AMSTERDAM—TVU Networks and vivo have unveiled TVU Pocket, a phone-sized broadcast device that packs with a complete studio.

The device was launched during the just completed IBC 2026.

With TVU Pocket, there is no app to download and no rig to assemble. Simply turn it on and go live. Purpose-built for live production rather than everyday smartphone use, TVU Pocket combines vivo’s imaging hardware with TVU’s broadcast transmission and cloud production technology.

Features include:

• Connectivity no phone can match. Most phones hold two SIMs but use one at a time. TVU Pocket runs both at once: dual active SIMs on two independent 5G carrier networks as well as dual active Wi-Fi bands: four live data paths carrying the stream in parallel, not failing over one at a time.
• TVU One technology, pocket-sized. Fusing those four paths into one resilient stream is the most advanced and proven bonding technology: TVU’s patented ISX (Inverse StatMux Plus), the same transmission engine that powers TVU One.
• Deliberately versatile. TVU Pocket offers a broadcast camera, a bonded transmitter and a production toolkit in one. It captures 4K to 480p at 25–60fps with manual ISO, shutter speed and exposure and layers on split-screen output, background keying, URL/HTMLs/GPS overlays, one-tap social simulcast, video return, TVU Partyline intercom, TVU Anywhere remote control and Time Lock sync. External gear from Accsoon, DJI (including Osmo series) connects directly. Capture breaking news, stadium sports and creator content as a solo unit or one camera among many, it adapts to the job.
• Cloud-connected. Every feed enters TVU’s cloud production ecosystem, so one field unit can be scaled to power a full remote production workflow.
• Built on a custom-edition vivo flagship. Dual-5G aggregation is exclusive to this co-engineered edition, whose ZEISS primes (14mm, 35mm, 85mm) cover the establishing shot, the interview and the distant subject. Optional ZEISS teleconverters reach 200mm and 400mm (full-frame equivalent), and that reach and its stabilization carry into the live feed for concerts and stadium sport.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Access our complete IBC2026 coverage here.

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

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

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

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

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

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

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

Additional awards previously announced and presented at the event included:

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

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

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

Here are this year’s winners:

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

AMSTERDAM—Chyron has partnered with Matrox Video for key presentations at IBC 2026 and is using several Matrox Avio 2 IP KVM extenders as part of its demonstrations.

“We work selectively with a number of vendors to create best-in-class solutions for important proof-of-concept and trade show presentations," said Jason Awerman, senior director of global customer success, IT and manufacturing at Chyron. “We are delighted to include Matrox Video in our portfolio of trusted partners. Matrox Video is known for the things that are important to Chyron customers, including true interoperability and a scalable architecture.”

Chyron is showing multiple solutions at its stand, including live-to-air graphics, HTML graphics, illustrated replay, virtual placement, weather presentations, venue display control, sports tracking, desktop-to-air tools, newsroom integration, maps and charts creation and virtual sets.

It is using several Matrox Avio 2 IP KVM extenders to enable seamless transitions from one demonstration to another. Designed for broadcast and live production environments, Avio 2 gives operators responsive access to production systems while allowing those systems to remain centralized and shared. Support for IPMX, SMPTE ST 2110 and NMOS enables Avio 2 to integrate into standards-based broadcast IP environments rather than operating as a separate KVM infrastructure.

“We’re excited to work with Chyron to bring Avio 2 into more broadcast production environments,” said Alberto Cieri, senior vice president of sales and marketing at Matrox Video. “Together, we’re combining Chyron’s proven production solutions with open, standards-based IP KVM that gives broadcasters more flexibility in how operators access and control the systems they rely on.”

The ongoing IBC 2026 concludes on Sept. 14.

See Chyron at IBC 2026 stand 7.A23 and Matrox Video at stand 7.B15.

More information is available on the Chyron and Matrox Video websites.

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

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

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

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

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

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

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

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

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

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

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

See Ikegami at IBC 2026 stand 12.A31.

More information is available on the company’s website.

AMSTERDAM—Ross Video has announced that TV Skyline, one of Germany’s leading providers of broadcast and media services, has become the world’s first customer for Ross’ new Ultrix FR30, which the company is launching at IBC2026.

"As existing Ultrix users, we've seen firsthand how transformative the platform can be.” Says Wolfgang Reeh, founder, owner and CEO of TV Skyline. “TV Skyline operates multiple Ultrix systems today, and the combination of routing, audio and video processing, and production switching within a truly software-defined ecosystem has proven to be a major advantage for our outside broadcast productions. With the new Ultrix FR30, Ross is enabling us to scale these efficiencies even further and support increasingly complex productions with greater confidence and operational agility."

The Ultrix FR30 is a high-capacity, hyperconverged routing and signal-processing platform, offering up to 576 UHD inputs and outputs in a single frame. It brings routing, processing, production switchers and infrastructure together to help production teams simplify workflows, maximize space, and prepare for future growth.

"TV Skyline has been a valued partner for many years, and we're proud to see their continued investment in the Ultrix platform,” added Steffen Buschmann, regional sales director, Northern Europe at Ross Video. “Their decision to adopt the new Ultrix FR30 reflects not only the strength of our relationship, but also the tangible operational and production benefits Ultrix delivers to their outside broadcast workflows."

Discover the new Ultrix FR30 here.

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

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

Highlights of the solutions and technologies on display include:

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

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

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

MONTREAL—Matrox Video has announced an integration between Matrox ORIGIN and NVIDIA Holoscan for Media, enabling Matrox ORIGIN media services to be provisioned, configured and deployed within the Holoscan for Media open reference architecture using Kubernetes.

The integration is being demonstrated as part of the European Broadcasting Union’s (EBU’s) Dynamic Media Facility during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

A Kubernetes-native operator developed by Matrox Video extends the Kubernetes control plane to natively understand and manage Matrox ORIGIN resources, automatically deploying the required pods when new resources are added. This enables the provisioning, configuration and placement of media functions with appropriate resource limits and isolation.

For developers, the integration brings these Kubernetes-native deployment capabilities together with the developer-first approach of Matrox ORIGIN. The Matrox ORIGIN SDK abstracts the complexities of media application development and provides a comprehensive framework for building media functions, allowing developers to focus on their core competencies while building software-defined live media applications.

NVIDIA Holoscan for Media is an open reference architecture and developer toolkit for building AI-powered media applications for software-defined live production on NVIDIA-accelerated infrastructure.

The implementation being demonstrated at IBC includes Matrox ORIGIN media processing services, such as color correction, media playback, audio shuffling and Ograf graphics. These services connect to the wider DMF deployment using the Media eXchange Layer (MXL) with support for NMOS BCP-007-03, enabling MXL I/O services to register using IS-04 and receivers to be switched using IS-05.

See the Matrox Video and NVIDIA integration at IBC2026 stand 10.D21.

More information is available on the company’s website.

BURLINGTON, Mass., and SUNNYVALE, Calif.—Avid and Google Cloud have expanded their strategic partnership with the introduction of browser-based Avid Media Composer and an upgraded Avid Content Core content data platform and are showcasing their agentic workflow at IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

By embedding Google Cloud’s Gemini Enterprise and Google BigQuery directly into Avid’s post-production environment alongside media-specific AI agents and Avid tools, creators can remove the constraints of physical hardware and administrative friction. As a result, editors and directors can collaborate seamlessly from anywhere, automate repetitive tasks and focus on storytelling.

Media production houses today face two competing pressures. Content demand is soaring, yet creative teams remain bogged down by administrative overhead. Editors often spend substantial portions of their day tagging footage, organizing timelines and searching through fragmented archives. Additionally, professional editing historically has required heavy, on-premises workstations, making adoption of remote global collaboration slow and cost-prohibitive.

The next phase of the Avid and Google Cloud partnership embeds Gemini Enterprise directly into Media Composer and Content Core to accelerate the creative process. Connecting an intelligent, searchable media archive directly to a browser-based timeline X streamlines media discovery and timeline organization bottlenecks.

The expanded partnership included four tech integrations, including:

• Browser-based Media Composer and agentic editing, making the editing solution available in the Google Chrome Browser, enabling creators to edit timelines in Avid Content Core. Within Media Composer, agentic AI capabilities in Avid’s Ready to Edit allow editors to use natural language prompts to sync media, transcribe and align dialog and organize project bins, putting the focus back on editorial storytelling.
• Semantic search in Content Core to speed up media discovery. Using Google Cloud technologies to analyze and enrich media as it is imported, Avid Content Core and Gemini Enterprise automatically generate transcripts and semantic descriptions, eliminating hours of manual logging.
• Connected workflows from newsroom to timeline. Through Content Core Insights—built with Gemini Enterprise and BigQuery—organizations can bridge the data gap between how content is produced and how it performs. Newsrooms can plan stories and assign teams in Content Core Planning and Rundown, which coordinate assignments, resources, and program rundowns, while editors can pull matching footage into their timelines via natural language search. Final cuts then sync back to broadcast programming.
• Flexible, secure hybrid cloud deployment. The Avid Content Core Site Engine links customer Google Cloud environments directly to Content Core, ensuring media processing, production intelligence and agentic workflows are managed centrally, while compute and high-res assets remain in the user’s own cloud environment.

See Avid at IBC2026 stand 7.B59 and Google in the Accelerator Program location in Hall 14 and Content Everywhere community in Hall 5.

More information is available on the Avid website.

MUNICH, Germany—Rohde & Schwarz has unveiled the TM1 air-cooled UHF transmitter at IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The transmitter offers high system availability, enhanced energy efficiency and native support for NextGen TV broadcasting standards. It was specifically developed to help operators reduce energy consumption while enabling a simple migration path for existing TMU9 installations.

The TM1 expands the company’s UHF transmitter portfolio and covers power levels from 600 watts to 6.5 kilowatts. The transmitter supports ATSC 3.0 and 5G Broadcast natively. This enables network operators to implement new business models, such as mobile TV, targeted datacasting or interactive formats.

Advanced automation features ensure maximum efficiency in daily operations, Rohde & Schwarz said. For instance, R&S Auto-Doherty optimizes real-time performance for every operating point. Developed according to Secure by Design principles, TM1 transmitters help operators meet cybersecurity requirements, enabling secure and stable operation of critical broadcast infrastructure.

Rohde & Schwarz is offering a TM1 renewal option. Broadcast network operators can upgrade existing equipment from the previous generation to match the full functionality and performance of a modern TM1 in a cost-efficient manner.

