PARIS and NEW YORK—Moments Labs will showcase Studio, an intuitive editing workspace with AI-based capabilities that helps production companies turn moments from their existing video catalogs into branded, publish-ready content, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Studio closes the gap between discovering valuable moments in a video catalog and activating them at scale.

“Audiences increasingly find and follow their favorite shows on social and video-sharing platforms, yet the content that could engage them and build loyalty often remains buried in an IP owner’s archive,” said Phil Petitpont, Moments Lab CEO and co-founder. “Getting short-form content out quickly and consistently has traditionally required very manual work across multiple tools. Now, teams can find the right clips to edit, brand and publish, all without leaving Moments Lab.”

Studio brings clips into the editing workflow from Moments Lab using the company’s Discovery Agent. Teams can assemble a story, pick a one-click hook and use AI to support the rest of the process, including automatic vertical reframing, captioning, branded text and overlays. Finished clips can be published directly to social platforms, without the need for export or re-upload.

At IBC2026, Moments Lab will also unveil the latest improvements to MXT, the multimodal AI that underpins the platform’s editorial intelligence. It now understands scenes, actions and show-specific context in greater depth, while processing videos up to 50% faster.

Together, Studio and the latest AI improvements help social and digital teams move from finding the right moment, to creating and publishing branded social video in one connected workflow.

See Moments Lab at IBC 2026 stand 1.D12.

More information is available on the company’s website.

DOWNINGTOWN, Pa.—PTZOptics will make the public debut of its Rise 4K broadcast pan, tilt, zoom (PTZ) camera during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Rise combines cinematic 4K imaging, professional broadcast connectivity and intelligent video technology in a robotic camera designed for sports, broadcast, live events, enterprise studios, universities, houses of worship and independent productions. It gives producers a practical way to add high-quality camera angles, expand multicamera coverage and create more polished content without placing an operator at every camera position.

At the heart of Rise is a 1-inch, 50MP CMOS sensor that captures 4K UltraHD video at up to 60 fps. A 20x optical zoom and approximately 71-degree horizontal field of view provide the flexibility to move from wide establishing shots to detailed close-ups.

Phase-detect autofocus keeps subjects sharp, while optical image stabilization and smooth brushless motors support stable images and precise, natural camera movement. A built-in three-stage ND filter provides greater exposure control across changing lighting conditions.

Rise offers timecode and genlock to keep cameras precisely synchronized. FreeD support enables integration with virtual production and augmented reality systems.

Video outputs include 12G-SDI for 4K60, 3G-SDI, HDMI and USB 3.0. Network options include NDI HX, RTMP, RTSP, SRT and 12G-compatible SFP+ fiber connectivity. Rise also offers professional XLR inputs with 48V phantom power, onboard TF card recording and front and rear tally lights.

The camera ships with Horizon Web as its standard camera interface, bringing responsive camera movement, image and color adjustment, intelligent presets, tracking, auto-framing and automation into an intuitive browser-based workspace accessible from any device on the same network.

Advanced tools, including waveform, vectorscope and RGB parade, help operators adjust and match cameras with precision. Built-in AI auto-tracking maintains framing and reduces routine operator input, allowing one operator to supervise more camera positions and focus on the wider production. Rise also supports PTZOptics’ broader ecosystem of Horizon Hub desktop applications for camera control, configuration and workflow management.

See PTZOptics at IBC 2026 stand 1.B07.

More information is available on the company’s website.

PARIS—Dalet has announced it will be participating in the IBC2026 Accelerator Media Innovation Program as part of a project exploring the future of AI in sports production.

During the Program, it will be collaborating with Astro Malaysia, Middle East Broadcasting Company (MBC), Tata Consultancy Services (TCS), AWS (Amazon Web Services), ITV, Google Cloud and other industry leaders on AI for Live Sports and Beyond: Rewiring Live Media via Agentic AI Orchestration and "meCast."

Located in Hall 14 at Stand 14.D25 in the Future Tech Zone, the project explores how agentic AI can automate live media workflows, enabling real-time content adaptation, personalization and new monetization opportunities for sports and other live productions.

As part of the demonstration, Dalet will showcase how its media-aware AI platform, Dalia, together with Dalet Flex and Dalet InStream, orchestrates live workflows from ingest through AI-powered analysis, compliance review and publishing, helping sports organizations accelerate production while maintaining editorial oversight and governance.

For sports organizations, broadcasters, leagues and rights holders, the ability to rapidly create, personalize and distribute live content is fundamental to enhanced audience engagement and revenue generation.

Dalet already supports sports customers with media workflows that accelerate highlight creation, content discovery, repurposing and multi-platform publishing, enabling teams and rights holders to maximize the value of every live event.

The IBC2026 Accelerator project showcases these capabilities by exploring how AI can intelligently orchestrate complex live production workflows while keeping humans in control.

The Accelerator demonstration complements Dalet's broader showcase at IBC2026, where the company will present innovations across Dalet Flex, Dalet Pyramid and Dalia, demonstrating how trusted, media-aware AI is transforming media operations from production through distribution.

Visitors to the Dalet stand will see how the latest innovations help media organizations modernize production and content supply chains, accelerate news workflows, improve content discovery, and streamline sports production through AI-assisted highlight creation, intelligent media management and automated publishing.

