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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the Broadcast Solutions website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the Chyron website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WUPPERTAL, Germany—Riedel Communications says it's expanding its partnership with SKAARHOJ, a Danish provider of tactile controllers for media production, bringing official SKAARHOJ panel support to SimplyLive production workflows. Enabled through the latest SimplyLive 2.1 release, the integration expands SimplyLive’s control options with a tactile switcher panel experience, complementing both its touchscreen interface and existing RCU-based workflows.

The integration addresses customer demand for dedicated hardware control in live production environments where operators want the speed, confidence, and familiarity of a classic switcher panel, Riedel said. With SKAARHOJ panels, SimplyLive users can control key live production functions such as source switching, program output switching, transitions, auxiliary output control, keying, graphics, and macros.

“SKAARHOJ was the obvious partner for this integration because of their strong reputation for high-quality products designed with the user in mind,” said Paul Macklin, Senior Product Manager, SimplyLive at Riedel Communications. “Their collaborative approach allowed us to tailor the solution around the specific needs of SimplyLive operators, especially in single-operator environments where speed, confidence, and ergonomics are essential.”

This operator-focused approach extends beyond the panel integration itself. To support fast deployment, Riedel and SKAARHOJ said they provide a curated starting configuration that helps customers get up and running quickly while preserving the flexibility to adapt the setup to their preferred production workflows.

“We're excited to expand our collaboration with Riedel through the SimplyLive integration,” said Kasper Skårhøj, CEO, SKAARHOJ. “Having previously integrated with Riedel SmartPanels and MediorNet, this is another great example of how our technologies can come together to create new and flexible workflows. While the solution is tailored for the Master Key 48, users can choose any SKAARHOJ panel that best fits their production needs.”

SimplyLive 2.1 introduces official support for SKAARHOJ panels through a gRPC API, enabling responsive communication between the panel and the SimplyLive ViBox application. Alongside a range of other enhancements and new features, the release also adds a new Venue Gateway license for SimplyLive Production Suite Flex customers, allowing the same server hardware to support Venue Gateway applications in addition to All-in-One, Replay, Ingest, and Review workflows.

Additional SimplyLive resources, including the curated starting configuration, are available via the MyRiedel portal. Further guidance on SimplyLive 2.1 workflows, including instructions for implementing the SKAARHOJ configuration, is available in the SimplyLive 2.1 user guide.

About one third of the way through the 2026 FIFA World Cup and Fox Sports is assessing the first two weeks of coverage in the quadrennial tournament. As the host U.S. broadcaster, Fox Sports is working out of the International Broadcast Center at the Kay Bailey Hutchison Convention Center in Dallas, where HBS, (Host Broadcaster Services). The facility serves as HBS's global broadcast operations center for 180 broadcasters covering the tournament taking place across 16 host cities in Canada, Mexico and the USA, June 11-July 19.

As expected, the technical operations have run smoothly with the biggest challenges being pure logistics and preparing for the unexpected, according to Kevin Callahan, senior vice president of field operations and engineering for Fox Sports.

“The biggest challenge is by far the weather and travel in North America and the size and enormity of the coverage,” he said. Criss-crossing between stadiums on the west coast to the east coast in one day while managing coverage of multiple matches simultaneously is no easy task but Callahan believes the network has created the kind of memorable event that resonates with soccer fans.

“What we are bringing to the viewer is truly amazing,” he said. “We want to be where the fans are, we want to create that sense of FOMO for fans—if you're not out at the matches, you're missing the big party of this tournament.”

NEVER ENOUGH
In broadcast, one can never have enough redundancy and that philosophy extends to the World Cup like perhaps no other event, especially one played in the middle of summer when weather plays such an important role, from whether a game is played on schedule or technical or on-air talent have to travel from city to city.

“We have plans in place for every scenario that we can think of,” Callahan said. "I have a firm belief, if you have one, you have none; if you have two, you have one. So, when it comes to equipment redundancy, we have that in place. We have some personnel redundancy, but we also have backup plans when it comes to travel.”

One area that Callahan noted was the impact of construction on maintaining connections.

“It’s construction season in the summer in the U.S., particularly in northern routes, and we've certainly dealt with our fair share of fiber cuts,” Callahan said, adding that none of those cuts have resulted in the loss of signal “because of the diversity that our network engineering and architecture team has put in place.”

All matches have commentators in-venue, but Fox Sports’ studio show travels to venues across the three countries as well, giving Fox a presence inside each stadium while keeping much of the production engine in familiar facilities.

Fox Sports is leaning on its HRP (Home Run Productions) workflows for both its match and studio coverage. Upgraded for the World Cup, HRP’s REMI infrastructure is a standards-based IP workflow that uses Appear’s X platform to support both JPEG XS and low-latency HEVC on a single platform.

Although the matches themselves are produced by HBS on behalf of FIFA, Fox picks up the feed at the International Broadcast Center in Dallas and sends it to production facilities in L.A.

The link between traveling studio teams and the L.A.-based hub includes Fox’s BRISK systems, which Callahan describes as ST 2110-based flypacks that integrate with the company’s permanent facilities, with JPEG XS encoding from Appear used to support low-latency feeds from venues back to the control rooms.

In practical terms, the model allows Fox to keep the live feel of a stadium production without having to replicate the same full-scale setup in every city. Commentators and hosts can remain close to the action, while core production staff work from a consistent base.

'MASTERS OF RESILIENCY'
When the HBS opened last month, FIFA President Gianni Infantino hailed the facility as "the most technologically advanced and top of the art international broadcast center that the world has ever seen."

Callahan sang the praises of HBS as well.

“They truly are masters of resiliency and redundancy as well—they have a plan for everything,” Callahan said. “The signals that they've been able to provide us in the world have been, the signals themselves look pristine. The super slow mo replays that they've added more of this year have been fantastic and really help share the emotion of the tournament.”

Callahan was particularly happy with HBS’s increased attention to audio.

"Over the years, we've been commenting to HBS that we want more field effects—we want to hear more of what's actually going on on the pitch,” Callahan said. “One of the challenges that you face when it comes to soccer is just the sheer size of the pitch and the distance you can actually put a microphone from where the sound is coming from. HBS has done a fantastic job at being able to capture those close ball effects a lot better, and what's going on on the pitch a lot better, and I think this tournament they've nailed it more than anything.”

Since early May, Fox Sports has produced all its content in HDR, and Callahan noted the progress the network has made on the standard.

“Fox switched our entire facility to HDR for the first time, so everything that we're doing in the building is coming natively as HDR, Callahan said. “In the past, when we've done these events, [some of] our studio programming would have originated in SDR. So this is the first time that truly everything is HDR.”

Having a consistent look throughout the expanded 104-match tournament has been a goal from the first day and Callahan says HBS’s role is crucial in this respect.

“You'll be hard pressed to be able to tell the difference between one vs. the other when it comes to the quality of replays, the quality of coverage, they're all consistent, which is really what you want.”

MCLEAN, Va.—As America marks its historic 250th birthday, Tegna has announced that it will culminate its year-long, cross-platform storytelling initiative “America’s 250: Red, White & YOU” with a one hour special on June 29.

The special will be hosted by Lesli Foster and Lorenzo Hall from Tegna’s WUSA station in Washington, D.C. It will be broadcast and streamed across all Tegna stations beginning June 29.

“Our journalists are uniquely positioned to tell the stories that together create a powerful portrait of who we are as Americans,” said Raquel Amparo, senior vice president of content at Tegna. “`America’s 250: Red, White & YOU’ is a reminder that local journalism creates a shared national experience connecting communities across the country.”

Throughout the year-long initiative, Tegna’s local news teams have shined a light on the neighbors who shape our communities—from passionate educators and artists to dedicated volunteers, veterans and entrepreneurs.

The one-hour special will air during the week of June 29 on Tegna television stations and stream on their digital and Connected TV platforms. An encore presentation will be available in July. Check local listings for air dates and times.

Clear-com has announced that the production teams for Wheel of Fortune and Jeopardy! have added Clear-Com FreeSpeak wireless and Arcadia Central Station to upgrade their production communications.

Audio Masterpiece’s Gary Vahling, who has worked in the professional audio industry since the early 1990s, served as the lead systems partner for the project. Known for his meticulous preparation and hands-on testing approach, Vahling made sure the communications system was fully validated before deployment, minimizing risk and guaranteeing reliability once it reached the studio floor.

Chris Savage, technical manager and project lead for both shows, oversaw the system design and installation.

“Both shows share a control room but have stages that are effectively miles apart due to walls, pathways, and even parking lots,” Savage explained. “We needed a system that could handle extensive travel between the control room and the stages without a single dropout, and that’s exactly what we achieved.”

The production team on Wheel of Fortune requested a more flexible and channel-rich system to accommodate a technically savvy crew with increased monitoring needs. Clear-Com integrated a combination of FreeSpeak II and FreeSpeak Icon systems, leveraging Bluetooth-enabled beltpacks for maximum ease-of-use, even for executives with minimal technical experience.

For Jeopardy!, reliability and streamlined communication were equally critical in supporting the show’s fast-paced production environment, where timing, contestant coordination, and precision cueing are essential, Clear-com said. The Clear-Com setup provides dedicated wireless coverage across the stage and production areas, giving crew members instant, uninterrupted communication throughout tapings.

