FREDERICK, Md.—RCI Custom, a U.S.-based manufacturer of custom connectivity products, has selected Neutrik Group Americas as its preferred brand for its purpose-built connectivity panels.

The company manufactures wall plates, rack panels, and engineered connectivity panels for systems integrators, broadcast engineers and other professional AV customers. While RCI Custom offers connectors from several manufacturers, Neutrik has been its leading choice for several years.

“We offer any and all connectors available to AV and broadcast people, but we have led with Neutrik for several years,” Doug Macuch, president and founder of RCI Custom, said. “It’s a connector that’s highly regarded by most industry professionals and is accepted by everybody as a standard.”

RCI customers using PanelBuilder SE, its online design configuration tool, can specify Neutrik audio, fiber optic, video and power connectivity, in addition to engraving, grouping boxes and other panel requirements. The company then manufactures the panel to that design.

RCI Custom’s standard product offerings, including its Press Mult products, also incorporate Neutrik connectors.

“Neutrik’s reputation within the professional AV and broadcast industries is an important part of the value the company brings to RCI Custom's customers,” Macuch said. “Neutrik’s consistent quality is what makes it stand out from other connector manufacturers. Their connectivity is something nobody questions—everyone knows it will work.”

With its combination of custom engineering, manufacturing expertise and Neutrik connectivity, RCI Custom said, integrators and broadcast professionals are provided with a flexible way to turn project-specific requirements into finished connectivity solutions.

The relationship between RCI Custom and Neutrik Group Americas extends beyond connector selection. “I really enjoy my relationship with the people that I work with at Neutrik Group Americas because they directly understand what we’re going through,” Macuch said.

More information is available on the RCI Custom and Neutrik Group websites.

PARIS—France Télévisions has completed the first phase of its Genesys production infrastructure renewal program for Franceinfo, moving the channel’s production environment from SDI to SMPTE ST 2110 and relocating core production technology to a data center more than 18 miles (30 km) from its operations center.

Designed with sustainability in mind, the new France Télévisions facility was built and commissioned in parallel with the existing operation and went on air Aug. 31, as the channel marked its 10th anniversary.

The Franceinfo facility is part of a broader move to SMPTE ST 2110 and data center-based production. Grass Valley K-Frame and Kaleido-IP technology form the core of the new production and monitoring environment, with an 80 x 40 K-Frame system and Kayenne control surface alongside four Kaleido-IP X440 multiviewers.

Franceinfo, France Télévisions’ continuous news channel, delivers national and international news across television and digital platforms. The broadcaster has worked with Grass Valley technology, including Kahuna and K-Frame production switchers, Kaleido multiviewers and routing and modular infrastructure for many years.

“We are taking decisive steps in modernizing our production infrastructure while maintaining the continuity of services that France Télévisions depends on,” said Grégory Vital, director of process engineering and support at France Télévisions.

“For Franceinfo, that means a new SMPTE ST 2110 control room in the data center as part of the infrastructure we are building to support our content in the years ahead.”

The new facility upgrades Franceinfo’s previous production environment by moving to a fully IP K-Frame system.

The move introduces an IP-native architecture while maintaining familiar production workflows, enabling continuity for production teams. K-Frame’s UltraMatch functionality provides signal processing within the production workflow, while Kaleido-IP uses the same configuration tools familiar to France Télévisions’ existing Kaleido-X teams. Grass Valley also provided specialist training as operators moved onto the new production tools.

Relocating the production technology to the data center added complexity to the migration. The team carefully coordinated delivery, integration, and commissioning to keep the existing Franceinfo facility on air and allow production teams to continue working without interruption throughout the transition.

Red Bee Media France served as systems integrator, working with France Télévisions and Grass Valley to bring the new control room into service.

The new infrastructure is ready to support UHD and HDR, providing a foundation for the next phases of Genesys.