Attendees will also learn how Dalet's open, media-aware AI architecture enables organizations to deploy trusted AI while maintaining governance, operational control and flexibility through support for multiple large language models.

Dalet will be exhibiting at IBC2026 in Hall 7, Stand A43. For more information, visit https://www.dalet.com/events/ibc/.

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

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

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

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

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

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

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

The IBC also announced that Emma Maier, Jodie Pearton, Anna Stewart, Arina Mnatsakanyan and Jonathan Freeman, of i2 media research are being awarded the coveted Best Technical Paper at IBC2026 for their work entitled Measuring and reducing interaction barriers in internet-delivered tv systems through age-informed human factors design.

The paper explores how internet-delivered TV can be made easier for older viewers so they can access everyday services with confidence. Using observational testing with adults aged 65–89 at the i2 media research lab at Goldsmiths, University of London, it identified how design barriers including a lack of hierarchy, layered menus, unclear feedback and unfamiliar terminology can make everyday tasks harder than expected. It then demonstrates how a simple, optional age-informed overlay interface can reduce barriers and support more confident, independent viewing.

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

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

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

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

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

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

MONTREAL—Grass Valley will demonstrate the principles of the Dynamic Media Facility, bringing hardware, software-defined applications, existing infrastructure and partner technologies together as one unified media operation during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Through its active support of the JT-DMF industry initiative and the open standards that will underpin the Dynamic Media Facility, the company will feature a complete, camera-to-consumer workflow while demonstrating how Grass Valley AMPP will continue to adopt DMF-aligned standards.

The demonstration will feature Grass Valley hardware, including LDX cameras, its latest Altair router and the new ACE-3901-GRID MXL gateway, with AMPP OS-based applications as an end-to-end media workflow.

ACE-3901-GRID bridges existing SDI and SMPTE ST 2110 infrastructure with software-defined workflows, while AMPP provides the orchestration, media fabric and scalable compute needed to deploy applications across on-premises, edge and cloud environments.

This hybrid-by-design approach allows media organizations to introduce software-defined production alongside the infrastructure, workflows and operational expertise already delivering value. Dedicated systems continue to provide predictable performance for live operations, while AMPP-based applications add flexibility and scalable processing where required.

Grass Valley said openness is a core principle of its strategy. AMPP allows users to combine technologies from Grass Valley its partners around their operational requirements without creating another closed production environment.

Native support for the Media eXchange Layer (MXL) extends this approach by providing software media functions with a shared method for accessing and exchanging media. It replaces application-specific approaches to media transport, conversion and integration.

At IBC2026, Grass Valley will demonstrate native MXL v1.1 support in AMPP and the latest NMOS implementations for MXL flow discovery and control.

The showcase also reflects the accelerating growth of the Grass Valley partner ecosystem. Technologies from Calrec, Lawo, Haivision, TVU Networks and Zoom will operate alongside Grass Valley solutions within real-world, multi-vendor workflows.

The company’s booth will serve as a connected production environment, demonstrating how SDI, SMPTE ST 2110, and MXL support different parts of a modern media workflow.

Visitors will see these technologies working together across live production, networking, processing, monitoring, content workflows, orchestration and automation. Grass Valley production switchers will extend familiar control surfaces across hardware and software-defined environments, while ACE-3901-GRID will connect established facility infrastructure with MXL-native applications in AMPP.

The showcase will include reverse REMI production and the remote operation of a software-defined OB truck in partnership with DMC Production and Broadcast Solutions.

See Grass Valley at IBC2026, stand 9.A01.

More information is available on the company’s website.

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

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

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

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

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

The IP Showcase on the Water session topics include:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NEW YORK—TAG Video Systems has optimized the use of memory that lowers the total cost of ownership of running its software, reducing the cost per channel by up to two-thirds for compressed video workflows.

TAG has always sought to give its customers the lowest cost per channel. For compressed workflows, that has historically been achieved by pairing mid-range servers with maximum memory, a configuration TAG benchmarked and certified for optimal price performance, the company said.

The global shortage of server memory and associated rise in price led TAG's R&D team to revisit its optimization calculations and develop an alternative approach that dramatically reduces the amount of memory each server requires while preserving quality. By running a server on as few as four memory modules, rather than a fully populated configuration, TAG delivers comparable monitoring capability at a substantially lower cost per channel.

For compressed workflows, the trade is heavily in the user's favor: cost per channel falls by up to 66 percent while server capacity drops by only around 20 percent. TAG has now extended the same approach to uncompressed ST 2110 environments, where benchmarking on certified platforms is complete. The memory savings there are significant with a larger capacity trade-off of up to around 50 percent in some configurations, it said.

"Our commitment has always been to optimize our customers' investment in hardware, not just to keep pace with it," said Stas Bangiev, vice president of R&D at TAG Video Systems. "When memory prices rose across the industry, we didn't ask our customers to simply absorb the increase. We went back to the drawing board and engineered a way to deliver the same quality for dramatically less, because reducing our customers' costs is central to how we operate."

Memory usage optimization is available in the latest release of TAG's MCM software with further platform work already under way. Innovation is delivered as part of the Zero Friction subscription. Customers receive this optimization and every improvement that follows as part of their plan at no extra cost. Customers should contact their TAG representative to confirm the optimal configuration for their environment.

More information is available on the company’s website.