The effort required to upgrade existing transmitters is significantly lower than a new system deployment. By extending the operational lifespan of current equipment, operators drastically reduce the time, space and capital expenditure typically needed for network modernization, Rohde & Schwarz said.

“The R&S TM1 is a future-proof solution that combines uncompromising RF performance with high sustainability,” Rohde & Schwarz Product Manager Maurice Uhlmann said. “Through TM1 renewal and native support for 5G Broadcast and ATSC 3.0, we help network operators immediately reduce their operating costs and carbon footprint, while simultaneously establishing the technological foundation for tomorrow's revenue streams.”

See Rohde & Schwarz at IBC stand 8.B70.

More information is available on the company’s website.

HEBDEN BRIDGE, England—Calrec Audio will introduce the Type RT range of broadcast consoles at IBC2026, held Sept. 11–14 at the RAI Amsterdam Convention Cent4er. The compact, self-contained units condense all essential broadcast features into models featuring 6, 12, or 18 motorized faders, the company said.

The launch is part of the wider IP ecosystem Calrec will exhibit The new console is built around Calrec’s established Argo consoles, which allow broadcasters to build productions their own way, sizing their investment to the project, the company said.

Type RT relies on proven Calrec technology and is suitable for such applications as stadiums and sports venues, radio stations, local TV/podcast studios, corporate events and houses of worship, the company said. Type RT combines the best of Calrec’s Argo and Type R platforms in a ready-to-use, self-contained console, it said.

Built-in features include DSP, control processing, comprehensive I/O, monitoring and integrated USB audio connectivity. Created as an accessible entry point into the Calrec IP ecosystem, Type RT is well-suited for new users who want the confidence of proven broadcast audio performance in a straightforward, all-in-one unit, Calrec said.

Built for fast deployment, Type RT is a compact, fanless tabletop console that ensures silent operation, delivering professional live broadcast performance in environments where space, time and budget matter, according to Calrec.

Dedicated information and metering displays beneath each fader give clear, instant visual feedback. The user-configurable control and monitoring panel features up to 138 assignable buttons, 24 rotary encoders with dedicated displays, three ancillary displays and a four-inch TFT screen with user-configurable meters, putting critical controls and status information where needed.

Calrec's Medium Capacity Card delivers native SMPTE ST 2110 AoIP connectivity with full support for existing Calrec AoIP boxes. Dante is available via an optional card, and MADI via a software license.

Type RT combines optional True Control 2.0 for remote production and ImPulseV virtualized DSP in an ultra-compact form factor. Calrec Assist, the browser-based control interface, is included as standard.

Large and small soft panels from the existing Type R line are fully supported, with one soft panel per six-fader section as standard.

Every model shares the same capability, I/O and licensing options, so users can choose the surface size that suits their needs and budget rather than compromising on performance.

The company will also unveil Apex M6 at IBC. Apex M6 is a compact, cost-effective 1U modular I/O platform for audio interfacing, routing, bridging and network edge connectivity.

Designed to expand and extend connectivity across broadcast audio infrastructures, Apex M6 supports ST 2110-30, AES67, Dante, MADI, SDI, Waves SoundGrid AES3 digital formats and analog workflows.

The platform can be deployed independently of Calrec consoles, making it a good solution for broadcasters transitioning to IP, expanding existing networks or integrating mixed-format environments, the company said.

Apex M6 works with Calrec's full range of consoles while opening opportunities in standalone conversion, virtualized workflows and multivendor environments. Its 512-512 channel internal router allows any input to be sent directly to any output without patching signals back through the network, while NMOS-native operation ensures interoperability across multi-vendor ST 2110 ecosystems.

The company will also preview a series of Argo and ImPulseV software enhancements at the convention that reinforce its commitment to the EBU Dynamic Media Facility project and give broadcasters more freedom in shaping infrastructure around their priorities.

See Calrec at IBC2026 stand 8.C47

More information is available on the company’s website.

AMSTERDAM—Atomos is launching two new HDR monitors for IBC2026, Sept. 11-14 at the RAI Amsterdam Convention Center.

The Shinobi 7 II seven-inch, 2,800-nit HDR monitor features professional exposure, focus and framing tools, plus advanced USB-C camera control. Designed for filmmakers, photographers and content creators, Shinobi 7 II delivers a larger viewing experience than traditional 5-inch monitors, while remaining lightweight, portable and easy to integrate into any production workflow.

Filmmakers can adjust key camera settings, including aperture, shutter speed or angle, ISO and white balance, directly from the monitor. Compatible cameras also support touch-to-focus and shutter release for photography workflows.

Support for Log, HLG and PQ signals allows real-time monitoring of more than 10 stops of dynamic range, while built-in 3D LUT support enables real-time preview of the final look.

Shinobi 7 II incorporates Atomos' suite of professional monitoring tools for exposure, focus and framing, including EL Zone, false color, waveform, vectorscope, focus peaking, zebras, RGB parade, anamorphic de-squeeze, multiview analysis, frame guides and grid markers.

The monitor also supports on-device calibration using compatible calibration probes (sold separately), eliminating the need for a separate computer, and ensuring consistently accurate color.

Connectivity includes HDMI input and output supporting signals up to 4Kp30, alongside USB-C for camera control, power delivery and display calibration. Shinobi 7 II can be powered via USB-C PD, Sony NP-F batteries or an optional DC battery eliminator, while custom LUTs and firmware updates can be loaded via the integrated SD card slot.

Shinobi 7 II will be available in September 2026 from authorized Atomos resellers and the Atomos online store, with a suggested retail price of USD $499 / €499 (excluding local taxes).

The Shogun AV-19M is a new 19-inch, rackmount 4K HDR monitor designed for live production, broadcast, studio and on-set monitoring. It supports both IP-based and traditional video monitoring in a single, space-efficient display. Its hybrid connectivity provides the flexibility to monitor sources across NDI, 12G-SDI, and HDMI workflows.

Its large 4K HDR DCI-P3 touchscreen provides a detailed, color-accurate view of video content, making it ideal for production galleries, control rooms, OB vehicles, video villages, and portable flypack systems.

Integrated NDI HX3 support enables Shogun AV-19M to receive high-quality, low-latency video over Ethernet. Users can view a single NDI source full-screen or monitor up to four NDI sources simultaneously in a quad-view layout, providing a clear overview of video feeds carried across the network.

Alongside its IP capabilities, Shogun AV-19M features 12G-SDI and HDMI input and output for monitoring conventional video signals. This hybrid connectivity provides the flexibility to monitor SDI or HDMI video full-screen, complementing its dedicated IP monitoring capabilities.

A comprehensive suite of monitoring and image-analysis tools helps users assess every shot with confidence. These include EL Zone exposure-referenced false color, focus peaking, waveform monitoring and other familiar Atomos tools. User-definable function buttons provide fast access to frequently used features, allowing the monitor to be configured for different production roles and workflows.

For location production and mobile setups, there is an optional custom flypack, available separately.

Shogun AV-19M will be available in 2026 from authorized Atomos resellers and the Atomos online store, with a suggested retail price of $1,899 (1,899 euros), excluding local taxes.

Atomos will be in stand 7.B19.

MONTREAL—Grass Valley has announced AVORA, a new standalone, all-in-one live production solution that provides tools needed to create and deliver sophisticated live shows together in one streamlined system.

Launching at IBC2026, AVORA gives production teams a complete environment to prepare, produce and deliver live content, from switching and graphics to audio, remote guests, content, replay and delivery. Instead of building a production around multiple separate tools, AVORA brings everything together around the show.

AVORA is designed to make professional live production easier to create, operate and repeat, the company said.

Production resources can be prepared, saved, duplicated and recalled as a complete show, making it easy to move between recurring events, formats and productions without rebuilding the workflow each time. Teams can configure the production around the needs of each show and adapt it as those needs change.

“AVORA answers a very clear market need,” said Jonathan Lyth, product director for live applications at Grass Valley. “Production teams increasingly need professional capability, operational simplicity and the flexibility to scale around the show. AVORA brings the whole live production together in one system, giving teams a simpler way to create, operate and repeat sophisticated live productions.”

AVORA supports both visual, shot-based production and more traditional program/preset operation, allowing operators to work in the way that best suits the production. Its web-based user experience also enables multiple production roles to work with the same AVORA system from their own browser interfaces where required.

Remote guests can join productions through private invitation links, with low-latency connectivity, mix-minus and talkback built directly into the workflow. Content, graphics and prompting are integrated too, while replay, recording, monitoring, playout and delivery extend AVORA beyond production switching into a complete live production environment.

AVORA is built on the founding principles and technology of GV AMPP, while operating as a standalone Grass Valley solution. It brings Grass Valley’s software-defined production experience into a self-contained all-in-one system, giving teams the flexibility to configure their production without the complexity of assembling and operating multiple independent tools.

AVORA is designed for a wide range of live productions, including sports, live events, venues, education, corporate and enterprise media, regional production and other repeatable workflows. The same system can be configured for different productions, formats and operating models.

For existing AMPP customers, AVORA also provides an additional option for productions where a standalone, all-in-one system is the right operational fit.

Grass Valley explained that AVORA complements Grass Valley’s wider live production portfolio. K-Frame continues to serve dedicated hardware switching environments, while Maverik X and AMPP address software-defined production at enterprise scale. AVORA adds a standalone all-in-one model for productions where integrated capability, flexibility and simplicity are the priority.

AVORA will be showcased at IBC2026 on the Grass Valley booth, stand 9.A01, and in the IBC Future Tech Zone, stand 14.C49, ahead of commercial availability later this year.

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

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

The new features on display during IBC2026 are:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SHENZHEN, China—Converter box manufacturer EKT will showcase its new Linux-based ATSC 3.0 set-top box during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The new Linux-based ATSC 3.0 converter box is a second-generation product and represents a move away from the Android operating system, to reduce memory costs. EKT specializes in Linux, which uses less than half the memory of a similar set-top box running on the Android platform.

"It's exciting to see EKT, a partner in Pearl TV's converter box program, showcase this box at IBC," said Anne Schelle, managing director of Pearl TV. "As TV stations transition to ATSC 3.0, viewers want the option to convert the TVs they already own at a low consumer price, and that's exactly what this box is designed to deliver.”

The core ATSC 3.0 software stack is a joint development with DTVKit and will also support legacy ATSC 1.0. The platform is based on the collaborative DTVKit ecosystem with the core software stack available royalty-free to members, helping to accelerate deployment while reducing development costs.

