HELSINIKI, Finland—Finnish commercial broadcaster MTV Oy has deployed QuickLink StudioEdge to simplify remote guest participation in programming and strengthen the technical backbone of its live productions.

Much of MTV Oy’s programming—including its morning and afternoon current-affairs shows, news bulletins, major national events like election coverage and its 7 p.m. and 10 p.m. newscasts—draws extensively from remote contributors from across Finland and around the world. The broadcaster said it required a quick and seamless way to connect with contributors.

“We strive to deliver breaking news through rapid live coverage, tell the stories that matter most and provide comprehensive sports productions from Finland and around the world,” said Pirkka Maksimainen, technology and service development manager of news productions at MTV Oy.

Prior to adopting QuickLink StudioEdge, the broadcaster built its remote contribution workflows around other QuickLink solutions. Initially, it used QuickLink Skype TX and transitioned to QuickLink StudioCall to bring remote guests into shows via web browser. However, as MTV Oy’s production needs evolved, the broadcaster wanted greater flexibility to accommodate a wider range of contributors and communications platforms.

“Before integrating StudioEdge, we evaluated various remote contribution solutions,” Maksimainen said. “The main challenge was that many solutions required contributors to install an application or sign in to a specific service. StudioEdge gives us much greater flexibility, allowing us to continue using StudioCall while also introducing guests via platforms such as Zoom and Microsoft Teams.

“Its platform-agnostic approach enables contributors to join in the way that is most convenient for them, helping us conduct interviews quickly and seamlessly without creating additional barriers for guests,” he added.

StudioEdge’s NVIDIA-powered audio and video enhancement capabilities help ensure a consistently high-quality viewing experience by improving the clarity and quality of remote contributions, QuickLink said, regardless of the device or environment from which guests are joining.

Reporters can arrange interviews by phone. Producers keep contributors connected and informed and guests join using devices they already have in hand. Through StudioEdge, producers can see the program feed and hear a mix-minus audio feed, allowing them to follow the production and participate during the live interview.

The two‑channel version of StudioEdge also has given MTV Oy’s news and sports teams greater autonomy to manage remote interviews independently and efficiently. The platform is also used extensively during morning and afternoon current-affairs shows, where rapid access to remote guests is essential.

More information is available on the QuickLink website.

EMERYVILLE, Calif.—Systems integrator Advanced Systems Group has hired Bob Daniel as a storage and workflow solutions architect on its Enterprise Storage team.

Daniels brings 30 years of experience in architecting and implementing large, complex storage systems for media and entertainment clients as well as enterprise applications. In his new role, he’ll design customized technical solutions for client based on performance, reliability and budget requirements for both traditional and AI environments, ASG said.

He brings decades of experience with major studios, postproduction facilities and enterprise organizations, ASG said.

“Bob has deep expertise in data storage and management,” ASG President Dave Van Hoy said. “He knows what is at stake when a customer’s storage is not optimized properly for the work at hand. He’s helped customers make those critical decisions for decades, and he’s well acquainted with our team from collaborating with us on previous projects.

“Bob is a master at connecting a client’s business goals with a practical design, and now he’ll have our team supporting him on implementation every step of the way,” he added.

Daniel joins ASG after a long career in senior roles with NetApp and LSI. He has designed storage solutions for many major Los Angeles studios and postproduction houses, ASG said, as well as law firms, casinos and other large enterprises outside of media and entertainment.

“I've been helping customers find the right solution for over 30 years, so it's exciting to discover the latest in areas like media supply chain and networking,” Daniel said.

He will be based in Southern California and can be reached via email.

YouTube said it will begin AV2 streaming early next year, aiming to enhance video quality and open new multiview capabilities.

“YouTube champions open codecs that deliver the best quality video with the fewest playback interruptions,“ YouTube Engineering Director Des Keane said. “As of March 19, 2026, over 90% of YouTube’s catalogue (weighted by watch time) is available in AV1.

“We’re excited to begin streaming in AV2, which brings even better video quality to users and unlocks new multivideo capabilities. YouTube AV2 streams will be available for Web as soon as early 2027.”

The statement follows an announcement from the Alliance for Open Media (AOMedia), highlighting “significant ecosystem momentum” behind AV2, the royalty-free video codec. Developed through voluntary standardization efforts by Amazon, Apple, Google, Intel, Netflix, Samsung, Tencent and the wider alliance, AV2 provides around 30% greater compression efficiency than AV1, while introducing capabilities including multistream video, real-time communications, immersive applications, higher frame rates and enhanced HDR performance.

Uptake of the codec mirrors the adoption pattern set by AV1, said AOMedia, which currently powers video across streaming services, browsers, mobile devices, operating systems and more. The established ecosystem is helping members facilitate AV2’s transition from specification to deployment, with several already demonstrating and evaluating the codec across production environments, open-source projects, and consumer-facing platforms.

An increasing number of alliance members are contributing technologies that support encoder and decoder development, compliance testing, benchmarking, validation, interoperability testing, content creation workflows, and hardware readiness, the organization added.

BURBANK, Calif.—Matthews Studio Equipment has introduced the 33 Sliding Leg C-Stand with Grip Head and 40-inch Arm.

The new stand combines Matthews’ recognized support with a compact size that travels easily and delivers the strength and serviceability crews have come to expect.

The C-Stand fits in the trunk or hatchback of a small car, making it a practical choice for crews transporting equipment without a production vehicle. On set, its sliding leg allows adjustable leveling on stairs, curbs and uneven ground, while the nesting base lets crews position stands close together for lighting and diffusion.

Two risers extend to a maximum height of 110 inches (279.4 centimeters) and a minimum height of 46.3 inches (118 cm). The stand supports up to 22 pounds (10 kilograms) and weighs 11 pounds (5 kg) or 15 pounds (6.8 kg) with the included grip head and 40-inch arm. Its footprint measures 27.5 inches (70 cm) with a folded base of 21 inches (54 cm).

Matthews’ V-shaped brakes provide three points of contact for a solid, secure hold. Knurled, undercut baby pins on the riser and grip arm help secure attached equipment. Only available when purchasing a new C-Stand system, the arm now features a knurled Baby Pin with ¼ inch-20 tap for added mounting flexibility. The included grip head features serrated plates and mounting holes for positive locking. The system also is compatible with all ⅝-inch Baby Pins and receivers.

Built to stay in service, every component of the 33 C-Stand can be repaired or replaced in the field. When properly maintained, Matthews said, its C-Stands are designed to serve crews for decades.

The 33 Sliding Leg C-Stand with Grip Head & Arm is available individually or in two-packs, in chrome or black powder coat.

More information is available on the company’s website.

If you handle network security duties for your radio or TV station or work with someone in IT, you know this past week was bumpy.

After news of a critical PHP security flaw started to trickle out Wednesday, administrators began pulling affected websites and web infrastructure offline to protect their networks. An estimated 70% of all websites run on some form of the PHP programming language.

Software engineer Jeff Geerling knows open-source software such as PHP better than just about anyone. Radio World asked him to put the flaw, PHP2Shell, in perspective.

“More than half the internet, at least in terms of public services, runs on PHP,” Geerling told Radio World. “And millions of routers, device backends and embedded tools also use PHP, though many of those are protected by not exposing that interface over the public internet.”

This was a big deal. And speaking at its AI Tour event in Germany, Microsoft CEO Satya Nadella said of the PHP vulnerability: “I’ve not seen anything like this in a long, long time.”

Making matters worse, it was not the only security headache triggered this week.

An eMudhra intermediate certificate compromise could allow attackers to forge certificates and bypass web encryption, particularly on devices that are updated infrequently.

“This vulnerability was so bad, and the reason for its existence so embarrassing, the company involved already abandoned that part of their business,” Geerling said.

Meanwhile, Node.js, the widely used JavaScript application runtime, patched 10 separate security issues this week and urged administrators to update immediately.

The aftermath leaves a whole lot of cleanup.

“The next few weeks and months will be stressful as everyone tries to update firmware and backend systems on networks that remain wide open if someone breaches the LAN (local area network),” Geerling predicted.

Not Just a Dinosaur
If you worked with websites even in the 1990s, you probably remember PHP. It’s still around.

Many in software development would consider it a “dinosaur language,” but it remains prominent as a server-side scripting tool. PHP is found in WordPress and that content management system is relied on by an estimated 40% of websites.

The core issue that was revealed publicly this past week centers on what’s known as an out-of-memory buffer corruption. If triggered at the right moment, an unauthorized user can execute code with application-level privileges, leaving the target machine, typically a web server, compromised.

According to reporting from CNN, this particular PHP vulnerability was uncovered in 2004 when security researcher Stefan Esser sent a warning about the flaw. It went ignored, according to CNN, because of just how arduous it would have been for humans to formulate a patch.

But that’s where AI enters the story.

And teams at OpenAI and two cybersecurity firms uncovered the vulnerabilities over the summer using AI-based discovery tools. The PHP Foundation, which maintains the open-source language, had been actively coordinating a security patch. According to the foundation’s blog, however, technical details leaked on social media on Tuesday, forcing the project to issue an early warning.

Because a software distributor published elements of the patch before the coordinated release, potential attackers could access the fix while users were still waiting for updates.

“This disregarded weeks of work by many parties toward a coordinated disclosure,” the PHP foundation wrote.

As a result, a few companies noticed attempts against their infrastructure before the public release, Geerling told Radio World. Modern AI-assisted tools — the other side of AI in this story — were likely able to find ways to exploit the flaw just based on rumors and bug reports, Geerling suggested.

No successful intrusions from the flaw have been confirmed, according to TechBrew, but exploit attempts jumped from thousands prior to the disclosure to millions by Wednesday night, according to data from Cloudflare.

Can our defenses keep up?

What could be running in your station’s plant that incorporates PHP?

Virtually any device featuring a browser-based management portal, including audio processors, codecs and transmitters, relies on an internal web server. As a result, PHP code may sit inside that hardware.

And here’s Geerling’s primary takeaway for technology managers: Be vigilant.

“Make sure any device you run is at minimum protected by your corporate firewall,” Geerling said. “No internal devices, especially critical airchain equipment, should be accessible on the public internet.”

Geerling advises engineers to subscribe to vendor security mailing lists and software update feeds. Where automated notifications are unavailable, stations should maintain an inventory checklist of any equipment running a web interface or remote-access portal, routinely checking manufacturer websites for firmware updates.

As Radio World is reporting separately, manufacturers are moving to patch their products as the vulnerability is actively targeted.

But a public-facing platform is even more of a target. That could mean your station’s own website, or it could be an online scheduling tool your station developed on its own that your staff uses.

If those tools rely on any form of PHP, it’s time to take them offline for some emergency maintenance if you haven’t already. The PHP Foundation released patches for multiple PHP versions you can install here.

AI helped uncover this security flaw, but as Geerling pointed out, the widespread availability of AI tools also means attackers can condense what once took months of exploit development into a matter of days.

“A year or two ago, attackers were shooting the equivalent of digital arrows at our services,” Geerling said. “Today, I’d say we’re dealing with cruise-missile capabilities. The question is whether our defenses can keep up.”

Limiting exposure remains the best defensive measure.

“The best option is always to remove access where unnecessary,” Geerling said. “If you have a tower site exposed to the internet that is accessible without a VPN, you can bet automated scanners already have it on their list of potential targets.”

FBI Guidance
To put in perspective the severity of last week’s threat, the FBI urged organizations to take immediate protective measures.

If an immediate update is not feasible, the FBI recommends taking affected systems offline until mitigations can be applied:

• Update PHP installations: Immediately deploy official patches following guidance on php.net. Inventory all environments running PHP, prioritizing internet-facing systems and third-party vendor products.
• Monitor web traffic: Watch web servers for unusual behavior, including PHP processes unexpectedly executing commands or initiating outbound file downloads. Implement endpoint and process-monitoring tools to spot unauthorized execution.
• Isolate and report intrusions: If indicators of compromise appear, isolate affected machines from the network immediately, preserve all web server and PHP access logs and report the incident to a local FBI field office or through the Internet Crime Complaint Center.

Bridge Technologies has announced it has joined the MXL initiative, with its tools now accessible via Grass Valley’s AMPP operating system.

Developed in collaboration with the EBU, the Linux Foundation, NABA and others, the Media eXchange Layer (MXL) provides a vendor-neutral open-source layer for IP-native, software-defined media production. Aiming to enable access to a wide range of production tools, AMPP provides an open, cloud-native operating system and virtualized media production platform using MXL as a transport layer for low-latency interoperability.

Leveraging MXL, Bridge has containerized a number of components from its suite of production tools, repackaging and delivering intuitive video and audio monitoring scopes. Independent of hardware, these scopes combine with MXL to minimise reliance on constant network read/write cycles, cutting latency, network overhead and infrastructure costs and driving smarter workflows.

Users are able to deploy audio and video scope features as needed and monitor on-demand fluctuations such-as during major global sporting events.

Matt Yates, director of strategic alliances at Grass Valley, said, “Bridge Technologies’ work with MXL is a good example of how an open approach can bring third-party applications into software-based media workflows. With AMPP OS now MXL-native, Bridge’s containerized monitoring tools can be accessed within the AMPP environment, giving users greater flexibility in how and when they deploy these capabilities. It also demonstrates the value of bringing technology partners together around a common approach to media exchange.”

Chairman and co-founder of Bridge Technologies, Simen Frostad, said, “The software we create has always been capable of far more—it just needed the right architecture to unlock that potential at scale without introducing configuration complexities. MXL and containerization provide exactly that: a flexible, efficient way to run our best-in-class scopes across larger, more dynamic production environments, without the overhead of dedicated hardware deployments.

“And we’re particularly proud that this is being done through open standards and shared innovation. That’s always been central to how Bridge operates—we’ve never believed in locking others out to secure our own position. We’ve always held that industry progress enables individual success, not the other way around. The MXL project is a natural expression of that philosophy: building better tools and sharing them with the entire industry.”

AUSTIN, Texas—BeckTV, Beam Dynamics, and Providius have announced a collaboration that connects broadcast system design, asset intelligence, and live network assurance. By linking BeckTV’s BeckFlow system documentation, Beam’s Asset Intelligence platform, and Providius’ network assurance, the collaboration gives broadcasters, production organizations, and system integrators a clearer view of their technology infrastructure, from how equipment is deployed and connected to how it is performing in the live environment.

Broadcast organizations have traditionally kept system documentation, equipment records, and live monitoring data in separate applications. Engineering drawings document equipment relationships and signal paths; asset platforms hold ownership and lifecycle information; and monitoring tools show what is happening in the live environment. Connecting those sources gives engineering and operations teams a more complete view of each asset:

• BeckFlow shows signal routing, device connectivity and technical system relationships.
• Beam provides asset, manufacturer, firmware, warranty, licensing, purchasing, and lifecycle information.
• Providius shows the live performance of the network, devices, and services across IP-based broadcast networks.

For example, when Providius identifies a service issue, users can quickly trace the alert to the equipment involved. BeckFlow shows where the device sits and what depends on it, while Beam provides the operational and lifecycle information needed to investigate, maintain, or replace it.

“Each platform understands a different part of the same asset,” said David Kaszycki, CEO and Co-Founder of Beam Dynamics. “Providius shows what is happening, BeckFlow shows where the device sits and how it connects, and Beam provides the operational, financial, and lifecycle context. Connecting those views gives teams the information they need without requiring them to piece the story together across multiple systems.”

The collaboration also supports planned maintenance and longer-term infrastructure management. Before taking equipment offline, teams can review its connections and dependencies, confirm its support and licensing status, and better understand the potential effect on services.

“Our ultimate goal is to answer a fundamental question: Is the network we are operating the network we intended to build?” said Jamie Horner, Senior Vice President, Corporate Strategy at Providius. “BeckFlow establishes the design intent, NVRT provides visibility into the actual operating environment, and Beam completes the picture with physical asset locations, software and firmware versions, and inventory change history. Bringing these perspectives together enables operators to validate the deployed environment against its intended design, identify discrepancies, and determine whether changes are accurately reflected in the system of record.”

