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

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

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

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

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

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

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

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

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

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

IRVINE, Calif.—Wooden Camera has unveiled a redesigned lineup of accessories for the Sony FX6, bringing a more modular, production-focused approach to the camera platforms.

Designed in response to evolving production workflows and feedback from working camera crews, the updated system provides expanded mounting options, faster transitions between configurations and improved integration with modern camera accessories.

At the center of the updated ecosystem is a redesigned Top Plate System featuring an expanded mounting layout, forward-facing ¼-inch-20 and 3/8-inch-16 mounting points, anti-twist options and a removable center section. The modular center design allows users to maintain compatibility with the FX6’s native top handle or configure the camera for professional screw-in top handles without removing the entire top plate.

The updated system also introduces an ARCA Plate for Sony FX6, providing a direct ARCA interface at the bottom of the camera for fast transitions between compatible support systems. Its full-length design offers additional balance options, while an integrated opening maintains airflow around the camera.

For camera assistants and operators working in compact documentary configurations, the new Native Handle Cheese Plate expands the capabilities of Sony’s native top handle by adding mounting options for additional accessories and Ultra Handle extensions. The design preserves the shape and ergonomics of the native handle while creating additional mounting capability for accessories, such as MDRs and other on-camera equipment.

Wooden Camera has also redesigned the Sony FX6 power workflow with updated V-Mount and Gold Mount Battery Slide Plate Kits. The new attachment style connects directly to the redesigned top plate and incorporates the new Bolt-On Battery Slide Bracket, addressing a long-standing request from the Sony FX6 community while providing a more adaptable battery mounting solution. The slotted bracket allows the battery position to be adjusted based on camera configuration, while its swing-away design provides access to rear camera ports.

The ecosystem is rounded out by updated Lens Support and Base Plate options, along with complete Core and Elite configurations designed for different production needs. The Core Cage System is aimed at documentary, run-and-gun, low-profile and owner-operator workflows, while the Elite Cage System provides a more comprehensive cinema configuration with an Ultra Handle, expanded mounting points, lens support and 15mm rod support.

The redesigned Sony FX6 ecosystem is built around industry-standard interfaces, including ARRI-Standard mounting points, NATO rails and ARCA and dovetail systems, allowing users to integrate existing accessories and build configurations that can evolve with their production needs.

The new Sony FX6 accessories will be available as individual components and complete system configurations, giving users the flexibility to upgrade existing rigs or build a new FX6 package from the ground up.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

More information is available on the LTN and Sony websites.

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

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

Alex Keighley: I think we’ll continue to see the industry move toward hybrid production environments. Most customers are not starting from a blank sheet of paper. They have SDI, SMPTE ST 2110, modular infrastructure, software applications, cloud and edge resources, and they need those environments to work together.

Two important developments in this context are the Dynamic Media Facility (DMF) and open media exchange through MXL [the Media eXchange Layer]. The Dynamic Media Facility is already a reality for Grass Valley customers. AMPP enables this model today, combining distributed production, shared compute, software-defined media functions, orchestration and monitoring across cloud, on-premises and edge environments.

So, I expect openness and interoperability to remain important. Native MXL integration within AMPP makes high-performance media exchange part of the production architecture, helping connect systems and workflows. The broader challenge is how to bring these capabilities together while allowing customers to modernize at their own pace, without abandoning the infrastructure that still works for them.

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

AK: A key highlight for us at NAB Show New York will be AVORA, which we launched at IBC in September. This will be the first opportunity to see it demonstrated in the United States, both in the Grass Valley booth and the Broadfield booth.

AVORA is a standalone, all-in-one live production solution for teams that need professional production capabilities without assembling a full production stack for every show. It combines switching, graphics, audio, remote guests, content, replay, recording, monitoring, playout and delivery in one system. Teams can prepare, save, duplicate and recall complete productions, with the flexibility to use either visual shot-based production or traditional program/preset operation. Built on the founding principles and technology of GV AMPP, AVORA operates as a standalone Grass Valley solution, not AMPP Lite.

Beyond AVORA, we’ll demonstrate how different parts of the Grass Valley portfolio work together across capture, production, content and playout.

On the camera side, we’ll be showing the LDX 180, which brings Super35 cinematic capture into live production, and the LDX 150, designed for high-speed UHD and HD production. Both sit within the same LDX 100 Series ecosystem.

We’ll also demonstrate Event Producer X with an AMPP-connected Korona panel, showing a production workflow for repeatable corporate events such as town halls and leadership communications.

Finally, we’ll connect Framelight X with Playout X to demonstrate the path from media management, editing, review and publishing through to channel delivery.

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

AK: I think what makes AVORA different is that it brings the main elements of live production together in one standalone system, without requiring teams to build a complete production setup from separate components for every show.

It covers everything from switching, graphics and audio to remote guests, replay, recording and playout. Teams can also prepare and save productions, then duplicate and recall them for future events, which is particularly useful for organizations producing regular shows with consistent requirements.

There is also flexibility in how teams work. AVORA supports both visual, shot-based production and traditional program/preset operation, so operators can choose the approach that suits them.

And although it operates as a standalone solution, AVORA is built on the technology and principles behind GV AMPP. It draws on Grass Valley’s experience in software-defined production, packaged in a system designed for teams that need an integrated, repeatable production environment.

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

AK: NAB Show New York gives us the opportunity to meet directly with customers, understand the challenges they are facing and discuss how they can get more from their existing infrastructure while adopting new technologies.

It is also a valuable opportunity to demonstrate how hardware, software and hybrid workflows can work together in practice, and to have conversations about what that means for different production environments.

Each year, the value is in those direct exchanges with customers and partners, understanding their priorities and exploring how our solutions can support the way they work today.

Visit Grass Valley at NAB Show New York in Booth 121.

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the company’s website.

ALAMEDA, Calif.—Clear-Com played a critical role in the production communications infrastructure for Rock in Rio 2026, one of the world’s largest music festivals.

With multiple stages, major international and Brazilian artists and a live broadcast operation reaching a worldwide audiences, Rock in Rio requires communications technology that performs reliably at scale, Clear-Com said. The deployment was supported by Savana Comunicação, a Clear-Com partner in Brazil.

For the 2026 festival, Clear-Com provided the communications solutions connecting production teams across the event while creating a seamless link between the festival site and TV Globo’s broadcast facilities.

The deployment featured four Clear-Com Arcadia Central Station systems supporting about 50 wireless FreeSpeak II and FreeSpeak Icon beltpacks. A combination of E1 and IP-connected FreeSpeak transceivers provided wireless coverage across the festival’s production areas, giving teams the mobility and flexibility needed to coordinate a large-scale, multistage live event.

The system’s capabilities extended beyond the festival grounds, integrating Rock in Rio’s on-site communications infrastructure with TV Globo’s broadcast operation. The Arcadia systems were connected via Dante over a dedicated network to the broadcaster’s facilities, providing audio connectivity between the festival’s Arcadia systems and Clear-Com Eclipse matrix infrastructure.

This integration enabled on-site production and broadcast teams to operate within a connected communications environment, helping streamline coordination between the live event and the television production. Multishow, a cable and satellite TV network operated by Globo, broadcast the festival live.

More information is available on Clear-Com’s website.