"This is a great example of the DTVKit model in action," said Jason Nash, technical director of DTVKit. "EKT started with our royalty-free ATSC 3.0 stack and focused their engineering effort on building a better product, not reinventing the basics. The result is a cost-effective, Linux-based receiver that's fully standards-compliant and ready for deployment."

Designed for the U.S. consumer market as broadcasters transition to ATSC 3.0, the box lets viewers keep their existing television sets when their local stations move to the new standard, while supporting 4K content with HDR10 and HDR10+ for an improved viewing experience.

“I am very grateful to our partners DTVKit and Pearl TV in helping us to bring a cost-effective Linux ATSC 3.0 set-top box to the US consumer” said EKT CEO Richard Smith.

See EKT at IBC2026 stand 1.D15 and DTVKit at stand 1.B25., of group stated.

More information is available on the company’s website.

Sony will feature its latest technology for news, cinema, immersive and live production, including its R-Series broadcast system cameras, SRG-AS10 and SRG-XS10 auto-framing PTZ cameras and its latest networked live and software-defined broadcast innovations, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Other tech developments on display will be:

• The new DP7 and DP5 controllers, FX5 Cinema Line camera and current development of the RIALTO 65 image sensor block expanding VENICE 2 to 65mm format.
• Cinematic Live's color-matched Cinema Line and HDC cameras showcasing a broad portfolio for cinematic live production.
• The fourth generation DWX series digital wireless microphone system, DWT-B40 and DWR-R40Q.
• Spatial content production solutions, OCELLUS camera-tracking system V2.0 and XYN
• HawkREPLAY delivering rapid turnaround to air with enhanced zoom and hold keyframe and HawkNEST improving fast 9:16 social exports for quicker content delivery.

Sony will also present several use cases in specific applications, including cinematic live, AR and IP broadcast studio, immersive production, AI-powered streaming studio and podcasting.

For news, Sony will feature an expanded range of data transmitters, including its previously announced collaboration with LiveU and additional demonstrations with Dejero and TVU Networks, designed to enhance transmission efficiency from the field. It will also show its latest version of a camcorder with remote-control capabilities to broaden its range of applications.

Sony's live production solutions will demonstrate how broadcasters, production teams and content creators can deliver higher-value productions with greater flexibility and operational efficiency. Next-generation system cameras will be on display, including the newly launched R-series, and the latest AI PTZ auto-framing cameras, including the BRC-AM7 for broadcast.

The BRC-AM7 demo will highlight version 3.1 firmware featuring improved tracking performance in Ball Sports (Basketball) mode, enabling smoother shooting and camera operations.

The company will also showcase the evolution of virtual and spatial content production with its latest camera tracking system OCELLUS with Crystal LED VERONA. CAPRI will be on display separately. Based on customer feedback, the upcoming OCELLUS FW V2.0 supports lens calibration and automatic offset measurement functionality to measure the positional relationship between the camera and tracking sensor. Sony’s XYN Spatial Capture solution enables real-world spaces to be captured and transformed into high-quality 3DCG assets.

Sony continues to expand its Digital Imaging and Cinema Line portfolio, with the latest Cinema Line Camera FX5 and RIALTO 65 image sensor block making show debuts. Designed to enhance creative flexibility, the FX5 features a newly developed fully stacked CMOS image sensor, while new DP7 and DP5 monitors deliver accurate color reproduction and remote camera control.

Company representatives will also lead two sessions in the Showcase Theater in Hall 3, including: "A Software Revolution: The Future of Broadcast,” Sept. 12, 4-4:20 p.m., and "The New Frontier: Redefining Multi-Camera Virtual Production,” Sept. 11, 5:15-5:35 p.m.

See Sony at IBC 2026 stand 13.A10.

More information is available on the company’s website.

SAN FRANCISCO—Dolby Laboratories will feature updates for Dolby OptiView, the company’s live sports platform, during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The updates include new AI-powered intelligence to understand what drives fan engagement, the debut of Dolby Vision on the platform and greater flexibility for Dolby OptiView Ads.

The Dolby OptiView platform is designed to deliver more engaging live sports experiences. It gives teams, leagues and streamers capabilities that enable a better understanding of their audiences. The platform also allows them to create personalized experiences, unlock monetization opportunities and deliver premium-quality live content that keeps fans watching.

Dolby Vision is now available through Dolby OptiView for the first time, bringing stunning brightness, contrast, color and detail to live sports. Dolby Vision helps fans experience every moment with greater clarity and realism. The Seattle Seahawks are the first team to introduce Dolby OptiView with Dolby Vision, bringing exclusive live programming and preseason coverage directly to fans through the official Seahawks app and Seahawks.com.

The company also is expanding Dolby OptiView Ads beyond the Dolby OptiView Player, enabling support for additional video players. As a certified server-guided ad insertion solution verified within the Google ecosystem, Dolby OptiView Ads helps publishers maximize monetization while maintaining a high-quality viewing experience.

In one deployment with a major sports organization, the solution delivered an average 76% increase in eCPM and an average 132% increase in fill rates. In-stream ad formats help providers make more effective use of their ad inventory while keeping live action visible during ad delivery, reducing disruption for viewers.

See Dolby Laboratories at IBC stand 5.F86.

More information is available on the company’s website.

MUNICH– ARRI has unveiled SMPTE ST 2110 support for the ALEXA 35 Live multicam system, opening the system to fully IP-based broadcast studios, stadiums, high-end flypacks, and remote productions and will exhibit the development as well as its other enhancements for live entertainment workflows during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Delivered through Software Update Package (SUP) 1.5.0 for the Live Production System LPS-1, the new support brings ALEXA 35 Live directly into modern ST 2110 infrastructures through a permanent software license.

By combining ARRI’s cinematic image quality with open IP standards and proven live-production reliability, the update strengthens ALEXA 35 Live as a platform for the next generation of high-end media and entertainment workflows.

The ST 2110 implementation enables independent routing and control of uncompressed video, multichannel audio, and time-sensitive metadata over a 25GbE full-duplex connection. It can simultaneously transport two uncompressed UHD camera feeds alongside multiple HD or UHD return-video and return-AUX channels. Multiple HD streams also support HFR slow-motion acquisition over IP.

For resilient live production, the implementation includes seamless SMPTE ST 2022-7 redundancy. With two third-party SFP28 25GbE fiber-optic transceiver modules installed at the rear of the LPS-1, the unit maintains dual active network paths for automatic, glitch-free failover. Recommended transceiver modules are listed in the LPS-1 SUP 1.5.0 user manual.

Proven in demanding live-production environments

The LPS-1 ST 2110 architecture is designed for interoperability with broadcast ecosystems, including Riedel Communications infrastructure and SimplyLive production environments. Comprehensive AMWA NMOS support (IS-04, IS-05, IS-08, IS-09, BCP-003-01 and BCP-003-03) and Precision Time Protocol (PTP) enable automated discovery, connection management, audio-channel mapping, synchronization and secure operation across the media network.

Supported standards and protocols include:

• SMPTE ST 2110-10: System timing and synchronization (PTP)
• SMPTE ST 2110-20: Uncompressed active video transport
• SMPTE ST 2110-21: Traffic shaping and packet timing
• SMPTE ST 2110-30: PCM audio transport (AES67 compatible)
• SMPTE ST 2110-40: Ancillary data transport (captions, VITC, timecode)
• SMPTE ST 2022-7: Seamless protection switching (hitless redundancy)
• AMWA NMOS Suite: IS-04 discovery and registration, IS-05 connection management, IS-08 audio channel mapping, IS-09 system parameters, BCP-003-01 secure communication and BCP-003-03 authorization.

LPS-1 SUP 1.5.0 can be downloaded from the ARRI website. The LPS-1 ST 2110 license is available from the ARRI License Shop. It is priced at $8,735 (U.S.) or €7,500.

More information is available on the company’s website.

See ARRI at IBC2026 stand 10.A24.

DENVER—At IBC2026 (Sept. 11-14, RAI Amsterdam, Stand #1.B73), Imagine Communications has announced that it will be demonstrating the latest advances to its XVR high-density media server, which has already been successfully deployed for production, playout, and news operations across the industry.

New capabilities include real-time graphics and master control switching — delivering a true integrated playout chain.

"We're proud of the success XVR has achieved in the marketplace, building on the industry’s transition to IP-based workflows, including ST 2110 and the cloud,” said Darren Gallipeau, senior product director at Imagine Communications. “With the addition of real-time graphics, newsroom connectivity, and next-gen AI and MXL capabilities, XVR becomes a full-fledged integrated channel engine. Whether deployed on-premises or in the cloud, it is the fastest path to launching a new channel or refreshing an existing one."

During the show, Imagine will also demonstrate Media Exchange Layer (MXL) interoperability and AI-augmented playout operations, further establishing XVR as a full-featured integrated channel engine designed from the ground up for high-frequency, fast-turnaround broadcast workflows.

Building on more than 30 years of playout innovation, XVR is equally suited to on-prem and cloud-based deployments and natively supports legacy and modern media and interface formats from SDI to MXL. This high-density media server integrates cleanly into modern plants through open APIs and native HTML5 interfaces.

In addition, as part of the Imagine Aviator ecosystem, XVR deployment, content, and playlist workflows are available through Model Context Protocol (MCP), so that agentic AI systems can launch and monitor channels and manage content — enabling media organizations to further modernize operational profiles.

At IBC, Imagine will demonstrate how the latest XVR capabilities empower a full suite of channel-origination workflows using the same core engine. Those include:

• Real-Time Graphics: Building on Imagine's tradition of high-quality dynamic rendered graphics, new XVR releases add comprehensive graphics functionality, providing a flexible platform for channel branding, lower thirds, tickers and data-driven graphics. The native graphics engine allows designers to create complex scenes driven by live external data sources, all rendered and composited in real time within the XVR channel. HTML5 graphic planes extend this capability to operations that incorporate HTML5 graphic workflows, and both approaches are available simultaneously within the XVR engine.
• Newsroom Integration: The latest XVR releases also integrate with Newsroom Computer Systems (NRCS) via industry-standard MOS and VDCP protocols, making it a natural fit for news environments. Clips can be pulled into edit while still being ingested; finished media is available for playout as the editor signs off. Coupled with Imagine's Aviator Orchestrator™ and Aviator Automation™ platforms, XVR delivers a tightly integrated solution for news, sports production, and channel origination environments.
• Assured Ingest: A new, dual-layer protection capability in XVR safeguards live recordings against downstream storage issues. If connectivity to external storage is interrupted, XVR buffers the incoming content internally and reassembles a seamless recording upon restoration, ensuring a breaking news feed, live event, or sports moment is never lost to infrastructure issues outside the playout engine.
• AI-Augmented Playout Management: Imagine will demonstrate how XVR integration with its Aviator orchestration ecosystem and MCP-enabled agentic technologies allows operators to use AI to streamline routine operational processes while maintaining human oversight of workflow decisions. Operators can use conversational AI tools to schedule bulk updates, real-time operational queries, and intelligent gap-fill from the content pool — all through a governed MCP service layer that enforces guardrails between the AI and playout automation.
• JT-DMF MXL Interoperability: Imagine and Appear will showcase a joint technology demonstration of the JT-DMF MXL protocol in action — connecting the Appear VX software platform as a live-input contribution directly to multiple XVR integrated playout engines via the MXL protocol. The cloud-based demo illustrates how MXL enables media applications from different vendors to interoperate within a common computing environment, allowing broadcasters to rapidly build workflows in an orchestrated environment.

