LIEGE, Belgium and MONTREAL—EVS and Matrox Video are combining their respective platforms to accelerate the broadcast industry's transition to software-defined live production. Aligned with the European Broadcasting Union's Dynamic Media Facility (DMF) initiative, the collaboration pairs EVS's orchestration and workflow management capabilities with Matrox ORIGIN’s software-defined media transport and processing to help broadcasters build more flexible, resource-driven production environments.

DMF architectures enable production resources to be provisioned and assigned according to operational needs rather than permanently tied to individual workflows or dedicated hardware.

Matrox ORIGIN gives EVS a software-defined media processing foundation designed to run broadcast workloads on standard compute infrastructure, while supporting open, interoperable approaches including the EBU’s Media eXchange Layer (MXL) and IPMX. Its scalable architecture allows media processing resources to be deployed and allocated dynamically, aligning closely with the resource-driven principles of the DMF. As an OEM building on Matrox ORIGIN, EVS can focus its engineering investment on the orchestration, automation, and operational layers where it delivers differentiated value to broadcasters.

EVS provides the orchestration and operational layer that enables broadcasters to align infrastructure resources with evolving production requirements. Through Production Resource Manager (PRM), a key component of EVS's Flexible Control Room solution, processing resources can be dynamically deployed, configured, and reconfigured based on the specific needs of each production. This allows broadcasters to maximize infrastructure utilization, increase operational agility, and reduce total cost of ownership, according to the company.

Complementing this approach, EVS’s Tactiq UI provides a modern, workflow-driven user experience that abstracts the complexity of the underlying technology stack, allowing operators to focus on producing content rather than managing infrastructure. In parallel, Cerebrum delivers the same simplification for engineering and operations teams, providing a unified control layer across SDI, IP, on-premises, and cloud environments.

Today, EVS' Cerebrum broadcast control and orchestration platform integrates with Matrox Video's Avio 2 IP KVM extenders and ConvertIP baseband to IP converters and encoders/decoders, enabling centralized control and routing across IP-based production environments.

The companies said they will continue collaborating on technologies that advance the industry's transition "toward more dynamic, scalable, and software-defined production infrastructure."

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

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

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

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

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

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

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

LONDON—Alex Pannell has joined live production services provider Gravity Media as chief business officer.

The 20-year industry veteran joins Gravity Media from Appear, where he was chief commercial officer. In his new London-based role, he is charged with working closely with Gravity’s leadership team and its business units worldwide to support continued development, strengthen collaboration across regions and identify new growth opportunities, the company said.

“I’m excited to be joining Gravity Media at such an important and exciting time in its journey. Gravity Media has an outstanding reputation, an exceptional team and an impressive global footprint,” Pannell said. “I’m looking forward to getting to know the business, meeting colleagues, partners and customers, working together to build on the strong foundations already in place which provide a fantastic platform for the next phase of growth and help shape what comes next.”

Panell’s experience spans group strategy, sales and business development, marketing, technical sales, pricing, customer service and support, Gravity said. He brings a strong track record of delivering performance and business development across complex, global markets, the company added.

“As our business continues to evolve and grow, it is important we have the right leadership structure and expertise in place to support our ambitions,” Gravity Chairman and CEO John Newton said. “We were looking for someone who could bring broad leadership experience, a collaborative approach and a genuine understanding of our industry. I’m looking forward to working with Alex as we continue to build on our momentum and create exciting opportunities for our people, clients and partners around the world.”

Gravity Media provides media services, facilities, production and content services for live events around the world. It is involved with such events as the UEFA Euro Championships, Olympics, FIFA World Cup, Tour de France and U.S. Open, as well as shows such as “I’m a Celebrity … Get Me Out of Here!” and “The Voice.”

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

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

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

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

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

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

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

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

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

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

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

Improvements include :

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

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

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

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

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

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

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

LAS VEGAS—Live-events technology firm Creative Technology Group has set a leadership change for next year, with founder and CEO Graham Andrews to step down from day-to-day duties at year-end, succeeded by Tom See as the company’s president.

See, who was most recently chief strategy officer for Live Nation International Venues, the hospitality division of Live Nation Entertainment, joins the NEP Group unit on Sept. 14.

Andrews will join the NEP board as a nonexecutive director effective Jan. 1, 2027.

Creative Technology provides video, audio, lighting and networking solutions for live sports, entertainment and corporate events.

“When I founded Creative Technology 40 years ago, I wasn’t sure where it would take me—but I always knew that, if we were successful, it would be important to develop leaders who, at the right moment, could take our company to the next level,” Andrews said. “This is that moment, for me personally and for CT.”

NEP Group CEO Martin Stewart described Andrews as an “entrepreneur at heart” who has strong insights into what customers want.

“I’m grateful for Graham’s leadership and the legacy he leaves,” Stewart said. “I couldn’t be more pleased that we’ll continue to benefit from his perspective as a board member next year.”

At Live Nation, See led a hospitality division that comprised more than 120 venues, 15,000 events per year and more than 30,000 employees. From 2015 to 2021, he was president of Live Nation Ampitheaters, overseeing facilities, operations and marketing for more than 50 venues.

“I have tremendous respect for Graham and the legacy he’s built at Creative Technology,” See said. “What he and the team have created is incredibly special—a company with world-class capabilities, deep client relationships and a culture built around delivering at the highest level. I’m grateful for the opportunity to build on that foundation and excited about what we can accomplish together in the next chapter of CT’s growth.”

For more on Creative Technology, visit its website or the NEP Group website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Telos Alliance will be in Stand 8.D37.

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

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

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

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

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

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

CYPRESS, Calif.—For-A has announced the expansion of viztrick AiDi into an overarching AI technology brand encompassing two dedicated products: Go Vertical! AiDi and AiDi Sports Hub. Developed by Nippon TV and delivered globally by For-A, viztrick AiDi brings advanced AI capabilities directly into live production workflows, with on-device processing designed to deliver the speed and responsiveness live content demands.

The new product structure makes it easier for broadcasters, sports producers, and other content creators to choose the AI tools that fit their needs, according to the company. Go Vertical! AiDi addresses the growing demand for mobile-first video delivered in a 9:16 format, while AiDi Sports Hub applies AI to create more engaging live coverage with tools that provide additional context.

“AI is becoming an increasingly practical part of live production, but customers don’t need technology simply for technology’s sake,” said Hiro Tanoue, Director, Alliance Department at For-A Company Limited. “They need tools that solve real production challenges without adding complexity. By establishing viztrick AiDi as our overall AI technology brand and introducing Go Vertical! AiDi and AiDi Sports Hub as dedicated products, we can make it much clearer for customers to identify the capabilities that can make a difference in their workflows.”

Previously introduced at the 2026 NAB Show as a feature of viztrick AiDi, Go Vertical! AiDi is now a dedicated product built around AI-driven, real-time 9:16 cropping, For-A said. The system analyzes live video and automatically creates vertically formatted output optimized for social media and mobile viewing.

For broadcasters and content owners, that means existing 16:9 programming can be adapted for mobile audiences as the action happens, without creating an entirely separate production workflow. Go Vertical! AiDi supports automated tracking modes for sports including basketball, soccer, and baseball, as well as group subjects. Operators can also identify and track specific subjects, with the system automatically resuming tracking if a registered subject temporarily disappears.

The technology operates on-device rather than depending upon cloud processing - an important advantage when immediacy matters. Go Vertical AiDi features near-real-time processing for live 9:16 production, avoiding the five-to-ten-second delay associated with some competing approaches.

Go Vertical! AiDi also supports mobile-first coverage of news, conferences, red carpets, entertainment programming, and other live events where audiences increasingly consume content vertically.

AiDi Sports Hub takes viztrick AiDi technology in another direction, giving sports production teams AI-assisted tools that can add information, context, and visual storytelling to live coverage.

The system's capabilities include telestration, player tracking, player speed, distance and angle measurement, baseball runner speed, automated score graphics, and facial-recognition graphics. For-A said it is also developing additional capabilities including 2.5D/3D graphics, ball-trajectory visualization, sensor-based golf-ball trajectory, and AI-assisted automated program production.

Both Go Vertical! AiDi and AiDi Sports Hub are now available globally.

For more information about viztrick AiDi, Go Vertical! AiDi and AiDi Sports Hub, visit www.for-a.com.

BOSTON—CBS Boston is launching a new Augmented Reality/Virtual Reality (AR/VR) technology-driven studio that will offer immersive weather storytelling to viewers across New England.

The AR/VR-enhanced studio will debut Monday, Aug. 31, during the station's 5 PM ET newscast with chief meteorologist Eric Fisher, making it the latest CBS-owned station to deploy AR/VR technologies that were developed inhouse by the station group.

Meteorologist Jason Mikell will introduce the technology to morning viewers on Tuesday, Sept. 1, during WBZ Mornings.

The new studio, which is the 14th AR/VR deployment at CBS-owned stations, spans 1,470 square feet (35 feet wide by 42 feet deep).

It transforms the way weather and news stories can be presented by combining journalists with dynamic, three-dimensional visual environments, allowing meteorologists and journalists to better illustrate complex weather systems, severe storms and other stories through immersive graphics and interactive storytelling.

"At CBS Boston, our mission is to help viewers better understand the stories and weather conditions that affect their daily lives," said Johnny Green, regional president and general manager of CBS Boston and CBS New York. "We have already been incorporating the technology in New York, and we have seen how it enhances our ability to explain complicated information in a way that is engaging, informative and easy to understand."

"The expansion of AR/VR technology across CBS Television Stations reflects our continued investment in the future of local news," added Jennifer Mitchell, president of CBS Television Stations. "We are excited to bring this capability to CBS Boston and audiences throughout New England.”

As part of a phased rollout, CBS Boston will initially use the technology for weather coverage, with plans to expand AR/VR storytelling into sports later this fall.

MARLOW, UK—At IBC2026, TSL will present a series of enhancements and expansions to its monitoring, control, orchestration, and power management solution with the goal of operating IP and hybrid infrastructures more efficiently.

TSL will showcase new network-based control integrations within the TSL Hummingbird ecosystem, helping broadcasters manage increasingly diverse IP infrastructures. Dante router control will be on show at IBC2026 for the first time. Together with support for NMOS, the expansion enables broadcasters to control multi-vendor environments across SDI, ST 2110, NDI and Dante workflows operating side-by-side.

TSL will also highlight how it has improved Hummingbird support for NDI, Amagi Tally, TSL v5 Server and VDCP-IP. The additions enable broader integration with third-party production, routing, and playout systems, giving broadcasters greater flexibility to build interoperable IP workflows, the company said.

TSL says it will also launch a new software app that supports complex workflow virtualization and automation at scale at the show.

Following TSL’s acquisition of JL Cooper Electronics earlier this year, IBC2026 offers the first major opportunity to showcase how its specialist human-machine interface (HMI) and machine-to-machine interface (MMI) technologies expand TSL Hummingbird control options for broadcast, proAV, education, live events and creator workflows.