Grass Valley will exhibit its latest production. IP infrastructure and software-defined workflow technologies in Booth A5 at SATIS 2026 in Paris, Nov. 4-5.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

More information is available on the QuickLink website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The aftermath leaves a whole lot of cleanup.

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

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

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

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

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

But that’s where AI enters the story.

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

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

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

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

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

Can our defenses keep up?

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

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

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

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

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

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

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

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

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

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

Limiting exposure remains the best defensive measure.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Media Command supports:

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

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

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the LTN and Sony websites.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Visit Cobalt Digital in NAB Show New York Booth 226.

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Visit Appear at NAB Show New York in Booth 129.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on Pebble’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For full program details and registration, click here.

The Day at a Glance
Morning: fundamentals and network design

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

Afternoon: practice, measurement and deployment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the Signiant website.

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

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

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

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

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

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

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

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

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

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

More information is available on Avid’s website.

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

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

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

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

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

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

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

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

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

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

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

More information is available on the LTN Global website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on Appear’s website .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MELBOURNE, Australia—Mediaproxy, a provider of software-based IP compliance monitoring and multiviewing solutions, will give NAB Show New York attendees a look at new AI-powered capabilities within its LogServer compliance and analysis platform.

Also on tap for the Javits Convention Center from Oct. 21–22 is the first-ever NAB Show New York demonstration of Monwall Web, Mediaproxy’s interactive, browser-based multiviewer.

LogServer, the company’s flagship compliance and analysis system, will add several AI features designed to streamline live broadcast operations, the company said. The new release incorporates intelligent event detection, automated reporting and expanded quality-of-experience (QOE) monitoring.

Mediaproxy said the enhancements will let operators offload routine checks to the system while gaining insight into real-time issues more quickly within fast-moving broadcast environments. Visitors to Mediaproxy in Booth 561 can see a demonstration of LogServer performing automated tasks typically handled by human operators, including real-time alerting and data-driven analysis. The company called the new AI tool set a significant shift toward more efficient, data-driven monitoring workflows.

Monwall Web, which marks its first appearance at the New York event, incorporates Mediaproxy’s software-defined multiviewer into the web browser, allowing operators to interact with live mosaics from every location. The platform is designed for flexible, low-latency remote monitoring, the company said, and supports Low-Latency HLLs (LL-HLLs) and the Media over QUIC (MoQ) protocol. It also includes remote audio output monitoring and the ability to rewind live layouts.

Mediaproxy also said it has signed on to the open-source Media eXchange Layer (MXL) initiative, integrating the technology’s high-performance, in-memory media transport into its software-defined workflows.

For more on the latest developments from Mediaproxy, visit the company’s website.

JOHANNESBURG, South Africa— South African Broadcasting Corp. (SABC) has selected Ikegami UHK-X600 camera systems as part of a shift to IP-based operation at its main production center here.

The broadcaster will transition to IP in four studios assigned to news, presentation and production and, ultimately, transition all 11 studios at the facility to IP. The order, confirmed in mid-September at IBC 2026, will be managed in cooperation with local distributor and systems integrator Harambe Technologies.

SABC’s transition to IP-based production coincides with the 90th anniversary of the broadcaster’s establishment in 1936. The network has evolved from traditional radio broadcasting into a multimedia organization currently serving audiences with six television channels, 19 radio stations and online platforms including SABC+.

“The move to IP, initially in a hybrid approach, is being driven by our adoption of an Evertz ST 2110 core router,” Lesetja Lekgotho, general manager of technology operations (TV) at SABC, said. “Everything has to work with that as we are building our IP capability from the inside out. We decided to go on a modular upgrade approach because of the funding challenges. The camera is the natural place to start with being visible to viewers’ eyes. This will be a rolling project that will cover all the studios. They won’t all necessarily use the same cameras, as drama and sport may need other equipment. Based on the performance of the cameras we have chosen, I think Ikegami stands a good chance in those applications as well.”