The collaboration also extends the value of BeckFlow documentation beyond system design and delivery. Its centralized view of facility infrastructure remains connected to equipment records and operational information throughout the life of the system.

“Understanding how everything connects is fundamental to supporting complex broadcast infrastructure,” said Matt Weiss, Managing Partner and VP of Business Development at BeckTV. “By connecting BeckFlow with Beam and Providius, the system view remains tied to the equipment and its operational status throughout the life of the facility.”

The companies demonstrated the connected approach at IBC2026, with BeckFlow, Beam, and Providius working together across system design, asset intelligence, and live network monitoring.

MELBOURNE, Fla.—USSI Global, a broadcast systems integrator, has elevated Ted Corte to chief technology officer.

Korte has been with USSI Global since 2021, most recently running its engineering organization as vice president of engineering and technology. He joined the company as vice president of program management and Innovation Lab, where he managed broadcast infrastructure initiatives related to the first Federal Communications Commission C-band transition.

In his new role, Korte will oversee new technology, engineering and technical management teams across the USSI business, advancing the company’s system-level engineering capabilities, evaluating emerging technologies and developing solutions that address evolving customer requirements across all three business units, the company said.

“Ted has played an instrumental role in transforming how USSI Global approaches technology, engineering and customer engagement,” said USSI President and CEO Anthony Morelli, to whom Korte will report. “He has helped us move beyond simply implementing systems to becoming a trusted technical adviser that customers and technology partners turn to for answers, ideas and innovative solutions. His promotion to CTO recognizes the leadership he has already demonstrated while positioning us to expand those capabilities across every part of our business.”

In his prior role, Korte led the development of USSI Global's Media Transport Solutions Lab, a vendor-agnostic testing and engineering environment that helps broadcasters and media organizations evaluate emerging distribution technologies and architectures. The lab allows USSI customers to assess the performance, resiliency and operational requirements of satellite, terrestrial IP, cloud and alternative connectivity solutions before committing to large-scale deployments, USSI said.

He has also played a key role in the company’s initiatives to help its customers navigate the C-band transition, USSI Global said.

Korte has been a leading technical voice in USSI Global’s C-band initiatives, it said, helping customers navigate the first transition while positioning the company to support complex hybrid and next-gen transport architectures.

“We have built an environment where we can experiment with new technologies, understand how different systems work together and translate those discoveries into practical solutions,” Korte said. “The Media Transport Solutions Lab is a great example of that philosophy. It has helped us establish credibility as a technical partner while opening doors to new customer relationships and business opportunities.”

Korte said he hopes to extend that approach across USSI Global's broader service portfolio, including digital signage, retail technology and electronics repair.

Prior to USSI Global, Korte spent nearly 22 years with Harris Corp. in engineering leadership roles across broadcast automation, servers and transmission equipment. Later on, he was chief operating officer and chief technology officer of Qligent, a provider of broadcast and OTT monitoring and analytics solutions. Immediately prior to USSI, he returned to L3Harris to work on research and development initiatives involving satellite technologies, low-Earth-orbit ground stations and global networking systems.

Korte will share his satellite expertise tomorrow on a NAB Show New York panel titled “Broadcasters’ Road to C-Band Replacement.” For information on that panel session, click here.

DALLAS—PrimeTime Lighting Systems has introduced the Duo Stream plug-and-play lighting system designed to make professional-level studio lighting simpler and more accessible for a wide range of video production environments.

Duo Stream brings the professional lighting technology to podcasters, content creators, corporate video studios, schools and universities as well as small- to midsized production facilities. It combines professional lighting performance with simplified installation and connectivity, helping users achieve a polished, broadcast-quality look without the complexity traditionally associated with professional studio lighting infrastructure.

“Small to midsized studios no longer need a complicated lighting installation to achieve professional results,” said Glen Harn, president of PrimeTime Lighting Systems. “With Duo Stream, we’re making it easier for smaller studios, content creators and educational facilities and corporate studios to step up to professional lighting. They get professional-quality lighting in a simplified system that’s designed to make installation easier, reduce cabling complexity and deliver the performance they need.”

Designed with ease of use in mind, Duo Stream features a streamlined cabling approach that allows compatible fixtures to be daisy-chained for power and data control through a single cable connection between fixtures. Depending on the system configuration, users can connect up to 28 lights.

The Duo Stream system delivers professional-grade light output, high CRI and TLCI color performance and a 60- to 80-degree beam angle. It is designed to deliver quality illumination for on-camera talent while helping studios make effective use of their lighting equipment.

Duo Stream is made in America and reflects PrimeTime Lighting Systems’ commitment to American manufacturing and professional-grade products built for demanding production environments.

More information is available on the company’s website.

LAS VEGAS—PSSI Global Services, which provides transmission services for live events, has promoted Tracy Michaels to vice president of engineering.

Michaels, a 20-year PSSI veteran, will continue to represent the company in the field at high-profile events but will dedicate much of his time to designing major infrastructure upgrades across its SNG fleet and at PSSI International Teleport. He’ll also work closely to integrate on-site networking services from the recently acquired Beagle Networks into PSSI’s suite of transmission and managed service offerings.

He’ll also lead PSSI’s push into SMPTE 2110 transmission, with the design and launch of a new dual-antenna, IP-centric transmission vehicle in the first quarter of next year, the company said.

“We are quite excited to elevate Tracy into this role as we work closely with our customers to navigate a sea change in broadcast signal delivery,” PSSI CEO Derek Blount said. “The breadth and depth of his experience in the field, his commitment to learning and his unwavering work ethic have earned Tracy the respect of his colleagues throughout the industry. But what we’re most excited about is Tracy’s ability to anticipate the needs of our customers as we develop and implement unique technology solutions to unique transmission scenarios.”

Michaels will report to PSSI executive vice president and chief technology officer Brian Nelles.

“My work is cut out for me in this new role,” Michaels said. “The live event industry is undergoing a transformative period in how solutions are delivered, and I want to ensure we are prepared to support our customers at the highest level. We want to lead the way while also listening, understanding and responding to the complexities of live contribution and distribution.”

Nelles noted that PSSI is known for its expertise in Appear technology, with both executives recently representing the company at an Appear-hosted panel in Norway.

“PSSI is recognized as the foremost field expert in Appear technology, and Tracy has spearheaded this work as an Appear ‘power user,’” Nelles said. “His innate ability to develop and execute robust engineering solutions in volatile live scenarios makes him a valuable leader in PSSI’s efforts to level up our entire team's technical know-how and remain at the cutting edge of the live event industry.”

WASHINGTON—Broadcast Management Group (BMG) has introduced Media Command, a private cloud broadcast platform integrating recording, media assset management (MAM), channel playout, archiving and compliance.

BMG operates Media Command 24/7 from its network operations center (NOC). The company’s clients subscribe to Media Command as part of their managed services contract.

Media Command is built on Time Addressable Media Store (TAMS), an open API originally developed at BBC R&D. Media is stored as short, addressable segments and referenced rather than copied, enabling teams to create clips and highlights for social media from a live event in near real time. Because editors work with time ranges rather than full copies, clients avoid the duplicate files that conventional workflows create for editing, archiving, proxy and distribution.

Most media organizations run six to 10 separate systems to record, store, search and play out their content. Each system requires its own vendor and support hours, and each one slows the next task. Conventional builds often add a separate deployment for every client, and those costs are passed on through vendor billing.

"We built Media Command because our clients should be spending their time on content, not infrastructure," said BMG CEO Todd Mason. "Running on our multitenant private cloud platform is how we keep quality high, efficiency optimized and costs down. We built the opposite of the conventional approach, and the savings land with our clients."

Media Command supports:

• Multiformat ingest, including SMPTE ST 2110, SRT, RTMP, JPEG-XS and SDI facility feeds. Content is indexed upon arrival.
• MAM functionality, including search, organize and access from anywhere. With Adobe Premiere and DaVinci Resolve plug-ins, users can edit as content is being recorded.
• Direct-to-air playout with automation and monitoring, delivered via SRT, RTMP, JPEG-XS and MPEG-TS.
• Archive storage for long-term retention of assets.
• Compliance support, including as-run logs, SCTE-35 and SCTE-104 markers, missing content lists and compliance recording.
• Security with single sign-on, role-based access control and detailed audit trail.

Media Command runs in the BMG Cloud Control Center, a private, purpose-built, multitenant broadcast cloud operated by BMG in facilities BMG owns. Capacity is secured and isolated for each client.

More information is available on the company’s website.

KINGS PARK, NY—MultiDyne Video & Fiber Optic Systems has introduced new kits that combine SilverBack fiber transport technology, a compact base station and all required camera-specific accessories in a single package, designed to make it “easier and more affordable for production teams to integrate digital cinema cameras into professional live production environments,” the company said

Built around its SilverBack Series and designed for any cinema camera including the Sony VENICE, Sony BURANO and Canon EOS C400, the new kits extend the value by consolidating the necessary components into one convenient purchase, MultiDyne eliminates the complexity of sourcing individual cables, connectors and mounting accessories while offering substantial savings compared to purchasing components separately.

"Our goal is to remove the guesswork and expense that can come with integrating cinema cameras into live production systems," said Jesse Foster, Director of Strategic Accounts and Products, MultiDyne. "Customers can choose the camera they want to use, purchase the corresponding SilverBack kit and have everything they need to get connected. We're making a proven, professional fiber camera solution more accessible to a wider range of broadcasters, production companies, corporate enterprises and houses of worship."

Each kit is tailored to the connectivity and mounting requirements of its supported camera. The Sony VENICE kit includes the serial data cabling required for camera control, while the Sony BURANO and Canon EOS C400 kits incorporate camera-specific mounting plates that simplify installation and provide access to essential connections. All kits include the relevant cables, connectors and documentation needed to streamline deployment.

At the heart of the solution is MultiDyne's compact SVB-1 1RU base station, which provides the fiber connectivity and power infrastructure required for professional SMPTE camera workflows. Paired with SilverBack camera-mounted adapters including the SilverBack-V, the system supports the video, audio, control and return signal requirements of live multi-camera production over fiber. The shallow, lightweight base station is especially attractive for flypacks, mobile production systems and installations where rack space is limited, according to the company.

Multidyne will showcase the new kit at Booth 856 during NAB Show New York at the Javits Center, Oct. 21-22.

PITTSBURGH—NEP Group today announced the availability of TAG Video Systems' software-based multiviewing, monitoring and QC capabilities through NEP Platform.

Customers can deploy TAG alongside complementary software applications through NEP Platform’s single, secure interface, bringing multiviewing, real-time monitoring and quality control into broader production workflows. TAG Core, the software behind TAG Video Systems’ technology, lets production teams view all of their media formats side by side, monitor them in depth in real time, and analyze signal quality with built-in QC tools.

NEP Platform is built around an open approach to software orchestration, running applications from multiple technology providers on commercial-off-the-shelf (COTS) servers. This gives customers the flexibility to run different production applications on common infrastructure, deploying and scaling capabilities up or down as production requirements change, the company said.

“We’re excited to bring TAG’s technology to NEP Platform and become part of its growing software ecosystem,” said Michael Demb, vice president, Product Strategy at TAG Video Systems. “TAG and NEP share a common view of where the industry is headed: toward open, software-defined environments that give customers more freedom to choose the technologies and capabilities that work best for them. By bringing TAG to NEP Platform, production teams get multiviewing for all their media formats side by side, in-depth real-time monitoring, and QC analysis in one place, so they can verify what they put on air with confidence.”

SOUTHAMPTON, England—Cerberus Tech has introduced Livelink Studio, an integrated cloud production and master control environment that delivers redundant, broadcast-grade live production engines.

Use cases include tailoring world feeds for international markets, applying data-driven graphics in multiple languages, launching event-based channels, standing up disaster-recovery playout and cloud overflow for existing facilities and elevating everyday productions without adding complexity.

Built on the Livelink control plane for live broadcast and the Matrox ORIGIN asynchronous media framework, Livelink Studio provides intuitive control surfaces for broadcast-quality production engines with frame-accurate switching, audio-video synchronization, low latency, uncompressed transport and built-in scalability and redundancy. Rather than keeping production hardware on standby, stitching together separate tools for each event or building an entire orchestration platform of their own, broadcasters can employ Livelink Studio to launch a complete production on demand, shut it down cleanly when the show ends and rapidly relaunch that same production for subsequent live events within a pay-as-you-go model, Cerberus Tech said.

Switching, audio and graphics are handled natively within Livelink Studio control surfaces. Live program and preview monitoring comes with cut, auto, mix, dip and wipe transition controls; audio includes native mixing, per-channel fader control, VU metering, full digital signal processing and lip-sync adjustment. Graphics support overlays, lower thirds, tickers and downstream keying with automation that can pull live data feeds directly into on-air graphics.

The tools can be run by a single operator from one screen or split across team members—working remotely or on site—with dedicated views and controls for different roles. Full API control plus support for external panels let operators work the way they prefer.

Livelink Studio adds vital elements including an integrated multiviewer, a media library with local and Amazon S3 storage and recording, routing, salvos, test-signal generation and project format management for day-to-day operation. It also provides real-time SRT telemetry, stream diagnostics and Grafana integration for visibility into every feed, as well as operator control locking and guarded deletion to protect against accidental on-air disruption. Native Livelink and SRT ingest come with automated workflow provisioning. Support for NDI inputs means Livelink Studio fits into existing workflows instead of replacing them.

Livelink Studio can run as a standalone module or alongside contribution and distribution as a seamless part of a broader Livelink implementation.

Cerberus Tech and Matrox Video will be at SVG TranSPORT and NAB Show New York highlighting Livelink Studio, powered by Matrox ORIGIN.

See Cerberus Tech in Matrox’s NAB Show New York booth, Booth 827.

More information is available on the Cerberus Tech and Matrox websites.

MELBOURNE, Fla.—USSI Global has elevated Amanda Flynn to chief operating officer of the provider of network, broadcast media and digital signage systems and services.

An 18-year company veteran, Flynn most recently was USSI’s chief revenue officer. She will focus on advancing the company’s service capabilities, aligning operations with customer needs and driving strategic growth, USSI said.

“Amanda brings a unique perspective to this role through her deep understanding of our customers, our business and the industries we serve,” USSI Global President and CEO Anthony Morelli said. “Her ability to translate customer challenges into meaningful service solutions, combined with her knowledge of our operations, will be instrumental as we continue to evolve and grow.”

Flynn has held several leadership roles throughout her USSI tenure spanning business development, customer relations, sales and revenue operations, including five years of overseeing and managing one of its largest revenue-generating customers, the company said. She brings a deep understanding of customer needs, operational challenges and opportunities to develop innovative service solutions that drive long-term partnerships and growth, USSI said.

As chief operating officer, Flynn will focus on identifying opportunities to expand USSI Global’s service offerings, the company said, refining processes to improve the customer experience and ensuring USSI is positioned to support the evolving technology and business needs of its customers.

“My experience working closely with customers has taught me that the best opportunities come from understanding their challenges and finding creative ways to solve them,” Flynn said. “I’m excited to bring that perspective to operations, working alongside our teams to develop new services, fine-tune our processes and continue delivering solutions that make a meaningful difference for our customers.’

Flynn joined the company in 2008 and had been CRO since March 2024. Her promotion follows Ed McGivern’s hiring as CRO.

COLUMBIA, Md.—LTN has integrated its LTN Schedule Playout with Sony’s Ci Media Cloud, bringing together cloud-based media management and real-time linear playout.

The integration gives media organizations a streamlined way to access, manage and move content between two environments.

Ci provides cloud-based capabilities for storing, organizing, reviewing and collaborating on media, while LTN Schedule Playout enables media companies to originate, manage and automate full-time linear channels and live programming.

Channel creators can leverage the complementary capabilities of both to access their Ci library from within interface of LTN Schedule Playout, preview available media and seamlessly use assets in seconds.

The workflow also enables automatic transfer of file assets and livestream recordings from LTN Schedule Playout into Ci, establishing a bi-directional connection that reduces manual steps and makes content movement more efficient.

“Media companies need technology that works together without adding another layer of operational complexity,” said Rick Young, senior vice president of Global Products at LTN. “By integrating Ci directly with LTN Schedule Playout, we’re connecting best-in-class cloud media management with proven real-time playout and automation capabilities.”

