation for truly connected, next generation media creation."

Unlike media asset management (MAM) systems, Avid Content Core is a content data platform that delivers a single source of truth, connecting teams and systems across editorial, operational, and business domains to support collaborative content production, distribution and monetization. Every asset ingested into the platform receives a unique fingerprint, enabling teams working within the Avid ecosystem to authenticate provenance, track usage, and measure ROI. Advanced AI-driven search and recommendations dramatically reduce time to find and use content, while embedded review, approval, and browser-based editing streamline workflows across distributed teams.

Avid Content Core is designed as an open, extensible platform. With continuous deployment and API-enabled integration across other Avid solutions and third-party tools, it allows organizations of any size to evolve their media operations at their own pace – whether supporting newsrooms, multi-site broadcasters, or postproduction facilities.

BAYSIDE, Calif.—StreamGuys has promoted a pair of longtime department leaders to executive roles, naming Tim LaBelle as executive vice president, global sales, and Jesse Orr to executive vice president, engineering.

The promotions are effective immediately, with LaBelle reporting to Chief Operating Officer Jonathan Speaker and Orr reporting to President Kiri Delany.

“StreamGuys works for independent media companies around the world, we lead the streaming industry in quality and service, and we do that with our team of expert and friendly streaming staff,” Delany said. “Tim and Jesse are two outstanding stars amongst our team. They are an invaluable resource for our customers and staff alike. Having been in business for 25 years, we are excited to continue our legacy with their executive leadership.”

In his new role, LaBelle will oversee all of StreamGuys’ sales and business development.

“My primary responsibilities are to lead global sales, ensuring media companies can leverage our extensive services and programs,” LaBelle said. “My experience with bringing a technical perspective to sales helps me address emerging customer challenges, diversify our markets, and support our teams to develop business initiatives that generate clients’ revenue. That includes continued development of our monetization and advertising revenue business, and helping our customers be as successful as possible.”

Orr’s core responsibilities include bringing more efficiency both to StreamGuys and its customer organizations, including maintaining networking and infrastructure, global data centers and working to ensure 100% uptime for both customers’ streams and StreamGuys’ suite of services.

“I’ll work with our product development and systems engineering teams to adopt modern practices for software and coding, deploy new AI and automation for service monitoring and more and generally maintain the highest level of network service for StreamGuys and our customers,” Orr said. “I’ll also work closely with product management and analytics to maintain our leadership positions in product and service innovation.”

StreamGuys will be on the floor at IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center. To schedule an appointment, email tlabelle@streamguys.com.

NEW YORK—Emergent, a provider of AI-enhanced technology solutions and immersive content production tools has announced a series of high-profile partnerships and collaborations to be featured at IBC2025. The company will highlight its ability to merge cutting-edge data integration with creative visualization, demonstrating how its technology empowers broadcasters, event producers, and enterprises to deliver dynamic real-time content.

At the center of Emergent’s presence at IBC2025 is its show collaboration with ROE Visual (booth #1.D29). Invited by ROE Visual to showcase high-end AI-enhanced content, Emergent has created multi-vertical virtual environments, built in Unreal Engine 5, designed to elevate video production for industries including broadcast, finance and pharmaceutical. These spaces will be showcased at the ROE booth Innovation Lab, displayed on the company’s Coral 1.2 LED product, and powered by Vizrt’s complete AR graphics and virtual set solution, Viz Virtual Studio Go, which combines proprietary camera tracking and its renowned, efficient graphics playout workflow.

Emergent’s says its collaboration with ROE Visual and Vizrt underscores its ability to work seamlessly with leading industry platforms to deliver high-quality content on a scalable plug-and-play solution for streaming, video conferencing, and immersive virtual studio media production.

“Our presence at IBC2025 represents a pivotal moment for Emergent, as we bring together some of the most innovative names in media production to demonstrate what’s possible when AI-enhanced data integration meets immersive visualization,” said Grig Mindlin, CEO of Emergent. “From our work with ROE Visual on virtual environments to our integration with SPX and collaboration with Vizrt and Al Kamel Systems, we are proving how data, design, and AI-driven technology can combine to create unmatched experiences for audiences worldwide.”

Emergent has also partnered with SPX Graphics (Booth #1.B25) to integrate its Emergent Nova real-time data aggregation and distribution platform with SPX HTML graphics playout solution. This integration enables curated news and sports data feeds to flow directly into SPX’s tools, including the new SPX Broadcast and SPX Production platforms.

“As HTML graphics become an increasingly popular and efficient choice for live productions, the combination of Emergent’s Nova and SPX’s solutions will provide a powerful resource for election coverage, sports events, and other data-driven productions,” said David Jorba, CBO of Emergent.

Emergent has also entered into a new partnership with Al Kamel Systems (AKS), the trusted graphics and timing provider for world-class motorsport competitions including global FIA championships, several large-scale championships in the USA, and the pioneering electric racing series since their inception. Together, the companies are developing new creative solutions for data-driven augmented reality graphics, powered by Unreal Engine, for the upcoming season. This partnership reflects Emergent’s commitment to advancing the use of real-time data in AR storytelling for global sports.

BURY ST. EDMUNDS, England—Autoscript and Autocue will showcase their newly launched PTZ prompter system during IBC2025, Sept. 12-15 at the RAI Amsterdam Convention Center.

Designed to provide seamless, professional prompting in dynamic multicamera environments, the PTZ prompter system is shared by both brands. The Autoscript PTZ Prompter and the Autocue PTZ Prompter feature a purpose-built, rigid enclosure that houses the PTZ camera. The solution offers streamlined installation, efficient cable routing, PTZ camera protection and a superior on-air experience.

“Prompting with PTZ cameras has always involved compromise until now,” said Anel Abiken, product manager of prompting. “By collaborating across both brands and closely with our customers, we’ve developed an innovative solution that offers a stable, flexible solution for any studio setup. It simplifies installation, protects the camera and improves workflow across the board.”

Engineered for broadcast use, the PTZ prompters support a wide range of PTZ cameras, including the Sony FR7. When used with the Sony FR7, the camera can calibrate with the prompter glass mounted, eliminating the need to remove the glass to make adjustments.

Features include:

• In-hood calibration fully compatible with PTZ cameras, including the Sony FR7.
• Internal camera cradle for inverted PTZ mounting.
• Continuous adjustment of the camera position.
• Plus-or-minus 15-degree panning and plus-or-minus 5-degree tilting inside the hood with wide-angle lens.
• VESA mounting on top and rear for flexible rigging.
• Robust composite structure with internal cable routing.

The Autoscript PTZ Prompter comes in a premium EVO-IP configuration with carbon fiber finish and side flags, while the Autocue PTZ Prompter features a matte black design and Pioneer monitor options.

The PTZ prompters can be ordered beginning in September 2025 in the Autocue Pioneer and Autoscript EVO-IP configurations.

See Autocue and Autoscript at IBC2025 Stand 13.A05.

More information is available on the Autocue and Autoscript websites.

CINCINNATI—GatesAir will bring its 5G passthrough demo to IBC audiences once again as interest in the technology’s value for broadcast-to-mobile delivery grows. Debuted at IBC2024, the technology employs 5G modulation within its Maxiva XTE exciter to send live TV content to a smartphone across the 5G waveform.

The “5G passthrough” to mobile devices is achieved over UHF channels, effectively opening the door for broadcast’s highly efficient one-to-many model to make a difference with mobile TV delivery. Adopting the UHF frequency allows broadcasters to avoid using valuable mobile spectrum, while consumers can receive, decode and view content on the same mobile devices that they already use.

GatesAir’s provision of 5G delivery across the UHF channels not only guarantees 5G exclusivity for voice and mobile cellular use, but also gives broadcasters the ability to adopt 5G delivery without needing to replace their existing transmitters, the company said. The new modulation technique can be applied to GatesAir’s Maxiva ULXTE, UAXTE and OP Series of liquid-cooled and air-cooled UHF transmitters. Maxiva transmission products are built for standards-agnostic transmission, with the software-defined XTE exciter able to support all current digital and analog TV standards.

“Visitors to our booth last year were actively assessing the possibility that offloading broadcast content to UHF frequencies may become a reality within the next 5-10 years,” said Raymond Miklius, Vice President of Technology, GatesAir. “With more trials on the horizon, our purpose this year is to show broadcasters that we are actively prepared to assist when that time arrives, especially in Europe and parts of the Asia-Pacific region that are pursuing trials.”

GatesAir representatives will be available to discuss 5G as well as traditional terrestrial waveforms on stand 8.B75 at IBC2025, Sept. 12-15 at the RAI Amsterdam.

OTTAWA—Ross Video has acquired LAMA, a Dutch-based developer of advanced audio production software known for its innovative live mixing solutions. The acquisition significantly strengthens Ross Video’s audio solution set and core audio technology, while bringing in a highly experienced team in audio-focused solutions, the company said.

“We are excited to welcome the LAMA team to Ross,” said Jeff Moore, Executive Vice-President & Chief Marketing Officer of Ross Video. “Ross Video has built its legacy on giving our customers everything they need to connect with their audiences. This acquisition extends our audio capabilities, both on-premises and in the cloud.”

LAMA’s software is designed to streamline live audio workflows, whether operated by seasoned audio engineers or streaming content creators. Built for speed, flexibility, and integration, it supports use cases ranging from live broadcasts and esports to corporate events and streaming. Its features address connectivity, mixing, and mix automation with a modern, software-defined approach.

Proven in real-world use, LAMA powered Eurosport’s Olympic Games Paris 2024 and enabled SK Gaming to simplify esports audio with NDI integration.

“LAMA was built to challenge the traditional complexities of live audio,” said Ewan Cameron, Co-founder and CCO of LAMA. “Joining Ross Video allows us to keep innovating while expanding access to our technology through a trusted global brand.”

With LAMA, Ross customers will gain access to fully integrated audio mixing tools that complement their existing video workflows, removing silos and streamlining production, according to the company.

“We’re always listening to our customers, and they kept telling us how impressed they were with LAMA’s intuitive approach to audio mixing,” said Nigel Spratling, Vice President of Production Switchers at Ross Video. “When we took a closer look, it was clear LAMA had built something truly special: technology that’s modern, efficient, and aligned with the needs of today’s operators.”

LAMA’s software will be on display at the Ross Video booth 8.B91 during IBC2025, Sept. 12-15 at the RAI Amsterdam.

VALHALLA, NY—Fujifilm North America Corporation, Optical Devices Division has launched its new Fujinon LA30x7.8BRM 4K broadcast zoom lens (“LA30x7.8”), and will showcase it at the 2025 IBC Show, Sept. 12-15 at the RAI Amsterdam.

LA30x7.8 is a portable zoom lens for 2/3-inch sensor broadcast cameras. It boasts a highest-in-class 30x zoom, covering the focal range from 7.8mm-234mm and its compact (190mm), lightweight (1.7kg) design enables high mobility and versatility for production. When receiving auto focus commands from the camera, the lens shows minimal focus breathing and operates quietly, made possible by the rear focus mechanism design2. LA30x7.8 also features a newly developed drive unit with high resolution 16-bit encoders designed for extremely accurate position detection and control in virtual and remote production, helping to streamline production operations.

“In recent years, due to the rapid expansion of video streaming platforms, the amount of video content, such as news, documentaries, sports, music concerts being produced have increased,” said Stosh Durbacz, vice president, Sales, Optical Devices Division, Fujifilm North America Corporation. “As a result, there is a growing demand for equipment that can streamline filming operations without compromising on image quality or functionality within limited production budgets.”

A newly developed drive unit for the LA30x7.8 features high resolution 16-bit encoders for extremely accurate position detection of zoom, focus and iris in virtual and remote production, which contributes to the streamlining of production operations. The lens achieves maximum speed of 1.0 sec and minimum speed of 120 sec when zooming from wide to tele end. This versatile range helps to capture a fast-moving subject during live sport broadcast, while enabling ultra-slow zooms during live music to deliver creative capture of the footage.

By utilizing the latest optical simulation technology and suppressing various types of aberrations, the lens achieves 4K optical performance across the entire zoom range. In addition, Fujifilm’s unique multi-layer coating "HT-EBC (High Transmittance Electron Beam Coating)" boasts high light transmittance and accurate color reproduction.

A single button on the lens provides electronic flange back adjustment. The system provides faster and more efficient adjustment as compared to the manual process. The macro function allows for closer than M.O.D. focus up to 5cm from the front of the lens by sliding the unique focus ring forward. It enables the operator to film the extreme close-ups without letting go of their focusing hand. When receiving auto focus commands from the camera, the lens shows minimal focus breathing and quiet operation which is made possible by the rear focus mechanism design.

The Fujinon LA30x7.8 is available for order now at a manufacturer’s suggested retail price of $7,299. Initial orders of LA30x7.8 are expected to begin shipping to customers by the end of October 2025.

Fujifilm will be in Stand 12.B20 in the RAI Amsterdam.

For more information about the lens, click here.

In advance of the 2025 IBC Show, Sept. 12-15 at the RAI Amsterdam, Grass Valley has announced two new partners for its AMPP OS (Agile Media Processing Platform Operating System) platform.