“Showcasing the JT-DMF MXL as an interface on the XVR engine in an interop with an industry partner is a critical link in the development and deployment of Dynamic Media Facilities (DMF),” said John Mailhot, senior vice president, product management, at Imagine Communications. “Imagine has been building toward this vision for more than a decade, and our Aviator ecosystem and XVR engines are built around the principles DMF is designed to standardize.”

Imagine will demonstrate XVR alongside its full playout portfolio and AI-enabled technologies at its IBC2026 stand (1.B73). More information is available at https://imaginecommunications.com/event/ibc2026/.

BURLINGTON, Mass.—Avid has announced a major expansion of its award-winning Avid Content Core with new features that will enable media organizations to look beyond managing content to understand how it is produced, what it costs, and where resources deliver the greatest value.

At IBC2026 (RAI Amsterdam, September 11–14, Booth 7.B59), Avid will demonstrate Content Core’s new Insights, native asset management, agentic orchestration and its capabilities for deeper cloud integration. Those capabilities allow the platform to connect media wherever it resides, unlock new business insight, and power governed AI workflows across news and post production.

Launched at IBC2025, Avid Content Core is the industry’s first true cloud-native production platform that unifies asset identity, ingest, storage, metadata, orchestration, and rights information into a single intelligence layer.

It embeds enterprise-grade agentic intelligence directly into industry-trusted production workflows rather than treating AI as a standalone technology. By connecting people, media, and experience across the Avid portfolio, Content Core enables organizations to balance growing content demands with reduced budgets, automate routine processes, improve decision-making, modernize without disruption, and achieve a clearer understanding of the value of their assets.

“Avid has spent decades inside the real workflows of professional media, and that experience shapes how we think about AI," said Wellford Dillard, CEO at Avid. "We're not simply bolting on AI tools; we're connecting content with production and workflow context across cloud, hybrid, and on-premises environments so teams can find, prepare, and act on their media right inside the systems they already trust. Enterprise controls, human judgment, and editorial oversight aren't friction to engineer around - they're the foundation everything else has to work within. That's what intelligent innovation means at Avid: solutions that understand how media actually gets made, without asking anyone to rip out what already works.”

More specifically, the new capabilities being launched at IBC2026 advance Avid’s vision for Content Core as a data-driven foundation spanning the full content lifecycle.

By building context around the content, the people and resources involved in creating it, and the value it delivers, Avid is paving the way for media organizations to gain a clearer picture of their content's value. This approach brings together three areas that have traditionally remained separate: managing and understanding media, orchestrating production, and turning operational data into actionable business insights, the company explained.

One of the first demonstrations of this vision is Insights, a new capability designed to give media leaders visibility into production activity and associated costs.

Insights marks the first step in Avid's broader vision to connect production costs to business outcomes. Avid will demonstrate the first application of Insights at IBC2026, showing how organizations can use production data along with their own ERP data to forecast staffing and equipment requirements, identify underused resources, and allocate costs more accurately. This gives decision-makers a clearer understanding of what content costs to produce, how resources are being deployed, and where investment can deliver the greatest value.

By giving content a consistent identity and context as it moves from assignment through production and delivery, Avid Content Core provides the foundation for bringing together staff time, production activity, storage and technology costs and, over time, connecting them with what content earns. Avid will extend this further through integration with enterprise systems and data services, giving media companies a more complete view of production cost and return.

Avid is also expanding Content Core with native asset management capabilities that go beyond traditional MAM architectures.

Organizations will be able to index, search, manage, and work with content across their own storage and cloud environments without wholesale migration or consolidating entire media libraries into a single repository. Content Core can therefore build a common understanding of media while allowing organizations to retain control of where assets live.

This extends the original Content Core proposition of treating media and its associated production information as interconnected data rather than isolated files. The result is a richer layer of context that can include intent, assignments, versions, approvals, lineage and delivery state – information that can be used not only to find media but also to inform automation, decision-making, and future AI-driven processes.

During the show, Avid will also introduce Avid Assist, its new governed orchestration layer for agentic media production. Assist provides a framework for organizations to build and deploy agents that can automate real production steps while operating within enterprise controls, permissions, and approved AI environments. Rather than sending production work to disconnected AI tools, Assist is designed to allow automation to operate within the context of Avid workflows and systems.

The platform is LLM-agnostic, enabling customers to choose the technologies appropriate to their organization while maintaining governance over how automation accesses content and production information. Avid will demonstrate early Assist-powered experiences at IBC, with further applications planned across news and post production.

In addition, Avid is broadening its cloud strategy through closer collaboration with Amazon Web Services (AWS), Google Cloud, and Microsoft to provide organizations with an end-to-end cloud production environment while retaining choice over the creative tools their teams use.

Teams can access the same Content Core-managed media through Media Composer’s new browser-based editing capability, enabling workflows to extend seamlessly from search and selection through editing, high-resolution conform, and social publishing.

Avid Content Core Site Engine deploys within a customer's own AWS, Google Cloud, or Microsoft Azure environment, ensuring content stays under the organization's existing security, governance, and residency controls.

These developments extend the initial Content Core offerings, allowing users to go beyond finding content to understanding how content is used, what it costs to produce, and what value it creates – giving creative, operational, and business teams a shared foundation for making better-informed decisions. Platform-specific capabilities include:

• Avid Content Core, built on AWS, provides a scalable and unified foundation for media intelligence, metadata, and workflow automation across the media supply chain. New support for media stored in Amazon S3 and Amazon Bedrock allows organizations to accelerate content discovery, automate processes, and unlock greater value from their content.
• Content Core is built with Google’s Gemini models in Gemini Enterprise to deliver advanced video understanding and context-aware search. This allows customers to keep their media files in their cloud tenant while retaining advanced video understanding and search capabilities. Additionally, BigQuery powers Avid’s intelligent production analytics and operational intelligence.
• Microsoft Azure now supports Content Core deployments within customers’ own Azure environments. Microsoft Azure indexes and streams media directly from Azure Blob and Avid NEXIS Cloud.

Avid Content Core is fully available for customers to deploy today. Avid will demonstrate all new Content Core capabilities for the first time at IBC2026. To schedule a meeting or demonstration, visit www.avid.com/ibc.

SIEGEN, Germany—Guntermann & Drunck (G&D) and VuWall, both Panoptec companies, will introduce vsNEO, a new KVM-over-IP platform designed to simplify the deployment and operation of control rooms and broadcast environments, during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Built around the principle of simplicity, vsNEO creates a standalone KVM network that operates independently from the corporate LAN and eliminates the need for complex network configuration. The vsNEO-center controller provides network intelligence for every installation, including built-in DHCP, allowing connected devices to establish a dedicated, isolated KVM environment with minimal IT involvement. AES-256 encryption provides an additional layer of protection for KVM traffic.

At the heart of the platform is vsNEO-link, a universal transceiver that can operate as a transmitter, receiver, video wall node or multi-PIP KVM mosaic station using the same hardware device. This flexible architecture reduces the number of device types integrators need to specify, stock, deploy and support, simplifying both project design and long-term system management.

Designed for installations of up to 96 endpoints, vsNEO is well-suited for OB vans, esports studios, corporate control rooms and other environments requiring reliability and operator ergonomics without the infrastructure complexity of a large enterprise KVM deployment.

The simplified architecture extends to the hardware itself. At 4.13 inches (105mm) wide, three vsNEO-link transceivers fit side by side in a single rack unit, maximizing rack density in space-constrained environments. Because the same device can serve multiple roles within the system, integrators can also reduce hardware variation across a project.

Operators interact with vsNEO through a streamlined dark-mode OSD featuring live source thumbnails and intuitive source selection. The control ecosystem supports different workstation and room-control requirements through multiple interfaces, including G&D CommandDeck and CommandKeyboard, VuWall ControlVu for touch-based room control and CommandKeyboard-Advanced for advanced operator positions.

To further simplify system planning, a dedicated online configurator allows integrators and customers to design a vsNEO system based on their required number of endpoints and components. The tool automatically generates a bill of materials and system topology diagram in PDF format to support project planning with a certified partner.

See G&D and VuWall at IBC2026 stand 8.B63.

More information is available on the G&D and VuWall websites.

SAN JOSE, Calif.—Adobe will highlight new AI-based tools to enhance video editing, effects and audio processing during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The company will unveil a new generative media tool that enables Adobe Premiere editors to select a video or audio as well as a video and audio gap in their timelines, describe what is needed and generate clips that fit the context of the edit.

Similarly, the AI Assistant in After Effects, now in public beta, allows motion designers to describe what they want in their on words and carry out the steps required from reorganizing projects with thousands of layers to creating motion effects and expressions without writing code.

New AI audio tools help editors clean up recordings by separating sound sources, adjusting reverb, removing unwanted elements like unlicensed music and splitting overlapping dialog into independent tracks for separate mixing and editing.

The intuitive new Generative Media Tool in Premiere generates context-aware, editable video and audio clips. Editors may choose from Adobe Firefly, Google Veo, Kling, Runway and Luma model to create with.

Among the tools available in the Premiere task bar are Generate Video, Generate Sound Effects, and Generate Soundscape and Generate Music, both of which are in beta.

New AI audio tools in Premiere enable editors to clean up noisy recordings, bad takes and overlapping dialog. The tools include Enhance Audio, offering noise reduction and independent control over dialog, sound effects and other audio characteristics of an individual clip; Separate Crosstalk to split speakers into their own tracks; Dynamic Audio Ducking to balance dialog and music automatically; as well as other sound tool improvements.