Studio W has been a staple space at ESPN’s Bristol, Conn., headquarters since 2014. That’s among the reasons it was time to “tear it down to the studs” after the 2026 Super Bowl.

Those are the words of Anthony Lacaprucia, senior director of ESPN studio operations, who has been with the network for three decades. He’s now working within a 9,000-square-foot environment so technically advanced that it would have been tough to imagine when he started.

“Studio W still lives in Digital Center 2, in Bristol, but we’ve made huge strides with this first refresh,” Lacaprucia said.

On that note, builders ESPN Studio Operations, Disney Entertainment & ESPN Technology, ESPN Creative Studio and designer Jack Morton Worldwide went big on the new set. It now serves as the home for daily studio shows like “NFL Live” and in-game wraps for ABC college football coverage and NHL telecasts, among other programming.

The key feature of the rebuild was adding more than 9,200 square feet of movable LED displays, walls and desks, “with a purpose-built XR volume,” he said, featuring roughly 44.7 million pixels and rendering capabilities for multicamera virtual shoots.”

So a multicam setup it is, with the studio equipped with Sony HDC-5500 cameras supporting native ST 2110, HDR, and UHD workflows, Mo-Sys camera tracking across a Jimmy Jib Pro, three robotic pedestals, and two manual pedestals, as well as a Vislink wireless RF platform for Steadicam operations across the facility. The new multicamera virtual production technology allows up to four cameras to capture images simultaneously from the same LED wall.

“That presents new opportunities for storytelling in a virtual reality setting,” said Lacaprucia. For instance, college football analysts can be depicted as immersed in game situations, and NHL analysts P.K. Subban and Mark Messier can be shown discussing game action from within a hockey rink during wraps. “The size of the LED displays, when combined, is 8 feet by 55 feet, and can be broken up into four individual tracking displays.”

So the displays “viewers see on college football broadcasts,” he said, use “the same technology for our daily ‘NFL Live’ (and the weekly ‘Fantasy Focus Countdown’) shows. They’re just set up differently.”

Adding to the complement of automated displays is the 146-inch Creative Connors touch- screen system, which can be relocated to other parts of the studio. So for Studio W, ABC’s college football is only the start of what’s to come from under ESPN’s vast umbrella.

In the end, it’s all about having options. “On any given college football Saturday, it can be home to ABC, while Studio X is the home of ESPN, and Studio E is hosting ESPN2 wraps,” Lacaprucia said.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NEW YORK—Marshall Electronics has set plans to exhibit its newest pan-tilt-zoom (PTZ), POV and network-ready cameras at NAB Show New York, which is set for Oct. 21–22 at the Javits Convention Center here.

The solutions on display in Booth 730 will showcase Marshall’s approach of delivering flexible, reliable video products for a broad range of professional applications, the company said.

Among the products it will be showing is its CV625-TB, a multiaward-winning 25x UHD60 PTZ camera with intelligent autotracking and dual PTZ and POV cameras. It can automatically track, follow and frame presenters, enabling accurate and smooth, self-adjusting workflows for applications that require reliable presenter capture, Marshall said.

For those in need of a solution that can handle stormy weather, Marshall will also exhibit its CV574 WP all-weather UHD network camera. This unit delivers rich, accurate color and strong low-light sensitivity for live streaming and production applications that need reliable video performance in challenging conditions, the company said.

Show attendees can also check out Marshall’s CV520 and CV320, a pair of IP and 3G-SDI solutions that combine broadcast-quality, full-HD video performance with flexible connectivity and comprehensive control capabilities in a durable aluminum-alloy design. Marshall said the cameras’ compact form factor makes them well-suited to smaller production environments while maintaining IP and SDI connectivity.

Marshall’s CV355-27X is an award-winning compact camera that combines full HD video with IP and 3G-SDI connectivity. Designed for a wide range of broadcast and pro AV applications, the CV355-27X’s 27x optical zoom can capture both wide-angle views and detailed close-ups, Marshall said.

The CV612-TBI is an economical 12x PTZ camera with intelligent autotracking and framing. It uses facial learning to automatically track and frame presenters while maintaining smooth, accurate movements, Marshall said, making it a fit for uses that require real-time tracking like live streaming, corporate video or houses of worship.

Finally, Marshall will show RCP-PLUS, a touch-screen camera control panel that supports as many as seven cameras via VISCA RS485, 63 cameras via VISCA-over-IP and as many as 70 cameras using both protocols. Its touch-screen interface and fine-tuned finger dials give users precise control over parameters, with controls for simultaneous or individual adjustments.

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

AUSTIN, Texas—Apple is bringing Dolby Atmos alongside Dolby Vision to Formula 1 for Apple TV subscribers beginning with coverage of the 2026 U.S. Grand Prix, Oct. 23-25, from the Circuit of The Americas in Austin, Texas.

For the first time, fans in the U.S. with an Apple TV subscription will be able to experience every Formula 1 race weekend in both Dolby Vision and Dolby Atmos.

“We’re always looking for new ways to make Formula 1 on Apple TV even better for fans,” said Oliver Schusser, Apple’s vice president of Music, Sports, Apple TV, and Beats. “The sound of Formula 1 is such an important part of what makes the sport so exciting, and with Dolby Atmos joining Dolby Vision, fans can experience the energy and intensity of every Grand Prix in a whole new way. It’s another example of how we’re continuing to innovate across the viewing experience to bring fans closer to the action.”



Dolby Atmos brings immersive audio to viewers, from team radio communications and race commentary to the roar of the engines, while Dolby Vision offers richer colors, greater contrast, enhanced brightness and lifelike clarity.

Formula 1 in Dolby Vision and Dolby Atmos is available through the Apple TV app on supported Apple devices and compatible Dolby-enabled TVs, soundbars and home theater systems.



"Formula 1 is one of the most captivating sports in the world, where every circuit, team, and race weekend has its own visual and sonic identity," said John Couling, senior vice president of Entertainment at Dolby Laboratories.

Apple TV is the exclusive U.S. home of Formula 1, delivering every practice, qualifying, Sprint session and race live and on demand.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NEWARK, N.J.—The University of Utah has opened a new state-of-the-art broadcast production facility designed and integrated by Diversified.

The facility marks a major investment in the future of the university’s athletics, sports production and media education programs. It can support in-venue productions across multiple athletic venues, ESPN+ broadcasts and future opportunities with linear broadcast partners.

Built around SMPTE ST 2110 and IP-based infrastructure, the facility gives Utah the flexibility to produce content for multiple sports, venues and distribution platforms while providing a foundation that can evolve as broadcast technology and media workflows continue to change.

Diversified worked with the university from design through commissioning to create a centralized production environment engineered around the institution’s current needs and long-term content strategy. Adding to its value, this investment extends beyond game-day production by giving students the chance to learn in the same types of production environments being adopted by professional sports and major broadcast organizations.

The Language & Communications (LNCO) broadcast facility is also central to a partnership with the University of Utah College of Humanities, where it provides students with access to professional-level technology, workflows and hands-on learning opportunities.

“This new facility embodies where collegiate sports production is headed,” said Aaron Jester, assistant athletics director of broadcast operations at Utah. “Now we can produce more content, support more of our athletic programs and continue expanding how we tell Utah’s stories across broadcast, streaming and in-venue platforms. Just as importantly, our partnership with the College of Humanities gives students a professional production environment in which to gain experience that can translate directly into careers in the industry.”