The system now supports 30 FreeSpeak II beltpacks and 6 Icon beltpacks for Wheel of Fortune and Jeopardy!, with easy intersystem connectivity.

The upgrade also included Arcadia Central Station, allowing full interoperability with existing Dante-enabled audio networks. This approach enabled lighting and PA crews to continue using legacy FreeSpeak II beltpacks while taking advantage of FreeSpeak Icon’s advanced capabilities.

“The goal was a system that would last for years and scale with evolving production needs,” said Savage. “The team at Clear-Com, working closely with our Partners, delivered a solution that was simple and useful. From control room to stage, operators experienced zero downtime, even during high-pressure live productions.”

Building on the launch of augmented reality/virtual reality studios and technologies in many markets, CBS Stations is now using AR/VR to tell the story of America 250 and celebrate the semiquincentennial anniversary of the signing of the Declaration of Independence.

As previously reported, CBS Stations began developing AR/VR studio technology in house at its KPIX-KPYX San Francisco stations in 2023 and has since been deploying the technology around the country in the CBS-owned stations for weather, news and sports.

Most recently, in February 2026, CBS Stations launched its 10th cutting-edge AR/VR technology-driven studio at CBS Baltimore (WJZ-TV).

The deployments are part of a larger push by the station group to reinvent the way it tells weather, news and sports stories with immersive new technologies.

Now the group is using the immersive technology to transport viewers into pivotal moments in American history. As part of the America 250 Celebrations, the CBS Stations that will showcase the people, places, and events that have contributed to the American story. Plans at specific stations include:

• CBS New York: Tri-State 250: Our Legacy of Liberty explores revolutionary-era landmarks and defining moments across NY, New Jersey and Connecticut, from George Washington’s farewell to his officers to the reading of the Declaration of Independence that sparked the toppling of King George III’s statue.
• CBS Philadelphia: Through its year-long “Founded in Philly” franchise, CBS Philadelphia highlights the city’s central role in America’s founding, bringing viewers inside the places, people and innovations that helped shape the nation.
• CBS Detroit is showcasing Michigan’s lasting impact on America through stories spanning the automotive revolution, the Underground Railroad, Motown Records and the Civil Rights Movement.
• CBS News Bay Area is telling America’s founding story exploring the arrival of Spanish settlers in Alta California in 1776 and using immersive AR/VR technology to recreate indigenous life during that era.
• CBS News Chicago is examining how the city’s industrial roots, iconic brands and spirit of innovation helped shape America’s growth and continue to influence its future.
• CBS Boston is developing original local reporting that spotlights New England’s foundational role in the Revolutionary era and the region’s enduring influence on the American story.

BARCELONA—Sony is reporting that around twenty cameras from Sony`s Cinema Line including the Venice 2, ILME-FR7 and ILME-FX6, were selected to cover the historic visit of Pope Leo XIV’s visit to the Basilica of the Sagrada Familia in Barcelona on June 10th. ​

The live HDR production, led by 3Cat (TV3), which is the National Catalan Broadcaster, covered Pope Leo XIV’s visit to the basilica as part of the centenary of the death of architect Antoni Gaudí. It coincided with the official inauguration of the Tower of Jesus Christ, the cathedral's main tower.

Paulí Subirà Claramunt, director of photography at 3Cat said that “Catalonia’s national television broadcaster has always been at the forefront of audiovisual technology and, as such, on such a special occasion—the completion of a monument as iconic as the Sagrada Familia—we had to rise to the challenge. We had previously produced the musical Mar i Cel in the Broadcast Cinematography format, gaining experience with the tools and workflows; the big difference is that, with the Sagrada Familia, the live broadcast adds an extra layer of complexity. When we began to bring the creative narrative to the screen, we saw clearly that the technology used had to be adapted to tell the story properly. Transporting the viewer to this very special moment, with an emphasis on aesthetics, using hybrid tools and workflows that blend television and cinema, and defining working standards at both national and European levels, has been a priority for the team and for the 3Cat group.”

The unique architecture of the Sagrada Familia – with its variable natural lighting, hard-to-access spaces and the colossal scale of the site – also placed exceptional demands on the team.

For the event 3Cat deployed ten Sony Venice 2 units, seven Sony ILME-FR7s and three Sony ILME-FX6s with Fujinon Duvo lenses and Sony E-mount lenses.

The Venice 2 deliverd the highest quality image for the main shots, with exceptional low light response during the night artistic show, where the light is the main protagonist.

As remote-controlled cameras, the Sony ILME-FR7s allowed for coverage of hard-to-reach angles without interfering with the proceedings.

The compact and lightweight Sony ILME-FX6s provide the mobility required for the most dynamic shots. All three models share Sony’s colour science, ensuring total colour consistency in the final result and simplifying the live production workflow.

The event holds dual historical significance. On one hand, Pope Leo XIV’s visit to the Sagrada Familia, the first papal visit to Barcelona since Benedict XVI consecrated the basilica in 2010. On the other, the official inauguration of the Tower of Jesus Christ, the central tower of the basilica, which, at 172.5 meters (566 feet), makes the Sagrada Familia the tallest church in the world. June 10 2026 marks exactly a century since the death of Antoni Gaudí.

The live television production of the show was handled by 3Cat, Catalonia's national television channel, with Pauli Subira at the helm.

The technical deployment of Sony Cinema Line equipment was combined with PhotoCine's OB3 mobile unit, integrated with the Sony XVS mixer and Sony PVM-X and BVM-HX reference monitors. The technical direction of the project was led by British broadcast consultant Hector Sole-Bradshaw Beltran,​ with a team from the 3Cat (TV3) Technical Department (IDT). ​

Hector Sole-Bradshaw Beltran, project manager / production technical manager, 3Cat Cine Live added that “with its Cinema Line range of products, Sony is able to provide solutions for all the necessary segments of a project of this scale. For the main cameras, the cinematic heritage of the Venice and the 4000 ISO sensitivity of the Venice 2’s sensor makes these cameras the perfect choice for a night-time spectacle where light takes centre stage. The FR7 and FX6 complete the line-up in roles where compact size is essential, yet image quality and consistency are of the utmost importance. For quality control of the international UHD-HDR HLG signal, having the technology of the 4000 cd/m² Grade 1 mastering monitor, the BVM-HX3110, allows us to work in HLG1000ETX and 2000EXT, guaranteeing the quality of the image distributed worldwide.”

‘We were looking for a cinematic image, rich and profound, capable of conveying the essence and narrative sensitivity inherent in this story,” explained Igor Cortadellas, creative director, Igor Studios. “We wanted the audiovisual language used to transmit a timeless message that blends immersion in the traditions of an ancient spiritual culture with its integration into the present. Ultimately, we found ourselves with a visual poem in which light is much more than a technical resource: it is the soul of the story. It is not simply about capturing reality, but about revealing the emotion that lives within it.”

Caretta Research has released its latest forecast predicting record revenues for the 2026 FIFA World Cup.

A record $8.9 billion in total revenue is expected, said the company, representing a 54% increase over the 2022 tournament. Growth will predominantly be driven by the rise in commercial and matchday revenues, with sports rights also having an effect.

FIFA’s decision to increase the number of teams from 32 to 48 is seen as a key driver for growth, with the number of games rising from 64 in 2022 to 104 this year, providing further opportunities to sell content. Commercial revenue is expected to rise by nearly $300 million, as traditional advertising opportunities are augmented with the inclusion of cooling breaks and an expanded half-time Super Bowl-style show.

Revenue from sports rights sold to media organizations is predicted to grow by $1 billion, a 32% increase on 2022, although its overall share will be reduced, falling below to per cent for the first time since at least 1998, said Caretta. The higher number of matches to be broadcast has diluted the rights value per game, which has decreased by 19%.

Regional time differences present a “significant difficulty for international media,’ said the company. The total volume of broadcast deals has fallen to 443 from 495 in 2022, a decrease of 11%. This highlights FIFA’s shift towards fewer broadcast partnerships with substantially higher individual values. Secondary broadcasters and sub-licensers have stepped away from the market, due to the challenges presented by time zone differences.

A clear regional split has been defined, with the total number of broadcast deals across Latin American and the Caribbean increasing by 18% while in Asia, the number fell by 21%.

Commenting on the findings, Evangelos Vrysellas, research analyst at Caretta Research, said, “Even though FIFA is set for record-breaking total revenue in 2026, the international broadcast landscape is becoming increasingly difficult. Media rights now represent a smaller portion of the overall revenue pie, with the value of each individual match dropping by 19%. The combination of middle-of-the-night kick-offs for major global markets and rising production expenses has discouraged many potential bidders, leading to a 11% drop in the total number of broadcast deals”.

This article original appeared on TV Tech sister brand TVBEurope.

MONTREAL—Grass Valley is launching AMPP Edge Live, a purpose-built production system designed to bring professional production capabilities to enterprise teams. The company will unveil AMPP Edge Live at InfoComm 2026 in Las Vegas, June 17 to 19 (North Hall: N7369-MR).