Fourteen cameras have been ordered for the project. Each will include a VFL-P700AD 7-inch HD-native LCD viewfinder and an OCP-500 Ethernet-connectable remote control panel. The project also includes two MCP-300 network master control panels and two BSX-100 base stations. Both BSX-100 units will incorporate a media-over-IP board supporting SMPTE ST 2100. SABC plans initially to operate the cameras in SDI and then gradually migrate to IP connectivity.

Developed from Ikegami's UHK-X700, the UHK-X600 is a 4K upgradeable HD portable system camera incorporating three 2/3-inch oversampling UHD CMOS sensors. It delivers 1000 TVL resolution, minimal aliasing, and 2000 lux sensitivity at F11 (50p). Standard features include full support for Hybrid Log Gamma HDR with the ability to select between BT.2020 and BT.709 chroma spaces. Global shutter imagers minimize artifacts when televising LED screen walls or flash/strobe illuminated stage environments.

The UHK-X600 relies upon a power-efficient ASIC that encapsulates a wide range of high-grade video processing functions. Measuring 13.3 x 9.64 x 6.1 inches (34 x 24.5 x 15.5 cm) and weighing 11 pounds (5 kilograms), the camera accepts a wide range of B4 lenses and supports chromatic aberration correction, vignetting correction, ramping compensation and remote control of backfocus when the latter is also supported by the lens.

When combined with the Ikegami BSX-100 type-S base station, the camera optionally supports simultaneous output in UHD and HD video formats. Future-proofing options for the UHK-X600 enable users to invest in additional capabilities when required. Among the license key-based options are support for 2x, 3x and 4x high frame rate capture and optional 4K processing delivering 2000 TVL resolution when operating in 2160p. Plug-in hardware-based options include a SMPTE ST 2110 compatible media-over-IP interface board and optional 12G output board.

More information is available on the company’s website.

STAMFORD, Conn.—Spectrum plans to demo new capabilities to its Edge Compute Infrastructure (ECI) enhanced with NVIDIA accelerated computing platforms at the SCTE TechExpo, Sept. 29-Oct. 1 at the Georgia World Congress Center in Atlanta.

As AI moves beyond digital tasks to influencing and interacting with the physical world, the need for immediate, precise interactions with compute becomes critical. Spectrum says this increased need to use AI more quickly to control physical machines - robots, sensors, real-time video, secure personal data where geography adds too much latency has become “mission critical” and that it has begun to activate computing power across its network. This expansion is allowing its network to reach over 1,000 smaller facilities already embedded in its existing infrastructure—placing distributed compute capacity within 10 milliseconds of 500 million devices in homes and businesses across the U.S.

By combining its high-capacity fiber network and distributed footprint of powered edge data centers with NVIDIA accelerated computing, ECI brings AI infrastructure closer to where data is generated and decisions are made, the company said.

At SCTE TechExpo 26, Spectrum’s booth (B335) will host demonstrations stemming from close collaborations with Cast AI, HP and World Wide Technology (WWT), each illustrating how edge network capabilities are advancing cloud, AI and customer applications on Spectrum’s ECI platform. Spectrum also is working with Hydra Host to commercialize its AI Factory “Operating System” on ECI. These collaborations demonstrate Spectrum’s focus on building the distributed infrastructure that supports AI and data-driven technologies for a range of industries, the company said.

Cast AI will highlight its OMNI technology integrating NVIDIA Blackwell Ultra-based accelerated computing platforms, embedded, owned, hosted and operated by Spectrum on its ECI platform, into diverse hyperscale cloud environments. OMNI extends these GPUs natively into its multi-cloud compute fabric, where they appear as standard cluster nodes alongside major cloud provider capacity. Connectivity for this AI infrastructure is delivered through Spectrum's network, demonstrating how deep integration of compute and connectivity at the edge can advance AI innovation.