Audinate is bringing native Dante audio networking to AMPP via its Dante AV-over-IP platform and Hitomi’s Hitomi's trusted timing measurement capabilities are being integrated directly into AMPP environments through MatchBox Software Analyser, MatchBox Probe, and MatchBox Renderer applications. MatchBox Software solutions operate entirely within AMPP's virtualised infrastructure.

The Audinate partnership brings seamless Dante connectivity directly into AMPP OS, allowing users to discover, manage, and route Dante audio streams without external hardware. With support for up to 128×128 bidirectional channels and latency as low as 1ms, the integration delivers robust audio capabilities across any AMPP-powered workflow.

By incorporating Dante into AMPP, Grass Valley is enabling agile, software-defined audio routing that aligns with modern production demands, whether in a studio, on location, or in the cloud, the company said. The new functionality is fully integrated into AMPP’s microservices architecture, and is deployed, scaled and managed like any other AMPP service. This allows operators to mix Dante sources alongside other IP audio formats within the GV Media Universe.

For the first time, Dante I/O is available through AMPP’s flexible licensing model, offering hourly and monthly subscription options. This gives customers instant, cost-effective access to professional audio networking enabling rapid deployment for short-term productions, seasonal events, or dynamic scaling needs.

The integration benefits a broad range of users across sectors including broadcast, live events, corporate AV, worship, education, and esports—industries increasingly turning to remote production and distributed workflows.

“This partnership reflects the accelerating shift to IP-based media infrastructure,” said Chris Ware, Senior Vice President, Product Development at Audinate. “By integrating Dante into AMPP OS, Grass Valley is offering a powerful platform for modern audio workflows, built to scale for everything from small studios to enterprise-grade distributed productions.”

The solution also supports the use of Dante Domain Manager for effective device management across complex network installations, including the creation of multiple clocking domains, management and routing of signals across VLANs and subnets, creation and management of AES67 & ST2110 device domains, and effective monitoring of the overall Dante system status.

The Hitomi partnership addresses one of broadcasters' primary concerns about migrating to software-based production: maintaining precise timing and synchronisation throughout complex virtualised workflows. Integrating MatchBox Software Analyser, MatchBox Probe, and MatchBox Renderer applications into AMPP's virtualised infrastructure enables engineers to position timing measurement probes throughout their broadcast chain without signal conversion or external routing. This provides true end-to-end visibility, allowing broadcasters to monitor timing at multiple points from a centralized web interface whilst maintaining the same millisecond-accurate measurements that broadcast professionals rely on worldwide, Hitomi said.

"Traditional workflows using hardware analyzers require video signals to be routed out of software-based environments and converted back to SDI for analysis, which not only adds complexity but can introduce the very timing errors customers are trying to detect," explains Russell Johnson, Director at Hitomi Broadcast. "Our native AMPP integration eliminates this problem by enabling in-situ timing measurement within the software infrastructure itself."

"Managing sync and latency is one of the key concerns about the migration to cloud production," notes Matthew Yates, Director of Strategic Alliances at Grass Valley. "Hitomi's MatchBox solutions demonstrate exactly the kind of integration the Alliance is built for: delivering precision timing measurement that broadcasters require whilst working seamlessly within AMPP workflows."

The partnership reflects Grass Valley Alliance's focus on creating integrated solutions that work together out of the box, rather than requiring weeks of custom integration. MatchBox Software Analyser can manage multiple probes simultaneously, providing the scalability essential for modern virtualized broadcast operations while reducing infrastructure investment and maintaining precision.

Grass Valley will be in Stand 9.A01.

LONDON—Techex, a provider of live broadcast infrastructure solutions, will showcase expansive enhancements to tx darwin as well as new features for its tx.edge IP transport platform, at the 2025 IBC Show, Sept. 12-15 at the RAI Amsterdam.

These innovations streamline complex broadcast operations, accelerate deployment, and deliver new levels of resilience for moving live video content between ground and cloud the company said.

Techex has expanded its award-winning, modular, media processing framework, tx darwin, launching over 25 new modules since IBC 2024, with more than 60 modules now in production, empowering broadcasters to adapt, conform, monitor, protect and transform their high-value live content.

New for IBC:

• Premium MPEG-4 AVC and JPEG XS codecs allow workflows to span the compressed and baseband domains, moving seamlessly between standards to suit different media flows and transport bandwidths.
• tx darwin Blueprints enables sophisticated, hierarchical workflows to be designed once and deployed repeatedly. This simplifies complex workflows, increases efficiency and ensures design consistency, reducing the risk of errors.
• Motion-compensated video standards conversion, developed with industry experts InSync, delivers a software-native solution that can be deployed on premise or in the cloud.
• Dynamic HTML5 graphics and integrations enabling forensic watermarking introduces the ability to overlay high-quality, dynamic graphics and insert content traceability.

These latest features can be integrated into any tx darwin and will be demo-ed in the company’s stand and elsewhere on the show floor.

Techex has introduced SRT-protected JPEG XS TR-07 for its tx edge IP video transport platform, enabling compromise-free live sports production in the cloud. Performance optimizations deliver higher throughput on the same compute, while its SMPTE-compliant Trust Boundary functions as a secure media firewall ideal for handoff, scalable third-party delivery, and network translation.

At the show, Techex is collaborating with a select eco-system of technology partners, including TAG Video Systems, Nevion, Bridge Technologies, AWS and Google Cloud. Broadcasters, streaming platforms and rights-owners, such as DAZN and Paramount, are already benefiting from this integrated partnership approach, which results in faster deployment, enhanced flexibility, and reduced operational risk.

“Broadcasters want speed, reliability and adaptability, and we’re delivering exactly that,” said Scott Kewley, CEO of Techex. “With tx darwin Blueprints, premium video compression, frame-rate conversion and graphics keying, not to mention powerful new capabilities in tx edge, we’re giving our customers the tools to deploy workflows faster, reduce risk, and adapt more easily to change.”

Techex will be in Stand 2.C46. Other locations to see Techex solutions in action include:

• Master Control Cloud – Hall 14, IBC Accelerator Zone
• Live Media Exchange – Hall 14, IBC Accelerator Zone
• IBC x Google Cloud Hackfest – Hall 14
• TAG Video Systems – Hall 1. C31
• Sony Nevion – Hall 13. A10
• Imagine Communications – Hall 1. B73
• Amazon Web Services – Hall 14. C66
• Densitron – Hall 9. C10
• Skyline Dataminer – Hall 1. B40

TVU Networks has launched TVU MediaMesh, designed for cloud-based live production.

Traditional live production, whether on-site or remote, has long been constrained by fixed infrastructure, dedicated equipment, and rigid routing, limiting both scale and flexibility. Currently only about 1% of live productions have fully migrated to the cloud due to the complexities of connecting sources, routing signals and integrating multiple applications.

TVU MediaMesh addresses these challenges by introducing global shared memory for live video, simplifying connectivity and drastically reducing configuration time, according to the company.

“MediaMesh removes the biggest obstacle to cloud adoption by making live signals instantly accessible anywhere, as easily as opening a shared file, said Mike Cronk, VP of Strategy at TVU Networks. “It gives teams the freedom to produce from anywhere, using the tools they want without worrying about the back end.”

As the foundation that powers TVU’s SaaS applications for the world’s largest live events, from routing and AI indexing to production and playout, MediaMesh now opens its APIs, enabling customers and partners to build, innovate, and shape the future of live production.

TVU will demo MediaMesh at Stand 7.B55 at the 2025 IBC Show, Sept. 12-15 at the RAI Amsterdam.

The platform’s collaborative approach has already drawn industry support.

Adam Marshall, CPO at Grass Valley, said: “By integrating Grass Valley AMPP with TVU MediaMesh, we’re giving our customers the seamless workflows they’ve been asking for across our best-of-breed solutions. AMPP users can now connect to sources from multiple vendors, including TVU’s cellular backpacks, without the usual integration complexity. This deepens the collaboration our customers have been calling for.”

Additionally, Telos Alliance and Jünger Audio have agreed to integrate Telos Alliance’s portfolio of cloud‑enabled audio solutions directly into TVU Networks’ MediaMesh platform, delivering next‑generation audio capabilities for broadcasters and content creators worldwide.

Integrating Telos Alliance’s and Jünger Audio’s audio-handling tools with MediaMesh will give TVU Network clients the direct ability to automate complex audio workflows, ensure consistent, high‑quality audio and leverage AI to ease manual workloads, the companies said.

TVU MediaMesh already connects and manages production resources via a resilient, cloud‑native network. With Telos Alliance technology embedded in the platform, users will be able to access capabilities including Jünger Audio flexAI for multichannel processing and Automix, Minnetonka AudioTools Server for post‑production automation, and Linear Acoustic upmix, downmix, and loudness tools, all of which are optimized for distributed, collaborative workflows.

TVU MediaMesh is available today, including on the AWS Marketplace, enabling customers to deploy instantly.

To guide the platform’s evolution, TVU has formed a MediaMesh Advisory Board (MAB), bringing together leaders from seven major media companies and five partner organizations including Chyron, EVS, Grass Valley, Solid State Logic and Vizrt. TVU will showcase integrations from select MAB members, as well as Mediatest, Eluvio, Pixelstorm and MXL interoperability demos with Grass Valley, Riedel, Matrox and AWS.

HACKENSACK, N.J.—LiveU has launched LiveU Nexus, a new cloud-native universal gateway for digital and IP-based workflows, enabling customers to create even more value from their LiveU EcoSystem setup. LiveU Nexus seamlessly moves IP-video content in and out of different platforms and environments, including SDI, SMPTE 2110 and NDI-based production systems, using existing and new workflows.

The company will demo LiveU Nexus at its stand (7.C19) during the 2025 IBC Show, Sept. 12-15 at the RAI Amsterdam.

Designed to simplify complex IP workflows—especially digital video capturing—LiveU Nexus acts as an efficient and reliable universal gateway for all IP-based feeds within the LiveU EcoSystem. It offers unlimited access to live feeds to and from any systems, letting users bring in, transform, route and output any stream in seconds.

Any types of feeds can be seamlessly connected from anywhere, to anywhere, including LiveU's own LRT (LiveU Reliable Transport), SRT, RTMP, HLS and more to on-premises and cloud-based infrastructure. Producers can pull in live content from Zoom, YouTube and other social media platforms with a simple URL or meeting link—no converters or workarounds required, according to the company.

"Broadcasters are under mounting pressure to integrate a growing number of IP and digital video sources,” said Matt Zajicek, VP Product for LiveU. “LiveU Nexus changes the game, accelerating their digital transformations and future-proofing their digital and IP-video workflows. By cutting technical barriers and costs, production teams can focus on creating great content faster and smarter—while maximizing existing investments. It's already been successfully tested by customers, and we're excited about the potential ahead."

Key features include:

• Protocol conversion – Transforming any IP format to LRT and other leading protocols, LiveU Nexus pushes any live stream into the LiveU EcoSystem or third-party solutions without any additional hardware or converter.
• Digital/social media capturing and routing – includes Zoom meetings, YouTube videos and Facebook Lives into broadcast workflows, and a web browser as an input inside.
• Elastic cloud scalability – built to grow with production demands in the cloud, as workflows evolve.

Resolutions, frame rates, aspect ratio, and codec differences are automatically normalized across the feeds, ensuring every signal is instantly compatible with the downstream tools. In addition, any IP stream can be sent into LiveU's IP cloud solutions, including LiveU Studio for cloud production, LiveU Ingest for recording, or LiveU Matrix for IP distribution, and integrated with an installed base of LiveU receivers, without the need for additional hardware or configurations.

Interoperability is at the heart of the LiveU EcoSystem, according to Zajicek

“By streamlining workflows and deepening integration across the platform, we’re making it easier than ever for storytellers to maximize the value of their video content," he added.

AMSTERDAM—The director and sound supervisor for the music documentary ”Becoming Led Zeppelin,” will attend a special screening and Q&A, Saturday Sept. 13 at the 2025 IBC Conference in Amsterdam.

The film, available on Netflix, holds the record for the highest-grossing opening weekend across IMAX theaters worldwide and is the most watched documentary of 2025 across all platforms. The film was distributed across Europe earlier this year by Sony Pictures Classics in partnership with Piece of Magic Entertainment.

“How Becoming Led Zeppelin was Created,” will be held at 11.30 am CEST in the Auditorium Complex of the RAI Amsterdam. Director Bernard MacMahon and Sound Supervisor Nicholas Bergh will fly in from Los Angeles for an in depth talk for the first time on the mechanics of creating the hit film and will reveal how a vast archive of 35mm, 16mm, 8mm, 2-inch video, tape, disc and stills were transferred and sculpted into a cohesive whole for the record-breaking IMAX release.

Later that day at 7 pm CEST, the IBC special event screening of “Becoming Led Zeppelin” and exclusive Q&A with MacMahon and Bergh will take place at the newly completed Cinema The Pulse, scheduled to officially open in October 2025.

MacMahon’s experiential cinematic odyssey reveals the origins of the iconic group and their meteoric rise in just one year against all the odds. It is the first documentary film Led Zeppelin have ever agreed to appear in.