More information is available on Diversified’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Visit Appear at NAB Show New York in Booth 129.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For full program details and registration, click here.

The Day at a Glance
Morning: fundamentals and network design

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

Afternoon: practice, measurement and deployment

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

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

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

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

Not too long ago, pro AV and broadcast equipment occupied two separate worlds, defined by very different production goals and budgets. Today, those separate worlds are merging into one.

This convergence is dramatically reshaping the expectations surrounding wireless microphone deployments. Whether outfitting a corporate boardroom, university lecture hall, or major league sports stadium, end users now demand broadcast-tier reliability from all of their wireless mics.

Mark Donovan, director of commercial applications at Audio-Technica U.S., noted that wireless microphones have transitioned from event-driven tools to core infrastructure in installed AV systems. “Corporate, education, and government environments now expect wireless audio to perform with the same consistency as networked systems,” he said.

Unfortunately, delivering pristine, uninterrupted audio via wireless is becoming exponentially more difficult. As the demand for wireless connectivity in pro AV spaces skyrockets, the spectrum it uses is becoming more crowded. Navigating this increasingly congested RF environment requires a deep understanding of new transmission technologies, rigorous security protocols, spectrum policy and strict deployment best practices.

The most pressing trend affecting the state of wireless microphones today is the severe congestion within licensed frequency bands. The available real estate for wireless audio is disappearing, putting immense pressure on systems integrators to deliver reliable results.

Jens Pilz, Sennheiser’s spectrum policy and standards manager, points to a frustrating disparity between Pro AV and other technology sectors. “Other wireless industries ask for new spectrum with each generation of their technology,” he said. “The Pro AV industry is forced to stick to the same spectrum resources—or lose spectrum while other industries gain it, like Digital Dividend 1 and 2 in Europe [when broadcast TV moved from analog to digital, freeing up spectrum] or 600 MHz in the U.S. [the same].”

Consequently, as governments globally reallocate valuable RF spectrum, often to support mobile data, wireless microphone operators are being squeezed into smaller frequency bands. This reallocation makes finding clear frequencies incredibly difficult, said René Moerch, group director of wireless for DPA Microphones and Wisycom. “The ability to find usable spectrum, what I often describe as ‘parking spots,’ is becoming one of the most critical challenges in Pro AV today,” he explained.

Integrators are facing the same spectrum squeeze. “We [have to] find more channels in less space, both physically and in bandwidth loading,” said Jason Jacquemain, design engineer for American Sound’s Venue and Entertainment Division. “Refining the quality and agility of systems to cope with more crowded RF environments is a frequent challenge that we must overcome.”

According to Donovan, this reduction in available spectrum has forced a shift from convenience to intentional design. “Wireless systems can no longer be deployed casually in professional environments; they require planning, awareness, and a clear understanding of RF tradeoffs,” he said. Donovan noted the industry has been driven to greater adoption of alternative frequency bands, recognizing there is no longer a single “best” solution.

Pushing Limits and Technological Shifts
Is there a hard limit to the number of wireless microphones that can be operated in the same space? No one knows for sure.

"There’s no universal number," admitted Ben Escobedo, Shure’s account executive for professional audio. “The limit is determined by available spectrum, system efficiency, regulatory rules, and RF conditions in the specific location. Ten channels might be easy in one room and impossible in another due to outside RF interference.”

Lacking access to such a number, the best choice for Pro AV operators is to employ a mix of prudent signal coordination, system choices and disciplined deployments that don’t use more wireless microphones than necessary. “That’s why planning and testing matter more than channel count on a spec sheet,” Escobedo told SCN. “Performing an RF site survey is essential to ensuring one can deliver the channel count and performance that the user expects."

To maximize channel counts within these tight constraints, manufacturers are focusing heavily on RF efficiency and RF agility. RF efficiency refers to how many channels can be packed into a single channel (typically 6 MHz in the U.S.). RF agility refers to wideband tuning, which allows wireless systems to scan a massive range of frequencies to avoid interference and congested areas.

Thanks to digital’s better spectral efficiency and advanced security features, the wireless microphone industry’s move from analog to digital has made room for more channels. Plus, manufacturers are introducing novel transmission standards to bypass UHF congestion entirely.

For example, Sennheiser is championing both WMAS and DECT NR+. Short for wireless multichannel audio systems, WMAS is a wideband, bidirectional approach that allows wireless microphones and in-ear monitors (IEMs) to operate within the same section of RF spectrum. DECT NR+ uses the 1.9 GHz range—a band largely exclusive to DECT technologies—to support bidirectional communication adapted for higher audio fidelity.

Pilz views WMAS and DECT NR+ as complementary rather than competitive technologies. "In the core Pro AV world, these are more like tools in a toolbox, and for the right application, you need to select the right tool," he explained. "You shouldn't buy a product based on technology—you should buy the product based on your use case."

Added Donovan: “Manufacturers are addressing RF complexity by both adding capability and reducing user burden. On one hand, systems are becoming more sophisticated, with improved tuning control and coordination tools. On the other, they are becoming more automated, with features that simplify setup and ongoing operation.”

Securing the Signal
Because pro AV and broadcast applications are converging into unified, IP-centric environments, AV systems now routinely reside on corporate IT networks. This shift has raised security demands for wireless audio applications.

“Unencrypted wireless audio is no longer acceptable in many cases for both security and privacy reasons,” Escobedo said. “Whether it's a major financial institution hosting a town hall in NYC or a pop star about to perform at a halftime show, digital wireless systems often provide AES-256 encryption to ensure secure transmission.”

In this heightened security realm, users must understand the distinction between fully digital systems and digital hybrid systems. While fully digital platforms support AES-256 encryption, digital hybrid platforms prioritize absolute RF robustness and long-range resilience over encryption.

As a result, “digital hybrid technology does not support encryption,” Moerch explained. “For that reason, Wisycom solutions are typically deployed in applications where RF performance and audio quality are the top priorities, while environments requiring encrypted transmission, such as corporate or government use, are better suited to fully digital systems with built-in encryption, like the DPA N-Series.”

"Manufacturers are addressing RF complexity by both adding capability and reducing user burden," Donovan observed. "On one hand, systems are becoming more sophisticated, with improved tuning control and coordination tools. On the other, they are becoming more automated, with features that simplify setup and ongoing operation."

Even the most advanced, heavily encrypted wireless technology will fail if deployed without paying attention to today’s congested RF spectrum. "It seems most designers are having to truly relearn the best practices as a result of said overcrowding, limits, and security concerns," said Jacquemain.

To ensure consistent and reliable service, end users and integrators need to adhere to strict deployment strategies.

Assess your real needs first. "A great starting point is a quick reality check on true channel count needs," Jacquemain advised.

Check the spectrum. Never rely on guesswork when deploying wireless microphones. "Knowing what spectrum is available where you’re working is critical, including avoiding DTV stations," Escobedo said. Using software tools like Shure’s Wireless Workbench or built-in system scanners can help find the most useful frequencies.

