For the better part of a decade, there's a word the broadcast industry has been using to describe the move from traditional to software-defined production.

That word is transition.

But transition implies a journey from one state to another. What broadcasters are really living through is more permanent than that. They're not crossing a bridge. They're building one while keeping traffic moving on both sides.

The hybrid reality that most production operations face today isn't a phase. It's the terrain they're operating in. And the industry is only beginning to work out what that really demands.

Two Worlds, One Team
As IP and cloud-based production matured, the assumption in most technology strategies was that organizations would eventually retire traditional hardware workflows. But that hasn’t happened. Client commitments, capital cycles, rights agreements and the genuine complexity of software-defined environments have all kept legacy infrastructure in service.

This means that production teams manage both at the same time, and engineers who once worked in a single signal chain are now expected to be fluent across various architectures. That pressure isn’t always obvious, until something goes wrong.

Client expectations are moving in different directions at the same time. Some rights holders won't compromise on premium quality. Others are under real pressure to deliver faster and cheaper, sometimes for the same content through a different window. In some cases both demands land in the same contract.

The Cost of Keeping Both Engines Running
Operating in a hybrid environment is costly in ways that aren’t always easy to quantify. Maintaining two categories of infrastructure, training staff on both and building workflows that flex between them: the obvious costs are significant. But the subtler ones are too.

Every infrastructure decision now has a strategic dimension to it. Whether to extend the life of traditional kit, push harder toward software workflows and take on the short-term risk that comes with it, or route projects through different models depending on the brief, none of it is straightforward and each path brings its own complexity.

None of these are easy calls. They involve trade-offs between cost, speed, quality and flexibility. The right answer shifts with each client and project. The teams that navigate this skillfully have stopped looking for one cohesive answer and instead relied on the judgment to make the call differently each time.

Remote and Cloud: Real Gains and Real Limits
Remote and cloud production have proven their worth. The ability to draw on the right talent wherever they are, scale infrastructure around event demand and cut crew travel has truly changed how operations plan and staff major events.

But the limits of working fully distributed are also getting clearer. Some productions benefit greatly when people are in the same room, where decisions need to be made quickly and creative judgment is built through proximity. The best hybrid operations aren’t choosing between remote and on-site. They’re developing the discipline to recognize which approach will work best for any given brief, and then investing in the infrastructure to support both.

Flexibility: The Baseline Requirement
The most important shift in thinking may be that flexibility isn’t something to sell anymore. Clients expect workflows that flex to last-minute changes, support teams who are spread across different technical environments and scale without everything falling apart.

That’s a structural challenge. Not a technology challenge. The tools exist, but what production operations are still building is the confidence to lean on them and the organizational design to deploy them well.

The broadcasters and service providers who define the next phase of this industry will not be those who complete the move to software-defined production fastest. They will be those who build the judgment and workflows to operate effectively in a world where both models coexist, indefinitely, at the same time.

Hybrid production isn’t a problem to be solved. It’s the operating environment. The sooner the industry plans accordingly, the better.

GENEVA—GlobalM will feature the latest evolution of its software-defined media platform that enables broadcasters, telecom operators and media organizations to deploy identical live IP workflows across public cloud, private cloud and on-prem infrastructure during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

“Protocols such as SRT and RIST have played a major role in accelerating IP adoption, but moving video from A to B is only one part of the equation,” said Paul Calleja, CEO of GlobalM.

“Broadcasters still need to provision services, manage thousands of live connections, monitor quality, schedule events, configure edge devices and build resilient networks that can scale," he added. "That’s where we believe the real value lies.”

GlobalM’s software-defined platform provides a unified operational layer across cloud, hybrid and on-prem environments, allowing customers to deploy and manage services through a single interface regardless of where the infrastructure is located. The platform combines orchestration, automation, monitoring, scheduling, device management and workflow automation to simplify live contribution and distribution operations.

The company will highlight its GMX1 on-prem deployment platform on its stand. The platform is designed for broadcasters and telecom operators that require the flexibility of software-defined workflows while retaining full control of their own infrastructure. GMX1 can be deployed on customer-owned hardware, virtual machines or dedicated appliances. It integrates seamlessly with the company’s cloud platform to support hybrid deployments.

GlobalM will also demonstrate GMDC (GlobalM Device Control), enabling supported third-party encoders and decoders to be configured, monitored and managed through a single operational environment, reducing complexity and improving operational efficiency across multi-vendor networks.

See GlobalM at IBC 2026 stand 1.A11.

More information is available on the company’s website.

TVTech and its sister brand TVBEurope and Caretta Research have joined forces to launch an industry-wide survey looking at where the broadcast industry is on the road to IP.

The survey aims to discover how broadcasters and vendors are transitioning to real-world deployments, and understand more about the extent to which operations are transitioning towards IP-based and software-defined infrastructure and live production.

It is open to vendors and broadcasters, with the results due to be published in the run-up to IBC.

“After a long period where the industry’s primary focus was investing in streaming, our market data clearly shows that broadcasters are now doubling down on live production. We are seeing a significant wave of investment in live infrastructure, particularly in IP and software-defined solutions,” said Caretta Research CEO Robert Ambrose.

“As IP technologies like ST-2110 firmly enter the mainstream, we’ve partnered with TVBEurope and TV Tech on this survey to reveal exactly how this shift is translating into real-world deployments across broadcast, production and service companies of all shapes and sizes.”

You can take part in the survey here.

ALAMEDA, Calif.—Clear-Com has unveiled the purpose-built Avalon 1RU IP intercom communication platform for modern networked production.

Designed to simplify and scale workflows across broadcast, live events and production environments, Avalon supports FreeSpeak wireless beltpacks, HelixNet digital partyline, V-Series and I.V. Direct within a compact 1RU form factor. The platform features scalable licensed port capacity and flexible IP interfacing, allowing users to configure systems based on current operational needs and expand over time without replacing hardware.

Built for fully IP-based intercom environments, Avalon provides a streamlined alternative for users who do not require analog audio connectivity. The platform combines scalable licensed port architecture with a compact rack-mounted design, helping users reduce system complexity while maintaining the performance and reliability. Optimized for modern network infrastructures, Avalon expands customer choice within the Clear-Com product family as a cost-efficient option for IP-only workflows.

“Avalon represents a major step forward in how intercom systems are designed and deployed,” said Dave MacKinnon, vice president of product management at Clear-Com. “We focused on simplifying deployment while maintaining the flexibility and performance our customers expect. The result is a modern IP platform that enables teams to scale efficiently and communicate reliably across a wide range of environments.”

Avalon complements the company’s Arcadia Central Station, which remains part of the Clear-Com product portfolio for applications requiring hybrid analog and IP connectivity, front-panel control and legacy system support.

The platform supports AES67, Dante and Clear-Com’s I.V. Direct technologies for local and remote connectivity. Avalon also offers expanded IP capacity and networking flexibility for productions and installations operating on converged infrastructures.

“With Avalon, we wanted to remove traditional barriers to system design and expansion,” said Frank Linton, product manager at Clear-Com. “The licensed port architecture allows users to scale capacity over time without replacing hardware, while support for open standards helps simplify integration into existing workflows.”

More information is available on the company’s website.

“All-IP” is often framed as a clean modernization: fewer cables, more flexibility, and infrastructure aligned with mainstream IT practice. Inside real broadcast facilities, the experience has been more complicated. As media moved onto shared network fabrics, complexity redistributed itself into configuration, timing, segmentation, discovery, and the places where engineering and IT overlap.

Modern facilities blend IP-native and legacy equipment, and their behavior depends as much on commissioning decisions and vendor maturity as on the standards themselves. The result is an environment that looks simpler from a distance but demands a different kind of day-to-day understanding.

When Wiring Disappeared, Complexity Found New Places to Live
In SDI facilities, physical layout expressed most of the design. Signal flow could often be understood by following a cable between devices. Routing was predictable, and faults left visible clues in the rack.

IP systems compress those visible paths into a handful of fibers capable of carrying dozens of HD streams plus associated audio and metadata. The environment looks simpler from a cabling perspective, but the design logic did not vanish — it moved into configuration.

Address plans, multicast ranges, naming rules, VLAN boundaries, timing hierarchies, and orchestrator behavior now determine how a facility behaves. Small inconsistencies in any of these areas can produce wide-ranging effects that are difficult to interpret without a shared view of the fabric.

Responsibility for that fabric now sometimes resides with IT. Security policies often restrict direct switch access, leaving broadcast engineers working at the edges of systems they once controlled end-to-end. Diagnosing issues now depends on both groups and on how well system behavior is understood across teams.

Hybrid architectures sit on top of this reality. Many endpoint devices still process video and audio internally as SDI or HDMI. Cameras, monitors, playback servers, and audio processors often add IP interfaces only at the perimeter. As a result, most modern facilities consist of an IP core surrounded by SDI-to-IP gateways.

Those gateways are long-lived elements — frequently FPGA-based and later repurposed as converters, multiviewers, or audio tools as the environment matures. Hybrid operation reflects endpoint maturity, available budgets, and legacy workflows, not a lack of commitment to IP.

How Modern IP Systems Actually Behave — and Why It Often Surprises
Once configuration becomes the design, system behavior depends heavily on vendor interpretation. Two facilities built on the same standards can still act very differently.

Traffic models provide a clear illustration. Some fabrics rely on IGMP joins initiated by endpoints. In these environments, an endpoint requests a multicast stream and the switch forwards it, often applying bandwidth expectations based on address ranges — for example, one block for 1.5 Gb/s flows, another for 3 Gb/s, and a third for 12 Gb/s UHD.

Other platforms lean on controllers that explicitly authorize flows before the fabric forwards anything, placing the logic in software rather than in address plans. Both approaches are valid, but they require different troubleshooting instincts.

Device maturity introduces further variation. Common patterns include HD-only ST 2110 support with UHD still on the road map, a lack of redundancy, or inconsistent HDR support across levels. Discovery and NMOS behavior can deviate from orchestration expectations, creating situations where advertised capabilities exist but cannot be used as intended.

Earlier IP deployments often worked around such limitations by having external devices subscribe to the desired multicast and translate it to a single address that a problematic endpoint device could statically subscribe to — a pattern that can still surface when systems rely on older discovery implementations. Many of these gaps first appear during commissioning rather than design.

Timing follows a similar pattern of divergence. Traditional SDI systems relied on black burst — a single, stable reference that kept everything aligned in a straightforward way. PTP, by contrast, distributes timing over multicast and depends on the placement of boundary clocks, redundancy models, and a GPS source.

A facility may appear synchronized even as timing asymmetries accumulate. When they finally surface, the loss of alignment can be sudden and broad. Understanding what happened depends on visibility into how the switches handle timing and on coordination between engineering and IT teams responsible for the underlying network.

Where Hidden Complexity Emerges: Audio, Metadata, and Security Boundaries
Many of the thorniest issues in IP environments arise in places that attract less attention in early planning. Audio and metadata are prime examples.

Under SDI, video, audio, and ancillary data traveled together. In ST 2110 environments, they are carried as separate essences. A single video stream is paired with one or multiple audio multicasts, each carrying multiple audio channels within the stream, while a workflow needs only a subset.

Isolating those channels typically involves mixers, routers, or audio shufflers. Some manufacturers handle this automatically, which reduces operator burden but can obscure the paths signals actually take. Metadata introduces comparable decisions: Captions, multiple languages, SAP, and descriptive audio often require timing adjustments or reinsertion points to keep everything aligned. Early design choices determine how manageable these relationships become later.

Security and segmentation introduce their own hidden dependencies. Production VLANs must support performance while limiting exposure. Some segments cannot reach the internet; others must stay isolated from corporate networks. Contribution devices — bonded cellular receivers, remote encoders, cloud gateways — often require dual network paths to keep external risk from crossing into internal workflows.

WAN circuits add another dimension. Multicast contribution may share bandwidth with monitoring or file‑transfer workflows, and bottlenecks often appear only under actual load rather than during design.

As equipment is brought online, these layers surface most clearly. Commissioning becomes the point where theoretical design meets real system behavior. Discovery issues, timing mismatches, unsupported combinations, and vendor‑specific patterns emerge only when systems are exercised in practice.

Engineers present at this stage gain insight into why certain exceptions exist; those who join later inherit decisions without that context. Once a facility is live, operational caution limits the ability to revisit early changes. A small adjustment made under deadline can shape behavior for years if not examined before launch.

The Human Impact at the Center of the Transition
The shift toward IP reshapes engineering roles in uneven ways. SDI’s deterministic behavior created expectations that do not always match IP’s conditional, policy-driven workflows. Some engineers adjust slowly as long-familiar tools behave differently in an IP environment.

Others anticipate continuity and then face situations that require new diagnostic habits. Engineers newer to the industry often adapt quickly, while experienced teams bring operational judgment that remains essential even as the foundations shift.

Experience continues to influence outcomes, though its expression changes. As environments grow more interdependent, responsibilities expand toward interpreting workflow needs, coordinating across vendors, mentoring newer staff, and explaining why specific design decisions matter. Familiarity with on-air requirements provides context that purely theoretical knowledge cannot replace.

Organizational structure also shapes how teams adapt. Some facilities place most control within IT, reducing the level of direct access broadcast engineers once had. Others rely on engineering leads who serve as system stewards and primary points of contact for IT and security groups. Clearly defined responsibilities help teams navigate the shift with fewer surprises.

The transition to IP continues to redraw familiar boundaries inside facilities, and engineering teams absorb much of that change. Tools, standards, and roles will keep evolving, but the work of making systems understandable and supportable still falls to the people who stand between design and day-to-day operation. That is where the real continuity lives.

July 2027 marks the next Upper C-band auction and a further reduction of satellite spectrum that has been the backbone for television distribution for decades.

This time, the challenge looks different. The previous C-band repack compressed services into a smaller slice of spectrum through more efficient encoding and additional satellite capacity.

But the next phase is unlikely to offer that same flexibility. Even under more conservative scenarios, with the FCC required by statute to auction at least 100 MHz of Upper C-band, many broadcasters now assume current distribution models will not be sustainable within the remaining C-band allocation.

That challenge sits against a deeply embedded infrastructure. Satellite has set the standard for decades, delivering consistent, predictable performance across vast affiliate footprints. Today, there are still over a thousand registered earth stations supporting video broadcast distribution.

For those who are carrying premium channels and live events, replacing satellite is being assessed and scrutinized around reliability, and more specifically, how to maintain broadcast-grade delivery as the underlying infrastructure changes.

Approaching the Transition
Broadcasters are no longer evaluating distribution options in theory. They’re testing them in live environments, where performance failures are visible, measurable, and have commercial impact.

These considerations play out differently depending on the type of service in play. Occasional-use contribution feeds and lower-risk channels are often the first to move, where flexibility and cost carry more weight. Higher-value full time channels, where disruption has immediate commercial impact, tend to follow a more gradual path, introducing IP alongside existing satellite capacity before making larger moves.

A managed IP solution that offers service level guarantees is increasingly forming a core part of the delivery model, either as a primary or a back-up pathway. Deep monitoring of both the end-to-end network connectivity, as well as the video, audio, and metadata payload is critical transparency that allows programmers and networks to know the state of their content as received by their partner platforms.

Where Alternatives Break Down
Ku-band satellite is one of the most immediate options open to broadcasters. It has the advantage of providing additional capacity and can be integrated into existing workflows, but it comes with a known trade-off: greater sensitivity to weather than C-band. For some use cases, that trade-off is manageable, but for high-value live services, it often means that another layer of protection is required.

A second option is public internet delivery, which presents a different set of challenges. Although it’s widely available and easy to access, video cannot always be transported consistently, and unmanaged internet paths do not give broadcasters the same confidence around performance and protection that they would expect. This is why content owners preparing for migration are looking into the architecture that is powering these services, focusing on how a provider handles redundancy, what level of service assurance exists, how issues are identified, and who is responsible when a feed is degraded.

One further pressure lies in the compression of the remaining satellite services. As more channels are packed into less spectrum, managing that environment becomes a lot harder. Planning early gives broadcasters greater scope to sequence migrations sensibly, maintain continuity and avoid unnecessary disruption as timelines tighten.

The Growth of Managed IP Distribution
In response to these challenges, purpose-built IP distribution is gaining ground because it addresses the areas broadcasters are focused on most closely: reliability and control. That includes fully managed networks designed for live video, with built-in redundancy, clear service-level commitments, and continuous monitoring from origination to hand-off.

Broadcasters and MVPDs do not want a replacement model that makes things more complex at the receive site or turns every new channel into an engineering nightmare. They need manageability, support, simplicity, reliability, transparency, and scale, all of which makes IP migration more manageable for programmers and platforms.

Reliability as the New Benchmark
When it comes to high-value content, premium channels and live events place tolerance on delivery problems is effectively zero. This reality is shaping how broadcasters plan their transition. Hybrid models will persist in the near term, with satellite continuing to play a role in certain markets and for some content. But as C-band capacity continues to contract, the direction of travel is clear.

The next phase of distribution will be defined by which solutions can deliver broadcast-grade reliability in an increasingly complex environment. In the post-C-band era, broadcasters will need the deterministic certainty offered by proven managed IP solutions with performance Service Level Agreements and backed up by 24x7 human and automation support that responds swiftly to remediate any issues with the network or the content.

MONTREAL—Grass Valley has announced that U.K.-based systems integrator dB Broadcast has delivered new IP-based outside broadcast (OB) trucks for Cloudbass that feature Grass Valley LDX 100 Series cameras and K-Frame production switching technology.

The trucks will be used for live sports production across the UK.

Designed for high-end sports broadcasting, the compact, fast-deploy OB units combine UHD, HDR and high-frame-rate production capabilities with a modern IP-based infrastructure. The trucks support centralized production operations and evolving remote and distributed production models, enabling Cloudbass to deliver premium-quality coverage across top-tier football and major live sporting events.