The integration is already supporting real-world broadcast operations through work with joint customer Public Media Management (PMM), demonstrating how cloud-based media management and real-time linear playout can work together within an operational production environment.

Users can visually browse and preview assets stored in Ci without leaving the LTN environment, rather than relying on conventional object-storage interfaces. Selected content can then move directly into the playout workflow, simplifying file handling while preserving visibility throughout the process.

The collaboration addresses demand from broadcasters, public media organizations and other content owners for interoperable technologies that bridge cloud-based media tools with the real-time infrastructure needed to originate and deliver linear channels for broadcast, pay TV, FAST and streaming platforms.

“Ci is built to make media more accessible and collaborative across increasingly cloud-based workflows. Our work with LTN extends that value directly into linear playout, giving mutual customers a more connected and efficient way to move content from media management through to air,” said David Rosen, vice president of Cloud Applications and Services at Sony Electronics.

More information is available on the LTN and Sony websites.

Electronics Research Inc. has a new owner.

American Amplifier Technologies LLC, which in recent years has purchased several familiar broadcast companies including Shively Labs and Kathrein-Scala, now has acquired majority ownership of ERI from Tom Silliman.

The terms were not disclosed.

Silliman, its president/CEO since 1977, is retiring.

ERI designs, manufactures and installs broadcast antennas, towers, transmission line, filters and combiners.

AAT owner Steve Wilde told Radio World that he will continue its products and operations, including its facility in Chandler, Ind. ERI customers, he said, should expect continuity in service, support and business relationships, and can continue communicating with their contacts through existing channels.

“The acquisition is intended to strengthen ERI by providing additional resources, expanded capabilities and continued investment in the company’s long-term success,” he said.

He highlighted ERI’s significant market share in broadcast antennas and said its other offerings compliment AAT’s business. He noted the companies’ combined engineering, manufacturing, RF laboratory analysis, field-service and installation capabilities.

“We see tremendous opportunity in ERI. It has a long-standing reputation for producing proven, high-quality products and has earned the loyalty and trust of its customers.”

ERI, he continued, has “an exceptional facility, a highly capable structural steel division and extensive engineering expertise. What truly sets ERI apart is its unique combination of manufacturing capabilities and an installation division. Few companies in the industry can offer this level of expertise and capability.”

Background
AAT makes and carries a diverse line of RF products. Wilde founded the company in 2008, along with sister firm SWE Services.

Over the past seven years he has been active at seeking acquisition opportunities.

In 2019 AAT acquired Mauna Towers, which operates tower facilities in Hawaii and Arizona. In 2023, it purchased antenna and filter manufacturer Shively Labs and also started a partnership with System Engineering Solutions. Then in late 2025, AAT acquired Kathrein Broadcast USA, also known as Kathrein-Scala.

AAT is based in Citrus Heights near Sacramento, Calif. Kathrein-Scala continues to run out of White City near Medford, Ore. [Read a history of AAT.]

“ERI, Shively and Kathrein-Scala are names that generations of broadcast engineers know and trust,” Wilde said.

“We recognize the responsibility that comes with bringing companies with those histories together. We intend to protect what makes each of these companies special while giving the personnel and technologies new opportunities to grow.”

Electronics Research Inc. was founded during World War II, making antennas for military aircraft. Later moving into broadcasting, its innovations have included the Rototiller antenna line, the Lambda optimized FM mounting system and Cogwheel master FM antennas.

In 2003 ERI acquired Andrew Corp.’s Broadcast Products business, including its television antenna products, rigid transmission-line products and related broadcast RF components.

Wilde called ERI “an exceptional company with a remarkable history.”

ERI’s headquarters and main manufacturing facility include over 100,000 square feet of manufacturing, design and office space. The facility also houses a 70,000-cubic-foot anechoic chamber, which according to ERI’s website is the largest of its kind in North America. [Read a history of ERI.]

The Silliman name has long been associated with ERI. Robert Silliman was involved with the company from its earliest years, eventually becoming one of its owners. Tom joined the company in 1969 and became president/CEO in 1977. Robert received the NAB Engineering Achievement Award in 1993, and Tom received it in 2008. Robert Silliman died in 2001.

“One of our primary goals is to honor Tom Silliman’s legacy by continuing his commitment to quality, engineering excellence and innovation, while expanding our capabilities to better serve the broadcast community,” Wilde said in the announcement.

Tom Silliman was quoted: “I am proud of what the people of ERI have built over the years, and I believe AAT is well positioned to carry that work forward. We share a commitment to engineering, quality, customer service and the broadcast industry.” [Read our 2001 profile of Tom Silliman.]

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Susana Brady, senior vice president, worldwide sales and marketing, at Cobalt Digital.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Susana Brady: A key focus at NAB Show New York will be the continued adoption of IPMX as the transition from SDI to IP moves forward. It’s no longer a matter of if it will happen, but how broadcasters can manage it at their own pace while supporting hybrid environments and protecting their existing investments.

Another trend, closely related to IPMX, is the continued convergence of broadcast and Pro AV. Changing content consumption habits, combined with a proliferation of applications and delivery platforms, is increasing demand for high-performance, low-latency infrastructures that support interoperability and flexibility. IPMX helps bridge the broadcast and Pro AV worlds, bringing broadcast-grade performance and operator-friendly workflows to mixed-vendor environments.

And the third isn’t really a trend; it’s an immediate need. With the Federal Communications Commission-mandated auction of the remainder of C-band spectrum, broadcasters are searching for practical alternatives that allow them to continue receiving and distributing satellite-delivered content reliably, including solutions that can decode satellite signals and make them available through ASI and IP.

TV Tech: What’s your key product announcement for the show, and what problem does it solve?

SB: I don’t think I can pick just one, so I’ll highlight three.

At the show, we will highlight our award-winning blueCORE family of processors that supports both SDI and ST 2110/IPMX, allowing users to process signals within existing SDI environments while providing a direct, practical path toward IP.

We’ve packed a broad range of capabilities into a compact 1RU form factor, including up/down/cross conversion, color correction, several flavors of HDR processing, audio routing and mixing, per-channel frame sync, frame rate conversion, audio embedding and de‑embedding, SCTE‑104 insertion as well as logo insertion—and many more base features. With blueCORE, broadcasters have the processing tools they need today while making it easier to move toward tomorrow’s infrastructure.

We will also showcase our expanded IPMX capabilities with support for JPEG XS Temporal Differential Coding (JXS TDC) across Cobalt’s ST 2110/IPMX-capable families, including SAPPHIRE miniconverters, INDIGO gateways, PACIFIC encoders and decoders, TOPAZ processing platforms, ARIA audio monitors and UltraBlue multiviewers. This enables IPMX-certified products to discover, establish and transport visually lossless, ultra-low latency JPEG XS media streams, giving users a plug-and-play approach to JPEG XS workflows while maintaining interoperability across mixed-vendor IPMX environments.

And a very significant development is Cobalt’s practical solution for broadcasters navigating the C-band spectrum transition. We’ve added support for hybrid satellite-internet operations to the Cobalt PACIFIC compression line, compliant with VSR TR-06-4 Part 7, using Internet connectivity to recover data affected by satellite transmission losses.

The PACIFIC ULL-DEC with SAT-DEMOD uses a factory-installed DVB-S/S2 demodulator enabling broadcasters to receive satellite signals and make them available through both ASI and IP. In hybrid operation, Ku- and Ka-band satellite links are used for bulk distribution, while the Internet is used for lost packet recovery, offering a practical approach to maintaining reliable content delivery as broadcasters adapt to changes in satellite distribution.

TV Tech: How does this new solution stand out from what’s available on the market?

SB: What differentiates Cobalt is our focus on solving the problems broadcasters actually face during a transition.

The industry is dealing with multiple evolutions simultaneously. Broadcasters need to move toward IP, but they also need to continue supporting SDI. They may have legacy equipment from multiple vendors, and they need solutions that work across those environments without forcing a complete infrastructure replacement.

That’s where Cobalt shines. Our products are designed to allow customers to move at their own pace. They can remain with the infrastructure they have, introduce IP where it makes sense, and expand their IP workflows as their needs evolve. With support for ST 2110, IPMX and technologies such as JPEG XS, we’re helping customers build an IP infrastructure that is both practical today and ready for what comes next.

This also applies to the C-band challenge. Rather than forcing broadcasters into a wholesale infrastructure change, we’re providing a way to combine satellite and internet connectivity to maintain reliable content delivery.

Ultimately, our goal is to make these transitions less disruptive. Customers shouldn’t have to choose between protecting their existing investment and preparing for the future.

TVT: What makes NAB Show New York so essential for your business, and what brings you back each year?

SB: Regional shows are becoming increasingly important as companies reduce travel budgets and send fewer delegates to the major events such as NAB Show Las Vegas and IBC.

NAB Show New York is essential because it resides in a city positioned in the crossroads between broadcasting and Pro AV, with networks, stations and corporate and enterprise organizations concentrated throughout the region. So many of those organizations are long-time Cobalt customers, and you can find Cobalt equipment in facilities throughout the New York market.

What brings us back each year? We value the face time with our customers that NAB Show New York provides. We get to hear directly from them about what they want—and what they need—to keep their operations running smoothly in a constantly evolving industry. And they get to see firsthand what Cobalt is doing to address those challenges.

For us, that two-way conversation is extremely valuable. Trade shows aren’t just about demonstrating new products; they’re an opportunity to listen, understand where the industry is going and ensure we’re developing solutions that help our customers stay ahead of the curve.

Visit Cobalt Digital in NAB Show New York Booth 226.

LYNX Technik has launched the CDE 1923 yellobrik bidirectional 3G-SDI to SMPTE ST 2110 converter.

Aiming to simplify the integration of SDI and IP infrastructures across hybrid environments such as OB trucks, production studios and other applications transitioning from baseband SDI to IP, the solution provides reliable signal conversion while enabling synchronization of both technologies.

Based on customer feedback, the CDE 1923 retains core bidirectional conversion capabilities and adds dedicated Reference Input and Reference Output connections to bridge the timing requirements of traditional SDI infrastructure and ST 2110 networks in a single solution. While SDI systems typically use a physical reference signal for synchronization, ST 2110 networks rely on Precision Time Protocol (PTP). The CDE 1923 combines both environments.

Reference Input allows the SDI output to lock to a facility’s local reference, aligning with other SDI equipment and enabling the converter to integrate into an established timing environment. Additional flexibility is provided by the Reference Output, enabling the converter to generate aTri-Level Sync output from SMPTE ST 2059 PTP. The solution can also convert incoming sync signals to Tri-Level Sync at a higher frame rate, said the company, providing a physical reference signal for synchronising connected SDI equipment.

“We’re very proud to build upon the existing CDE 1922 platform and respond directly to what our customers have been asking for, said Vincent Noyer, CTO at LYNX Technik. "By adding Reference Input and Reference Output while maintaining the same compact yellobrik form factor, we’ve been able to make an already versatile converter even more useful. The CDE 1923 gives customers greater flexibility when connecting SDI equipment to an ST 2110 environment, without adding complexity or requiring additional space.”

NEW YORK—Globecast will showcase its next generation of media orchestration services at NAB Show New York, Oct. 21-22, at Javits Center in Manhattan.

The company will demonstrate how its Content Exchange and new Media Orchestration and Operations Management Platform (MooM) help media organizations simplify hybrid operations while preparing for major infrastructure changes, including the transition from C-band distribution in North America.

MooM extends Globecast's software-defined approach beyond media transport. It brings remote production, playout, media asset management, content preparation, headend and OTT delivery workflows into a single operational environment. Together with Content Exchange, MooM provides greater visibility, automation and control across satellite, fiber, IP, public cloud and private infrastructure, enabling users to modernize without disrupting established services or abandoning existing investments.

The FCC's decision to reallocate 160 MHz of the Upper C-band in 2027 presents a strategic planning challenge.

Globecast is working with customers and industry stakeholders to evaluate a range of appropriate migration strategies, spanning Ku-band satellite, managed IP, fiber, cloud and hybrid architectures.

Content Exchange serves as the unified orchestration layer for this increasingly diverse distribution environment for live and file-based content delivery. It connects multiple transport resources through a single interface featuring real-time monitoring and automated provisioning. Broadcasters gain the flexibility to phase their migration, test different connectivity options and build appropriate levels of redundancy while ensuring stable operations at every step of the journey.

While Content Exchange builds the foundation of Globecast's modern media delivery strategy, MooM broadens this model of open, API-driven design with integration of existing systems and third-party tools across the operational chain.

Built for hybrid environments spanning AWS, Oracle Cloud Infrastructure and private setups, this SaaS platform abstracts fragmented control layers and dynamically optimizes resources and costs through integrated FinOps and AI-powered operations capabilities. Organizations can scale services more predictably, launch live events and channels faster and test new services and monetization models without significant upfront capital investment.

More information is available on the company’s website.

NEW YORK—Zixi and TAG Video Systems have extended an integration enabling Zixi to leverage TAG's Content Matching technology.

Together, the platforms will help broadcasters and content owners verify that SCTE-35 markers remain intact across delivery paths and confirm that redundant feeds carry the expected content before a switching error reaches air.

SCTE-35 markers carry the ad avails, program boundaries and regional cues that live distribution runs on, but encoders, transcoders and other processing stages can strip along the way, taking revenue with them. Through the SDK, the Zixi Platform can act on TAG Content Matching results, confirming that the output of a processing chain carries the same content as the input, and measuring the latency between the two.

The Zixi Platform will be able to restore the SCTE-35 markers at their precise, frame-accurate times. That adds to the SCTE-35 control Zixi customers already use for downstream compatibility, regional targeting and dynamic ad insertion.Fingerprinting will also give operators an automated check on redundant feeds.

When two sources match, Zixi can merge them for a seamless switch. When they stop matching, operations teams can catch a switching error before it reaches viewers. The work extends an integration that began in 2020 and has so far focused on monitoring and multiviewing.

This step takes TAG's content assurance capabilities into the delivery path itself. Zixi and TAG will discuss the integration at NAB Show New York, Oct. 21-22 and will be participating in the Local TV Strategies Conference.

More information is available on the Zixi and TAG Video Systems websites.

See TAG Video Systems in booth 607 at NAB New York 2026.

Nyx Hemera Technologies has acquired Comlab Telecommunications and its Davicom division.

The buyer provides intelligent lighting control and management systems for critical infrastructure, including smart-city lighting control systems for road tunnels and underpasses. Comlab and Davicom sell automation and control products for broadcast and telecom sites. All are based in Quebec City, Canada.

Nyx Hemera and Comlab-Davicom will continue to operate separately. But John Ahern, president of Comlab-Davicom, plans to retire next spring.

“This acquisition marks a significant milestone in the growth of both companies, as they possess highly complementary technological expertise; it will enable them to expand their engineering and product development capabilities while creating new opportunities for innovation in their current and future markets,” Nyx Hemera said in the announcement.

President Pierre Longtin was quoted, “The skills developed by Comlab/Davicom over the years in radio frequency electronics, antennas and telecommunications complement those of Nyx and give us access to new development opportunities.”

John Ahern told Radio World: “The company continues, the products continue, our support continues and the team continues. The main change is that I will be retiring after the spring NAB Show.”

This article initially appeared in Radio World, sister brand to TV Tech.

LiveU has unveiled details of its work to support CRD Audiovisuel in delivering live content from the start of the 2026 men’s and women’s Tour de France.

Working with the organiser of the annual cycle race, CRD Audiovisuel had to overcome issues with fluctuating connectivity to provide live paddock shots, behind-the-scenes coverage, interviews and more from locations that have previously presented difficulties.

Key objectives for the project included ensuring reliable connectivity at each race start, a plug-and-play setup that avoided heavy RF infrastructure, strong enough bitrate to ensure broadcast-quality output and a simple intercom system.