AMSTERDAM—At IBC 2026, the Advanced Media Workflow Association (AMWA) has announced a joint initiative with the EBU to bring together leading broadcast technology suppliers to demonstrate interoperable implementations of NMOS BCP-008 Minimum Status Reporting.

The specification is designed to give operators a consistent view of device health across multi-vendor IP environments and help them identify the problems.

“The broadcast industry has always made its greatest progress through collaboration. These demonstrations show what's possible when vendors, end users, and integrators come together around open specifications to solve real operational challenges,” said Brad Gilmer, executive director of AMWA. “BCP-008 gives broadcasters a practical, standardized way to understand what's happening across multi-vendor IP facilities, helping them operate those facilities with greater confidence. Leading manufacturers demonstrating interoperable implementations together at IBC is an important milestone for our industry."

Presented live on the EBU stand (10.D21) during the show between Sept. 11 and 14, the demos will show products from multiple vendors reporting status consistently across a multi-vendor IP environment.

By giving operators a common view of device health, BCP-008 can help them distinguish urgent problems from routine conditions and resolve issues faster.

"These demonstrations aren't simply about showing technology," said Stefan Ledergerber, NMOS Control project lead and CEO of Simplexity. "They're about demonstrating that multi-vendor interoperability is real, practical, and ready for deployment."

Participating companies include:

• Arkona
• DirectOut
• EVS
• Leader
• Nevion
• Pebble
• Providius
• Riedel
• Simplexity
• Sony

The companies have spent months preparing their BCP-008 implementations to work together. Before IBC, they will convene at EVS's facilities in Belgium for an intensive, hands-on interoperability event, where they will validate the implementations before taking them live in Amsterdam.

"To have products from each of these participating companies implementing BCP-008 at once is the largest commitment to NMOS since the introduction of IS-04 and IS-05," said Ledergerber. "It shows the necessity of status reporting within our industry. We should applaud these manufacturers for having a vision for an interoperable, open, and flexible future of IP and for bringing that vision to reality."

BCP-008 complements NMOS connection management by giving devices from different vendors a standardized way to communicate operational status. Because the end device is best positioned to recognize when it is not operating correctly, the approach helps operators distinguish conditions requiring action from routine status information.

"The industry hasn’t yet mastered the complexity of ST 2110, much less DMF. Training broadcast engineers to become IT experts doesn't scale. BCP-008 is an important ingredient to scale," added Ledergerber. At IBC, visitors will see systems respond to packet loss, link disconnects, packet jitter, PTP grandmaster changes, stream validation errors, and other common operational errors.

Additional information and BCP-008 developer resources are available at: www.amwa.tv/post/developer-resources-nmos-bcp-008-minimum-status-reporting

CYPRESS, Calif.—FOR-A will showcase new, practical solutions to real-world production challenges, including its MixBoard, viztrick AiDi, the FA-1616 and Hi-RDS, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Typical of the issues facing broadcasters and production companies is the need to deliver multiple versions of the content to different formats and technical specifications, often in real time.

MixBoard, a software-based switcher powered by ClassX, is more than an integrated audio mixer and video switcher. It incorporates the ability to generate cropped versions for different aspect ratios and to stream outputs in multiple formats for broadcast and online services. As a software platform, MixBoard benefits from continuing enhancements, and IBC2026 will see the first showing of its comprehensive control for PTZ cameras.

Widely used for multiple outputs, viztrick AiDi is an on-device AI solution developed by Nippon TV and delivered globally by FOR-A. It is powered by NVIDIA AI infrastructure. One of its most widely used solutions is GoVertical! AiDi, which delivers AI-aided 9:16 autocropping for social media in real time while automatically keeping the action centered and optimized for vertical viewing.

Other applications include player tracking and object recognition. Unlike cloud-based alternatives, viztrick AiDi operates entirely on-device, eliminating reliance on internet connectivity.

With most installations still depending on hybrid architectures, the FA-1616 is proving immensely valuable as a software-defined digital video processor. It supports up to 32 streams, including SDI and IP, and incorporates up/down conversion, color correction, audio remapping and timecode generation. Capable of providing the bridge between 2K and 4K, SDI and IP, compressed and uncompressed, it is the Swiss army knife of video processing.

Aimed at solving the real-world problems systems architects face today as they implement increasingly complex software-defined environments, Hi-RDS goes simplifies network design. Typical Registration and Discovery Systems (RDS) allow each node to be incorporated in just one RDS. Hi-RDS – hierarchical RDS – adds a primary RDS layer that then manages each node on the operational layers, making it simple to pass content between operational areas, between different vendors’ technologies and between formats.

The IBC stand will also see demonstrations of the latest routing switchers and video switchers, including new additions to the MFR and HVS-Q12 Hanabi families. Each is designed with operational simplicity and high reliability in mind, while working with multiple formats and outputs for real-world practicality.

These switchers incorporate multiviewers, making cabling and installation simpler and reducing points of vulnerability. In addition, AI updates to the software-defined FOR-A IMPULSE live production platform will be shown.

See FOR-A at IBC 2026 stand 2.B53.

More information is available on the company’s website.

ATLANTA—At the 2026 IBC Show, Sept. 11-14 in Amsterdam, swXtch.io will launch groundSwXtch for Audio over IP (AoIP), a software application that lets broadcasters and media organizations move audio in all major AoIP formats, including Ravenna, AES67 and ST 2110-30, between facilities and into the cloud over standard IP networks, including the public internet.