The latest generation of TSL’s AMUs will be integrated into new workflow displays at IBC, with updated hardware and firmware to meet the critical demands of modern IP and hybrid live production environments. Multiple price-point and form factor options are available for users across Analogue, 3G-SDI, 12G-SDI, Madi, Dante, Ravenna, ST2110-30, AES3, AES67 and Dolby also featuring added resiliency with ST2022-7 redundancy.

TSL will also showcase its latest release for its range of intelligent, managed PDUs, extending operational visibility and control beyond media to the critical power and IT infrastructure that underpins mission critical operations. Designed for data centers, live production facilities and central machine rooms, the PDUs provide engineers with real-time power monitoring, remote diagnostics, and remote management and control to improve resilience and operational efficiency and help drive down costs and power usage to support sustainability goals, according to the company.

“The conversation has shifted from simply moving media over IP to efficient and easy-to-deploy control and orchestration across both multi-vendor and multi-technology environments,” said Matthew Quade, CEO, TSL. “Broadcasters need solutions that bring together unified control, intuitive operation and open interoperability, without locking them into single vendor systems or adding complexity, as well as wanting choice for deployment options in software and hardware.

"By extending TSL Hummingbird’s capabilities, expanding our range of HMI and MMI control interfaces and continuing to invest in response to market demands across audio monitoring and power, customers have the flexibility to manage today’s infrastructures more efficiently while building in future-readiness to enable change at their pace and within their budgets,” he added.

TSL team will be Stand 7.B12.

LAKE FOREST, Calif.—Boland Communications today announced a new SMPTE ST 2110 input option for its full range of professional 4K HDR monitors. Featuring integrated 25GbE connectivity and SMPTE ST 2022-7 protection, the option brings resilient UHD monitoring directly to IP-based production environments without requiring external ST 2110-to-SDI gateways.

Boland will demonstrate the new capability on the QD4K32HDR10-Opt 2110 at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. Using a single 25GbE SFP interface with either fiber or RJ45 connectivity through an SFP28 module, the option can deliver UHD video directly to up to two monitors.

The integrated design reduces the switch ports, gateways, transceivers, cabling, rack space, and power required for monitor walls, production control rooms, master control facilities, mobile production units, and other multidisplay environments. Removing external conversion equipment also simplifies installation and maintenance while reducing system complexity and potential points of failure.

Support for SMPTE ST 2022-7 allows equivalent media streams to travel over redundant red/blue network paths, helping maintain uninterrupted monitoring if one path experiences packet loss or a failure.

“As broadcasters and production facilities accelerate their transition to IP, now is the right time to introduce the ST 2110 option for our 4K monitors, and IBC is the perfect place to launch it,” said Mike Boland, president of Boland Communications. “This new option gives our customers a more direct and cost-effective way to bring trusted, color-accurate monitoring into modern IP workflows while reducing cabling, switch-port requirements, and reliance on external gateways.”

Boland will be in Stand 12.C57.

BOSTON—EditShare will unveil new developments across EFS, FLOW AI, MediaSilo and EditShare One at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

EditShare will launch new all-in-one Ultimate EFS configurations for EFS 310 and EFS 410 with FLOW media management and GPU-powered FLOW AI processing built into the nodes. By combining shared storage, media management and AI processing, the new configurations provide a more accessible route to AI-assisted media discovery for teams that do not require the processing scale of a dedicated standalone GPU system, the company said.

FLOW AI has now expanded transcription support across 13 languages: English, Catalan, Croatian, Czech, Danish, Dutch, French, German, Greek, Italian, Portuguese, Spanish and Turkish, with Hebrew and Arabic following shortly after. The expanded language support will help broadcasters, production companies and post-production teams apply AI-assisted search and discovery across a wider range of international content.

EditShare will also preview how MediaSilo is expanding beyond review and approval into a broader production media hub. Media Drives, a new connected-storage capability, will allow authorized users to access approved S3-compatible storage directly through MediaSilo, including on-prem EFS storage presented through S3 and supported third-party on-prem and cloud platforms.

Teams will be able to browse folders, search mounted media by filename and preview content where it is stored. They can then copy only the files they need into MediaSilo, rather than transferring everything before they know what is needed.

Once there, MediaSilo AI allows users to search transcripts, on-screen text, people, logos and scenes. The same workspace supports timecoded feedback, version management, dailies, approval tracking and protected external review.

EditShare will also demonstrate the latest developments in EditShare One, giving users a faster and more intuitive way to access and manage content across EFS and FLOW.

Users can archive and restore complete media spaces or folders directly from EditShare One, making it easier to manage large collections without handling assets individually. The expanded archive workflow also supports integrations with Telestream DIVA Archive and Spectra Logic Rio MediaEngine in addition to the currently supported 3rd party storage capabilities within FLOW.

EditShare will be in booth 7.B18.

PARAMUS, N.J.—Sony Electronics and Vitec today announced a strategic global collaboration targeting corporate environments, entertainment venues, hospitality, healthcare, and public facilities by integrating Sony’s Bravia professional displays with Vitec’s IPTV and digital signage platform. The collaboration delivers an end-to-end IPTV and signage ecosystem that enhances visual experience and eliminates the need for external media players, offering a simpler-to-deploy, native Android-based app for Sony’s displays, the companies said.

By integrating Sony’s Bravia professional displays with Vitec’s Avedia IPTV and digital signage platform, the combination offers a player-less IPTV solution directly to the display’s system-on-a-chip (SoC). The Android-based Bravia professional display’s deployment tools offer smooth deployment of Vitec’s Avedia player software directly onto Sony displays without the need for additional hardware. This all-in-one approach reduces installation complexity, streamlines management, and lowers the total cost of ownership for end users, the companies said.

The combined technology, orchestrated by Vitec’s CMS can support thousands of displays—covering a wide range of screen sizes—while maintaining centralized control. From live IPTV channels to interactive signage and targeted advertising, users can adapt content in real time to maximize engagement and revenue opportunities.

“By combining Sony’s world-class display technology with Vitec’s powerful IPTV and signage platform, we are delivering a game-changing solution across many verticals,” said Rik Willemse, Head of Professional Display Solutions Europe, Sony Europe. “This collaboration allows operators and end users to create dynamic, engaging environments while simplifying installation and reducing operational complexity,” said Rich Ventura, Vice President, Professional Display Solutions America, Sony Electronics Inc.

This integration provides robust performance even in large-scale deployments with demanding requirements. Centralized content control, redundancy features, and support for the latest security standards ensure that any setup can rely on the system for mission-critical operation with end-to-end content protection.

“This strategic global collaboration between Vitec and Sony marks the beginning of an evolving collaboration focused on delivering innovative, secure, and scalable IPTV and digital signage solutions worldwide. By integrating our technologies and expertise, we are committed to providing customers with seamless, future-ready platforms and workflows that address the diverse needs of modern organizations,” said Eli Garten, Senior Vice President, Global IPTV and Partner Solutions for Vitec.

In addition to IPTV and digital signage solutions, Vitec’s end-to-end offering includes head-end encoding and streaming, IP gateways and video wall systems to manage, distribute and display content across using any network.

NEW YORK—Law&Crime Network said it has migrated its Court TV channel, which is distributed via broadcast and free, ad-supported streaming TV (FAST) channels, onto Amagi’s CLOUDPORT cloud-based operations platform.

After acquiring Court TV from E.W. Scripps in February, Law&Crime began migrating the network’s operations in-house. Law&Crime had five months to complete the transition without disrupting a programming schedule built around real-time breaking news.

The move to CLOUDPORT replaces a patchwork of manual, disconnected systems with a single automated cloud platform, giving viewers more reliable access to Court TV’s live and breaking-news coverage across broadcast, streaming and connected TV.

Amagi’s cloud-native platform enabled Law&Crime to modernize Court TV’s infrastructure quickly while avoiding the equipment delays typically associated with traditional broadcast transitions. The vendor also developed custom automation to support key operational workflows to help ensure Court TV’s breaking coverage remained uninterrupted throughout the transition. Court TV’s live operations are now managed through Amagi Intella, the company’s AI-powered managed services platform.

Court TV broadcasts about 10 hours of live programming each weekday, which is automatically repackaged into weekend syndication without manual rebuilding. Before the channel went live on the new platform, Amagi tested each playlist, metadata feed and distribution endpoint against Court TV’s prior setup.

When Law&Crime flagged late-stage readiness concerns, Amagi added support, including 10 days of hands-on care, and sent an on-site onboarding specialist for the first week. As a result, Court TV moved across every downstream platform with no disruption to live service.

“We had five months to take on Court TV and no room for downtime,” Law&Crime Chief Technology Officer Debasish Mishra said. “A migration this complex is never trouble-free. What mattered was having a partner who understood the assignment, adjusted when the plan needed to change and kept working the problem with us until we were across the finish line. We came out of it with origination infrastructure that scales as our footprint grows across broadcast, FAST and streaming so we can keep delivering our content to viewers the best way possible.”

More information is available on the Amagi website.

Broadcast Management Group has designed and deployed a custom REMI production ecosystem for The Pro Tour, a new professional golf tour featuring elite athletes from some of the world’s biggest sports leagues including the NFL, MLB, NBA, and NHL.

LiveU’s LU800 field units and LIQ intelligent connectivity served as key components within BMG’s broader production workflow. The setup gave camera operators the freedom of movement and a new view from the green that has always been challenging to achieve, while eliminating the cost constraints, environmental strain, and access limitations of legacy OB trucks.

As the tour’s turnkey broadcast partner, BMG provided creative services, live production, engineering, transmission, media management, and distribution for each five-hour live broadcast.

During a stop at the PGA National Resort in West Palm Beach last spring, BMG was faced with covering a crucial hole that had reportedly never been televised because it fell outside the venue’s fixed fiber infrastructure, according to the company.

In response, BMG implemented a nearly fully wireless production workflow using LiveU LU800 bonded cellular transmission systems enhanced by LiveU IQ intelligent connectivity. Starlink was ready as backup connectivity, though according to BMG, never had to be deployed. This meant that the technical director, master control, and channel management team could work from home or the NOC.

The hybrid workflow dramatically shrunk the production footprint compared to a traditional cable-and-truck build, with more cameras able to cover more of the course because they’re no longer limited by where fiber happens to run, BMG said. Every camera, including drone coverage, transmitted live feeds to BMG’s Network Operations Center (NOC), where AI continuously monitored available network conditions and automatically optimized connectivity across multiple cellular networks.

“The Pro Tour let us design a broadcast ecosystem from the ground up, built around where the story was, not where cable could reach,” said Kathy Samuels, BMG’s director of creative services. “LiveU's LU800, and LIQ intelligent connectivity gave our creative vision somewhere to actually run. Bringing creative services, live production, engineering, and distribution into one workflow gave us a scalable model that supports the tour today and can grow with it.”

Nugen Audio is launching two new flexible subscription offerings designed to give audio professionals short term access to the brand’s most essential plug-ins at the 2026 IBC Show, Sept. 11-15 at the RAI Amsterdam.

Built for project based workflows, “Post” and “Producer” plans provide a cost-effective way for users to access the exact tools they need, only for as long as they need them, Nugen said, which will provide guided demonstrations at the show, giving attendees a closer look at how each subscription supports real-world workflows.