The deployment features 32 Grass Valley LDX 150 native IP camera systems, delivering the imaging performance, operational flexibility and Native-IP connectivity required for premium live sports production. The cameras support SMPTE ST 2110 workflows directly from the camera head and are designed to help production teams transition efficiently to scalable live production environments.

The project also incorporates Grass Valley’s Creative Grading tools to support centralized camera shading workflows, alongside K-Frame production switching capabilities as part of the overall live production architecture.

“Sports broadcasters and production providers are increasingly looking for ways to expand UHD and HDR capabilities while maintaining operational efficiency and flexibility,” said Mark Gardner, senior vice president of sales, EMEA at Grass Valley. “These new Cloudbass trucks demonstrate how native IP production, centralized shading workflows and scalable live production technologies can be combined in a compact environment built for the realities of modern sports production.”

The new units feature fully IP-based workflows and are designed to support remote operations, dynamic configurations and evolving broadcast requirements. The integration was led by dB Broadcast, a long-standing Grass Valley partner with extensive experience in complex broadcast systems integration.

“This project was about delivering a future-ready IP architecture without compromising the operational practicalities of live OB production,” said Mike Bryan, technology director at dB Broadcast. “By standardising on Grass Valley’s LDX 100 native IP camera platform, Creative Grading and K-Frame technologies, we can provide Cloudbass with a consistent production environment from acquisition through to live production switching.

Supporting around 15 cameras per truck, including UHD and HDR high-speed production workflows, the new units are optimized for long-term sports production contracts while maintaining the flexibility required for evolving sports production workflows.

Grass Valley will be showing these and other solutions at booth B55 at MPTS at Olympia London on May 13–14, 2026.

DENVER—Imagine Communications has announced that France Télévisions is the first broadcaster to deploy SNP-XS, the latest addition to Imagine’s Selenio Network Processor (SNP) lineup. The French public national television broadcaster ordered 60 units of the recently launched SNP-XS several months before it was readily available.

“The SNP is an incredible Swiss Army knife that is enabling us to successfully transition to ST 2110,” said Yannick Olivier, cross-functional technical leader for ST 2110 infrastructure at France Télévisions. “With every technical challenge, SNP provides a solution, thanks to its many different applications and unique design that allows us to easily reconfigure with new functionality.

"This time, the newest hardware addition to the family is helping us address space and density challenges, allowing us to bring ST 2110 into our regional PCRs,” he added. “With SNP-XS, we’re delivering uncompressed ST 2110 to all of our France 3 regional stations, improving our remote production workflows, and achieving a real gain in quality and speed."

SNP-XS plays a central role in France Télévisions’ strategic initiative to interconnect all regional stations via two Paris‑area data centers using the ST 2110 IP standard to enable high-quality, low-latency media exchange across locations. The new deployment will also enable France Télévisions to exchange data with operations that have already migrated to 2110, such as its Paris headquarters.

The architecture is fully redundant using the 2022-7 protocol, ensuring resilience and reliability as the broadcaster continues to modernize its national media network. Implementation is now underway, with full media exchange targeted to be operational by the end of the year.

France Télévisions first selected Imagine’s SNP three years ago as a cornerstone of its progressive migration to ST 2110 IP, initially deploying SNP to support UHD coverage of the 2024 Paris Olympics.

Following the event, the broadcaster redeployed the devices to support the IP transition of the master control room at its Paris headquarters and implemented additional SNPs across its playout operations, studios, digital platform and two new OB trucks.

“Forward-thinking media companies like France Télévisions are making the move to ST 2110 IP because it gives them the freedom, flexibility, and long-term confidence they need in a fast-changing media landscape,” Imagine CEO Steve Reynolds said. “ST 2110 isn’t just another product cycle—it’s the platform for everything that comes next. With every new release, the SNP continues to pave the way for the future of broadcast infrastructure.”

SNP-XS offers all the capabilities of Imagine’s flagship SNP platform, Imagine said, including support for 12G SDI and SMPTE ST 2110, in a compact footprint perfect for environments where space is at a premium but performance can’t be compromised. It offers flexible I/O configurations and brings the complement of well-known SNP features on day one—including UHD and HDR conversions and fully synchronized 2110 adaptation. Delivering ultra-quiet operation and high-performance processing in a deploy-anywhere form factor, SNP-XS is an ideal solution for edge deployments, facility expansions, remote routing endpoints, mobile production, and any space-constrained environment. Imagine said.

AEQ has announced it will be showcasing its latest technologies for professional audio production and broadcasting, including Forum IP Plus, its new AoIP digital console for radio and television, and Systel Max, an advanced call management and multiconferencing system for broadcast and corporate environments, at the 2026 NAB Show, April 18-22 at its booth C3106

The company said that the Forum IP Plus and Systel Max both illustrate the company’s focus on flexible, scalable solutions designed for today’s workflows, where IP connectivity, system integration, and operational efficiency are key.

Forum IP Plus is AEQ’s new AoIP digital console, designed for radio and broadcast production environments that require maximum flexibility and seamless integration into modern IP infrastructures.

As part of the company’s Forum series, it combines ease of use with extensive configuration capabilities that are capable of adapting to all types of scenarios, from compact studios to complex installations.

It features 32 mix and processing buses and 10 N-1 buses, along with multichannel connectivity via AoIP or MADI. Optional features include telephone hybrids, a virtual control surface, and a touchscreen for control and monitoring. Its modular 3RU FR_CORE engine allows configuration of up to 24 motorized faders in groups of four and management of up to 180 channels.

In addition, AEQ will present Systel Max, its next-generation call-in and multiconferencing system, developed for radio, television, and professional environments that require efficient, high-quality communications.

Based on VoIP technology and the SIP protocol, Systel Max enables the integration of broadcast communications with existing IP PBXs, corporate telephony systems, and IP service providers.

This helps reduce operating costs and eliminate the need for traditional dedicated lines, AEQ said. The system is highly scalable, with the capacity to manage up to 128 lines distributed across multiple studios.

Its architecture, which is based on a non-blocking digital matrix and Dante / AES67 connectivity, means Systel Max ensures that multiple calls can be on air simultaneously without compromising audio quality, AEQ said.

It also offers various control options through software applications and touchscreen terminals, adapting to the workflows of producers, engineers, and presenters in both radio and television.

2026 NAB Show attendees will be able to see demos of Forum IP Plus and Systel Max firsthand, along with other AEQ solutions, at stand C3106.

SAN JOSE, Calif.—Netgear has announced a global technology partnership with EVS Broadcast Equipment to deliver certified, interoperable AV–over–IP solutions for broadcast and live production teams. The companies have validated EVS live production systems on Netgear AV switching platforms, giving customers a pretested network foundation for IP–based workflows.

The partnership focuses on open, standards–based deployments that help customers adopt SMPTE ST 2110 and related IP workflows with less integration effort and more predictable results in real–world productions, the companies said.

“When productions shift to IP, the network can’t be an afterthought,” said Dieter Backx, Vice President of Control and Orchestration at EVS. “We’ve validated our media infrastructure solutions on Netgear’s AV switches so customers can spend less time tuning infrastructure and more time running shows. It’s a practical and efficient path to SMPTE ST 2110 workflows, or any other IP transport mechanism such as NDI or Dante, whether on site, remote, or distributed environments.”

Netgear and EVS jointly tested EVS technologies—including Cerebrum, Neuron and Strada—across Netgear M4350 and M4250 series switches. Netgear also provides supported configuration guidance and Netgear Engage Controller profiles, backed by AV–focused technical support services, so teams can bring validated configurations online faster.

The validated approach supports fully IP–based live production workflows and improves day–to–day deployment consistency. Customers can use out–of–the–box configurations designed to shorten setup and reduce risk. The result is more predictable behavior across key network requirements such as broadcast–grade timing, QoS, and bandwidth handling, the companies said.

Beyond lab testing, the partnership includes joint work on customer deployments, training, and global technical support. Netgear and EVS are focused on helping broadcast teams build interoperable AV–over–IP environments that scale as production needs evolve. The partnership is global in scope, with no geographic limitations, and becomes effective upon the joint announcement.

“As live production continues its transition to IP, customers want proven solutions they can deploy with confidence,” said Richard Jonker, Vice President of Commercial Business Development at Netgear. “By validating EVS live media infrastructure solutions on our AV switches, we’re providing a reliable, standards–based network foundation that simplifies deployment while delivering the timing accuracy and performance required in mission–critical broadcast environments.”

LONDON—Open Broadcast Systems has announced that BBC World Service has selected its decoders for IP television distribution.

Robert Webber, senior distribution manager, BBC International Services explained that they needed "to deliver reliable IP video to BBC World Service partners in various locations across the world. Open Broadcast Systems decoders were flexible enough to deliver and monitor reliable IP video to our global partners, whilst meeting local needs.”

In several regions, the decoders were installed by Open Broadcast Systems’ network of local partners, with local knowledge and skillset, enabling rapid implementation across multiple regions. The decoders support a wide range of IP video protocols including SRT, RIST and Zixi.

The high-quality, low-latency IP decoders are designed with a small form factor, allowing for easy global deployment to deliver flexible, reliable, and cost-effective decoding for distribution across the BBC World Service network to its global rebroadcast partners.

“Delivering content across the globe comes with a number of significant challenges for broadcasters. Software-based solutions provide the flexibility to deliver content reliably over IP,” said Kieran Kunhya, founder and CEO of Open Broadcast Systems. “This, coupled with the local knowledge and expertise to ensure seamless implementation, was a key factor for BBC World Service TV.”

Open Broadcast Systems will be exhibiting at 2026 NAB Show from April 18 to 22 on booth W2217.

For more information, visit https://www.obe.tv/

Every year at NAB, the conversation centers on what's new at the production layer, cameras, switchers, encoders, cloud playout. And every year, connectivity is treated as the assumed foundation: the thing that's supposed to just work so everything else can shine.

That assumption is costing broadcasters.

The broadcast industry has spent a decade investing in software-defined workflows, IP infrastructure and cloud-native production architectures, and yet many organizations are still routing that chain over connectivity infrastructure that hasn't kept pace. The weakest link isn't the switcher or the encoder. It's often the network path between the field and air.

This is the problem the Field to Air demonstration at NAB 2026 was designed to expose, and solve, in plain view on the show floor.

What "Field to Air" Actually Is
Field to Air is a live, end-to-end broadcast workflow running in real time with six production partners: Dejero, Eutelsat, Ross Video, Matrox Video, Clear-Com, GlobalM and Cuez. Everything is live, connected, and dependent on the reliability of the network beneath it.

When you build a workflow with the network at the center, the production chain changes character. Redundancy is built in, not bolted on. Failover becomes invisible. The field-to-air chain stops being a series of fragile handoffs and becomes a single, resilient system.

The Hidden Cost of "Good Enough" Connectivity
Bonded cellular was a meaningful step forward, but bonded cellular is not the same as intelligent network blending. Where bonded approaches aggregate paths and switch when one fails, intelligent blending simultaneously uses all available connections, cellular, satellite, Wi-Fi, fixed-line, weighting each dynamically based on real-time conditions. Eutelsat's OneWeb LEO constellation extends into locations where terrestrial networks are unavailable or under stress.

The practical effect is a connectivity layer that actively maintains signal quality rather than reacting after degradation occurs. For live production teams, that's the difference between infrastructure they can plan around and infrastructure they're constantly compensating for.

A Question Worth Asking
Have we been building sophisticated production architectures on a connectivity foundation that isn't ready to carry them? In too many cases, the honest answer is yes.

The story doesn't start when the camera goes up. It starts when the network is ready.

OSLO, Norway and TORONTO, Canada—Canadian broadcaster Corus Entertainment has partnered with Appear Appear, a global provider of live production technology, to modernize Corus’ news contribution architecture, replacing legacy leased circuits with an IP-based approach, using SRT as the primary transport protocol across the network’s affiliates, news bureaus and operational hubs.

The transition reflects the changing realities of broadcast environments in North America, including more live output, locations, as well as greater pressure to operate efficiently while maintaining the reliability required for news production, the companies said.

“Moving away from a reliance on leased circuits and bringing greater capability in-house was central to how we approached this transition,” said Drew Kikauka, Senior Director, Enterprise Architecture and Broadcast Engineering , Corus Entertainment. “Appear gives us greater control and has unlocked meaningful efficiency gains, while enabling a consistent, scalable IP-first contribution model across Canada.”

Corus’ transformation centers on shifting from leased circuits to IP, using the SRT protocol to enable secure, stable media transport for this always-on news environment. To ensure continuity across this transition, Corus required support for legacy interfaces such as ASI at key headend locations alongside IP workflows, enabling a practical hybrid operating model as facilities and endpoints transition at different times.

Corus is using Appear’s X Platform, a high-capacity, ultra-dense, low-latency media processing and gateway platform, to consolidate key functions into a more streamlined nationwide workflow. This reduces complexity and helps engineering teams maintain a robust operating model across a distributed footprint.

To support day-to-day operations at scale, the deployment includes an orchestration layer built around Skyline Dataminer, with Toronto-based partner Rocket delivering custom UI and application-layer tools for scheduling and operator control. The architecture also supports ground-to-cloud contribution, enabling more flexible, cloud-connected news production workflows.

“Corus has taken a decisive step that many broadcasters are now prioritising, replacing a reliance on leased circuits with an IP-first architecture engineered for resilience,” said Ed McGivern, President and General Manager, Appear US. “By consolidating functionality and increasing consistency across a nationwide footprint, it shows how a more streamlined contribution model can deliver both robustness and efficiency without adding operational burden.”

Based in Toronto, Corus Entertainment owns Global Television Network as well as specialty cable channels. radio stations and is also involved in publishing and streaming.

SALT LAKE CITY—Utah Scientific will feature its growing portfolio of hybrid SDI-IP routing, conversion, control and signal-management solutions during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

This year’s exhibit will focus on live, end–to–end demonstrations of the Utah Scientific’s advanced ST 2110 workflows, featuring On–Ramp, Pass–Through Cards, NBOSS, and the UTAH–400 Series 2 Gateway Router anchored by the company’s 10–year hardware warranty.

Utah Scientific will also showcase complementary high–density signal transport and distribution tools, including the MAXMUX multiplexing system and the UHD configurable distribution amplifier, demonstrating efficient ways to manage UHD and multi-signal environments.

The company’s fully integrated, hybrid SDI-ST 2110 workflow is built around On–Ramp, its 1RU SDI–to–ST 2110 gateway and processing engine. The unit supports hot–swappable encapsulation/de–encapsulation cards and 16 SFP cages on the front of the chassis to enable incremental migration to IP with a routable SDI backup of all signals.

On–Ramp is part of Utah Scientific’s E.D.G.E. (Equally Distributed Growth Environment) platform. Every node shares the same compact footprint, allowing routing capacity to be distributed exactly where needed. Users can connect nodes through a network switch to create a highly scalable routing environment with virtually unlimited growth.

On–Ramp is the newest E.D.G.E. device, which also includes MAXMUX (which can increase CWDM channel capacity from 18 to 72 channels) and UHD distribution amplifier, configurable through Utah Scientific software.

Pass–Through cards deliver hybrid 2110-SDI gateways without needing external gateway devices. They can be installed in any new or existing Series 2 router, providing ST 2110 encapsulation/de–encapsulation in addition to SDI routing. This gives users the option to migrate a single device from an SDI core to a hybrid core to an edge device.

The hybrid SDI-2110 products will be shown under the NBOSS control layer, the company’s NMOS control solution. Built on AMWA NMOS standards, NBOSS provides IS–04 discovery and IS–05 connection management, IS–09 system parameters and IEEE 1588 PTP awareness, enabling operators to switch 2110 flows as easily as SDI using Utah Scientific’s SC–4, hardware panels, Soft–LC or Web Panel interfaces.

See Utah Scientific in 2026 NAB booth N.941.

More information is available on the company’s website.

LONDON and WALTHAM, Mass.—A notable new study finds that broadcasters are rebuilding live operations workflows around IP delivery as satellite and dedicated fibre distribution decline. Live sports is one of the most important areas where the shift is having a major operational impact.

The new study from Caretta Research produced in partnership with Zixi found that the shift is already transforming live sports production. By moving contribution feeds and master control operations to IP and cloud infrastructure, broadcasters can scale coverage beyond the limits of traditional outside broadcast trucks and control rooms, enabling many more simultaneous events., the study found.

"IP delivery is fundamentally changing the economics and flexibility of live video distribution," said Robert Ambrose, CEO and co-founder, and the report's author at Caretta Research. "Broadcasters are moving away from fixed satellite and fiber infrastructure toward software-defined workflows that allow them to scale production, reach new distribution partners and respond much more quickly to changing audience demand."

Broadcasters and rights holders, including Sky and the NHL, are already using IP contribution feeds and cloud-based master control rooms to expand coverage, deliver additional camera angles, and produce highlights and streaming feeds more efficiently, the researchers reported.

"Broadcasters are moving beyond simply replacing satellite circuits with IP transport," said Marc Aldrich, CEO of Zixi. "They are rebuilding live operations around flexible, cloud-based workflows that allow them to scale events, reach new distribution partners and maintain broadcast-grade reliability across global networks."

The report, "Unlocking Live Video Workflows with IP: Transforming the Economics and User Experience of Live Video Delivery," examines how broadcasters, sports leagues and media companies are replacing traditional satellite and fiber infrastructure with scalable IP and cloud-based workflows for live video contribution and distribution.

The researchers noted that historically, broadcasters relied on satellite transponders and private fiber circuits to deliver live video feeds. While reliable, these systems require long-term capacity commitments and significant operational cost. IP delivery over internet networks and cloud infrastructure offers a more flexible alternative, allowing broadcasters to scale workflows and manage multiple live events simultaneously.

The report notes that the drivers behind this transition vary across regions. In the United States, the ongoing reallocation and reduction of C-band satellite spectrum is accelerating the need for alternative distribution approaches. In other markets, cost pressures, expanding streaming distribution and demand for more flexible event production are encouraging broadcasters to adopt IP-based delivery.