Becoming Led Zeppelin has received universal acclaim with Variety hailing it as “one of the modern era’s great rock docs”, The Guardian describing it as “an extraordinary slice of rock history in documentary form”, Tom Morello praising the film as “amazing”, Thurston Moore championing it as “a brilliant film” and The Black Crowes’ Chris Robinson labelling as “the greatest music documentary I’ve ever seen.”

MacMahon commented: “Bringing Becoming Led Zeppelin to Amsterdam for a special screening with the IBC is a real honor. Led Zeppelin only played Amsterdam twice during their career, once right in the middle of the period we cover in the film, so being able to give the Dutch audience a chance to see them again in their prime is extremely exciting.”

Jo Mayer, IBC’s Head of Marketing, added: “IBC is the perfect home for a screening of this phenomenal documentary. So many of the media and entertainment technology companies present at the conference had a hand in making this film and it will be a thrill to see it on the screen. We are excited to bring this film and the Q&A and the morning panel session with Bernard and Nick to our conference attendees.”

Cinema The Pulse concluded: “We are incredibly happy that we can showcase Becoming Led Zeppelin in our cinema on the big screen, an experience no film or music lover should miss!”

Tickets for the special screening and Q&A can be purchased via Cinema The Pulse here.

To register for the IBC2025 Conference, click here.

STOCKHOLM, Sweden—Accedo will showcase Accedo Compose, its AI agent-powered modular orchestration layer that assists streaming providers in transitioning clients from a static path to one that’s continuously adaptive, during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

Leveraging Amazon Web Services (AWS) and the power of Amazon Sagemaker Unified Studio and Amazon Bedrock, Accedo Compose enables real-time experimentation and optimization across every viewer touchpoint—from playback and messaging to monetization and engagement strategies, the company said.

Developed in partnership with cloud-native data and video streaming expert Merapar, the solution will allow streaming teams to go beyond static feature deployment, activating modular AI impact agents that monitor behavior, test interventions and autonomously evolve viewer touchpoints in pursuit of key business outcomes, it said.

Rather than relying on manual configuration and siloed analytics, Compose orchestrates real-time adjustments aligned with strategic goals, whether reducing churn, stabilizing quality or increasing customer lifetime value, it said.

For example, a churn risk agent can detect declining engagement and trigger retention flows tailored to individual behavior. A UX agent can adjust layout and messaging dynamically based on context, such as time of day or frustration signals. A monetization agent might surface upsell offers precisely when users are most likely to convert. Each agent works independently but can collaborate in sequence, Accedo said.

“As streaming becomes more competitive, media companies need to make every product decision count,” Accedo Group CEO Michael Lantz said. “Compose closes the loop between strategic intent and user-level execution. It enables streaming services to adapt in real time, with intelligence baked into the experience itself.”

Accedo Compose integrates seamlessly with Accedo Assemble, the company’s modular OTT platform, and can be deployed independently or as part of Accedo’s managed service model.

See Accedo at IBC2025 Stand 5.F80.

More information is available on the company’s website.

NEVADA City, Calif.—At IBC2025, Sept. 12-15 at the RAI Amsterdam, Telestream will debut its new Global Ingest strategy, introducing a next-generation ingest architecture that seamlessly unifies live capture, camera card ingest, and file-based workflows.

Built on the Vantage platform, the new workflow capabilities are designed for ultimate flexibility, scalability, and efficiency, supporting on-premises, hybrid, and cloud environments, the company said. Central to the strategy is Telestream’s practical use of AI; rather than generating unstructured “metadata dumps,” Telestream Global Ingest produces structured, system-aware, and standards-compliant metadata at the point of capture. This enables instant interoperability with a wide range of platforms, such as Avid, Iconik, and Mimir, accelerating editorial, archive discovery and distribution while eliminating workflow bottlenecks, according to the company.

“With Global Ingest, we’re transforming a fragmented technical hurdle into a unified entry point for high-speed production and operational efficiency,” said Charlie Dunn, EVP of Product Management at Telestream. “By standardizing ingest on the Vantage platform, we eliminate the need for proprietary vendors and rigid integrations, enabling customers to move content from any source into any editorial or MAM system with speed and precision. We are making ingest a strategic advantage rather than a workflow gap.”

A Unified, Intelligent Ingest Platform
Telestream’s scalable ingest capabilities empower technical teams with precision, flexibility, and speed, no matter the format, source, or operational environment (on-prem, hybrid, or cloud). It supports a wide range of media operations, from high-performance, real-time ingest for live sports and news, to scalable file-based ingest for post-production and media supply chains.

Highlights include:

• Vantage Live Capture – A high-performance ingest engine with unmatched input/output flexibility. Supporting ST 2110, SDI, SRT, NDI, MPEG-TS, and RTMP, it enables centralized ingest from IP, SDI, and even tape-based sources. With support for up to 16 channels in a single RU and deep codec support, Live Capture seamlessly integrates into editorial and MAM systems such as Avid and Adobe.
  
• Live Schedule PRO 2.0 – A high-availability, enterprise-ready scheduling platform with clustered deployment, automation, and failover capabilities. Designed for continuous operation, it’s ideal for live newsrooms, sports broadcasters, and 24/7 ingest environments.
  
• Camera Card Ingest – Telestream’s camera card ingest solution delivers a streamlined user experience with enhanced metadata extraction, multi-destination workflows, and tight Vantage integration. It accelerates turnaround times for editors and supports modern content production at scale.
  
• Review: Proxyless Player for Distributed Teams – A professional-grade playback experience for live and captured media, with real-time 10-bit native playback, scopes, and audio monitoring. Review will support remote editorial collaboration without the need for proxy generation.

Telestream will showcase Global Ingest powered by Vantage at IBC2025, Stand 7.B21.

DENVER—At IBC2025, Sept. 12-15 at the RAI Amsterdam, Imagine Communications will introduce the Imagine Monitoring Solution (IMS), a ground-up solution for the unique demands of monitoring video networks.

Imagine says IMS “is the only monitoring solution to deliver full visibility across the entire video chain — from ingest to playout — enabling broadcasters, content originators, and MSOs to detect issues earlier, resolve them faster, and avoid costly outages.”

While the demands on video networks soar, the tools many teams rely on for monitoring are designed for general-purpose IT infrastructure or closed ecosystems, the company said. They are not focused on the intricacies of video networks — especially those that have transitioned to IP networks or are operating content delivery networks. IMS offers video-aware monitoring features that analyze all operational aspects of the complete video network from a single intuitive user interface. This includes in-depth data analytics that provide intelligent network analysis to identify processing trends and predict potential issues before they occur.

“The video network-specific nature of IMS separates it from the generic IT monitoring tools available on the market today,” said Dan Walsh, senior vice president, product management, at Imagine Communications. “Our new offering gives our customers access to the latest in video network monitoring, with end-to-end observability of all devices running in the network — regardless of device manufacturer.”

IMS gives users a live view down to the individual components of the video signal path, enabling faster issue isolation and real-time troubleshooting to minimize issues that could adversely affect the resulting video content delivery. Customers get started quickly with curated, prebuilt device profiles and can create fully customized dashboards tailored to their operational workflows. The combination of profiles and customization enables precise, user-defined alerting with flexible severity levels, escalation paths, and notification schedules — reducing noise and helping teams focus on the most relevant issues.

IMS is made for cloud, on-premises, and hybrid video processing and delivery environments. As part of Imagine’s commitment to industry collaboration and interoperability, IMS supports open APIs and standard protocols and easily plugs into existing ecosystems. Customers can continue to leverage existing IT monitoring tools while migrating to and enabling complete video network visibility with IMS.

“With IMS, Imagine is enabling media companies to move from reactive troubleshooting to proactive performance management,” Walsh added. “Customers will benefit from operational savings, reduced training and maintenance overhead, and a deployment model with simple, competitive pricing options, including usage-based subscription pricing.”

Imagine Communications will be in Stand 1.B73.

SURREY, UK—At the 2025 IBC Show at the RAI Amsterdam, Sept. 12-15, Mark Roberts Motion Control (MRMC), a Nikon-owned provider of robotic camera systems, will launch two new products: the Cinebot Nano and the RPS-LT (Roaming Pedestal System with robotic arm).

MRMC will exhibit alongside Nikon and RED Digital Cinema in Hall 11 (11.C20). In a dedicated MRMC Broadcast area shared with RED, MRMC will demo its new RPS-C2 (Roaming Pedestal System) with a lift column, and the latest addition, the RPS-LT, a variant option with a robotic arm.

Also on display will be the RLS (Rail Lift System) with the AFC (Agile, Fast and Compact) robotic head mounted with a RED V-Raptor (X) camera using Phantom Track Recording Mode, which will be demonstrating how these track-based robotics can seamlessly integrate into dynamic virtual production workflows, powered by Disguise. The immersive environment will feature dynamic backdrops with scenes that transition from day to night, showcasing the true power and flexibility of the integrated solutions, the company said.

In addition, there will be hands-on demos of the Slidekamera Orion Slider with the Bullhead Studio multi-axis robot head, and a dedicated section for Sports broadcast robotics.

The new RPS-LT is a next-generation free-roaming camera robotic system mounted with the compact Studiobot LT 6-axes arm. Designed for high-end broadcast studios, this new system brings MRMC’s core technology of robotic camera arm platforms to a roaming pedestal. Providing smooth, class leading motion, the RPS-LT enables broadcasters to capture otherwise challenging dynamic camera angles with ease and complete creative freedom, according to the company. 

A key selling point, MRMC said, is the integrated LIDAR system provided by industry leader’s SICK, which will provide MRMC's roaming pedestal range with ultimate precision for positioning and safety. Intelligent choreography and built-in collision avoidance ensure multiple units can operate safely within a studio with seamless movement.

MRMC says RPS represents "a product-defining evolution" built on the need to solve common issues experienced with many free roaming pedestal offerings currently on the market. Specifically, the MRMC RPS has three steering wheel trucks, each with two driven wheels designed to deliver perfectly balanced power. With the option to pair with a teleprompter, broadcasters can maintain perfect on-camera delivery while staying fully immersed in the creative process.

The Motion Control area will feature the new Cinebot Nano at IBC for the first time, a compact, nine-axis motion control robot designed for solo filmmakers and content creators. With a 7kg camera payload, one-meter reach and speeds up to one meter per second, the Cinebot Nano delivers smooth repeatable moves in tight studios or remote locations. The system packs neatly into three cases, remaining under air travel limits.

Cinebot Nano runs on MRMC’s simplified Flair Lite software, that provides an intuitive interface that strips back complexity without compromising on creative precision, according to the company. The system also features Push Moco keyframing.

Alongside the new Cinebot Nano will be its big brothers, the Cinebot Mini and Cinebot Max. This immersive interactive showcase will highlight the power of motion control and robotic precision in professional content creation and IBC attendees will have the opportunity to get hands-on and interact with the Cinebots, shooting objects on the stand. RED Komodo cameras will be mounted on the Cinebots for demonstration.

“We are looking forward to IBC2025 and being in Amsterdam once again, especially with such landmark new products,” said Assaff Rawner, CEO of MRMC. “The Cinebot Nano and RPS-LT showcase how we continue to evolve our technologies to meet the needs of our customers across the film and broadcast industries.”

IBC2025 will celebrate one of the industry’s defining milestones: a century since John Logie Baird’s first experimental television transmission in 1925. The anniversary will be marked with a new installation in Hall 14, 100 Years of Television—a curated journey through the past, present, and future of broadcast and media innovation.

A Century of Change
Television has shaped culture and driven technology forward for 100 years. From the introduction of color and the spread of satellite TV to digital transition and the arrival of streaming, each breakthrough has expanded the medium’s reach and impact. The installation at IBC2025 will spotlight these milestones through archival material, hardware, and storytelling that highlight television’s enduring role in connecting audiences worldwide.

“Television has never stood still—and neither has IBC,” says Jo Mayer, head of marketing at IBC. “Marking 100 years since that first broadcast allows us to reflect on the legacy of our industry, while at the same time demonstrating how new technical innovation is shaping the next century.”

An Interactive Showcase
More than a retrospective, the feature is designed to bring the global media community into the celebration. As part of a campaign launched over the summer, IBC has invited people of all ages and backgrounds to share their most impactful television moments.

Video contributions recorded at a dedicated Studio Day in London on August 29 will form part of an LED wall in Hall 14, creating a living archive of television’s impact on people and society. In addition, IBC is hosting the next generation of content creators to create their own takes on what the future of television looks like—their contributions will be showcased, offering visitors a glimpse of how tomorrow’s talent sees the medium evolving.

“This is about capturing the moments that matter most, from major news events to iconic live sports moments, and showcasing the role television continues to play in our lives,” Mayer explains. “The installation is a collective celebration of industry milestones.”

Future Tech in Hall 14
The 100 Years of Television feature sits at the heart of the new Future Tech hub in Hall 14, bringing together some of the most dynamic elements of IBC2025—including the IBC Hackfest x Google Cloud, the Google AI Penalty Challenge, and the Accelerator Innovation Zone, alongside the IBC Talent Programme.

Visitors to Future Tech will encounter displays and demos on everything from generative AI and virtual production to low-latency streaming and private 5G networks.