Place antennas properly. Maintaining strict line-of-sight between the transmitter and the receiver antennas is crucial, because human bodies and structural obstacles absorb RF energy. "Proper antenna spacing is also important for true diversity performance, which is typically around half a wavelength [approximately 20 inches in UHF ranges]," Moerch added.

Be smart about transmission power. Higher transmit power does not automatically equal better performance—it often just raises the noise floor. "In many cases we are finding it is preferred to use lower output power but have a more robust antenna receiving system,” Escobedo said. “Keeping the output power low may allow one to multiplex [reuse] the same frequency elsewhere in the deployment."

Know when not to use wireless. In those situations where microphone mobility is not necessary, it makes sense to use wires rather than going wireless. "A mentor of mine often pointed out that setting up a wireless microphone involves deploying four cables: power, two antenna cables, and an audio cable," said Escobedo. "Sometimes a simple XLR cable to a wired mic can suffice for the intended application."

Despite all this, it's still possible to use wireless microphones successfully through the use of planning, spectrum checking before going live, and leveraging innovative technologies like WMAS and DECT NR+. Just plugging in a wireless microphone system and hoping it works—especially if it's part of a system that's old and outdated—is a risky choice in today’s congested RF spectrum.

Ultimately, as Donovan said, "The most reliable systems are those designed with realism in mind, anticipating challenges rather than reacting to failures."

This article originally appeared on TV Tech sister brand SCN.

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

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

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

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

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

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

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

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

More information is available on the CI Media Cloud website.

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

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

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

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

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

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

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

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

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

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

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

More information is available on the LTN Global website.

SANTA ANA, Calif.—Producing niche sports for online fans faces challenges that mirror larger sports broadcasts, like long-distance signal transport. One video production company here is overcoming them with several solutions from AJA Video.

Bantaray Mobile Sports Production has developed a mobile production pipeline for niche sports content. The company regularly deploys AJA FiDO Mini-Converters alongside several other AJA SDI/HDMI Mini-Converters and Ki Pro recorders to ensure reliable signal conversion between fiber and SDI and transport signals across venues.

“Every event is different, and each venue presents unique challenges,” Bantaray Founder Steve Banta said. “Sending signals across long distances is almost always a hurdle. We have to find simple ways to get reporter feeds back to the truck, send program feeds to in-venue LED displays, and route audio and video signals safely across the venue. Our AJA FiDO Mini-Converters support these needs and have been incredibly dependable through rain, extreme heat, and constant travel—they just keep working.”

Since the company was founded in 2009, Bantaray has refined its mobile production pipeline for live sports. Today, its team uses that workflow to produce high school sports for Spectrum in Orange County and Riverside, Calif.; support Coachella Valley Firebirds event productions; and to produce other niche sports broadcasts. Rarely given the luxury of scouting a location beforehand, Bantaray taps into Google Earth to preview the space before arriving, determine where to park the OB truck and plan cable runs.

“That’s the beauty of fiber,” said Jeff Highbaugh, a freelance camera operator who works with Bantaray. “The truck can be parked anywhere on-site, and we can still quickly deploy audio and video using our FiDOs and daisy chain as much length as we need. The setup is so fast, and we can run four cameras down one fiber line.”

Bantaray owns 24 AJA FiDO Mini-Converters, including single-, dual- and four-channel models. They are mounted inside a portable booth kit containing an I/O panel and audio gear. Multiple cameras positioned around the commentator booth feed SDI signals into Bantaray’s booth kit, which converts them to fiber using the FiDOs and sends them back to the production truck over a four-pair tactical fiber-optic cable capable of carrying four signals.

“Each production typically involves a production truck, a commentator booth—which has the most signal paths going to it—and sometimes a video scoreboard, so we need to be able to move video and audio signals across long distances without power limitations,” Banta said. “Our longest fiber reel is 1,000 feet, and we often use Dante for audio. Fiber lets us barrel as many of those fiber reels together if we have a FiDO on each end."

Bantaray also relies on AJA Mini-Converters to convert SDI feeds to HDMI for monitoring, distribution amplifiers for signal management and AJA Ki Pro recorders for capture. “We don’t have a giant crew and everyone is wearing multiple hats,” Highbaugh said. “So, we need gear that is reliable, consistent and easy to use. Our AJA FiDO Mini-Converters provide reliable conversion between SDI and fiber, giving us additional flexibility to convert signals on the fly or extend them much farther than traditional SDI allows.”

As niche sports continue to find dedicated audiences through streaming platforms, Bantaray sees growing opportunities ahead and is focused on expanding further into the multicamera production space.

"Streaming continues to grow, so I'm looking at technology that can help me send high-quality, low-latency signals efficiently,” Highbaugh said. “Whether we're working with limited bandwidth or remote locations, finding reliable ways to get content on the air remains a major priority.”

More information is available on the Bantaray Mobile Sports Production and AJA Video websites.

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

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

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

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

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

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

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

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

NEW YORK—Emergent has named Tom Shelburne as head of business development, North America, tasked with driving the browser-native broadcast graphics provider’s expansion across such categories as sports, houses of worship, corporate media production, podcasts and new media producers and systems integrators.

A five-time Emmy Award winner, Shelburne is the former replay technical director for NBC’s NFL “Sunday Night Football” telecast. He has also held senior North America roles at Vizrt, Pixotope and Mo-Sys.

“Everything we learned over the years about workflow, render engines, and graphic design has been reimagined,” Shelburne said. “This isn’t a faster version of the old way; it changes how people think about making graphics.”

Emergent positions its product, built on the WebGPU standard that gives web browsers native access to local broadcast platforms, as a full-fledged broadcast rendering engine that eliminates the need for locally installed software. A cloud-native system, Emergent’s platform handles standard HTML and WebGPU rendering to replace traditional hardware render engines, the company said.

Emergent’s platform uses AI across the production lifecycle, from automated graphics creation and live-data population to automated social clipping and asset management, the company said. It is deployable via public cloud services or on-premises models.

At Emergent, Shelburne will rejoin several colleagues he once worked with at Vizrt, now on its leadership team, including CEO Greg Mindlin, Chief Business Officer David Jorba, Chief Creative Officer Miguel Yabrudes and Chief Technology Officer Wilson Li.

“Tom has sat in the TD chair and across the table from customers, and they trust him,” Jorba said. “When we built something so different, he was the first person we wanted to see it.”

For more on Emergent, visit its website.

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

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

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

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

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

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

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

MOUNTAIN VIEW, Calif.—Utopai Studios, an AI-native global entertainment studio today introduced the all-new PAI, its production intelligence platform for professional film and television, and Utopai X, its video generation model. Together, PAI and Utopai X combine advanced video generation, production context and filmmaker-led workflows in a unified production system designed for feature films and television series, the company said.

Developed inside an operating film and television studio, PAI is built around the requirements of professional production. The platform helps filmmakers plan shots, develop assets, generate footage, review takes and manage revisions while keeping the production’s screenplay, characters, locations, assets and creative decisions connected throughout the process.

Utopai X provides the video generation layer within PAI and ranks No. 2 globally on Artificial Analysis’ Text-to-Video Leaderboard With Audio, with an Elo score of 1,150, nine points behind the No. 1-ranked model, according to the company, which adds that Utopai X is also the highest-ranked model from a U.S.-based company on the leaderboard.