Live sports is one of the areas where IP workflows are having the greatest operational impact. By combining IP contribution feeds with cloud-based master control rooms, broadcasters can scale production beyond the physical limits of outside broadcast trucks and control rooms.

Organizations such as Sky and the NHL are using IP workflows to deliver more simultaneous events, support additional camera angles, enable instant replay and distribute content to global streaming platforms and affiliates.

The research also highlights the importance of enterprise platforms that provide monitoring, orchestration and automation across complex IP workflows. Platforms such as the Zixi Platform enable broadcasters to manage multi-protocol delivery and maintain reliability across global distribution networks.

For channel owners, IP distribution is also opening new commercial opportunities, including expanding global reach to new partners, launching localized channel variants and enabling dynamic ad insertion within IP-based workflows.

Caretta Research concludes that IP delivery is reshaping broadcast operations by enabling scalable cloud production, more efficient global distribution and greater operational flexibility for media organizations.

The white paper is available for download at https://www.carettaresearch.com/downloads/unlocking-live-video-workflows-with-ip.

Neutrik Group Americas will feature its NEUTRIK opticalBAR fiber breakout solution, including its opticalCON ADVANCED line of connector products, during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

Smart fiber distribution allows centralized management of multiple signals across a broadcast facility or between sites. The NEUTRIK opticalBAR is a compact, rugged fiber breakout solution that is IP65-rated when mated or capped. It is designed for professional fiber distribution, including connections to camera systems, audio networks, DMX and intercom systems.

Fully compatible with the opticalCON ADVANCED series, the opticalBAR is available in five different variants for single-mode (SM) and multimode (MM) fiber with a range of connection points, such as opticalCON QUAD SM and MM, opticalCON DUO SM and MM connectors and opticalCON MTP 12 SM and MM.

Neutrik’s opticalCON provides a flexible and reliable solution for network breakout points where space and time is at a premium and fast deployment and breakdown are essential. The company’s opticalBAR also offers various mounting options, such as mounting holes for screws, Velcro straps and pegs and truss clips, which will be available soon.

The complete line of opticalCON ADVANCED solutions will also be shown. These include opticalCON DUO, opticalCON QUAD, opticalCON MTP and opticalCON SPLIT. The ADVANCED line provides all the features and benefits of the original opticalCON but with an even more robust and field-ready design.

See Neutrik at 2026 NAB Show booth C4735,

More information is available on the company’s website.

GENEVA—At the 2026 NAB Show, GlobalM SA will be presenting some notable improvements to its GMX Distributed Video Gateway, a software-defined IP media transport platform designed to replace fixed, hardware-bound contribution and distribution systems.

New at the show this year is GMDC (GlobalM Device Control), which extends orchestration beyond transport into encoder and decoder management through direct API integration. This brings codec configuration and network routing into a single operational framework.

In addition to GMDC, GlobalM is expanding its edge processing capabilities with new high-end signal processing services that can be activated on demand. Frame rate conversion and HDR to SDR conversion are now available as software-based functions at the edge, allowing operators to apply advanced signal processing without deploying dedicated hardware. These capabilities are delivered on a pay as you go basis, enabling broadcasters to activate processing only when required for specific events or distribution workflows.

The platform also introduces expanded cloud connectivity and operational monitoring capabilities. New cloud network access points and the introduction of GM Tunnel provide transparent connectivity between cloud environments and on-premise infrastructure, enabling distributed workflows across multiple cloud providers. A new cloud-based multiviewer service further extends the platform, giving production teams and operators a virtual NOC environment for monitoring live feeds remotely. GlobalM has also optimized its cloud builds for ARM based AWS Graviton infrastructure, improving performance per watt and supporting the growing emphasis on energy efficiency in broadcast infrastructure.

In announcing the new features GlobalM noted the broader industry shift from fixed transmission capacity toward event driven, software-controlled infrastructure continues to reshape how live IP media networks are designed. Platforms such as GlobalM illustrate the move toward centrally governed, elastic architectures that operate seamlessly across internet, fibre, 5G, and LEO satellite networks.

As live production becomes increasingly decentralized and rights distribution more global, broadcasters and network operators are under pressure to scale transmission capacity quickly, often for limited event windows or for permanent services. Traditional gateway infrastructure, built around fixed circuits and appliance-based processing, can struggle to adapt economically to that shift.

GlobalM said it approaches this problem by separating orchestration from physical infrastructure. Instead of binding streams to specific hardware gateways, routing and processing policies are defined centrally and executed across available infrastructure nodes. Capacity can be expanded or contracted by adding or removing nodes across different cloud, on-premise or hybrid environments. This makes GlobalM a truly scalable, point to multipoint architecture, free of constraints imposed by fixed gateway appliances or static transmission circuits.

The platform supports SRT, RIST, RTP, RTMP, HLS and MPEG-DASH within a unified orchestration layer. Nodes register securely with a central control plane, forming what the company describes as a distributed transport fabric for live IP workflows.

A core element of the architecture is GlobalM’s patented “Pod” model. Each pod can operate as ingress, egress or processing node, allowing gateway functionality to be distributed across multiple sites rather than tied to a single appliance. The result is a virtualised gateway network that can scale elastically while maintaining defined routing logic.

Continuous health monitoring is embedded within the transport layer. Latency, packet integrity and node responsiveness are evaluated in real time, with predefined resilience policies enabling automated path switching when thresholds are exceeded.

Unlike container cluster-based approaches, GlobalM runs natively under OS level orchestration. This reduces computational overhead and improves recovery times in live broadcast environments where predictability is critical.

GlobalM will be exhibiting at 2026 NAB Show between April 19 and 22 in West Hall 3, Stand W3736.

COLUMBIA, Md.—Managed IP video transport specialist LTN and live production tech provider Appear are collaborating to enable scalable, IP-native live video contribution and distribution for premium live events with the combination of Appear’s X Platform and LTN’s fully managed global network.

“The satellite-to-IP transition is no longer theoretical. Broadcasters are operating IP at scale today. By combining Appear’s best-in-class encoding with LTN’s fully managed global network, we’re delivering the infrastructure and execution layer required to power that shift,” said LTN executive chairman and co-founder Malik Khan.

As the industry moves beyond evaluating IP and into operating it at scale, broadcasters require more than transport. They need reliability, density, orchestration and service assurance, LTN said.

LTN and Appear deliver a proven infrastructure model designed for mission-critical live sports and events. Customers gain real-time operational transparency, proactive network management and service assurance designed for mission-critical live sports and premium broadcasts.

Appear’s X Platform provides high-density encoding and decoding supporting JPEG XS, JPEG 2000, AVC, HEVC and ST 2110 workflows, widely deployed across Tier-1 broadcast and telco environments. Integrated directly into LTN’s purpose-built IP backbone, Appear-originated feeds are transported securely and redundantly to any destination worldwide.

Beyond contribution, LTN extends those feeds into global distribution, adding point-to-multipoint delivery, conditional access, rights management, multi-language versioning, graphics insertion and metadata enrichment to drive monetization across linear, OTT, and FAST platforms.

The collaboration supports onsite production, REMI workflows, centralized production models, and hybrid OTT distribution, reducing operational complexity while accelerating time-to-air.

The companies are jointly targeting broadcasters, sports leagues, OTT platforms and service providers that are seeking a scalable, IP-native alternative to legacy distribution models.

More information is available on the LTN and Appear websites.

The University of Nebraska’s HuskerVision has completed the second phase of a multi‑year modernization effort with the deployment of a comprehensive ST 2110‑based video infrastructure powered by Lawo.

Following an audio‑first transformation in 2023—HuskerVision’s initial step into IP workflows—the new video implementation brings all major athletic venues into a unified, software‑based production environment. The result is a campus‑wide media fabric capable of handling simultaneous shows from multiple control rooms, while giving student operators access to the same tools used in top‑tier broadcast facilities, according to Lawo.

The earlier audio upgrade had introduced HuskerVision to Lawo’s IP ecosystem through mc²56 production consoles, A__UHD Core processing, A__stage 64 and A__mic 8 interfaces, and HOME Management for routing and orchestration.

“Doing audio first was key,” recalls recently retired Chief Engineer Scott Guthrie. “We learned timing, stream management, PTP, device discovery—all the fundamentals. When it came time to roll out video, everyone was ready.”

That readiness was crucial as the university moved towards their SMPTE ST 2110 implementation designed and integrated by BeckTV. With Nebraska’s athletic venues spread across a wide geographic area—including Memorial Stadium, Hawks Championship Center, the Devaney Center, Pinnacle Bank Arena, Haymarket Park, and the Dillon tennis and Hibner soccer complexes—the goal was to bring all locations together through a single IP backbone feeding three co‑located control rooms inside Memorial Stadium. This allowed operational consolidation while dramatically boosting routing flexibility.

Lawo’s .edge platform is at the core of the new video infrastructure, used both as a high‑density gateway and as a full IP processing node. Multiple .edge frames provide 3G‑SDI and 12G‑SDI ingest, while native ST 2110 connectivity and quad‑25GbE interfaces feed the production fabric. The system’s ability to present SDI inputs as network “proxies” gives HuskerVision high scalability with minimal bandwidth overhead.

“We can bring in signals from any venue—whether five cameras from volleyball or a full football package—and everything just shows up in the fabric,” says Director of Technology Garrett Hill. “Routing video or audio essences independently is as easy as moving blocks around.”

One of the most operationally transformative areas is the truck dock at Memorial Stadium. Using .edge for video and A__stage64 for audio, HuskerVision can now exchange 24×24 bidirectional signals with national broadcast trucks, accommodating 12G‑SDI, HDR, SDR and ST 2110 feeds without additional hardware.

“Trucks get whatever flavor they want,” says Guthrie. “Up, down, HDR, SDR—it’s all handled right there in the IP edge.” Hill notes that the increase in available I/O and native processing “has completely changed how we interact with visiting crews.”

Workflows inside the control rooms benefit heavily from Lawo’s HOME Apps, running on COTS servers. The HOME Multiviewer, combined with theWall layout builder, enables dynamic, venue‑specific monitoring setups that can be reconfigured in seconds. Meanwhile, the HOME UDX app provides on‑demand up/down/cross conversion directly in the network, reducing the need for traditional baseband converters.

BeckTV Senior Engineer and Nebraska alumnus Brock Raum describes this flexibility as the project’s defining characteristic: “From season to season your shows change—and sometimes just from sport to sport. You might have soccer in one control room one day and football in another. With HOME Apps you shut down the tools you don’t need and spin up the ones you do. We’ve played with the webRTC app, downstream keying, UDX—you name it. The flexibility of using COTS hardware with the HOME App system is the highlight of the whole solution. If I need an app for a set of shows, I use FLEX credits. When I don’t, I shut it down and reuse those credits for something else.”

All workflows—video routing, tally, device control and multiviewer changes—are orchestrated through Lawo VSM, which gives operators a single, intuitive control layer across the multi‑venue environment.

According to Guthrie, “VSM lets us go from a big‑screen volleyball show to a press‑conference recording setup with one or two clicks. In a schedule where events overlap constantly, that’s huge.”

Because HuskerVision relies heavily on student operators, the accessibility of the system was essential. Seven full‑time staff oversee a large student team who are involved in every aspect of the productions.

Raum says, “Students are doing real engineering tasks now. They’re learning on the same tools used in the broadcast trucks.” Guthrie adds, “They learn the backend—how to modify layouts, manage essences, fix routes. And they get it.” Hill emphasizes the career value: “Training on the best gear helps them get jobs. Our students leave here ready for the industry.”

The new IP backbone, allows HuskerVision to scale productions, transport media content more efficiently between venues, and makes it easier for the network to support multiple overlapping events, Lawo said.

Broadcasters heading to the 2026 NAB Show in April will find a range of new developments and technologies enabling more efficient, secure and reliable workflows for live production.

Perhaps the most discussed advance is the industry’s continued transition to the cloud and aligning the demands of “broadcast quality” with the promise of IP. With much of the industry still using SDI, most broadcasters are adopting a hybrid approach, according to Ian Wagdin, vice president of Technology and Innovation at Appear.

“The most important trend NAB attendees should look out for is the shift toward truly hybrid live production, where linear IP video is combined with on-prem processing and cloud-based workflows to operate as a single, unified system,” he said. “Standards such as SMPTE ST 2110 and SRT, alongside emerging frameworks DMF and MXL [see sidebar], are helping to define a universal architecture model including flows, timing and control across both on-prem and cloud environments.”

Going All In
This software-based approach is gaining steam, but hesitation remains, said Deon LeCointe, director, networked solutions for Sony Electronics.

“Since many customers aren’t yet ready to dive into a fully software-based environment, I’d expect to see a push around hybrid operations that allows customers to take advantage of their existing hardware with software augmenting those operations,” he said.

Adam Marshall, chief product officer for Grass Valley, said that for the last 12 to 18 months, the company has seen “a real inflection point” in market adoption of software-defined production (SDP), adding that the practical driver is simplification.

Although 2110 may be a heavy lift for existing facilities, new projects are moving towards full 2110 deployments as the standard matures, according to Joe Davenport, director of business development, hyperconverged solutions for Ross Video.

“We’re seeing 2110 taking more market share of greenfield system builds, where scale and flexibility are paramount and there’s a budget to support it; there’s also plenty of people sticking with baseband deployments,” he said. “But 2110 is almost 10 years old, and many kinks have been worked out. Interop between vendors is largely stabilized now, and we’re seeing broadcasters implement best-of-breed technologies across their facilities.”

Dave Van Hoy, president of systems integrator Advanced Systems Group, said the democratization of production gear, driven by lower costs and wider availability, is giving more broadcasters the ability to focus on lower-profile events and leagues. The days of focusing on only the most popular sports on the high school or college level are over, he said.

“With Title IX in play, schools need to be able to cover less popular sports,” he said, referencing the federal law prohibiting sex-based discrimination in educational programs. “This is now possible because the cost of distributing the content has become low operationally.

“I expect there will be a plethora of tools for a far wider cost range than we’ve seen before, Van Hoy added. “As live production has become increasingly popular with viewers, the ability to produce live content across a broad range of production values is necessary.”

Staying Connected
Distribution and connectivity are among the pillars of a successful live production and the need to find reliable ways to bring live feeds into production environments and deliver produced shows affordably wherever you are in the world is a continuing challenge, said Rick Young, senior vice president, head of global products at LTN.

The upcoming C-band spectrum auction will force many broadcasters to find alternatives, in which case they should consider IP, Young said.

“The right IP transport options can provide the required reliability, but more so provide significant advantages when it comes to latency, flexibility and ability to fit into various complex workflow scenarios,” he said.

Picking the right provider can help lessen the impact of changes, Young added, particularly with personnel.

“Live events and sports production demands ultrareliability and low latency for feed acquisition with minimal overhead in terms of people required to manage the acquisition process; basic, best-effort protocol only solutions often result in on-air issues,” he said. “Further, perhaps equally important, SRT and other options force scarce human resources to spend valuable extra hours monitoring and rerouting feeds when the internet does what it does—which is to play havoc on nonmanaged, nonnetwork-based options.”

A Year of Progress
John Mailhot, senior vice president of product management at Imagine Communications, agreed, adding that a lot has changed just since the last NAB Show.

“Each year brings a wider range of IP-based products, giving production teams more flexibility in how they design and scale workflows,” he said. “As budgets are planned, that flexibility matters—the ability to handle both larger and smaller productions using the same investments in equipment and training is a hallmark of IP.”

Some of the larger station groups are taking matters into their own hands. At the 2025 NAB Show, Sinclair launched “Broadcast as a Service (BaaS),” which enables station owners to eliminate much of the on-prem infrastructure, maintenance and technical operations traditionally required for master control, including content preparation, playout and monitoring, according to Mike Palmer, assistant vice president, enterprise media management.

“The service is fully turnkey and is operated using the same cloud-resident systems, workflows and technical staff that run Sinclair’s own stations every day,” Palmer said. “This allows customers to benefit from proven, broadcast-grade operations while taking advantage of cloud-scale economics. For many operators, this represents a practical and lower-risk path to cloud adoption, shifting broadcast operations from capital-intensive infrastructure to an operating-expense model without sacrificing reliability or control.”

Cost remains the primary gating factor in any move to the cloud, Palmer added, and must be evaluated first as a business decision. “Smaller station groups and individual stations often struggle to achieve cost-effective cloud operations on their own, as they do not qualify for the same volume-based discounts offered by cloud service providers to their largest customers,” he added. “As a result, standalone cloud deployments for smaller groups or individual stations can be economically challenging.

“BaaS addresses this directly by allowing smaller owners to aggregate demand, leverage large-scale cloud pricing, and access enterprise-class workflows developed and proven by Sinclair,” he added. “This enables cloud economics that would otherwise be out of reach while preserving margins in competitive markets.”

Kyle Walker, vice president of technology for Weigel Broadcasting, is still skeptical that cloud is for everyone just yet, emphasizing that the flexibility must be balanced with the cost.

“For consistent applications such as news production, I’m not convinced that cloud-based production is the best solution,” he said. “The payback of on-prem equipment is fairly obvious, even if some flexibility is lost. However, for applications such as REMI, the benefit makes more sense.”

Dr. Ciro Noronha, chief technical officer for Cobalt Digital, is excited about new developments on the IPMX (aka IP Media eXperience) front, a new standard that extends the benefits of 2110 to the Pro AV market.

Calling IPMX “ST 2110 made easy,” Noronha said the standard doesn’t need PTP, uses NMOS for control and supports HDMI, which means IMPX simplifies the deployment and operation of the IP production network.

“The first IPMX certification test happened in January 2026, ensuring that devices from different vendors fully interoperate,” he said. “IPMX makes IP production possible for the smaller operators, which have not made the transition due to the cost and technical complexity of the full ST 2110 standard.”

Christian Scheck, head of marketing content for Lawo is excited about what IPMX could offer.

“Content producers have started exploring production tools originally conceived for the Pro AV space, such as robotic and PTZ cameras, virtual user interfaces, and compact solutions for ingesting and transmitting signals without compromising on quality,” he said.