Media production teams within enterprise organizations such as education, government, corporate communications, houses of worship and live events are often asked to do more with limited resources, yet existing production systems often lack the flexibility to support new workflows without significant additional investment, Grass Valley said.

AMPP Edge Live addresses this challenge by providing a flexible production foundation that grows with organizational needs, by combining Grass Valley hardware, NVIDIA Blackwell GPU acceleration and AMPP OS in a single solution, according to the company.

“Production requirements are constantly evolving as audience expectations shift, creating challenges for enterprise organizations whose production infrastructures were not designed for today’s demands,” said Jonathan Lyth, Product Director for Enterprise Media, Grass Valley. “Businesses need production platforms that combine operational agility with the confidence of reliable performance. AMPP Edge Live delivers both, enabling organizations to adapt and scale production capabilities without adding operational complexity.”

The solution is available in two models that serve different production demands:

AMPP Edge Live 4000 is ideal for live event production and provides the performance to run solutions such as Event Producer X, which brings production switching, graphics, audio mixing, recording, streaming, monitoring and production control into a single browser-based interface.

AMPP Edge Live 6000 adds processing performance for more demanding production requirements and supports Sport Producer X, which combines switching, graphics, scoring, timing, data integration and instant replay for sports production.

Across both models, operators can manage workflows that previously required multiple specialist systems and dedicated personnel, all through one production environment, Grass Valley said.

AMPP Edge Live also simplifies lifecycle management through a unified ownership model. Grass Valley designs, validates and supports AMPP Edge Live as a complete solution, managing hardware validation, software compatibility, updates and support through a single point of accountability. This removes much of the integration burden associated with multi-vendor environments while helping ensure organizations remain ready for future production requirements.

AMPP Edge Live is built on a short-depth 4 RU chassis with redundant power and modular AMPP I/O cards, so connectivity can be tailored to each workflow. It includes enterprise-grade security, centralized management and role-based access controls, and forms part of the Grass Valley Media Universe, supporting on-premise, hybrid and cloud-connected workflows.

AMPP Edge Live is available now in the L4000 and L6000 appliance models, with SDI 8 and SDI 12 AMPP I/O card options and media storage choices of 2 TB or 4 TB.

DOWNINGTOWN, Pa.—PTZOptics and LayerJot will demonstrate how prompt-based AI, robotic camera control, and high-performance computing can work together to identify, follow, and respond to objects and events in real time at InfoComm 2026, June 13-19 in Las Vegas.

The demonstrations, which run on Intel Core Ultra Series 3 processors, combine LayerJot’s purpose-built AI software application with PTZOptics’ SimplTrack3 cameras, featuring advanced auto-tracking capabilities. The demos will show how natural-language prompting can guide the system to identify and/or track objects in the room, then use PTZOptics camera control to respond automatically.

The collaboration is designed to show integrators, educators, broadcasters, and pro AV teams a practical path for building on-site AI video workflows, according to the companies. By pairing PTZOptics camera robotics with Intel Core Ultra Series 3 -powered compute and LayerJot’s agentic AI application layer, both exhibitors will demonstrate how Visual Reasoning can move from concept to deployable workflow without requiring large teams, custom hardware stacks, or cloud-only processing.

"AV and enterprise buyers today are asking the same question: how do we deploy AI that actually works in our environment, without building a data center or waiting on the cloud?” said Dr. Ben Cope, Principal Engineer, Intel. “Intel Core Ultra Series 3 processors were purpose-built with that reality in mind, delivering the on-device AI compute performance that makes local visual reasoning practical at scale. Collaborating with PTZOptics and LayerJot lets buyers take that compute capability and turn it directly into deployable, prompt-driven camera workflows. Together, we're removing the barriers between AI potential and operational reality."

Visual Reasoning
For PTZOptics, the demo is part of its broader Visual Reasoning initiative, which focuses on turning video into actionable data by combining camera robotics, AI, and open integration. Visual Reasoning is designed to help systems describe, count, understand, and trigger actions based on what cameras see, supporting workflows across broadcast, pro AV, education, healthcare, manufacturing, houses of worship, and live events, the company said.

“Visual Reasoning becomes powerful when integrators and developers can adapt it to the needs of everyday environments,” said Matt Davis, CTO, PTZOptics. “This partnership shows what is possible when robotic cameras, local AI compute, and prompt-driven automation come together. Our goal is to inspire the pro AV community to build customized solutions faster, more affordably, and with more flexibility than ever before.”

LayerJot’s Agentic Visual Application (AVA) connects to the PTZOptics SimplTrack3 camera and uses AI prompting to identify and/or track objects in the space. The demonstration will show how developers can create custom AI workflows that connect directly to camera control, while giving users the freedom to direct camera actions using natural language.

“We’re focused on delivering advanced visual AI solutions that combine scene understanding, automation, and natural-language interaction to support critical workflows in real-world environments,” said Etay Gafni, CEO of LayerJot. “This demonstration shows how scene understanding and natural-language instructions can drive meaningful actions in live operations, enabling users to interact with complex systems in a more intuitive and efficient way.”

Example workflows include prompting the system to identify an object or person in the room, directing the camera to track that target, and showing how similar logic could be adapted for classroom automation, event production, training spaces, and other applications where small teams need consistent video coverage.

The demonstration also reflects a larger shift in the AV industry, the companies said. Cameras are no longer limited to passive capture. With Visual Reasoning, robotic cameras can become intelligent endpoints that help systems interpret what is happening, make decisions, and trigger workflows in real time. PTZOptics says it is working with a wide range of partners and integrators to combine their own domain expertise with PTZOptics cameras via open APIs – supporting teams and improving operations across multiple industries.

The live demonstration will be available at PTZOptics’ booth N8227 during InfoComm 2026. For more information, visit https://ptzoptics.com/book-a-demo/

READING, Pa. and CHESTERTON, In—Miri Technologies has just signed a new distribution partnership with Midwich, a distributor of audio-visual and unified communications solutions for the United States and Canada. The agreement reinforces Miri's channel partnership strategy for meeting the rapidly growing demand for the X510 dual-cellular bonding router and the new V410 4K live encoder/decoder in the world’s largest commercial market.

The Miri X510 router enables resilient internet connectivity anywhere by forging multiple wired and wireless links—including Ethernet, Wi-Fi, 4G, 5G and satellite—together to overcome speed limitations and withstand network disruptions even in challenging environments, according to the company. Powered by Speedify channel bonding technology from Connectify, the X510 bolsters internet connectivity for any type of data and supports use cases ranging from live streaming and remote broadcast contribution to trade shows and disaster response.

The Miri V410 live 4K encoder/decoder combines intuitive interfaces with rich functionality, robust connectivity and flexible format support for live streaming, IP-based production and AV-over-IP distribution. It can encode one 4K Ultra HD output at 60FPS or two simultaneous QHD (2560x1440) channels, and can also transcode from NDI® sources to streaming formats. As a decoder, the device can decode two 4K Ultra HD streams concurrently from most supported source formats.

Midwich sees Miri as a great addition to its offering in the Broadcast & Media/Entertainment sector.

“The channel partners we service are constantly looking to create the most complete solutions that solve problems, simplify workflows and open the door to new revenue streams,” said Rich D’Angelo, Midwich executive director of business management for Media & Entertainment. “Miri solutions will complement our existing brands in helping our resellers and integrators achieve these goals. Miri's approach to resilient connectivity and the powerful yet simple interfaces in their products combine with class-leading levels of flexibility and insight that truly set them apart.”

“We’re excited to expand the availability of our solutions by partnering with Midwich,” said David Cohen, vice president of sales and business development at Miri Technologies. “We see tremendous opportunities for synergy between Miri and the many brands that Midwich represents and we're looking forward to growing our footprint across the continent with their support.”

EVS said it is changing its corporate name from EVS Broadcast Equipment to simply EVS.

Founded in 1994, EVS built its business with live replay systems that transformed sports production. Over the years, it has expanded its portfolio and capabilities.

EVS now delivers a product ecosystem spanning live production workflows, media infrastructure, content management, AI-driven capabilities and media production robotics. The simplified name better captures the broader portfolio and the central role EVS plays in bringing live moments to audiences worldwide, the company said.

While EVS remains deeply rooted in the broadcast industry, its technologies are increasingly deployed across a wider range of markets, including live news production, entertainment, corporate environments, venues and emerging applications.

The name change is closely aligned with EVS’s technology direction. As the industry accelerates toward software-defined architecture, cloud-enabled deployments and AI-powered workflows, EVS has positioned itself at the forefront of this shift. Its solutions are designed to operate seamlessly across on-premises, hybrid, and cloud environments.

“Our broadcast heritage remains a strong foundation, but our ambition extends much further,” EVS CEO Serge Van Herck said. “We now deliver a full ecosystem of solutions that enable our customers to produce and deliver live content in the most demanding environments, across industries and platforms. Simplifying our name is a natural step to better represent this transformation and to support our continued international growth.”

More information is available on the EVS website.

COLOGNE, Germany—Qvest has introduced two new solutions that the company says will help drive more efficient processing in software defined architectures.

The two new open-source projects—mxl-k8s and go-mxl—address key challenges of modern broadcast architectures in the context of Dynamic Media Facilities (DMF) and advance their practical implementation in Kubernetes-based environments.