The new Nugen Audio subscription model allows mixers, editors and producers to scale their toolset in real time. Whether tackling immersive upmixing for a streaming series or mastering a single track for release, subscribers can activate the appropriate plan for a specific project, pause it when the work is complete and restart it whenever new demands arise, according to the company.

The Post Plan delivers Nugen’s full suite of audio post-production tools, including VisLM, Halo Upmix, Halo Downmix, Halo Vision, Paragon, LM-Correct with DynApt, ISL with DSP extension, DialogCheck and more. It’s designed for dialogue editing, loudness compliance and multiplatform delivery for surround and immersive workflows.

The Producer Plan offers Nugen’s essential music production plug-ins, including MasterCheck, Paragon ST, ISLst, SEQ-ST, Stereoizer, Monofilter, Visualizer and others and is ideal for mixing, mastering and pre-production.

A key advantage of these new subscription options, Nugen says, is the ability for audio professionals to align plug-in costs directly with client billing. Instead of absorbing the expense of a full bundle purchase, users can activate a subscription for the duration of a specific project and invoice it as part of the production budget. This model supports freelancers, independent studios and project-based teams who need access to high-end tools without committing to long-term licenses, according to Freddy Vinehill-Cliffe, Product Specialist for Nugen Audio.

“Subscriptions can make it easier to align software costs with client work, helping you access the tools you need when you need them, without a large upfront investment,” he said. “Now, your plug-in subscription can be part of your per-project costs, paused during projects that don’t require the tools and then restarted when one of the solutions needs to come to the rescue.

Both plans are now available at https://nugenaudio.com/subscriptions/

Nugen Audio will be in Pod P27 at the show.

LONDON—Techex, a specialist in live IP video transport, has tapped Stuart Almond as chief revenue officer.

In his new role, Almond is tasked with driving Techex’s business strategy and development initiatives and supporting its continued expansion as broadcasters and content owners transition to dynamic, cloud-native production environments, the company said.

A 25-year industry veteran, Almond brings experience spanning technology, media and telecommunications, Techex said. He has held senior leadership positions with such companies as Qvest, Microsoft and Sony Professional Solutions Europe.

Techex develops software-defined live IP video transport, transformation and monitoring solutions for Tier-1 broadcasters and media companies. Its specialized software stack—including its tx edge gateway and tx darwin processing framework—enables secure, low-latency live video routing across uncompressed IP, managed wide area networks and public cloud environments.

For more information, visit the Techex website.

GENEVA, Switzerland—GlobalM today announced that it is integrating its GMX software-defined media platform with Oracle Cloud Infrastructure (OCI), bringing together Oracle’s global cloud infrastructure with GlobalM’s technology for live media contribution, processing, and distribution.

The integration will enable GMX Cloud services to run across OCI regions, giving broadcasters, sports organizations, and media companies access to a significantly expanded global footprint for live media workflows, GlobalM said.

At enable improved automation, GMX creates a software-defined media network on OCI, automatically deploying the compute, networking, media processing, and routing resources required for each service. Infrastructure is spun up and configured on demand, point to multipoint contribution and distribution paths are established automatically, and resources can be scaled as requirements change before being automatically released when services finish.

This allows broadcasters to schedule and consume OCI infrastructure dynamically without having to manually build and configure the underlying cloud environment for every production, the company said.

OCI is particularly well-suited to professional broadcast applications because of its high-performance networking and flexible compute architecture. OCI Flexible Shapes allow compute and memory resources to be configured according to individual workload requirements, enabling GMX to optimize infrastructure for applications ranging from SRT and RIST gateways to transcoding, remultiplexing and high-throughput media distribution.

Oracle’s global cloud footprint also complements GlobalM’s distributed architecture. GMX processing and routing nodes can be automatically deployed across OCI locations, allowing contribution feeds to enter the cloud close to their source and receiving broadcasters to connect through infrastructure close to their destination. This helps keep the unmanaged first and last miles as short as practical while the core media workflow operates across managed cloud infrastructure.

The collaboration will also extend GlobalM’s hybrid capabilities. GMX1 processing and routing nodes deployed within customer facilities will be able to operate alongside GMX Cloud resources running on OCI. Combined with Oracle’s hybrid cloud capabilities, this will allow broadcasters to integrate existing facilities with dynamically deployed cloud processing, international distribution, additional capacity, redundancy, and disaster recovery.

GlobalM (1.A11) and Oracle (5.A21) will showcase GMX running on Oracle Cloud Infrastructure at their booths during the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

CESSON-SÉVIGNÉ, France—Broadpeak is launching Multiview as a Service on broadpeak.io, the company’s SaaS platform at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. The fully managed self-serve SaaS offering enables broadcasters, streaming platforms and broadband providers to launch user-curated multiview experiences for live events with greater speed and simplicity.

Multiview allows audiences to choose their preferred layouts and watch multiple channels, live events or camera angles simultaneously, creating a richer viewing experience designed to increase engagement, encourage longer viewing sessions and help reduce subscriber churn, the company said.

“Multiview has quickly become one of the most requested capabilities for premium sports streaming, particularly across a huge summer of live sporting events, but the cost and complexity of deployment have prevented many providers from bringing it to market,” said Jacques Le Mancq, president and CEO of Broadpeak. “Bringing Multiview to broadpeak.io removes those barriers and makes sophisticated viewing experiences accessible to a wide range of service providers via a nimble, cost-efficient model.”

Broadpeak says its cloud-based service significantly accelerates time to market. Customers can introduce Multiview across a broad range of devices through a flexible, usage-based SaaS model, eliminating upfront CAPEX investment and aligning costs with service usage.

Broadpeak also manages the underlying infrastructure and provides continuous service supervision through its team of video streaming experts. Proactive monitoring helps ensure consistent service performance, while detailed KPIs enable customers to optimize their service settings over time.

Broadpeak will be in Booth 1.F83 at the show.

MELVILLE, N.Y.—Chyron will demonstrate the latest advancements in high-efficiency news workflows during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

"Building a roadmap for the future isn’t about forcing a complete infrastructure overhaul. It’s about taking the right next step at the right time," said Chris Amodei, group platform product manager, live production, Chyron.

At the convention, Chyron will showcase the future of web-native news graphics with a preview of PRIME HTML. Designed to plug directly into established NRCS environments, PRIME HTML will provide news teams with a secure path to modern HTML graphics. Building on PRIME’s current capability to bring HTML content into Preview and Output, PRIME HTML will introduce an on-prem, native HTML graphics authoring and output workflow using the PBHX scene format, engineered for secure local-network (LAN) playout.

With its upcoming native authoring tools, PRIME HTML is designed to safeguard creative investments by eliminating the need to recreate graphics in separate systems for broadcast, web, digital or HTML-based delivery.

Extending workflow efficiency to multi-language broadcasting, Chyron will feature a preview of PRIME Translate for localization of on-air graphics across multiple language outputs. PRIME Translate identifies replaceable text in PRIME graphics, translates it into the selected target language and routes the localized version to the appropriate output to deliver multilingual content in a matter of seconds while preserving the existing PRIME workflow.

The company will also showcase next-generation features for Chyron LIVE that are suited for live news. LIVE now supports SCTE-35 ad insertion support, tailored to help newsrooms monetize long-form digital streaming during breaking news, severe weather and special events.

Another key highlight for Chyron LIVE at IBC 2026 is a new self-managed portal integrated in AWS marketplace. Built for instant scalability, the portal enables instant spin up, pause or tear down of isolated secure broadcast environments.

At IBC 2026, Chyron will also demo CAMIO’s LUCI Control Panels, which offer advanced controls to fulfill graphics using intuitive sliders, visual color pickers and direct layout mapping alongside traditional replaceable text fields. This enables producers to populate complex graphics independently straight from the rundown, speeding up breaking news turnarounds while safeguarding brand rules established by the art department. Chyron will preview an improved redesign of the LUCI user interface, maximizing NRCS screen space with an intuitive, left-to-right layout.

Extending PRIME further into newsroom production, Chyron offers PRIME template support directly within AXIS News, providing a flexible option for simplifying daily graphics fulfillment. Inside AXIS, journalists can load brand-compliant PRIME scenes to customize text and graphics in real time.

Chyron will also preview upcoming AXIS innovations, including an AI-powered Canvas Tool featuring automated background removal for rapid multi-layered image creation.

The company will showcase the full power of virtual sets, augmented reality (AR) and set extension in a dedicated demonstration zone featuring green screen and LED wall setups.

Powering this ecosystem will be a new low-latency VSAR Controller, a gRPC-based orchestration service that replaces legacy middleware.

The company will also feature its work to advance live weather operations with new data automation and automated quality controls. The updated platform introduces native Climate Data Operators (CDO) integration to process raw meteorological datasets directly within the system, streamlining the production of dynamic on-air graphics from complex feeds.

Chyron will also preview a prototype that combines Cyron Weather with VSARE for live, interactive studio environments. Using the familiar Weather Presenter interface, meteorologists can simply drag virtual trigger objects directly into their playlist alongside standard map slides.

As the presenter moves through the forecast, the virtual set reacts in real time, automatically launching environmental effects, like studio rain.

See Chyron at IBC 2026 stand 7.A23.

More information is available on the company’s website.

KINGS PARK, NY—MultiDyne Video & Fiber Optic Systems will demonstrate its expanding camera robotics and motion control portfolio at IBC2026, Sept. 11-14 at the RAI Amsterdam. The show marks the first time MRMC (MultiDyne Robotics Motion Control), will exhibit as part of the MultiDyne organization, since it announced the acquisition of the assets of MRMC in June.

MRMC will be in Stand 12.H11, complementing MultiDyne’s separate Hall 11 stand (11.C12) and giving the combined organization two points of presence at the show.

MultiDyne says its strategy is to grow MRMC across all three of its established market areas: broadcast, film and commercial production, and rentals, all of which will be represented on the MRMC stand. New MRMC products are in the early stages of development for 2027

Neil Maycock, Managing Director, MultiDyne MRMC says its primary message at IBC is one of strength and continuity.

“IBC gives us an important opportunity to reinforce that MRMC remains the same innovative business our customers know,” he said. “We have preserved the respected MRMC brand along with its core technologies, intellectual property, manufacturing capabilities and key engineering expertise. Customers will see familiar faces, established products and the same commitment to exceptional engineering and support.”

MRMC says it will focus on three product ranges, including Cinebot Nano, which brings MRMC’s professional motion-control capabilities to filmmakers, content creators and smaller production teams in a compact platform. The nine-axis robot supports cameras up to 7kg and offers one meter of reach. PushMoco control allows operators to physically position the arm and record keyframes, while included Flair Lite software provides an accessible path to creating precise, repeatable camera moves. The system can operate on a pedestal or optional track and can be mounted to tripods, tables, carts, vehicles or in an inverted configuration, extending high-end robotic cinematography into productions.