The application achieves this without codec hardware and without reconfiguring switches or routers to support multicast. By carrying audio in its native, uncompressed form end to end, groundSwXtch preserves bit-identical quality while removing the encode/decode latency, hardware cost and deployment complexity that come with traditional AoIP transport, according to the company.

Unlike current methods, which mostly rely on dedicated codec pairs to move audio between facilities by compressing, transporting over a standard connection and decoding on arrival, groundSwXtch removes that step by carrying the existing multicast AoIP streams on a facility's network across the connecting network (WAN, 5G or public internet) through a centrally managed software overlay.

A lightweight application on standard hardware/servers or virtual machines forms the overlay and moves native AoIP traffic across existing IP infrastructure, including over switches and routers that were never configured for multicast routing. Broadcasters connect studios, production centers, remote facilities and data centers into one unified fabric without touching physical network hardware, with built-in packet protection for hybrid links including SMPTE ST 2022-7 hitless failover, and a single-pane view of every flow, according to swXtch.io.

Because groundSwXtch shares its core architecture with swXtch.io's cloudSwXtch platform, the two can be paired to extend the same multicast fabric into the cloud—giving broadcasters one hybrid network spanning on-premises and cloud environments rather than separate ground and cloud workflows.

Timing accuracy across that fabric is maintained through integrated clock synchronization including support for PTP, preserving the accuracy required for live production, intercom systems and distributed audio mixing. Because groundSwXtch transports AoIP streams natively in their original format, with no compression or transcoding at any point, audio arrives exactly as it left the source.

swXtch.io has validated groundSwXtch with broadcast and professional audio partners across live sports and remote event production, intercom connectivity between facilities, distributed audio mixing, remote production for entertainment venues, and radio workflows linking studios, newsrooms and regional bureaus into a single software-defined audio network.

"For decades, the industry has focused on making audio codecs faster and more efficient," said Brent Yates, CEO of swXtch.io. "We took a different approach by asking whether broadcasters need codecs at all. If audio already exists as native AoIP and we provide an IP network that can transport it reliably, removing that encode-and-decode layer simplifies infrastructure, lowers costs and preserves the integrity of the original signal. groundSwXtch allows broadcasters to move audio exactly as it was created while making distributed production far easier to deploy and scale."

swXtch.io will demonstrate groundSwXtch for Audio over IP during IBC2026 in meeting room 5.MR13 (Hall 5) in the RAI Amsterdam.

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

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

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

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

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

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

DENVER—MediaKind will make its first major appearance as a unified global provider of video infrastructure solutions during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

MediaKind will present unified demonstrations showing how it is already sharing technology across its portfolio, demonstrating rapid progress in integrating capabilities across its on-premises and SaaS ecosystems.

“We’re bringing our teams and technologies together at speed,” said MediaKind CEO Allen Broome. “Customers can rely on the products they use today, while benefiting from deeper integration, a broader portfolio and faster innovation.”

Many of these capabilities were used during the recent World Cup where MediaKind supported more than 20 brands and delivered 3 billion streams. These customer deployments ensured reliability with peak viewing concurrency exceeding 20 million across MK.IO and VOS360.

MediaKind technology and demonstrations will also be featured across selected partner stands throughout the show, highlighting the strength and reach of its broader technology ecosystem.

See MediaKind at IBC 2026 stand 1.D71.

More information is available on the company’s website.

WUPPERTAL, Germany—Riedel Communications will feature the Live Production Experience, a connected demonstration that follows the production chain from image capture and signal transport to live switching, replay, audio processing, monitoring, control, communications and delivery during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Rather than presenting each technology in isolation, Riedel will show how its systems can work together within a coordinated, IP-focused environment to simplify operations and give production teams a more consistent and flexible way to build, run and evolve their workflows.

At the center of the demonstration are the SimplyLive Production Suite Flex, now expanded with SMPTE ST 2110-capable server configurations; MediorNet’s hybrid SDI-IP and native ST 2110 capabilities; SAME audio processing; and hi human interface as the overarching control and orchestration layer. With ARRI camera technology at the point of image capture, the demonstration makes the end-to-end vision tangible by connecting the production workflow within one coordinated IP environment.

Riedel will also make the IBC premieres of the MediorNet HorizoN ST 2110 MultiViewer App, the DSP-1216HL Commentary Control App and the StageLink NSA008-A as well as unveil intercom and audio developments.

SimplyLIveRiedel will highlight new Flex server configurations adding SMPTE ST 2110 to the SimplyLive platform’s existing support for SDI, SRT NDI, and other video workflows. The expansion broadens deployment choices and allows SimplyLive to fit more directly into ST 2110 production environments and Riedel’s wider IP infrastructure.

Further enhancements bring new capabilities and greater operational flexibility to the SimplyLive software suite. Alongside integration with SKAARHOJ control panels, Riedel will showcase new Venue Gateway options.

MediorNetThe new MediorNet HorizoN ST 2110 MultiViewer App expands native IP capabilities and reinforces HorizoN’s role in modern ST 2110-based infrastructures. The new app brings multiviewing directly into the MediorNet processing environment. It extends Riedel’s established multiviewer approach into native IP environments while maintaining the operational flexibility required for modern live production.

hi human interfaceRiedel's hi human interface is a vendor-agnostic control and orchestration platform. Browser-based, platform-independent and vendor-agnostic, hi enables operators to configure, control, and manage routers, multiviewers, video and audio mixers, software-defined networks (SDNs) and other third-party technologies with a unified interface.