Qvest says its solution addresses one of the key scalability challenges in DMF-based architectures. Multiple applications often access the same stream simultaneously, leading to significant bandwidth inefficiencies, rising costs, and increasing complexity that grows with each additional application.

“With uncompressed UHD streams in the range of 10 Gbit/s and more, this is not a marginal issue but a major economic factor,” says Daniel Clasen, Practice Lead – Custom Software Solutions at Qvest. “Our approach ensures that streams are processed at most once per node within the cluster. This lays the foundation for more efficient and future-proof media platforms.”

Qvest addresses this challenge with mxl‑k8s, which enables scalable, converged use of MXL across multiple nodes within a cluster. Media flows are shared within a node, regardless of how many applications access them.

On a technical level, Qvest extends the DMF architecture with a cluster-wide orchestration layer for MXL: As a software layer, MXL provides a standardized mechanism for exchanging media flows between applications and can be directly integrated into products.

The automated orchestration of this exchange across multiple nodes and systems is deliberately outside the scope of the MXL core and has so far been implemented on a project-specific basis—with corresponding effort for vendors and integrators that can be significantly reduced using mxl‑k8s.

With mxl‑k8s, crossnode transport of MXL becomes available for the first time as an automated cluster feature, without the need to implement it within each media function, according to the company. This removes a key scalability limitation of modern media architectures. For applications, the need to account for the origin or routing of a flow is eliminated.

go‑mxl, Qvest’s Go binding for the MXL libraries implemented in C/C++, further simplifies integration into modern software stacks and makes the technology accessible to a broader developer base.

“MXL is designed as a layer for integration into software products. Across multiple systems, an additional orchestration layer becomes essential. This is exactly the layer we are now adding, enabling fully automated operation across the entire cluster. Initial feedback from the industry confirms the strong demand for this type of orchestration,” summarizes Daniel Clasen.

Qvest is providing both projects as open source, enabling the industry to further develop the approaches and integrate them into their own systems.

As part of Qvest’s broader industry engagement, in May 2026, the company upgraded its membership in the industry association AMWA to General Member and is now contributing this technical expertise more actively to the development of industry standards – including throughthe Joint Task Force on Dynamic Media Facilities (JT‑DMF).

Find mxl-k8s and go-mxl on GitHub: https://github.com/qvest-digital/go-mxl

MONTREAL—Grass Valley has announced that Australian News Channel (ANC), operator of Sky News Australia, has deployed Grass Valley AMPP to transform its newsroom production operations as part of the move to a new national headquarters.

The deployment replaces a long-standing legacy system with a cloud-based production architecture, enabling more than 250 journalists, editors, and producers to collaborate through browser-based workflows. The platform now supports the delivery of over 1,500 hours of content each week across broadcast and digital platforms.

“This transformation has fundamentally changed how we operate as a newsroom,” said Jesse Hicks, deputy head of operations and innovation, Sky News Australia. “Our teams can access editing tools from anywhere, collaborate in real time, and turn around content faster without compromising quality. It gives us the flexibility needed for modern news production while maintaining the reliability required for a 24/7 environment.”

ANC deployed the AMPP ecosystem, as part of a relocation project replacing an SQ based news production system from Grass Valley’s Quantel lineage. The solution includes Framelight X for browser-based editing, Playout X for cloud playout, and integrated asset management, ingest, and storage services. Journalists can now create and edit content directly in a web browser, removing reliance on physical workstations and accelerating production workflows.

The new workflow also supports fully distributed production, enabling teams to work across the newsroom, field locations, and remote environments. By streamlining processes and reducing manual tasks, ANC is reporting improved efficiency and its employees have been able to spend more time on content creation.

“Undertaking a full newsroom transformation alongside a headquarters relocation is a complex challenge,” said Jon Wilson, CEO, Grass Valley. “ANC took a clear, strategic approach – moving to an integrated software defined model that delivers greater flexibility, scalability, and resilience across its operations. This project reflects our long-standing partnership and a shared commitment to modernizing news operations live production.”

Since going live in November 2025, the platform has delivered continuous 24/7 operation without downtime, demonstrating the reliability of cloud-based production at scale. As an early adopter of AMPP for newsroom workflows, ANC continues to work closely with Grass Valley, providing operational feedback that informs ongoing platform development.

SKOKIE, Ill.— Studio Technologies has unveiled Model 385, a compact, lightweight Dante-enabled beltpack designed specifically for broadcast and live-event audio professionals who use parabolic microphones, boom poles and other specialized microphones to capture critical on-air audio.

The portable Model 385 combines a high-performance microphone preamplifier with a single-talk/two-listen intercom interface, delivering a unique combination of on-air microphone and intercom audio resources in a convenient beltpack form factor, the company said.

Supporting Dante audio-over-Ethernet networking and powered via Power-over-Ethernet (PoE), the Model 385 integrates seamlessly into modern fixed and mobile broadcast environments, it said.

“The Model 385 was developed to address the evolving needs of broadcast sports and live entertainment production teams that require reliable, high-quality microphone and intercom functionality in a highly portable format,” Studio Technologies President Gordon Kapes said. “By combining exceptional audio performance, Dante networking and flexible monitoring capabilities into a single rugged device, the Model 385 gives field audio personnel an efficient and intuitive solution for demanding production environments.”

Using a standard 3-pin XLR connector, the Model 385 supports both dynamic and condenser microphones, with selectable P48 phantom power available for condenser microphone applications. A low-noise, low-distortion microphone preamplifier circuit offers adjustable gain ranging from 20 decibels to 65 dB in 1 dB increments. The analog microphone signal is converted to 24-bit digital audio and output through a Dante transmitter channel.

A 5-pin XLR connector allows connection of a broadcast headset, with adjustable gain and low-voltage electret power support for the headset’s microphone. The output of the headset’s microphone is routed through a second Dante transmitter channel, activated via a pushbutton talk switch, to provide intercom communication with other Dante-enabled beltpacks and intercom devices.

“The flexibility of Dante networking was a major design priority for the Model 385,” said Kapes. “Users can easily integrate the unit with Studio Technologies products as well as a wide range of Dante-enabled equipment from other manufacturers.”

The unit is Dante Domain Manager-compatible and compliant with AES67. Crews can quickly get up and running with just a PoE Ethernet connection, microphone and headset while maintaining dependable communications and premium audio performance, Kapes said.

Model 385 allows users to create highly customizable headphone mixes by combining up to four audio sources routed to the headset’s dual-channel headphone output. Three push-in/push-out rotary controls enable adjustment of listen levels for the main microphone preamplifier output and the two incoming Dante receiver channels.

These channels are commonly used to support intercom and program audio feeds. An integrated sidetone function provides confidence monitoring of the headset’s microphone signal.

More information is available on the company’s website.

When the Declaration of Independence was signed in 1776, the only way to get the news out to the new nation’s 2.5 million citizens was via fledgling newspapers, with dispatches carried on horseback and by ships traversing coastal ports. Compare this to today’s United States, with 330-plus million inhabitants and the technology to instantaneously reach almost anyone with HD video.

To get ready for the event called by a name few people will probably use—”Semiquincentennial”—TV networks and station groups are offering hundreds of hours of special-event programming and taking advantage of 21st-century technologies to deliver it to anyone within reach of a TV or mobile device.

Plenty of Celebratory Fare Already Underway
ABC’s “Good Morning America” is running “50 States in 50 Weeks,” a yearlong series where a “GMA” anchor or correspondent will visit different states in order of their admission into the Union, a network spokesperson said. The feature showcases a state’s history, notable landmarks, culture and traditions.

Station group Sinclair initiated special event programming last December with the first installment of “Amazing America 250: From Neighborhood to Nation,” which aired in connection with the annual Army-Navy football game.

Additionally, Sinclair stations are featuring stories spotlighting American innovation, U.S. heroes, and everyday Americans making a difference in various communities where Sinclair has a presence. This series, “The National News Desk…America’s News Now,” airs weekly through July.

“‘Amazing America 250’ is a reflection of Sinclair’s mission to enrich local lives in every community we serve,” Sinclair President and CEO Chris Ripley said. “From national specials to local stories, from everyday heroes in our neighborhoods to defining moments in our shared history, this campaign honors and celebrates America’s journey.”

NBCUniversal Local’s NBC and Telemundo stations began a 100-day celebration of the 250th in March, with the initial airing of “Our 250th” (“Nuestros 250” in Spanish), featuring news coverage, historical vignettes and other programming celebrating the 250th anniversary of the nation’s independence. The final segment airs July 4th with six hours of live coverage of the “Sail4th 250” event from New York Harbor, an event billed as the largest assemblage in history of international ships in U.S. waters.

“We’re excited to launch this special initiative to inform, entertain and support our communities as we count down the final 100 days to our national celebration on Independence Day, which we’re proud to commemorate by presenting Sail4th 250’s festivities to audiences nationwide,” NBCU Local Chairman Valari Dobson Staab said.

NBC and Telemundo stations will also air programming tailored to their communities highlighting local traditions and historically notable individuals and locales.

Fox News Media is also celebrating the country’s 250th birthday in a big way.