Shaping the Next Century
Just as early television pioneers could not have foreseen today’s streaming-first, cloud-native media environment, the breakthroughs on display at IBC2025 point to another century of transformation. From AI-assisted production and sustainable workflows to immersive audience experiences, the technologies being demonstrated in Hall 14 are shaping a new era of media and entertainment.

“IBC2025 is about Shaping the Future,” Mayer concludes. “The centenary of television is a moment to reflect on how far we’ve come—but more importantly, it’s a chance to look ahead. The conversations and collaborations taking place at IBC will help define what television and media mean for the next 100 years.”

HAYWARD, Calif.—Wohler Technologies will showcase its newly launched iVAM2-MPEG SRT during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

The 2RU unit can decode MPEG SRT, MPEG2, H.264 or H.265 HEVC transport streams at bit rates up to 35 Megabits per second. It parses out MPEG transport streams and presents operators with PID (packet identifier) tables, allowing for independent selection of audio and video PIDs for decoding and monitoring, the company said.

Overlays on the video display allow for monitoring of closed captions and subtitles embedded in the MPEG transport stream. The unit supports audio monitoring for AAC, Dolby Digital+ and MP3. The iVAM2-MPEG SRT has two 4.3-inch LCDs for an easy-to-operate touchscreen interface complemented by a built-in web server, which enables operators to configure presets, upgrade the unit and view audio meters remotely, it said. Wohler has also released two new 1RU 12G-SDI monitors: the iVAM1-SUM16-12G, with a 7-inch touchscreen; and the iAM1-MIX8-12G, with a 7-inch touch and tactile knob interface. Both monitors provide 12G-SDI and 3G-SDI support.

The company has also added four GPI/O capable AV monitors: the iVAM1-1-G, iVAM2-2-G, iVAM-SUM16-G and the iAM1-MIX8-G. These new monitors provide 4x GPIs and 2x GPOs that can be enabled via a software license key.

Wohler is also introducing an optional 12G SDI re-embed feature to re-embed 16 audio channels chosen from any connected audio source in the 12G SDI BNC output. Available on the iAM1-12G and iVAM1 and iVAM2-12G monitors, the feature is available via software activation, it said.

See Wohler at IBC2025 Stand 10.B12.

More Information is available on the company’s website.

GENEVA—At the 2025 IBC Show, Sept. 12-15, GlobalM will showcase its fully software-defined video network (SDVN), engineered for transporting live IP video over any network. The company will demo new upgrades designed to simplify and modernize live video contribution and distribution, whether it’s over the public internet, 5G, LEO satellite, fibre, and cloud, with the low latency and high resilience required in professional production environments.

The GlobalM platform is cloud-native by design and runs on AWS, Oracle, Google Cloud, OpenStack, or Alibaba. For edge deployments, GlobalM offers appliance hardware in their GMX1 platform, supporting GPU-based encoding with NVIDIA technology. Real-time transport protocols include SRT, RIST, RTMP, HLS, MPEG-DASH, and RTP.

New for IBC is GMDC (GlobalM Device Control), a control API that enables port-to-port codec orchestration between the GlobalM platform and edge hardware. The live demo at IBC will run on the Matrox Monarch EDGE, showing how operators can remotely initiate, configure, and monitor encoding and decoding sessions directly from the GlobalM UI. This integration gives full end-to-end control over contribution and distribution workflows from a single interface.

This moves GlobalM beyond being a transport layer into a full-stack orchestration platform, combining cloud control with real-time media routing and device-level management, ideal for network operators, sports federations, news agencies, and broadcasters working across distributed environments, the company said.

Live Demos at IBC 2025 Will Feature:

• Port-to-port codec orchestration via GMDC, integrated with Matrox Monarch EDGE.
• Multi-cloud streaming, showing portability across Oracle, AWS, and OpenStack.
• Seamless redundancy switching for uninterrupted live delivery during network failure.
• Real-time exception monitoring and alerts for proactive fault resolution.
• Dynamic cloud-based orchestration for bitrate control and adaptive routing.
• Protocol bridging and interoperability, enabling clean integration with existing infrastructure and different protocols.

Unlike containerized clusters, GlobalM uses a containerless orchestration model based on native OS-level tools (systemd), which offers faster recovery, reduced overhead, and greater transparency, especially valuable in edge and remote workflows. Whether supporting remote commentary, contribution from stadiums, or global multi-feed distribution, GlobalM helps broadcasters move live video where it needs to go without relying on inflexible gateways, or high-cost legacy infrastructure, the company said.

“IBC is where we show what we’ve built and how it’s being used right now,” said Paul Calleja, CEO of GlobalM. “This isn’t a future roadmap. It’s proven, in production, and solving real-world problems.”

GlobalM will be exhibiting in Hall 3, Stand 3.C36.

OXFORD, U.K.—Solid State Logic will unveil its System T plug-and-play IP-native MPL 16-8 stagebox offering cost-effective connectivity for touring flypack and installed systems during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

The MPL 16-8 is a Dante-enabled stagebox that delivers streamlined audio connectivity for the SSL System T platform. It is well-suited to budget-conscious applications requiring SSL performance as well as applications with System T’s TCA-based systems, the company said.

The new stagebox offers 16 mic/line inputs and eight line outputs in a compact two-rack-unit format. With both primary and secondary Dante ports using robust etherCON RJ45 connectors, it delivers stress-free performance and redundant network support in mission-critical environments.

High-density SSL mic preamps give the stagebox a gain range of +5 dB to +60 dB in precise 1-dB steps, and it can be adapted to either 48-kHz or 96-kHz operation for integration into a wide range of installations, it said.

“The MPL 16-8 stagebox broadens access to SSL digital consoles and is a perfect fit for setups that require the sound quality of SSL but not necessarily the full comprehensive feature set other SSL I/O boxes offer,” said SSL director of product management Tom Knowles. “Its single-console control support simplifies operation for dedicated systems and means the MPL 16-8 is hyper-focused on more cost-efficient and specific applications.

“The simplified MPL 16-8 sits apart from SSL’s Network range of I/O stageboxes,” he said. “It makes it a great option for live sound engineers and broadcast teams working with the TCA system who want a more economical and straightforward way to expand their I/O.”

The company will also make the IBC debut of its native SMPTE ST 2110 card to bring greater flexibility and IP connectivity with automated signal discovery and management to audio workflows.

Designed to streamline ST 2110 workflows and simplify the management of flexible and remote infrastructures, the card enables SSL’s customers to take advantage of the benefits of ST 2110-based environments as well as hybrid ST 2110/Dante setups, with minimal investment in hardware. SSL’s native implementation also simplifies integration, leveraging NMOS IS-04 and IS-05 for automated discovery and signal management, SSL said.

SSL will also showcase its System T Cloud NDI update for the first time at IBC2025. The update supplements System T Cloud’s established Dante Connect audio transport with native support for NDI to enhance agility in virtualized production.

It allows broadcasters to process audio natively from a range of NDI-enabled devices, such as cameras and replay sources, lowering deployment costs and expanding the range of connectivity options available to SSL customers operating in the cloud, it said.

Furthermore, enhanced support for NDI simplifies signal acquisition by adopting an array of NDI-enabled devices, as well as enabling broadcasters to service content tiers that may have previously been cost-prohibitive.

SSL will also feature the new System T v4.2 upgrade with updates including new integrations with Jünger Audio, Dolby, New Audio Technology and TiMax. With the latest version, SSL is combining its established System T user interface with external processing platforms to simplify a variety of complex Next Generation Audio production tasks, it said.

See SSL at IBC2025 Stand 8.B73.

More information is available on the company’s website.

DENVER—At IBC2025, Sept. 12-15 at the RAI Amsterdam, Imagine Communications will introduce the SNP-XS, a versatile addition to its Selenio Network Processor (SNP) that packs the power of Imagine’s SNP platform into a deploy-anywhere form factor. Delivering ultra-quiet operation and high-performance processing in a small 2RU footprint, SNP-XS is the ideal solution for edge deployments, facility expansions, remote routing endpoints, mobile production, and any space-constrained environment.

Imagine says it has shipped more than 5,000 SNP units since it was first introduced in 2017, powering over 150,000 video streams and 2 million audio streams worldwide. Built on the same field-proven architecture as the flagship SNP platform, SNP-XS supports SMPTE ST 2110 and ST 2022-6 IP standards while maintaining seamless interoperability with SDI-based workflows — making it a perfect bridge for customers transitioning to IP or optimizing an existing SDI facility.

“IP technology is no longer limited to tier 1 broadcasters and large-scale projects — it’s become the clear path forward for media operations of all sizes — making SNP-XS exactly the right tool at the right time,” said John Mailhot, senior vice president, product management, at Imagine Communications. “Whether it’s serving as a high-quality SDI processor or an ST 2110 gateway for smaller jobs, SNP-XS provides the same trusted capabilities of the proven SNP platform in a compact, ultra-flexible footprint ideal for any environment where space is at a premium.”

Despite its reduced size, SNP-XS offers flexible I/O configurations and runs all 16 current SNP applications right out of the box—including UHD and HDR conversion, multiviewers, master control, and JPEG XS. It shares the same software releases, APIs, control protocols, and feature licenses as the flagship SNP, ensuring full compatibility and consistent deployment across operations.

“Even in large facilities there are small jobs, such as in edit suites and standup studio environments where a handful of signals join and leave the network,” Mailhot added. “Flexible mounting and a super-low-noise design, coupled with analog audio breakout capabilities, make SNP-XS a perfect, compact 2110 endpoint for small rooms in big systems.”

Imagine will demo the new SNP-XS at its IBC2025 stand, 1.B73.

TORRANCE, Calif.—Marshall Electronics will highlight several new products at IBC2025, including the CV612 PTZ camera, RCP Plus camera controller and VMV-402-3GSH switcher, and will showcase its new CV355-27X-IP and CV355-27X-ND3 cameras during the show.

“Our products are being deployed in a range of applications from news to sports, to education, house of worship, courtrooms and more,” said Robert Ramos, West Coast regional sales manager at Marshall Electronics. “Marshall offers various benefits to the market, including the ability to easily mix and match any of our cameras, camera control via a reliable PTZ controller and free Marshall software or control via a variety of third-party software and hardware platforms.”

The Marshall CV612, available in black (CV612-TBI) and white models (CV612-TWI), features the ability to track, follow and frame presenters automatically using AI facial learning for accurate and smooth self-adjusting maneuvers.

With advanced AI tracking, the PTZ camera “learns” who the prime subject is and won’t “lose” the presenter when other persons or objects enter the shot. Equipped with 12x optical and a 15x digital zoom, the CV612 offers a 4.1-millimeter to 49.2-mm (6.6-70.3 degrees) field of view. It is built around a professional-grade 2-Megapixel 1/2.8-inch, high-quality HD CMOS sensor, which provides format resolutions from 1920x1080, 1280x720 down to 640x480.

The RCP Plus Camera Controller is designed to enhance production capabilities and streamline workflow for professionals in the broadcast and AV industries. This advanced controller empowers users to seamlessly mix and match serial and IP camera control, allowing for customized configurations where both types can be easily programmed to adjacent buttons.

The Marshall VMV-402-3GSH is a four-input, auto-scaling seamless switch designed to become a reliable part of any infrastructure. It can be used in edit rooms, boardrooms and lecture halls. It also can be used as an auxilliary input for existing production switches. A simple command structure allows easy integration with Crestron, other control surfaces and automation systems via Ethernet or RS232. The switcher accepts four 3GSDI sources. Inputs 1 and 2 also accept HDMI.

The Marshall Electronics CV355-27X-IP optical zoom IP (HEVC/SRT) camera is a compact, yet powerful full-HD camera designed for IP-based workflows. Featuring a professional-grade 8.5-megapixel sensor, the CV355-27X-IP captures crystal-clear video up to 1920x1080 at 60 frames per second, delivering image performance across all standard HD formats with output up to 1080p60 and 720p60. Its 27x optical zoom (5.5~150mm) provides a versatile 60-degree angle of view.

The CV355-27X-ND3 NDI version uses a professional-grade 8.5-megapixel sensor to capture crisp HD video up to 1920x1080 at 60 fps with support for all HD formats. The straightforward design, ease of use and NDI capabilities make this camera a valuable tool for a variety of broadcast and professional A/V requirements.

See Marshall Electronics at IBC2025 Stand 11.C28.

More information is available on the company’s website.

AMSTERDAM—Rise Academy, the charity dedicated to delivering practical media technology experiences, careers resources and sharing work experience opportunities for young people in media technology, is bringing back a beloved industry tradition at this year’s IBC with, a 4k charity run (or walk) designed to empower the next generation of media and technology talent by supporting inclusion and opportunity.

Taking place at 7.30am on Saturday, Sept. 13 during the 2025 IBC Show (Sept. 12-15) in Amsterdam, the fun run will unite IBC attendees as they compete for a good cause.

Originally launched as the 4K 4Charity Fun Run hosted by AWS Elemental in 2014, the 4K Fun Run was held during NAB, IBC and SMPTE gatherings until 2020, when the shows were cancelled due to the Covid pandemic, (nevertheless, three “virtual” fun runs were held in place of NAB, IBC and SMPTE that year). Rise Academy said it “is honoured to continue the legacy with renewed energy and the same mission to create a meaningful, positive impact.”