What to See on the Show Floor
Although exhibitors are still finalizing plans for the NAB Show, some of them were able to share them with us.

Sony plans on showing advances in the company’s “Networked Live,” LeCointe said. “This includes enhanced format support on our powerful Virtuoso platform, significant advancements in cloud-based production and orchestration leveraging our M2L-X software-based switcher and the VideoIPath Orchestration platform, and new features on our MLS-X1 scalable production switcher platform.”

Marshall said Grass Valley will demonstrate what it terms “practical approaches” to software-defined, IP and hybrid production that scale without reintroducing complexity—grounded in real operational needs.

“A key focus will be the operational layer required to run these models day-to-day, including orchestration, security and identity, and end-to-end observability, alongside ‘open-by-design’ approaches that support a true multivendor ecosystem,” he said. “This is fully aligned with the principles behind JT-DMF and the momentum behind MXL.”

Ross will focus its continued work on bridging networks and standards, with a new release of its Ultricore control and orchestration system designed to manage Ross Video’s routing and hyperconverged infrastructure.

“Broadcasters and production teams want to collapse the technology stack, reduce middleware and standardize integration through multivendor partnerships so deployments become repeatable and agile,” he said.

“Our Ultricore release 7.0 integrates NDI Router functionality into Ultricore BCS, allowing operators to connect and manage NDI endpoints using the same workflows they already use for SDI, ST 2110, and other formats,” said Davenport. “We also have other things in the works including ongoing expansion of native format support in Ultrix that enhance its format-agnostic capabilities and support low-latency, bandwidth-efficient workflows.”

Young said LTN will showcase the company’s IP transport solutions and workflows for both full-time and event-based use cases. “The upcoming FCC driven C-band spectrum auction and the need for content creators to drive more efficiency and reliability out of some of the early experimentation with best-effort, protocol-based solutions like SRT is driving our focus, investment and roadmaps,” he said.

Appear said it will highlight how hybrid IP and cloud-based production are being delivered in practice across real-world workflows, including a focus on its VX Media Gateway, introduced at the 2025 NAB Show.

“The VX Media Gateway, a software-based, cloud-ready solution, simplifies media transport across hybrid on-prem and cloud environments, supporting software-defined and scalable production architectures, said Wagdin. “Appear will also showcase X5, the latest compact addition to the X Platform, demonstrating how low-latency hardware can support encoding and decoding for AVC and HEVC, and hardware-accelerated SRT for secure, cost-efficient remote production.”

In addition to launching its HOME Commentary app, for remote-style commentary, Lawo will also focus on the convergence between broadcast and Pro AV.

Mailhot says Imagine will showcase HDR and 1080p production and playout capabilities, along with increased scalability enabled by IP-2110 architectures.

“We will also highlight our new Prismon multiviewer line—which brings compressed and IP-2110 workflows together into a fully scalable enterprise solution—and our Aviator Orchestrator deployment toolchains, designed to support rapid spin-up and spin-down for occasional-use workflows,” he added.

NETGEAR will showcase its new switch models and major updates to its Engage Control software during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

The company has expanded its M4350 switch portfolio with the addition of the new M4350-16M4V and M4350-16C.

The M4350-16M4V offers secure, lockable connectivity with Neutrik etherCON, opticalCON QUAD and powerCON TRUE1 connectors. It features 16x 2.5G PoE++ ports, including eight etherCON, plus 4x 25G SFP28 uplinks via a modular card slot Optional uplink cards include RJ-45 or opticalCON QUAD connectors for single-mode or multimode fiber.

The new M4350-16C model addresses throughput challenges in large AV-over-IP deployments. With 16 ports of 100G connectivity, the M4350-16C delivers the bandwidth required for aggregation and core layers where multiple high-resolution video streams converge.

The M4350 series offers enterprise-grade managed switching from 1G to 100G built for AV and IT networks. With high-power PoE++, redundant modular power and hitless failover, it ensures mission-critical reliability for broadcast and AV-over-IP.

The new models support SMPTE ST 2110 timing with grandmaster and boundary clock functionality. Trade Agreement Act (TAA)-compliant SKUs are available for government use.

NETGEAR will also have its network design services team at the NAB Show to answer the questions of attendees. The company will also give personalized demos of its updated Engage Controller version 2.4, which features NETGEAR’s profile-based approach for reliable, simplified switch configuration.

NETGEAR will also offer on-demand sessions at its booth on the design of IP-based broadcast networks for live production and facility environments. More than 110 NETGEAR partner manufacturers will show their broadcast solutions powered by the company’s networking technology.

See NETGEAR at 2026 NAB Show booth C.7303.

More information is available on the company’s website.

BARCELONA—Kiloview has announced it will be showing a number of its latest innovations at ISE 2026, including improvements to its complete, lightweight, and fully integrated AV-over-IP ecosystem.

Covering connection, control, management, and transmission, Kiloview’s solutions are designed to simplify complex IP workflows and deliver a more unified, reliable, and scalable experience for professional AV users, the company explained.

“At ISE 2026, we are introducing innovations that rethink how AV systems are seen, controlled, and trusted,” said Judy Zuo, vice president of sales and marketing at Kiloview. “Together with our existing hardware platforms and modular design, these new solutions elevate the overall experience of managing AV workflows. They represent the next stage of Kiloview’s vision: a complete, lightweight, and deeply integrated AV-over-IP ecosystem that simplifies professional operations.”

With years of expertise across encoding, decoding, transmission, networking, and media management, Kiloview has built an ecosystem where devices, software, and workflows work seamlessly together. At ISE 2026, the company will introduce new innovations that further strengthen this ecosystem — enabling users to see, manage, and trust their AV networks more easily than ever before, while maintaining the flexibility required for modern production, corporate, education, and live event applications.

One highlight will be innovations designed to transform IP media workflow management.

At ISE 2026, Kiloview will present its next-generation IP media management solution, designed to simplify, visualize, and optimize AV-over-IP workflows, making complex systems more reliable and visible.

Serving as the foundation of Kiloview's ecosystem, this system can instantly visualize the entire network, monitor device status in real time, and provide intelligent diagnostic alerts to ensure flawless operation. Media routing is seamless and low latency with priority handling for critical streams such as NDI. PTP synchronization keeps signals perfectly aligned. Centralized controls simplify scaling and unified operation across multiple units. Built on robust, high-reliability hardware with redundancy and advanced cooling, it guarantees continuous professional operation.

Integrating these capabilities into a single 1U workflow, this innovation visually connects devices and enables smooth, end-to-end AV workflow management.

It will also be showcasing solutions for unified device control and bonded reception that streamline production.

At the heart of the ecosystem is a compact plug-and-play platform that unifies device management and streamlines multi-channel wireless bonding reception. Integrating with Kiloview’s P-series wireless bonding encoders, the system supports multi-channel reception with synchronized outputs and monitoring through Kiloview's latest IP management solution.

Supporting NDI, SRT, RTMP, and HLS protocols, allows flexible IP format conversion and local recording and multiview monitoring. Dual-network interfaces ensure redundancy, while a half-1U form factor fits studio racks and portable setups. Pre-configured for plug-and-play operation, it simplifies management of field, broadcast, and enterprise workflows.

Another highlight will be its Cradle Series RF02. The Cradle Series RF02 further completes Kiloview’s ecosystem by providing modular encoding, decoding, media gateway card and software-ready computer card with unlimited expansion capabilities. The FXC-A8800 Compute Card brings powerful capabilities for audio/video mixing, switching, graphics processing, and software-defined workflows, allowing for efficient handling of complex production tasks. Together with other expansion cards, the RF02 provides complete end-to-end AV workflow support, covering encoding, decoding, transcoding, multiviewing, routing and more.

From core management and unified control to modular expansion, what Kiloview offers forms a fully integrated AV-over-IP ecosystem across connection, control, management, and transmission. And that’s just the beginning! Experience Kiloview’s complete and lightweight ecosystem onsite at booth 4M800, where you can see, operate, and explore the end-to-end workflow firsthand.

IP networking is a relatively new technology in the broadcast space. While some broadcasters have been active for almost 100 years, the networking world arrived on the scene only fifteen years ago. The turning point came with SMPTE ST 2022 (standardized in the years 2012–2015), which defined professional media over managed IP networks.

Then, SMPTE ST 2110 (ratified in 2017) formalized the transport of uncompressed audio, video, and metadata over IP, using standard Ethernet and TCP/IP infrastructure. Around this period, major broadcasters (BBC, ESPN, NBC, Discovery, etc.) began migrating their production studios to IP-based routing and switching using standard network gear — especially 10/25/40/100 GbE Ethernet.

Ten years ago, broadcasters would ask network engineers at trade shows like IBC or NAB, “Why are you here?” They would answer, “We’re doing networking.” Their job was the plumbing under everything. They would transport “water” from left to right, and they didn’t really care what kind of water it was; they would transport all of it.

In the IT networking space, most of these companies have been around for 30 years, doing exactly that. In commercial AV, it only was 10 years ago that networking started to emerge. Today, it is accelerating everywhere, thanks to the industry’s acceptance of AV-over-IP.

Megatrend: The IP Transition in Broadcasting is Accelerating
There is a specific need that companies in the broadcast space have, that is different to IT and commercial AV, which is reliability — their number one priority. Quality and reliability go hand in hand. This translates into a secure and predictable outcomes. Redundancy is therefore essential. Apart from those requirements, other trends in broadcasting make IP networking the logical next step.

Three technology planets: IT, pro AV, and broadcast, have already collided. We’re in the middle.

The Operational Needs Become Increasingly Urgent
If you listen to the CTOs of the big media companies, they’re all complaining about budget stress because, for example, advertising revenue may go down. They don’t fully monetise social media yet, but viewers are shifting from linear broadcast to social media.

That creates downward pressure on their operational expenses. How do we solve that? Should we stop buying million-dollar boxes, or give up maintaining expensive legacy technology? It is time to consider switching to scalable technologies or brands that do the job for a little less but still provide what’s needed without sacrificing reliability, but with a more attractive OPEX rather than a huge capital expense upfront.

From Cloud to Hybrid Cloud, Back to On-Premises – Should We Buy or Build?
You can see recent trends in broadcasting following what happened in Big IT. We tend to all run to one side of the boat at the same time. For example, 10 years ago, it was all about Big Data.

So, the industry spent millions on it. And we didn’t reap all the benefits from it; we did not receive our money back in operational outcomes. A few years ago, the industry all decided to be in the cloud. And now we’re locked in. And there’s cloud fatigue and cost explosions. Today, many broadcasters say, we should escape from cloud lock-ins and do some of this on-premises. And the conversation now centers on whether it is all “Buy” or “Build”? Well, it’s going to be a mix. It’s going to be hybrid.

The Pain of Data Management
Broadcasters ask the industry: “Who can help us with this hybrid piece?” Because you still need to move things around the building, to different departments, and to the various clouds you have, as well as servers, storage, archives, OB vans, or production sites. There’s a lot of data moving through the company, and that’s where the plumbing becomes increasingly essential, as all of this data is IP-based and highly fragmented.

The buzz phrase of the day is that the data is in a “data mesh.” That means data can be everywhere, not just in one central data lake, as we believed 10 years ago. This puts more pressure on media company CTOs. Now, if you’re the largest media company in the world, that’s not unbearable, because if you are Disney, ABC, or Netflix, you have the budget to solve all these problems. It’s different when you’re a regional broadcaster, or perhaps you’re in a vertical market or niche, in which case you may not have the cash to deal with all this complexity.

While the big cloud providers made it easy for broadcasters to ingest data into their clouds, the on-premises storage vendors did not significantly improve usability. Looks like they left the streaming media handling to the broadcast ecosystem players like Grass Valley, Ross Video or EVS. For a solution to send ST 2110 streams to your local storage, you would need to duct-tape a decoder board, some software, a Mac, a switch, and a NAS together, and get it all to work. Not precisely an easy-to-use over-the-counter appliance. Luckily, innovation is happening in this space, particularly in the start-up scene in Belgium.

Network and Security Design Expertise
CTOs still need to address core issues, such as performance, cybersecurity, data sovereignty, or compliance. How do you do that on a network? That’s really a hot topic in 2026. Dealing with that combination of new trends and old trends. Networking engineers provide a bit of handholding with these types of smaller and mid-sized customers to help them navigate from A to B.

Sometimes, you don’t know what you don’t know. Large broadcast organisations often hire a consultant to explain the process to them, which typically contains, “Yes, we can do that, but it is going to cost you.”

However, those who don’t have the budget to hire a big consultant will try to figure it out themselves. Therefore, we observe that across all these layers, from the largest broadcasters to the smaller ones, there is a need for education on IP networking, as modern workflows are now entirely run over SMPTE 2110 networks.

Compliance – Internal and External
There’s increasing pressure from the public, through various government bodies, to address security, compliance, and data sovereignty issues. The European Broadcasting Union (EBU) promotes standards for media exchange that help with security, compliance, and interoperability.

The industry is embracing MXL, which refers to the Media eXchange Layer of the Dynamic Media Facility (DMF) reference architecture. Even if you are a small broadcasting outfit, you need to deal with that. There is a significant need for education on these topics. We provide our part in that, particularly when it comes to the lower layers of networking and zero-trust network security.

Some things are a reality for everyone. For example, you can give your employees access to ChatGPT, allowing them to work more efficiently. However, they may then upload some of the content they create into an AI for translation or summarisation, which causes the spread of your intellectual property worldwide.

Those issues must be addressed, and that’s where a technology solution comes in, aside from training, which is a complementary educational solution. They need both the technology to make security easy and the education to prevent mistakes in network design, enabling them to deploy these solutions quickly.

Evolving Network Innovation – It Doesn’t Stop
It is also exciting to see that the audio component of the broadcast IP transition has taken off. It’s catching up with the IP part of video. We see that a couple of acquisitions were announced in mid-2025. Audinate acquired Iris, while Ross Video acquired Lean and Mean Audio. And we also see investments from VizRT and NDI in the audio space. With adjacent applications like live events and enterprise studios, there is a lot of drive (and money) behind these innovations.

Fighting Complexity Makes for Better Economics
The industry has made some things unnecessarily complex. For example, can I perform video transport with or without genlock or PTP clocking? “The answer is a clock! What was the question?”

Now that all broadcasting is moving to networks, it’s a bit more subtle. Some parts of a network, such as the intercom nodes in a broadcast studio or at a racing event, don’t need to be on a PTP clocked network. We developed a solution that combines clocked networking and non-PTP networking within a single network, managed through a single hybrid profile. During the Olympic Games in Paris, the team took one week to configure a network for a couple of hundred operators.

Learning from that, we automated the entire configuration process, and now it takes only 10 minutes. And the CFOs of the media companies can smell that from a mile. This saves them a lot of money.

Operational efficiency is therefore a key theme. It’s the number one theme for many operational managers in broadcast. Simplification and automation help them. If it’s quicker and they don’t need a PhD on site to fix all of that, but rather a more junior employee who plugs in a cable. If it just works, they love that. And of course, the outcome is predictable and reliable; and more affordable.

Trickle-Down Virtualization
When you speak with manufacturers and high-end users, you’ll see they’re already going to fully adopt software-defined networking. Much of this is very high-end, but it will eventually trickle down, as it always does. It starts at the top of the pyramid and then comes down at a different price point. As a technology company with 30 years of experience, we typically wait until that mass inflection point is reached.

SMPTE ST 2110, which scientists and well-suited professionals once primarily drove, is now being adopted by a wider audience. The same will happen with concepts like data-loss prevention or zero-trust security. This is becoming a mainstream reality because no one wants their content to end up on the dark web or on a dodgy peer-to-peer site.

All the components that make for a successful networking business growth spurt are in place. Innovation, such as software-defined networking, is definitely needed. There’s a problem we can solve together by making this easier. The fact that it is challenging to move audio everywhere, just as you already had to move SDI video, suggests that the industry may be a little late with this.

However, from all of the alliances we’re in, we hear that the trend is the same. Make deploying audio over IP in broadcast easier, and standardise it somewhat, so it’s easier for broadcasters to deploy multibrand, hybrid cloud-based solutions.

Six years ago, broadcast technicians asked network engineers, “Why are you here”? Now they ask them: “Wow, how do you do this?” To qualify that as a noticeable shift is an understatement. Networking engineers enable powerful, beautiful experiences—by doing the plumbing right.

This article originally appeared on TV Tech sister brand TVBEurope.

HUDSON, Mass.—BitFire and Appear have struck a strategic partnership aimed at offering broadcasters, sports leagues and streaming platforms a faster, more flexible and reliable way to deliver live video from venues to viewers.

The companies have integrated Appear’s high-density live contribution X Platform with BitFire’s global transport network and cloud production ecosystem. The move enables direct ingest into BitFire’s transport network, providing low-latency, high-quality video contribution and distribution and granting access to BitFire’s virtual production tools, including Cloud Switcher, Cloud Replay and the FireBridge remote talent interface. The BitFire tools enable remote control, monitoring and distribution from anywhere, the companies said.

“This partnership merges best-in-class edge encoding with professional IP transport and scalable cloud production,” BitFire President and CEO Jim Akimchuk said. “By combining Appear’s efficient encoding with BitFire’s flexible infrastructure, we’re removing traditional geographic and hardware constraints for all live content producers.”

The integrated solution is designed for high-demand environments like live sports and entertainment telecasts where nearly instant transport and quality are critical. Appear’s X Platform solutions deliver high-quality feeds directly to BitFire’s IP transport network and cloud production platform, supporting cloud, REMI and hybrid productions, the companies said.

“Partnering with BitFire allows us to better serve the evolving needs of broadcasters and cloud operators by directly connecting our products with a world-class IP transport and cloud production provider,” Appear Chief Technology Officer Andy Rayner said. “Whether for global sporting events or full-time distribution, we’re collectively raising the bar for efficiency and quality in live production.”

The integrated solution is being evaluated by major sports and entertainment companies at the moment. Full-scale deployments are expected in early 2026. BitFire and Appear will show the solution at upcoming industry events, they said.