Supporting baseband, IP or hybrid infrastructures, hi adapts to different users, operational roles, and production environments.

Smart Audio and Edge ConnectivityRiedel will showcase its SAME Smart Audio & Mixing Engine, an advanced audio processing software suite built on commercial off-the-shelf server cluster technology. Designed for scalable and automated workflows, SAME provides flexible processing resources that can adapt to changing production requirements.

Its distributed approach separates audio processing from individual physical workspaces, allowing resources to be accessed and managed across different locations. This supports a broad range of applications, including mixing, monitoring, voice-over, loudness management, signal analysis and in-line processing.

At the edge of the network, Riedel’s expanding StageLink Network Stream Adapter family provides compact, rugged devices for decentralized audio and intercom connectivity over standard IP networks. At IBC, Riedel will premiere the new StageLink NSA008-A, supporting flexible signal distribution within Artist, Bolero and wider IP audio environments.

Bolero and Bolero MiniThe company will introduce enhancements across its Bolero wireless intercom portfolio with new 5G filtering for Bolero antennas and beltpacks. The enhancements are designed to increase resilience in demanding RF environments and support reliable communications in increasingly congested production settings. Bolero beltpacks will also feature a refreshed, more robust hardware design, along with new RF-resilient options.

Bolero Mini complements the full-size Bolero beltpack. It combines four programmable keys and dedicated volume controls with the audio performance, RF capabilities, Bluetooth connectivity, and operational concepts of the wider Bolero ecosystem.

The company will also feature:

• The Artist Ecosystem with Virtual SmartPanel and 1200 Series SmartPanels.
• Easy5G private 5G network support.
• DIVA+ managed technology for complex live events environments.

See Riedel Communications at IBC 2026 Stands 10.A24, 10.A31 and 10.A38.

More information is available on the company’s website.

RASTATT, Germany—Lawo will feature the latest additions to its HOME ecosystem as well as the European debut of Edge One, the company’s latest software release for the mc² production console family and Power Core during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The company will also showcase a live implementation of its Dynamic Media Facility (DMF) approach.

Together, the innovations show how broadcasters, production companies and media organizations can increase operational agility, maximize infrastructure utilization and adapt resources dynamically to changing production demands.

The company’s HOME management and orchestration platform enables device discovery, security, authentication and control across IP-based media infrastructures. Combined with HOME Apps, Lawo’s portfolio of server-based processing microservices, HOME allows processing resources to be deployed, scaled and reassigned wherever they are needed independent of dedicated hardware.

A key highlight will be Lawo’s live demonstration of Dynamic Media Facilities, showcasing how broadcasters can dynamically allocate processing resources across studios, central facilities, remote-production environments and hybrid infrastructures. Lawo will demonstrate a working production environment showing its software-based dynamic media facilities are a practical reality today.

It will also highlight a technology collaboration with Grass Valley focused on validating orchestration, control and media exchange integration between Grass Valley AMPP and Lawo HOME, both aligned with an open system approach and the EBU Dynamic Media Facility (DMF) initiative.

The company will also unveil two new HOME Apps dedicated to graphics processing. Designed for broadcasters, live production facilities and media infrastructure operators, the applications expand HOME’s capabilities beyond signal processing and orchestration into branding, graphics compositing and real-time broadcast presentation.

Lawo will also make the European trade show introduction of Edge One, a new approach to audio and video connectivity for broadcast and Pro AV applications. Combining video, audio, networking and processing capabilities in a compact platform, Edge One makes edge connectivity more flexible while reducing equipment footprint, cabling complexity and deployment effort.

The platform combines bi-directional SDI connectivity, HDMI, MADI, USB-C audio, GPIO, synchronization interfaces and interchangeable audio I/O modules in a single device. User-swappable modules allow rapid adaptation for studio, venue, remote-production, flypack or commentary applications.

As a native SMPTE ST 2110 platform supporting up to 25 Gbps network bandwidth, Edge One integrates seamlessly into modern IP infrastructures while also serving as a standalone solution for audio embedding, de-embedding, shuffling and signal transport workflows. Supporting Lawo FLEX, Edge One is available in Audio, Video, and Audio + Video configurations.

Lawo will also show its mc² Software Release 12.4, delivering workflow enhancements for live production and broadcast applications. New capabilities include Real-Time Analyzer support for signal analysis and visual feedback, zoom module pop-ups for improved touch operation, enhanced third-party input-stage control through a new HOME data model, external channel preset recall via Ember+, sample-based delay adjustment for finer timing precision and API-key authentication for secure MCX-to-HOME connectivity. The company will also preview mc² Release 12.6.

The company will highlight its latest Power Core software release, which adds support for the Lawo OnAir Designer and introduces a new five-band equalizer featuring four parametric bands plus an additional filter band.

See Lawo at IBC 2026 stand 8.B90.

More information is available on the company’s website.

At IBC 2026, Utah Scientific said it will highlight NBOSS, a software extension to the Utah Scientific Control System.

The extension enables seamless control of SMPTE ST 2110 IP media sources and destinations within the familiar Utah Scientific routing environment.