This year’s event introduces 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 honours his inspiring commitment to harnessing technology for positive change.

Beyond athletic achievement, Race 4 the Future celebrates creativity and camaraderie. Awards include:

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

With an affordable entry fee of just £25, every participant directly supports Rise Academy’s programs, which are dedicated to 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.

“The 4K 4Charity Fun Run began as a simple idea, to bring people together across our industry in support of equity and inclusion. What grew from that was a global community effort that raised millions and made a lasting impact. The Rise Academy Run 4 the Future continues that legacy, honouring Sam Blackman’s vision and inviting all of us to support the next generation of innovators in media technology,” said Laura Barber, Co-Founder, 4K 4Charity Fun Run.

Andy Beale, Co-Chair of Rise Academy, said: “Race 4 the Future is about far more than covering 4K. 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.”

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

To register for the fun run, head to rise-academy.live

WALTHAM, Mass.—At the 2025 IBC Show, Sept. 12-15 at the RAI Amsterdam, Zixi will demonstrate innovations that help content owners, broadcasters, sports leagues, service providers, and OTT platforms deliver live video with greater quality, security, flexibility, and cost efficiency.

Zixi will showcase solutions that address key challenges in live video workflows across three critical areas:

• Contribute – Automating content acquisition, switching, and contribution.
• Process – Normalizing and regionalizing content for any audience.
• Deliver – Ensuring reliable IP distribution over satellite, fibre, and the internet at a lower cost.

The Zixi Platform supports a wide range of needs, including blackout restrictions, regionalized content delivery, multiple protocols, and diverse internet connectivity. By simplifying workflows and removing interoperability barriers, Zixi enables businesses to scale live video while reducing costs, the company said.

New Capabilities at IBC 2025
Zixi will unveil several innovations designed to expand interoperability and streamline live video workflows:

• Zero Latency Frame Thinning for smooth streaming over congested networks.
• Mobile application turning smartphones into Zixi-enabled cameras and encoders.
• Modernized UI for Zixi Broadcaster.
• ESNI (Event Scheduling Notification Interface) integration for precise switching using SCTE 224.
• TAMS (Time Addressable Media Store) integration for rapid turnaround workflows, compliance, archiving, and collaboration.
• SPTS (Single Program Transport Stream) Re-Multiplexing for regionalised delivery.

Partner Ecosystem & Podcast Studio
Zixi will highlight its rebranded partner ecosystem, built on interoperability and co-innovation, with partners including:

• Uplynk – Delivering IP-based streaming workflows that replace satellite and fibre with scalable, personalized distribution.
• Osprey Video – Offering professional-grade encoders and decoders that integrate with Zixi for reliable, low-latency IP video transport.
• Videon – Providing edge computing capabilities through the LiveEdge Platform, optimised for REMI production, graphics, and advertising, seamlessly integrated with Zixi orchestration.
• Zixi will also host a live meet-me room, allowing customers and partners to exchange content and showcase hands-on interoperability across IBC demos.

IBC Accelerator Programme
Zixi is participating as a vendor in the “Master Control Room in the Cloud” project, led by the BBC and RTE. This initiative explores orchestrating live event control across multiple vendors and clouds, including advanced stream handling such as audio track shuffling, standards conversion, and deep essence inspection.

Speaking Sessions include "The Future of Media Streaming: Ecosystems, AI and the New Content Economy" in Hall 4 on Friday, Sept. 12 and "Next Gen Streaming Infrastructure: How the Cloud is Coming of Age," Saturday, Sept. 13 in Hall 5. For more information on these events, visit https://show.ibc.org/content-everywhere-feature.

Zixi will be in Stand 5.A85.

NEW YORK—swXtch.io has amplified its support for SRT workflows with a new specialized gateway solution primarily targeted at the live event market. To be introduced at IBC 2025, Sept. 12-15 at the RAI Amsterdam, the new software-based SRTx Gateway from swXtch.io uses the inherent strengths of the SRT transport protocol for robust content protection across public internet and 5G connections, and leverages the company’s networking expertise to enable the highest stream density for an SRT gateway on the market.

Further, swXtch.io allows customers to deploy as many SRTxGateway instances as they like wherever they require—either on-prem or in the cloud. Users are only billed a simple rate per hour for each stream that enters or exits the gateway.

swXtch.io has effectively applied its advanced multicast technology to SRT transport to enable hundreds of broadcast-quality compressed video workflows, such as H.264 or HEVC, through a single cloudSwXtch network. Comparatively, the same volume of high-bandwidth workflows would typically require multiple separate SRT gateways to achieve the same high-quality, low-latency throughput—a substantial reduction of networking infrastructure for large-scale productions like live sports, as well as emerging virtual production workflows, the company said.

swXtch.io’s new SRTx Gateway will also support JPEG-XS, ST 2117-1 (VC-6), and uncompressed ST 2110 workflows—which SwXtch.io says is an “industry first breakthrough,” providing “exceptional value” for remote production, distribution and monitoring operations.

“SRT is the de facto standard for mobile content producers and other REMI operations due its transport reliability and ease of use,” said Brent Yates, CEO, swXtch.io. “We are advancing the possibilities of SRT’s video and audio agnostic capabilities by utilizing our proven technology to carry an array of formats, codecs and resolutions into and through the cloud in numbers never achieved, while also evolving SRT’s point-to-point connectivity into a switched protocol. It is not only highly reliable and efficient operationally, but a simple and effective drop-in replacement for multiple separate, existing SRT gateways.”

swXtch.io will also demonstrate how cloudSwXtch simplifies SRT stream configuration while offering complete observability of SRT streams through its wXcked Eye user interface. wXcked Eye provides users with a network map that populates all stream views and channel views, along with flexible parameters for how each customer configures and looks at their broadcast networks. For a customer sending SRT workflows from cameras, satellite, encoding and other sources into and through cloudSwXtch, wXcked Eye provides complete control to configure and manage the many different protocols and conversions required for reliable, scalable throughput.

The swXtch.io will demonstrate its new SRTx Gateway and other on-prem and cloud innovations from the cloudSwXtch family at Bridge Technologies (Stand 1.A71) and Microsoft (Stand 14.A70) at IBC2025.

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

BOSTON—EditShare will unveil its latest Ultimate EFS Nodes, optimized for high-performance media workflows at any scale, during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

The company will preview all NVMe (nonvolatile memory express) systems tailored for demanding 8K, VFX and DI tasks. It will feature its newest portable, rugged EFS Field, which now offers greater capacity, live ingest and secure, verified media transfer. Additional updates to the Ultimate EFS lineup will be announced at the show.

EditShare will spotlight its advancements in collaborative workflows. MediaSilo’s integration with Louper enables real-time, frame-accurate review sessions without lag, downloads or version confusion, allowing global teams to comment and approve instantly. A live Atomos camera-to-cloud demonstration will show proxy uploads directly into MediaSilo for immediate access, accelerating fast-turnaround projects.

The company will also demonstrate other integrations, including Lasergraphics 5K 16-bit DPX film scanning supporting EFS, frame-accurate NDI ISO ingest with multi-channel recording, as well as comprehensive newsroom collaboration with Octopus.

“From green performance at scale to workflow flexibility across post, production and archive, we deliver innovation shaped by customer insight,” said Tara Montford, executive vice president of sales and company co-founder. “Whether you’re scaling up, streamlining reviews or refining remote workflows, our solutions help teams move faster, collaborate better and reduce friction. We look forward to showcasing these advances in Amsterdam.”

See EditShare at IBC2025 Stand 7.A35.

More information is available on the company’s website.

BOTHELL, Wash.—The Alliance for IP Media Solutions (AIMS), Advanced Media Workflow Association (AMWA) and the Video Services Forum (VSF) have released the full schedule for the IP Showcase on the Water presentation, taking place at IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

The one-day Sept. 14 event will be held on canal cruise boats launched from Strandzuid, near the convention center. Complimentary registration is now open to reserve a seat for any of the six one-hour cruises. Each cruise will accommodate up to 35 attendees and feature two 20-minute sessions from industry experts, for a total of 12 presentations. IP Showcase partners are also sponsoring the Flint Green Line, an industry initiative aimed at promoting more sustainable travel to IBC, the group said.

Top speakers from Appear, Alpha, Netgear, DirectOut, Nextera Video, Simplexity, Matrox Video, intoPIX, Lawo, Dolby Laboratories, the European Broadcasting Union (EBU) and Grass Valley will present.

The lineup includes:

• Session 1—Hybrid Live Production Workflows and Real-World ST 2110 Deployments.
• Session 2—IP Infrastructure for IPMX and ST 2110 Networks and PKI and TLS in IPMX and NMOS.
• Session 3—NMOS-Based Systems and the Evolution of NMOS for ST 2110 and IPMX.
• Session 4—Interoperability and Video Profiles and Codec Options in IPMX.
• Session 5—Aligning Flows and Channels and Real-World Dynamic Video and Audio Metadata Deployments.
• Session 6—The Dynamic Media Facility and Media eXchange Layer (MXL).

“At IBC2025, the IP Showcase on the Water gives attendees a front-row seat to the evolution of IP media workflows,” Andrew Starks, AIMS board member and director of product management at Macnica, said. “This year’s presentations highlight key trends shaping the future of our industry—from the growing impact of the dynamic media facility to the continued advancement of IPMX and NMOS. It’s an opportunity to see how open standards are delivering on their promise of greater interoperability, scalability, and long-term flexibility across broadcast and Pro AV environments.”

Boats will depart on the hour from Strandzuid, located near RAI Amsterdam at Europaplein 22, 1078 GZ Amsterdam.

AIMS, AMWA and the VSF are also sponsoring the Flint Green Line to IBC2025. Setting out from London’s St. Pancras Station on Thursday, Sept. 11, the Green Line offers IBC attendees a low-carbon direct route to Amsterdam.

Attendees can register for the IP Showcase on the Water here.

The current IP Showcase on the Water presentation schedule is available here.

More information on the Flint Green Line to IBC2025 is available here.

ALAMEDA, Calif.—Clear-Com will show the FreeSpeak Icon beltpack, the latest addition to the FreeSpeak wireless family, its adaptable Arcadia Central Station and new enhancements for the company’s virtual intercom portfolio during IBC2025, Sept. 12-15 at the RAI Amsterdam Convention Center.

The FreeSpeak Icon beltpack, released earlier this year, delivers robust wireless performance on the 1.9 GHz band for Digital Enhanced Cordless Telecommunications (DECT). With nine programmable buttons, four-channel volume controls and Bluetooth 5.3 connectivity, it supports broadcast environments where communication clarity is critical, Clear-Com said.

The beltpack integrates easily with both the Arcadia and Eclipse HX systems, enabling large production teams to communicate with clarity and efficiency. Its intuitive interface and design make it well-suited for everything from OB vans to multistudio operations, it said.

The Arcadia Central Station serves as Clear-Com’s IP-based intercom powerhouse for hybrid wired and wireless deployments across complex broadcast operations. With the latest firmware release, Arcadia supports up to 32 V-Series IrisX panels, giving production teams greater capacity and control. The system also allows for dynamic reallocation of I.V. Port resources, meaning users can flex Arcadia configuration to satisfy their needs for specific channel requirements and broader interconnectivity, it said.

Clear-Com will also feature its virtual intercom suite, including Gen-IC, Agent-IC and Station-IC, which empower hybrid and remote teams to collaborate without sacrificing audio quality or reliability. Gen-IC will be shown with new integration options and expanded functionality. The company will also show its EHX v14 software release, which simplifies configurations and enhances IP-based communication.

Clear-Com will present Mina Sabet, head of production at TED Conferences, who will appear as a featured speaker during the IABM GEP panel, “Business Transformation—The Mediatech Buyer Perspective,” Sept. 12 at 1:30 p.m., at the IABM Hub, Diamond Lounge.

See Clear-Com at IBC2025 Stand 10.D29.

More information is available on the company’s website.

WHITE PLAINS, N.Y. —SMPTE has announced its lineup of sessions and show highlights for IBC2025, Sept. 12-15, in Amsterdam. Show visitors will find SMPTE and other show owners — the leading international bodies behind IBC — in the IBC2025 Owner Pavilion, located in the RAI Hall 8 Lobby, at the top of the escalator.

SMPTE Partner Programme Sessions at IBC2025
As an IBC2025 Partner, SMPTE will present four sessions within the IBC2025 Partner Programme. Free to attend, these sessions feature seminars from industry leaders on key topics driving change in media technology, workflows, and business models.