More information is available on the BitFire and Appear websites.

RASTATT, Germany—Lawo and the Society of Motion Picture and Television Engineers (SMPTE) have partnered to launch the SMPTE ST 2110 Practical Lab, an immersive training program to assist the industry’s transition to IP-based workflows.

The Practical Lab, hosted at Lawo headquarters in Rastatt, Germany, offers a hands-on environment to design, synchronize and troubleshoot live-production IP networks, the company said.

The lab builds on SMPTE’s education path, which includes:

• Introduction to SMPTE ST 2110 (Independent study.) — Ongoing enrollment throughout 2026. https://www.smpte.org/introduction-to-st2110
• Understanding SMPTE ST 2110 (Instructor-led, virtual/online.) — In-depth technical exploration of ST 2110 with peer learning through an online flipped classroom model. https://www.smpte.org/virtual-course/st2110
• SMPTE ST 2110 Boot Camp (Intensive instructor-led, virtual/online training) — The next Boot Camp session to be held in January. https://www.smpte.org/smpte-st-2110-boot-camp-january

Once media professionals who have completed these courses can apply their knowledge in real-world scenarios using Lawo solutions, including A__mic8 audio stagebox, .edge SDI/IP gateway, VSM, HOME management platform and HOME Apps.

Key dates include:

• Understanding SMPTE ST 2110 (Virtual): Dec. 2–18.
• SMPTE ST 2110 Boot Camp: Jan. 12, 2026, to April 30, 2026.
• Practical Lab: Booked after the Boot Camp or SMPTE ST 2110 course and offered remotely during a one-day self-paced list of hands-on exercises.

“The transition to IP is one of the most significant evolutions in broadcast technology,” said Wim Van Roy, educational architect at Lawo and 2025 education director at SMPTE. “By partnering with SMPTE and the wider industry to deliver this Practical Lab, we’re empowering professionals to confidently design and operate ST 2110 workflows—supporting the industry’s future towards dynamic media facilities powered by SMPTE ST 2110 standards.”

More information about the Practical Lab is available online.

More information is available on the company’s website.

MONTREAL—Grass Valley has delivered a 4K Ultra-High-Definition (UHD) outside broadcast (OB) truck to Guangdong Radio and Television (GRT), in partnership with Beijing Sailing Hightop Technology Development.

The handover ceremony, attended by senior executives from GRT, Sailing Hightop and Grass Valley, marks a milestone in China’s evolution toward next-generation IP-based broadcast technology.

During the ceremony, a Sailing Hightop spokesperson expressed appreciation to all project partners, noting that seamless collaboration across system design, integration and commissioning ensured the project was completed on time, on budget and to the highest standards.

According to a GRT spokesperson, the new OB unit will enhance the broadcaster’s ability to produce and transmit large sports and entertainment events in 4K UHD, providing strong technical support for the upcoming events.

The OB truck is the first native-IP UHD system in China and represents a transformative shift away from traditional baseband infrastructure. By adopting a fully IP-based architecture, the unit delivers new levels of flexibility, scalability and efficiency for live production, Grass Valley said.

Equipped with Grass Valley’s LDX 135/150 cameras and the Grass Valley K-Frame CXP switcher, the system supports 4K and 8K live production with high dynamic range (HDR) and wide color gamut (WCG) capabilities, while its distributed workflow enables real-time remote collaboration and future cloud deployment via GV Orbit SDN and AMPP (Agile Media Processing Platform). The design also maximizes space and energy efficiency and enables multi-platform content delivery through native landscape and portrait conversion, the company said.

“This project is a powerful example of what’s possible when innovation, collaboration and vision come together,” said Alain Wang, Grass Valley sales director for China. “We’re proud to support Guangdong Radio and Television and Sailing Hightop in delivering China’s first native-IP UHD OB truck, a future-ready solution that sets the standard for 4K and 8K live production in the region.”

More information is available on the company’s website.

COLUMBIA, Md.—Lionsgate and its TV syndicator subsidiary Debmar-Mercury have selected LTN to launch and deliver the new MovieSphereGold all-movie digital network via LTN’s multicast-enabled, purpose-built IP video distribution network.

MovieSphereGold is available in 38 million homes and continues to expand its reach across pay-TV, streaming platforms and local station groups reaching more than 86% of U.S. TV households.

The movie network is said to be the first contemporary all-movie digital network. It features premium films from Lionsgate’s 20,000-title library, including franchises like ”The Hunger Games,” “John Wick” and ”Rambo.”

LTN’s footprint and distribution expertise give MovieSphereGold seamless access to stations across all major broadcast groups, multichannel video programming distributors and virtual MVPDs including DirecTV, Dish TV, Frndly TV and Sling Freestream. LTN relies upon broadcast-grade, Transport Stream over Internet Protocol (IP-TS) video distribution technology to provide the network with a cost-efficient, reliable and flexible alternative to satellite, LTN said.

“Purpose-built LTN multicast IP-TS distribution is now the primary choice for established and new networks that want to reliably and cost-efficiently reach traditional and digital platforms,” LTN Executive Chairman and Co-Founder Malik Khan said. “Premium movie experiences hold viewer attention and drive strong ad value. MovieSphereGold is an innovative launch and a recognition of the readiness and footprint of our network, which is on course to reach 100% of U.S. pay-TV households in 2026.”

The network launch was completed in three months with LTN enabling instant activation across existing delivery points while rapidly onboarding dozens of new affiliates and hand-off sites as part of a fully managed service.

LTN enabled MovieSphereGold to deliver its high-quality HD feed while quickly providing downconverted standard-definition feeds to meet the varying needs of downstream takers. LTN’s always-on technical operations center is providing MovieSphereGold with full visibility and operational support that includes real-time feed visibility and insights into signal performance across its entire nationwide distribution footprint, the company said.

More information is available on the company’s website.

AJA Video Systems has joined the RAVENNA community, a network of partners devoted to advancing the RAVENNA standard for distributing real-time audio over internet protocol (AoIP).

AJA’s DANTE-12GAM and OG-DANTE-12GAM audio embedder/disembedder products support RAVENNA. The products make it easy to bridge between SDI and AoIP infrastructures. Both include dual 12G-SDI input and outputs, providing up to 32 channels of audio embedding and 32 channels of disembedding simultaneously for a total I/O capacity of 64 channels.

“As the transition to IP accelerates, interoperability is essential for our customers, many of whom are working with a combination of SDI and IP tools,” AJA President Nick Rashby said. “Joining the RAVENNA community underscores our ongoing commitment to meet customers where they are in their IP journey, broadening AJA product support for the larger AoIP ecosystem. RAVENNA is a powerful AoIP option, and now our customers can take advantage of it.”

Welcoming the company to the RAVENNA community, Lawo RAVENNA Evangelist Andreas Hildebrand said RAVENNA support in select AJA products will “unlock seamless interoperability with a range of AoIP protocols—and that benefits all professionals looking to make the most out of AoIP.”

More information is available on the AJA Video Systems and RAVENNA websites.

LONDON—Factual content producer ITN Productions has launched a new low-latency IP gallery for news bulletins.

ITN’s newly built production control room, responsible for delivering daily news coverage across two newsrooms, delivers reduced latency and greater flexibility. Architected and delivered by Techex, the system combines the TAG Video Systems Realtime media platform with Matrox Video ConvertIP decoders, providing ITN with responsive, fully configurable monitoring within its new PCR.

“As longtime partners with TAG Video Systems, we were able to bring our experience to bear while designing this system using the TAG-Matrox Video integration,” John Treadwell, Techex senior strategic account manager for global accounts, said. “We worked closely with ITN to capture requirements, validate the design and deliver the project. That collaboration will continue as we support ITN in evolving the system now that it’s live.”

TAG’s Realtime media platform is a fully software-based system. It unifies probing, monitoring, visualization and analysis into a single platform. The platform’s adaptive architecture enables efficient load balancing, rapid mosaic generation and on-the-fly transcoding, all within the IP domain. ITN has harnessed its support for SMPTE ST 2110 and JPEG XS in the new PCR to provide a scalable, future-ready monitoring solution for live news production.

The deployment drives down multiviewer latency to between 1 and 1.5 frames, achieved through the Matrox ConvertIP ST 2110-HDMI interfaces driving the PCR’s 10 4K multiviewer displays.

“With TAG, we’ve been able to realize the agility of an all-IP monitoring workflow while retaining the low latency and reliability that operators are used to in traditional galleries,” James Wickes, lead media engineer at ITN Productions, said. “Matrox’s ConvertIP technology delivers that responsiveness on screen, and with Techex helping us bring the two together in a cohesive architecture, we’ve been able to future-proof our gallery and the production workflows that depend on it.”

The system’s low latency is made possible due to the Matrox ConvertIP decoders translating IP signals into native HDMI outputs with deterministic timing and no perceptible lag. Their ability to maintain consistent, frame-accurate synchronization across all 4K displays ensures the live feel operators rely on when cutting between sources.

“The Matrox ConvertIP family was designed exactly for projects like this. Seeing ITN achieve such low-latency multiviewer performance across multiple 4K displays is a great demonstration of how tight partnerships can bring immediacy and confidence back into IP-based control rooms,” said Daniel Maloney, technical marketing manager at Matrox Video.

TAG’s Operator Console enables ITN staff in the gallery to adapt multiviewer screens quickly to the current production. “ITN’s new gallery is a great example of how IP-native monitoring can reach full broadcast responsiveness,” said Paul Briscoe, TAG chief architect. “In a newsroom environment, the immediacy of information delivery, while retaining the flexibility of a software-defined system, is hugely validating. It demonstrates that an advanced, all-IP control room can meet the real-time demands that live production requires. Techex’s approach brought together the strengths of TAG and Matrox Video in a way that allowed ITN to focus purely on production rather than infrastructure.”

More information is available on the TAG, Matrox Video and Techex websites.

In live television, the pace of change has always been set by technology and driven by the relentless desire to increase production value. But for the second half of the 20^th century, technological improvement was incremental, and there was little change to the analog, 4:3 aspect ratio, standard definition images we all watched.

With the new millennium, technology brought about a renaissance in the television experience that literally reshaped the way stories are told on countless screens around the world. High definition and UHD, wide color space and high dynamic range, and the 16:9 aspect ratio, combined with ever larger displays, have finally provided storytellers with a canvas that offers creative freedom.

With the tools to create, and display, spectacular imagery firmly in place, demand for content is greater than ever, and so we find ourselves in the midst of another pivotal transition. Now, our focus shifts behind the scenes: building an infrastructure to support the multitude of high-bitrate signals in the most cost-effective way.

This shift is more than just replacing cables or streamlining workflow, it’s about reimagining the mechanics of live storytelling, and IP standards like SMPTE ST 2110 have emerged as the workhorse of this transformation. ST 2110 provides the flexibility, and scalability, necessary to support increasingly complex productions, enabling teams to transport more content, collaborate more effectively, and do it for less money.

The Acceleration of the Production Cycle
In a traditional broadcast environment, live production is based, in large part, on the constraints of SDI standards. Routing video, audio, and metadata through an SDI infrastructure often means that innovation had to shoehorn within the limitations of a standard invented 36 years ago.

While reliable, large SDI routers are often the single most expensive piece of hardware in a production facility, don’t have redundancy, are comprised of connections that are either in or out, and rely on the one-cable-per-signal design.

IP-based workflows change that equation. By moving signals off a router and onto a network switch, production teams gain the ability to treat live content with the same agility that digital platforms have long enjoyed. With ST 2110, video, audio, and ancillary data can move independently across the same network.

Having discrete streams gives creative teams unprecedented control, eliminates the need for most signal converters and reduces routing errors. Infrastructure cost is also dramatically reduced and the number of cables in the IP world can be condensed to a mere fraction of what an SDI demands.

IP as a Storytelling Catalyst
At its core, live production is about narrative. Whether it’s a political debate, a music festival, or a championship game, producers are tasked with guiding the audience through moments that matter deeply to them. In broadcasting, the more sources you have, the better story you can tell, but most studio cameras don’t come cheap. Everything from the need for lensing to CCUs along with the space for operators and blocking views can prohibit traditional studio cameras from being used.

Broadcast PTZ cameras can be an ideal solution, but running separate cables for control, reference, video, and even return video isn’t easy in a stadium or arena. This is where the elegance of ST 2110 really shines. Using a single cable connected directly between the PTZ and the ST 2110 switch: video, audio, camera control, PTP and return video are all active over staggering distances.

If traditional B4 mount lenses are required, studio cameras can transmit, and receive, all their signals between the camera head and the ST 2110 switch, without the need for a CCU. These cameras can even employ redundancy, known as ST 2022-7. Ultimately, the simplified, and cost-effective, infrastructure of ST 2110 translates to more budget for cameras, which in turn translates into higher-quality storytelling.

Enabling Hybrid and Remote Workflows
At this point we’re all well aware of how the pandemic accelerated the industry’s exploration of remote production, and IP has become the enabling technology that makes distributed collaboration viable. With video and audio moving as packetized data, directors, editors, and graphics operators can work from anywhere in the world while contributing to a unified production.

This flexibility has become the new baseline. Remote production reduces costs, increases efficiency, and expands access to talent. It also aligns with broader industry goals around sustainability by minimizing travel and reducing the footprint of large-scale events.

For broadcasters, the ability to scale teams up or down based on the demands of a specific production is an invaluable advantage. A small crew on-site can capture content, while a larger, distributed team handles graphics, analysis, and distribution from centralized or even home-based workstations. The quality remains uncompromised, but the operational model becomes far more adaptable.

Lessons from Early Adopters
Many early adopters of IP-based production, from major broadcasters to live event producers, have already demonstrated the technology’s potential. Their experiences highlight three recurring themes:

• Scalability: IP networks can expand without wholesale infrastructure overhauls, supporting growth in channels, feeds, and formats.
• Interoperability: Standards like ST 2110 create a foundation for vendors and technologies to work together, enabling creative flexibility rather than locking productions into proprietary systems.
• Resilience: By decoupling signals from fixed paths, IP allows productions to reroute and recover quickly in the face of technical challenges.

The Road Ahead
As with any technological transition, challenges remain. Training, interoperability testing, and cultural change within production teams all require attention. Yet the trajectory is unmistakable: IP-based workflows are becoming the new standard for live production.

Looking forward, we can expect even greater convergence between broadcast and cloud-based platforms. The same IP foundation that enables local workflows also opens the door to deeper integration with AI-driven production tools, advanced analytics, and personalized audience experiences. As these technologies mature, the pace of iteration will only accelerate, driving storytelling into new territory.

In the end, live production has always been about connection and the immediacy of being present for an unfolding story. With IP as its foundation, that connection is now easier, more cost effective, and more immersive than ever before.

ALAMEDA, Calif.—Northern Michigan broadcaster WWTV recently completed a major IP-based upgrade that connects its new Traverse City studio with its control room nearly fifty miles away in Cadillac.

Spearheaded by systems integrator Key Code Media, the ambitious project included the installation of a new Clear-Com Arcadia Central Station to enable fully distributed communications across the two sites.

WWTV has served the region as both a CBS and FOX affiliate since 1954. It moved into a new, compact Traverse City studio to consolidate operations and modernize its broadcast capabilities. The station faced a unique challenge: operating a live, on-air studio with no on-site engineers while keeping all technical staff based at its Cadillac control room.

To solve that problem, Key Code Media delivered an end-to-end IP infrastructure, integrating networked cameras, audio, video routing, and control systems between the two facilities. At the heart of the communications upgrade was the Clear-Com Arcadia Central Station, which replaced WWTV’s decades-old party-line system.

“The old building was too big, too costly, and no longer served our needs,” said Ben Scripps, assistant operations manager at WWTV. “Our team made the decision to consolidate and move our studio closer to our offices in Traverse City but we had to keep the Master Control in Cadillac. That’s 50 miles apart. How do you make that work?”

Arcadia’s scalability and Dante integration were instrumental in Key Code Media’s design, helping WWTV to route intercom audio alongside video and control signals with minimal latency. This modernized intercom backbone ensures that talent and production staff remain in sync across geographically separated facilities.

“The whole setup had to be intuitive. We don’t have engineers on site,” added Scripps. “Key Code made sure we could walk in, touch a screen, and the studio would be lit for our show.”

“Clear-Com’s Arcadia was a critical part of making this distributed IP workflow possible,” added Jon Rutherford, director of broadcast solutions at Key Code Media. “It provided the flexibility, reliability, and ease of integration we needed to unify communications for a team working across nearly 50 miles of distance.”

The project also included robotic Sony PTZ cameras, Autoscript prompters, Sennheiser wireless audio, Planar LED displays, and a Ross Ultrix router, all tied together through a robust IP network architecture.

With Arcadia at its core, WWTV now operates with streamlined communications, enhanced production efficiency, and the flexibility to scale for future needs, the station reported.

COLUMBIA, Md.— Video infrastructure provider LTN has promoted Bryan McGuirk to chief revenue officer, tasked with driving the company’s global growth and strengthening its leadership in IP-based distribution as the industry shifts away from satellite.

A 30-year veteran of the telecom, satellite and media sectors, McGuirk has held executive roles at such companies as LTN, SES S.A., Globecom, NBCUniversal and Turner Broadcasting System. He is the former chief commercial officer at Stingray Advertising and had been president of media and enterprise services at SES.

“Bryan’s appointment comes at a critical inflection point for our industry,” LTN Executive Chairman and Co-Founder Malik Khan said. “As regulatory changes reshape the future of satellite capacity and content owners seek smarter, more scalable and agile ways to reach audiences, LTN’s purpose-built IP network has become the clear choice for future-focused broadcasters and sports organizations. Bryan’s expertise, strategic insight and deep industry relationships make him an ideal leader to drive our next phase of innovation and expansion.”