Featuring LIQ, LiveU’s AI-driven intelligent connectivity software to manage eSIM cards, LiveU’s LU900Q was deployed, with each unit connected to the strongest available network based on its location. The solution provided CRD Audiovisuel with reliable performance across congested or saturated network environments, said the company. Using only public 4G/5G networks, the LU900Q provided 99.9 per cent of connectivity needs across the men’s and women’s races.

Stéphane Reibre, MD at CRD Audiovisuel, said, “I could never have imagined that LU900Q and LIQ would perform so well in the field. We had exactly zero problems, which, in this specific context, is a small miracle. If you’ve ever covered a Tour, you know what I mean.”

“The trust Stéphane has shown in our teams and our technology honours us,” added Philippe Gaudion, LiveU’s regional sales manager for France, Belgium, and Luxembourg. “We supported him as closely as possible to contribute to the success of his project, and we are all very proud and happy about it.”

Riedel Communications said it has deployed its private 5G platform to support coverage of Germany’s DTM racing series.

Developed in collaboration with (Deutsche Tourenwagen Masters, or German Touring Car Masters) series and broadcast service provider TV Skyline, the infrastructure uses Riedel’s Easy5G private 5G platform as the primary transmission system for onboard camera signals, aiming to enable more immersive motorsports coverage and opening the way to fully digitally connected cars on track, according to Riedel.

The solution enables reliable transmission of high-resolution video signals directly from the cars, with data rates remaining robust even at top speed, Riedel said. All 21 DTM cars feature on-board cameras; six are equipped with additional action cameras. Production of the Porsche Sixt Carrera Cup Germany incorporates 24 different camera angles, providing viewers with enhanced views of the action.

From the outset, the architecture was designed to scale, providing the technical foundation for additional camera angles, higher data volumes and future production requirements, Riedel said. Additionally, the company’s DIVA+ infrastructure (Data, Intercom, Video, and Audio) forms the technical foundation for on-site production near the track, the company said.

Operating at 100 MHz, the private 5G network achieves uplink data rates of up to 140 megabits per second. Efficient spectrum utilization enables high network capacity with comparatively low bandwidth, also ensuring growing data volumes are processed reliably. The topography-optimized design requires only four to seven antenna locations depending on the track’s characteristics, aiming to minimize infrastructure requirements, the company said.

“With Easy5G, we’re bringing private 5G into live operations for an international racing series for the first time—and this is just the beginning,” Riedel CEO, Managed Technology Luz Rathmann said. “This isn’t just a one-off solution; it’s a future-proof platform for professional live productions.”

Added TV Skyline CEO Wolfgang Reeh: “As the DTM’s TV production partner and technical service provider, we are constantly working to innovate and further develop our product. We have identified a limitation in the area of onboard cameras, which we plan to resolve in the future using private 5G technology.”

Claudia Wagner, managing director of DTM, added: “With our continued development of private 5G, we are laying the digital foundation for the next generation of DTM production: scalable, data-driven, flexible, and independent. With this technology and the ability to show spectacular onboard footage of all participants in every race, the DTM is setting a new standard. This gives us the foundation for new content formats and innovative fan experiences, thereby creating opportunities for sustainable new business models in motorsports.”

WASHINGTON—The Federal Communications Commission will take up three new proposals under its spectrum abundance agenda at its Oct. 29 open meeting, Chairman Brendan Carr announced.

The proposals include a new auction of 25 MHz of prime spectrum in the 1675-1695 MHz and 2020-2025 MHz bands, new rules to build on the success of “direct-to-device” services and final rules to allow drone operations within the 800-MHz cellular band.

“Our proposal to auction 25 MHz of prime spectrum will continue to create tremendous economic value for the American people,” Carr said in a statement. “The ‘direct-to-device’ proposals work to continue leveraging this cutting-edge tech to end cellphone dead zones and provide service directly from next-gen satellite constellations to your smartphone.

“And our final rules on drones … [will provide] the emerging American drone economy with usable spectrum to support the next generation of commercial and defense innovations,” Carr added. “This comes on top of our latest action to light up key spectrum bands purchased by SpaceX for its 15,000 satellite direct-to-cell system.”

D2D and Drones
FCC plans to solicit public comment on modernizing its rules for operating direct-to-device (D2D) services in licensed spectrum. The notice of proposed rulemaking would consider making an additional 482 MHz of spectrum available for Supplemental Coverage from Space (SCS), as well as other regulatory changes to promote more flexible terrestrial, satellite and hybrid business arrangements and incentivize high-quality D2D service for the benefit of consumers.

In addition, the commission will seek public comment on its proposal to auction off 25 MHz of prime midband spectrum in the 1675-1695 MHz and 2020-2025 MHz bands for D2D operations. Such a move would harness the spectrum for advanced communications services, the FCC said, including flexible-use terrestrial networks, innovative D2D operations, or a hybrid of both.

For drones, the commission will seek public comment on a proposal to eliminate an outdated restriction that prevents drone operations in the 800-MHz cellular band. If enacted, the move would unlock 50 MHz of licensed, nationwide, low-band spectrum for drone use and promote parity with other similar flexible-use bands.

The two new rules are expected to benefit companies such as SpaceX and Amazon, which have moved to expand D2D services with satellite networks.

New Test Lab Rules
Carr also criticized what he called the failure of past administrations to allow fair rules for lab tests for electrical devices. He called for new regulations that would ensure that such testing would only occur if other countries followed the same rules in a reciprocal fashion.

Carr said that if approved at the Oct. 29 meeting, new “reciprocal economy” rules would take effect by Dec. 1, 2028, requiring all testing, certifying, and accreditation activities to occur in the U.S. or a foreign nation following equivalent protocols.

He added that the current lab-testing scenario has diminished the commission’s confidence in lab testing from nonreciprocal countries, which has “led to a dangerous overconcentration in non-Reciprocal Economies, creating vulnerabilities and threatening the integrity of the entire equipment authorization program.”

“For decades, officials in D.C. looked the other way when foreign nations abused their relationships with America and adopted trade practices that failed to account for basic concepts of reciprocity and fair dealing,” Carr said. “Those efforts included the offshoring of testing capacity to foreign labs and the gutting of American jobs and domestic industry.

"Flash forward to now and less than 4% of all electronic devices are tested in labs located inside the U.S., and the lion’s share are tested in countries that do not operate a reciprocal economy," he added. "So today, we take appropriate action to insist on fair and reciprocal treatment in international commerce.”

These rules follow last year’s “Bad Labs” regulations, which prohibited Test Lab ownership or control by foreign adversaries or other entities deemed national security threats. These rules have led to 29 Test Labs losing their FCC recognition, according to the commission.

Carr said the FCC has also strengthened its enforcement game, withdrawing recognition from two Test Labs in nonreciprocal economies and beginning the process for two more, where the labs had copied-and-pasted test results, threatening consumer safety and communication network integrity.

Click here for more information.

Digital Alert Systems has released Version 6.1 software for its DASDEC-III emergency messaging platforms. It is free for users who already run Version 6 or who meet certain other criteria.

This adds tighter user-session controls, OpenID Connect (OIDC) configuration enhancements for single sign-on, EAS-Net reliability improvements, and SSL-based CAP Canada support.

DAS published Version 6 in March, citing demand for hardened infrastructure, and this update builds on it.

Now new Federal Communications Commission cybersecurity requirements for Emergency Alert System participants, including radio and television broadcasters and cable operators, took effect on Sept. 29.

“The rules require these operators to install security patches and security-related software and firmware updates from equipment manufacturers promptly after they become available. Testing is permitted, provided it begins promptly. The rules also call for strong passwords and a network firewall or comparable segmentation that limits remote management access.”

Version 6.1 includes current security updates for the DASDEC-III platform.

Here is how the company describes the updates:

• Access Controls: Tighter controls over user sessions, including who can adjust permissions, plus OIDC configuration enhancements for single-sign-on environments.
• Canadian Alerting Support: SSL-based CAP Canada support to accommodate changes to the country’s secure alert-data feed.
• EAS-Net Improvements: Enhanced reliability and event-file management.
• Operational Refinements: Refined MPEG DASH operation, along with improvements to EAS-Net decoding, audio sampling, CAP status reporting and other station functions.

Customers running Version 6 receive V6.1 at no cost. They can download it from the company website using their V6 password.

Customers enrolled in the company’s Software Assurance Plan, who have purchased a new DASDEC or who have participated in its Up-Trade program since October 2025 also receive it at no cost.

Pricing for other users depends on how far back the current software revision is and whether the hardware is compatible. For support email support@digitalalertsystems.com and include your unit’s serial number.

Digital Alert Systems also released Version 5.6 software for its DASDEC-II platforms, which includes some of the same improvements, along with the security updates to comply with current FCC rules. And it encouraged all customers running DASDEC-III to move to Version 6.

This article initially appeared in Radio World, sister brand to TV Tech.

Zixi, Grass Valley, Uplynk and Broadview Software have jointly published a white paper setting out a model for moving broadcast distribution from satellite to IP and the cloud.

Based on a real-world deployment for a broadcaster with a global footprint, The IP convergence framework for distribution sets out a practical, repeatable model for the transition, demonstrating how cloud master control, IP transport, orchestration and streaming work together. The release comes ahead of the US FCC’s upper C-band auction to reclaim 100-180 MHz of spectrum used by broadcasters to deliver content across the United States.

The framework combines four core layers, with each delivered by one of the partners in a unified operating model. Grass Valley provides broadcast operations and playout, with master control and playout running in the cloud. Broadcast-grade delivery of live video over IP is enabled by Zixi, with redundancy built into every path. BroadView Software ensures orchestration and delivery with control of the full workflow via BroadView Nexus, while Uplynk distributes to streaming, FAST and affiliate endpoints from the same chain.

Each of the layers can be independently swapped or scaled, allowing users to adopt in stages rather than a single rebuild. TAG and Zixi Zen Master ensure the same visibility across the chain provided by a traditional master control room.

The model follows the entire workflow, from ingest to cloud master control and distribution, said the partners. Moving master control to the cloud enables teams to retain precision and control while gaining IP flexibility.

Three outcomes are identified: flexibility from swappable layers and the ability to change without infrastructure redesign; reliability from continuous monitoring and redundant workflows; and efficiency through lower storage and transport costs with reduced dependency on fixed hardware.

Eric Black, CEO/CTO, Uplynk, commented, “The C-band transition is forcing a real question for broadcasters – what replaces satellite without sacrificing the reliability they’re used to. We built this framework to answer that question, and we proved it first by moving a broadcaster’s entire satellite operation onto IP and the cloud in production. That combination of broadcast-grade reliability and cloud flexibility is what the industry needs right now, and we’re excited to share how we got there.”

According to a new survey, IP adoption for live production isn’t quite as far along the road as previously thought. Where it is taking place is in the replacement of ‘like-for-like’ hardware.

The survey—conducted online by TV Tech TVBEurope and Caretta Research—polled both vendors and broadcasters (buyers) to understand more about the extent to which operations are transitioning towards IP-based and software-defined infrastructure and live production.

According to the survey, SDI remains the primary infrastructure approach for 70% of broadcast and media companies, and is used by 90% of the survey’s respondents in total. For those that have made the move to IP, SMPTE ST 2110 is the primary flavor of IP.

Unsurprisingly, many broadcast technology vendors are offering a wide range of support for IP infrastructure in their product lines, with ST 2110 again the primary flavor, followed by NDI.

However, the findings show that buyers are much less IP-centric than technology vendors think, with just 22% of the broadcaster respondents having deployed IP in “most of their operation.”

One unexpected finding is the way buyers see "IP" more broadly than "live video production infrastructure," with streaming ranking as the most commonly-implemented example of technology, probably because streaming has always been IP-first.

In the production environment, master control rooms are first to integrate IP infrastructure, and most likely to be upgraded to IP in the next 12 months. News, in-venue production and—surprisingly—OB trucks are least likely to have seen IP implementations according to the broadcaster respondents.

The most surprising finding from the survey was the preference of almost 50% of buyers for dedicated hardware appliances to run their IP infrastructure for live production. This runs counter to the approach of “early adopters” and suppliers’ belief that 30% of customers are deploying on COTS, compared with 14% of customers themselves.

Almost half of buyers feel the main outcome of IP infrastructure is adding technical complexity (compared with a quarter of their suppliers). Enabling business efficiency is a much lower priority for buyers (16%) than for vendors (39%)

Speaking about the survey’s findings, Robert Ambrose, co-founder of Caretta Research, says: “Our research reveals how adoption of IP infrastructure isn’t as mature as the industry sometimes thinks. While more than half of broadcast and media companies have now deployed ST 2110, it’s still most likely to be found in ‘IP islands.’

“But at a time when broadcasters are under huge pressure to be more efficient, many are at risk of missing out on the real benefits of IP, like enabling more flexible software-defined workflows to make more efficient use of expensive facilities," he added. "It’s crucial that facilities see IP infrastructure as a transformation, not just a like-for-like replacement of SDI routers.”

TV Tech’s November/December issue will include a deeper dive into the survey’s results. Click here to receive a free copy.

Overall, survey respondents represented a broad geographical spread, with 34% from Europe and 37% from North America. Over 70% of those who took part in the survey have more than 10 years of experience in the industry.

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Francesco Scartozzi, vice president of sales and development at Matrox Video.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Francesco Scartozzi: Software-defined production will continue to be a defining theme. The conversation has moved beyond whether software belongs in live production and is now focused on how software, standard IT infrastructure, and purpose-built hardware work together to create more flexible media facilities.

We also expect growing momentum around the Dynamic Media Facility (DMF) vision and the Media eXchange Layer (MXL). These industry initiatives reflect the move toward more open, interoperable architectures that simplify media exchange, improve resource utilization and give customers greater flexibility to build production environments around their operational needs.

At the same time, organizations are increasingly looking for ways to seamlessly connect edge devices, on-premises infrastructure and cloud resources. Broadcasters want the freedom to deploy applications wherever it makes the most operational and economic sense while maintaining a unified workflow across their entire operation.

Hardware remains essential at the edge. Signal capture, transport, synchronization, monitoring and control require technologies that complement software-defined infrastructure and deliver the performance and reliability live production demands. The opportunity is not cloud versus on-premises, but creating a unified media environment that connects the edge, the ground and the cloud through open, software-defined architectures.

TVT: What’s your key product announcement for the show, and what problem does it solve?

FS: Our key focus is Matrox ORIGIN, our software-defined media framework that enables developers, broadcasters, OEMs and technology providers to build flexible production applications on commercial off-the-shelf IT infrastructure.

Broadcasters want to become more agile and efficient while maintaining reliable operations. They need technologies that work with existing infrastructure, support applications from multiple vendors and give them room to evolve as production requirements change.

Matrox ORIGIN addresses these needs by providing a complete framework for building software-defined production environments. Its MXL-compatible fabric helps organizations realize the Dynamic Media Facility vision today, supporting more flexible media exchange and integration across an open ecosystem of applications.

Beyond interoperability, Matrox ORIGIN dramatically reduces the complexity of building and deploying professional media applications. Developers can leverage a rich catalogue of production-ready media services, open APIs, and modern software development tools to accelerate innovation while avoiding the cost and complexity traditionally associated with broadcast infrastructure.

Matrox ORIGIN’s asynchronous architecture enables media services and applications to operate seamlessly across edge, on-premises and cloud environments. This allows organizations to connect the edge, the ground and the cloud as a single logical production environment while modernizing at their own pace and leveraging existing infrastructure investments.

TVT: How does this new solution stand out from what’s available on the market?

FS: Matrox ORIGIN combines an asynchronous media framework with an open ecosystem approach, giving organisations the flexibility to build production applications on generic IT equipment and integrate technologies from multiple vendors.

Its MXL-compatible fabric supports the industry’s direction toward more interoperable, software-defined media facilities. Customers can develop workflows around their needs while connecting existing infrastructure with new applications and capabilities.

What truly differentiates ORIGIN is that it goes beyond the vision of software-defined production to provide a complete, production-ready implementation. It combines media transport, processing, control, deployment, resilience and scalability within a single framework while remaining open to third-party applications and services.

ORIGIN also delivers capabilities including location-independent routing, intelligent transport optimisation, and built-in multiproducer redundancy. These technologies simplify deployment, improve resilience, and enable seamless scaling across edge, ground, and cloud environments without requiring complex reconfiguration or custom failover mechanisms.