• Saturday, Sept. 13: 14:10 – 14:45 in E102
  Smart Workflows - Harnessing AI tools for Next Generation Content
  AI is rapidly redefining the media landscape, unlocking capabilities once thought impossible. This session delves into how modern AI systems interpret and generate multimedia content, enable richer storytelling, and automate key production processes. Take a look at the risks, limitations, and opportunities ahead.
• Saturday, Sept. 13: 14:55 – 15:30 in E102
  Securing and Standardizing Control: Inside the SMPTE ST 2138 Ecosystem
  Controlling media devices and services has traditionally been a fragmented challenge —especially in today’s hybrid infrastructures. This discussion introduces a standardized, open-source control framework that’s transport-agnostic, secure by design, and scalable from the smallest tool to the most complex production system. Experts will share insights into the Catena ecosystem, its flexible data model, and how it supports interoperability across vendors and platforms. Attendees will gain a clear understanding of the problems it solves and how it can be applied in their own workflows.
• Saturday, Sept. 13: 15:40 – 16:15 in E102
  From Classroom to Control Room: Building Careers in Media Technology
  Attracting and nurturing talent is critical for the future of the media technology sector. In this discussion, past program participants, academic leaders, and industry representatives share their perspectives on what works — and why. From forging new partnerships to identifying emerging skill sets, we’ll examine how collaborative efforts between education and industry are shaping the workforce of tomorrow.
• Saturday, Sept. 13: 16:25 – 17:00 in E102
  SMPTE Forward: New Standards, New Skills, New Communities
  With new challenges emerging across media production, distribution, and preservation, SMPTE is launching a range of initiatives to help the industry adapt. This session covers upcoming standards, including content authenticity and AI — and explores educational efforts aimed at creative and technical professionals. From community networks to immersive skills training, find out how SMPTE is creating tools, spaces, and standards to support the next generation of media innovation.

Networking Events at IBC2025:

• Thursday, Sept. 11: 11:04 – 16:15 from London St Pancras to Amsterdam Centraal
  The Green Line Media Networking Event
  SMPTE is a sponsor in The Green Line, bringing together broadcasters, technologists, sustainability experts, analysts, and journalists for a train trip that will feature networking, education, and even a pub quiz. The event will be DJed by SMPTE President Richard Welsh and Beyond Zero CEO Dee Davison.
• Sunday, Sept. 14: 16:00 – 18:00 at Stand 0.A05
  BT Media and Broadcast Drinks and Networking Event
  Please join SMPTE Partner BT Media and Broadcast for their famous drinks and networking event in the sunshine. This pleasant afternoon is an excellent time to meet with SMPTE leaders and experts to discuss the future of the organization, catch up with colleagues, and engage with other attendees in a comfortable setting. Register here.

SMPTE Representatives and Speakers at IBC2025
SMPTE President Richard Welsh, SMPTE Executive Director Sally-Ann D’Amato, SMPTE Marketing Manager Erminia Fiorino, SMPTE Standards Director Thomas Bause Mason, and SMPTE Education Director Maja Davidovic will all be at IBC2025 on behalf of the Society and available for meetings. SMPTE’s IBC Booth number is 3.A44.

WEDEMARK/BERLIN, Germany—At IBC 2025, Sept 11-15 at the RAI Amsterdam, the Sennheiser Group will showcase its audio solutions for the creation of professional media content and entertainment experiences. Visitors to stand 8.D50 in the Audio Hall will be able to see and experience the group’s audio highlights, encompassing solutions for recording, monitoring and playout, including some new launches from Neumann.

Celebrating the company’s 80th anniversary, the Sennheiser showcase plays with the fascinating contrast between historical images from Sennheiser’s rich broadcast past and the latest advances in audio technology, including the wideband Spectera wireless ecosystem and narrowband EW-DX systems.

Following on from the Sennheiser MKH 8030 figure-of-eight microphone, the company will demo the MKH 8018 stereo shotgun microphone, the latest addition to Sennheiser’s MKH series of RF condenser microphones. Providing flexibility for audio engineers, the climate-proof, rugged shotgun microphone features three switchable stereo modes: MS stereo, for step-free adjustment of spatial imaging, and wide or narrow XY stereo, which are premixed in the MKH 8018 with settings that were fine-tuned and verified in multiple user field tests. An integrated -10dB pad, broadcast-friendly frequency response of 40 – 20,000 Hz, and a compact, lightweight aluminium housing round off this exceptional pro microphone.

SoundBase Pro Audio App
Sennheiser will also host SoundBase as a guest in their booth. The company will demo its app, which they tout as the world’s first universal wireless audio management software. To coordinate a production’s wireless mics and monitors today, RF managers and monitor engineers still need to handle multiple software tools to set up the wireless brand by brand. SoundBase addresses these fragmented workflow challenges that have long plagued the industry.

Developed by audio veterans Matt Dale and Donny Kuser, the app integrates with equipment from all major manufacturers, eliminating the need to switch between multiple applications, particularly during critical production moments. It streamlines wireless coordination, centralizes communication, and enables seamless remote collaboration. https://soundbase.app/

SoundBase works with wireless systems from every major manufacturer, providing the audio team with a single, time-saving and efficient workflow

The SoundBase RF planning tool and Spectera, the world’s first bidirectional wideband wireless ecosystem, will be demoed on the Friday, Saturday and Sunday of the show:

• Spectera demo sessions at 11 a.m. and 2 p.m.
• SoundBase demo sessions at 12 noon and 3 p.m.

Visitors who cannot make it to these slots will be able to view ad hoc presentations at stand 8D50.

Hello Neumann
Also at the Sennheiser stand, Neumann will showcase its range of studio monitors in a dedicated studio area featuring a 7.1.4 immersive setup. This includes a brand-new subwoofer with multichannel bass management to be launched at IBC.

Neumann will also present a variety of its microphones, including the BCM 104 broadcast mic, capsule heads for wireless systems, MCM Miniature Clip Mics, TLM 102 and TLM 107 as well as a selection of its legendary classics, such as the U 87 Ai, U 67, U 47 fet and M 49 V. Also at the stand, the KU 100 binaural head, now in its 34th year and still the easiest way to produce stunningly realistic immersive audio, Sennheiser said.

As part of the immersive studio/OB van area, Merging Technologies—part of Neumann—will showcase the Pyramix 15 DAW, along with the Hapi Mk III modular audio interface. The desktop audio interfaces Merging Anubis and Neumann MT 48 will also be demonstrated, including recently added OSC control capabilities, allowing remote controlling fader moves and other parameter changes via third-party hardware controllers.

Running in a Ravenna AES 67 network, the studio area links to a second demo area of the Neumann/Merging showcase, which is on a Dante AES 67 network. Here, visitors will be able to experience Neumann’s new RIME plug-in, enabling immersive monitoring using NDH 20 and NDH 30 headphones.

Also demonstrated will be Merging’s state-of-the-art Ovation playout system and show sequencer. Version 11, which was recently released, introduces a bold new design with a refined dark-mode interface and streamlined usability. The updated, fully customizable mixer, panner, and renderer allows users to tailor busses, strips, and aux channels to any workflow—whether for stereo, multizone, or immersive formats.

AMBEO 2-Channel Spatial Audio
Delivering immersive audio experiences without segmenting the audience or complicating the signal chain remains a key challenge for live broadcasters. The AMBEO 2-Channel Spatial Audio live renderer solves this issue by enabling real-time rendering of immersive content into a stereo-compatible AMBEO format. The two-channel output retains spatial depth and localization cues, optimised for playback on any stereo system, and improves voice intelligibility—no additional decoding or hardware required.

Powered by proprietary immersive audio algorithms, AMBEO generates a hardware-agnostic, downstream-compatible signal that preserves the creative intent and immersive quality of the original mix. Broadcasters and streaming providers can maintain the stereo delivery path while offering a significantly enhanced listening experience.

Visitors can experience this technology embedded on a Merging ANUBIS device, showcasing low-latency performance and seamless integration into existing live production workflows.

Sennheiser will be in Stand 8.D50 in the RAI Amsterdam.

STOCKHOLM, Sweden—Accedo, a global provider of video streaming software and services, is launching identity management functionality for its Accedo One SaaS platform and will showcase it during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

Accedo One supports user registration and authentication, something previously only possible through third-party integrations. This function makes it easier to manage registration and authentication on a single platform.

“Identity management is a critical building block for any video service. By bringing it natively into Accedo One, we are making it easier than ever for our customers to manage their subscribers, helping them to build, scale and evolve their video services,” Accedo CEO Markus Hejdenberg said.

The upcoming subscription management suite will enable media companies to manage the full subscriber life cycle within Accedo One—from sign-up to billing, retention and churn management. Accedo One will continue to support integrations with external partners in the identity and subscription space, giving customers the option to choose the solution that best fits their strategy, the company said.

See Accedo at IBC2025 in Stand 5.F80.

More information is available on the company’s website.

There are two ecosystems coexisting in entertainment: one for millennials and younger; another for Gen X and older, so says “media universe cartographer” Evan Shapiro.

Shapiro will be one of the speakers at this year’s IBC Conference (set for Sept. 12-15 at the RAI Amsterdam in Amsterdam), where he will discuss what he describes as the media industry’s “widening generation gap” and promises to offer a “clarion call” for the radical realignment of “big media.”

“Media is approaching the landing strip of ‘The New Normal’, where creators are the world’s biggest stars; content travels across both social and mainstream media; and where new models will make for very strange and unusual bedfellows; and all economics in media run on the rules of the ‘Creator Economy,’ ” Shapiro said.

“I will share data and insights that show everyone how to not just survive in this new era, but thrive in the new media world order.”

Other key highlights of this year’s conference include speakers and panelists from nontraditional media brands such as Snap, TikTok and YouTube, as well as global giants such as Netflix, Paramount Global and Walt Disney Studios. The event will also include speakers from ITV, Channel 4, Sky Deutschland, Warner Bros Discovery and ProSiebenSat.1.

“At a time when media’s traditional borders are dissolving, the IBC Conference is where the entire global industry gathers to make sense of it all,” said Sally Watts, head of content for IBC. “Our 2025 program reflects the urgency, experimentation, and imagination defining the sector—with a dynamic speaker line-up that spans social platforms, broadcasting giants, global streamers, major studios and infrastructure innovators.”

The IBC Conference will also include 10 sessions covering the IBC2025 Technical Papers Program, which tackles real-world challenges across the broadcast and digital media ecosystem. This year’s papers cover:

• Sports—AI, AR and 5G.
• Streaming—low latency and multisource.
• Future of broadcasting—5G Broadcast and Brazilian TV3.0.
• Advances in wireless technology—6G Media and 5G for PMSE.
• AI in postproduction.
• AI in content curation.
• AI in speech.
• IP Studio 2.0—live production.
• Provenance, authentication and privacy.
• Advances in video—AI encoding, avatars and immersivity.

A full list with more details on the sessions and speakers in the Technical Papers program is available at show.ibc.org/conference.

This article originally appeared on TV Tech sister brand TVBEurope.

MONTREAL—Grass Valley will bring its Grass Valley Media Universe (GVMU) to IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center, with major new innovations that cover every stage of the media production workflow.

Alongside its GV Alliance partners, the company will demonstrate end-to-end solutions used by media organizations worldwide.

The company will showcase core products such as the newly updated Karerra and K-Frame VXP production switchers and the refreshed LDX-100 series camera range, including the new LDX 180 Super 35 system camera, as part of the broader GVMU ecosystem.

Fresh from its launch at NAB Show in April, the LDX 180 camera will make its European debut in Amsterdam. Leveraging an in-house-developed 10K Super 35 Xenios imager, the new camera combines true cinematic depth of field with the speed and precision required for live production, giving media companies the ability to redefine storytelling with native UHD output. Grass Valley will also preview a new addition to the LDX portfolio exclusively at IBC2025, Grass Valley said.

Grass Valley will also show the K-Frame VXP production switcher and Karerra V2 control panels, which debuted at IBC2024 and are now available. The virtualized systems are designed for production teams working in space- and budget-conscious environments, it said.

Debuting at IBC2025 is a new networking portfolio that seamlessly connects traditional SDI and IP workflows whether used as a high-density gateway or as a bridge to the AMPP GRID fabric. It delivers scalability, density and efficiency for virtualized workflows.

GVMU’s ability to orchestrate the entire production chain—from first cue to final cue—will be demonstrated by major new developments in integrated replay and end-to-end production automation.

Alongside upgrades to the LiveTouch X replay system and the Framelight X ingest and content management platform, Grass Valley will showcase how the core capabilities of AMPP OS are providing tightly integrated workflows that reduce effort, increase flexibility and deliver measurable efficiency, the company said.

The company will also showcase its instantly deployable playout and FAST offerings that provide media organizations with the tools to launch, adapt and scale. These solutions were developed in close collaboration with key GV Alliance partners, it said.

See Grass Valley at IBC2025 Stand 9.A01.

More information is available on the company’s website.

At the 2025 IBC Show at the RAI Amsterdam, Sept. 12-15, Lawo and Italian-based broadcast systems integrator ARET Video & Audio Engineering will showcase a new demo OB truck that combines cutting-edge ARET coachworx exclusive Box over Box technology and will be “a showroom of advanced video and audio technology,” the companies said.

The new OB trailer, currently under construction at ARET’s Milan facility, will be presented to the public for the first time at IBC 2025. The truck will showcase samples of next-generation Lawo IP technology designed to redefine mobile production standards, the companies said. At booth 8.B90, Lawo will present its full portfolio of IP-native broadcast solutions, including the HOME platform for broadcast infrastructure management, the mc² audio production console series, the A__line and Power Core audio interfaces, and the flexible VSM control and orchestration system—technology that powers both broadcast studios and OB units around the globe.