Artificial Analysis evaluates video generation models through blind human-preference testing, in which participants compare outputs without knowing which model generated them. Those preferences are used to calculate the Elo scores that determine the rankings.

Utopai X is designed for professional production, with strengths in complex visual behaviors including reflections and caustics, as well as world understanding and high-level spatial consistency. These capabilities help maintain visual continuity and environmental coherence as shots become more complex.

Within PAI, a screenplay can be analyzed and organized into scenes and shots while characters, locations, objects, visual references and production decisions remain connected to the project. Production Assistants, Utopai Studios’ AI agents within PAI, use that context to help filmmakers plan shots, develop ideas and create new iterations, while filmmakers determine what to create, keep and revise.

Filmmakers can develop a shot within PAI, use Utopai X to generate footage and compare multiple takes in the same production environment. Previous versions remain available as the work develops, and selected footage can move into the editing process and established post-production workflows including Adobe Premiere and DaVinci Resolve.

Utopai Studios is already applying PAI and Utopai X to its own film and television productions, including “The Most Serious Fart,” the upcoming animated feature written and directed by Mike Bender.

NEW DELHI—Asian News International has deployed Grass Valley AMPP and Framelight X to modernize ingest, media management and content distribution across its news operations.

Grass Valley will feature both at Broadcast India 2026, Oct. 22-25, in Mumbai.

The move gives ANI a centrally managed environment for capturing live feeds and making content available quickly to editorial and distribution teams.

Four on-premises processing nodes are connected to AMPP cloud orchestration, supporting 32 concurrent scheduled ingest resources across 28 SDI and four SRT channels. Framelight X brings monitoring, media management, clip playback, graphics and workflow automation into the same environment.

Founded in 1971, ANI operates more than 100 bureaus across India, South Asia and other international locations. It supplies text, video and picture content to television networks, digital platforms, newspapers and more than 1,000 news organizations worldwide.

“ANI operates continuously across a fast-moving news environment, where incoming content must be recorded, verified and made available to our editorial and distribution teams without delay,” said ANI director Ishaan Prakash.

“The Grass Valley AMPP and Framelight X platform gives us a centralized environment for scheduling, ingest monitoring, asset management and automated content delivery, helping us manage a high volume of news feeds while making content available faster for broadcast, digital and social media workflows.”

Grass Valley Elastic Recorder X and Scheduler give ANI centralized control of its 32 ingest resources, enabling operators to create and modify schedules, assign recorder resources, select sources and monitor recording status from a common interface. Each processing node handles seven SDI inputs and one SRT input, bringing facility and remote IP contribution into the same scheduling environment.

Elastic Flow Monitor gives operators real-time visibility of source presence, signal health, recording status and storage usage. Dedicated Clip Player services handle preview, quality control, production and transmission, with GV HTML Graphics, Clean Cut and Image Store used for graphics, switching and fallback.

Framelight X gives ANI browser-based access to media search, proxy preview, metadata inspection and content validation. Once a recording is complete, automated workflows transfer it into ANI’s central library and make it available for editing, archive and playout, including from Adobe and EDIUS editing environments.

Workflow Engine, Script Services and S3 Transfer handle highlight creation, MP4 processing, S3 delivery and social media preparation. During breaking news, ANI can record and monitor multiple live feeds while making captured material available for editorial review, clipping and distribution. Retention, proxy regeneration and asset deletion are also automated.

Time-critical media processing remains on ANI’s four local nodes with AMPP handling cloud-based orchestration and application management. Shared storage connects ingest, library, editing, archive, playout and transcoding, alongside ANI’s existing routing and monitoring infrastructure.

ANI now has a common platform for scheduled ingest, monitoring, media management and multi-destination delivery, with the flexibility to add applications and workflows as its requirements change.

See Grass Valley at Broadcast India 2026 booth D04.

More information on Grass Valley AMPP and Framelight X is available on the company’s website.

MUNICH, Germany—ARRI, a camera brand usually associated with high-end film production, is going down market with the launch of the new HONOR Magic9 Pro Max smartphone. The launch, part of ARRI’s “Cinematic Imaging Partnership” is the second such smartphone with ARRI’s imaging technology, following the launch of the HONOR Robot Phone last month.

The difference with the new smartphone is that selected elements of ARRI Image Science have been integrated into the Pro Max, which also carries ARRI branding on the device and packaging for the first time, ARRI said.

The HONOR Magic9 Pro Max extends the company’s collaboration with HONOR, an “AI device ecosystem company,” into the flagship Magic Series, adding more ARRI Looks and access to the ARRI Look Library to further establish ARRI Image Science within HONOR’s mobile imaging portfolio.

“The HONOR Magic9 Pro Max gives us an opportunity to introduce up-and-coming cinematographers to the ARRI brand at an early stage in their creative journey,” says David Bermbach, Chief Product Officer of ARRI. “By giving them access to ARRI Image Science and a more cinematic image pipeline from capture through postproduction, we are extending what ARRI has stood for for more than a century: enabling inspiring images with tools, workflows, and expertise that serve the creative vision.”

The co-branding extends to the smallest design details, including a dedicated version of the ARRI logo optimized for precise, miniaturized reproduction next to the phone’s cameras. The device therefore represents more than a technology integration: it is a co-branded expression of cinematic image quality that visibly connects ARRI’s professional imaging heritage with HONOR’s premium mobile Platform.

The HONOR Magic9 Pro Max integrates selected elements of ARRI Image Science across capture, color management, real-time preview, and finishing. Native ARRI LogC3 recording in the ARRI Wide Gamut 3 color space is designed to preserve more usable highlight, shadow, and color information for postproduction, while ARRI Looks allow creators to preview distinctive visual styles at the moment of capture.

The device combines dual 200MP cameras with the HONOR Imaging Chip H1, APV 10-bit 4:2:2 recording, cinematic video functions, cinematic directional microphone, and optional creation accessories including the HONOR Teleconverter G200, HONOR Teleconverter G500, and the HONOR SmallRig Mobile Video Kit, supporting a more consistent path from mobile acquisition to professional postproduction.

ARRI says the launch supports the company’s expansion into Content Creation alongside its established Motion Picture and Live Entertainment businesses.

The HONOR Magic9 Pro Max will initially launch in China, with more markets following shortly thereafter. Product specifications, pricing, color variants, memory configurations, channel availability, and further market information will be announced by HONOR.

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

The device was launched during the just completed IBC 2026.

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

Features include:

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

More information is available on the company’s website.

AMSTERDAM—Ross Video has released highlights of its plans at IBC2026 to show new products and software updates across its live production portfolio, spanning media infrastructure, replay, sports analysis, production switching, automation, robotics, and control.

Ross Video is exhibiting in Hall 8, Stand B91 at RAI Amsterdam during IBC2026 between September 11 and 14.