The result is a platform that enables organizations to build, deploy, and operate software-defined production systems faster, with greater reliability, and with the flexibility to evolve alongside industry initiatives such as DMF and MXL. The growing ORIGIN ecosystem reflects that approach, giving customers greater choice and the ability to modernize at their own pace.

TVT: What makes NAB Show New York so essential for your business, and what brings you back each year?

FS: NAB Show New York provides a valuable opportunity to connect with customers, partners, developers and technology providers and discuss the operational challenges shaping their next investments. Digital communication keeps us connected throughout the year, but in-person conversations offer a deeper understanding of what organizations need and how those priorities are changing.

Customers want to know how technologies integrate into complete workflows, work alongside existing infrastructure and fit within a broader ecosystem. The show gives us an opportunity to have those conversations and exchange ideas with the people building and operating these environments.

For Matrox Video, those conversations help shape our product development and ensure that our solutions continue to address real operational challenges.

Visit Matrox Video at NAB Show New York in Booth 827.

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Matt Williams-Neale, vice president of marketing and communications at Appear.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Matt Williams-Neale: Recent conversations at IBC2026 reinforced demand for adaptable infrastructure, and we expect that to continue at NAB Show New York. Broadcasters want to combine hardware, software and cloud according to each workflow, while developments such as DMF [Dynamic Media Facility] and MXL [Media eXchange Layer] for interoperable, software-defined broadcast facilities are part of more practical discussions.

With the upper C-band set for auction by July 2027, broadcasters using C-band satellite capacity need to plan their move to IP now. They want a phased migration that maintains broadcast-grade control and reliable live services.

Live production workflow is equally important as sports coverage expands across more venues and increases in scale. Customers need low-latency transport from venue to production facility or cloud, with secure connectivity and resilience over networks with unpredictable performance. These requirements are shaping investment in remote production as teams look to cover more events without an increase in resources.

TVT: What’s your key product announcement for the show, and what problem does it solve?

MWN: At NAB Show New York, we're highlighting how our X Platform hardware and VX software solutions work together across live event contribution, IP distribution and live production workflows. Broadcasters need to deliver more content while controlling costs and making better use of their infrastructure.

X Platform provides low-latency processing and predictable performance at the venue, while VX extends contribution feeds into the cloud and enables processing and workflow functions to run in software. This gives teams more options for expanding remote production across different event scales.

Hardware-accelerated SRT enables secure transport over unmanaged networks, helping broadcasters transition from satellite, leased circuits and SDI infrastructure. Customers can introduce these capabilities in stages, retaining dedicated hardware where performance is critical and adding software as their production requirements evolve.

TVT: How does this new solution stand out from what’s available on the market?

MWN: Our approach combines X Platform hardware and VX software so customers can choose where to run different parts of their workflow while maintaining control over live production. VX is natively integrated with X Platform, allowing teams to introduce software processing while retaining dedicated hardware where predictable performance matters most.

Support for JPEG XS, SRT and ST 2110 gives customers the flexibility to accommodate changing formats and production models within the same infrastructure, reducing the need to replace systems as requirements evolve. Support for multiple codecs and hardware-accelerated SRT helps us address those requirements across different production scales, including contribution over unmanaged networks.

TVT: What makes NAB Show New York so essential for your business, and what brings you back each year?

MNW: We’re already successful in the U.S., and we strongly believe that there is further room for growth in North America. NAB Show New York gives us an opportunity to speak directly with customers and partners about their investment plans, from satellite-to-IP migration to expanding live event contribution and REMI. The value comes from the quality of those conversations and having the right people involved. Understanding how customers use our technology, where they need more flexibility and what they want us to develop helps shape our product priorities.

A successful show strengthens existing relationships and opens discussions around new projects. It gives us a clearer understanding of how U.S. broadcasters and production companies plan to operate, helping us support their requirements as we continue to grow in North America.

Visit Appear at NAB Show New York in Booth 129.

Anthony James Partners (AJP) and the Florida Panthers have completed a comprehensive modernization of the broadcast production facility at Amerant Bank Arena, transforming the arena’s existing production environment into a fully IP-based system designed to support Panthers games and the venue’s year-round sports and entertainment schedule. The new facility went live for its first game on Sunday, September 20, marking the first live event produced using the Panthers’ new SMPTE ST 2110 production system.

Designed by AJP and implemented by broadcast integrator BeckTV, the project represents the next phase of a multi-year technology program at Amerant Bank Arena. The new production environment transitions the venue from its previous 3G infrastructure to a full SMPTE ST 2110 1080p workflow, providing significantly greater flexibility across production, replay, content creation and signal distribution while establishing a scalable foundation for future expansion.

The project went well beyond replacing production equipment. The existing production facilities were completely demolished and rebuilt, with AJP redesigning the layout of the production spaces to improve workflow between production, engineering, replay, graphics and audio personnel while supporting the operational requirements of the new broadcast environment.

Beyond the control room, AJP designed a major expansion of the arena’s broadcast connectivity infrastructure. Thirty-five new junction box locations were installed throughout the venue, replacing legacy cabling with new single-mode fiber, SMPTE fiber and audio connectivity. New truck-dock panels and six new truck-dock racks further integrate mobile production units with the arena’s broadcast infrastructure and Technical Operations Center.

Together, the improvements create an integrated production ecosystem extending from cameras and field locations throughout the arena to the production control room, Technical Operations Center and visiting broadcast trucks.

The broadcast modernization follows the recently completed LED and venue technology program at Amerant Bank Arena, also designed and managed by AJP. That work included the arena’s new 4K HDR-capable center-hung display, LED halo, ribbon boards and additional displays throughout the venue, together with associated hoist and rigging systems and reconfiguration of the bowl audio system.

With the completion of the new production facility, the Panthers now have a broadcast platform designed to take full advantage of those venue-wide systems while supporting the organization’s continued development of live game presentation and content production.

Brazilian broadcast network SBT has turned to Pebble’s automation platform to launch 24-hour network SBT News and enable future enhancements, including that country’s TV 2.5 standard, interactivity and dynamic ad insertion.

SBT (Sistema Brasileiro de Televisão) is Brazil’s third-largest television broadcaster. Headquartered in Osasco, northwest of São Paulo, the network’s owned-and-operated stations and regional affiliates deliver national and local programming.

Pebble, which already serves as the foundation of SBT’s national channel automation, is supporting the broadcaster’s continued modernization of playout.

The project began when SBT’s legacy automation system was approaching the end of its life, limiting its ability to expand operations and improve efficiency. SBT evaluated playout automation solutions from vendors around the world against an extensive set of technical and operational requirements.

Working with its local distributor and systems integration partner Videodata, Pebble developed a comprehensive proof-of-concept demonstration to validate the proposed integrations, workflows and operational efficiencies. SBT said the successful demonstration gave it confidence the new platform could integrate with its existing infrastructure while providing the flexibility required for future development.

Pebble Automation provides precise, real-time control of graphics systems, servers, redundant routing and master control switching across SBT’s channels. It also integrates closely with the broadcaster’s traffic, scheduling and advertising systems.

The platform provides the media management layer, including movement, preparation, validation and approval of content for transmission. Its architecture delivers full redundancy for SBT’s national channels, supporting on-air reliability, operational resilience and continuity.

Pebble Remote provides secure, web-based access for authorized users to monitor and control the playout environment from any location, further increasing operational flexibility. Local and remote users can also access high-resolution content previews directly from their desktops without affecting critical transmission resources, Pebble said.

“First, Pebble Automation provides a much more advanced and user-friendly interface than our previous technology,” said Levy Kroiss Neto, director of TV technology and operations at SBT. “Even more importantly, it brings modern software that makes us much more agile.

“With this project, we are ready for a new generation of TV, including greater interactivity and dynamic ad insertion,” Neto continued. “This is the first stage of a major program to renew our complete delivery infrastructure, and Pebble Automation is the foundation for everything to come.”

The addition of SBT News is an example of that flexibility. The news channel was integrated into the existing Pebble playout environment rapidly and with an excellent cost-benefit ratio, allowing SBT to expand its channel portfolio without requiring a fundamental redesign of its infrastructure.

The wider SBT modernization program is designed to support SBT as television in Brazil moves from TV 2.5 into a new generation, alongside evolving requirements around interactivity, new services and advanced advertising models.

By combining automation, media management, integrated channel control, redundancy and secure remote access, Pebble provides SBT with a flexible foundation that can evolve alongside its delivery requirements.

The Pebble Automation platform at SBT Network Origination first went live at the end of 2025.

More information is available on Pebble’s website.

BRACKNELL, England—As broadcasters grapple with a spectrum crunch stemming from the FCC’s C-band spectrum-reallocation efforts, Techex will show NAB Show New York attendees how its tx darwin platform can be used to combine satellite and IP delivery.

Techex, set to exhibit in Booth 623 during the Oct. 21–22 show at Manhattan’s Javits Convention Center, says its solution helps broadcasters maintain reliable affiliate feeds while adapting programming and advertising to individual markets.

With the Federal Communications Commission’s spectrum reallocation efforts set to reduce available satellite bandwidth in the C-band, broadcasters are looking for other options. The Ku-band offers additional capacity, Techex said, but it is susceptible to rain fade. This creates a practical concern for stations, according to Techex: how to switch satellite bands without risking feed interruptions. The company said tx darwin solves for this by combining Ku-band delivery with IP to keep feeds available when the satellite path degrades.

The platform also supports SRT and RIST protocols for IP transport, Techex said, with SMPTE ST 2022-7 protection across separate IP paths strengthening delivery resilience.

“Ku band can provide the capacity, but nobody wants to explain a rain-fade outage to an audience during a live event,” Tim Jackson, senior director of sales and business development at Techex, said. “Using technology and vendor-agnostic IP solutions to seamlessly cover the affected services lets broadcasters move affiliates to Ku-band now with confidence.”

The tx darwin platform also supports local blackouts and seamless content replacement directly in the compressed domain, Techex said, avoiding quality loss from re-encoding and additional encoding latency. Time delay and content replacement allow broadcasters to create market-specific programming across time zones, the company said, while SCTE-35 manipulation allows affiliate stations to insert local advertising. Forensic watermarking supports content security and traceability at scale and comprehensive delivery analytics provide visibility into the streams, Techex said.

Hybrid satellite and IP distribution, master control and affiliate delivery run on the same modular tx darwin platform, according to Techex. Broadcasters can deploy it on premises, in the cloud or across hybrid environments, the company said.

WALTHAM, Mass.—Zixi, a provider of live IP video-transport software, has named John Towers as chief financial officer.

Towers is a 20-year media and entertainment technology veteran who most recently was chief financial officer at video metadata firm Fabric Data.

Towers is tasked with leading Zixi’s finance function as the firm scales up to meet growing demand from broadcasters, sports leagues and streaming platforms looking to shift live video delivery from satellite and legacy infrastructure to IP, the company said.

“John has spent his career inside the kind of transition our customers are going through now,” Zixi CEO Marc Aldrich said. “He understands the economics of moving from physical to digital and from legacy to IP, and he has scaled finance and operations at both a global media company and a fast-growing SaaS business. That combination is exactly what we need as Zixi grows.”

Prior to Fabric Data, where he was CFO for three years, Tower worked for two years in corporate development at Deluxe, which he joined following its purchase of Sony’s digital video distribution business, a transaction which he oversaw.

Towers had been chief operating officer and president of Sony’s digital video distribution division, having joined the unit in 2012 as CFO. Prior to that, he was CFO of the Sony division that handled U.S. Blu-ray Disc manufacturing. He worked on the launch of Blu-ray in 2006.

Tower started his career in pharmaceutical manufacturing, including a five-year stint in Paris.

“One theme has run through my whole career, from pharmaceutical manufacturing onwards: helping businesses move from old infrastructure to new,” Towers said. “I have lived through this kind of transition before, and I am looking forward to bringing that experience to the finance function as Zixi scales.”

WOOD RIVER, Ill.—Hollywood River Studios broke ground this week on a new film and television production campus here that will offer six large modular soundstages from global purpose-built modular structure specialist Spantech International.

Located about 15.5 miles north of St. Louis, the campus will give the U.S. market a permanent studio infrastructure capable of hosting major film, TV and streaming productions.

The project reflects a developing trend in the industry. As production incentives grow outside traditional locations, such as Los Angeles, London and Atlanta, new regions are building their own studio capacity.

Hollywood River Studios is built on a simple premise: productions follow infrastructure. The 45-hectare (110-acre) Wood River campus will combine six soundstages totaling about 144,000 square feet (13,400 square meters) of production space with production offices, warehousing, more than 1,000 parking spaces and a planned esports arena.

A second site—a 55,000 square foot (5,100 square meter) facility at America's Central Port in nearby Granite City, Ill., will serve as an equipment warehouse and base camp. Its position on the Mississippi River lets productions work across both Illinois and Missouri, and in some cases draw on both states' film incentives.

"Producers need two things before they commit to a region: the right incentives and the right stages," said Christopher Breakwell, founder and CEO of Hollywood River Studios. "Illinois has the first. Spantech's modular soundstages let us deliver the second at the speed this industry moves."

Spantech will deliver the soundstages using its Grand I-Novation system, a patented foldable steel truss structure. Each stage offers a column-free interior of roughly 130 x 160 feet (40 × 50 meter) and 42 feet (13 meters) high, giving crews the open floor and overhead clearance large sets, rigging and lighting require. The company expects stages to be ready in about 12 months.

The campus also benefits from Illinois' film incentives. In 2025 the state raised its film tax credit to 35% of qualifying in-state labor and vendor spending, with an extra 5% for productions filming outside the Chicago metropolitan area.

Hollywood River Studios projects that the campus could support more than 1,000 permanent jobs, with individual productions employing 300 to 500 people each and creating recurring business for local crews, suppliers, hotels and restaurants across the greater St. Louis region.

Illinois Gov. JB Pritzker was on hand for the groundbreaking.

More information is available on the Spantech International and Hollywood River Studios websites.

CHAMPAIGN, Ill.—Cobalt Digital will showcase its end-to-end ST 2110/IPMX ecosystem, solutions geared to address the C-band spectrum transition and multiviewer products at NAB Show New York, set for Oct. 21–22 at Manhattan’s Javits Convention Center.

A main focus at Cobalt’s NAB Show New York exhibit (Booth 226) will be its end-to-end approach to ST 2110/IPMX, which the maker of signal-processing products said will show how broadcasters can transition from SDI to IP at their own pace while supporting hybrid environments and protecting their existing investments.

Cobalt said it will spotlight the expansion of its IPMX capabilities with support for JPEG XS Temporal Differential Coding (JXS TDC), which enables IPMX-certified products to discover, establish and transport visually lossless, ultralow-latency JPEG XS media streams. The enhancement strengthens IPMX environments with plug-and-play deployment and low-latency JPEG XS workflows while maintaining compatibility across mixed-vendor systems, it said.

Support for JPEG-XS is available across Cobalt ST 2110/IPMX-capable products, including its SAPPHIRE miniconverters, Indigo gateways, PACIFIC encoders/decoders, TOPAZ processing platforms, Aria audio monitors and UltraBlue multiviewers, it said.

To help broadcasters navigate the C-band spectrum transition, Cobalt has added support for hybrid satellite/internet operations to its Cobalt PACIFIC compression line. The enhancement complies with VSR TR-06-4 Part 7 and uses internet connectivity to recover data affected by satellite transmission losses.

The Pacific ULL-DEC with SAT-DEMOD uses a factory-installed DVB-S/S2 demodulator to receive satellite signals and make them available through both ASI and IP, the company said. In hybrid operations, it uses the Ku- and Ka-bands for bulk distribution and the internet for lost packet recovery, offering broadcasters a practical approach to maintaining reliable content delivery and adapting to changes in satellite distribution, the company said.

Cobalt will also exhibit its blueCORE family of standalone signal processors, which debuted at April’s NAB Show in Las Vegas. blueCORE delivers multifunction audio and video processing in a compact 1-RU form factor and supports both SDI and ST 2110/IPMX signal processing, providing extensive flexibility for infrastructure transitioning to IP, Cobalt said.