The StudioBot range brings MRMC’s robotic-arm expertise directly into broadcast production, combining smooth multi-axis camera movement with precision, repeatability and production automation. Available in several configurations, StudioBot is designed to help broadcasters move beyond static studio camera positions and create more dynamic content while supporting virtual and automated production workflows, according to the company. Its Robokam software provides centralized graphical control for creating and editing shots, moves and playlists, with support for controlling multiple robotic systems and executing predefined movements or complex sequences without requiring programming expertise.

Rounding out the exhibit, MRMC’s Slidekamera extends the company’s portfolio from robotic arms into precision rail-based motion systems. The range spans modular sliders and PTZ camera movers for applications ranging from single-camera productions to large multi-camera studios, delivering the stable, fluid movement required for broadcast, videography, live events and other production environments. Of particular focus is ATLAS, which features modular configurations that can support creative cinematic moves as well as repeatable and automated studio workflows.

At the 2026 IBC SHow, Sept. 10-14 at the RAI Amsterdam, QuickLink will introduce StudioEdge 4K, the first 4K model in the StudioEdge lineup, and new native 4K 60fps support for StudioCall. Designed for professional production environments, StudioEdge 4K combines native 4K 60fps StudioCall ingest with NVIDIA powered AI upscaling for contributors joining from widely used communication platforms. Whether a guest connects through StudioCall, Zoom or Microsoft Teams, StudioEdge 4K enables production teams to deliver a consistent 4K output.

Also at its IBC booth, QuickLink will unveil how StudioCall contributors can now deliver native 4K 60fps when using a compatible video device, allowing productions to preserve the resolution and frame rate of a caller’s native 4K source. These 4K feeds can be output from StudioEdge 4K over 4K SDI and NDI, providing seamless integration into modern broadcast and live production workflows.

For contributors joining through platforms where native 4K is not available, StudioEdge-4K uses NVIDIA-powered AI Upscaling to intelligently enhance HD video to 4K. This enables production teams to maintain a consistent high-resolution output while continuing to connect guests through familiar communication platforms.

StudioEdge-4K gives broadcasters, media organizations and enterprise users a flexible way to incorporate remote contributors into professional 4K workflows, combining native 4K contribution, NVIDIA-powered AI video enhancement and professional 4K SDI and NDI connectivity, the company said.

QuickLink will be in 7.C19 at the RAI Amsterdam.

OSLO, Norway—Live production tech provider Appear ASA has successfully completed a demonstration with Thoroughbred Racing Productions (TRP) that showed how a full multi-camera remote live production can be delivered reliably over bonded 5G cellular and Low Earth Orbit (LEO) satellite connectivity without relying on fixed internet infrastructure.

"Remote production continues to transform the economics of live broadcasting, but until now its benefits have often depended on access to dedicated network infrastructure," said Thomas Bostrøm Jørgensen, CEO, Appear. "This proof of concept demonstrates that broadcasters can reliably extend those same production models to remote venues using bonded 5G cellular and LEO satellite connectivity. By combining our unique, hardware-accelerated SRT technology with the flexibility of the X Platform, we're helping customers rethink how and where live production can be deployed."

The proof of concept successfully demonstrated a complete REMI production workflow, transporting four live HD camera feeds from a remote racecourse to TRP's production facility while simultaneously returning two HD programme feeds back to the venue over the same bonded network, Appear reported.

The successful outcome also demonstrated how broadcasters can extend high-quality remote production to locations where dedicated fiber or fixed connectivity is unavailable, creating new opportunities to deliver live coverage from geographically dispersed venues while reducing operational complexity, Appear explained.

TRP, the production arm of Racing Victoria, delivers live horse racing coverage from 51 regional racecourses across the Australian state of Victoria.

Of these, 20 – together with the state's metropolitan venues – benefit from access to high-quality wired connectivity that makes REMI possible; the remaining 31 regional racecourses do not. With TRP planning to centralize its production resources, the organisation wanted to determine whether broadcast-grade REMI production could be achieved at these remote racecourses using cost-effective bonded cellular and LEO connectivity.

Working closely with TRP, Appear deployed its compact X5 platform at the racecourse and an X20 at the production centre to validate the workflow.

Four live HD camera feeds were encoded in HEVC and transported using Appear's unique, industry-leading hardware-accelerated SRT technology across bonded 5G cellular and LEO satellite networks.

At the production center, the X20 decoded the incoming feeds for live production while simultaneously encoding and returning two HD programme feeds to the racecourse, enabling complete two-way production and communications throughout the event.

Once production was complete, the finished programme was reviewed by TRP and Racing Victoria, produced end-to-end as though it were a live broadcast.

The proof of concept was conducted across two separate racecourse locations, including a more remote venue where heavy rain and challenging weather conditions tested the resilience of the workflow. Across both sessions, all four camera feeds and two return feeds were delivered successfully, with no video quality issues reported and no operator intervention required, demonstrating the robustness of Appear's hardware-accelerated SRT transport and the viability of broadcast-grade remote production over bonded cellular and LEO connectivity, the companies reported.

Unlike traditional contribution solutions limited to a single programme feed, the Appear X5 simultaneously transported four live camera feeds and two return feeds within a single compact platform. Combined with Appear's hardware-accelerated SRT technology, the deployment delivered reliable, low-latency transport while maintaining broadcast-quality video across variable network conditions. The same platform can also be reconfigured via software to support JPEG XS workflows over high-bandwidth IP networks, allowing broadcasters to use a common platform across both remote and metropolitan production environments.

"For us, this wasn't simply about proving that the technology works; it was about validating a new way of producing live racing from some of our most remote venues," said Charles Cole, engineering and technical operations manager, Thoroughbred Racing Productions. "The success of these trials has given us confidence that multi-camera REMI production over bonded cellular and satellite connectivity is a practical option for our regional racecourses. It opens the door to centralising production resources while maintaining the quality, reliability and operational standards our live coverage demands."

The North Carolina Association Of Broadcasters Inc and Wake Technical Community College’s Broadcast Technology Academy have announced that they’ve received a donation of a fully functioning ENG van from Nexstar Media Group, Inc.’s CBS 17 (WNCN).

The van will be incorporated into the RF Transmission Technician course at the Broadcast Technology Academy, they reported.

The gift also opens up the possibility of additional broadcast classes by the BTA.

In announcing the donation on LinkedIn, NCAB thanked WNCN vice president/GM John Lewis for “leading this gift and Chief Engineer Ryan Gladson and Broadcast Engineer Mary Cobbs, a Wake Technical Community College graduate" for their help in making the donation possible.

HACKENSACK, N.J.—LiveU and Panasonic LUMIX have announced the launch of the “Live Anywhere” workflow.

Built around the LUMIX S1II, Panasonic UB-series box cameras, and LiveU’s Solo PRO and LU800 production field units, the system, which was demonstrated in collaboration with Social180Group, enabled a team to produce dozens of live streams directly from the crowded NAB 2026 and InfoComm 2026 show floors. The blend of mobile journalistic and IRL streaming styles provided engaging short form content for viewers who couldn’t attend.

“Live Anywhere” is a practical, mobile-first approach to live production that combines high-quality LUMIX imaging with LiveU’s IP bonding technology for transmissions. The result is a lightweight, flexible system that allows creators and production teams to go live from virtually any location without the need for traditional broadcast infrastructure.

At the center of the workflow is the LUMIX S1II, used as the primary handheld camera for its image stabilization, hybrid phase autofocus, and open gate flexibility. It was paired with the LiveU Solo PRO via HDMI to transmit a stable, high-quality signal. The team also used the compact Panasonic UB-50 box camera, connected via SDI to the LiveU LU800.

“This was about staying mobile and staying fast,” said John Porterfield, Social180 Group founder and webcast producer. “We were able to move through the trade show floors, capture what we needed, and go live without being tied down to a traditional setup. The combination of LUMIX and LiveU gave us the reliability and image quality we needed in a very unpredictable environment.”

“What stood out was how simple the system became once everything was dialed in,” continued Porterfield. LUMIX handled the image, including stabilization, autofocus, dynamic range, and LiveU handled the connection. It’s about having a system that just works so you can focus on the story.”

More specifically, Live Anywhere is built on two core components:

• LUMIX and Panasonic Cameras – Delivering cinematic image quality, advanced autofocus, and stabilization in compact, portable bodies.
• LiveU Transmission Solutions – Providing bonded cellular connectivity through Solo PRO and LU800 field encoders, ensuring reliable live streaming without dependence on a single network.

Together, these tools allow creators to produce professional live content from virtually any location without the need for satellite trucks, hardwired internet, or large production teams.

“LUMIX is helping what live production can look like,” explained Panasonic LUMIX business manager Neil Matsumoto. “With the S1II, creators can work untethered in a true run-and-gun environment while still capturing cinematic images with shallow depth of field, which is something that hasn’t traditionally been part of live broadcast.”

“In the current climate where production teams need to produce more content with smaller teams and budgets, our bonded technology coupled with a powerful camera like the Panasonic LUMIX, allow for “run and gun” flexibility – without compromising the production value,” said Mike Mahoney, VP Sales – Growth Markets, LiveU North America. “We were happy that this workflow, not only gave audiences a glimpse into their favorite brands but also offered each brand value in delivering a quality program.”

While demonstrated at NAB 2026 and InfoComm 2026, Live Anywhere is designed for a wide range of real-world applications, including:

• Live Sports Coverage – Sideline, grassroots, and niche sports production
• Music Festivals and Live Events – Mobile coverage across stages and environments
• Corporate Communications – Internal broadcasts, product launches, and executive messaging
• Social Media Creators – High-quality live streaming for platforms and brand partnerships
• News Gathering and Documentary – Rapid deployment in dynamic, on-location scenarios
• The system’s flexibility allows teams to scale from single-camera streaming to multi-camera productions without significantly increasing complexity.

To simplify deployment, turnkey Live Anywhere packages will be available through Broadfield Distributing, pairing LUMIX cameras with LiveU transmission solutions. The packages for include:

• LUMIX S1II + LiveU Solo Pro. A compact, mobile-first kit designed for single-operator or small crews. Ideal for run-and-gun live streaming with cinematic image quality and shallow depth of field.
• Panasonic UB-50 Box Camera + LiveU LU800. A scalable, multi-camera solution built for more complex productions. Designed for fixed positions, control rooms, or multi-angle coverage with reliable bonded cellular transmission.

Learn more about the Live Anywhere bundles offered by Broadfield Distributing: https://sales.broadfield.com/liveu-live-anywhere-bundles.

PITTSBURGH—CBS Pittsburgh (KDKA-TV) is reporting that it has debuted the region's first state-of-the-art Augmented Reality and Virtual Reality (AR/VR) news studio during its 4 PM newscast on August 10 with anchor Kristine Sorensen, and meteorologists Mary Ours and Ray Petelin.

The CBS-owned stations have widely embraced AR/VR studio technologies in recent years as a way to engage and improve their newscasts. With the debut of its new AR/VR studio, CBS Pittsburgh became the 13th CBS station to integrate this technology into its news operations

“Our new AR/VR technology helps us bring complex stories to life in ways that are more engaging and easier for viewers to understand,” said Julie Eisenman, president and general manager, CBS Pittsburgh. “Whether we're tracking severe weather, explaining breaking news developments or covering major community events, these advanced visual tools help us tell stories with greater clarity and context. It's an investment in innovation that strengthens our ability to inform and serve viewers across the Pittsburgh region.”