Highlights of the solutions and technologies on display include:

• Ultrix FR30: Ross Video’s newest and largest Ultrix platform brings hyperconverged media infrastructure to enterprise scale. Supporting up to 576×576 UHD I/O in a single chassis, Ultrix FR30 helps organizations increase capacity and processing power without increasing infrastructure complexity (view press release here).
• Rio XL: The new 3RU server expands the Rio Replay platform with greater capacity for UHD production and super slow-motion replay. Supporting up to 16 HD cameras and eight replay outputs, Rio XL gives broadcasters, venues, and schools more flexibility to capture and replay every moment while maintaining the familiar Rio Replay operator experience.
• PIERO 21.1 gives sports broadcasters and venues the tools to captivate fans, create more sponsor inventory, and deliver deeper analysis on air. Features include AI-powered player tracking, intelligent zero-click calibration, a new ice hockey data module, and more, all designed to give operators less setup time and more time to focus on the story that matters.
• NRG 3RU: Expands Ross Video’s next-generation affordable SDI routing platform with greater capacity while maintaining the simplicity and efficiency of NRG.
• Ultrix Flexible Licensing: Enables processing licenses to be shared and allocated across Ultrix frames as production requirements change.
• OverDrive 25.2: Introduces the new Aura user experience alongside updates to control, integrations, and system flexibility.
• DashBoard 10: Delivers improved security, performance, and stability alongside dark mode and updated development capabilities.
• Ross Platform Manager (RPM): Adds new capabilities for centralized, browser-based access, management, and licensing across Ross production environments.
• Carbonite v12.2: A significant update for customers that unifies the Carbonite range on a common software platform, extending flagship capabilities, such as Resource Pool, across the portfolio.
• XPression Chameleon: Brings HTML5 output to your existing XPression workflow. Build a graphic once. Deliver it everywhere. On-premise, no subscription required.
• Voyager 8.2 delivers photorealistic virtual production that fits inside the workflows users already run. Creative changes happen live without specialist knowledge.
• Indigo v1: Introduces a new approach to live production workflows, bringing greater flexibility and efficiency to how production teams create and manage live content.
• SmartShell 8.2: Enhances robotic camera safety with improved robot-to-robot collision avoidance, alongside customizable studio maps and expanded operator controls.
• At IBC2026, Ross Video will introduce AudioEdge and Lama Server as part of its Audio Systems portfolio, alongside its Lama Software Solutions.
• The show also marks Vertex’s first IBC appearance with Ross: the AV production suite brings video, audio, lighting and control together on one platform for interactive and immersive broadcasts and live productions.

Visitors can see live demonstrations, meet with Ross experts, and explore the latest developments across the Ross production ecosystem. Ross Video, Hall 8, Stand B91 at RAI Amsterdam, September 11–14.

To learn more or book a meeting, visit: https://www.rossvideo.com/go/events/ibc-2026/.

AMSTERDAM—Atomos is launching two new HDR monitors for IBC2026, Sept. 11-14 at the RAI Amsterdam Convention Center.

The Shinobi 7 II seven-inch, 2,800-nit HDR monitor features professional exposure, focus and framing tools, plus advanced USB-C camera control. Designed for filmmakers, photographers and content creators, Shinobi 7 II delivers a larger viewing experience than traditional 5-inch monitors, while remaining lightweight, portable and easy to integrate into any production workflow.

Filmmakers can adjust key camera settings, including aperture, shutter speed or angle, ISO and white balance, directly from the monitor. Compatible cameras also support touch-to-focus and shutter release for photography workflows.

Support for Log, HLG and PQ signals allows real-time monitoring of more than 10 stops of dynamic range, while built-in 3D LUT support enables real-time preview of the final look.

Shinobi 7 II incorporates Atomos' suite of professional monitoring tools for exposure, focus and framing, including EL Zone, false color, waveform, vectorscope, focus peaking, zebras, RGB parade, anamorphic de-squeeze, multiview analysis, frame guides and grid markers.

The monitor also supports on-device calibration using compatible calibration probes (sold separately), eliminating the need for a separate computer, and ensuring consistently accurate color.

Connectivity includes HDMI input and output supporting signals up to 4Kp30, alongside USB-C for camera control, power delivery and display calibration. Shinobi 7 II can be powered via USB-C PD, Sony NP-F batteries or an optional DC battery eliminator, while custom LUTs and firmware updates can be loaded via the integrated SD card slot.

Shinobi 7 II will be available in September 2026 from authorized Atomos resellers and the Atomos online store, with a suggested retail price of USD $499 / €499 (excluding local taxes).

The Shogun AV-19M is a new 19-inch, rackmount 4K HDR monitor designed for live production, broadcast, studio and on-set monitoring. It supports both IP-based and traditional video monitoring in a single, space-efficient display. Its hybrid connectivity provides the flexibility to monitor sources across NDI, 12G-SDI, and HDMI workflows.

Its large 4K HDR DCI-P3 touchscreen provides a detailed, color-accurate view of video content, making it ideal for production galleries, control rooms, OB vehicles, video villages, and portable flypack systems.

Integrated NDI HX3 support enables Shogun AV-19M to receive high-quality, low-latency video over Ethernet. Users can view a single NDI source full-screen or monitor up to four NDI sources simultaneously in a quad-view layout, providing a clear overview of video feeds carried across the network.

Alongside its IP capabilities, Shogun AV-19M features 12G-SDI and HDMI input and output for monitoring conventional video signals. This hybrid connectivity provides the flexibility to monitor SDI or HDMI video full-screen, complementing its dedicated IP monitoring capabilities.

A comprehensive suite of monitoring and image-analysis tools helps users assess every shot with confidence. These include EL Zone exposure-referenced false color, focus peaking, waveform monitoring and other familiar Atomos tools. User-definable function buttons provide fast access to frequently used features, allowing the monitor to be configured for different production roles and workflows.

For location production and mobile setups, there is an optional custom flypack, available separately.

Shogun AV-19M will be available in 2026 from authorized Atomos resellers and the Atomos online store, with a suggested retail price of $1,899 (1,899 euros), excluding local taxes.

Atomos will be in stand 7.B19.

MONTREAL—Grass Valley has announced AVORA, a new standalone, all-in-one live production solution that provides tools needed to create and deliver sophisticated live shows together in one streamlined system.

Launching at IBC2026, AVORA gives production teams a complete environment to prepare, produce and deliver live content, from switching and graphics to audio, remote guests, content, replay and delivery. Instead of building a production around multiple separate tools, AVORA brings everything together around the show.

AVORA is designed to make professional live production easier to create, operate and repeat, the company said.

Production resources can be prepared, saved, duplicated and recalled as a complete show, making it easy to move between recurring events, formats and productions without rebuilding the workflow each time. Teams can configure the production around the needs of each show and adapt it as those needs change.

“AVORA answers a very clear market need,” said Jonathan Lyth, product director for live applications at Grass Valley. “Production teams increasingly need professional capability, operational simplicity and the flexibility to scale around the show. AVORA brings the whole live production together in one system, giving teams a simpler way to create, operate and repeat sophisticated live productions.”

AVORA supports both visual, shot-based production and more traditional program/preset operation, allowing operators to work in the way that best suits the production. Its web-based user experience also enables multiple production roles to work with the same AVORA system from their own browser interfaces where required.

Remote guests can join productions through private invitation links, with low-latency connectivity, mix-minus and talkback built directly into the workflow. Content, graphics and prompting are integrated too, while replay, recording, monitoring, playout and delivery extend AVORA beyond production switching into a complete live production environment.

AVORA is built on the founding principles and technology of GV AMPP, while operating as a standalone Grass Valley solution. It brings Grass Valley’s software-defined production experience into a self-contained all-in-one system, giving teams the flexibility to configure their production without the complexity of assembling and operating multiple independent tools.