McGuirk’s new role comes as North American broadcasters are facing increased urgency to shift away from satellite delivery, LTN said. Federal auctions to repurpose at least 100 Megahertz of upper C-Band satellite spectrum, building on 2021 and 2023 auctions that reallocated 60% of available C-Band spectrum, will place new constraints on satellite-based video distribution, according to the company, which means media companies will need to act quickly to avoid disruptions to their ability to offer live content.

“The broadcasting industry is at a turning point,” McGuirk said. “Regulatory shifts are accelerating the reduction of satellite capacity, and industry players are looking for solutions. LTN has already built the infrastructure, interoperable technology and managed services to help the world’s leading broadcasters and sports leagues succeed in this new era. I’m excited to be fueling LTN’s next phase of growth in this fast-moving, IP-first future.”

McGuirk holds a bachelor’s degree in economics from Union College and an MBA from Emory University’s Goizueta Business School, LTN said. He has served on the boards of the Society of Satellite Professionals International, SES Americom and the T. Howard Foundation.

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

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

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

New for IBC:

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

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

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

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

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

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

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

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

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

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

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

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

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

COLUMBIA, Md.—LTN has unveiled enhancements to its IP video network as the broadcast industry approaches an inflection point in its shift from satellite distribution.

The advancements enable broadcasters, station groups and networks to simplify their migration from satellite to IP. The LTN moves aim to deliver live content with satellite-grade reliability while reducing costs, expanding reach and accelerating deployment times, it said.

U.S. broadcasters face mounting pressure as momentum grows for satellite spectrum reallocation for 5G and wireless connectivity. To date 280MHz of the original 500MHz C-Band capacity has been repurposed and further auctions are mandated within two years, it said.

With a 45% annual growth rate channel count over the past nine years, LTN now delivers nearly 8,000 channels and millions of live events over its network. It has seen nearly 40% annual growth in gateway locations across 4,000 MVPDs, stations and digital destinations, it said.

LTN has now delivered successful satellite-to-IP migrations for nearly 2,000 Tier 1 broadcasters, MVPD/vMVPD head-ends and content owner sites.

In 2025 alone, LTN’s distribution footprint to MVPDs surged by 200%, demonstrating market-wide demand for a more agile, cost-efficient and future-ready distribution model. Fueled by deep MVPD integration, LTN gives channels instant access to over 98% of pay TV households across the U.S. and Canada and has committed to reaching 100% in 2026, it said.

LTN’s new capabilities on its IP network include:

• Advanced monitoring: Real-time monitoring of signal video quality, SCTE-35 ad markers and transport stream structure integrity through a simple browser-based interface built within the LTN client portal.
• Low-latency video multiviewer: Integrated multiviewer functionality simplifies the distribution process, delivering real-time visibility and greater control for content owners.
• Simplified group management: Streamlined tools eliminate the inefficiencies of legacy satellite, unlocking faster, large-scale channel launches with greater flexibility and providing predictable, cost-efficient workflows.
• Channel customization for maximum reach: Real-time channel versioning enables broadcasters to deliver tailored content to any destination, supporting any protocol or format.

Providing a Service Level Agreement (SLA) of 99.9999% reliability and less than 250mx global latency, LTN offers superior performance, fully managed support levels and flat-rate pricing for real-time mission-critical video workflows over its IP-first network built exclusively for live video, the company said.

More information is available on the company’s website.

Cloud technology is making itself at home in the broadcast sector, and not just in post-production or distribution, but increasingly for live production and playout. Flexibility, scalability and cost efficiency await the organizations that adopt these solutions, particularly when extra processing capacity is needed above the normal levels compared to building extra capacity in-house.

However, it remains unlikely that all production resources will find their way into cloud infrastructure. For example, running all broadcast processes is likely to work out more costly than owning some of the resources.

So where does this leave broadcasters? In practice, a mixture of on-premises (ground) and cloud production setups allows adopters to benefit from the best of both worlds. For example, everyday production and crisis-situations broadcasting might be handled by on-prem equipment, while cloud would handle peaks above normal usage, such as special events.

But the adoption of hybrid production raises questions as to how workflows spanning resources from on-premises to the cloud are effectively managed—otherwise production staff may be drawn away from focusing on delivering engaging content. Management of these workflows, or orchestration, is therefore essential.

Framing Orchestration for a Hybrid Future
Whether it’s live production in the cloud, outsourcing part of an on-prem production into the cloud as a hybrid workflow, or delivery of live content to a pop-up playout channel, they all require control over on-premises and cloud resources. They need to be connected with each other to ensure the safe and reliable flow of media.

Controlling and orchestrating connectivity and signal routing in the cloud itself can often be handled by established static-events automation tools. For example, predefined automation templates can be quickly deployed to create cloud infrastructure. But this approach does not extend to on-premises resource control, which is often essential for larger live productions or permanent workflows.

Orchestration systems for hybrid live production must therefore integrate both on-premises and cloud resources seamlessly. The goal should be for these workflows to be managed in the same way as a traditional master control room or production gallery, with end-to-end visibility, monitoring, and efficient management of both on-premises resources such as bandwidth, ports and equipment, and cloud instances.

Must-Have Features for Orchestration Systems
In hybrid live production setups, operators should simply be able to select a source and a receiver, whether they are based on-premises or in the cloud. The orchestration system should then be able to automatically allocate the required encoders, ARQ protection and cloud gateways from a managed pool of resources.

For example, choosing the right compression technology is often a balance between quality, bandwidth and latency, and configuration might cover codec parameters, encryption and network addressing.

All of these decisions should be made by the system in the background, ensuring that users aren’t presented with unnecessary complexity. To make the management process even more seamless for staff, an intuitive control surface, such as a familiar hardware panel or an easy-to-use software interface, would allow them to keep track of on-premises, ground-to-cloud-cloud-to-ground (GCCG) and cloud workflows.

A hybrid connection may cover a number of networks, including the on-premises production network, dedicated WAN links and unmanaged networks such as the internet. An orchestration system must monitor these network types and provide redundancy in the event of failure. It also needs to handle multi-vendor equipment, including IP switches, cameras, switchers, servers and multiviewers, to ensure end-to-end control. Transcoding between on-premises feeds and cloud receivers is also essential, alongside orchestration of the connectivity to the cloud and between cloud-native applications.

In order to make the best use of the pay-per-use model offered by a cloud solution, the orchestration system should be able to interface with public cloud providers and automate the scaling of cloud instances by spinning them up or down. If a connection is no longer needed, automatic termination of cloud processing instances can save on hosting costs. Where spinning instances up and down isn’t practical, such as for larger instances in a cloud-based video switcher, starting and stopping instances can also reduce costs, although typically not as much as the spinning option.

And just as importantly, no orchestration system should be lacking in effective security measures. While public clouds usually offer enterprise-grade security, the system must cover secure communication between on-premises devices and cloud instances. It can do this via encrypted communication protocols, role-based access control (RBAC), integration with identity and access management systems via Single Sign-On, ARQ stream encryption management and audit logging for full traceability of operations.

The Importance of an Integrated Orchestration Approach
As live production evolves, the broadcast industry is embracing hybrid models that blend the strengths of on-premises infrastructure with the flexibility of cloud. But to unlock the full value of this approach, orchestration must take center stage to provide the operational efficiency, cost control, and resilience. Systems that can intelligently and seamlessly manage resources across both environments will define the future of live production.

Looking ahead, AI could enhance the automation and efficiency of orchestration systems, automating complex workflows, reducing manual intervention, and minimizing human error. With dynamic scaling of resources also an AI-led possibility, organizations will be further empowered to make a success of hybrid live production and continue to create high-quality content for audiences.

With the recent announcement of its acquisition of Actus Digital, LiveU is ready to expand its portfolio with a comprehensive range of intelligent monitoring and compliance tools that will help its customers realize faster and more efficient workflows, according to company executives.

In a recent interview with TV Tech, executives from Actus and LiveU talked about how the acquisition came about and what it means for LiveU’s customers and market focus.

Actus President Sima Levy noted that both Actus and LiveU customers in broadcast, as well as government and enterprise are looking for solutions that solve multiple issues.

“Customers want an end to end solution, but they also would like to have fewer vendors,” she said. “LiveU targets the exact same customers as we do, so now LiveU is able to offer more products to the exact same customers.

“Why is that good for the customers?” Levy added. “Number one, LiveU’s reputation means that it is committed to make Actus Digital the biggest and the strongest compliance and media monitoring solution in the market, supporting Actus with all of its resources in terms of products, innovation roadmap, and its global presence.”

Emphasis on QoE
Actus Digital, renowned for its intelligent monitoring and compliance platforms, used by premier broadcasters, governments and media agencies worldwide, brings powerful content analysis, Quality of Experience (QoE) monitoring solutions, and advanced AI enabled tools that will complement the LiveU EcoSystem, delivering operational efficiency and advanced content analysis. The LiveU EcoSystem is a set of innovative IP-video solutions, that add efficiency and shorten workflows across the entire video production chain, including multi-cam 5G contribution encoders and cloud-based ingest, production and IP-video distribution solutions, making the two solution portfolios highly synergistic.

Steve Wind-Mozley, chief marketing officer for LiveU, noted that the two companies’ evolution ran in parallel as they both pioneered their respective technologies when they started out about two decades ago.

“LiveU invented video over bonded IP and Actus began to assemble a single-screen compliance logging and this concept of intelligent monitoring,” he said, adding that LiveU’s interest in Actus Digital came down to the customer experience.

“How can you find the value in content and deliver it to a user in a convenient way? That resonated quite loudly with us and our board, which is why we were excited to reach out and acquire the Actus business and technology.”

Levy added that the two companies were well familiar with each other before the acquisition was announced at the end of April.

“We have been talking to LiveU in the last two or three years because we did understand the integration and the power of both solutions and the customers having one monitoring platform for their LiveU streams, their broadcast streams, their OTT or any other stream in one single screen,” she said, adding that there was significant overlap in the two companies’ customer base.

“[LiveU] is in the markets that we target. It's exactly the same industry. It's amazing. We have many, many common customers,” she said.

The broadcast industry’s move to IP has had a major impact on how the companies approached today’s market, according to Wind-Mozley.

“One of the things that attracted us to Actus, is that, like LiveU, Actus is video agnostic,’ so we don't mind what type of protocol our customers are using—IP, SDI, SRT, LRT, NDI, 2110, or another, it doesn't really matter,” he said. “Actus has the ability to monitor any type of feed, so they're even more agnostic than LiveU is. So the ecosystem that we're building together is designed to be as open as possible, because we want our customers to have the choice to use the right tool at the right time.”

Design Customers
Although LiveU is in the process of integrating Actus’ platform into its product portfolio, Levy noted that they are already getting increased interest from their customers for a common multiviewer for their different type of feeds as well as implement Actus other capabilities on the LiveU content, such as AI options.

“There are several levels of integration—one is something we already do, and that started even before the acquisition where LiveU customers were coming to Actus asking, ‘we would like to monitor LiveU content within a platform like yours,’ she said. “That started a year and a half back, before we even discussed the M&A with LiveU. So that came from a market need.”

“And here we don't need to do any integration—it's there and we are already doing that; Actus can ingest any type of video and audio, any protocol, any resolution, any format, into our platform,” she added.

As for further integration, Levy says the companies have already begun discussions with select customers to explore ways of integrating solutions that could lead to the development of new configurations of a combined system.

“We are talking to a few customers—and we have many shared customers who are coming to us and saying, ‘we would like to offer you some ideas for further integration,” Levy said. “I call them ‘design partners.’ We have already picked up three shared customers, both of ours and LiveU, and this is happening just now. All this M&A is so fresh, but it's already happening. We didn't plan to do that until early next year, but the industry is dictating the tempo here.”

Wind-Mozley noted the importance of having one solution in an easy to understand platform that can accelerate workflows for more efficient live production, adding that the Actus brand and team is still intact after the acquisition is completed.

“Actus remains the same,” he said, adding that “we already get more and more customers of LiveU that understand the integration and that we bring more value to the production, bringing monitoring in one screen.”

IBC Plans
Actus, which will be exhibiting in the LiveU booth at the IBC Show in September, will preview some upgrades to its Actus X platform. Actus X features next-generation Quality Assurance (QA) compliance logging, giving customers better access and control over alerts and threshold settings via its browser-based GUI; advanced multiviewer capabilities and AI-powered media insight.

Levy says the platform is designed to help customers expand the monetization potential of their content.

“We are not only providing mandatory compliance, we are turning the compliance and mandatory recording system into a kind of a business enabler,” she said. “We have a nice solution for clipping and content repurposing to social media that has nothing to do with compliance, but will help customers increase viewer engagement.”

“The punch of the Actus X goes much, much beyond compliance and monitoring,” she added,

Wind-Mozley says IBC will provide a stage to showcase LiveU’s role in increasing the integration of IP in live production.

”We will be unveiling what we're terming to be a ‘quantum leap’ in live production; and I don’t use that term lightly,” he said. “It's not even a revolution, this is something entirely new.

“Last time at NAB, we were excited to talk about and demonstrate LiveU IQ, our ability to use AI, eSIMs and dynamic switching to be able to do some pretty astonishing things in very contested, congested or very feeble remote network environments,” he added. “At IBC, we will be delivering the next chapter of that story, which will make live production much more accessible for many, many customers, and we're properly excited about that. We'll also be showcasing some very powerful add-on solutions that I kind of like to think really enhance the accessibility and the interoperability of what we call the LiveU ecosystem.”

LiveU and Actus will be Stand 7.C19 at the RAI Amsterdam during the 2025 IBC Show, Sept. 12-15.

The broadcast industry is undergoing rapid change and rising uncertainty. As regulatory debates continue, shifting audience expectations and growing demand are accelerating a long-standing move away from legacy satellite models toward smarter, IP-based distribution. With fast moving changes in both policy and business models, broadcasters must act now to prepare for a future that is IP-first.

The Decline of Satellite
Ongoing deregulatory initiatives including C-band reallocation, spectrum repacking, and the future of spectrum usage pose significant questions for satellite-reliant broadcasters. Once driven by cost and complexity concerns, many now doubt satellite’s long-term viability altogether.

With additional C-Band spectrum under review for new 5G and connectivity services, the pressure is mounting. Earlier C-band auctions squeezed spectrum capacity, and now as further reallocations loom, many broadcasters are preparing for an inevitable pivot.

As the industry moves toward the 2028 target for full ATSC 3.0 adoption, broadcasters face a critical juncture. NextGen TV promises new revenue streams and advanced capabilities, including UHD video, targeted advertising, and advanced emergency alerts.

However, deployment depends on regulatory clarity and infrastructure investment. At the same time, rising audience demand for on-demand, cross platform access is pushing legacy models to their limit. Forward-thinking broadcasters now see IP-based distribution and new delivery standards as urgent business imperatives.

Prepare for the IP Transition on Your Own Terms
With C-band capacity increasingly at risk, purpose-built IP distribution options are delivering the scalability, efficiency and satellite-grade reliability broadcasters need, along with the flexibility of IP. The majority of broadcasters are telling us they’re actively preparing for this shift to IP distribution, even if timelines vary. A successful transition doesn’t require abandoning satellite overnight.

It requires a flexible strategy that aligns with existing contracts, controls cost, and supports long-term goals. Fortunately, today’s migration paths are clearer than ever. Hybrid models and regional deployments allow broadcasters to adopt IP on their terms.

At the same time, expanding support for IP native and HLS-supported receivers enables major networks and channel owners to cost-effectively scale IP distribution, streamline group management, and unlock new markets.

As more companies prepare to embrace IP, many ask us how to make the transition easier. It starts with end-to-end project management and hands-on support. Business and operations leaders should hold prospective IP partners to the highest standard, demanding managed services that surpass what satellite and protocol only IP options provide.

This includes real-time monitoring, proactive issue resolution and responsive support. Reliability isn’t optional. Ask vendors the hard questions: How is their IP architecture built? What redundancy and failover measures are in place? Do they operate across Tier 1 data centers? Do they rely on networks and public clouds that are not built exclusively for real time video delivery and workflows? Future-ready distribution must be bulletproof, and your partner in this transition should be able prove all of this.

Growth Opportunities in FAST and NextGen TV
Shifting to IP channel distribution unlocks new audience engagement and revenue opportunities, especially in the booming FAST market, projected to hit $8B globally this year (Omdia).

Whether streaming live sports on Roku or syndicating local news digitally, single-source IP solutions make it easier and faster to deliver premium content. LTN's work with major U.S. networks powering multiple live FAST channels with real-time localized news has shown us just how effective live programming can be in driving both viewer engagement and ad revenue.

NextGen TV, now reaching 76% of US households, is redefining broadcast innovation. Early adopters are already seeing value through addressable ads, shoppable content, interactive overlays, and advanced emergency alerts.

Datacasting advancements from industry leaders like Scripps, Sinclair, Gray Media and Nexstar Media Group are unlocking new use cases, from drone navigation to loT to real-time asset tracking. As the demand for high-speed, precise data grows, broadcasters are well positioned to monetize it if their distribution tech is IP ready. These aren’t future concepts, they’re active opportunities, supported by infrastructure that exists today.

Broadcasters and sports networks like Scripps, MSG Networks, TelevisaUnivision, and the Tennis Channel are already leading the shift to IP-first distribution. As more organizations follow, it’s critical to recognize that not all IP networks are equal.

Broadcasters should prioritize purpose-built video networks designed for live premium content — not retrofitted enterprise tech, protocol-only solutions or costly public cloud options. That means, find a network that is exclusively designed for live video with a host of enrichment options in real-time. Now is the time to assess your infrastructure, accelerate transition plans and choose partners built for this moment. The leaders embracing IP today are already securing audience loyalty and long-term revenue.

BOTHELL, Wash.—The Alliance for IP Media Solutions (AIMS) will highlight the latest Internet Protocol Media Experience (IPMX) developments and host several of its members for live demonstrations in its booth during InfoComm 2025, June 7-13, in Orlando, Fla.

IPMX is a set of open standards-based protocols designed to ensure interoperability for AV-over-IP systems. Companies demoing IPMX in the AIMS booth include: intoPIX, Cobalt Digital, Matrox Video, Macnica, Nextera Video, Meinberg USA, Megapixel and EvertzAV.