Adobe is also leveraging AI to address workflow challenges in After Effects. AI Assistant, available in beta for After Effects, offers newer users a more intuitive way to work in the program and gives experienced users a way to execute once tedious, multi-step operations more quickly.

AI Assistant enables users to describe what they want in plain language and reorganizes large projects without requiring code to be written.

See Adobe at IBC2026 stands 13.D501 and 7.B35.

More information is available on the company’s website.

AMSTERDAM—Ceeblue, a Dutch-based provider of ultra-low-latency video streaming technology and Australian media technology company Layercake, today announced the expansion of their partnership with the full production rollout of an advanced Digital Rights Management (DRM) framework alongside revolutionary Server-Side Ad Insertion (SSAI).

Building directly upon the integration of Ceeblue’s sub-second WebRTS streaming with Layercake’s orchestration and workflow management platform, Streamcake, the two companies now support studio-grade content protection in live production on sub-second streams.

The upgraded feature set supports both major industry encryption schemes, CENC and CBCS, which unlocks full coverage across the Widevine, PlayReady, and FairPlay DRM ecosystems over DASH, HLS/CMAF, Low-Latency HLS, and WebRTS delivery channels.

Engineered for efficiency and extreme security, the DRM architecture introduces three strategically vital innovations:

• Encrypt Once at Ingest: Encryption metadata is computed and persisted at the origin, eliminating redundant processing and ensuring content is encrypted only once rather than per-output;
• Passthrough at the Edge: Edge and relay nodes forward protected streams without ever holding decryption keys, drastically lowering edge compute costs while materially reducing the key-exposure attack surface, and
• Open Integration Architecture: Built-in trigger hooks allow seamless interoperability with self-managed or third-party KMS/DRM backends, currently supporting Google Secret Manager.

This production capability directly addresses contractual content-protection requirements, unblocking deals for premium tier-1 live sports and entertainment streaming that were previously relegated to much higher latencies by the limitations of HLS/DASH streaming.

Alongside robust content protection, the expanded integration delivers Server-Side Ad Insertion (SSAI). Until now, operators had to choose between latency and monetization. But now, the combination of sub-second delivery, full-fledged DRM, and seamless SSAI running on standard CDNs gives sports and live broadcast operators a huge incentive to go ultra-low latency.

By coupling Streamcake’s automated cloud control plane, which makes management and scaling intuitive and reliable, with Ceeblue’s WebRTS origins, the combined solution delivers targeted value across core verticals:

• OTT Sports & Betting: Eliminates the "spoiler effect" by aligning digital delivery precisely with live play. Feeds delivered under one second expand live-betting windows, combat courtsiding, and protect high-value rights with DRM;
• iGaming & Live Auctions: Provides real-time interactivity to thousands of global users at the same time, allowing hybrid on-site and remote play / bidding. The immediacy of real-time interactivity maximizes Gross Gaming Revenue (GGR) and engagement, and ensures auction integrity, and
• Corporate Comms & Live Commerce: Drives interactive corporate town halls over HTTP, which easily traverses strict enterprise firewalls, while empowering live commerce platforms to handle massive viral traffic surges with automatic edge scaling.

The production DRM framework capabilities are available immediately across the integrated Ceeblue and Streamcake deployment options. Customers can deploy the unified solution across major CDNs, including Akamai, Orange CDN, Fastly, and many more.

Visitors to the 2026 IBC Show can see demos at Ceeblue (5.C43) and Layercake Partner Pod on the Grass Valley Stand (9.A01).

SAN DIEGO—Sony Electronics has unveiled the SEL814G, its first fisheye zoom G Lens for full-frame Alpha E-mount cameras, and will highlight the new lens during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The 8mm to 14mm zoom range covers circular fisheye at 8mm through diagonal fisheye at 14mm with a constant aperture of f/3.5. Built for landscapes, architecture, sports and video production, the lens pairs a compact, lightweight body with G Lens resolution, fast and precise autofocus and refined operability for stills and movies. In a dual-lens configuration with the VENICE Extension System Mini^, it also supports spatial content production.

The SEL814G brings new creative fisheye perspectives to Sony's E-mount lineup for photographers, cinematographers and content creators.

"Our first fisheye zoom runs circular through diagonal across 8 to 14 millimeters, so you can find your perspective standing right in front of the subject. We held it to G Lens resolution through the whole range to provide an exciting, high-quality creative tool. And at 314 grams, you can carry it all day," said Yang Cheng, vice president of Imaging Solutions at Sony Electronics.

Key features include:

• Fisheye zoom coverage from circular to diagonal fisheye. The 8mm to 14mm range delivers a broad set of fisheye perspectives in one compact lens. At 8mm it shoots circular fisheye with a 180-degree angle of view projected as a circular image on a full-frame sensor. At 14mm it shoots diagonal fisheye across the full frame with an 180-degree diagonal angle of view.
• High-resolution G Lens performance across the zoom range. An optical design with ED (Extra-low Dispersion) glass and aspherical elements suppresses chromatic and other aberrations across the image area, holding high resolution throughout the zoom range. A minimum focusing distance of 0.15m and maximum magnification of 0.22x at the telephoto end enable dramatic close-up fisheye perspectives for stills and movies.
• Compact, lightweight design for high mobility and spatial content production. The lens measures about 63.1mm in maximum diameter and 82.8mm in length. It weighs about .69 pounds (314 grams), giving it mobility for handheld, gimbal and rig-based shooting.
• Autofocus performance and operability for stills and movies. The lens delivers fast, precise autofocus and Linear Response manual focus while suppressing focus breathing with quiet operation for movie production. Controls include a focus mode switch, zoom lock switch and an aperture ring with switchable click stops.

The SEL814G will be available in October for $1,599.99 U.S. and $1,999.99 CAD. Pre-orders for the SEL814G began today at 7 a.m. PDT.

See Sony at IBC 2026 stand 13.A10.

More information is available on the company’s website.

CHANGSHA, China and WALTHAM, Mass.—Zixi and professional IP video encoding and decoding solutions provider Kiloview are working together to bring the Zixi protocol to a wider range of live production and contribution workflows.

The first deliverable solution stemming from the partnership sees Kiloview adding native Zixi protocol support to its D350 IP video decoder through a new firmware update that is now available. Kiloview will demonstrate the Zixi-enabled D350 during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The partnership reflects growing demand from broadcasters and media organizations for flexible, interoperable IP infrastructure. Zixi is widely deployed across broadcast contribution workflows where network stability cannot be guaranteed, and the addition of the Zixi protocol to the D350 gives joint customers a direct path to those capabilities without additional hardware or protocol conversion.

For broadcast and media teams, the partnership delivers:

• Reliable video delivery over any network: Zixi's error correction and hitless failover technology ensures stable contribution feeds even over unmanaged or unpredictable connections, from remote venues to cellular and internet links.
• Simplified infrastructure: a single D350 unit now handles multiple protocols, including Zixi, reducing the hardware footprint and operational complexity for contribution and monitoring workflows.
• Seamless fit into broadcast pipelines: joint customers can integrate Zixi-enabled D350 decoders directly into existing broadcast-grade contribution architectures without changes to upstream or downstream systems.
• Broader workflow coverage: from live sports and remote production to news contribution and hybrid IP and broadcast environments, the D350 now supports a wider range of real-world production scenarios.

The Zixi protocol support is available now on the D350 via firmware update and can be applied to existing units. The partnership will extend to further integration and go-to-market activity between the two companies.

See Kiloview at IBC 2026 stand 7.A47 and Zixi at stand 5.A76.

More information is available on the Zixi and Kiloview websites.

MONTREAL and NEW YORK—Haivision has announced that it is integrating Chyron LIVE into its live video contribution ecosystem, simplifying camera-to-cloud live production. Chyron LIVE is Chyron’s cloud-native platform for vision mixing, broadcast-grade graphics, data display, remote commentary, and illustrated replay. The joint solution will be showcased at IBC2026.

The combined solution will allow broadcasters to capture, transport, and contribute high-quality live video from virtually any location into Chyron LIVE, streamlining live production workflows while delivering the performance, reliability, and ease of use required for professional broadcasting.

Built for sports, news, and live event productions, the integrated workflow combines Haivision's live video contribution products, including Haivision mobile video transmitters (Falkon, Pro, and Air) and Makito video encoders and decoders, with Chyron LIVE, powered by Chyron’s PRIME Platform which is developed natively on AWS. The combined solution enables broadcasters to reliably contribute live video over cellular networks, the internet, satellite, and IP networks directly into cloud-based production workflows, according to the companies.

“Broadcasters are increasingly looking for flexible, cloud-native production workflows that simplify live content acquisition,” said Nikole McStanley, senior vice president of product, Chyron. “Together with Haivision, we're enabling customers to bring high-quality live video into Chyron LIVE more efficiently, giving production teams greater flexibility to produce live content from anywhere with ease.”

Visitors to IBC2026 can see the integrated workflow firsthand at Haivision (2.B32) and Chyron (7.A23) .

KINGS PARK, NY—Multidyne Video & Fiber Optic Systems will introduce SilverBack-IP, the newest member of its SilverBack Series of fiber camera adapters, at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. SilverBack-IP brings native SMPTE ST 2110 connectivity to Multidyne’s fiber camera platform, providing a direct path for integrating digital cinema cameras into modern IP production environments, the company said.

Multidyne developed the SilverBack Series to help content producers bring the cinematic quality of digital cinema cameras into live multi-camera production. The lightweight, vendor-agnostic adapters convert digital cinema cameras for SMPTE studio-camera workflows and have been deployed across live sports, concerts, television productions, houses of worship and other professional production environments.

Purpose-built for the industry’s transition from SDI, SilverBack-IP retains the series’s mobility, camera flexibility and familiar operational benefits while moving the transport layer to IP. The new design enables production teams to connect their preferred cinema cameras directly to SMPTE ST 2110 networks while maintaining the camera-centric workflows that have made SilverBack a fixture in live cinematic production.

SilverBack-IP features dual 25GbE network interfaces and supports SMPTE ST 2022-7 hitless protection across the two fibers within SMPTE hybrid cable, providing redundant network paths for demanding live production environments. Two 12G-SDI and two 3G-SDI connections accommodate a broad range of HD and UHD workflows, with video, audio, intercom and data encapsulated and de-encapsulated as standardized IP streams.