AVORA is designed for a wide range of live productions, including sports, live events, venues, education, corporate and enterprise media, regional production and other repeatable workflows. The same system can be configured for different productions, formats and operating models.

For existing AMPP customers, AVORA also provides an additional option for productions where a standalone, all-in-one system is the right operational fit.

Grass Valley explained that AVORA complements Grass Valley’s wider live production portfolio. K-Frame continues to serve dedicated hardware switching environments, while Maverik X and AMPP address software-defined production at enterprise scale. AVORA adds a standalone all-in-one model for productions where integrated capability, flexibility and simplicity are the priority.

AVORA will be showcased at IBC2026 on the Grass Valley booth, stand 9.A01, and in the IBC Future Tech Zone, stand 14.C49, ahead of commercial availability later this year.

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

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

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

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

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

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

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

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

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

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

LONDON—NDI is collaborating with NVIDIA to develop AI-powered workflows that enable broadcasters to create and distribute multilingual content in real-time, the company said.

By combining NDI-native media connectivity with NVIDIA AI technologies, including NVIDIA NIM microservices, the companies are making content immediately accessible to audiences in their preferred language, from live events and breaking news to sports, entertainment and corporate communications.

NDI and NVIDIA are working to enable multiple language experiences to be generated from a common media stream. For broadcasters, this means the same source content can be adapted for different audiences without replicating production operations for every language.

During internal testing of a workflow of 10 languages, the new method was able to achieve the same results with eight times less video carried.

"Broadcasters have spent decades trading audience reach against distribution cost," said Miguel Coutinho, head of NDI. "Together, NDI and NVIDIA are enabling a fundamentally different model, where a single media workflow can support multiple language experiences. This has the potential to significantly reduce bandwidth and distribution costs while making multilingual content accessible to far larger audiences."

The workflows support real-time translation, lip-synced dubbing and regional language adaptation, with the potential to support localized advertising as well. They are designed to fit into existing broadcast and media production environments, so organizations can add AI-powered localization without having to rebuild their current operations.

The solution is currently being tested. Proof-of-concept demonstrations at IBC 2026, Sept. 11-14, in the RAI Amsterdam Convention Center, can be scheduled in advance by contacting NVIDIA or NDI representatives.

See NDI at IBC 2026 stand 10.A41 and NVIDIA at stand 14.FT26 (in the Future Tech Zone.)

More information is available on the NVIDIA and NDI websites.

AMSTERDAM—Ceeblue, a Dutch-based provider of ultra-low-latency video streaming technology and Australian media technology company Layercake, today announced the expansion of their partnership with the full production rollout of an advanced Digital Rights Management (DRM) framework alongside revolutionary Server-Side Ad Insertion (SSAI).

Building directly upon the integration of Ceeblue’s sub-second WebRTS streaming with Layercake’s orchestration and workflow management platform, Streamcake, the two companies now support studio-grade content protection in live production on sub-second streams.

The upgraded feature set supports both major industry encryption schemes, CENC and CBCS, which unlocks full coverage across the Widevine, PlayReady, and FairPlay DRM ecosystems over DASH, HLS/CMAF, Low-Latency HLS, and WebRTS delivery channels.

Engineered for efficiency and extreme security, the DRM architecture introduces three strategically vital innovations:

• Encrypt Once at Ingest: Encryption metadata is computed and persisted at the origin, eliminating redundant processing and ensuring content is encrypted only once rather than per-output;
• Passthrough at the Edge: Edge and relay nodes forward protected streams without ever holding decryption keys, drastically lowering edge compute costs while materially reducing the key-exposure attack surface, and
• Open Integration Architecture: Built-in trigger hooks allow seamless interoperability with self-managed or third-party KMS/DRM backends, currently supporting Google Secret Manager.

This production capability directly addresses contractual content-protection requirements, unblocking deals for premium tier-1 live sports and entertainment streaming that were previously relegated to much higher latencies by the limitations of HLS/DASH streaming.

Alongside robust content protection, the expanded integration delivers Server-Side Ad Insertion (SSAI). Until now, operators had to choose between latency and monetization. But now, the combination of sub-second delivery, full-fledged DRM, and seamless SSAI running on standard CDNs gives sports and live broadcast operators a huge incentive to go ultra-low latency.

By coupling Streamcake’s automated cloud control plane, which makes management and scaling intuitive and reliable, with Ceeblue’s WebRTS origins, the combined solution delivers targeted value across core verticals:

• OTT Sports & Betting: Eliminates the "spoiler effect" by aligning digital delivery precisely with live play. Feeds delivered under one second expand live-betting windows, combat courtsiding, and protect high-value rights with DRM;
• iGaming & Live Auctions: Provides real-time interactivity to thousands of global users at the same time, allowing hybrid on-site and remote play / bidding. The immediacy of real-time interactivity maximizes Gross Gaming Revenue (GGR) and engagement, and ensures auction integrity, and
• Corporate Comms & Live Commerce: Drives interactive corporate town halls over HTTP, which easily traverses strict enterprise firewalls, while empowering live commerce platforms to handle massive viral traffic surges with automatic edge scaling.

The production DRM framework capabilities are available immediately across the integrated Ceeblue and Streamcake deployment options. Customers can deploy the unified solution across major CDNs, including Akamai, Orange CDN, Fastly, and many more.

Visitors to the 2026 IBC Show can see demos at Ceeblue (5.C43) and Layercake Partner Pod on the Grass Valley Stand (9.A01).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WOODSTOCK, Ill.—Other World Computing will unveil two new Thunderbolt 5 solutions at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. The new additions include OWC Thunderbolt 5 Dock with Dual HDMI, and the Thunderbolt 5 (USB-C) Cable now available in a 1.5-meter length.

With the OWC Thunderbolt 5 Dock with Dual HDMI one connection provides the displays, storage performance, networking, power, and connectivity of an enterprise-class desktop workstation, without the need for a pile of adapters and workarounds. Its key features include:

• Two HDMI 2.1 ports built right in. Any monitor that has HDMI plugs directly into the dock with zero compatibility guesswork;
• Single Thunderbolt 5 connection delivers dual displays, wired networking, storage, card readers, and full laptop charging simultaneously;
• 140W Power Delivery: Keeps MacBook Pros and high-performance Windows laptops fully charged at peak performance while running the entire connected setup;
• Front USB-C port delivers up to 30W of charging;
• Downstream Thunderbolt 5 port runs external SSDs and RAID arrays at full rated speed;
• 2.5GbE delivers the throughput needed for NAS workflows, large file transfers, and secure corporate environments;
• UHS-II SD and microSD slots let photographers and video editors offload footage without a separate card reader;
• Supports dual HDMI displays at up to 4K 240Hz or dual 8K 60Hz with DSC on Thunderbolt 5 hosts. A third display is possible via Thunderbolt or USB-C;
• Compatible with Thunderbolt 5, Thunderbolt 4, USB4, USB-C, and Thunderbolt 3 (Mac) hosts across Mac and Windows environments;
• OWC Innergize Enabled: A complete health, performance, and field update management app when using OWC Atlas SD memory cards with the dock's SD memory card reader;
• Supports both horizontal and vertical desk placement, and
• OWC Dock Ejector unmounts every connected drive in a single click. On macOS, an included driver also enables Apple Super Drive support through the dock.