More on the deployment of the technology, which was developed in house at the station group, is available here.

COLUMBIA, Md.—LTN has expanded capabilities for its Live Event Master Control, providing sports broadcasters, leagues, rights holders and content owners with a more flexible and scalable approach to managing live event distribution.

Built on the LTN Network, the enhanced master control solution combines low latency IP transport, cloud-native playout, automation, scheduling, monitoring, graphics and optional operator-assisted services for live sports and events into a unified platform designed for live sports and events.

LTN’s Live Event Master Control capabilities have supported more than 20,000 live sporting events and broadcasts for leading broadcasters, sports leagues and content owners worldwide. The latest enhancements streamline live MCR workflows with greater automation, visibility and flexibility across live production workflows.

Its capabilities enable users to launch and manage complex workflows without the cost, time and infrastructure requirements traditionally associated with dedicated control rooms and on-premises systems.

The latest capabilities include:

• Automated workflows for frame accurate routing, graphics, ad signaling and playback.
• Enriched graphics, including integration with upstream data sources.
• Picture in picture, squeeze backs and other unique on-screen layouts. 
• Multi-language support, including captioning and announcer integration.
• Deep audio manipulation and video transformation.
• Advanced transmission and video/audio payload monitoring.

LTN’s platform enables customers to leverage LTN-hosted workflows running across the company’s purpose-built global IP video network.

Users can choose between:

• Live Event Master Control services operated by LTN experts.
• Self-service workflows powered by LTN’s scheduling, automation and monitoring software.
• Hybrid models that combine customer-provided operations with LTN’s managed services and technical support.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The company will also feature:

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

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

More information is available on the company’s website.

SAN DIEGO—Established in San Diego in 2009, Show Imaging was known as the group of producers who refused to say “no” to the crazy and seemingly impossible. Over the years, Show Imaging has grown to a team of over 200 people nationwide and a community of unique creators who come from every background to build all aspects of premier experiences.

San Diego Comic-Con, one of my favorite events of the year, draws hundreds of thousands of devoted fans across film, television, literature and comics to experience panels, artist showcases and cosplay competitions. Delivering a memorable experience requires reliable, high-quality video capture and displays to ensure every fan has a front-row seat.

In 2025, Show Imaging partnered with Panasonic to bring that vision to life, providing the production technology needed not only to capture Comic-Con’s iconic panels but also to deliver high-quality video coverage to engage devoted fans and audience members.

Immersive Fan Experiences
Many panels operate on a first-come, first-served basis, so auditoriums fill quickly, including the seats in the back. Our job is to ensure all 6,000 attendees receive a front-row experience, delivering real-time audio and video that keeps every viewer connected to the action regardless of where they’re seated.

That’s why we equipped the room with three Panasonic AW-UE150 4K PTZ Cameras, one AK-UC4000 Studio Camera and the Kairos Live Video Production Platform. Designed for fast, intuitive setup, these solutions allowed our team to capture dynamic panels in 4K without having to worry about technical complexity or system reliability.

For close-ups during panel discussions and audience Q&As, Panasonic’s 4K PTZ and studio cameras delivered precise color reproduction and consistent shading, ensuring every attendee—even those watching online—experienced an accurate view of the action on stage.

Panasonic’s AW-UE150 4K PTZ Cameras were particularly instrumental when “Star Wars” creator George Lucas made a surprise appearance to promote the new Lucas Museum of Narrative Art. Attendees not only saw and heard the exclusive announcement of the museum, but also close-up video of Lucas as he shared behind-the-scenes stories and insights about his work, making the panel an unforgettable moment for “Star Wars” fans.

We also deployed 18 Panasonic PT-RQ35 projectors to map content across a 250-foot linear projection screen. Thanks to Panasonic’s interoperable ecosystem, the 4K PTZ cameras and projectors worked seamlessly together to deliver accurate visuals at scale with minimal adjustment. Panasonic’s Kairos Live Production Platform enabled the production team to easily edit, overlay and switch this content across screens in real time.

Kairos can also handle
ST 2110 signals directly, dramatically streamlining workflows. Comic-Con is a large-scale live event with many moving parts, and Kairos helped us manage the PTZ cameras, studio cameras, audio inputs and other visuals.

Panasonic’s integrated production ecosystem gave us the flexibility to prioritize storytelling over technical complexity, as illustrated during the “Tron: Ares” panel. A dramatic red laser light show and live stage performance were captured seamlessly by Panasonic’s PTZ cameras, ensuring audiences experienced every moment from wherever they were seated.

Images and Energy
Panasonic’s professional AV solutions enabled our team to immerse Comic-Con attendees in every iconic moment with precise imaging, seamless workflows and reliable performance. Rather than focusing on the technology behind the scenes, our crew could focus on what mattered most: capturing the energy of every panel and delivering an unforgettable experience for fans throughout the venue.

As audience expectations continue to rise, broadcast-quality cameras and production platforms will become even more essential to live events of every size.

Combined with emerging capabilities like AI-powered auto-tracking and live captioning, these technologies will help production teams create more accessible, engaging and immersive experiences to allow every attendee and remote viewer to feel connected to the action, no matter where they are.

More information is available on Panasonic’s website.

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

That word is transition.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

PITTSBURGH—NEP Group has announced the availability of Riedel's SimplyLive Production Suite through NEP Platform, expanding the platform's ecosystem of technologies.

With the latest integration, customers now have access to one of the industry's leading live production software solutions, giving them greater flexibility to build modern production workflows using software they know and trust, while leveraging NEP Platform to deploy, orchestrate and manage these applications through a single, secure interface.

"Organizations don't want to replace the workflows and expertise they've already invested in or be locked into a single solution. They want the freedom to choose the right software for every production,” said NEP vice president Dan Murphy.

“That's exactly what NEP Platform enables. We provide the orchestration layer that allows customers to deploy, connect and manage trusted software applications through a unified operational framework. The addition of SimplyLive further expands customer choice while continuing to grow the industry's largest software ecosystem for media production."

Riedel's SimplyLive Production Suite offers key capabilities, including live production, replay, ingest recording, streaming and video review in a flexible, modular suite. Through NEP Platform, customers can now seamlessly integrate SimplyLive into broader production workflows, alongside complementary software applications from other trusted suppliers.

Offering a large ecosystem of trusted software applications for media production, NEP Platform gives customers greater choice and control over how they build production workflows.

Rather than replacing software that NEP’s customers already know and trust, NEP Platform provides the orchestration layer to bring applications together into a unified software-defined environment. Through a single, secure interface, organizations can rapidly deploy, orchestrate and scale applications up or down as production requirements evolve.

"SimplyLive is built to give production teams maximum flexibility — whether on a truck, in a studio, remotely or in the cloud. With integrated live production, replay, ingest recording, streaming and video review combined in a single, modular suite, customers can deploy exactly the components their workflows demand,” said Ulrich Voigt, director of Live Production Solutions at Riedel Communications. “Making SimplyLive available through NEP Platform takes that flexibility even further: customers can now embed SimplyLive seamlessly into broader, software-defined production environments — while retaining the operational freedom that modern production teams expect."

Every NEP Platform deployment is backed by the expertise of the teams delivering many of the world's largest and most complex live productions every day.

More information is available on the NEP and Riedel websites.

The cloud is playing an ever increasing role in media production, with broadcasters increasingly deploying hybrid platforms that combine the cloud with on-prem solutions that take advantage of advances in processing, connectivity and AI.

In our latest Guide to Cloud Solutions, we examine the current landscape of cloud-based production and how media companies are adopting the best of both worlds to make workflows simpler and more efficient.

Download your free guide here.

Olympic Broadcasting Services (OBS) has revealed some of its plans for the next Summer Olympics, taking place in Los Angeles in 2028.

At a meeting of rights holders last week, OBS said it intends to provide approximately 3,800 to 4,000 hours of competition and Ceremonies coverage.

The host broadcaster added it is expanding its use of first-person-view (FPV) drones, real-time 360° and stroboscopic replays, point-of-view (POV) cameras, microphones on officials and coaches, dynamic graphics, back-of-house access and enhanced digital content at LA28.

The broadcast ecosystem will be designed around virtualization, cloud-based workflows and AI-ready infrastructure, said OBS, to deliver increased flexibility, resilience and operational efficiency across broadcast operations.

Plans include expanded cloud services, AI-assisted production workflows, enhanced digital content delivery and new approaches to content distribution.

Work on the IBC fit-out will begin in early 2027, added OBS.

This article originally appeared on TV Tech sister brand TVBEurope.

IRVING, Texas—Nexstar Media Group, Inc. today announced that it will launch primetime newscasts Monday through Sunday in Dallas and Phoenix in mid-August, bringing local news content to millions of new viewers in two of the nation’s top-12 markets.

In Dallas, where Nexstar owns KDAF-TV (CW33), the new newscasts will air at 9 p.m. local time, following programming on The CW Network. In Phoenix, where Nexstar provides services to KAZT-TV (CW7 Arizona) under a Time Brokerage Agreement, the new newscasts also will air at 9 p.m. local time after CW programming.

“We’re excited to launch daily primetime newscasts in two of the country’s top-12 markets and provide viewers with a new outlet for news and information that didn’t exist previously,” said Andrew Alford, president of Nexstar’s broadcasting division. “Nexstar is committed to serving our communities with high-quality, fact-based local journalism, which is particularly important now, as the mid-term elections approach and voters look for reliable, credible information about the issues and the candidates running for office.”

The launches come at a time when Nexstar faces legal challenges to its merger with Tegna. In anti-trust suits, opponents of the merger have alleged, among other things, that the combined company would reduce quality and diversity of local news content.

PLYMOUTH, Mich.—Graham Media’s WDIV Local 4, NBC affiliate in Detroit has taken the unusual step of establishing what the station calls a "first-of-its-kind coffee shop and satellite newsroom" in downtown Plymouth, Mich.

The coffee shop/newsroom, which opens to the public on Wednesday, July 22, is designed to expand the station’s local news coverage into Plymouth and the surrounding Western Wayne County communities and to establish closer ties between its news operations and the communities it serves.

"Journalism only works if a community trusts you enough to hand you their stories," said Stephanie Slagle, vice president, chief revenue officer and general manager of WDIV Local 4. "Fourgrounds gives our reporters and anchors a place to earn that trust in person — to sit down with the people of Plymouth and the surrounding communities, hear what matters to them, and go tell those stories the way they deserve to be told."

In announcing the opening, the station noted that journalism, at its best, is a promise to a community — to show up for it, to advocate for it, and to tell its stories honestly and well. That promise is harder to keep from behind a camera and a desk alone.

The new satellite newsroom embedded into a neighborhood coffee shop will make it easier for reporters and anchors to sit down in local residents, listen to them, and carry their stories forward.

The real coffee shop is being done in partnership with Great Lakes Coffee, a Detroit-based roaster.