Brand new, and ready to start system integration, it will make its debut on site in Amsterdam, giving visitors a firsthand look at what will soon be “one of the most modern OB trucks roaming the world,” according to the companies.

With support for up to 34 UHD cameras, hybrid 12G-SDI/IP workflows, and full UHD HDR production capability, this 14-meter (46-foot) mobile unit is built to perform under the most demanding production and environmental conditions. It also offers a rare “box-over-box” expansion on the left side and one wide traditional “box-in-box” expansion on the right, creating three acoustically optimized and fully separated workspaces for video shading, production, and audio.

Lawo’s IP-native audio and control systems form the technical backbone of this high-end production vehicle. The audio control room is centered around a 64-fader mc²56 audio production console, a top-tier mixing surface designed for agile operation in complex environments. With full native support for SMPTE ST 2110, AES67/RAVENNA, MADI, and Dante, the mc²56 delivers maximum format flexibility. The console is driven by redundant A__UHD Core engines, each offering 1,024 fully processed DSP channels, ultra-low latency, and full support for immersive audio workflows such as Dolby Atmos—making the system future-ready for evolving production demands.

Complementing the mc² system is a Lawo Power Core, which acts as a high-density gateway between IP and baseband audio, while also providing additional DSP resources and I/O expandability. The modular nature of Power Core ensures easy adaptation to any future changes in workflow or signal format.

For control and orchestration, the OB trailer will be equipped with Lawo’s Virtual Studio Manager (VSM)—the industry’s most powerful control system for IP-based broadcast infrastructure. VSM enables unified routing and control of all signal types and devices across video, audio, intercom, and multiviewers. With customizable touch GUIs, logic-based automation, and snapshot-based reconfiguration, VSM gives operators complete control and maximum flexibility, reducing downtime and ensuring operational continuity in fast-paced production environments.

“Lawo technology provides a perfectly integrated and highly flexible IP backbone for this complex project,” says Alessandro Asti, Vice President Sales at ARET. “From the mc²56 console to the A__UHD Core and Power Core, the Lawo infrastructure allows us to build a scalable, future-ready audio environment with full format compatibility, superb sound quality, and rock-solid reliability. Combined with VSM control, and thanks to the great support of Lawo HOME in IP environments we are able to offer a highly adaptable system that’s easy to operate and quick to reconfigure for different production needs.”

To ensure uninterrupted performance even in extreme temperatures and weather conditions, the trailer is equipped with a high-capacity, multi-zone HVAC system and advanced airflow design. Every element of the unit—from coachbuilding to systems integration—has been engineered and tested by ARET in-house, ensuring consistent quality and end-to-end accountability.

The truck will be located at outdoor position 0.A07 at the RAI Amsterdam during the show.

LONDON—IBC has unveiled the finalists for the IBC2025 Innovation Awards, recognising collaborative projects that address real-world challenges and deliver transformative innovation across the media, entertainment and technology landscape. The IBC Innovation Awards span five categories – Content Creation, Content Distribution, Content Everywhere, Social Impact, and Environment & Sustainability – honouring innovators in technical excellence and social progress together in one unified celebration of global industry advances.

“We are very grateful indeed to our panel of judges for their wisdom and insight in choosing our shortlists as the standard of entries, from all around the globe, was so consistently high this year,” said Fergal Ringrose, Chair of the 2025 Innovation Awards Jury. “Innovation never sleeps, and this year we can clearly see an evolution away from technology lurches enforced by the COVID-19 pandemic period towards greater refinement of innovation across the electronic media content creation, distribution and consumption ecosystem, often driven by advancing AI, hybrid and cloud-enhanced workflows.” (Jenny Priestley, Content Director for TV Tech sister brand TVBEurope is on the judging panel.)

The winners of the IBC2025 Innovation Awards will be announced on the main stage of the IBC Conference in the RAI Amsterdam at 1800 CEST, Sunday, Sept. 14.

Here are the 2025 Finalists

Content Creation:
MBC, Pixtree and SK Telecom for AI-assisted remastering – Commercialization of a generalized AI-based video remastering system for Korean terrestrial broadcaster MBC, working with partners Pixtree and SK Telecom.

IP-based multiviewer editorial workflow for Paris 2024 – For NBC Olympics' gymnastics coverage at Paris 2024. Over 60 live sources captured the action with a mosaic-based editorial workflow. In collaboration with Avid, EVS and NEP.

Deep Ocean: Kingdom of the Coelacanth – Produced by NHK Japan, in co-production with ZDF/ARTE and OceanX, in collaboration with CMMAI, captured in 8K and 22.2 sound the world’s first-ever video footage of a group of coelacanths. Technical support was provided by GOTO Aquatics, SGO and Restar.

Content Distribution:
Crunchyroll Anime Awards localisation and distribution – Tokyo event went live to the global anime community combining dubbing studios and scalable live streaming. In partnership with Amagi, AWS, Bridge Digital and Pixelogic.

Sky's MediaMesh, a transformation of large-scale, software-defined, broadcast operations – Sky Group integrated with the systems and workflows of broadcasters across Europe to deliver an API-driven, cloud-native, modular platform. With AWS, SDVI, Telestream, and TMT Insights.

OBS hybrid streaming delivery for Paris 2024 – Olympic Broadcasting Services, with Alibaba Cloud, transformed live sports streaming by combining a traditional pipeline with a direct, cloud-based path from venue to viewer.

Content Everywhere:
Claro tv+ and Omni Devices unify football passion – With a remote control featuring a button with the user’s favourite team crest, taking them directly to a live game across any channel or app. Technical support: Gracenote and Teleidea Middleware.

SVT-AV1: Alliance for Open Media, Intel and Meta – Made video streaming viable on low-end mobile devices and low-bandwidth networks, via development of decoding-aware mode of the SVT-AV1 software encoder.

Pilipinas Live Shorts’ vertical infinite-scroll featuring UGC – Created by OTT streaming platform Cignal and powered by Quickplay Shorts along with Twelve Labs, it uses AI to identify, clip and reformat VOD and Live-to-VOD content while also incorporating UGC into the shorts’ feed.

Social Impact:
Neurodiversity mentoring programme – Media Talent Manifesto is leading a pioneering global initiative supporting neurodivergent professionals in the media and broadcast sector. Supporters include Deluxe, Molinare and Vizrt.

Amplifying riverside voices in the Amazon – SOUV from SNEWS enables newsrooms to receive real-time content from underserved regions through mobile contribution. In partnership with Rede Amazônica.

Empowering citizen advocacy and social justice through technology – The Mobile Justice app, developed with the American Civil Liberties Union, enables citizens to document law enforcement encounters in real-time and upload evidence for review. Technical partners are Jotto, Quadrant2 and Wowza.

France Télévisions pioneers transparency and trust in journalism – In partnership with Dalet, the broadcaster is the first in the industry to implement a C2PA-enabled content authentication in its daily workflow for the Journal de 20h newsroom.

Environment & Sustainability:
Evoke 5000B – For film and TV lighting by Nanlux. Delivers a similar output to a 20,000W tungsten light from a 5,000W LED draw. It reduces energy use by approximately 75%, with battery support. Sustainability is also at the core of the production process.

Energy-Efficient UHD Upscaling with NPU Acceleration for Sustainable IPTV Service – Korea’s SK Telecom, with Pixtree, developed an NPU-based live UHD upscaler and integrated it into SK Broadband’s IPTV service (Btv) live channels, serving 6.7 million subscribers while achieving 80% energy reduction and preventing 3,728 tons CO₂eq emissions annually.

Green Film Shooting – An independent initiative in Germany for the film and media industry to spread word via its platforms about innovative solutions that help to increase energy efficiency, save resources and cut carbon emissions.

The IBC2025 Awards ceremony will also feature the presentation of the IBC International Honour for Excellence, which recognizes outstanding contribution to the industry, and the Best Technical Paper, drawn from the peer-reviewed papers presented at the IBC Conference, Sept. 12-14.

At IBC2025, Sept. 12-15 at the RAI Amsterdam, Moments Lab will unveil its new Discovery Agent, an AI-powered research assistant for video production teams. Offering a natural language, chat-style experience, the Discovery Agent helps users locate precise clips, quotes, or scenes from their media library in seconds, without the need for vague keyword searches or technical know-how.

"You can think of our Discovery Agent as your personal research assistant, one who can remember every single video in your archive," explained Moments Lab co-founder and CEO Phil Petitpont. "The Discovery Agent is powered by our AI indexing technology, MXT-2. Just tell the agent what you're looking for and it instantly returns the best selections from your video library. One of our beta clients even referred to it as a 'significant life improvement' for their team."

Moments Lab will also showcase the newest features in its award-winning multimodal AI indexing technology MXT-2, which understands and describes videos like a human. Available on the Moments Lab platform or via its public API, MXT-2 features Custom Moments, time-coded shot descriptions of key video moments that can be tailored to users’ needs. The MXT-2 Custom Insights feature automatically generates text of any length (titles, descriptions, articles) and can classify content by specific parameters.

Moments Lab solutions enable organizations to:

• Centralize, index, and sort videos automatically with AI
• Search, discover, and repurpose content at scale
• Share and distribute media files to key partners
• Commercialize media libraries via a cloud-based marketplace

On Saturday, Sept. 13, Moments Lab CTO Fred Petitpont and Richard Yu, chief product officer at LucidLink, will discuss how their AI video search, data access, and collaboration technologies power a real-time workflow for Brut–Europe’s leading media brand known for its short-form video content–at the Cannes Film Festival. The presentation will take place at 4:00 pm, IBC Showcase Theatre, Hall 8.

Moments Lab is a proud participant in the 2025 IBC Accelerator Programme project: AI Assistance Agents in Live Production, championed by ITN and BBC, in a proof-of-concept aimed at deploying the Video Discovery Agent in live news workflows and integrating it with other production tools.

Moments Lab will be in Stand #7.C22.

SUNBURY-ON-THAMES, U.K.—Shotoku Broadcast Systems will showcase its SmartPed fully robotic pedestal working in concert with an enhanced version of SoftRail, the company’s system that merges the path-following capabilities of a physical rail system with the total freedom of a free-roaming pedestal, during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

Together, SmartPed and SmartRail offer the benefits of a rail system with the ability to switch instantly to full X/Y roaming.

The company will also demonstrate its TR-XT control system and AutoFrame presenter tracking with upgraded functions designed to streamline day‑to‑day workflows. A full lineup of Shotoku’s pan and tilt heads, including the TG‑27, TG‑47, TG‑18i and TI-12, TI-11 height drives, together with control systems designed for broadcast, legislative and pro AV applications, will be on display.

“Our customers are at the heart of everything we do,” Shotoku managing director James Eddershaw said. “Every new feature we bring to market starts with feedback from the people using our systems day in, day out. That same dialogue drives the development of our future products, too, ensuring we’re not just meeting today’s needs but shaping tomorrow’s workflows.”

At the center of the stand, Shotoku’s SmartPed will be shown working seamlessly with SoftRail. The combination delivers the smooth, predictable movement of a rail system when a fixed path is needed while retaining the freedom to roam anywhere in the studio on-demand.

SoftRail has been enhanced with Branch Lines, a new feature that gives operators unprecedented flexibility in addition to advanced rail design and editing tools. Operators can switch instantly between guided rail operation and unrestricted X/Y movement.

The latest TR‑XT touchscreen control system with its StudioView interface gives operators a live map of the studio with safety zones, live status of all robotics and direct access to key features like AutoFrame.

Shotoku’s AutoFrame face‑tracking system now advances precision and flexibility with Framing Presets, which allow operators to recall a perfectly composed shot at the press of a single button.

See Shotoku Broadcast Systems at IBC2025 Stand 12.F47.

More information is available on the company’s website.

At this year’s IBC show in Amsterdam, Sept. 12-15, Lawo will showcase a forward-thinking portfolio of innovations that enables broadcasters to build agile, scalable, and highly efficient production environments. From infrastructure management and virtualized DSP to user-centric control solutions and software enhancements for radio and TV production, Lawo is providing the tools to shape the next generation of media workflows.

Visitors can also look forward to the launch of Lawo’s 15^th HOME App and the announcement of significant upgrades to the VSM workflow control system.

Dynamic Media Facility (DMF)
Lawo’s implementation of the EBU’s Dynamic Media Facility initiative will be on display for the first time in Europe. This highly agile installation hinges on a generic-server cluster that is controlled via four buzzer-style buttons to change the technology stack as and when necessary, with a single press.

Each of the three selectable example setups consists of an optimized mix of HOME Apps with assorted configuration settings. Highlighting the power of Lawo’s VSM workflow control system and the HOME Apps universe, this is a must-experience.

HOME 4.0: Scalable, License-Efficient Infrastructure Management
At the heart of this year’s presentation is HOME 4.0, the latest evolution of Lawo’s IP-native management platform for broadcast infrastructures. HOME 4.0 introduces major architectural refinements and a simplified licensing model designed to meet the operational and financial realities of today’s dynamic facilities.

With the introduction of HOME Passes—lightweight licenses required for each actively managed device or app—broadcasters gain precise control over infrastructure costs. The HOME platform itself is now free of charge; only devices managed within the system require a pass. HOME Passes are available as permanent licenses or through Lawo’s FLEX subscription credit model, ideal for event-based or variable workflows.