“The industry’s transition to IP is not a single event, but an ongoing evolution, and customers need technologies that support that journey at their own pace,” Utah Scientific CEO Brett Benson said. “NBOSS creates a unified control experience for NMOS-enabled devices and traditional routing infrastructure, helping facilities modernize confidently while maintaining the reliability they expect from Utah Scientific.”

Delivered on a dedicated two-rack-unit server appliance, NBOSS provides a simple NMOS-based control layer that bridges traditional SDI workflows with modern IP infrastructure, Utah Scientific said. It lets broadcasters manage IP and SDI signals together, without introducing a separate control system or changing operational workflows.

NBOSS allows facilities transitioning to IP to operate as a true hybrid SDI/IP router, preserving established operational models while enabling future-ready infrastructure.

See NBOSS and other Utah Scientific products at IBC 2026, Sept. 11–14, at the RAI Amsterdam Convention Center, stand 10.B40.

CHAMPAIGN, Ill.—Cobalt Digital will showcase enhancements to its product portfolio that simplify signal processing, monitoring and IP integration as broadcast and professional AV facilities continue to adopt hybrid SDI/IP workflows while transitioning to software-defined production environments during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

For the first time at IBC 2026, Cobalt will show its family of 9935-AUD4-DANTE openGear advanced audio processors cards with optional fiber inputs/outputs to support Dante Audio Interface. By enabling direct fiber connectivity, Dante installation is simplified, longer-distance deployments are supported, and the need for external media conversion in fiber-based network infrastructures is eliminated.

The 9935-AUD4-DANTE is a quad-channel with up to 12G DANTE/AES/MADI/embed and de-embed functions with frame sync capabilities. The card features two gigabit Ethernet ports, a 64x64 configuration, and a full audio router mixer.

Cobalt Digital will also feature expanded IPMX functionality with JPEG XS Temporal Differential Coding (JXS TDC), enabling its portfolio of IPMX-certified products to seamlessly discover, establish and transport visually lossless, ultra-low latency JPEG XS media streams.

The enhancement strengthens IPMX environments, providing true plug-and-play deployment and enabling low-latency JPEG XS workflows while maintaining compatibility across mixed-vendor systems. JPEG-XS support is available for all Cobalt ST 2110/IPMX capable products, including SAPPHIRE and INDIGO lines, as well as the UltraBlue MV and the blueCORE processors.

The company will also feature its blueCORE processing platform, which delivers powerful, multi-function audio and video processing in a self-contained form factor, enabling users to adapt to changing production requirements while protecting long-term infrastructure investments.

The platform’s compact footprint, ease of operation and low power requirements (less than 80W for the ST 2110 version) make it well-suited to live production in trucks, OB-vans and other space-constrained environments. Its self-contained form factor makes deployment fast and simple—with or without a computer.

Capabilities include up/down/cross conversion, color correction, several varieties of HDR processing, audio routing and mixing, per-channel frame sync, frame rate conversion, audio embedding and de-embedding, SCTE-104 insertion and logo insertion.

The company will also feature:

• The Cobalt UltraBlue MV-SW IP hybrid multiviewer. A flexible software-based solution, the multiviewer now offers support for transitioning to ST 2110 or IPMX. UltraBlue MV-SW is available as a turnkey solution with four HDMI heads and as a software package that runs on customer-supplied dedicated hardware.
• Cobalt ARIA audio line. The COBALT ARIA family provides a path forward for facilities migrating to IP-based operations. The series includes a fully IPMX-compliant audio monitor and features best-in-class sound monitoring and 16 SDI or 64 MADI channels in a compact rack-mount form-factor. Sound is produced by an efficient Class-D amplifier with DSP and specially selected speaker components.
• Cobalt compression solutions. The company also will demonstrate its growing COBALT PACIFIC compression line, including the COBALT PACIFIC ULL-DEC upgradeable software-defined broadcast decoder now available with an ST 2110/IPMX output option. The enhancement allows decoded content to be transported simultaneously over SDI and ST 2110/IPMX. For ST 2110 operation, a built-in frame sync will emit a PTP-locked signal. Cobalt has added support for hybrid satellite-internet operations to the COBALT PACIFIC compression line, compliant with VSR TR-06-4 Part 7. A DVB-S/S2 factory-installed demodulator option enables decoding and passthrough of satellite signals on ASI and over IP.

See Cobalt Digital at IBC 2026 stand 8.F90.

More information is available on the company’s website.

NEUSS, Germany—Ikegami will make the European market launch for additions to its UNICAM product range during IBC 2026, Sept. 11-14 at the RAI Amsterdam Convention Center.

“A highlight of our IBC 2026 demonstration will be a new constant-aperture variable neutral density filter function which expands the creative potential of the UHK-X700 and UHK-X750 UNICAM XE portable and full studio cameras,” said Gisbert Hochguertel, Ikegami Europe product specialist. “When used as an alternative to the iris, the VND filter allows the lens f-stop to remain fixed to control video exposure. This enables a director to set the depth of field for a specific shot and then control the exposure in real time by changing the continuously variable neutral density filter attenuation.”

Ikegami will also demonstrate two new viewfinders for use with its UNICAM XE and UNICAM HD cameras. Introduced at NAB Show in April, the VFE-P07D is a two-in-one viewfinder comprising a monocular OLED and an adjustable-angle 3.5-inch TFT LCD monitor.