The IP architecture removes many of the point-to-point limitations associated with traditional camera chains. Rather than requiring signals such as intercom, timing and video to be discretely connected and distributed through dedicated hardware, SilverBack-IP makes those signals available within the ST 2110 network infrastructure. Integrated intercom, for example, can operate as an ST 2110-30 audio essence flow, allowing production teams to source and associate intercom audio through the network instead of a dedicated point-to-point connection.

The dual 12G-SDI capability also positions SilverBack-IP for emerging immersive production requirements. Stereoscopic cameras that generate discrete right- and left-eye UHD signals can deliver two simultaneous 12G-SDI feeds into the adapter, allowing both signals to be transported into the ST 2110 environment. The architecture extends SilverBack’s vendor-agnostic philosophy to new generations of digital cinema and immersive cameras, allowing producers to select the most suitable cameras.

SilverBack-IP’s studio camera-style physical design puts controls, menu access and system status directly in front of the camera operator. Full-size professional connectors complement the operator-centric interface, marking a departure from the traditional ENG-style cameraback configuration of earlier SilverBack systems. The result is a familiar studio-camera experience while retaining the flexibility of adapting a digital cinema camera for live production.

SilverBack-IP supports both 12V and 24V camera systems when paired with appropriate Multidyne power extension solutions, accommodating traditional cinema cameras as well as newer high-power camera platforms, the company said. The adapter can operate independently of a camera as a standalone fiber gateway, allowing production teams to place the unit remotely and transport video, intercom and other signals between SDI endpoints and IP networks.

Multidyne will be in Stand 11.C12.

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

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

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

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

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

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

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

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

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

AMSTERDAM—swXtch.io, a global provider of software-defined networking solutions for media, has launched an AI-based broadcast engineer platform which it says is designed to remove the infrastructure and networking complexity behind live media workflows.

abbe removes the requirement for operators to configure networks, cloud infrastructure, compute resources, and AI software in media routing and interface workflows, according to the company.

abbe takes a conversational description of the desired outcome and deploys the necessary infrastructure, networking, and software required to make the workflow run and does so in the most economical way while meeting performance requirements.

abbe is a cloud-agnostic orchestration layer, able to deploy live media and AI workflows across any provider including Microsoft Azure, Oracle Cloud Infrastructure (OCI) and Amazon Web Services (AWS). Workloads are located based on user requirements including optimizations for cost and latency, without forcing the operator to design a different solution for each cloud environment.

The initial capabilities being shown at IBC focus on two areas where live media teams face significant operational complexity: managing live media transport and deploying AI into production workflows.

For live media networking, abbe provides SRT management and control, enabling operators to ingest, monitor and distribute streams globally without manually configuring the underlying infrastructure. abbe is designed to automate decisions around where and how live media moves, helping operators maintain reliable, high-quality feeds while reducing the manual intervention traditionally required to respond to changing network conditions.

For AI workflows abbe will demonstrate a live audio processing workflow using NVIDIA models and other select partners. An operator can describe the desired outcome and abbe stands up the cloud infrastructure, networking, security, and software required for the audio processing use case.

The future of abbe is much broader than the initial iteration being shown at IBC, swXtch.io said.

abbe treats AI models as interchangeable components within a live workflow. Operators can select and test different models, chain models together, compare performance, and swap from one model to another easily and quickly. abbe separates what an operator wants to accomplish from the increasingly complex infrastructure, networking, and knowledge required to accomplish it.

NVIDIA models provide the foundation for abbe's initial real-time AI capabilities and swXtch.io is already expanding abbe's support across additional NVIDIA AI models and capabilities over time.

“The AI models are becoming incredibly capable but putting them into a live production still requires expertise across networking, cloud infrastructure, and AI software,” said Brent Yates, CEO of. “abbe is designed to remove that complexity. You describe what you want to accomplish, and abbe stands up everything needed to make it work. And because workflows are not locked to one model, you can easily optimize it as the technology changes. abbe simplifies AI for live media.”

Skyline Communications and Bridge Technologies will showcase the latest developments in their technology partnership, highlighting how broadcasters can deploy workflows that detect, decide and automatically act, not simply monitor and alarm, during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The companies will present two complementary innovations: an automated AV synchronization workflow that combines Bridge Technologies VB440 measurement intelligence with DataMiner’s orchestration and automation capabilities, and a new generation of DataMiner apps that enable organizations to create purpose-built applications tailored to their unique operational workflows.

The centerpiece of the demonstration is an AV synchronization workflow built around Bridge Technologies} new VB440 AV synchronization feature, which measures audio and video delay with high precision and exposes that information through open APIs. In remote production environments, AV sync delay is not an exception but an inherent operational reality that teams need to measure, manage and compensate for reliably.

DataMiner receives this AV sync intelligence and uses it to orchestrate the required corrective workflow automatically. Bridge Technologies provides the measurement intelligence. DataMiner provides the orchestration layer that turns that intelligence into action.

Alongside the AV sync workflow, Skyline will also demonstrate a new generation of DataMiner apps. The apps enable organizations to create purpose-built applications rapidly tailored to their unique operational workflows. By leveraging AI-assisted application development, customers can move from concept to production in a fraction of the time traditionally required, while maintaining full flexibility and control over the user experience.

See Skyline Communications at IBC2026 stand 1.B40 and Bridge Technologies at stand 1.A71.

More information is available on the Skyline Communications and Bridge Technologies websites.

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

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

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

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

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

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

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

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

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

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

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

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

To register for the fun run, visit its website.

STOCKHOLM, Sweden—Net Insight has introduced Nimbra 1020G, a compact, ultra-dense addition to the Nimbra Live portfolio that combines IP media processing, switching and controlled interconnection in a modular 1U platform.

The company will demonstrate Nimbra 1020G and Open Live Media at IBC2026, Booth 1.B47, RAI Amsterdam, September 11–14.

Net insight’s Nimbra 1020G combines open standards and APIs with Net Insight’s Trust Boundary technology, enabling broadcasters, production companies and media service providers to extend Broadcast IP without overbuilding infrastructure.

As live production becomes more distributed across venues, partners, facilities and cloud environments, IP workflows increasingly need to extend beyond the media core without bringing core-scale footprint, power and cost with them.

“The value of Trust Boundary is that organizations can exchange live media without sharing network design, investing in complex integrations or adding conversion,” said Larissa Görner-Meeus, CPO of Net Insight. “With Nimbra 1020G, that controlled handoff can now be placed wherever services enter or leave the network.”

Nimbra 1020G addresses this need in a compact 1U modular platform, supporting up to 64 channels of 2110 JPEG XS compression and 600 Gbps of lossless Ethernet switching. This increases service density while reducing rack space, power, external switching requirements and cost per live service. Built around the Nimbra Media Pro App architecture, Nimbra 1020G can adapt across contribution, remote production, facility connectivity, partner interconnect and distribution access.

A key differentiator of Nimbra 1020G is the always-enabled SMPTE RP 2129 Trust Boundary. It creates a secure demarcation between independently operated media networks, allowing organizations to exchange live media services while retaining full control of their own addressing, multicast architecture, security policies and orchestration. To maintain service resilience and interoperability, full media payload and timing is always preserved through each Trust Boundary.

With demarcation from 1G to 100G Ethernet, Trust Boundary combines per-service admission, address adaptation, strict QoS control and real-time flow monitoring. One application handles the full range of media flows, from compressed transport streams to uncompressed 2110 UHD essences. Up to 128 lossless Ethernet switch instances provide guaranteed QoS, fine-grained traffic isolation and workflow aggregation for any broadcaster or service provider workflow.

Nimbra Live Intelligence adds service-level visibility, control and assurance, giving operators real-time insight as live services are added, rerouted or changed. This enables more dynamic, software-driven operations while maintaining operational control.

For existing Nimbra operators, compatibility with Nimbra 1000 modular hardware and the Nimbra Media Pro App family provides a direct expansion path, allowing customers to extend on the infrastructure rather than introduce a separate platform.

Nimbra 1020G adds a new scale point to Nimbra Live, complementing Nimbra 520 for HEVC contribution and Nimbra 1060 for high-capacity media processing. Together with Nimbra Edge and Nimbra Live Intelligence, it extends Net Insight’s Open Live Media architecture across contribution, access, aggregation, controlled interconnect, core and distribution.

STOCKHOLM, Sweden—Accedo and MediaKind will show their newly launched end-to-end, multi-platform streaming solution that enables operators of all sizes to launch, manage and monetize branded streaming services across TV, mobile, web and set-top boxes during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The joint white-label solution brings together the combined expertise of both companies, which have a long track record of designing, launching, operating and continuously evolving operator streaming services at global scale. Together, Accedo and MediaKind have helped many of the world's leading telecommunications providers, broadcasters and media companies deliver premium video experiences to millions of consumers worldwide.

The solution is powered by Accedo’s native application framework and cloud-based application management tools, which support all major connected TV, mobile and web platforms, as well as MediaKind’s MK.IO platform.

The joint solution provides operators with a scalable and reliable cloud-based pay-TV platform that reduces deployment complexity while maintaining the flexibility to customize the user experience and evolve services over time.

"The streaming ecosystem has become significantly more complex in recent years, making it increasingly challenging for operators to launch, manage and evolve modern streaming services cost-effectively,” said Accedo chief revenue officer Mrugesh Desai. “By combining Accedo's expertise in delivering world-class user experiences with MediaKind's market-leading backend platform, we've created a proven solution that dramatically reduces complexity, accelerates deployment and lowers total cost of ownership. Just as importantly, operators benefit from a platform backed by two companies with decades of experience launching and continuously evolving streaming services at scale.”

Designed to reduce implementation risk, engineering costs and time-to-market, the joint solution simplifies customer onboarding while delivering a consistent, premium user experience across Android STB, iOS, Android Mobile, Amazon Fire TV, Apple TV, Roku, Samsung Smart TV and web. Operators can rapidly customize branding, user experience and service configuration without the need to build and maintain multiple native applications from scratch.

"Operators are looking for a faster, lower-risk path to launching premium streaming services without compromising on quality or flexibility. This solution combines MediaKind's trusted MK.IO Platform with Accedo's market-leading application technology to deliver a production-ready offering that enables operators to go to market quickly while retaining the ability to innovate and differentiate over time,” said MediaKind senior vice president of product and marketing Shahar Barr.

The joint solution powers Canada’s Cogeco's EPICO streaming service, demonstrating its ability to support large-scale commercial deployments.

The new streaming solution will be shown in the Accedo and MediaKind IBC2026 stands, 5.D76 and 1.D71, respectively.

More information is available on the Accedo and MediaKind websites.