HP will showcase HP Z Boost, which shifts GPU access from hardware-bound to on-demand, accelerating rendering, visualization, and AI workloads through shared GPU resources. By delivering performance when and where it is needed, HP Z Boost helps organizations maximize GPU utilization while reducing infrastructure inefficiencies. HP will also demonstrate ZGX Nano and ZGX Fury, AI Stations purpose-built for enterprise edge AI development, enabling organizations to deploy and scale AI workloads closer to where data is created while reducing reliance on the cloud.

Hydra Host and Spectrum have an agreement allowing Hydra’s AI Factory platform to use capacity that is owned, hosted and operated by Spectrum on its ECI. As a global AI compute provider serving companies in need of GPU resources, Hydra Host will help extend the reach of Spectrum’s edge compute capabilities to organizations looking for advanced AI infrastructure solutions, Spectrum said.

WWT, NVIDIA and Spectrum are working together to advance distributed edge AI infrastructure for physical AI, combining Spectrum’s ECI with WWT’s system-integration expertise to help enable new applications such as robotics and industrial automation. WWT will exhibit a Unitree G1 humanoid robot in Spectrum’s booth, demonstrating advanced automation and kinetic AI as it performs dynamic tasks that showcase how edge compute enables scaled, low-latency, private and secure processing for next-generation robotics.

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

The device was launched during the just completed IBC 2026.

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

Features include:

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

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

ALBOURNE, England—Huw Mills has joined broadband infrastructure technology provider Technetix as senior vice president, global operations.

A 30-year tech industry veteran, Mills comes from Nidec Drives, where as senior vice president, global operations, he led a 1,000-member team across the Americas, Europe, India and Asia responsible for manufacturing, supply chain, quality, HSE and operational strategy.

“Huw has demonstrated throughout his career that he understands operations from the ground up and knows how to turn strategy into action,” said Techex President, CEO and Founder Paul Broadhurst, to whom Mills will report. “He brings extensive international experience, but also a very practical and people-focused approach to leadership.”

During his tenure with both Nidec and Emerson, Mills led large international operations and major manufacturing transformation projects in Europe, the Americas and Asia, Technetix said. He holds an MBA from Wrexham Glyndŵr University in Wales and qualifications in operations management and electrical and electronic engineering.

“I’m excited to be joining Technetix at an important stage in its growth,” Mills said. “I’m passionate about developing people, simplifying complexity and building operations that are resilient, competitive and ready for the future. Technetix has built a strong reputation for agility, innovation and being close to its customers, and I’m looking forward to working with the team globally to build on those strengths."

Technetix provides broadband infrastructure for wireline and wireless providers in 70 countries around the world. It has operations in the U.K., the Netherlands, the U.S, Canada, Spain, Germany, Belgium, Kosovo, China and Taiwan.

IRVINE, Calif.—Teradek has launched the Bolt 7 with a unified wireless video and data system, which the company is calling “the most significant update” to the product series since its introduction in 2013.

“The original Bolt replaced long SDI cable runs with a wireless zero-delay video system crews could trust,” said Colin McDonald, product manager at Teradek. “Bolt 7 takes the next step with an all-new 900MHz RF pipeline that works in tandem with your zero-delay video signal and acts as a wireless Ethernet or USB cable replacement, enabling wireless camera control, color management, telemetry and more without a Wi-Fi network.”

The Bolt 7 lineup includes 750, 1500 and MAX TX and RX models, each with an integrated 900MHz radio that runs in parallel with zero-delay 4K video signal, simplifying Ethernet workflows by eliminating the need for Wi-Fi or additional on-camera hardware. The new Bolt 7 Series features a 20% smaller TX as compared to the Bolt 6 XT models and a new color OLED display for faster pairing, control and diagnostics.

For cine workflows, Bolt 7 sends camera control and zero-delay video over a single connection. Bolt 7 TX connects directly to the camera, eliminating the need to set up or manage a dedicated Wi-Fi network on set. Because Bolt 7 uses dedicated RF pathways outside standard Wi-Fi frequencies, productions can reduce interference and simplify their wireless environment.