“Fox News Media will be the place for Americans to experience the celebration of America’s 250th—with comprehensive coverage designed to meet audiences wherever they are,” Fox News Media Senior Vice President of Politics Jessica Loker said. “Viewers can count on Fox News to be on the ground for the signature celebrations in Washington, such as ‘Rededicate 250’ on the National Mall, the National Observance of Memorial Day, the Great American State Fair and Salute to America on the Fourth of July. Beyond the capital, Fox News will broadcast live from Sail4th in New York and the opening of the Teddy Roosevelt Presidential Library in North Dakota.”

Fox News began its special Semiquincentennial programming last New Year’s Eve, Loker noted, with coverage of the six-night special illumination of the Washington Monument and the celebratory fireworks that officially kicked off the nation’s 250th birthday event.

Fox’s special programming for the 250th concludes July 4, with that day dedicated to “expansive, live multiplatform coverage creating a unifying, immersive all-day experience across all screens,” said Loker. “Through real-time reporting and live broadcasts, Americans can come together to watch the celebrations unfold as they happen.”

‘My American Story’
Nexstar Media Group has also been commemorating the country’s birthday event with its share of special programming, including a cross-platform initiative, “My American Story.”

“As America prepares to celebrate its 250th birthday, Nexstar and our new content studio are uniquely positioned to tell the nation’s story—not from one city or one network, but from every community across the country,” said Dan Lanzano, Nexstar’s president of national advertising sales, adding that the content initiative “reflects the heart of who we are” and is “deeply connected to the people and places that make this country extraordinary.”

The series is available on the group’s national and local outlets as well as a website, myamericanstory.tv. Other special Nexstar programming includes “Main Street USA,” which highlights the revitalization of small communities, and “Celebrating Main Street on Route 66,” which honors the nation’s 100-year-old “Mother Road.”

Although CBS hadn’t finalized its coverage plans at press time, it did reveal what its owned-and-operated stations had in store.

Special coverage in the New York market served by WCBS-TV began in April with

“Tri-State 250: Our Legacy of Liberty,” a series airing three times each day and spotlighting Revolutionary-era sites and stories across New York, Connecticut and New Jersey.

KYW-TV, CBS’s Philadelphia operation, is airing programming focusing on that region’s role in America’s founding and its continuing influence today. The series “Founded in Philly” includes historic neighborhoods, civic institutions and community events.

In Detroit, CBS’s WWJ-TV is featuring historical and cultural subjects including the city’s automotive industry, Motown Records and the Underground Railroad.

The network is planning expanded coverage of major July 4th commemorative and civic celebrations, including a number of large-scale events taking place in metropolitan New York City.

The National Association of Broadcasters has also been very much involved in Semiquincentennial-year doings, issuing targeted spot announcements and information and suggestions to assist stations in engaging with their communities of license in connection with the big event.

“As America celebrates its 250th anniversary, we are proud to spotlight the unique role broadcasters play as trusted recorders of history,” NAB President and CEO Curtis LeGeyt said.

Marking an 18th-Century Event With 21st-Century Technology
Our country’s last big birthday celebration was in 1976. While television played a large role in making Bicentennial events accessible to the general population—save for the use of some early minicams and a few satellite-delivered remotes—there was little in the way of “high tech.” Things have changed a lot in 50 years.

The last time the U.S. celebrated its birthday in a really big way was in 1976. While television played a large role in making major Bicentennial events accessible to the general population, save for use of a few minicams that arrived with the ENG movement a year or so earlier and some satellite-delivered remote feeds (NBC was bold enough to attempt a July 4 live feed from Yellowstone National Park using yet-unproven Ku-band spectrum), there was little in the way of “high tech.” Things have changed a lot in that regard in the past 50 years.

All coverage of the 250th will be delivered in high definition, and most programming will be available over-the-air and streamed to smartphones and tablets in formats customized for those devices.

With such a multiplatform approach, “we have the ability to lift up smaller, deeply local stories and share them far beyond a single newscast or market,” Tegna Chief Content Officer Adrienne Roark said. “Rather than focusing on a single, national, over-the-top production that showcases new technology, we’re using our streaming and mobile resources to meet audiences where they are and using these tools to make local stories national in scope.”

Additional tech that was unthinkable back in the analog days of 1976 is also enhancing the viewing experience.

“Our field operations and production teams are taking advantage of HDR technology when appropriate,” noted Fox News Media’s Loker, adding that drones will play a major role in that network’s July 4th coverage. “If there is one technology that truly elevates these broadcasts, it is the use of drones. The Fox Flight team will be deployed to capture sweeping aerial views and showcase celebrations from unique perspectives across the country.”

Sinclair stations will use ATSC 3.0 over-the-air broadcasts to “to deliver enhanced visual storytelling and immersive viewing experiences [to ensure] audiences can engage with the cele­bration of America’s 250th anniversary across multiple platforms,” spokesperson Jessica Bellucci said.

CBS O&Os are even leveraging augmented and virtual reality in their coverage.

“Many of our stations are unique in the sense that they are the only station group that has augmented reality/virtual reality technology-driven studios,” said Elita Fielder Adjei, senior vice president of communications at CBS Stations. “Viewers will be able to see special programming that is produced within this environment.”

CBS’s KPIX San Francisco will be using AR/VR “to tell historical stories, giving viewers an immersive look at life for Indigenous communities in 1776,” Adjei noted, while KYW-TV will also tap AR/VR “in connection with its ‘Founded in Philly’ initiatives, including ‘Philly Is Proud,’ ‘Philly Is Innovative’ and ‘Philly Is a Vibe.’”

This year is certain to be remembered as a very special one for our country and for the special television coverage that’s being made available to viewers.

CHICAGO—NewsNation has opened a new digital podcasting studio in Chicago and announced a new lineup of podcasts and digital programming, including Hot Take with Jesse Weber, NewsNation’s Unreported with Meagan Medick, Prove it with Batya!, and The Scoop with Paula Froelich.

The expansion is part of a digital first strategy and reflects an effort to reach audiences who increasingly turn to YouTube and on-demand platforms for news, analysis, and entertainment.

NewsNation the state-of-the-art podcast studio in Chicago complements its existing operations in New York and Washington, D.C.

The space features advanced production capabilities to enhance both video and audio storytelling across multiple platforms, including a four-camera set-up and dual microphone configuration. Overlooking iconic Chicago landmarks such as Lake Michigan and Navy Pier, the studio combines high-end production with a visually striking backdrop for digital content creation.

The new slate joins other popular podcasts from the network, including “Reality Check with Ross Coulthart”, “Bradley on the Border with Ali Bradley”, “Missing with Marni Hughes”, and “Truth of the Matter.”

The push into digital storytelling and podcasting has already made NewsNation, which only launched its YouTube channel in May 2020, the newest publisher included in the Top 75, ranking #74 with 2.7 million subscribers and nearly 2 billion views since launch, according to the Press Gazette.

As more media companies push into video podcasting, TV Tech, Radio World and TVBEurope has recently launched a new ebook, "Eye-Catching Audio: New Video Podcast Ebook". It is available here.

NewsNation described the new slate of digital programming and podcasts as follows:

• NewsNation’s "Unreported with Meagan Medick" builds on the success of "Reality Check", which has ranked among the top 100 podcasts on YouTube and surpassed more than 100 million views since its March 2024 launch. The new video podcast, hosted by Ms. Medick, explores overlooked and unconventional topics like AI, from paranormal phenomena and ghost hunters to Bigfoot and other enduring mysteries. New episodes will premiere every Wednesday, offering bold perspectives and interesting stories that continue to spark widespread intrigue.
• The network also launched "Prove it with Batya!" hosted by Batya Ungar-Sargon, anchor of Batya! (Saturdays, 7 p.m. ET). The hour-long podcast is designed as a destination for thoughtful political and cultural debate, featuring a dialogue-driven format that brings together leading voices for spirited, issue-focused conversations. Viewers can also participate live and interact directly with the host. The program streams live Monday through Thursday.
• The network is also introducing "Hot Take with Jesse Weber", premiering every Tuesday and Thursday on YouTube. The show offers an entertainment-driven perspective on the week’s most talked about topics. Drawing on Mr. Weber’s experience covering high-profile legal and cultural stories on his program, Jesse Weber Live (weeknights, 11 p.m. ET), the program blends timely political and cultural commentary with a fast-paced, engaging format. Viewers will also have the opportunity to engage directly through comments or questions.
• Rounding out the slate is "The Scoop with Paula Froelich". It will be a new weekly entertainment podcast hosted by Senior Story Producer Paula Froelich, a former New York Post gossip columnist. The podcast will deliver the latest in entertainment, pop culture, and celebrity news, leveraging Ms. Froelich’s extensive industry experience and connections.

HEBDEN BRIDGE, England—Calrec Audio has updated its ImPulseV Virtualised Audio Mixing Engine to expand the market for virtualized audio workflows.

The ImPulseV portfolio now includes two new, smaller DSP package options—96- and 140-path configurations—alongside the existing 256-processing path option. Tailored for smaller systems that still demand uncompromising, broadcast-grade audio performance, all three packages share the same comprehensive feature set, including full processing on every path and support for 5.1 and immersive audio formats up to 7.1.4. DSP resources can also be dynamically allocated across channel and bus paths in real time, ensuring maximum efficiency for any production setup.