The 3.5-inch monitor screen can face forwards, be tilted to more than 120 degrees or turned laterally to face forwards. Waveform, vectorscope and audio metering tools can be easily accessed. The VFE-P07D attaches to shoulder-mounting and studio-format cameras in the UNICAM XE series.

Shown as a prototype at IBC 2025 and making its IBC 2026 debut is the production version of the VFE-P711AD high-resolution 7-inch OLED viewfinder. Developed from the LCD-based VFL-P700AD, the new OLED model is designed to offer clear visibility even in environments with intense ambient light.

The OLED panel’s fast response time is particularly useful when focusing and framing content at high frame rate for slow-motion replay. The viewfinder also has front-facing tally indicators and a rear-facing tally. Like the VFE-P07D, the VFE-P711AD includes waveform, vectorscope and audio metering tools.

The centerpiece of Ikegami’s IBC exhibit will be the UNICAM XE series three-CMOS studio and portable cameras. Designed for the HDR, HFR, IP and UHD era, the UHK-X700 and UHK-X600 incorporate three ⅔-inch 4K sensors with global shutter architecture.

The UHK-X750 and UHK-X650 are hard-body, full-studio models sharing the same features. The UHK-X700RF is a wireless portable variant of the UHK-X700. Multichannel antenna diversity is a standard feature of this model, providing robust signal delivery in a wide range of transmission environments.

Ikegami will also promote its UNICAM HD HDK-X500 multiformat portable camera system, which can be purchased as a 1920p model upgradeable to full 4K-UHD.

Designed for remote image capture, the UHL-X40 shares the 4K-UHD 2/3-inch three-CMOS global shutter imaging architecture of the UNICAM XE series augmented for motorized pan/tilt/zoom applications in studios as well as outdoor applications, such as sports close-ups, theater and stage video capture, weather monitoring and point-of-view imaging. Two-piece construction allows remote control via up to 6.2 miles (10 km) of duplex fiber cable between head and CCU.

The UHL-43 is a three-CMOS 2160p-native 4K-UHD camera in a compact 5.7 x 6.1 x 6.6-inch (145 x 155 x 169 mm) 5.7-pound (2.6 kg) housing. It supports applications like studio robotics or remote-control PTZ image capture and point-of-view image capture. The camera can also be used on support devices, such as a shoulder brace, long-reach arm or overhead mount. The UHL-43HD variant has the same three-CMOS 2160p native sensors but comes with 1080p/i output that can be upgraded via an optional software key to allow 4K-native operation.

See Ikegami at IBC 2026 stand 12.A31.

More information is available on the company’s website.

NEW YORK—TAG Video Systems will feature the latest innovations to its software-based real-time media monitoring, multiviewing and quality control (QC) platform during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The updates build on TAG’s cloud and virtualization development and include support for the emerging MXL standard and containerized deployment—both aimed at making full cloud production a practical reality, along with deeper automated audio, subtitle and lip-sync QC, the company said.

TAG’s latest platform innovations focus on flexible, deploy-anywhere software and on the emerging standards that make cloud production real. The latest platform developments include:

• Fully containerized—Both components of the platform (MCM, MCS) are now available as a Docker container, enabling fully automated, on-demand deployment across cloud and virtualized infrastructure, enabling spin-up monitoring where and when needed without dedicated appliances.
• MXL in production—TAG was among the first to support MXL workflows and has a full MXL implementation. At IBC, TAG will demonstrate advanced MXL interoperability with AWS and will present a new collaborative MXL demo with Sony.
• Production-ready performance—Reduced latency on ST 2110 streams, as low as 1.5 frames at 50 fps and 2 frames at 59.94 fps (MCM input to MCM output), together with CIR (Cyclic Intra Refresh) encoding on MCM output, making it practical to monitor and QC inside live and cloud production workflows, not just downstream.
• Massive software scale—Support for the Mellanox ConnectX-7 network card enables monitoring of 200 and 400 Gbps links, scaling to many more uncompressed ST 2110 video streams. Clear proof that software can meet the most demanding, high-density uncompressed environments.

Alongside its cloud developments, TAG continues to invest in the quality and compliance needs of its core customers. It has extended its automated checks beyond video into audio, subtitles and synchronization to audio QC, OCR of DVB subtitles and Hitomi MatchBox support. The company also has added support for the alpha (transparency) channel in NDI streams and automated test-pattern loopback detection and comparison.

"Our customers are rearchitecting how they produce content,“ TAG VP of Product Stratey Michael Demb said. “They’re moving off dedicated hardware, into containers, into the cloud, with open approaches like MXL leading the way. For their operations, that means monitoring that spins up anywhere and scales to formats and volumes that used to require a truckload of appliances. It also brings a meaningful reduction in the hardware footprint that used to define the cost of doing this. At IBC, we’re showing exactly what that looks like live: software-defined monitoring, at scale, with none of the dedicated boxes.”

See TAG Video Systems at IBC 2026, stand 1.D33.

More information is available on the company’s website.