NORTH SYDNEY, Australia—AI-Media will showcase its latest advances in multilingual AI, demonstrating how broadcasters and media organizations can caption, translate, voice and localize content at scale across live and recorded workflows, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

AI-Media will showcase the complete LEXI Suite, two new LEXI Encoders, LEXI Direct and an expanding ecosystem of technology integrations as well as innovations under development that point to new ways audiences can experience multilingual content.

“As broadcasters look to reach increasingly global and multilingual audiences, language is becoming a critical part of the media technology stack,” said Tony Abrahams, CEO of AI-Media.

“What differentiates AI-Media is our ability to bring together a comprehensive AI language platform, broadcast-grade infrastructure and deep integration across the media ecosystem. Whether customers connect through our encoders, directly to LEXI or through the technology platforms they already use, we’re making it easier to deploy multilingual capabilities at scale.”

At the center of AI-Media’s IBC presence is the LEXI Suite spanning LEXI Text for real-time AI captioning, LEXI Translate for multilingual captions, LEXI Voice for AI-powered multilingual voice, LEXI AD for audio description and LEXI Recorded for captioning, translation and localization of recorded content.

Together, the LEXI Suite provides broadcasters with a scalable platform for applying AI-powered language and accessibility capabilities across live and recorded content.

Making their European debut at IBC 2026 will be AI-Media’s new LEXI Text Encoder and LEXI Voice Encoder, purpose-built to bring AI-powered language capabilities into professional broadcast environments.

Supporting SDI, IP and ST 2110 workflows, the new encoders give broadcasters greater flexibility, through increased processing power, to deploy AI-generated captioning, translation and multilingual voice within existing infrastructure while supporting the transition to next-generation IP-based production.

Beyond AI-Media’s own hardware, LEXI Direct provides direct, programmatic access to LEXI, enabling its AI-powered language capabilities to be integrated into third-party platforms, applications and workflows.

AI-Media is also expanding its European infrastructure, with EU-based data processing for LEXI planned to be available by January 2027.

IBC visitors will also get an early look at LEXI Link, a proof of concept that delivers live captions, translations and multilingual AI-generated audio directly to viewers’ devices.

A photo accompanying this announcement is available at:https://www.globenewswire.com/NewsRoom/AttachmentNg/cdaa0981-2db5-4da3-8666-1b30bea36f6d

See AI-Media at IBC 2026 stand 5.C34.

More information is available on the company’s website.

MILAN, Italy—Brightcove has launched Brightcove Gen 2, the next generation of its platform designed to give video teams more capacity to create, distribute, engage and monetize content at scale.

The update includes more than 22 new enhancements and 30+ platform advancements and is designed to allow media companies to reach more audiences, increase engagement and unlock more revenue; automate work, streamline workflows and reduce complexity and combine a more powerful, reliable and secure platform with faster innovation across the entire video workflow, Brightcove said.

These capabilities build on a year’s worth of new solutions and features across the platform. Recent additions include the redesigned Prism user interface, expanded monetization tools, new localization and accessibility capabilities, Next-Gen Live, and AI-powered features that help automate workflows and reduce manual work.

Among the features completely new to Gen 2 is the AI Agentic Hub, which will be unveiled at IBC 2026, Sept. 11-14 at the RAI Amsterdam. The Hub enables teams to move beyond step-by-step tasks by allowing users to define an outcome and have AI agents coordinate the actions and workflows needed to achieve it, according to the company.

AI agents can work across Brightcove’s functionality, meaning they can analyze video data, generate insights, and take action on those insights across the platform—from managing content and metadata to optimizing workflows and configuring experiences. Users interact with the agents through a chat-based interface, making it possible to automate complex, cross-platform workflows and move from insight to action faster.

The AI Agentic Hub is already available to customers in production.

Brightcove will be in Stand 5.A90 at the RAI Amsterdam.

BRISTOL, U.K.—DTVKit will showcase its production-ready DVB-I Client at the Ocean Blue Software stand during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The demonstration will give broadcasters, operators, TV manufacturers and technology providers a first-hand look at how DVB-I can be deployed using a practical, standards-compliant implementation designed to accelerate commercial adoption.

Developed collaboratively by Ocean Blue Software and DTVKit, the DVB-I Client is available to DTVKit members as a shared-source, royalty-free solution, delivering a portable and efficient implementation suitable for smart TVs, set-top boxes and next-generation hybrid television platforms.

As DVB-I moves from industry trials into commercial deployment, manufacturers are increasingly seeking production-ready solutions that simplify integration, reduce development effort and ensure compliance with evolving standards. The live IBC demonstration will show how the jointly developed implementation enables rapid DVB-I adoption while maintaining platform flexibility and low resource requirements.

The DTVKit DVB-I Client is implemented in native C++ for maximum portability, efficiency and minimal memory consumption. The client exposes a JSON-based API, enabling seamless integration with web-based user interfaces and applications across a broad range of operating systems and device platforms.

Key capabilities include:

• Shared-source, royalty-free DVB-I client available to DTVKit members. 
• Native C++ implementation designed for portability and low resource usage. 
• JSON API for integration with modern web-based user interfaces. 
• Compliance with DVB-I BlueBook A177r7 requirements. 
• Platform-independent architecture suitable for Android, Linux, RDK and other browser-capable environments. 

Visitors to the Ocean Blue Software stand will see the DVB-I Client integrated with a React-based web user interface running on the DTVKit Android reference set-top box platform.

The demonstration will showcase how users can:

• Discover DVB-I service lists with region selection. 
• Browse channels and services. 
• View program guide (EPG) information. 
• Access accessibility and parental-control metadata. 
• Play IP-delivered linear television services. 
• Navigate and launch on-demand boxsets. 
• Launch linked HbbTV and web applications. 

The demonstration highlights the flexibility of DTVKit's architecture, which separates the DVB-I client from the presentation layer through a standards-focused JSON interface.

Although the demonstration runs on DTVKit's Android reference platform, the implementation itself is not Android-specific. The web-based user interface communicates with the DVB-I client through a platform-independent JSON API, enabling deployment across a wide range of browser-capable environments.

The demonstration intentionally does not use the Android TIF/TIS framework, showcasing an integration model that can be readily adapted to different operating systems and middleware environments.

DTVKit continues to track developments within DVB and is actively following the DVB-I roadmap, including support for future specification updates. Members receive full source-code access to the DVB-I Client together with royalty-free distribution rights.

See Ocean Blue Software at IBC2026 stand 1.B25.

More information is available on the DTVKit and Ocean Blue Software websites.

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

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

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

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

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

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

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

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

BERKELEY, Calif.—Eluvio today announced its plans for the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam, focusing on new advanced features in its Global Broadcast Fabric, the latest generation of the Content Fabric protocol and global infrastructure, as well as new advances in its Universal & Dynamic Video Intelligence architecture and Eluvio Video Intelligence Editor (EVIE)

At IBC, Eluvio will demonstrate the Global Broadcast Fabric’s live broadcast distribution architecture—a decentralized, zero-copy system that replaces satellite distribution, fiber point-to-point connections, and ground-to-cloud multi-point egress for live broadcast feed distribution, extended with new live-operations and monetization capabilities. One decentralized Content Fabric distribution simultaneously serves every downstream taker just-in-time — B2B broadcast affiliates and D2C consumer endpoints — from a single ingest workflow without duplication, according to the company.

Eluvio says Content Fabric “is powering thousands of D2C live games and streaming events and hosts hundreds of thousands of live, archive, and library titles for premium brands and creators — with 10x cost savings over legacy CDN and media cloud infrastructure at scale.

Improvements include :

• 8x increase in live stream cross-variant serving; <=30ms segment delivery latency; up to 4x scale of DRM encryption variants; zero-impact global maintenance; and instant-on HFR streaming.
• Stereoscopic HFR 4K (SBS and MV-HEVC), Dolby Vision and Dolby Atmos, HDR/HDR10+, full Widevine parameterization, AV1 (upcoming), optimized asset structure for hundreds of language and subtitle tracks.
• Powered by new Media Wallet v3 and Creator Studio CMS, allowing Eluvio to provide best-in-class TV, browser, and mobile native white label D2C OTT properties with advanced UX branding, interactive experiences, and configurable live, VOD and clip based content presentation and management.
• The ability to configure and deploy unlimited D2C OTT streaming and archive monetization apps for TV/mobile/browser, B2B portals, and Pocket TV microsites with fast multi-view, integrated DVR, automatic live and VoD content slating, and up-next autoplay. New multi-view sidebar, “In This Video” AI data panel, and expanded entertainment and sports layout options provide a flexible and outstanding UX experience for fans with no code deployment. Fully integrated with the Eluvio Video Intelligence Editor (EVIE), browse and publish zero-copy EVIE clips and compositions.
• Full SVOD/TVOD (rental and ownership) entitlements, match-based live entitlements, seamless JWT/SSO, and fully integrated Apple Pay, Google Pay, and Stripe in a single checkout flow. CableLabs-compliant Title Metadata API with territory-based offers and delta-only global updates.
• A fully white-labeled microsite for live and episodic content sales with zero friction: no login required, single-click Apple Pay and Google Pay, and magic links for return access. No PII collected. Instantly embeddable as a URL in any social post, paid ad, or CRM email. Deployed by a Tier 1 US broadcast network in 2026.
• Real-time analytics spanning B2B SRT/TS and D2C HTTP streams; global receiver map with per-receiver performance stats; expanded audience metrics; client-side QoS stats; and sales transaction reporting by currency, product, and country.

Eluvio will also showcase Eluvio AI and Eluvio AI and the Eluvio Video Intelligence Editor (EVIE), a new architecture for universal dynamic video intelligence.

According to the company, Eluvio AI is "the first commercially available inline, frame-accurate, multimodal AI built natively into a media platform — running inference on live and VOD content at frame and segment level with zero file copies, zero file movement, and zero transcoding, across open-source, custom, and third-party models."

The Eluvio Video Intelligence Editor (EVIE) provides the media-facing application layer for this intelligence, allowing users to inspect, search, validate, edit, and act upon AI data while remaining synchronized to the underlying video. The new EVIE Titles & Events experience brings the complete AI stack together around a title—such as a film or television program—or an event, such as a live sports match.

“Eluvio AI is fundamentally different from point AI solutions because the intelligence runs inline, with frame accuracy, across live and archival content — without the cost and delay of copying and re-transcoding media before it can be processed and ensembling the power of individual models with frame-accuracy,” said Michelle Munson, CEO and co-founder of Eluvio. “The AI is built directly into the video pipeline of the Content Fabric, rather than added afterward as a separate cloud workflow.