The new approach ensures that infrastructure grows organically with operational needs, reducing overhead in smaller setups while providing unlimited expansion potential as operations scale, the company said. All newly purchased HOME-native Lawo devices and software products include the required HOME Passes, ensuring immediate onboarding and reducing administrative effort. For existing installations, a seamless upgrade path is available.

.edge with More Power and Flexibility
With no fewer than 11 freely selectable firmware images, system software v3.2 for .edge helps users combine cutting-edge gateway functionality with processing right at the network’s edge—simultaneously. In light of all the championships where .edge has become the staple SDI/IP gateway linking venues to the IBC, users are now able to leverage JPEG-XS encoding/decoding alongside essence transport, as well as SDI<>IP and IP<>IP processing such as color correction, frame synchronization, 3G UHD Gearboxing, and more.

With the highest 3G port density per rack unit in the industry, .edge provides long-term usage flexibility and future proofing. In conjunction with Lawo’s HOME platform, .edge enables intelligent multiviewer heads based on proxy feeds it generates and the Dynamic Receiver parameter setting in the HOME Multiviewer app to ensure that each PiP/tile uses the smallest possible picture resolution at the highest quality.

Lawo Workspaces
In parallel, Lawo will launch Lawo Workspaces, a game-changing addition to the HOME ecosystem. Designed for ultimate accessibility and mobility, Lawo Workspaces bring intuitive HTML5-native user interfaces to Lawo’s modular, microservice-based HOME Apps. These Workspaces allow operators to access broadcast-grade tools from any device with a modern web browser – be it a laptop computer, tablet, smartphone, or even an augmented-reality headset.

The interfaces are fast, secure, and entirely platform-agnostic, making them ideal for distributed production teams, control room staff, and remote operators. Security and media flow encryption are handled natively by the HOME framework, ensuring that even browser-based workflows meet the highest standards of professional broadcast.

HOME Power Core
In a major step toward fully virtualized radio operations, Lawo officially launches the new HOME Power Core app. This software-only version of the proven Power Core hardware unit is designed for IP-based broadcast environments where flexibility, footprint, and scalability are paramount. It supports the same powerful real-time mixing, routing, and monitoring capabilities as its hardware counterpart and is fully compatible with Lawo’s crystal, diamond, and crystal Clear mixing consoles.

The app runs on standard COTS servers and is available in three instance sizes—Compact, Large, and XL—allowing precise matching of DSP power to operational requirements. The HOME Power Core app supports RAVENNA/AES67, ST2110, Dante*, NDI*, and SRT* formats natively, making it a highly versatile tool for modern talk radio, visual radio, and live webcasts.

Integrated transcoding and stream management ensure that all audio sources—whether from physical Power Core units, A__line stageboxes, .edge interfaces, or third-party devices – can be dynamically connected, monitored, and processed. Like all HOME Apps, HOME Power Core supports perpetual licenses and FLEX Subscription credit-based activation for maximum deployment flexibility.

(*) Future product developments.

HOME Apps Keep Evolving
Lawo HOME Apps keep evolving on an almost monthly basis to expand and complement their feature set, minimize latency, etc. Microservice-based HOME Apps seamlessly migrate to servers with ever more CPU cores, allowing more apps and instances to run on the same server, with support for 400Gbps and 200Gbps fabrics.

mc² Software Release 12.2.0
Beyond infrastructure and control, Lawo also showcases significant software enhancements for its mc² audio production consoles. The new 12.2.0 software release brings a host of additional productivity features and workflow refinements to the mc² mixing platform. These include enhanced integration with VSM workflow control systems through Audio Matrix Control via the HOME API, enabling tighter, more responsive routing operations.

Channel Display management has also been improved with the ability to select up to three different Mini Displays per screen for more at-a-glance information. A newly introduced standard 7-Band EQ module now includes three dynamic bands, offering more detailed and precise audio shaping, especially in demanding live environments. Furthermore, fader user buttons now allow operators to switch banks and layers directly from the fader panel, reducing navigation time during live productions.

Radio Software Release 8.2
Radio broadcasters will find the new Radio 8.2 software release equally compelling. Among its standout features is the introduction of the 96kHz XL License, which brings enhanced DSP capabilities to Lawo’s radio consoles, along with switchable compressor modes that can operate in either automatic or manual settings.

VisTool, Lawo’s powerful GUI design and control software, has also been enhanced. New features include the expansion of the source assignment module, direct text input fields for faster configuration, improved touch handling, and refined visual feedback mechanisms for touchscreen operations. Together, these updates significantly boost usability and streamline both setup and live operation in radio studios of all sizes.

Lawo will be in Booth 8.B90 in the RAI Amsterdam.

NEW YORK—Former executives from Vizrt and Disguise announced today the launch of Emergent, an AI- and data-driven technology and services company that will offer AI-enabled content creation solutions, interactive experiences, and immersive creative services to the media and entertainment industry. The company will make its public debut at IBC2025, Sept. 12-15 at the RAI Amsterdam.

“Emergent was founded on the belief that the future of media lies in intelligent content—driven by AI, informed by context, and delivered at the right moment to the right audience,” Emergent CEO Grig Mindlin said. “Our tools and services solve the complexity behind today’s production environments, giving creators, producers, and technologists the power to move faster, think smarter, and tell unforgettable stories.”

The company offers two product/service offerings:

Emergent Solutions will deliver enterprise-grade AI-enhanced solutions for media production, sports and news events, and immersive environments. Solutions is designed to reduce production costs, accelerate workflows and turn fragmented data into clear, real-time intelligence, the company said, by automating tedious tasks or enhancing audience engagement through personalized content.

Emergent Studio is a team of designers, technologists, and storytellers that provides creative and integration services to bring AI-powered content workflows and visualization to life. The multidisciplinary team helps customers design, deploy and scale creative projects and AI solutions, from strategic consulting and concept design, to installation and managed services.

The founding team includes:

• Grig Mindlin, CEO, a media-tech founder with two successful exits and leadership stops at Vizrt, Acision, Polygon Labs (acquired by Disguise), and Disguise. He is known for driving innovation that scales—and teams that love the work.
• David Jorba, CBO, a media tech executive with extensive experience in business development, growing revenue, and scaling global SaaS and services businesses. His leadership roles brought commercial success to Vizrt, TVU Networks, as a partner at Polygon Labs, and Disguise—driving go-to-market strategy, and international expansion.
• Miguel Yabrudes, CCO, an Emmy Award–winning creative leader behind groundbreaking visualization and creative technology projects for the Olympics, World Cup, and major broadcasters. He has held executive roles at Disguise, Polygon Labs (co-founder), and Vizrt, blending storytelling and innovation to shape the future of live media.
• Wilson Li, CTO, a technology architect with over 15 years of experience designing cloud-native platforms, AI pipelines, and large-scale data simulation systems. Formerly Head of Engineering and partner at Polygon Labs, he previously led advanced R&D initiatives at Vizrt, Lockheed Martin and Raytheon.

“The market is demanding smarter, faster, and more efficient content solutions, and Emergent is built to meet that challenge head-on,” said David Jorba, Chief Business & Strategy Officer at Emergent. “Our team understands the challenges of modern production and that's why we’re focused on empowering media organizations with the tools, strategies, and services to build the creative power they need to compete and thrive.”

At IBC, Emergent execs will be in Stand 1.D29 with one of their partners, ROE Visual.

THATCHAM, U.K.—Leader Electronics of Europe will highlight its ability to provide test and measurement equipment regardless of format, application or market during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

Leader will showcase solutions from its PHABRIX and LeaderPhabrix brands, including the LPX500 multichannel 4K waveform monitor and the ZEN-W Series advanced analyzers for the production market. It also will show the LT4670 sync pulse generation and NDI Checker, an NDI signal troubleshooting and monitoring software solution, the company said.

The LPX500 is a four-simultaneous-input waveform monitor with 100G-IP and 12G-SDI toolsets. Its feature set includes: simultaneous display of four 4K inputs, 4K and 2K inputs, HDR and SDR inputs, or SDI and IP inputs; optional extended 8-inch touchscreen; multiple screen layouts; and advanced an SDI Physical Layer Analysis (Eye and Jitter) option with support for SD/HD/3G/6G/12G-SDI.

Its new V1.1 software release will be demonstrated on the stand, adding 10G/25G/100G IP interfaces with SMPTE 2022-6, SMPTE ST 2110-10/20/20/31/40 with ST 2022-7, and AMWA NMOS. Optional software licenses are available supporting UHD/4K, HDR, 25G IP, 100G IP, EUHD (47.95-60p RGB YCbCr 444 formats) and SDI/IP AV test signal generation, it said.

The ZEN-W Series of advanced analyzers incorporates the Real-Time Communications (WebRTC) interface, enabling secure remote control and monitoring from a web-connected desktop or laptop computer. The series consists of two products: the LV5600W waveform monitor, which is a 3U high half-rack-width unit with an integral 7-inch touchscreen; and the LV7600W rasterizer, occupying a compact 1U and providing SDI as well as TMDS monitor outputs, Leader said.

The company will also show its LT4760 sync-pulse generator for broadcast applications. The unit is suitable for the full spectrum of SDI, IP and hybrid workflow requirements. The 1-rack-unit, full-rack synchronous signal generator is compatible with Black Burst/tri-level sync/PTP signals for both SDI and IP systems. It outputs PTP, GNSS, 4K/HD IP, 4K 12G, 3G/HD/SD SDI, analog synchronous signals, AES/EBU, audio word clock and LTC synchronized to analog video sync signals, it said.

Leader’s NDI Checker signal software is designed to troubleshoot and monitor NDI signals. It enables complete visibility across NDI networks. Visualization tools and diagnostic capabilities allow for the detection of issues before they become problems and for the maintenance of optimal signal quality and flawless production delivery, the company said.

“The extent to which broadcast is now a truly hybrid workplace in terms of its core technologies was underlined throughout last year’s IBC,” Leader CEO Hiroshi Kajita said. “With migration towards IP continuing to accelerate as we head toward IBC 2025, we look forward to presenting a range of T&M products that exemplifies our ability to support customers regardless of their current workflow needs or stage of business transformation.”

See Leader Electronics of Europe in IBC 2025 Stand 10.C01.

More information is available on the company’s website.

CHAMPAIGN, Ill.—Cobalt Digital is heading to IBC 2025 with an expanded lineup of IPMX-compliant products and solutions that highlight its simple plug-and-play approach to SMPTE ST 2110.

Cobalt will showcase its lineup of converters, encoders, audio monitors and multiviewers available in a variety of form factors, ranging from openGear cards to standalone units, all designed to reduce complexity without compromising performance.

“Our IBC lineup is all about flexibility and scalability,” Suzana Brady, senior vice president of worldwide sales and marketing at Cobalt Digital, said. “Whatever our customers need—whether it's SDI, IP or compressed formats—our solutions are designed to integrate and adapt.”

At IBC, Cobalt will debut two new models within its SAPPHIRE BBG-2110 compact mini converter series: the SAPPHIRE BBG-2110-4Hi/4Sio and SAPPHIRE BBG-2110-2Hi2Ho/4Sio. Both IPMX compliant models feature HDMI inputs and the latter features two bidirectional signal paths.

Engineered for demanding workflows, these whisper-quiet SAPPHIRE devices deliver low-latency IP conversion with support for 10G/25G Ethernet, audio sample rate conversion and asynchronous audio mixing.

The company will also show its PACIFIC 9992-ENC flexible MPEG-2/AVC/HEVC encoder, which is now fully supports ST 2110-20 (baseband) and an ST 2110-22 option for JPEG-XS video. The encoder can be directly deployed in an IPMX facility for local encoding, low-latency internet transport using RIST or in traditional ASI workflows without having to deploy separate gateway devices.

Capable of handling up to four signals up to 1080p60, or one 4K signal, each channel can be individually selected between SDI and ST 2110. The card also allows for full asynchronous operation (IPMX-compatible) or IPMX operation via Cobalt’s INDIGO 2110-DC-02 factory-installed option for SMPTE ST 2110. This flexibility enables users to mix SDI, ST 2110 and IPMX feeds within a single platform.

Cobalt also will introduce a new base model of its ARIA AUD-MON audio monitor with a single-button interface for ultra-simple operation. The new model complements existing units, supporting the same input options, including: 2xSDI up to 12G or MADI, 2 SFP for SDI over fiber, AES, balanced analog audio and GPI for automation.

The company also will showcase the ARIA OG-AUD4-DANTE bidirectional audio embedder/deembedder router card with 12G, SDI, MADI, AES and Dante inputs and outputs.

Cobalt also will show its UltraBlue MV-SW Multiviewer with multiple new features. This software-based multiviewer supports all of the compressed flavors and uncompressed IP/SDI inputs and scalable output options, allowing the multiviewer to evolve alongside customers’ requirements. UltraBlue is also available as a turn-key server and features support for receiving audio/video content over IP across a variety of protocols and formats with flexible audio routing, bringing a multitude of options to suit every application.

See Cobalt Digital at IBC 2025 Stand 8.D83.

More information is available on the company’s website.