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

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

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

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

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

The 2026 Finalists for Content Creation:

• How Collective Newsroom powers BBC India — Building a unified, multilingual production operation from scratch against a fixed deadline. Working with the BBC and nxtedition, supported by Adobe, Blackmagic Design, Calrec, Ideal Systems and Ross Video.
• Media eXchange Layer (MXL) — An open-source initiative established by the European Broadcasting Union in collaboration with the North American Broadcasters Association, hosted by the Linux Foundation.
• Formula E Strategy Agent — Developed with Google Cloud, the AI architecture processes and contextualizes a sub-millisecond, multi-feed torrent of racing car data within a compressed window to predict and simplify complex racing strategies for the viewer. Technical support: Aurora Media Worldwide.

The 2026 Finalists for Content Distribution:

• Capacity that follows the live news story — Reuters replaced fixed-capacity infrastructure with a Global Shared Memory ecosystem powered by TVU Networks' MediaMesh, enabling event-driven, API-orchestrated news distribution, including partner integrations: InSync, Kinetiq, Sony, Elecard and TAG Video Systems.
• Transforming broadcast distribution in Malaysia — Technical Content Delivery (TCODE) is a centralised digital contribution and workflow orchestration platform for Radio Televisyen Malaysia, developed with Ideal Systems. Technical supporters: Blue Lucy Media, Emotion Systems, and Fortinet.
• Server-guided ad insertion at scale — RTBF Belgium migrated from CSAI/SSAI to standards-based SGAI. Launched for the FIFA World Cup, with Bitmovin’s Player, AIP’s AdBlendr, HLS interstitials and SVTA2053. Technical support: Dotscreen, Red Bee Media, and Régie Média Belge.

The 2026 Finalists for Content Everywhere:

• Implementation of DTV+ in Brazil — Through DTV+, Globo has combined the reach of free-to-air television with the personalization and measurability of digital media. By integrating broadcast and broadband, it reconnects mass audiences with digital capabilities. The project involved collaboration across government, broadcasters and industry.
• The connected fan experience — Built with Microsoft, the Premier League Companion powered by Copilot reimagines fan engagement at global scale, connecting 1.8 billion fans in 189 countries to 30 seasons of Premier League content through personalized, real-time AI conversational experiences. Technical partner: Beyond Sport.
• Tilly Norwood (and the Tillyverse) — Created by Particle 6, with its talent studio Xicoia, the AI-generated performer has reached an estimated 80 million people globally with approximately 500 million cumulative impressions.

The 2026 Finalists for Social Impact:

• AI for Good — Established by the International Telecommunication Union, the platform convenes governments, start-ups, researchers, UN agencies, industry leaders, civil society and youth from over 180 countries, with the mission of unlocking AI's potential to serve humanity.
• IOC Cyber Abuse Protection Service (CAPS) — This system protects athletes, teams, coaches and officials from online abuse at the Olympic Games. Technical supporter: Signify AI.
• Closing the sign language gap — G&L Systemhaus brought together AI company Signapse, software company Norsk/id3as and CDN provider Akamai to build a broadcast-grade, AI-powered sign language solution for live and on-demand streaming.
• The IBC2026 Awards presentation will also feature the IBC International Honour for Excellence, recognizing an outstanding contribution to the global media industry, along with the Best Technical Paper, selected from the peer-reviewed papers presented during the IBC2026 Conference.

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

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

NEW BERN, N.C.—Wheatstone will demonstrate its VMX virtual mixing platform at IBC 2026, Sept. 11-14, in Amsterdam.

The VMX platform is server-based and web-browser accessible for mixing in any environment on a variety of devices, from recessed touch screens in the studio to tablets at the ballpark.

VMX can be installed on an existing server or a dedicated appliance and offers a selection of tiles including basic utility mixers, a simple virtual mixing interface and complete virtual broadcast consoles for the television newsroom or the radio on-air studio, Wheatstone said.

Virtual consoles are accessible through a web browser, allowing users to quickly add newsrooms, control rooms, voicetrack booths and remote mixing instances on demand—complete with backup mirroring synchronized in real time for instant failover.

VMX is AES67-compliant with an easy-to-install setup wizard, the company said. It is scalable from large enterprise systems to the VMX Nano, priced and scaled for remote or emergency broadcast applications, according to Wheatstone.

VMX is part of Wheatstone’s Layers software-based broadcast suite for virtualizing studio functions as an extension of the WheatNet IP audio network.

Wheatstone will demonstrate the VMX total virtual mixing experience at IBC 2026 stand 8.A51, along with its WheatNet IP audio network of virtual and fixed consoles, talent stations and intelligent I/O access units.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Key information:

Submission requirement: 300-word synopsis

Deadline for submissions: Friday 20 February 2026

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

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

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

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

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

(An edited transcript.)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This list has been updated.

Here are this year’s winners:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Features include:

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

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

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

See Autocue and Autoscript at IBC2025 Stand 13.A05.

More information is available on the Autocue and Autoscript websites.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For more information about the lens, click here.

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

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

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

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

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

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

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

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

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

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

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

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

Grass Valley will be in Stand 9.A01.

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

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

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

New for IBC:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Key features include:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To register for the IBC2025 Conference, click here.

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

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

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

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

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

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

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

See Accedo at IBC2025 Stand 5.F80.

More information is available on the company’s website.

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

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

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

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

Highlights include:

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

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

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

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

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

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

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

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

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

Imagine Communications will be in Stand 1.B73.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

See Wohler at IBC2025 Stand 10.B12.

More Information is available on the company’s website.