“Everything from identifying action, players, celebrities, speakers, or brands to turning that intelligence into highlights, vertical videos, compliance reels, or personalized content happens in place against the source media and has no limits on size, duration, or ensemble scale,” Munson added. “The result is dramatically greater efficiency and speed, while making AI intelligence immediately actionable for personalization and monetization. At IBC, we’re excited to show broadcasters and rights holders these capabilities running across both live sports and premium content.”

Eluvio will be in Stand 8.MS5 at the show. For more details, visit https://ibc.eluv.io.

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

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

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

Signiant Pulse includes:

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

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

Signiant will be in Stand 5.C74.

BRUSSELS, Belgium—Mediagenix, a provider of smart content solutions “Mediagenix Curation,” a new solution for managing content presentation and discovery across streaming services.

The announcement comes a year after the company announced the integration of Spideo’s humanized content recommendations, personalized discovery, and catalog exploration capabilities into its flagship Title Management solution. Mediagenix acquired Spideo in 2024.

The company says Mediagenix Curation solves the complexities of delivering personalized experiences at scale by combining editorial control with automation and personalization “to execute content presentation strategies at scale.”

Integrated across the Mediagenix ecosystem, the new curation solution helps media companies unify editorial and algorithmic curation by combining human creativity and editorial control with data-driven recommendations in one workflow; give editorial and product teams direct control over content presentation; launch and iterate pages and rails faster without engineering dependency, and increase engagement and retention by surfacing the right content at the right time for the right audience.

“Streaming has moved beyond the question of simply having great content; the challenge now is making sure every viewer can discover the right content at the right moment. That creates a tension between the scale and intelligence that automation can bring, and the editorial judgment that gives a service its identity. With Mediagenix Curation, we’re bringing those two forces together, giving editorial teams the control to shape the experience while using automation and personalization to execute their strategy at scale,” said Patricia Blanco, Product Manager of Mediagenix On Demand and Curation.

“Over time, our ambition is to connect that viewer experience much more closely with the wider content lifecycle, so that what audiences discover and engage with can help inform how media companies plan, schedule and ultimately get more value from their content.”

Mediagenix will demo Mediagenix Curation at Stand 1.B57 during the 2026 IBC Shoiw, Sept. 11-14 at the RAI Amsterdam.

CASSOLA, Italy—Manfrotto has announced that it will showcase its latest video supports at IBC 2026, marking the first exhibition of the new ONE Video Tripod and 502X Fluid Video Head following their launch on September 2nd.

The introduction of ONE Video expands the award-winning Manfrotto ONE platform, joining the existing ONE Photo and ONE Hybrid.

Engineered specifically for professional video production, the ONE Video tripod system combines rapid setup, enhanced torsional rigidity, integrated levelling and compatibility with the Manfrotto XCHANGE ecosystem. The result is a portable support system that delivers the stability, speed and versatility demanded by today's productions.

Complementing the ONE Video Tripod System is the new 502X Fluid Video Head, the latest addition to Manfrotto's Bridging Technology range. Engineered for smooth, precise camera movement, the 502X is designed to meet the needs of professional videographers across a wide range of shooting environments, from commercial productions and documentaries to interviews and live events. Fully compatible with the Manfrotto XCHANGE quick release ecosystem, it enables rapid transitions between tripods, sliders and other support systems, helping crews adapt quickly without disruption.

Visitors to the Manfrotto stand will also have the opportunity to experience the complete ONE tripod platform for the first time. Alongside the ONE Video tripod, the ONE Photo and ONE Hybrid models will be on display, showcasing the full range of support solutions.

"The ONE platform has quickly become a favorite among photographers and hybrid creators, and we're excited to expand the range with a dedicated solution for professional video," said Sofia Braccio, Senior Product Manager at Manfrotto. "Together, the ONE Video tripod and 502X Fluid Video Head combine the speed, precision and flexibility today's productions demand. By offering the 502X both as a standalone fluid head and as part of video kits, we're giving customers the freedom to upgrade their existing support systems or invest in a complete video solution."

During IBC 2026, from September 11 to 14 in Amsterdam, attendees can visit Manfrotto at Stand 13.A05.

DENVER, Colo.—Comcast Technology Solutions (CTS) today introduced a comprehensive suite of end-to-end AI-powered workflow applications for broadcasters, content owners and operators worldwide and announced it will showcase them during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Building on the foundation of CTS’ VideoAI platform, these new applications deliver AI as practical, integrated solutions to real-world content production and management challenges.

CTS provides end-to-end, production-ready workflow integration that embeds AI capabilities into complete, deployable applications requiring no additional specialist AI knowledge or developer requirements. The new applications are designed to work across the company’s full product portfolio, including Comcast Media360 for broadcasters and content owners, Comcast Sports360 for sports rights holders and standalone deployments of CTS’ Cloud Video Platform (CVP) for operators.

“The video industry is ready to move past AI hypotheticals and onto production-ready applications that solve real problems, generate new business opportunities and integrate seamlessly into the workflows they already rely upon,” said Bart Spriester, senior vice president and general manager of streaming, broadcast and advertising at CTS.

The next-gen AI applications from CTS include:

• Video Verticalization: Using AI-driven smart cropping technology, CTS can automatically convert landscape video content into portrait format for social media syndication, intelligently identifying the action center of each scene and making intelligent cut or pan decisions. 
• Localization of Regional Languages: Leveraging AI-generated voices, CTS can automate dubbing workflows that previously required human voice talent. The application can extract audio from soundtracks, preserve ambience and music, translate dialog, select appropriate voice matching, relay the finished audio back into the content and generate automated captions.
• Smart Chapters: For distribution-ready workflows combining content and ad insertion, CTS can create AI-driven detection of intros, credit rolls, and ad break candidates, enhanced with weighting algorithms to select the optimal set of ad break points and automatically trigger stream conditioning, transcoding, and packaging.
• Metadata Enrichment: CTS will automatically generate scene and asset-level metadata and pass it into Cloud Video Platform metadata files, enabling semantic and natural language search capabilities. 
• Automated Quality Control: CTS will also offer AI-powered virtual eyes-on-glass QC checks, including black screen detection, missing audio identification and other content integrity verifications. 
• Intelligent Clipping: CTS will also offer natural language query-driven clip identification and selection, allowing editors to find key moments within long-form content. 

CTS’ new applications are integrated into CTS’ Cloud Media Processing (CMP) engine, a flexible, programmable workflow orchestration layer. Processors can be inserted as pre-processors, content manipulation steps or post-processors, enabling users to activate individual AI capabilities within their existing workflows without rebuilding their technology stack.

See Comcast Technology Solutions at IBC stand 5.C80.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

SUNBURY-ON-THAMES, U.K.—Shotoku Broadcast Systems will unveil Aura E2 PTZ Elevator, the latest addition to its Aura family of advanced PTZ-centric solutions, during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Aura is Shotoku's growing family of PTZ-focused products bringing the precision, control, engineering and workflow innovation of its robotic camera systems to professional PTZ productions.

The E2 joins the Aura TR-XPTZ control system, a cost-effective solution that retains the intuitive multi-camera and multi-user capabilities of the Shotoku’s flagship TR-XT control system while stripping away elements unnecessary for PTZ workflows, and the Aura P2 PTZ prompter panner that allows unrestricted pan movement while keeping the prompter out of shot.

The Aura E2 PTZ Elevator is a studio pedestal designed specifically for PTZ production, providing smooth elevation of the PTZ camera—and the P2 panner when teleprompters are in use—to accommodate different production styles or presenter heights. Its self-contained two-stage elevator provides more than 47 inches (1.2 meters) of variable-speed elevation control.

Like the P2, the E2 works seamlessly with other system components and can be operated manually or through preset shot recall always moving under the close control of the TR-XPTZ and simultaneously with the PTZ and P2 axes. Fully integrated into Shotoku’s manual studio dolly, the E2 combines its elevation capability with the mobility of a lightweight three-wheeled pedestal.

Joining Aura at the show will be the Swoop robotic crane. Visitors to the stand will also experience the European debut of QuickRef, Shotoku’s robotic pedestal referencing system.

See Shotoku Broadcast Systems at IBC stand 12.F47.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

To register, visit SMPTE Roadshow online.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Telos Alliance will be in Stand 8.D37.

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

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

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

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

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

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

GARBSEN, Germany—Proton Camera Innovations will highlight its newly launched Proton Flexy a next-generation micro POV camera built on the foundation of the company’s original Proton Flex during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Proton Flexy introduces serialized connectivity via standard 50 Ohm coax cable, enabling camera head extensions of up to 32.8 feet (10 meters) and delivering a level of deployment flexibility previously not possible with miniature broadcast cameras.

The Flexy offers significant advantages in deployments where a full camera unit would normally be at risk from damage, such as in rally or stock car races. Because the Flexy head represents just one-third of the total camera cost, it now is more economically viable for production teams to mount the lens in higher-risk areas, knowing that the ECU and its expensive processing components remain safely protected from harm.

The company has chosen to use a standardized SMA connector and cable, enabling production engineers to engage in quick repair and replacement using equipment they likely already have at hand.

The camera head itself is available in two form factors. The IP67-rated lipstick head measures just .75 inches (19mm) in diameter and 1.33 inches (34mm) in length (including SMA connector), while a square head option measures .75x.7.5x.94-inch (19x19x24mm) with an integrated micro coax cable. Both house a 1/3-inch global shutter sensor with 12-bit dynamic range, delivering crisp 1080p imagery through Proton's VEGA broadcast-grade image processor.

The ECU measures 1.33 x 1.33 x .75 inches (34x34x19mm) and provides HD BNC for SDI output, a Hirose HR10 connector for power and control, an SMA connector for the Flexy head, and a 3.5mm stereo audio socket for external audio input. Power draw is just 3W across a 6.5-25V range.

Flexy offers production teams access to a camera system that can be deployed in locations up to 32.8 feet (10 meters) from its processor, using standard coax cable, with a replaceable head that costs a fraction of the total system.

"So many of our customers have said to us: ‘We love what a Proton Cam can do, but it’s a shame that they’re too precious to us to risk in exactly the environments where they could deliver the best shots.’ So, with the Flexy, we asked ourselves: What if the camera head could go anywhere, and where the risk of damage became a negligible concern?” said company CEO and founder Marko Hoepken.

See Proton Camera Innovations at IBC 2026 stand 10.F21.

More information is available on the company’s website.