Calrec has also introduced shorter, more flexible licensing terms—one year, 12 weeks and four weeks—lowering the barrier to entry and allowing broadcasters to scale their production capabilities with no need for long-term commitments or high upfront costs, according to the company. This makes ImPulseV “an ideal solution for boosting resources for temporary, variable, or one-off productions,” Calrec said.

“Traditional broadcasters are reinventing their operations so that they can produce more content for less, faster and across more diverse platforms,” said Henry Goodman, director of product management at Calrec. “Remote and distributed production, combined with virtualization, reflect the broader trajectory of live production: away from fixed infrastructure and towards flexible, hybrid workflows that blend on-premise, cloud and distributed resources.

“This transition is enabling broadcasters to increase agility and cost efficiency through new business models," Goodman added. “Hybrid workflows that incorporate a blend of existing and new infrastructure allow broadcasters to build resource efficiency into every production—and that is quite an attractive proposition.”

LONDON—ITV Studios, the production arm of the U.K.'s largest commercial broadcaster, has deployed the Cuez live production platform to manage three back-to-back live shows from a single platform, handling live rundown and studio automation.

ITV runs three back-to-back daytime magazine, talk and lifestyle shows, “This Morning,” “Loose Women” and “Lorraine,” from the same London studio. They share a single technical crew but have different hosts, branding and graphics, and their own editorial styles.

To produce these shows, ITV Studios needed a solution to unify the three shows while handling every production role from producers building rundowns to gallery operators managing playout.

The Cuez platform allowed ITV Studios to handle the entire creative process from a single environment and employ a leaner crew, ITV Studios Executive Director Barry Thomas said. “Our production teams range in technical ability, yet suddenly they all use the same newsroom system and that's really unique,” Thomas said. “Other systems don't offer this sort of full capability.”

Adam Scott, ITV Studios gallery playout operator, added: “Using one application, we were able to play multiple graphics systems and VT playout systems together very easily. This results in the crew having a clearer view of the show, and less margin for error when transitions between programs run to minutes.”

Production team members said the Cuez platform is easy to adopt.

“From the minute I started, I noticed it was much easier to use than other systems I've used in the past,” Producer Jonathan Hughes said. “It’s really user-friendly. Once you've had just a little bit of a play-around with it, you’re completely across it. Last-minute changes are critical for all three programs.

“Cuez Rundown keeps everyone in sync,” he added. “You type something in the control room and this instantly gets on set. The live synchronization is exactly what we needed. Those changes also reach the camera operators in real time. They’ve replaced their bundles of printed rundowns with a modern iPad attached to each camera, displaying the synced Cuez Rundown.”

Thomas added: “Being able to have one universal tool that we can communicate in, and see exactly what is happening next, is a real game changer for creatives and directors.”

Cuez is a cloud-based platform for news programs and live entertainment programs that connects with and controls content creation devices via API or MOS. Its three main elements are Storydesk, Rundown and Automator.

For more on Cuez, watch the video below.

TVBEurope's latest ebook explores the rise of visual podcasts and the technology behind them.

In recent years, podcasts have evolved from audio-only to include video, and visual podcasts are an opportunity for creatives to engage with audiences without breaking the bank.

With major broadcasters such as BBC and streaming services like Netflix investing in visual podcasts (aka vizpods), their popularity looks set to grow even further.

The ebook, published in partnership with TV Tech and Radio World, explores how visual podcasts have been rising in popularity and the technology behind them, from cameras to microphones, lighting to visual effects, because this growing phenomenon looks set to be the next big creative success.

Download the free ebook here.

DMC Production Germany has been appointed as the technical service provider and studio partner for MagentaTV’s coverage of the 2026 FIFA World Cup.

MagentaTV is Deutsche Telekom's IPTV and streaming service in Germany and that country’s World Cup TV rightsholder.

All content will be delivered in UHD with Dolby Atmos and accessibility features, including audio description. For the first time, the entire production chain will operate fully in HDR.

MagentaTV’s coverage will be centred around two studios: one in Munich, Germany, and the other at 1 World Trade Center in New York, which will serve as the main studio hub.

Munich will also serve as the central control hub for the remote production workflow from the U.S. studio, with all live production operations managed from Germany, said DMC.

The company is responsible for the complete internal production infrastructure of both studios, which will feature “innovative, high-end scenic design, advanced analysis graphics and premium LED wall integrations.”

DMC Production Germany’s role also includes IP-based signal management and conversion, playout and feed enhancement, gallery production for all three MagentaTV’s FIFA World Cup channels, as well as ingest, recording and file management services.

“Together with MagentaTV and thinXpool, we are implementing international production architecture designed for maximum flexibility and efficiency,” DMC Managing Director Holger Ensslin said. “Our ambition is not only to provide the technical foundation, but also to actively contribute to setting new standards in sports broadcasting and enabling innovative production formats.”

This article originally appeared on TV Tech sister brand TVBEurope.

Apple TV will be breaking new ground this Saturday, May 23, by streaming a special live Major League Soccer match captured exclusively on iPhone 17 Pro.

The streamer is billing the production as "the first time that iPhones will be used to capture the entirety of a major professional live sporting event broadcast."

The milestone broadcast will feature the LA Galaxy vs. Houston Dynamo FC streaming live on Apple TV from Dignity Health Sports Park during the final weekend of MLS play before the regular season pauses for the 2026 FIFA World Cup.

iPhone 17 Pro will capture live footage throughout the match, including team warmups on the pitch, player introductions, in-net goal angles, and the atmosphere inside the stadium. A total of 15 iPhones will be used in the production.

With iPhone cameras positioned throughout the venue, Apple reported that the broadcast will deliver the pristine video quality fans expect, alongside dynamic new perspectives that bring viewers closer to the action, made possible by the small form factor of iPhone.

The move to capture an match entirely on iPhones builds on extensive work by Apple TV in using the smartphones for production.

Apple TV first incorporated iPhone into a live sports broadcast workflow during a September 2025 “Friday Night Baseball” matchup between the Boston Red Sox and the Detroit Tigers.

During that game it used iPhone 17 Pro to capture select moments from the game and cinematic in-stadium footage. The milestone production earned recognition from the National Baseball Hall of Fame and Museum, which added an iPhone used in the broadcast to its permanent collection.

iPhone 17 Pro features three 48MP Fusion cameras, offering the equivalent of eight lenses in a compact form factor and pro-level video features like Apple Log 2 used for this weekend’s broadcast.

Following strong fan response to the “Friday Night Baseball” production, Apple expanded the use of iPhone across additional sports broadcasts, including the MLS Cup in 2025. It then further integrated the technology into the regular production rotation for “Friday Night Baseball” and MLS broadcasts throughout the 2026 season.

This Saturday’s LA Galaxy vs. Houston Dynamo FC match marks the next leap forward: the first live professional sporting event captured entirely on iPhone. Fans can see the results by tune in to Apple TV at 7:30 p.m. PT to see iPhone 17 Pro in action.

Chyron is introducing PRIME Scorebug, a purpose-built scorebug solution suitable for any sport. Built on the company's PRIME Platform, PRIME Scorebug offers Chyron broadcast-grade graphics along with ease-of-use,, flexibility and unparalleled data integration. Additionally, Chyron LIVE now offers a SaaS scorebug with purpose-built scorebugs and specialized controls as part of its all-in-one workflow.

“In working closely with our sports customers across all tiers, it is clear that the scorebug is the most important graphic element of any live sports production. Scorebugs are not ‘just another graphic.’ They have to be highly dynamic and accurate, and enhance the viewer experience,” said Steve Papadakis, senior vice president of sales, Americas, at Chyron. “Our product offerings are always evolving, and are always based on our customers’ priorities, regardless of whether in the cloud, on-prem, SaaS, subscription or perpetual licensing.”

Key features of PRIME Scorebug include intuitive operator control orchestration, complete API-based data integration, and client-specific choreography.

Since PRIME Scorebug is built on the PRIME Platform, creative teams can easily apply the same assets to scorebugs that they use for all their live graphics overlays, ensuring efficiency and brand consistency, Chyron said. PRIME Scorebug and PRIME CG offers the additional advantage of redundancy, since a single system could be configured to run both the scorebug and CG graphics. Alternatively, organizations may elect to lower costs by investing in a single system to run both PRIME Scorebug and PRIME CG with a single operator.

“Prior to today’s official release, several key customers have successfully put PRIME Scorebug through its paces in real-world sports events and now use it on a regular basis,” states Mark Friedman, vice president of sports sales, North America. “From my career in graphics and design for professional sports broadcast, to the commercial conversations I have now with broadcasters and regional sports networks, I know this is an unbeatable solution for scorebugs. We take the simplicity of specialty scorebug products and blend that with the power of PRIME graphics to offer an ideal solution.”

Scorebugs have also been added to Chyron LIVE, which typically serves lower-cost broadcast needs by offering SaaS all-in-one camera switching, graphics and replay. A primary segment for Chyron LIVE is mid- and lower-tier collegiate sports, one-off events, and large organizations or events that may need to occasionally scale up from their existing control-oom capacity. Recognizing that scorebugs play an important part in the visual storytelling and data display for these audiences, Chyron LIVE now includes purpose-built scorebug graphics, data integration services and dedicated scorebug controls, according to the company.