The company also plans to demonstrate its latest UltraBlue MV-SW multiviewing capabilities, which provide flexible monitoring for facilities working with compressed streams, SDI, ST 2110, IPMX or hybrid environments. It’s available as a turnkey package or as software that runs on customer-supplied hardware and incorporates support for IPMX, Cobalt said.

Cobalt will also display its enhanced audio capabilities, including optional fiber input/outputs added to its line of 9935-AUD4-DANTE openGear advanced audio processor cards to support Dante Audio Interfaces. Direct fiber connectivity simplifies Dante installations, supports longer-distance deployments and eliminates the need for external media conversion in fiber-based network infrastructures, it said.

Cobalt will also showcase its ARIA audio monitoring line, featuring full IPMX compliance alongside support for 16 SDI or 64 MADI channels in a compact rack-mount chassis with touch-display and web-based controls.

Other pieces of Cobalt’s broader product portfolio on display will include Sapphire miniconverters, Indigo gateways, Pacific compression tools and its openGear card lineup.

“The industry is no longer asking whether it will move to IP; it is asking how to make that transition practical,” Cobalt Senior Vice President, Worldwide Sales and Marketing Suzana Brady said. “At NAB New York, we will demonstrate an end-to-end ecosystem that provides broadcasters with the tools they need to move at their own pace, while also addressing challenges such as the C-band transition. From IPMX and ST 2110 to standalone processing and multiviewing, our goal remains the same: provide practical solutions that make complex workflows easier to deploy and operate.”

For more on Cobalt Digital’s NAB Show New York plans, visit its website.

BURBANK, Calif.—Matthews Studio Equipment has made available its 40-inch Sliding Leg C-Stand 2-Pack, which delivers a pair of the company’s stands.

Setups often call for a second C-stand to hold the light, diffusion, backdrop or fill. The 2-Pack provides both in a choice of chrome or black finish. Each offers Matthews’ patented sliding-leg design that enables quick, adjustable leveling on stairs, curbs and uneven ground with no extra hardware, the company said.

Each stand reaches a maximum height of 127 inches (321 centimeters), a minimum height of 53.25 inches (135 cm) and carries a load capacity of 22 pounds (10 kilograms), while weighing 16 pounds (7.2 kg). With a footprint of 27.5 inches (70 cm), each stand folds down to a 21-inch (54 cm) base.

Each stand comes with a Matthews 40-inch Hollywood Arm (exclusive to C-stand purchases). It features a knurled baby pin with 1/4-20 tap, complete with Matthews’ safety features, which enable the attachment of any number of items in addition to booming out a fixture. It pairs well with the included 2.5-inch grip head. Also known as “gobo heads,” their serrated jaws and 3/8-inch and 5/8-inch holes ensure set-it-and-forget-it positive locking in every direction, Matthews said.

The 40-inch Sliding Leg C-Stand 2-Pack is available now in chrome with stainless-steel Hollywood Arm (SKU 999101) and black with black powder-coated Hollywood Arm (SKU 999102). Standard shipping is free in the continental U.S.

More information is available on the Matthews website.

WHITE PLAINS, N.Y. — The Society of Motion Picture and Television Engineers (SMPTE) today announced SMPTE Bootcamp: Precision Timing for ST 2110, a one-day program to take place Wednesday, Oct. 21, at NAB Show New York.

The program will run from 9:20 a.m.–4:30 p.m. in SMPTE Program Room 3D-03 of the Javits Convention Center, where NAB Show New York will take place Oct. 21–22.

Precision Time Protocol (PTP) now sits underneath ST 2110 facilities, networked audio systems and a growing range of live production and pro AV equipment. Speakers with deep experience in clocking, network design, networked audio, and test and measurement bring a vendor-neutral, working view of how timing is distributed, designed, measured and maintained, along with the lessons gathered from real systems.

Attendees leave able to explain how timing moves through a facility; to configure and verify a grandmaster and the clocks beneath it; to read PTP traffic and design redundancy that holds at failover; and to know what to ask of a supplier before purchase.

The program is produced with Douglas Gillette, an independent engineer and SMPTE member, who also opens the day and moderates a field-experience panel.

"Timing touches every part of an ST 2110 facility, and the best way to learn it is from the practitioners who design, build and run these systems every day," said Maja Davidovic, SMPTE director of education.

“The boot camp moves from fundamentals through network design, measurement and deployment practice, so attendees leave with a clear understanding of how timing works and the confidence to apply it in their own facilities. Having experts from across the industry share one stage and compare notes with the people in the audience makes for a rare learning opportunity,” she said.

Whether the next project is a migration, a new IP facility or an upgrade to an existing one, the day offers a practical starting point, SMTE said. The full-day boot camp costs $500, with a $400 rate for National Association of Broadcasters, SMPTE members or government attendees and $250 rate for students. Registration includes an NAB Show New York Floor Pass for both days of the event.

For full program details and registration, click here.

The Day at a Glance
Morning: fundamentals and network design

• Why Precision Timing Matters in ST 2110, with Douglas Gillette
• Inside PTP: How Precision Timing Actually Works, with Andrew Scott of Telestream
• Designing PTP Networks for Scale, Resilience, and Failover, with Ryan Morris of Arista Networks
• ST 2059 Today: What’s Changing in Media Timing, with Leigh Whitcomb of Meinberg, a SMPTE Fellow and co-chair of the committee behind the standard
• PTP Lessons from the Field: Problems, Fixes, and What We’ve Learned, a panel moderated by Douglas Gillette with Ken Stiver, Ryan Morris, John Salt and Steve Holmes

Afternoon: practice, measurement and deployment

• Keeping Networked Audio in Sync: PTP, Dante, ST 2110, and AES67, with John Salt of Audinate
• Locked Isn’t Enough: How to Know Your PTP Timing Is Really Right, with Steve Holmes of Leader Electronics
• Inside the Network: How Switches Handle Precision Timing, with Alex Pendleton and Devan Cress of Netgear
• Building the Reference: Grandmaster Design for Hybrid Facilities, with Evertz
• Watching Timing in Real Time: PTP Analysis on a Live Network, with Bridge Technologies
• Eleven Commandments for PTP Deployment, with Steve Kolta of Meinberg
• Keeping Media in Sync Across Redundant and Long-Haul Networks, with Andreas Hildebrand of Lawo

Why Attend?
The program also covers the latest standards work, including an update from the co-chair of the committee behind ST 2059, the differences between editions of ST 2059-2 and the integrity features added in IEEE 1588-2019.

SMPTE designed the day to be vendor-neutral. Speakers draw on experience that applies across equipment from many manufacturers, and sessions center on how systems from several suppliers behave together on the same network, which is the question that matters most on a show day.

The bootcamp is designed for broadcast and media engineers, systems integrators, live and remote production teams, media IT professionals and anyone responsible for keeping IP media systems in step.

MEXICO CITY—As a post producer at Caffeine, a global creative postproduction studio with a presence in Mexico City, Los Angeles and New York, my team and I work on projects for some of the world’s leading content providers and streaming platforms, as well as many independent films from Latin America and the United States.

Caffeine was co-founded by CEO Adrián Geyer, and we offer editorial, color grading, VFX, motion graphics, sound design and finishing for a diverse clientele. At the heart of our post workflow is DaVinci Resolve Studio and Blackmagic Cloud.

Matching the Dark Scale of the Narrative
Recently, I worked on “Aquí hay dragones” (“Here Be Dragons”), a dystopian, preapocalyptic feature film directed by Iria Gómez Concheiro. Set in Mexico, the film is wrapped in a dark and tense atmosphere of totalitarian government and social betrayal. At the center of the story is a strong female character whose journey drives much of the film’s emotional and narrative force. What fascinated me about this project was the immense challenge of bringing such a dark, visually ambitious and complex world to life, requiring a postproduction infrastructure capable of matching the scale of its narrative.

As the online and digital intermediate editor, I was the technical and creative bridge, keeping fluid communication across all the departments at Caffeine. My main responsibility was ensuring that the media conformed perfectly and that the transitions between editing, VFX and color grading in DaVinci Resolve Studio were completely seamless.

The main challenge in post was connecting our head colorist, working remotely, with two of our in-house colorists and me. To achieve this, we deployed a dedicated point-to-point network for high-speed media transfer and collaborative remote workflow with Blackmagic Cloud.

This workflow is used exclusively for independent projects; projects for streaming platforms follow their own required security protocols and workflows. Using path-mapping mirroring, our media was automatically synchronized across locations the exact moment it was ingested into the project. This allowed our remote head colorist to conduct real-time remote grading sessions on DaVinci Resolve Studio with the DP, who was sitting in our grading theater at Caffeine. This allowed the DP to see the live changes at maximum quality and with no perceptible latency while the colorists worked.

Simultaneously, I was able to handle conform and intermediate finishing tasks natively. This unified ecosystem meant we could manage late editorial updates, handle finishing fixes and fine-tune color without bottlenecks.

Agility, Security and Speed
The overriding benefit of our workflow was unmatched agility, security and collaborative speed. In traditional workflows, remote color-grading and multidepartment collaboration often results in downtime, massive storage duplication and constant file rendering. With DaVinci Resolve Studio and Blackmagic Cloud, nobody ever had to stop operations. Our local and remote team worked as if they were in the same room, drastically reducing delivery times while maintaining the highest creative standards.

Tools such as Offline Reference and Viewer Background were lifesavers, allowing us to quickly check alignment and detect any accidental blanking issues in the frame. On the finishing side, the Compare With Current Timeline feature was indispensable, as I was able to spot changes instantly and conform the new scenes without disrupting the ongoing color work.

On the online and finishing sides, the sheer versatility of DaVinci Resolve Studio allowed me to perform essential cleanup tasks directly within the Fusion page using tools like Paint and Patch Replacer. Handling these fixes within my linear timeline streamlined our finishing dynamics, eliminating the need to generate external plates for a separate VFX department and significantly reduced machine downtime and rendering overhead.

Generally, managing a nonlinear, multi-location workflow under tight deadlines without halting operations is a challenge, but thanks to Blackmagic Cloud’s real-time synchronization and DaVinci Resolve Studio’s all-in-one architecture, we accommodated late editorial adjustments seamlessly. We resolved complex VFX cleanups, screen inserts and remote color grading on the fly, transforming what is usually a stressful bottleneck into a smooth, everyday routine at Caffeine.

More information is available on Blackmagic Design’s website.

ADELAIDE, Australia—At KOJO’s global postproduction and FX operations, moving large volumes of media is fundamental to our business. Each year, we transfer hundreds of terabytes of data ranging from large-format camera files captured on set through to final 4K masters delivered to distributors worldwide.

Historically, media of this scale was shipped on external hard drives or RAID systems. Using Signiant Media Shuttle allows us to accelerate transfers and deliver projects with greater speed and ease while eliminating the risks associated with transporting physical drives. Those shipments can experience significant delays and, in some cases, be lost altogether. Faster and more reliable transfers also help our clients meet demanding production schedules and delivery commitments.

Shooting ‘Jimpa’
Recently, we completed dailies and picture postproduction services for the feature film “Jimpa,” directed by Sophie Hyde, and starring Olivia Colman and John Lithgow. Principal photography took place predominantly in Amsterdam, with additional filming in Adelaide, Australia, and Helsinki.

KOJO’s Adelaide facility served as the postproduction lab. During the European legs of the shoot, Signiant provided a flexible and reliable way for us to receive terabytes of camera data from Europe in Australia.

At the end of each shoot day, the camera data had to be backed up and processed so editorial could start cutting the following day. Signiant’s flexible storage options allowed us to establish a project-specific portal using an Amazon S3 cloud bucket. We could configure the storage location in Europe, enabling the Amsterdam DIT to upload camera data more reliably and efficiently than if the storage had been tied to our physical location in Australia.

Once the data was uploaded, I downloaded it to our local servers and verified it against the supplied checksum files and set reports. From there, I completed our usual dailies processing, generating viewing files for client review and editorial media for the assistant editor to sync and prepare. Alongside editorial feedback, we also provided media-clearance reports back to set. The DIT uploaded the camera data in packages of approximately 2 to 4 TB. Signiant allowed both teams to upload and download data around the clock across two time zones.

Over the five-week shoot, we transferred approximately 160 TB of data between Europe and Australia. Every upload and download through Signiant was secure, reliable and completed at speed.

We adopted a similar workflow for another feature film, “Wicker,” directed by Alex Huston Fischer and Eleanor Wilson and starring Alexander Skarsgård and Olivia Colman. Filmed in Budapest, the production required a secure off-site backup of its camera media. Although we did not provide full dailies processing on this project, using Signiant, we were able to transfer approximately 6 to 8 TB per shoot day to Australia, where the media was verified, archived and securely stored as a secondary backup.

Meets Stringent Signal Requirements
Signiant Media Shuttle has been KOJO’s preferred solution since July 2020. With TLS encryption, multifactor authentication and other robust security protocols, it meets the stringent security requirements of major studio productions. Combined with exceptional support from our account manager, it gives us, and our clients, confidence that valuable production media is protected throughout every transfer.

Ultimately, Signiant allows us to operate as a truly global postproduction partner, securely connecting productions anywhere in the world with our facilities in Australia and enabling our teams to deliver world-class picture postproduction without the barrier of geography.

More information is available on the Signiant website.

FORT WORTH, Texas—Disc Golf Network is the subscription streaming service of the Disc Golf Pro Tour, providing live and on-demand tournament coverage to viewers worldwide. We worked with Big Blue Marble in August 2023 to connect our production capabilities with a scalable cloud distribution platform supporting reliable live coverage, instant VOD and flexible viewing.

Our events can involve eight to 10 hours of coverage per day, and we believe the viewing experience should remain consistent from the opening coverage to the final moments of play. Our production workflows were capable of creating broadcast-quality output, but our previous streaming platform could not maintain that quality consistently across devices and locations.

As our viewing audience grew, it became clear that reliability alone was not enough. We needed to be able to introduce features quickly and be more responsive to viewer expectations. For a direct-to-consumer sports service, continuous improvement is essential, and we needed a platform that could develop alongside our audience.

Cloud-Based Quality
Our previous platform reduced live streams from 60 frames per second to 30 fps, affecting the fluidity of fast-moving sports coverage. Video-on-demand recordings were slow to become available, viewers could not pause or rewind live broadcasts and the infrastructure had limited capacity to scale when demand increased.

We needed a cloud platform that could preserve the quality of our production output throughout distribution and give us more control over development. It also needed to scale during major tournaments, protect our content and support different subscription tiers.

Big Blue Marble became our strategic architecture and systems integration partner, leading the platform rebuild and defining its architecture, integration standards and operational model. Its team redesigned Disc Golf Network around a modular, cloud-native framework using Cloud Video Kit and AWS Media Services.

The migration was a significant undertaking for both teams because it had to be completed within a demanding timeframe, six months before the new season started in February 2024. Big Blue Marble was confident its products and cloud technology could support the service we had envisioned. Close collaboration helped us deliver the new platform to our audience on schedule.

The new architecture brings encoding, packaging, recording, ad insertion and distribution into a unified cloud environment. Big Blue Marble introduced higher ingest bit rates, more-efficient encoding profiles and consistent 60 fps streaming, allowing us to retain the motion and picture quality created by our production workflow.

Amazon CloudFront supports content delivery, with redundancy and continuous monitoring helping maintain reliable performance. Audience peaks should be a sign of success, rather than a threat to service quality, and the platform automatically expands capacity as traffic grows, helping us maintain picture quality and playback stability when interest is highest. Multi-DRM protects live and on-demand content, and responsive 24/7 support gives our team access to technical assistance throughout live operations.

For sports audiences, the value of coverage does not end with the live broadcast. Cloud processing makes tournament coverage available on demand almost immediately after an event and gives viewers greater control over how they follow it. Automated workflows support Live DVR, so subscribers can pause, rewind and replay coverage.