“The progress IPMX has made over the last year is extraordinary — not just in technical development, but in real interoperability across vendors,” said Andrew Starks, AIMS board member and director of product management at Macnica.

“At InfoComm 2025, we’re excited to show the industry that IPMX is no longer a vision for the future. It’s on the cusp of market readiness with tested, deployable technology built on open standards. This is a critical step for Pro AV’s transition to IP, and we couldn’t be more thrilled to show it off at the industry’s biggest event of the year.”

InfoComm follows the IPMX Tested Event 2025, March 24-28, in Burbank, Calif. The multivendor interoperability milestone held at EvertzAV brought together 12 companies to validate system behavior, video and audio compatibility across IPMX profiles.

The event marks a significant step toward finalized specs and widespread industry adoptions, AIMS said.

AIMS is now preparing publicly available self-test procedures and a marketing label system to help manufacturers clearly indicate which IPMX profiles their products support.

In Orlando, AIMS will also contribute to InfoComm’s education program. AIMS board member and vice president of strategic partnerships at Matrox Video Sam Recine will present the “Compatibility in IP-Based Media Systems Across Product Classes” session on June 11 from 4 p.m. to 5 p.m. in meeting room W312C.

Earlier that day in room W312C, from 11 a.m. to noon., he will also join Panasonic’s Mike Bergeron and Peyton Thomas for the panel “Designing a Network for Live Video to Support Broadcast Quality Production in a Workplace Context.”

See AIMS at InfoComm 2025 booth 3089.

For more information, visit the AIMS website.

LONDON, UK—The BBC World Service is working with Encompass Digital Media and Zixi to transition the global distribution of its content from satellite to IP-based delivery, offering “unparalleled flexibility, scalability and cost-effectiveness,” according to Encompass.

The first major milestone was reached at the end of March, and delivered the full transition to IP distribution for BBC World Service partners across Europe with the Americas, Pacific, Africa, and Asia to follow.

The BBC World Service allows the British broadcaster to reach a potential worldwide audience of 450 million, delivering news and current affairs in 42 language services including English across a mix of video, audio and online output.

The BBC World Service is using Encompass’ Altitude Connect platform, integrating Zixi’s IP delivery technology with Altitude Media Cloud, Encompass’ global broadcast cloud platform.

Encompass says its strategy towards emphasizing the modernization of broadcast infrastructure, audience resilience, and cost-effective content distribution is "a natural fit" for the BBC’s own distribution roadmap. By moving to IP-based delivery, Encompass expects the BBC World Service will:

• Expand accessibility by delivering content more efficiently across a range of digital and broadcast platforms.
• Enhance flexibility and security, ensuring uninterrupted service in regions where satellite coverage may be unreliable or cost-prohibitive.
• Support sustainability and cost reduction, moving away from legacy satellite technology to a more scalable and adaptable digital framework.
• The shift to IP also enables targeted content delivery, allowing the BBC to respond more effectively to market challenges and changing audience needs.

In migrating hundreds of radio and TV partners globally from satellite to IP delivery, the project aims to transition The BBC World Service from bespoke receiver hardware to commodity, software-based solutions. The BBC World Service is using SCTE 224 to integrate broadcast schedules, delivering precise and seamless channel switching across the global platform, Encompass said.

Nigel Fry, Director Distribution, International Services, BBC News, said: "Transitioning BBC World Service distribution to IP represents a major milestone in our commitment to modernizing how we serve markets worldwide. This shift provides another level of flexibility for our services while aligning with our long-term strategy to adapt to the evolving media landscape. With the support of Encompass and Zixi, we are ensuring that BBC World Service continues to deliver trusted news and information to audiences, wherever they are, with greater reach and security than ever before."

Marc Bruce, CEO of Encompass Digital Media, said: “We are proud to partner with the BBC and Zixi to bring a new era of IP-based content distribution to BBC World Service. This project is a significant step forward in modernizing broadcast infrastructure, allowing for greater flexibility, cost efficiency, and enhanced security. By moving away from satellite, we are enabling the BBC to reach its global audience with unmatched flexibility and precision."

Marc Aldrich, CEO of Zixi, added: "Zixi is thrilled to collaborate with the BBC and Encompass to deliver this groundbreaking transition to IP-based distribution. Our technology ensures the highest level of reliability, security, and scalability, allowing the BBC World Service to expand its reach and maintain its reputation for excellence in global broadcasting. This project is a testament to the future of content delivery, where IP distribution becomes the gold standard for efficiency and innovation."

HACKENSACK, NJ—LiveU, a global provider of live IP-video contribution, production and distribution solutions, has signed a definitive agreement to acquire Actus Digital’s business and technology. LiveU says the acquisition will significantly enhance its recording, monitoring and Artificial Intelligence (AI) capabilities and “accelerate its mission to help customers improve operational effectiveness and create more value from video.”

Actus Digital, renowned for its intelligent monitoring and compliance platforms, used by premier broadcasters and media agencies worldwide, brings powerful content analysis, Quality of Experience (QoE) monitoring solutions, and advanced AI enabled tools that will complement the LiveU EcoSystem, delivering workflow simplicity and operational efficiency, the company said. The LiveU EcoSystem is a set of innovative IP-video solutions, that add efficiency and shorten workflows across the entire video production chain, including multi-cam 5G contribution encoders and cloud-based ingest, production and IP-video distribution solutions, making the two solution portfolios highly synergistic.

"We are delighted to be welcoming Actus Digital to LiveU," said Samuel Wasserman, CEO and Co-founder of LiveU. "Their exceptional, market-leading monitoring platform and AI expertise, combined with our shared commitment to reliability, quality, and customer service will significantly strengthen our entire offering in line with our overall strategy.”

“The LiveU EcoSystem is IP-Positive, meaning it accepts all the major video protocols for maximum interoperability and ease of use for our customers. With Actus Digital, we can now give our customers the valuable ability to monitor and gain insights from all these different feeds in a single solution, so that they can always be sure of their LiveU experience,” he continued.

Sima Levy, President and Founder of Actus Digital, added: "Joining LiveU provides our customers with easy access to a comprehensive, high-reliability IP-video EcoSystem, backed by world-class support. Combining the LiveU EcoSystem with the Actus Intelligent Monitoring Platform delivers powerful new capabilities to our customers across radio, TV, OTT and the internet. In fact, more and more of our customers have asked for integration with LiveU and we’re excited to be able to combine our resources and expertise to serve them better.”

The Actus Digital brand and Sima’s role as president of the brand will continue, according to spokesperson for LiveU.

SALT LAKE CITY—Utah Scientific has launched On-Ramp, a rack-mountable device that integrates with routing systems to ease the difficult and expensive process of transferring broadcast and live production operations from SDI signals to IP.

With On-Ramp, broadcasters can adopt a hybrid of IP and SDI signals (12G UHD, 3G HD, and 1.5G) for a gradual transfer to IP, thereby extending the life of their current equipment, curbing future costs, and easing burdens on staff.

“Not only is it important for us to develop new technology, but—due to our unique 10-year warranty—we also need to make sure our technology enhances the products our current customers own. On-Ramp checks all the boxes,” said Brett Benson, Utah Scientific CEO.

On-Ramp is a flexible device in a 1-RU frame with up to five hot-swappable card slots and 16 SFP cages. Configurable for the application, On-Ramp makes it possible to copy and route 12G UHD and 3G HD signals and encapsulate them into SMPTE ST 2110 signals. It can also de-encapsulate IP signals into 12G UHD and 3G HD signals.

On-Ramp’s most important feature is its ability to create an ST 2110 version of video up to 12G UHD and process the signals with precise control, including frame synchronization, audio embedding/de-embedding, and noise reduction. On-Ramp expands on Utah Scientific’s 3G HD PassThrough card to include these features. Users can mix and match cards for encapsulating, de-encapsulating, processing, or a mix of all three.

On-Ramp can be used as a stand-alone device or as an accessory to Utah Scientific’s UDS, Series 2, and especially UHD router lines, enhancing their value. It will also be compatible with the company’s future line of next-generation routers, the company reported.

The company reported that engineers will appreciate using On-Ramp in all sorts of scenarios to encapsulate SDI signals into ST 2110 because of the increased flexibility, scalability, and efficiency that IP-based workflows offer compared to traditional SDI.

For example, broadcasters and content providers with a mix of aging SDI equipment can use On-Ramp to integrate IP capabilities into an existing SDI setup incrementally, starting with 3G modules to encapsulate key SDI feeds into IP streams for online broadcasting. On-Ramp’s distributed routing capabilities create a bridge between SDI and IP domains, simplifying workflows. As needs grow, the stations can easily upgrade to 12G capabilities for UHD IP streams. This phased approach minimizes upfront costs, allows staff to gain IP experience over time, and prepares the station for future broadcasting technologies without a complete infrastructure overhaul.

In addition, production companies specializing in live coverage of extreme sports can produce high-quality multicamera broadcasts using On-Ramp units for flexible, on-the-fly signal conversions. Deployed at strategic points around the venue and in a mobile production truck, On-Ramp enables remote camera contribution via SDI-to-IP gateways, eliminating long cable runs.

In the truck, On-Ramp units configured as IP-to-SDI gateways convert feeds for backhaul to existing switchers, while other modules are configured to receive IP feeds from cloud-based graphics and replay systems. On-Ramp also facilitates multiplatform streaming, flexible signal processing, and distributed routing with redundancy. This setup makes it possible to produce high-quality broadcasts with minimal equipment, streamlined remote contribution, and seamless integration of cloud resources, the company said, adding that these are just a few possible uses of this new device. On-Ramp is now available for preorder.

More information about Utah Scientific and the company’s product line is available at www.utahscientific.com.

BOTHELL, Wash.—The Alliance for IP Media Solutions (AIMS), Advanced Media Workflow Association (AMWA) and the Video Services Forum (VSF) will once again present the IP Showcase in the West Hall of the Las Vegas Convention Center during the 2025 NAB Show, April 5-9.

The IP Showcase will focus on the convergence of broadcast and Pro AV technologies, with the IPMX open-interoperability framework for AV-over-IP taking center stage.

“The 2025 NAB Show marks a pivotal moment in the convergence of broadcast and Pro AV, and the IP Showcase will be instrumental in educating attendees on how IPMX is bridging the technological gap between these industries,” said Andrew Starks, a member of the AIMS board of directors and director of product management for Macnica.

“As broadcasters and AV professionals increasingly rely on shared IP-based infrastructures, IPMX provides an open-standards-based technology that enables seamless interoperability, high performance and scalability across diverse applications. With NAB’s growing focus on Pro AV, this year’s show offers the perfect platform to demonstrate how IPMX is driving innovation, breaking down barriers, and unifying the way we create, distribute and experience content. It’s going to be an amazing show, and we can’t wait to see everybody there.”

A core component of the IP Showcase will be the IP Showcase Theater where industry professionals will be giving presentations on a wide range of topics. Taking place on the Tech Chat Stage in the West Hall, the IP Showcase will feature 16 presentations.

Topics will include a roadmap presentation for IPMX, which outlines key milestones, including the first product validation tests scheduled for Q3 2025, the control plane and the relationship between IPMX and AES67 and SMPTE 2110. Other topics to be explored include dynamic media facilities and cloud integration, live production, timing and synchronization and security in IP-based workflows, as well as case studies on media organization and facilities that have shifted to IP.

The IP Showcase will also feature an IPMX demo space in booth W2843, across the aisle from the Tech Chat Stage, where attendees will see live demonstrations of IPMX-ready products, including an NMOS controller and multiviewer and integrations with existing AV-over-IP technology.

A meeting space will be available in room W317 where training, standards-related meetings and other IPMX demonstrations will take place.

Visit the IPMX demo space in 2025 NAB Show booth W2843.

Visit the IP Showcase in the West Hall across from the IPMX demo space.

Visit the training space in Meeting Room W317.

More information is available on the AIMS, AMWA and VSF websites as well as the IP Showcase website.

As the annual pilgrimage to Las Vegas for NAB Show 2025 nears, it’s time once again for industry suppliers to put forward their solutions and tools for all things content, creation and monetization. AI is, of course, top of mind for anyone in the business of developing and marketing new technologies and will undoubtedly be a big trend to follow before, during and after the big event. But what about the ongoing transition to IP and the promise of greater flexibility, scalability and efficiency?

Not to worry, experts say, IP is here—and here to stay. In fact, according to the annual Big Broadcast Survey produced by industry research and analysis firm Devoncroft, IP networking and content delivery has ranked as the No. 1 most commercially important technology trend for four years running. It’s just that IP isn’t everywhere yet and likely won’t be for quite some time.

Not Just Plug ‘N’ Play
Going IP takes training, according to Stan Moote, chief technology officer for the International Association of Broadcast Manufacturers (IABM), the industry’s trade association for technology suppliers. “With SDI there are patch panels and one can trace/bypass the signal flow in an instant,” Moote said. “With IP it is an entirely different approach, and these skills must be learned.”

Like most innovations and technological transitions, the move to IP has been subject to circumstances and making the right decision based on your respective business goals. Whether you’re operating local, remote, on- or off-prem, using SDI, IP or a combination of both, there are definite challenges and benefits to every scenario.

“I’m super-positive on moving to IP because of the huge benefits,” Moote says. “Actually, though, in some cases, SDI may still make perfect sense, especially if the facility is small, has little interest in live remotes or scalability and has no concern about the constant need for different formats and flavors of both video and audio.”

What, then, can folks planning their NAB calendars expect to see? The benefits of IP seem to be making the largest impact in the production world in several different ways. One is by removing the limitation of distance inherent in SDI connectivity. Using the ubiquitous availability of IP networks to their advantage and leveraging cloud applications as well, broadcasters have incorporated IP into their workflows strategically to gain efficiency. Industry suppliers have countless ways to deliver efficiency with IP.

“There are definitely specific cases now where it’s obvious that IP provides a cost-effective option that didn’t previously exist,” says Imagine Communications Senior Vice President of Product Management John Mailhot, who received SMPTE’s 2024 David Sarnoff Medal for his work in developing the SMPTE 2110 standard.

“For years using SDI, the limitations of the geometry of routers became an impediment—there was constant fighting over who gets which router ports,” he says. “In IP, every single thing is hooked to the network and inherently routable.”

Flexible, Efficient and Infinitely Scalable
This key characteristic of an IP network not only creates enormous flexibility but also makes an IP-enhanced workflow almost infinitely scalable. Former SMPTE President Renard Jenkins, president of I2A2 Solutions and Labs, a technology consultancy and R&D lab focused on innovation, says he has seen this scalability have a tremendous impact on the creative process, as well.

“With video over IP, you can easily increase the number of inputs, which means that you can have better coverage for a single event … more cameras, more microphones, more inputs into your router then you would have if you were dealing with tons of copper cables,” Jenkins says. “This increase in content gathering, especially in live sports and events, allows you to have better, and more, coverage, which on the back-end allows you to create more engaging content and have better creative flexibility.”

This flexibility leads to more efficient workflow setups that enable users to configure their equipment based on the specific needs of one show and then easily reconfigure for another without the need to physically move wires.

One of the keys to capturing these efficiencies is by incorporating a workflow control and orchestration system that allows operators to easily manage a combination of traditional SDI signals along with IP. This is critical not only because the technology works so differently, but because there’s a skills gap—most broadcast engineers weren’t trained to operate within IP networks because they had traditionally been the domain of IT professionals.

Bridging the Gap
Mobile production leader NEP began adopting IP technologies into its workflows early and provided some unique insights in a case study recently published by Cisco Systems.

“We deliver a remote production, a centralized production, where we put product people in one place and we have cameras and lenses in another place across the wide area network—and we’re doing that basically every day,” Marc Segar, NEP Group’s senior vice president of technology, explains. “What we holistically want to do is use hardware wherever it happens to be, and for that you’re going to be completely reliant on the wide area network and the infrastructure you put underneath. But you can’t do that unless you can manage the network and you have control over the network and you have the right tools to be able to do that well.”

Adds Jenkins, “Control and orchestration tools, with an intuitive UI design, that bridge the gap between (networks built using) copper cable and IP networks—along with the knowledge that you need to understand how to operate in both spaces—is paramount for the growth of what we’ve begun to accomplish within our industry today.”

Many vendors will certainly have control and orchestration for IP and hybrid networks near the top of their “things to see” lists at NAB Show. Imagine’s Aviator Orchestrator is one example.

“What Aviator does is it uses ‘cloud-
inspired’ deployment and management mechanics to also deploy and manage applications on-prem,” Mailhot explains. “So, you can deploy on-prem or you can deploy to the cloud over IP. You can use things the same way and create the same on-air look and use the same playout chain.”

The importance of developing consistency in how these so-called hybrid networks are managed can’t be understated. Much as ST 2110 opened the door to interoperability and relatively smooth sailing in IP content transport, standards are needed to ensure the same can be applied to workflow setup and control. IABM and SMPTE are working together to bring this to fruition.

Moote says the IABM, in conjunction with SMPTE, has established a control-plane working group that is developing an open-source, open-standard approach to this challenge. Once it’s ready, a control-plane standard should provide a smoother road to incorporating IP into existing workflows, or new ones, that can easily scale for even the largest and most complex productions.”

Vendors and broadcasters alike are invited to check-in with IABM in the North Hall (N257) while in Las Vegas to learn more.

MAHWAH, N.J.—Ikegami Electronics has announced a new addition to its range of broadcast quality television production, control and monitoring equipment for the U.S. market, the IPX-100. It also confirmed that the IP gateway for Ikegami UNICAM XE and UNICAM HD cameras will make its first U.S. appearance on the Ikegami booth, N1539, between April 6 to 9 at the 2025 NAB Show in Las Vegas.

The product had been introduced at the 2024 IBC Show in September in Amsterdam.