“Sports audiences across all tiers are more sophisticated and demanding than ever before,” says Friedman. “At Chyron, we ensure that broadcasters of any size can exceed viewer expectations, attract sponsors and advertisers and keep costs low with efficient workflows.”

For more information, visit chyron.com.

Feld Entertainment, family owned and operated, is the worldwide leader in producing and presenting live touring family entertainment experiences that bring people together and uplift the human spirit.

Properties include Ringling Bros. and Barnum & Bailey, Monster Jam, Disney On Ice, Monster Energy AMA Supercross, and the SuperMotocross World Championship. Across the brand portfolio, Feld Entertainment has entertained millions of families in more than 80 countries and on six continents.

For nearly 60 years, Feld Entertainment has brought Ringling Bros. and Barnum & Bailey, The Greatest Show On Earth to audiences across the country. In 2026, the 148^th edition was introduced, reimagined for today’s families and touring nationwide, with the clear ambition to evolve the circus into a modern, high-energy experience built for a new generation.

Branded as The Greatest Party On Earth, this new production set out the audience into participants by creating a live environment that feels contemporary, interactive, and immersive, while still maintaining the precision and reliability required for a fast-moving arena tour operating in some of the largest and most technically complex venues in the world.

The Challenge
A key component of this vision was real-time audience integration. Feld aimed to capture and feature authentic, in-the-moment, fan reactions and audience participation during the show by streaming live video directly from the crowd and showcasing live reactions on the large arena (or IMAG) screens in the arenas. This required performers to move freely throughout the audience while seamlessly capturing and transmitting broadcast-quality video.

“To create this fun atmosphere for The Greatest Party on Earth, we wanted to encourage more audience interaction and get everyone up and dancing,” said Brian Hanley, Senior Video Operations Manager at Feld Entertainment. “We thought that by filming from that first person experience from a mobile phone, it would create that social media influencer vibe on the live screen for the whole audience to see.”

Delivering on this vision introduced a complex technical challenge. The solution needed to provide a stable wireless connection, ultra-low latency to ensure real-time synchronization with IMAG screens, and professional-grade video quality—all within highly dynamic, unpredictable environments.

With each performance taking place in a different arena with its own infrastructure, RF environment, and network limitations, Feld was faced with several significant challenges such as wireless congestion from thousands of audience members, varying venue layouts, and limited setup time. These challenges created a live production set up where traditional fixed cameras and infrastructure-heavy solutions were impractical for traversing the crowd and producing the immersive experience they were trying to create.

The Result
With the need for a reliable and portable solution, Feld Entertainment implemented a Haivision-based mobile live video contribution and streaming workflow to support and enhance audience interaction.

Performers now film with smartphones with the Haivision MoJoPro professional camera app installed, which captures live video and wirelessly streams it to the production control environment where a Haivision StreamHub receiver distributes it to the IMAG screens for the audience to see.

By deploying high-powered access points around the performance space, they were able to establish a controlled, high-priority WiFi environment within the venue, allowing for an effective point-to-point connection. This connection and solution enables live video to be displayed at low latency, allowing audience members to see themselves on the screen without delays.

“One of the biggest issues was latency and we did not want to deal with relying on the internet. We didn't want to have to deal with the stream coming back with too much delay. We wanted everything to stay local,” said Hanley. “We don’t always get internet in every arena, so we also needed something that could help with that.”

In addition to performers capturing footage from within the audience, trapeze artists take the experience even further—using MoJoPro-equipped mobile devices while soaring through the air to film breathtaking, first-person perspectives. These dynamic, never-before-seen angles deepen the sense of immersion and bring audiences closer to the action than ever before—something only possible with a fully flexible and highly reliable solution.

Ease-of-use was also important when choosing MoJoPro for the show. Performers are operating the app, so it’s vital that the solution is lightweight, and is very simple to use.

The deployment of the Haivision solution is enabling Feld Entertainment to deliver an immersive Ringling Bros. Circus experience that connects the audience directly to the performers and involves them in the storytelling, enhancing engagement without disrupting the flow of the performance.

PITTSBURGH—NEP Group has launched Supershooter 11 and Supershooter 65 expanding its mobile production fleet and reinforcing its commitment to delivering flexible, customer-driven production solutions.

“We’re investing in the future of live production—one that is more connected, flexible and scalable than ever,” said Mike Werteen, president of NEP Americas and NEP Group’s global chief commercial officer. “These launches reflect our continued commitment to delivering one of the most advanced and versatile fleets in the industry.”

Supershooter 11 is the latest addition to NEP’s U.S. fleet of more than 50 mobile units supporting customers coast-to-coast. It continues the specialized line of Supershooter units that provide a standardized, familiar environment for streamlining workflows across productions.

Built for premium, large-scale events, the unit is powered by NEP’s Total Facility Control (TFC) broadcast control system and features a fully IP-based infrastructure supporting 1080p and HDR production.

The unit debuted in April supporting golf’s first major championship of the year and will next support the 2026 FIFA World Cup this summer. Supershooter 11 will then support multiple clients before it becomes a core facility for the NBA on NBC.

Supershooter 65 expands NEP’s REMI-focused fleet, enabling remote and distributed production workflows that reduce onsite footprint while increasing efficiency and scalability. The unit is already supporting major broadcasters, including Turner Sports and Major League Soccer.

Together, these additions reflect NEP’s strategy to build a full-spectrum fleet to ensure its customers have the right infrastructure for every production—from the largest global events to highly efficient REMI workflows.

The new units are part of NEP’s ongoing investment in innovation and fleet development, including a commitment to introduce multiple new mobile units each year. Additional investments this year include HDR upgrades across the fleet, the deployment of more than 100 new Sony HDC-5500 cameras, new builds supporting customers, including WWE, and an upcoming production expansion unit.

“We’re committed to introducing new mobile units each year, building up standardized NEP solutions aligned with our clients' needs. We’re also decommissioning some units with a broader focus on building a complete ecosystem that supports every production model—from rightsholders and streamers to leagues and federations,” said Werteen.

“By investing across our fleet of major event IP facilities, field acquisition units, software solution, and core media infrastructure, we’re enabling our customers to produce live content however they need.”

This approach is further supported by the recent launch of NEP Platform, a next-generation software orchestration system designed to enable more agile, hybrid workflows. Supershooter 11, Supershooter 65 and other new NEP mobile units are designed with the flexibility to integrate with NEP Platform, enabling scalable software capacity as production needs evolve.

More information is available on the company’s website.

(Editor's note: Michael Davies will be the featured speaker during tomorrow's TVTech Talk webinar on sports production. He will discuss Fox Sports' preparations for Indy 500 and 2026 FIFA World Cup coverage. Register here to attend.)

SPEEDWAY, Ind.—The crash involving drivers Alexander Rossi, Pat O’Ward and Romain Grosjean during Indianapolis 500 Qualifying Monday once again demonstrated to race fans what in-car cameras bring to coverage as driver view shots from inside O’Ward and Rossi’s cars gave viewers the closest experience they’ll ever have to a smashup at more than 200 mph.

Those shots, however, are only one of multiple different in-car angles viewers can expect May 24 during Fox Sports’ coverage of the 110^th running of the “Greatest Spectacle in Racing” at the Indianapolis Motor Speedway.

New for this year’s race coverage from the cars are what the broadcaster has dubbed “Top Gun” cameras, miniature RF cameras pointed at drivers in the cockpit, and what it is calling a Buckeye Camera mounted on the rear quarter panel of Indy cars.

“Inspiration for our ‘Top Gun’ camera comes from some of the films about racing,” said Michael Davies, Fox Sports executive vice president of technical and field operations. “F1: The Movie was a fantastic inspiration to see what we could do, and our director [Mitch Riggin] thought of how to get this amazing shot of the driver’s head looking straight on.”

The addition of the rear quarter panel camera brings another angle to engage the audience with new views of racing and pit action, he added.

“There’s just a lot of inspiration that goes into figuring out how to not only get the cameras that show you the X’s and O’s and the strategy, but also the emotion of it—the kind of thing you might see in a cinematic production,” said Davies.

These two new camera angles join the Racing Force micro-cameras embedded in drivers’ helmets at eyeline for Driver’s Eye shots, which Fox Sports used during its inaugural Indy 500 coverage last year and which captured yesterday’s qualifying round crash in such detail, as well as on-board forward and rear hoop angles and sidepod and suspension views.

To augment the Driver’s Eye shots, Fox Sports will key on its heads-up display (HUD) telemetry, including throttle, brake gear, speed and other key data.

(Editor’s note: Live coverage of the Indy 500 begins at 10 a.m. EDT on Fox. The green flag drops at 12:30 p.m. EDT. Coverage is also available via Fox One and the Fox Sports App.)

By The Numbers

Production of the Indianapolis 500 is a massive undertaking—not only in terms of the technology used to cover the race from the 1,000 acres Speedway property, but also the number of people in attendance. About 350,000 people are expected, including 235,000 in the stands, 100,000 in the infield and about 12,000 workers.