Camera control can be sent directly to a remote SmallHD monitor (with optional camera control license), CTRL.5, laptop or iPad using supported manufacturer or third-party camera control apps. Beyond camera control, Bolt 7’s dual video-and-data pipeline opens the door to wireless color management, audio communication and other workflows previously dependent on wired connections or additional hardware.

For live production, Bolt 7 unifies camera telemetry, video shading and zero-delay wireless video into one connection, reducing the complexity of multi-device setups. Crews can send zero-delay video to a switcher while delivering telemetry data to a Sony or Cyanview RCP in an OB truck or control room without managing separate systems.

Bolt 7 preserves the zero-delay performance required in professional live environments. Bolt 7 TX features a USB-C port that supports single-cable, zero-delay video and communication for iPhone camera workflows and DP-Alt Mode (DisplayPort Alternate Mode) for compatible cameras and monitors.

Bolt 7 introduces one new transmitter and two new receivers to the Bolt product family. Each comes with 900MHz radio, a color OLED display with a simplified interface, optional single-cable pairing and new battery plate that cradles for faster battery plate swaps. Automated RF management in PageOS and the Bolt App streamlines TX and RX pairing to ensure reliable performance even in the most challenging RF conditions.

Bolt 7 TX is available in 750, 1500 and MAX models. Boasting a 20% smaller footprint than the Bolt 6 XT, it is Teradek’s most compact 12G-SDI transmitter to date. Bolt 7 RX is available in 750 and 1500 models. Bolt 7 RX MAX enables encoding to an SD card. When paired with a Link AX or other Wi-Fi router via Ethernet, productions can receive zero-delay video while also sending a low-latency feed to iPads on set through the Teradek TV app.

Bolt 7 TX and RX units support up to 4K60 10-bit 4:2:2 HDR video over 12G-SDI and are fully compatible across Bolt 4K (5GHz) and Bolt 6 (5GHz and 6GHz) wireless ecosystems. The new 900MHz wireless data functionality is available exclusively between Bolt 7 units.

NEW YORK—Media software technology provider Dalet has promoted Brian Doheny to chief executive officer.

Doheny had joined the company in April as president and chief revenue officer, leading the company’s go-to-market and customer experience organizations. As CEO, he will lead Dalet’s global strategy and operations.

Dalet provides enterprise media asset management systems, newsroom computer systems and content supply-chain orchestration platforms to broadcasters, studios and enterprise content owners.

“Since joining Dalet, I have had the opportunity to spend time with our customers, partners, and teams around the world, and one thing is very clear: the pace of change in our industry is only accelerating, and Dalet is uniquely positioned to lead the way,” Doheny said. “Our opportunity is not simply to respond to that change. It is to anticipate it. We need to understand the challenges our customers face today, anticipate the ones they’ll face in the future, and how Dalet will help address them with speed and confidence.”

Doheny, a 30-year technology industry veteran, was chief revenue officer at risk management software provider Veriforce before joining Dalet. He also held senior leadership posts at TIBCO and Hewlett Packard Enterprise, among other companies.

“Brian has brought strong strategic focus and operational discipline to Dalet, while keeping customer value at the center of the company’s strategy,” said Will Brennan, managing partner of Dalet owner Long Path Partners. “His appointment as CEO reflects our confidence in his ability to lead Dalet through its next phase and ensure we continue to innovate around the evolving needs of our customers and the broader media industry.”

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

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

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

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

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

Proven in demanding live-production environments

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

Supported standards and protocols include:

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

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

More information is available on the company’s website.

See ARRI at IBC2026 stand 10.A24.

HACKENSACK, NJ—LiveU, a global provider of live IP-video solutions, announced today that The Associated Press will deploy LiveU Ingest, LiveU Transceivers and LiveU IQ connectivity across its global operations—including the industry's largest deployment of LU900Q intelligent production units—bringing AP’s global LiveU hardware fleet to over 100 encoders.