Fourgrounds is “a model few, if any, local TV newsrooms in the country have tried: not a pop-up, not a one-time event, but a permanent space where journalism and daily life share the same room,” the station reported in announcing the opening. “Bring us the story you think Southeast Michigan needs to hear. Tell us who in your neighborhood deserves recognition, what issue deserves a spotlight, what's changing on your block that the rest of the region should know about. That's the job — and now there's a table for it.”

The grand opening will take place on Wednesday, July 22 at Fourgrounds, 995 W. Ann Arbor Trail, Plymouth, Michigan. Foreground’s hours are: M-Sa 7am-5pm, Su 9am-5pm.

WALTHAM, Mass. and PHILADELPHIA—Zixi and Comcast Technology Solutions (CTS) today announced a strategic new integration to deliver C-band replacement solutions for linear broadcasters and content distributors. The collaboration brings together the end-to-end video management capabilities provided by Comcast Media360 with the Zixi Software Platform to give operators a direct migration path from C-band satellite to IP-based content distribution, they said.

With the C-band satellite transition underway, programmers and distributors are exploring solutions to migrate linear workflows to IP while maintaining the kind of reliability, rights compliance, and affiliate distribution control that C-band has historically provided. At the core of the joint Zixi and CTS solution is a technical integration between the Zixi Software Platform and Comcast Media360, which provides customers with a 24/7 managed service backed by the proven reliability and scale of Comcast Technology Solutions.

“The C-band transition is not a distant deadline for our customers. It is a decision they are making now. Working with Comcast Technology Solutions means that we can offer broadcasters a solution that does not ask them to trade rights compliance and reliability for IP flexibility. The integration between the Zixi Software Platform and Comcast Media360 is the kind of joint engineering that makes a real operational difference," said Marc Aldrich, CEO, Zixi.

"Broadcasters are looking for ways to operate their linear channels more efficiently while continuing to scale distribution as part of their C-band transition efforts,” said Bart Spriester, Senior Vice President and General Manager of Streaming, Broadcast, and Advertising at Comcast Technology Solutions. “Comcast Media360 helps make that possible across broadcast and IP workflows and, together with Zixi, delivers a satellite replacement option that gives programmers and distributors a manageable path to IP and unlocks new monetization opportunities."

Notably, CTS’ linear rights management normalizes rights metadata using the SCTE 224 standard, enabling content providers to manage alternate content delivery, ad insertion windows, and audience-based content restrictions across broadcast and streaming destinations. Zixi ZEN Master orchestrates the live video workflow across cloud or hybrid network environments, with native support for SCTE-35/224 signaling, blackout enforcement, and schedule-driven source switching.

Together, the integrated platforms can provide broadcasters a single, intelligent, rights-aware distribution chain that combines signal orchestration, affiliate distribution, and rights enforcement enabling new monetization and distribution capability, while removing the dependency on satellite infrastructure and maintaining compliance and control.

As C-band satellite capacity is reclaimed and transition deadlines approach, the need for end-to-end IP workflows has become a near-term business imperative for broadcasters, the companies said, adding that the combined Zixi and CTS solution gives broadcasters a migration path that preserves existing investment in rights management infrastructure while moving to the flexibility and cost structure that IP distribution offers and simplifying the path from ingest to monetization.

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

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

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

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

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

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

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

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

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

BINGAM AM RHEIN, Germany—Remote production specialists DMC Broadcast Solutions has taken delivery of two software-defined outside broadcast (OB) trucks from Broadcast Solutions.

The entire signal processing and delivery workflow of the trucks is powered by Grass Valley AMPP software.

“We have been at the forefront of remote production, seizing the operational, environmental and commercial benefits of keeping our talented staff and technicians at our production bases rather than travel to site,” said Jens Envall, chief innovation officer at DMC Production. “But we also recognize the fundamental challenge with the conventional view of remote production: bringing all the signals back to a control room calls for a lot of bandwidth, for very high levels of stability on that bandwidth and for very tight controls of latency.

“So, we came up with a concept we call ‘reverse remote production’ where all the switching and processing happens on site, in an outside broadcast truck, but the control of that equipment happens in the central production suite,” said Envall. “When we spoke to the team at Broadcast Solutions, they got the idea immediately, and together we moved rapidly from sketches to two trucks on the road, covering premium events like 3.Liga soccer in Germany and ATP tennis in Sweden.”

The compact trucks offer operational space if there is any need for on-site production control. There is also a data center running the AMPP processing and GRID network. Alongside these capabilities, there is room in the fixed-axle truck to carry all cameras, lenses, grips and other equipment to sites.

This means that what once required two articulated trailers for a conventional outside broadcast—an OB truck and a tender truck—can now be replaced with a single fixed axle truck, slashing the carbon footprint of the operation, BI said. At the same time, the whole reverse remote production system requires only 100 Mbps of internet connectivity, a tiny fraction of what’s needed for conventional remote production.

Each truck supports up to 16 cameras, with Grass Valley LDX98 cameras supplied by Broadcast Solutions as part of this contract. They connect via a traditional tailboard and stage boxes. Currently, the trucks support 1080p native signals in SDR and HDR and are 4k Ultra HD-ready.

Internally redundant Cisco Systems routers manage the signals with the majority of processing carried out by the pair of Grass Valley AMPP servers with NVIDIA Blackwell GPUs and 11 TB of local storage per server, providing full replay and super slo-mo capability. Audio is mixed with a Calrec Argo M36 console.

External connectivity uses around 25 Mb/s for low-latency control and data between the site and the production center, and another 25 Mbps for monitoring using WebRTC multiviewer streams. Program outputs are delivered from the truck, typically by a 25 Mbps SRT stream, leaving comfortable headroom in a typical 100 Mb/s public internet connection.

“This has been a great project, driven by close collaboration with DMC,” said Zlatan Gavran, chief operating officer at Broadcast Solutions. “They came to us with their outline concept for reverse remote production, and together we spent a long time working out how to realize the ideas using AMPP software.

“The result is something that has never been done before,” Gavran said. “A true software-defined outside broadcast unit, delivering the highest quality output while controlled from anywhere in the world. It uses cutting-edge technology like the GRID (MXL) network and software tools, but presents them in familiar form so that EICs, technicians, experienced operators and directors feel immediately at home.

One of the new OB trucks will be on display at IBC 2026 in the outside exhibit area, stand 0.A03.

More information is available on the Broadcast Solutions website.

As broadcasters continue transitioning to IP-based workflows, industry leaders are exploring new approaches that could improve interoperability, collaboration and operational flexibility.

At the heart of these discussions is the Dynamic Media Facility (DMF) and related Media eXchange Layer (MXL), emerging frameworks intended to help broadcasters determine how the next generation of software-defined workflows could work.

The topic was explored during a panel hosted by the North American Broadcasters Association (NABA), in conjunction with the Advanced Media Workflow Association (AMWA), featuring moderator Steve Reynolds, CEO, Imagine Communications, and guest speakers Naveed Aslam, senior vice president of Production Technology and Engineering, CBS/Paramount; John Mailhot, senior vice president of Product Management, Imagine Communications; Willem Vermost, senior IP media technology architect, EBU; and Andy Rayner, CTO, Appear.

“Much of media processing now runs in software, in a combination of on-premises and in the cloud,” Reynolds said. “And so, if everything is now moving to software, we have to ask the question: are we still designing our facilities in the right way?”

Panelists said DMF was created to address this question, driving the industry forward while solving key business challenges such as how to improve efficiency and allow broadcasters and their partners to share “very expensive resources” amongst more productions.

“I think, from our perspective, SMPTE ST 2110 and IP-based workflows have largely been understood and embraced as being the next industry evolutionary step,” Aslam said. “From our perspective, the DMF initiative is truly the key to start unlocking the practical and technological benefits that we can derive from an IP infrastructure, the opportunities that arise from that, and it just truly starts to give us an opportunity to explore what IP workflows can be.”

The panel explained that neither DMF nor MXL are meant to replace SMPTE ST 2110, the technical standards that gives broadcasters a means to transport broadcast-quality signals over IP networks, enabling them to scale workflows and providing a foundation for interoperability.

Rather, all three are designed to work together: DMF provides a framework for the next generation of more dynamic, software-defined facilities, while MXL provides a specific mode for connecting applications and services, effectively enabling interoperability inside of a computing cluster.

“It’s really the goal of the DMF to organize those upper layers so that you can actually have a dynamic facility,” Mailhot said. “I think that 2110 and MXL will work together to achieve that, but there’s a lot of work to do to fill in all those blanks.”

“If we work in an asynchronous way, suddenly more media functions can be run than ever before. Within the same time frame, of a frame, multiple operations can be run,” Vermost said.

“If you look at it from that point of view, it seems like a revolution. But, if you look at it from your broadcast plant and how you operate it, it’s an evolution. We’ll get there step by step.”

Panel discussion is available on demand on NABA's YouTube channel.

For most of broadcast history, captioning was treated as a metadata problem. QC systems checked whether caption data was present, whether files were correctly formatted, and whether character encoding was valid. If a CEA-608 or CEA-708 stream was embedded and a sidecar file — SCC, SRT, WebVTT — was properly formed, the asset passed. Whether the captions accurately reflected what was spoken was largely outside the scope of automated review.

FCC requirements in the United States and emerging mandates across Europe have moved from nominal compliance gates to substantive quality standards. Caption files that pass every technical check can still fail on accuracy, synchronization, or readability.

What broadcast and streaming organizations need is content-level validation: verifying that captions are accurate, properly timed, readable, and ready for multiplatform delivery. Captioning is becoming part of the broader media intelligence layer — one that evaluates a caption track against the content it accompanies, treating accuracy, timing, readability, and compliance as properties the system actively measures.

Caption Accuracy Starts With the Audio Track
The practical difference between metadata validation and content validation shows up in what each one misses. A traditional QC pass confirms that a caption file is present and well- formed. It does not detect dialogue that was misheard during transcription, lines that were omitted, or text that lags consistently behind speech — all failure modes that reach viewers and, increasingly, regulators.

Content-intelligent captioning systems work directly with audio. Modern automatic speech recognition (ASR) models transcribe spoken dialogue from the audio track, producing a reference against which existing captions can be checked, or generating a new track directly. Current-generation ASR achieves word error rates below 5% on standard broadcast dialogue — comparable to experienced human transcribers, and substantially lower than error rates produced under the time pressure of manual captioning at scale.

Accurate transcription addresses what is said; alignment addresses when it appears. AI alignment engines analyze audio waveforms to synchronize caption timing against actual speech, accounting for pace variation and pausing that fixed-offset methods miss. Captions that drift from dialogue constitute a real accessibility failure, and automated alignment catches those errors systematically across an entire content library. These systems can also surface compliance risk before delivery, flagging assets where timing drift, word error rate, or reading speed exceeds regulatory thresholds.

How Captions Render on Screen
A caption that is correctly transcribed and timed can still be difficult to follow if segmented poorly. Breaking mid-phrase or mid-clause forces viewers to piece together meaning across display windows. This presents a functional problem for all audiences and a more significant one for viewers with hearing impairments who rely on captions as their primary communication channel.