Foundation for Growth
Professional disc golf now has an active viewing audience of 1.5 million. We expect our live coverage to reach more than 15,000 unique viewers per broadcast and over 200,000 viewers per event across 85 competition days this year. Supporting that growing audience makes it essential the platform can scale without compromising the viewing experience.

The modular architecture gives us greater commercial and operational flexibility with support for multiple subscription tiers, regional customization and future integrations. It also provides clearer insight into service performance and viewing behavior, helping us continue to refine the platform.

By connecting our production capabilities with cloud-based processing and distribution, we have created a more consistent route from the live event to the viewer. The platform has improved the quality, reliability and availability of our coverage and given us greater scope to keep developing the service.

More information is available on the Big Blue Marble website.

In my August column, I explored cloud resource monitoring—placing emphasis on private clouds, data centers and cloud structure—and introduced the needs and requirements for scalability and monitoring. As a brief review and to set the tone for the conclusion, the definition of scale has multiple interpretations.

Scale
“Scale” can mean “size,” or the dimensional physical property usually associated with ground space. Scalability refers to that space’s ability to (easily) expand to house more space, equipment or growth.

For instance, in computing, Lenovo describes scale as a system’s ability to handle growing amounts of work, data or users without losing performance or stability.

When discussing storage—such as disk drives or arrays—core scaling is described as vertical scaling, or “scaling up.” To scale up is to add more power, such as faster CPUs or GPUs, more memory or larger storage capacity, especially on a single machine or server.

Horizontal scaling, or “scaling out,” means to add more individual computers or servers to share the workload.

Other meanings in computing include “UI scaling,” image scaling or using a mathematical multiplier to convert a range of numbers or values to fit a specific digital format.

Cloud Scaling
Cloud scaling is the ability of cloud computing infrastructure to dynamically adjust resources—like computing power, storage or network bandwidth—either up or down to match changing workloads.

Unlike traditional, chassis-centric physical servers (or frameworks), which typically require manually adding physical components as in hardware upgrades, cloud environments scale almost instantly using automated software.

Fig. 1 shows a breakdown of how clouds scale, the mechanisms they use and how that differs from traditional infrastructure.

Clouds scale, in part, like computers or storage (i.e., horizontally, vertically or diagonally)—as described earlier—with diagonal scaling adding a dynamic, real-time element.

Dynamic Scaling
All clouds need to behave dynamically—that is, to expand or contract in reaction to the needs or demands of clients using their services. Diagonal scaling is a hybrid of vertical and horizontal scaling in which a system first scales horizontally, adding more instances until it hits a limit.

Those instances are then upgraded vertically to larger sizes to handle even more intensive workloads. Often, the larger size means bringing on additional equipment that waits in standby until the management system calls upon it, or when the software that requires those services demands it.

Road maps, associated in part with artificial intelligence, will be a system’s ability to “self-scale.” Here, a cloud enables DevOps pipelines to automatically allocate computing resources based on real-time traffic and, as demands spike, the system employs “auto scaling” to ensure the application doesn’t crash.

Monitoring
Both human and machine-based monitoring systems must interchange and, in turn, support commercial and technical scalability to accommodate rapid growth and evolving needs. Bugs will trigger other routines that can automatically change flows, spin up alternative code sets and even halt the testing process while another fix or solution can be deployed to serve as corrective actions.

This further enables the active system to avoid large up-front commitments and to prefer solutions that scale easily as needed. Alternative solutions can then demonstrate immediate value without extensive proof of concept.

“Technical scalability” promotes easy expansion without significant additional effort or cost—up front or downstream.

Service Mechanisms
Automated systems are engineered into the cloud “package” specific to the service provider and are typically key marketing and performance factors. Such systems depend on automation to make these transitions “seamless” and usually “hands-off” for users, except in specific cases in which the cloud model has been contracted to scale based upon various factors.

Those factors can include overruns or the need to meet time-constrained deadlines or demands, using tools such as “load balancers,” which act as traffic directors that sit in front of the application. As new servers are added (via horizontal scaling), the load balancer (Fig. 2) automatically starts routing a portion of the incoming user traffic to them, so that no single server gets overwhelmed.

Another tool available is serverless computing. This form of scaling (such as AWS Lambda or Google Cloud Functions) is where developers write code and the cloud provider handles everything else. If zero people use the app, zero servers run. If 10,000 people trigger the app at the same second, the cloud instantly runs 10,000 parallel copies of the code.

Remember that scaling is the system’s capability to handle growth, focused on long-term capacity planning or meeting a specific high-demand baseline.

However, while often used interchangeably with scaling, elasticity is the speed and fluidity with which the system handles both spikes and drops in real time (focused on immediate adaptation to fluctuating demands). Fluidity means the smooth, seamless and automated movement of resources as they expand and contract in real time. Zero human intervention is the action where cloud (and AI) systems need to shrink and expand automatically based on live demand, without needing a human to manually approve or configure new servers.

Instant adaptability refers to “continual availability,” “load predictability/reactivity” and “reactional monitoring”—each are key parts of a cloud’s enterprise solution. For example, when an app goes viral on social media, compute resources must flow into the system within seconds to handle the spike. When the “viral” rush ends, those resources must drain away just as fast.

Cost efficiency is where cloud providers advertise that “you only pay for what you use.” The system is engineered with a fluid infrastructure and automatically changes the scale of service, with the cost dynamics (aka billing) remaining flexible. As a result, the cloud provider seldom leaves expensive, unused servers sitting idle when traffic is modest, but it is ready to provision those servers and bring them online nearly instantly.

A robust monitoring platform should also have a large ecosystem of free, vendor-backed integrations. Open-source solutions often require ongoing maintenance and custom integration efforts. Many startups lack comprehensive, supported integrations. They prefer vendor-backed integrations from stable, established companies to ensure support and reliability.

Up-to-Date Documentation
Good and current documentation is essential for quick setup and ongoing maintenance, whether for cloud-only or AI applications. Clear, up-to-date, software-centric documentation supported in the cloud will allow for both manual and automated diagnostics reporting and analysis. Complete documentation should be detailed, accessible, and include human-readable screenshots. It should be linked to those subroutines for quick reporting that can be married into an AI training process.

By employing a large language model (LLM), testing and monitoring systems can quickly locate and isolate both the code and the instructions to speed diagnosis and corrective identification. By using an LLM library of diagnostic processes, anyone can be tagged into the testing process, alleviating the need for specialized subject matter experts during nominal testing, unnecessarily spinning up changes or manipulating core systems.

Configurable Monitors and Alerts
Monitoring tools should allow for easy configuration of persistent, reliable monitors and alerts, i.e.:

• Monitors should adapt to infrastructure changes without breaking.  
• Tag-based queries should enable comprehensive and flexible alerting.  
• Persistent alerts should ensure continuous monitoring regardless of environment changes.

Real-Time and Collaboration Integration
Alerts must be efficiently routed to the right stakeholders, consisting of project managers, SMEs and software owners. Avoid alerts buried in email or unsupported notification systems. They must integrate with downstream tools like PagerDuty, ServiceNow or customized workflows. Centralized monitoring should support combined infrastructure and DevOps process alerts for faster troubleshooting.

Developer Access Without Infrastructure Exposure
Developers often need access to performance data without risking security or compliance violations. Key practices include:

• Providing secure, read-only access to logs, metrics and traces. 
• Giving developers access to relevant troubleshooting data without having to wade through cloud infrastructure access policies.
• Creating safe environments where developers can monitor code and deployment integration securely to speed infrastructure development and flow, reducing risks from failure or security compromises.

Monitoring tools should integrate relevant data from all phases of the DevOps cycle—often in real time—rather than requiring teams to linger on lengthy reports that require multiple sign-offs before moving through each step of the diagnostic model set.

Comprehensive enterprise DevOps monitoring requirements for the cloud will likely evolve through each cycle and should be thought of in future uses and applications. This is especially useful where a system can self-train cloud servers to move through effective procedures, minimizing no results and unnecessary repetitive processes.

BURBANK, Calif.—In the Apple TV series “Pluribus,” nearly everyone on Earth becomes a part of a single consciousness, leaving a world without friction. The “joined” are good at everything because they are everyone, thus, they have the knowledge of every human being. They never disagree. The title of the show nods to the Latin “e pluribus unum”—out of many, one.

For “Pluribus” we had three editors—Skip Macdonald, ACE; Joey Liew; and me—each with our own episodes and unique styles and rhythms. Yet we somehow needed to make every episode feel like a part of the same show. Out of many, one—the Avid version.

Collaborative Minds
Collaboration in post isn’t always as easy as the hive mind might make it look. Our Emmy-nominated composer, Dave Porter, says every editor cuts to their own internal beats per minute, and the first thing he does with a scene is find that editor’s metronome. That’s three different metronomes that somehow need to find a singular tempo. And reconciling those tempos is an important part of our job in editorial.

This is where the technology comes in (but with much less drama than you find on our show). We’ve cut every Vince Gilligan series on Avid Media Composer going back to “Breaking Bad.” The media lives on Avid Nexis, and each editor works in shared projects on top of it. Media Composer’s bin locking sorts out who has control. For example, if Skip wanted something from an episode of mine—a music cue or a visual effect he’d like to match—he can simply access my Editor’s Cut bin and take it.

If I was currently working in that bin, the bin “lock” would show “red” in his view, while mine would stay “green” and neither of us would run the risk of wrecking the other’s work or interrupting a session to ask for control.

Our projects are organized with the same mindset—apply a standard architecture to keep it simple, while allowing for individuality to keep the creativity flowing. Every editor has a preference as to how their scene bins are built. Mine are labeled with scene number, a brief description and an indication as to how many minutes of footage are contained.

Dailies are racked in what Joey calls the “reverse Christmas tree”: A and B cameras side by side; group clips below. Any of us can find Scene 14 in another editor’s project in about 10 seconds, because our architecture is the same. The rest is just down to us editors communicating our intentions clearly with one another—a hive mind doesn’t have to, but we do.

Simplified Workflows
As for what I myself reach for day in and day out inside my timeline, I use nothing more often than Trim Mode. It stopped feeling like a tool a long time ago and has rather become an extension of my thoughts, enabling me to work quickly and intuitively.

Another tool that made me faster is Extend Edit, something Kelley made me learn before I moved on from being her assistant. And for a show where the many must move as one, I absolutely depend on Animatte—whether for simple splits to adjust performance timing or to create enormous composite shots, such as one high angle in Episode 103 that used nine to 10 layers, retiming background actors so they moved in lockstep.

In “Pluribus,” the joined never disagree because there is nobody left to disagree with—free will and individuality have been replaced by one common consciousness. Fortunately, Skip, Joey and I have maintained our individuality, found our singular voice in the cutting room by working together in Avid Media Composer, and the season is better for it. Because we never need to hunt for media or wait for someone to finish working in a bin, we can instead focus our efforts and ideas on the story, applying our unique tempos and reconciling them. Out of many, one.

More information is available on Avid’s website.

ATLANTA—Fox First Run produces and distributes syndicated programming for stations nationwide. With “25 Words or Less,” hosted by Meredith Vieira, we saw an opportunity to make a familiar daytime game show even more engaging and give viewers a more meaningful, active role in the program.

Beyond reaching our affiliate station partners, we also wanted to meet audiences wherever they are, delivering the same experience across Xumo Play and YouTube to allow people to watch and participate on the platforms they use every day.

During this past May, we ran a live syndication initiative for “25 Words or Less LIVE,” originating from Parlay Studios in Jersey City, N.J. During the run, we produced more than 38 live broadcasts, with two editions each weekday delivered to 18 stations across major U.S. markets, including many Fox owned-and-operated stations.

Live Syndication Workflow
Live syndication has very different operational requirements from distributing prerecorded programming because every station must receive the program at the right time and be ready to take it live. The workflow also needs to accommodate the requirements of different markets and platforms without disrupting the viewer experience.

Latency was one of our main challenges because audiences receive programming through several delivery routes, each with different characteristics. For a live show built around audience participation, the broadcast and streaming experiences need to remain in sync so viewers can respond collectively to what is happening on screen.

We worked with XR (Extreme Reach) and LTN to build the workflow for this run. XR managed the show’s distribution through its cloud-based syndication platform, while LTN connected the production facility with participating stations through managed IP transport and master control services. The stations themselves were equally important to the project—taking a live syndicated show in the middle of the day requires an expert staff and operational capacity at the local level.

Going live allowed us to build interaction directly into the program rather than treating it as a separate digital activity. Working with Tagboard, we incorporated live comments, gameplay and direct audience participation while the show was on air. Our “Super Fan” initiative helped viewers build a closer connection with the program, while live games offered prizes created specifically for the audience. Through the “Big Bet Challenge,” viewers could use virtual coins to predict the outcome of the game, while fans could chat live with Meredith during the broadcast. Viewers could respond to the action and participate as it happened, while stations supported the experience through social media and local promotions.

These efforts paid off. Stations and viewers loved it. We had incredibly positive feedback on the one-hour live editions, which increased awareness and encouraged loyalty by giving audiences more reasons to return and participate. That connection is increasingly valuable as viewing habits continue to spread across broadcast and digital platforms. It keeps audiences coming back.

Power of People
Live viewer participation with syndicated programming isn’t new. For decades, audiences have called in to weigh in on live programming, but participation was often limited by busy phone lines and tape delays. This project demonstrated how modern, cloud-enabled distribution can support live, interactive programming with the reliability national television requires.

The four-week run also showed us the power of people, and that technology cannot solve every challenge on its own. A national model depends on stations having the staff and operational capacity to take a live program during the day. Wider adoption of these kinds of live initiatives will require an approach that works for affiliates with different resources, particularly those in smaller markets.

This was the type of innovation we enjoy most at Fox First Run—using creativity and future-ready technologies to help engage viewers in meaningful ways. We’ll continue exploring live and interactive programming where it fits the format and station requirements. Live always has been, and will remain, a huge differentiator in broadcast.

More information is available on the LTN Global website.

SANTIAGO, Chile—As Chile’s exclusive free-to-air rights holder for the 2026 FIFA World Cup, Chilevisión was responsible for delivering reliable, high-quality coverage of one of the world’s most demanding live sporting events. We also wanted to give viewers access to an enhanced 4K Ultra HD experience while continuing to use the production infrastructure supporting our core HD service.

To achieve this, we worked with Appear, pay-TV operator ClaroVTR and cloud-video enhancement specialist Pixop to create a hybrid ground-to-cloud architecture. The deployment combined Chilevisión’s broadcast environment with Pixop’s cloud-based video enhancement platform hosted in AWS cloud infrastructure, enabling ClaroVTR to offer a dedicated 4K channel to subscribers throughout the tournament.

Premium Service Without the Heavy Lift
Our starting point was Chile­visión’s live 1080i HD-SDI program feed. Replacing the complete production chain with a native UHD system would have added significant cost and complexity. Instead, we used our existing feed as the source for cloud-based enhancement, allowing us to introduce a premium service while retaining our existing infrastructure and operational practices.

An Appear X20 sat at the heart of the contribution chain, encoding the 1080i signal using High Efficiency Video Coding and securely transporting it from our facilities to AWS cloud infrastructure using Secure Reliable Transport.

For live sports, this connection needed to deliver consistent performance with low latency. Appear’s hardware-accelerated SRT technology provided a robust link between our on-prem operation and the cloud, helping us maintain the quality and resilience required for continuous live coverage.

Once the feed reached AWS, Pixop’s AI-powered platform enhanced it in real time. The processing included deinterlacing, restoration, super-resolution upscaling and image optimization, transforming the interlaced HD source into a high-quality 4K UHD signal.

The enhanced output was then transported back from the cloud. A second Appear X20 received and decoded the signal, preparing it for downstream delivery by ClaroVTR.

Each partner had a clearly defined role: Chilevisión originated the live program feed; Appear connected the broadcast and cloud environments; Pixop performed the video enhancement; and ClaroVTR delivered the finished channel to its subscribers.

This open ecosystem was essential, allowing us to bring specialist technologies together within one end-to-end chain, rather than depending on a closed architecture or replacing systems that were already performing effectively.

An event on the scale of the World Cup places considerable demands on live production and distribution infrastructure. We needed the solutions we deployed to be technically robust, operationally flexible and capable of moving high-quality video between SDI and cloud environments without introducing unnecessary delay.