“Thunderbolt 5 gives you tremendous performance and capability. The real question is what you do with it,” said Larry O’Connor, Founder and CEO, OWC. “With the OWC Thunderbolt 5 Dock with Dual HDMI your laptop is no longer the compromise. One connection gives you the displays, storage performance, networking, power, and connectivity of a serious desktop workstation – without the pile of adapters and workarounds. We didn’t set out to build another Thunderbolt 5 dock. We set out to build the one professionals will measure the others against.”

O’Connor added, “This addition to our dock line-up is a result of customer feedback. Our goal is to continue to ensure our customers always have a choice when it comes to picking the solution(s) that best meet their individual desktop/workflow requirements."

Key features for OWC Thunderbolt 5 (USB-C) Cables, now available in a 1.5-meter length include:

• Since it's 100% USB-C compatible, it connects to current, future as well as older Macs, PCs, iPads, Chromebooks, Surface, and other devices with a Thunderbolt 5, Thunderbolt 4, Thunderbolt 3, USB4, or USB-C port;
• Up to 80Gbps of bidirectional data speed and up to 120Gbps for higher display bandwidth needs;
• Connects to millions of docks, displays, eGPUs, PCIe expansion, external SSDs, RAID storage, and accessories;
• Lab-certified to safely deliver up to 240W to charge the most power-hungry notebook computer;
• Connects to the latest and future Thunderbolt, USB-C, and DisplayPort displays for incredible 4K, 5K, 6K, and up to three 8K displays, and
• Three-Year OWC Limited Warranty.

The OWC Thunderbolt 5 Dock with Dual HDMI will be generally available (GA) in November and priced at $349.99. The Thunderbolt 5 (USB-C) Cable in a 1.5-meter length availability is planned for the middle of October and will be priced at $58.99.

OWC will demo the new additions at Stand 7.A60 during IBC 2026. For more information, visit www.owc.com

AMSTERDAM—swXtch.io, a global provider of software-defined networking solutions for media, has launched an AI-based broadcast engineer platform which it says is designed to remove the infrastructure and networking complexity behind live media workflows.

abbe removes the requirement for operators to configure networks, cloud infrastructure, compute resources, and AI software in media routing and interface workflows, according to the company.

abbe takes a conversational description of the desired outcome and deploys the necessary infrastructure, networking, and software required to make the workflow run and does so in the most economical way while meeting performance requirements.

abbe is a cloud-agnostic orchestration layer, able to deploy live media and AI workflows across any provider including Microsoft Azure, Oracle Cloud Infrastructure (OCI) and Amazon Web Services (AWS). Workloads are located based on user requirements including optimizations for cost and latency, without forcing the operator to design a different solution for each cloud environment.

The initial capabilities being shown at IBC focus on two areas where live media teams face significant operational complexity: managing live media transport and deploying AI into production workflows.

For live media networking, abbe provides SRT management and control, enabling operators to ingest, monitor and distribute streams globally without manually configuring the underlying infrastructure. abbe is designed to automate decisions around where and how live media moves, helping operators maintain reliable, high-quality feeds while reducing the manual intervention traditionally required to respond to changing network conditions.

For AI workflows abbe will demonstrate a live audio processing workflow using NVIDIA models and other select partners. An operator can describe the desired outcome and abbe stands up the cloud infrastructure, networking, security, and software required for the audio processing use case.

The future of abbe is much broader than the initial iteration being shown at IBC, swXtch.io said.

abbe treats AI models as interchangeable components within a live workflow. Operators can select and test different models, chain models together, compare performance, and swap from one model to another easily and quickly. abbe separates what an operator wants to accomplish from the increasingly complex infrastructure, networking, and knowledge required to accomplish it.

NVIDIA models provide the foundation for abbe's initial real-time AI capabilities and swXtch.io is already expanding abbe's support across additional NVIDIA AI models and capabilities over time.

“The AI models are becoming incredibly capable but putting them into a live production still requires expertise across networking, cloud infrastructure, and AI software,” said Brent Yates, CEO of. “abbe is designed to remove that complexity. You describe what you want to accomplish, and abbe stands up everything needed to make it work. And because workflows are not locked to one model, you can easily optimize it as the technology changes. abbe simplifies AI for live media.”

STOCKHOLM, Sweden—Net Insight has introduced Nimbra 1020G, a compact, ultra-dense addition to the Nimbra Live portfolio that combines IP media processing, switching and controlled interconnection in a modular 1U platform.

The company will demonstrate Nimbra 1020G and Open Live Media at IBC2026, Booth 1.B47, RAI Amsterdam, September 11–14.

Net insight’s Nimbra 1020G combines open standards and APIs with Net Insight’s Trust Boundary technology, enabling broadcasters, production companies and media service providers to extend Broadcast IP without overbuilding infrastructure.

As live production becomes more distributed across venues, partners, facilities and cloud environments, IP workflows increasingly need to extend beyond the media core without bringing core-scale footprint, power and cost with them.

“The value of Trust Boundary is that organizations can exchange live media without sharing network design, investing in complex integrations or adding conversion,” said Larissa Görner-Meeus, CPO of Net Insight. “With Nimbra 1020G, that controlled handoff can now be placed wherever services enter or leave the network.”

Nimbra 1020G addresses this need in a compact 1U modular platform, supporting up to 64 channels of 2110 JPEG XS compression and 600 Gbps of lossless Ethernet switching. This increases service density while reducing rack space, power, external switching requirements and cost per live service. Built around the Nimbra Media Pro App architecture, Nimbra 1020G can adapt across contribution, remote production, facility connectivity, partner interconnect and distribution access.

A key differentiator of Nimbra 1020G is the always-enabled SMPTE RP 2129 Trust Boundary. It creates a secure demarcation between independently operated media networks, allowing organizations to exchange live media services while retaining full control of their own addressing, multicast architecture, security policies and orchestration. To maintain service resilience and interoperability, full media payload and timing is always preserved through each Trust Boundary.

With demarcation from 1G to 100G Ethernet, Trust Boundary combines per-service admission, address adaptation, strict QoS control and real-time flow monitoring. One application handles the full range of media flows, from compressed transport streams to uncompressed 2110 UHD essences. Up to 128 lossless Ethernet switch instances provide guaranteed QoS, fine-grained traffic isolation and workflow aggregation for any broadcaster or service provider workflow.

Nimbra Live Intelligence adds service-level visibility, control and assurance, giving operators real-time insight as live services are added, rerouted or changed. This enables more dynamic, software-driven operations while maintaining operational control.

For existing Nimbra operators, compatibility with Nimbra 1000 modular hardware and the Nimbra Media Pro App family provides a direct expansion path, allowing customers to extend on the infrastructure rather than introduce a separate platform.

Nimbra 1020G adds a new scale point to Nimbra Live, complementing Nimbra 520 for HEVC contribution and Nimbra 1060 for high-capacity media processing. Together with Nimbra Edge and Nimbra Live Intelligence, it extends Net Insight’s Open Live Media architecture across contribution, access, aggregation, controlled interconnect, core and distribution.

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.