Rather than breaking text at fixed character counts, machine learning models identify natural language boundaries, such as clause endings, breath pauses, and semantic units, then segment accordingly. The result is captions that read more naturally. Emerging standards reflect this: quality evaluation is increasingly extending from file validity to content readability, including reading speed, display duration, and caption segmentation.

A complete evaluation also requires reference to the video frame. Text that covers a speaker's face, obscures on-screen graphics, or overlaps burnt-in text creates problems that fall outside the scope of transcription-level review. Managing visual placement has traditionally required frame-by-frame manual review or post-production adjustment — both slow and unsystematic at the scale modern workflows demand.

Video analysis integrated into current captioning platforms detects faces, on-screen graphics, and critical visual elements, then adjusts caption positioning automatically. These tools can also prevent captions from spanning scene-change boundaries, a source of visual discontinuity invisible to metadata validation. The caption track is evaluated against the full audio-visual context of the content it serves — a quality assurance step that operates where file-level checks end.

From One Validated Track to Many
Once a base caption track has been validated, the same content intelligence can carry through to multilingual delivery. Machine translation pipelines generate multilingual versions from that source track without a proportional increase in localization effort. Additionally, systems incorporating large language models can preserve timing, segmentation logic, and reading-speed compliance across the target language, so translated tracks inherit the quality properties of the source without a separate QC cycle.

Broadcast, OTT, and streaming platforms each impose distinct caption format requirements, and a caption track that passes QC for one delivery destination may fail for another. Generating and validating multiple output formats — SCC, WebVTT, TTML, and others — within the same pipeline means format-specific compliance is confirmed once, upstream, before distribution splits across platforms.

Accuracy That Compounds With Use
One persistent limitation of traditional captioning pipelines is that errors recur without systematic correction. When a captioning process mishandles a recurring term, such as a character name, an athlete, or a brand, that error propagates across multiple assets with no mechanism to resolve it at the source.

Content-intelligent platforms address this through a continuous learning loop. When operators review and correct AI-generated captions, those corrections are captured and used to fine-tune the underlying model. Over successive production cycles, the system becomes progressively more accurate for that organization's specific content mix, speakers, and terminology. This provides a meaningful advantage over static vendor relationships, where the same errors resurface without correction.

Moving Quality Decisions Upstream
These capabilities move captioning from a production checkpoint into a media quality system. Content-intelligent workflows generate structured, validated caption data that feeds directly into MAM systems, localization platforms, and distribution pipelines. The caption track arrives at each stage as a verified asset, ready for use without additional QC. That changes where quality decisions happen. Compliance risk is surfaced before delivery.

Multilingual tracks inherit the quality properties of the source. Format-specific requirements are confirmed once, before distribution splits across platforms. The underlying shift is from discovering caption failures at the point of delivery, where correction is costly and timelines are unforgiving, to catching them at the point of production.

ATLANTA—WUPA Atlanta has launched “CBS News Atlanta At Noon,” a live weekday newscast providing viewers with additional breaking news, weather and community-focused coverage.

The July 13 launch continues the station’s steady growth in local news programming since it debuted its news operation last September. WUPA brands itself on-air as CBS Atlanta.

“Since launching our local news operation, we have remained focused on building a strong community-centered news brand for viewers across metro Atlanta and North Georgia,” said Tom Canedo, president and general manager of CBS Stations Atlanta. “Adding a live noon newscast is another important step in that growth, giving audiences more opportunities to access trusted local news, weather and information throughout the day.”

The newscast is anchored by T.J. Anthony and meteorologist Johnathan Myers.

“Atlanta viewers want timely local information they can rely on throughout the day,” CBS Atlanta News Director Shawn Hoder added. “Launching ‘CBS News Atlanta At Noon’ gives us another opportunity to deliver breaking news, weather and community-focused reporting while continuing to grow our local news presence in the market.”

All CBS Atlanta newscasts are produced using advanced augmented reality and virtual reality technology, creating immersive storytelling experiences that help viewers better understand weather events, breaking news and complex topics.

MUNICH—ARRI announced today that it is selling its global equipment rental business in Europe, the United Kingdom, and North America to H2 Equity Partners. Illumination Dynamics—ARRI’s lighting and power equipment rental business—will remain part of ARRI and is not included in the transaction.

Coming several months after ARRI announced that it was being acquired by Riedel Communications owner Thomas Riedel, ARRI said the divestiture “is a planned and significant element of ARRI’s long-term strategic development.”

ARRI said that a key rationale for the transaction is to resolve a structural conflict of interest between ARRI’s manufacturing business and its own rental business: as a manufacturer of camera and lighting technology, ARRI supplies customers and partners worldwide, some of whom compete with its rental activities.

Through this transaction, ARRI said it will sharpen its focus on the development, production and commercialization of innovative camera, lighting and software-based technologies, thereby strengthening its role as an independent and trusted technology partner to the global media and entertainment industry.

“This transaction is a milestone in ARRI’s strategic transformation and future positioning,” said Thomas Riedel, owner of ARRI as well as founder and owner of Riedel Communications and the Riedel Group. “It enables us to direct our investments even more specifically toward the further development of our technologies and new growth areas. At the same time, it allows the rental business to continue to develop independently and to unlock additional market potential.”

The management buy-out is led by ARRI Rental's existing UK-based leadership team of Dana Harrison, Russell Allen and Tamim Essaji, in partnership with H2 Equity Partners.

Dana Harrison and Andy Shipsides will continue their leadership responsibilities in the respective regions and will, together with their teams, ensure long-term customer relationships and operational continuity. Harrison will also serve as CEO of the global rental business.

The new standalone rental group will transition to its own brand after a customary transition period.

MELVILLE, N.Y.—Chyron today unveiled PRIME 5.4, the latest release of its unified platform for graphics, playout and live production.

“Broadcasters need tools that fit naturally across editorial, production, and engineering workflows,” Chris Amodei, platform product manager for PRIME at Chyron, said. “PRIME 5.4 gives teams more choice in how they prepare, test and deliver content, while making everyday operation simpler and more dependable.”

The new release brings PRIME into more newsroom workflows, expands deployment choices and adds practical enhancements for design, playout and system validation, Chyron said.

PRIME 5.4 offers support for simple PRIME scenes in Axis News, new SDI hardware options, audio clip playout, more precise color-channel control and a watermarked online edition for preproduction testing.

The latest release brings the PRIME template experience to more newsroom users by extending the templates into AXIS News. Doing so enables broadcasters to move guided graphics workflows further upstream into editorial production. Newsroom teams now have a more direct connection to PRIME-driven graphics creation, Chyron said, making it easier to prepare content within the systems they already use every day.

The expansion throughout newsrooms also creates a more consistent graphics workflow across teams. It helps users work within guided templates, reducing reliance on older processes while protecting brand consistency and the approved on-air look.

The release also simplifies audio playout and adds a range of usability enhancements. These updates are designed to reduce friction in routine tasks while helping teams work more smoothly and confidently in fast-moving production environments.

PRIME 5.4 makes audio easier to prepare and operate by automatically creating PRIME audio clip files when WAV files are imported, Chyron said. Operators can then drag and drop audio directly onto Playout output channels and control files using a workflow similar to video, giving production teams a faster, more consistent way to manage audio during live operations.

PRIME 5.4 also supports HSL and RGBA Color Channel Property Bindings, enabling designers to read and write individual color channel values directly in Logic, Conditions and the Expressions/Bindings panel. The new support makes it easier to drive precise color changes at runtime without replacing an entire color value, giving designers more granular control and enabling more flexible, efficient template and scene behavior, Chyron said.

To help users prepare new deployments more effectively, PRIME now supports production validation before go-live through the PRIME Online Watermarked Edition. This fully functional edition provides maximum I/O capabilities in a production-like environment intended for testing and validation.

More information is available on the Chyron website.

LONDON—Gravity Media, a global provider of production, content, media services and facilities, is powering an innovative reverse remote production setup for ITV’s FIFA Football World Cup coverage, connecting Gravity Media’s London Production Centre with ITV Sport’s live studio operations in New York through a fully integrated workflow.

In this three-hub production model, match feeds are received via the International Broadcast Center in Dallas and transmitted to Gravity Media’s London Production Centre, where production galleries are operated and enhanced with live editorial and presentation content.

Meanwhile, ITV Sport’s presenting team based in New York delivers the live studio segments, creating a seamless workflow across three international locations rather than a traditional single-site production. The result is a highly resilient, flexible production model that brings together transatlantic collaboration and state-of-the-art infrastructure.

The production also incorporates venue injects, with game-side presentation elements seamlessly integrated into Gravity Media’s London galleries, elevating storytelling and live coverage.

This project highlights Gravity Media’s continued investment in advanced remote production technologies and its ability to deliver complex, multi-location workflows at scale for major international sporting events, according to Kate Rendle, Global Sales Director at Gravity Media.

“This is a perfect example of how Gravity Media is redefining what’s possible in remote production. By integrating our London Production Centre with live presentation in New York, we’re able to deliver a seamless, resilient and highly creative workflow for one of the world’s biggest sporting events. Our investment in infrastructure ensures that we can support our clients with true operational flexibility and continuity, no matter what challenges arise. It’s about delivering innovation and reliability at scale, and we’re proud to be doing that for ITV.”

ITVX says it achieved its strongest monthly performance to date in June, crossing the 400 million monthly streams milestone for the first time in its history.

ITV Sport showed seven out of the top ten biggest matches in the group stages, including England's two winning games, with peak audiences of 16.4 million and 13.8 million respectively, as well as the opening match of the tournament, Mexico vs South Africa, Norway vs France, Netherlands vs Japan, Scotland vs Morocco, and Germany vs Cote D’Ivoire.

A newly released study argues that U.S. broadcasters face a content crisis, in part because up to 75% of journalists’ time is squandered on technical busywork.

Broadcast journalists are currently spending three-quarters of their time on technical workflows often referred to as busywork, according to a Caretta Research study sponsored by streaming technology firm Quickplay. That leaves just a fraction of their time available for doing what they’re best at, Quickplay said—delivering timely, accurate, trusted and relevant content to their local audiences.

This constraint is particularly troubling because it puts North American broadcasters at risk of losing viewers to third-party platforms, the researchers noted.

“When local broadcast journalists lose 75% of their days to technical workflows, they're not just facing a productivity problem, they're staring at an existential one,” Quickplay Co-Founder and Chief Business Officer Paul Pastor said. “While the demand for trusted and relevant local content remains high, new rules are in play for local broadcasters to survive.”

This “technical busywork…could be automated, accelerated and improved,” Ed Barton, research director at Caretta Research, added. “The shift to unified, software-orchestrated operations is no longer optional, it is the urgent step required to empower and accelerate key staff, enabling broadcasters to compete more effectively in the streaming age. The technologies enabling such a transition used to be expensive and required a lot of customization. However, vendors have worked hard to ensure adopting such capabilities is accessible to even the smallest broadcaster.”