The X Platform brought these requirements together through high-density HEVC encoding, low-latency SRT transport and straightforward cloud integration. It provided the bridge between our facilities and the processing resources in AWS, while fitting into the wider architecture developed with ClaroVTR and Pixop.

The signal path remained clear throughout the project. Our HD-SDI feed was encoded and carried into AWS as an HEVC SRT stream, enhanced in real time and returned as a decoded 4K output for distribution. This made the system easier to manage and operate during the high-profile live event.

Crucially, it allowed us to adopt cloud processing where it provided a specific benefit without moving every part of the production chain off-premises. We could preserve the reliability of our ground-based infrastructure while accessing the flexibility and specialist capabilities available in the cloud.

Scalable Path to HD
This project demonstrated that broadcasters can introduce new cloud-based services without undertaking a wholesale infrastructure replacement. By using the Appear X Platform to connect established broadcast technology with AWS processing, we added a dedicated 4K service practically and efficiently.

The deployment transformed our live 1080i feed into an enhanced UHD channel for ClaroVTR subscribers, giving Chilean audiences a new way to experience the World Cup. It also established a flexible model for future projects that need to combine the reliability of broadcast infrastructure with the processing capabilities of the cloud.

More information is available on Appear’s website .

SAVANNAH, Ga.—What we love most about working for Fans First Entertainment and the Savannah Bananas is that every game feels like a live event, a broadcast and a social-media moment all at once. We are not just producing baseball—we are creating an experience that has to work in the stadium, on television, on YouTube and on every short-form platform where fans discover us. That is exactly why Sony’s Ci Media Cloud has become such an important part of our workflow.

Before this year, our media process was much more fragmented—we were relying on hard drives, laptops, and a very old-school sneakernet system to move footage around. It worked, but it was slow and it made it hard for everyone to stay connected. We were capturing a huge amount of content every weekend, but the process of getting that footage into the right hands took too long. That changed when we began using Ci Media Cloud.

Multiplatform Speedsters
Now, everything lives in one place. That may sound simple, but for us it has been a huge shift. We can upload footage on-site, organize it and share it instantly with the people who need it. Our editors can get to work faster and our marketing team can find what they need without waiting for drives to arrive. Even our cast members can log in, pull clips and create their own content. That kind of access has completely changed how quickly we can move.

We shoot about a terabyte of footage every weekend, so speed matters. With Ci Media Cloud, we can collect all of that material and start shaping it into clips almost immediately. That helps us get the best moments out while they are still fresh and still relevant. In our world, timing is everything: A great play, a wild fan reaction or a funny moment can become a viral clip fast, but only if we can move quickly enough to package it the right way.

Ci Media Cloud has also helped us control the quality of our storytelling. Our fans see us across a lot of different platforms, so we want the image and the feeling to stay consistent no matter where they find us. With everything in one system, we can make sure the footage looks and feels like the Savannah Bananas everywhere it appears. That consistency matters because we want the broadcast, video board and social clips to all reflect the same energy.

Shareable Stories
One of the best parts is how many people can use it. Our players and cast members can access footage and post their own clips, which has been huge for us, because so much of our growth comes from people sharing their own version of the Banana Ball experience. When our players can grab a clip and post it right away, they are helping tell our story in their own voice, making the content feel more immediate and more authentic.

Ci Media Cloud has also made it easier for us to support the moments that never make it into the main broadcast but are still a huge part of the fan experience. We can capture more from the plaza party, more from behind the scenes and more from the parts of the show that make Banana Ball unique. Those moments matter just as much as the game itself.

For us, Ci Media Cloud is more than a storage platform. It is the tool that helps us turn a fast-moving, high-energy live show into content fans can connect with everywhere. It has streamlined our workflow, improved our speed and made it easier for everyone on our team to create. Most importantly, it helps us stay true to what we believe: fans first, entertain always.

More information is available on the CI Media Cloud website.

Discover how the Media eXchange Layer (MXL) and Dynamic Media Facilities (DMF) are transforming software-defined broadcast production. From winning the Content Creation Award at IBC2026 to driving multi-vendor interoperability across edge and cloud, MXL has evolved from an intriguing concept into an operational industry reality.

Featuring exclusive insights from broadcasters, vendors and the EBU, this ebook explores how open-source, shared-memory media exchange eliminates network overhead, reduces latency, and powers AI-ready infrastructure.

Download your copy today to lead the shift toward flexible, high-performance media operations.

The case for broadcasters’ transition to IP-based live content production is stronger than ever as suppliers of every stripe roll out products built to standards that support vendor interoperability and common approaches to creating customer-specific AI solutions.

Much of this transformation is fueled by increased interest in how MXL (Media eXchange Layer) is impacting product development. Launched as part of the European Broadcasting Union’s Digital Media Facility initiative in 2024, MXL promotes software interoperability via shared compute, allowing the Model Context Protocol (MCP) to standardize how AI agents and large language models (LLMs) connect to broadcast systems.

Although these specifications were in tire-kicking mode just a year ago, solutions introduced at September’s IBC Show in Amsterdam are equipping broadcasters with unprecedented levels of efficiency and functionality as they transition to ever-greater reliance on IP production workflows. From now on, producers of sports, news and other live content will be able to seize new opportunities to serve consumers whenever and wherever they arise without enduring the learning curves and forklifting that have long plagued industry advancement.

Or, as Grass Valley Chief Revenue Officer Tim Banks put it at a customer gathering in Amsterdam, “Transformation has become business as usual.” With AI tools at hand and hardware- and software-level vendor lock-in in the rearview mirror, the widely shared goal of doing “ever more for ever less” is no longer out of reach, Banks said.

AI Everywhere
Those are bold assertions, but at IBC they were backed by a chorus singing the same tune wherever you turned. While “doing ever more” has long been a selling point for the IP-based software versatility associated with general-purpose commodity processors, the notion of “doing everything for ever less,” as enabled by AI, might be what seals the case for IP.

As at NAB Show, AI was ubiquitously present in vendor solutions of every stripe. The big difference at this event was the extent to which vendors facilitated customer-built agentic AI solutions using open LLMs without being shoehorned into prebuilt AI tools. Critically, along with enabling customization, the DIY approach avoids opening broadcasters’ databases to third-party suppliers.

For example, Imagine Communications has adjusted its strategy to ensure customers can use its core products while leveraging the liberating force of commonly supported MCP interfaces to infuse workflows with AI capabilities, according to Chief Revenue Officer Glodina Lostanlen. Imagine, now an independent operating unit of Lumine Group, is focused on seamless integration, she said.

By providing their AI systems with secure, governed access to Imagine’s platforms through standardized gateways, “we’re able to show customers how to personalize their own experiences instead of us trying to cover everything,” Lostanlen said. “We’re going to focus on what we’re good at and make it easier for our channel partners and customers to take it to the next level.”

Those benefits also extend to deploying vendor-built AI solutions. By using MCP interfaces, Imagine and all others working in this new environment make it easier for customers to choose between their own custom-built agents and supplier-developed AI tools.

As vendor support for MCP helps broadcasters maximize the benefits of AI, growing adoption of the EBU’s DMF guidelines and MXL specifications is transforming cross-vendor interoperability. Together, these open standards allow media organizations to get the most from their real-time production workflows. DMF, a work in progress that’s formalizing standards for software-based media processing, and the MXL SDK are game-changers. That’s true for a company like Grass Valley, whose AMPP platform has long supported vendor interoperability across different infrastructure environments on-premises and in the cloud.

“We don’t believe customers have to make economic bets on which technologies are best,” said Grass Valley CEO Jon Wilson. Answering the question of “how do I modernize without disrupting what I have?” won’t be “about one technology replacing another,” he added. “It’s about having the right technology in the right place as needs evolve.”

In one of the many instances where the new approach to interchanging competing vendor options has taken hold, Grass Valley and Lawo are leveraging DMF and MXL to enable customers to validate orchestration, control and media exchange integration between the AMPP and Lawo HOME platforms, both of which provide a software-based foundation for live production and media workflows across cloud, edge and hybrid environments. A broadcaster working with an AMPP-based workflow “can route HOME into Grass Valley infrastructure and control it from there or do it the other way around where Lawo can control AMPP,” Wilson said.

Andreas Hilmer, chief marketing officer at Lawo, said this allows the company to offer “far greater flexibility following the principles of DMF with generic support for processing any function on the same stack of commodity hardware.”

“In live production, we can spin up whatever processing support we need on a per-app basis,” he added. While Lawo supports screen conversions in real time across NDI, SRT and ST 2110, ST 2110 is proving itself as the go-to solution for IP-based live production, he said.

MXL Takes Center Stage
Kevin Cottam, vice president of global sports and live events at Ross Video, agreed with that assessment.

Touting the release of Ross’ new high-capacity Ultrix FR30 routing and signal processing platform at IBC, Cottam said the company has “made leaps and bounds with 2110 right through to filling every pixel with real-time data-driven graphics.” For in-venue and distributed sports productions alike, “we’re able to take in scores with automated updates bound to producers’ graphics templates,” he added.

The 30-rack-unit Ultrix FR30 is a “huge leap,” offering the capacity to scale routing, audio and video processing, and production switching across ST 2110, SRT, NDI and Dante AV flows to new levels, Cottam added. Ross is also seeing strong demand for its XPression.cloud platform, which uses AI to identify appropriate templates and expedite graphics-related asset retrieval, creativity and generation, he said.

“AI is changing everything we do,” he noted. And MXL is taking center stage as “part of the whole distribution strategy.”

That impact is also being felt by Telos Alliance, which has announced a spate of new hardware and software products that leverage partnerships touching on every aspect of the audio workflow.

“In the past, we would have had to develop solutions for companies X, Y and Z,” said John Schur, president of Telos Alliance TV Solutions Group. “Now, because we’ve embraced MXL with both arms, we don’t have to do a lot of additional work to be running in all those places.”

Currently, the “biggest area we’re working on is observability applied to analysis of audio streams and generation of notifications,” Schur added. “Unlike video, where with multiviewing you can pick out anomalies across multiple channels, you can’t listen to 100 streams of audio at once. Our platform’s new enhancements allow us to do the listening for you in an automated fashion.”

‘Fundamental Backbone’
On another front, Sony is using DMF-aligned products with MXL and AI support to expand multivendor interoperability in software-defined live productions large and small by tying workflows directly into camera capture across premises and public cloud locations.

“IP is the fundamental backbone connecting all these tiers of production,” said Rob Thorne, category head for networked live solutions at Sony Europe. “We’re automating and configuring the whole production environment with global management solutions.”

At IBC, Sony’s Nevion division launched its first commercial applications for the recently introduced MOXELA broadcast platform. One product bridges contribution transport over unmanaged networks between on-prem and public cloud processing, and the second supports software-defined broadcasting workflows for more agile, scalable and infrastructure-independent live production environments that integrate with Nevion’s VideoIPath media orchestration platform. Supported functions include multiple A/V compression formats, logo insertion and audio matrix routing, Thorne said, noting, “You don’t have to be an AWS cloud expert to support automation.”

Among other significant developments, Sony brought high-end AI-assisted autoframing capabilities into smaller production PTZ cameras, including the SRG-AS10 and SRG-XS10 models. “AI support tracks images and people, delivering high-quality capture for an immersive viewing experience that takes into account the environment you’re in,” Thorne noted. “Until now, this capability was only available in our top-tier cameras.”

Matrox Video is another longtime production hardware supplier that has been among the most aggressive users of MXL in the migration to IP software-defined workflows. A little over a year ago, Matrox was one of six companies committing to MXL as its software development kit (SDK) hit the market. “Now everybody is talking about DMF and MXL,” said Matrox Senior Marketing Manager Kimberly Brown.

But that doesn’t mean customers should be expected to abandon reliance on powerful hardware workhorses like the Matrox Monarch Edge remote production encoder, she said. “It’s not a software versus hardware story, and we’re sticking with that story,” Brown said. The case was made in a live feed at IBC covering Targa Newfoundland, North America’s only tarmac rally, a long-distance automobile race over paved roads which, in this instance, covered over 2,000 kilometers of remote roads in Newfoundland.

The multivendor project was anchored by blended satellite and terrestrial connectivity provided by Dejero, with Monarch Edge-encoded coverage fed into the GlobalM GMX software-defined cloud media platform using containerized processing for output relayed from reception in Waterloo, Ontario, to Amsterdam. “It’s the first time we’re doing intercontinental remote live production,” Brown said. “What we’re showing really opens up a lot of workflows that stick to the story of doing more with less.”

VIENNA, Austria and POZNAŃ, Poland—Big Blue Marble has added live multiview channels to Cloud Video Kit, its broadcast-grade video processing platform. The feature is powered by AWS Elemental Dynamic Multiview from Amazon Web Services (AWS) that allows viewers to watch multiple live feeds in a single stream.

AWS Elemental Dynamic Multiview is a capability of AWS Elemental MediaPackage that combines several live sources—such as additional camera angles, concurrent games, or a mix of channels—into a single HLS/DASH stream arranged into a custom layout at the point of delivery. Viewers can then build their own viewing experience by choosing which feeds they want to watch and how to arrange them across the screen.

Unlike server-side compositing solutions, the Dynamic Multiview layouts are not pre-rendered but assembled on demand. This means that cost scales with the number of encoded source streams, not the number of layout combinations that viewers can create, according to the company. The stream is also protected by a single DRM key, regardless of how the frames are arranged, and available on any end-user device without custom SDKs or special integrations.

Big Blue Marble used Elemental Dynamic Multiview to build the live multiview channels feature into Cloud Video Kit, its video processing and delivery platform powered by AWS Cloud. The platform combines scalable encoding, packaging, and distribution tools with content security features such as DRM, forensic watermarking, and fraud detection. The integration makes the multiview channels available as part of the same infrastructure that Cloud Video Kit customers already use in their everyday operations.

Cloud Video Kit’s new multiview capabilities built with AWS premiered at IBC2026 and are now available to the wider audience.

SQUAMISH, British Columbia—Mesh Broadcast Services, a mobile production facilities company here, said it has deployed a Calrec Argo M console to fit the professional audio capabilities of a large production truck into a smaller unit.

Installed by Calrec’s Canadian partner, True North AV, the 36-fader desk sits in the production area of Mesh Broadcast Services’ Eclipse flagship, a 40-foot unit that was recently moved onto a 2025 Freightliner dual-axle truck. The truck now covers 10 to 12 events per month.

Mesh Broadcast Services first used its new Argo M during its six-week contract with InLive, the city of Vancouver and FIFA for the Vancouver FIFA Fan Festival. That event, held at the Pacific National Exhibition, served as a central hub for soccer fans watching FIFA World Cup games.

“We looked at several platforms, but when Calrec developed and launched the Argo series, we knew we had found both the power and size to fit our applications,” Scott McPhee, co-founder and production director at Mesh Broadcast Services, said.

“In North American sports, Calrec is the platform of choice for 90% of engineers,” McPhee continued. “With the Argo M, we have an extremely powerful audio workflow. The desk is intuitive enough that new A1s can get working fairly quickly, but seasoned A1s used to the older, larger Calrec consoles can still operate a show fairly easily."

Mesh Broadcast Services needed a console with multiple I/O options. That’s especially the case because Dante is a “huge” platform for Mesh, as many of today’s productions require it as part of the workflow, McPhee said.

“Combine that with the usual MADI connections and analog, and you can cover just about any workflow, be it a pro sport like hockey or soccer, or a streaming e-game event,” he said.

“In 2025, we were the official broadcast facilities provider for the Invictus Games in Vancouver,” he continued. “We purchased a DirectOut Prodigy MX as a MADI and Dante interface for our old audio system, but combined with the Argo M platform, these two devices have increased our capabilities tenfold. The card slot options for the Argo series are a huge bonus. With a small truck space, we need compact but powerful.”

Mesh Broadcast Services also installed three Calrec Type R analog I/O boxes, housed in flight cases as portable field boxes for a compact solution that is easy to move around the field of play.

More information is available on the Calrec and Mesh Broadcast Services websites.