The LU900Q uses new AI-driven connection management and eSIM technology to draw on mobile data networks around the globe. The technology will support a range of AP operations, from live feeds to editorial and multicamera workflows used by the global news organization’s production arm, AP 360.

"We’re excited about expanding our work with LiveU to equip our journalists with the technology to transmit live wherever the story takes them,” said Matthew Durbin, director of video technology and operations at AP. “Additionally, using LiveU Ingest with our MAM system gives us greater flexibility and speed, allowing us to move even faster and more efficiently from capturing content to distributing it to our customers around the world.”

Alongside the LU900Q deployment, AP has integrated LiveU Ingest with its cloud-based MAM system. Supporting up to 10 simultaneous live channels, the integration streamlines how content moves from the field into AP’s workflows, helping teams get to near-live and on-demand output more quickly.

AP is also transitioning its infrastructure to a SMPTE ST 2110 IP environment, deploying five LiveU servers alongside a dedicated SDI server. LiveU Transceivers enable AP to send and receive feeds with content providers as needed, giving teams flexible access to live sources across the network.

LiveU IQ's intelligent network switching continuously optimizes across available network operators in real time, helping maintain consistent transmission quality as connectivity conditions change.

MONTREAL—Grass Valley today announced a new multi-year framework agreement with RAI (Radiotelevisione Italiana), Italy’s national public broadcaster, for the supply of LDX 150 camera systems. The agreement marks the start of one of the largest camera refresh programs in RAI's recent history, with the first camera systems already deployed to refresh RAI’s outside broadcast fleet, according to Grass.

Grass Valley already has a longstanding relationship with RAI, which will progressively deploy LDX 150 camera systems over the coming years. RAI says it selected the LDX 150 camera system for its unique native IP connectivity, renowned simple and intuitive control and operation and its pristine HDR image performance.

The LDX 150 provides a camera platform that supports RAI’s current production requirements while enabling the company’s continued transition toward more flexible IP-based workflows, they said.

“As we continue to modernize our production infrastructure, we were looking for a camera platform that would support both our current operational needs and our future ambitions,” said Riccardo Rombaldoni, Dirigente Responsabile – Ingegneria di Realizzazione e Gestione Contenuti at RAI. “The LDX 150 combines excellent image quality with native IP connectivity, HDR acquisition and intuitive operation, giving our production teams the flexibility to support a wide variety of production environments while building on the trusted relationship we have established with Grass Valley over many years.”

The first phase of the deployment has been completed, with the initial LDX 150 camera systems fully operational within RAI’s outside broadcast fleet. Grass Valley’s long-time partner and systems integrator Video Progetti led the overall system integration, while Domo supported the project as the integration partner for the wireless camera components of the deployment.

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

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

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

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

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

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

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

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

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

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

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

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

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

Multidyne will be in Stand 11.C12.

DENVER—Comcast Technology Solutions today announced a new multi-year agreement with A+E Global Media to provide premium content distribution services using Comcast MediaExpress, part of the Comcast Media360 portfolio.

Under the agreement, Comcast Technology Solutions will provide centralized video-on-demand (VOD) management and distribution for content from A+E Global Media brands (A&E, History, Lifetime, and others). Using Comcast MediaExpress, A+E Global Media will leverage a single point of ingest for premium video titles and associated metadata to streamline content preparation, packaging, and delivery. The 24/7 managed service is designed to simplify VOD distribution for improved operational efficiency, CTS said.

"A+E Global Media is committed to delivering exceptional storytelling to audiences wherever they are, while embracing technology to help accomplish that core objective,” said Prakash Patel, Senior Vice President of Technology Strategy and Transformation at A+E Global Media. "Comcast MediaExpress gives us an efficient and scalable approach to managing content distribution, helping simplify workflows to ensure our programming reaches distribution partners quickly and reliably."

Comcast Media360 is a premium managed service for the media and entertainment industry, offering an integrated suite of technologies for comprehensive global video delivery, distribution, and monetization across linear and on-demand platforms.