The report, titled “The Broadcaster Revolution Will Not Be Televised,” examines how broadcasters can use their strengths—deep local knowledge, trusted brand equity and their content archives—to stay relevant and compete effectively as visual entertainment shifts decisively to streaming.

One major challenge is the fragmented state of broadcasters’ content archives, the report noted. Local stations hold vast amounts of content, but it is spread across many different media asset management systems and file types.

Without the right infrastructure, finding, retrieving and repurposing this content takes too long, the study reported.

Furthermore, many newsrooms and production teams lack a complete view of all their assets, according to the study, making the process of finding the right clip or footage too time-consuming for a busy news operation. As the report highlights, staff currently "just have to know where it is," often relying on the memory of experienced employees to locate specific video files.

Workflows designed for traditional linear broadcasting are too slow for the high volume and publishing cadence needed to satisfy the audiences and algorithms on social and third-party platforms, the study said.

Social media platforms reward consistent, relevant and rapid publishing that elicits engagement and reaction. Boadcasters who want to increase their video presence on these platforms, using the appropriate formats and distinct editorial voices expected by a given audience, need new workflows.

To address these issues, the study found broadcasters are increasingly adopting unified software or orchestration layers that offer visibility and control of their content, production and distribution workflows. Instead of risky “rip-and-replace” approaches to upgrading technology, such an approach reduces deployment, operational and economic risk while conferring significant performance and efficiency gains that quickly stack up, even in smaller operations.

By making core workflows visible and controllable from a single UI, or "one pane of glass,” editors and journalists can easily find, clip, package and distribute content without constantly switching between tools or moving files. This change transforms content archives from cost centers into potential drivers for audience engagement, enabling highly skilled staff to focus on doing what they do best. It also enables broadcasters to assert themselves and compete effectively on the platforms where their audiences spend the most time.

“Gone are the days where broadcast is always the first format and then recut for other platforms,” Pastor added. “Our digital-first world demands the flexibility to start with vertical before broadcast when appropriate. An orchestrated, content-to-value platform then turns one story into formats built for each of these platforms simultaneously, so broadcasters can compete at the same velocity and reach as anyone else without giving up their real superpower: local relevance."

For more information and to access the full research, click here.

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

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

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

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

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

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

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

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

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

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

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

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

The technology toolkit available to broadcasters has evolved dramatically over the past quarter-century.

During television’s digital and HD transition era, “future-proofing” became a favorite phrase among systems integrators designing 3G-SDI facilities. Yet television has never actually exceeded 1080i/720p over ATSC 1.0, which is effectively half-bandwidth HD, or 1.5G.

So why did Arizona Public Media (AZPM) choose to build a 4K facility, deploy virtual production capabilities and install 4K cameras in radio studios? The answer lies in understanding where content creation and distribution is headed.

Analyzing the Need
Recent industry research shows audiences are consuming streaming media at a greater rate than traditional broadcast-delivered content. Our own metrics at AZPM reflect the same trend. OTT consumption continues to grow while over-the-air viewership remains relatively flat.

As AZPM began planning the $65 million Paul and Alice Baker Center for Public Media (with a tech budget of about $10 million), we examined our current and future needs across TV, radio, streaming and digital media production. Our goal was to eliminate traditional silos and create technology-agnostic production spaces that support current workflows and can adapt to future requirements.

Quality was also a major consideration. AZPM already captures field content in 4K HDR using Sony FX6 and FX9 cameras and edits in DaVinci Resolve to leverage its advanced color-grading capabilities. Historically, however, field-acquired footage never fully matched in-house studio productions due to limitations in our 1080i SDR infrastructure.

While a migration to 3G HDR would have been the simpler path and would have produced solid results, we chose to push further by designing our internal production environment around 4K HDR. That decision naturally led to discussions about adding a dedicated color-correction suite and a Dolby Atmos mixing room.

We wanted to eliminate the traditional silos that often separate TV, radio, cable television and conference-room AV systems. Too often, these systems coexist without integrating effectively. We believed there had to be a better way.

Searching for the Answer
Because the AZPM facility was funded entirely through donor and member support, one of our earliest goals was to create a facility that donors would be proud to invest in while supporting our long-term mission.

Research became a critical part—the AZPM team visited numerous recently completed media facilities, observing operations and asking candid questions about what had worked well and what they would do differently.

Some organizations had committed to HD and 3G-SDI as their long-term strategy. Others aspired to deploy 12G infrastructures but were constrained by budget realities.

My vision for broadcasting’s future has always included both over-the-air and streaming delivery. Each platform offers distinct advantages. With ATSC 3.0 now approaching a decade of deployment, I remain hopeful that NextGen TV, coupled with integrated streaming experiences, can elevate OTA broadcasting by bringing content quality and user experiences closer to what audiences expect from streaming services.

AZPM currently broadcasts in ATSC 1.0 and 3.0 and chose to deploy a 1080p HDR NextGen TV signal. In doing so, we planted our flag firmly where we believe the industry must go to remain competitive and relevant.

Building the Team and the Plan
At AZPM, the transition began well before the move into the new facility. We migrated field-production equipment and editing systems to 4K HDR workflows while still operating from our existing location. Giving teams time to become comfortable with new tools and processes before introducing a completely new facility significantly reduced organizational friction.

My internal design team included leaders from engineering, information technology and production. Together, they transitioned to 4K acquisition, DaVinci Resolve workflows, LUT-based color management and enhanced audio production techniques.

The results were evident. This year, AZPM received eight regional Edward R. Murrow Awards for excellence in journalism. While great storytelling remains the most important factor, there is little doubt that improved production quality helped strengthen audience engagement and presentation.

As a result, when our production teams moved into the new facility, they encountered familiar workflows enhanced by better spaces, newer tools and expanded capabilities. The transition proved remarkably smooth.

Of course, adopting new technologies also introduces new support challenges. High-bandwidth IP-based production environments require expertise in software, networking, cybersecurity and systems integration that extends well beyond traditional broadcast engineering disciplines.

AZPM invested heavily in staff development while simultaneously upgrading portions of our existing facility to serve as a testing environment. Moving from HD to 4K requires more powerful editing systems, increased network capacity, improved monitoring and measurement tools, and significantly more storage.

Concept testing also played an important role in validating new operational models. One example was transforming a radio program into content that could simultaneously serve radio broadcast, podcast, vodcast, streaming and traditional television audiences.

To test the concept, we equipped an old radio studio with PTZ cameras, upgraded lighting and branded visual elements. A small flypack in an adjacent control room enabled student operators to produce the program efficiently with a much lighter operational footprint.

The experiment proved successful. Today, our new Press Room studio provides expanded space, dedicated cameras, planned lighting and digital signage capable of supporting a wide range of productions while maintaining operational efficiency.

Finding Partners
Successfully delivering a project of this scale while maintaining normal operations is an enormous challenge. Choosing the right partners was therefore one of the most important decisions we made.

We issued an RFP seeking a fully integrated design-build team capable of addressing construction, power, HVAC, acoustics and media facility requirements as a unified effort.

After selecting our construction partner, we completed a Phase 0 broadcast design study. I cannot overstate the importance of providing architects and builders with detailed requirements regarding space allocation, cable pathways, cooling capacity, power distribution and equipment density.

Our builder had recently completed a Meta data center and a film school production facility. Even so, assumptions can be dangerous.

For example, their initial studio-floor specification mirrored what had been used in film production environments. Television production places very different demands on floor surfaces. Pedestal-mounted cameras require strict flatness and levelness tolerances as defined by ASTM E1155-20. Without those standards, camera movements can become unstable and unlocked cameras can literally roll across the studio floor.

Perhaps the most important long-term partner in any facility project is the systems integrator. During installation, we routinely had 10 systems integration specialists on-site for six months to complete cabling, infrastructure deployment and equipment commissioning.

We ultimately selected a midsized systems integrator that demonstrated a willingness to innovate, collaborate and help us achieve our goals.

Building one of the region’s first fully IP-based media facilities—from VITEC-powered cable and digital signage systems to TAG multiviewers and an EVS-managed SMPTE ST 2110 infrastructure—is no small undertaking.

I must commend KCM (Key Code Media) for their collaborative approach and commitment to project success. On multiple occasions, we activated studio resources for live productions before formal project acceptance. KCM staff worked alongside our teams to ensure everything operated successfully, including complex 11-camera productions that occurred before final commissioning was complete.

From Skepticism to Enthusiasm
Few organizations are fortunate enough to build a greenfield media facility of this scale.

No project of this magnitude proceeds without challenges, compromises and occasional disappointments. Throughout the process, my goals remained straightforward: keep the team engaged, provide clear direction to our partners, maintain rigorous oversight and ensure that our staff remained healthy and focused.

One of the more amusing aspects of the transition was watching some of the strongest skeptics become enthusiastic advocates. Several longtime employees initially doubted that the new facility would improve their work, enhance quality or make their jobs more enjoyable.

Today, many of those same individuals enthusiastically explain to colleagues how they use the new tools, appreciate the new spaces and cannot imagine returning to the workflows of our previous facility.

In the end, most obstacles proved manageable and ultimately minor in the context of the overall project.

What I will carry forward from this experience is not only the accomplishment itself, but also the belief that the investment made by our donors, members, staff and partners has provided AZPM with a platform for innovation that will serve the organization for decades to come.

If we have done our jobs well, this facility will enable Arizona Public Media to create, innovate, educate and thrive for the next 75 years.

NASHVILLE, Tenn.—Gravity Media USA, a provider of production, content and media services and facilities, has hired Brittney Boston as head of business development.

Based in Nashville, Boston’s charge is to lead its business development strategy and drive revenue growth across its RF and wireless solutions, production flypack services and production and managed services offerings, the company said. She’ll work closely with Gravity Media USA’s leadership team to focus on strengthening customer partnerships and developing new opportunities across the region, Gravity Media said.

“The opportunity to join the team at such an exciting stage of growth is incredibly exciting,” Boston said. “I'm looking forward to working with talented teams across the business to build new partnerships, expand our client base and help drive the next phase of growth for Gravity Media USA.”

Prior to Gravity, Boston had founded and operated Supreme Republic Entertainment, a consultancy serving major record labels, production companies and Fortune 500 brands, the company said. She brings 13 years of experience on such major events as the Grammy Awards, Oscars and Emmy Awards, as well as with the National Basketball Association’s Los Angeles Clippers.

“Brittney joins Gravity Media as we continue to expand our U.S. operations and invest in the growing demand for RF, specialist cameras and live production services,” Nathan Spencer, managing director of Gravity Media USA, said. “Her extensive experience across sports and entertainment, along with her strong commercial track record, will be instrumental in strengthening customer partnerships and driving the next phase of the business’ growth.”

Gravity Media is a media services, facilities, production and content company that delivers end-to-end media services and solutions to broadcasters, rightsholders and production houses in 37 locations across 10 countries, including such highly watched events as the UEFA Euro Championships, Olympic Games, FIFA World Cup, Formula E, the Tour de France and the U.S. Open tennis tournament, as well as programs such as “I’m a Celebrity…Get Me Out of Here!” and “I Kissed a Boy.”