The IPX-100 allows broadcast content creators to adopt SMPTE ST 2110 IP remote operation while supporting the familiar workflow of baseband live production. Each camera can feed into an IPX-100 gateway via up to 2 miles of conventional SMPTE-hybrid fiber cable. The camera head is powered by the IPX-100 so there is no operational difference for the cameraman compared with using a conventional fiber-cabled camera.

“The IPX-100 is a compact lightweight unit, 2U height and half rack width, and weighing just 11 pounds,” explained Emilio Aleman, senior product manager at Ikegami Electronics (USA). “It is suited for use in a central equipment room, a REMI mobile unit or flight pack, or for operation as a portable throw-down unit. Equipped to work fully self-contained, the IPX-100 incorporates a test signal generator which allows system configuration before cameras or other sources are connected. Support is also included for the video trunk channel of our UNICAM XE cameras, allowing IP integration of a POV camera such as our box style UHL-43.”

The IPX-100 can be configured quickly via a series of license-key options to suit specific requirements as or where needed. Those include:

• A gateway function for 3G/HD-SDI input/output enabling SDI-to-IP and IP-to-SDI conversion, supporting external devices at the IPX-100 location.
• JPEG XS (SMPTE ST2110-22 compliant) encoding and decoding. JPEG XS preserves the visual quality of an uncompressed stream with almost no human-perceptible delay. It is ideal for remote production where transmission bandwidth is critical. The IPX-100 provides selectable JPEG XS data rate in four steps: High (1/5), Mid (1/8), Low (1/16), and Mini (1/32), allowing users to select the optimal setting according to operational conditions. The JPEG XS option also provides support for Video Trunk and QTV in 4K.
• 3D-LUT output for HD simulcasting. This is compatible with 33 x 33 x 33 or 65 x 65 x 65 .cube files created using DaVinci Resolve and well as HD to 4K-UHD upscaling.

A PC running Ikegami XE Web View software can simultaneously be coupled to the camera control network via an optional Ikegami Protocol Gateway, enabling initial setup and supervision of the ST 2110 interface. Automated MoIP network setup can be performed using an NMOS IS-04/IS-05 feed from the IPX-100 to a local or remote central automation system.

Video formats supported as standard include UHD (2160p59.94/50), HD (1080p59.94/50, 1080i 59.94/50, and HD-HFR in 1080i/p (2x/3x/4x speed) and 720p59.94/50). Other supported standards include SMPTE ST 2022-7 redundancy, ST2110-10, ST 2110-20/-21/-22/-30/-40 and ST 2059-1/2 PTP synchronization and NMOS IS-04/-IS05 control protocols.

An HD-SDI video monitoring output allows direct connection of a field monitor to the IPX-100, facilitating initial setup.

Lawo has announced it will be showcasing a variety of IP-based solutions at ISE 2025 in Barcelona (Feb. 4-7) at booth 5H700.

During the show, Lawo said that it would demonstrate how its IP-based solutions deliver unmatched performance and flexibility for a variety of applications, including facility infrastructure, corporate applications, live productions, stadiums, parliaments, theaters and opera houses for AV and production.

More specifically, Lawo said that on Feb. 4, 5 and 6 at 4:30 p.m., its booth will feature clients discussing their experiences with Lawo’s IP solutions. The presenters speaking at Lawo’s booth were directly involved in the planning, installation, and operation of the systems, and agreed to share their experience and insights.

La Monnaie (Brussels) will present the cutting-edge AV tools it used for its immersive-audio “Fanny and Alexander” production and Teatro Real (Madrid), one of the world’s most renowned opera houses, will discuss using its three mc²56 consoles powered by six redundant A__UHD Core audio engines for a variety of sophisticated production workflows. In addition, the Gran Teatre del Liceu (Barcelona) will present the venue’s roadmap for immersive and highly sophisticated audio and video productions.

Visitors are encouraged to register here.

Also during ISE, visitors will also see the crystal broadcast console, a compact and highly adaptable mixing solution built on RAVENNA/AES67 networking standards. Fully compliant with SMPTE ST2110-30/-31 for audio and ST2022-7 for redundancy, the crystal console supports a wide range of audio sources, including AES67, MADI, analog, AES3, and Dante.

The crystal console operates in two distinct modes, providing unmatched versatility. In Power Core mode, it acts as an independent mixer powered by Lawo’s Power Core engine, a software-defined, high-density DSP and modular I/O device that supports expandable connectivity for a variety of audio formats. This configuration is ideal for traditional broadcast environments and ensures seamless scalability.

In Controller mode, the crystal console becomes part of a larger production setup by serving as an extension interface for Lawo’s mc² audio production consoles.

Designed to fit into space-constrained environments, the crystal console features a high-density control surface in light and dark versions and configurations with 6, 8, or 14 faders. Its expandable I/O and customizable Virtual Extensions make it ideal for small to mid-sized studios, regional broadcast operations, or as an auxiliary controller in large-scale setups.

Lawo will also showcase the mc²36 audio production console, a versatile tool for theaters, houses of worship, live events, corporate settings, and broadcast applications. With integrated A__UHD Core functionality, the mc²36 delivers 384 processing channels, native support for ST2110, AES67, RAVENNA, and Ember+, and an impressive I/O capacity of 864 channels.

Key features include touch-sensitive rotary controls, LiveView video thumbnails, color TFT fader-strip displays, and advanced loudness monitoring compliant with ITU 1770 standards. Its compact footprint and user-friendly design make it the ideal solution for demanding audio production environments where space and performance are critical.

Also on display will be Lawo’s HOME Apps. Built on a microservice-based architecture, these apps provide unparalleled flexibility for media workflows, supporting mixed technologies and formats such as SMPTE ST2110, JPEG XS, NDI, SRT, Dante and H.264/H.265.

The app family of 10 includes the HOME Multiviewer, UDX Converter with HDR processing, and Graphic Inserter for seamless video and graphic workflows; the HOME mc² DSP App delivers powerful audio processing with features such as advanced EQ and dynamics control, while the HOME Test Pattern Generator, Color Corrector with HDR capabilities and Timecode Generator offer indispensable tools for live and post-production environments. The HOME Downstream Keyer, the most recent addition, provides sophisticated video overlay capabilities, making it ideal for dynamic live productions.

Running on standard servers, whether on-premise, in remote data centers, or in the public cloud, HOME Apps redefine media processing by combining scalability with efficiency for outstanding agility in production workflows. Their adaptability ensures they remain viable as new technologies and formats emerge, making them an essential component of modern media infrastructures.

In addition, Lawo’s HOME unified, open management platform for IP-based media infrastructures is designed to connect, manage and secure. Natively built on a cloud-ready microservices architecture, it enables users to connect, manage and secure networked production setups from the ground up.

Furthermore, it provides centralized access to, and control over, all Lawo gear within a setup. HOME helps broadcast professionals address some of the most demanding requirements of modern IP infrastructures, including automated discovery and registration of devices, connection management, flow control, software & firmware management, scalability and security.

Lawo’s HOME platform is based on open standards, e.g. SMPTE ST2110, NMOS, IEEE802.1x and RADIUS, and follows LUX, Lawo’s unified experience design principles for a consistent workflow across all Lawo IP solutions.

More information is available at www.lawo.com.

BOTHELL, Wash.—The Alliance for IP Media Solutions (AIMS), the group working towards a standards-based internet protocol infrastructure for professional media, has elected its board of directors for 2024-25.

Re-elected to the AIMS board were chairman Steve Reynolds of Imagine Communications and directors Andreas Hilmer of Lawlo AG, Lee Buchanan of Grass Valley and Andrew Starks of Macnica.

Joining the board as a newly elected member is Samuel Recine, vice president of sales, Americas and Asia Pacific, for the AV/IT Group at Matrox Video. Recine joined Matrox in 1997, where he led a variety of commercial and product-management roles. He is currently focused on contributing to the growth of performance media over IP markets.

Terry Holton, retiring from Yamaha, will step away from board duties.

“Terry’s contributions as a board member have been invaluable in helping us educate the broadcast and Pro AV markets on the importance of AV over IP while developing the IPMX standard and positioning it for widespread adoption,” Reynolds said in a statement. “We appreciate his efforts and wish him the best. At the same time, we’re thrilled to welcome Samuel to the board. He has been instrumental to our success in promoting a common set of standards for IP media transport and will play an important role in the next phase of IPMX’s journey.”

AIMS board members are chosen each year. Terms begin immediately.

ST. PETERSBURG, Fla.—Thunder City Productions, a design and installation company here, incorporated key production technology from Evertz, as well as solutions from Sony and Calrec, into a mobile production unit (MPU) for Florida Atlantic University used for live content broadcast on ESPN+.

The BOLT Series MPU, launched last year, is available as a 16-, 24- or 32-foot unit. Customers can select a predesigned floor plan, a preintegrated unit or a truck specifically designed and built for them.

“BOLT came about because many of our clients were looking for smaller production vehicles that were more cost-effective to build and run, and easier to transport around the country,” production designer and Thunder City Pro CEO Justin Stancil said. “As very few companies were addressing this market, we decided to launch BOLT with a view to improving on what was already out there.”

FAU chose a 32-foot trailer and Thunder City Pro—in conjunction with its production company, Digital Wave Productions—specified, ordered and installed the equipment. FAU uses the production truck to televise its sports teams’ away games and to generate revenue through hire. It also is used to teach students enrolled in FAU’s Multimedia and Production programs.

The unit is now being used to capture content across several sports, including baseball, soccer and basketball.

“We worked closely with FAU to ensure that the MPU met FAU requirements and ESPN+’s technical specifications,” he said. “FAU wanted five cameras, seating and workstations for up to 10 people and high-quality, industry-standard equipment so that students could train on technology they will find in the real world. We also had to make sure that the unit was 3G 1080p and 4K/HDR-ready for the future.”

Evertz supplied key technology for FAU’s new mobile unit, including a DreamCatcher DC-ONE system with two DC-RCP10 controllers, a NEXX 64 x 64 embedding and de-embedding 12G-SDI router controlled by MAGNUM-OS and an 5700MSC-IP Grand Master clock and video sync generator.

“The DreamCatcher DC-ONE is industry-standard for live shows at this level,” Stancil said. “I am very accustomed to working with DreamCatcher and the Evertz MAGNUM orchestration platform, to the point where I refuse to use anything else.”

The Evertz DC-ONE is an 8-channel replay system with 7.68 TB of continuous loop recording that supports 720p, 1080i, and 1080p video formats. Features include slow-motion replay, live steaming between networked systems, clip creation, clip naming, metadata tagging, playlist creation and editing, audio editing, internal audio routing, content import and export, content transcoding and searching and one-touch zooming, the company said.

The university’s MPU is equipped with on-board Network Attached Storage (NAS). Because this can be mounted on the DC-ONE as a drive, operators can quickly import and export clips and graphics, Evertz said.

“Being able to access pre-pro elements, such as clips and graphics via the NAS, without having to mark in and out or clip everything saves so much time,” Stancil said. “It is a very precise, self-sustaining system, and its ability to access the NAS and all other devices that are connected to it was super important to us.”

The Evertz NEXX router on the trailer operates with MAGNUM-OS orchestration software. It is capable of embedding and de-embedding on every input, handling Multichannel Audio Digital Interface (MADI) inputs and outputs, generating multiviewers and supporting processing functions such as frame syncing and format conversion, Evertz said.

“The density was more than twice that of other routers we were considering,” Stancil said. “We can have four multiviewers per card, and we don’t lose critical I/O resources by having to reinsert multiviewers. We can route any multiview in the router to any output we want.”

FAU’s MPU is also equipped with an Evertz 5700MSC-IP Grand Master clock and video sync generator, which has the GPS component needed to synchronize the unit’s SMPTE ST 2110 audio console, Evertz said.

AUSTIN, Texas—Systems integrator BeckTV has completed technical design, facility planning, and integration for the "PBS News Hour" studios and production facility at WETA, the flagship public media station for Washington DC. The goal of the project, the company said, was “to create a modern, flexible, and scalable production facility” that could support the needs of "PBS News Hour," "Washington Week with The Atlantic," and other shows. The new control rooms and studio launched on June 10.

"PBS News Hour," public television's marquee news program, is a national nightly news show that has been broadcasting for nearly 50 years. The show moved from its old studios in an aging production building to a newly expanded part of the WETA headquarters and technical facilities a few blocks away.

"WETA started working with BeckTV six years ago to build a budget plan and a high-level review of technology options," said Vince Forcier, Senior Director of Engineering at WETA. "Their proposal stood out because, in every element of their response, we could tell they were listening and understood what we were trying to achieve. They continued to work with us through the design and construction process, ensuring that the facility met our technical and operational needs. From equipment evaluation and selection to facility design and final launch, working with BeckTV has been a great experience. This is our first full facility refresh in 17 years, and BeckTV was instrumental in making it such a success."

WETA hired BeckTV to build two control rooms, two audio control rooms, a comms position, a transmission room, a shading and robo room, four tape playback rooms, and 15 edit rooms, among other spaces—all on a SMPTE ST 2110 backbone to enable IP networking. BeckTV planned for all technical aspects of the space, including technical furniture, power, cooling, circuitry, cabling, wiring and RF for all the studio sets, and more.

The two control rooms are identically loaded with redundant resources for resiliency. WETA operations typically uses one control room to run the weekly show out of Studio A, the main studio for "PBS News Hour." The second control room is typically used to produce another nationally televised show, "Washington Week," as well as the weekend "PBS News Hour" and other miscellaneous productions. BeckTV designed the control rooms to be redundant and interchangeable for any production at any moment. In the event of equipment failure, all or parts of the operations can move to the other room immediately and leverage its resources to continue seamlessly, even in the middle of a live show. BeckTV also made sure that the fiber infrastructure was designed for a redundant SMPTE ST 2022-7 blue/red network switch if WETA decides to implement it.

At the core of the facility is Grass Valley's GV Orbit orchestration system. Grass Valley also provided multiple cameras, two production switchers, multiviewers, gateways, and an audio router. Other major components include Lawo audio mixers, RTS intercoms, G&D KVM systems, EVS tape playback systems, Jetwave Wireless RF distribution equipment, Cisco network switches for management and Nexus 9504 media fabric, Vinten robotic camera shading, and Providius network monitoring.

Because everything is network-connected and interoperable, all audio, video, and metadata are available on the network switches, ready to be sent to tens of thousands of multicast addresses in an endless combination of video workflows. Working with such a robust system requires a good strategy so that things don't become disorganized and overwhelming, especially for broadcast engineers who aren't familiar with SMPTE ST 2110 networks, BeckTV said, adding that it planned every flow before it got to the configuration stage and then trained the WETA production staff so they could support the system after BeckTV's involvement ended.

"An ST 2110 system is scalable in ways that an SDI system would not be. As the productions change and grow, WETA technicians have the flexibility to take audio and video from any source and send it anywhere very easily. This beautiful and robust technical facility will serve the popular 'PBS News Hour' show well for many years to come," said Brendan Cline, Managing Partner and Vice President of Engineering at BeckTV. "Special credit goes to BeckTV VP and senior engineer Paul Kast, who was the on-site project engineer throughout the whole build."

AMSTERDAM—Ikegami has introduced the Ikegami IPX-100 full-featured IP-oriented mini base station at IBC 2024.  

“The IPX-100 is a compact and attractively priced bridge between conventional broadcast and the wider world of [SMPTE] ST 2110 infrastructure,” said Gisbert Hochguertel, Ikegami Europe product specialist. 

“Compatible with all cameras in the Ikegami XE and HD series, it offers core features of our established and industry proven BSX-100 base station plus optional SMPTE ST 2110 media-over-IP support. The new model is one third smaller in size at just 2U high by half 19-inch rack width. ST 2110-22 (JPEG-XS) encoding is available as a software option, an important feature allowing the data rate to adapt to the available IP bandwidth.”

Designed to operate as a fully self-contained unit, the IPX-100 includes an integral signal generator that allows system configuration before cameras or other sources are connected. ST 2110 connectivity can be set up independently by IT specialists prior to an event, the company said.

On the day of the event, the cameras can then be connected easily to the IPX-100 by a conventional SMPTE-hybrid fiber cable with up to 2.174-mile (3.5 km) cable extension. The camera head is powered by the IPX-100 so there is no operational difference compared with using a conventional fiber-cabled camera, Ikegami said.

The IPX-100 converts the broadcast signals to ST 2110-compliant signals and serves as a gateway to IP. The IPX-100 is also available with an optional 3G/HD-SDI input/output to serve as an external SDI-to-IP or IP-to-SDI converter. An HD-SDI video monitoring output allows direct connection of a field monitor to the IPX-100 to control the related video signals on location, it said.

Connecting an Ikegami OCP-300/-500 via Ethernet to the IPX-100 enables camera control on location, even if an IP connection to the wider ST 2110 infrastructure is not yet established. A PC running Ikegami XE Web View software can simultaneously be coupled to the network hub, enabling system supervision via an optional Protocol Gateway. Automated setup can be performed using an NMOS IS-04/IS-05 feed from the IPX-100 to a local or remote central automation system, it said.

Supported video formats provided as standard include UHD (2160p59.94/50), HD (1080p59.94/50, 1080i 59.94/50) and HD-HFR in 1080i/p (2x/3x/4x speed) and 720p59.94/50. Other supported standards include SMPTE ST 2022-7 redundancy, ST 2110-10, ST 2110-20/-21/-22/-30/-40 and ST 2059-1/2 PTP synchronization as well as a wide range of control protocols, such as NMOS IS-04/-IS05. 

The IPX-100 can optionally output JPEG-XS signal streaming data (software option) at selectable rates of high (1/6), medium (1/8), low (1/16) and minimum (1/32). Other options include a 3D-LUT output for HD simulcasting (compatible with 33 x 33 x 33 or 65 x 65 x 65 .cube files created using DaVinci Resolve), HD to 4K-UHD upscaling or a data trunk output.

Ikegami anticipates making its IPX-100 available in Q1 2025.

See Ikegami at IBC 2024 Stand 12.A31.

More information is available on the company’s website.