To capture the race, Fox Sports will deploy cameras at about 70 positions around the Speedway to supply more than 100 camera fees. Ten cameras will run at up to 240 fps 4x HFR to deliver what the broadcaster is calling “cinema-grade” slow motion. Fourteen RF handheld cameras and six pit-box cameras from NEP Broadcast Sports International (BSI) will provide roaming shots. The broadcaster will also provide some 30 ISO replay channels from five EVS systems.

Fox Sports is producing the race in 1080p HDR with a crew of about 200 production personnel, some of whom have worked on the IndyCar tour for decades. It will distribute its show in 4K UHD.

Drones and Digital Cinema

Fox Sports is adding a third drone to its airborne complement of cameras for this year’s race. Beverly Hills Aerials, which the broadcaster has turned to for major tent pole events, including NASCAR and IndyCar races, is providing the drone camera platforms and piloting them.

“The thing about Indy is it’s just vast,” said Davies. “To get around very quickly on the track, there’s no real substitute for utilizing drones. Motorsports is one of those sports that lends itself to using drones for actual coverage of the sport, not just beauty shots.”

The three drones and a Helivision helicopter will provide first-person view (FPV) shots, aerial coverage of pre-race events and shots of “some of the more histrionics” of the day at the Brickyard, he said.

The use of drones has evolved over time. While Fox Sports will not fly drones of the track during races, drones have become safer with the addition of features like parachutes and other safety equipment that not only ensure safety but make it legally allowed to fly over people, he noted.

“Certainly, from where we were a few years ago, the drone space and the flexibility in how they are used have opened up, and IndyCar has been a fantastic partner in understanding the importance of drones in the coverage and the overall presentation of the of the product,” Davies added.

For its Indy 500 remote studio show, Fox Sports is deploying more than 10 ARRI digital cinema cameras specially outfitted by The Helm to eliminate operational complexity and enable the broadcaster to integrate them into its live production pipeline, he said.

“We've been convinced these cameras have some interesting properties that can help us in terms of light tolerance and the ability to dial up and down a shallow depth of field, depending not just on the look we want but also because there may be things we don’t want viewers to see,” said Davies.

On-Site Production

As with its coverage of last year’s race, Fox Sports again is partnering with Indy Motor Sports (IMS) Productions, which has rolled its HD-5 IP-based mobile production unit to the speedway. The broadcaster is augmenting HD-5’s capabilities with Game Creek’s Ovation mobile unit, which also serves as Fox Sports’ flagship truck for NASCAR coverage.

NEP BSI, which provides end-to-end, turnkey RF and microwave services for race coverage, has brought a truck to the track as well, as has CE+T, which is providing Fox Sports with power. The broadcaster will use about 2 MWs of power, including primary and backup, across the production compound and its remote sets.

Infinite Structures has also built temporary remote offices and broadcast facilities for the production crew. In all, Fox Sports is deploying 12 mobile units for race coverage.

These units make this year’s Indy 500 a rather “old-school” remote production setup, “but it’ll probably be the last one,” said Davies.

“One of the things we saw when we came in to do our first year of IndyCar was that besides Indy itself [the Indianapolis Motor Speedway], there was virtually no other tracks that had the fiber need to even consider doing distributed production,” he said.

Over the past year, Fox Sports has worked with Lumen Technologies to outfit IndyCar tracks with the fiber optic infrastructure needed to support distributed production. “Indy has always been the outlier in that respect because they always had it [fiber] there,” said Davies.

Even though there are some 20 miles of fiber optic cable is in place around the speedway, “we wanted to sort of crawl, walk and run on this, and didn’t sink too many resources into distributed production methods,” he said, adding that next year will be different.

Remember The Future

Distributed production isn’t the only thing Fox Sports is teeing up for next year’s Indy 500 race coverage. Managing RF cameras more efficiently is also planned. “We’re testing a lot to see what we can bring back, maybe not in terms of the number of cameras, but rather in a more intelligent way,” said Davies. “Even if you were able to bring back five cameras from a car—whether it’s an IndyCar or NASCAR—I’m not sure what you’d be able to do with all of that.”

How those remote camera signals are managed is only one part of the next generation of the connected car, however. Radio and location technology are others, he noted.

Currently, Fox Sports relies on SportsMEDIA Technology for GPS location data and is looking at how it is evolving. “Whether it’s NASCAR or IndyCar, we only have two channels of audio coming back from the cars. We need more.”

All of these sources rely on RF connectivity, and Fox Sports is working with Verizon on using a private 5G network to augment that.

“We’ve been working with Verizon to help understand what their technology can do,” said Davies. “You know, the interesting part is that if you’re going to test something and it has to work at the biggest events, then it’s absolutely essential to bring a testing environment into the Indy 500, because if it doesn’t work there or at the Daytona 500 or Talladega, then it doesn’t work.”

When most people talk about artificial intelligence (AI), they usually mean Generative AI (GenAI). While this has brought a great deal of flexibility and freedom to video, audio and text creation, it is also responsible for a substantial amount of ill-conceived or poor-quality material. This has not only sullied the reputation of AI but also overshadowed the potential of a more practical form of the technology, agentic AI.

More of a background technology than GenAI—which has also been around a lot longer, the modern iteration being formalized between 2014 and 2017—agentic AI is less generally known, even though it began to appear around three years ago. The crucial difference between the two is that while GenAI reacts to prompts or triggers to create content, agentic AI is intended to autonomously establish and control a function or situation.

AUTONOMOUS WORKFLOWS
In the context of broadcasting, agentic AI is regarded as key to the development of applications—known as “agents”—to run specific technical tasks, such as monitoring, dealing with system faults or failures, and manage a variety of functions across production and distribution chains.

"Unlike GenAI, which creates content on demand, agentic AI orchestrates entire content workflows autonomously," explains Stephanie Lone, global leader of solutions architecture, Media and Entertainment, Games and Sport at AWS. "This means systems can coordinate complex multi-step processes without constant human intervention at each decision point."

The basis for this, Lone adds, is multiple "specialized agents" working together proactively to natural language requests. This combination—and simultaneous operation of applications— forms the basis of systems from other developers, including Witbe's Agentic SDK, which was launched in February this year. Intended as a "test automation framework" to run and scale monitoring, testing and validation over video workflows, Witbe chief executive Mathieu Planche describes it "a suite of different agents" designed to automate test processes.

"Test automation used to be a script that people had to develop," he says. "We have moved away from this manual process into something that is, while not human-less because we still have [a] human to control what the Agentic SDK is doing, but it's a process that is largely simplified."

The first of the agents in the suite is Test Designer, which was developed to understand the testing strategy of the video service being analyzed and then write test cases based on that. "Agentic AI technologies can observe inputs, plan… actions and do most of the heavy lifting in different workflows that are otherwise taken care of by people," Planche adds.

As with previous methods of automation, the developers of agentic AI systems are quick to emphasize that the aim is not to replace human operators. Fares Birke, principal practice lead for Applied AI at Qvest, comments that the goal is to enable people to "work better, faster and with fewer interruptions" by automating tasks that are either repetitive or require a lot of coordination.

"Agentic AI is about achieving outcomes, while GenAI is primarily about creating outputs – text, audio, video—in response to prompts," Birke says. "This makes agentic AI far more relevant for complex media environments where speed, reliability, compliance and coordination matter as much as creativity."

‘ENRICHED METADATA’
Agentic AI-based systems are now proliferating in the broadcast sector for a variety of applications. These include: searches of archives, transcripts and live feeds; managing ingest, logging, review and delivery; triggering MAM, newsroom, post-production and distribution systems; and ensuring operational and editorial rules. This can be seen in the number of recent system launches, including ThinkAnalytics' ThinkMetadataAI. Launched at IBC 2025, with a U.S. debut at last month’s NAB Show, it uses agentic AI to automatically create "enriched metadata" for content catalogs.

ThinkAnalytics co-founder and chief technology officer Peter Docherty comments that over the past 20 years the company had focused on deep metadata enrichment for personalization and viewer engagement but in the last three to four years has moved into targeted advertising.

"A lot of agentic processes enable automation and operational efficiencies that weren't there before," he says. "That's obviously quite different from GenAI because agentic AI helps streamline operations. What we've done with our Metadata AI is combine GenAI with Agentic and other capabilities to automate processes that were previously manual. This enables huge automation at scale but with intelligence behind the decision-making."

At the NAB Show last month TVU Networks showcased “TV Cortex,” a service that uses Agentic AI to aggregate and manage the audio and video content used to create news stories. TV Cortex has the power to act autonomously and purposefully to achieve an outcome independently of our interaction with it. In theory, operating this way may involve less “human shading” of events and more factual coverage.

According to TVU Networks President Paul Shen, TV Cortex is intended to augment human productivity, not to replace it. If used effectively, the system frees up producers and editors to focus more on the creative aspects of news production, like crafting compelling stories and providing more human context.

“TV Cortex leverages agentic AI, deploying a hierarchy of master and subordinate agents that dynamically scale to handle the volume and complexity of incoming stories,” Shen said. “These agents automate the retrieval, categorization and scoring of stories based on factors such as recency, relevance, market size and customizable editorial priorities.”

KEEPING QUALITY—AND THE TRUTH IN CHECK
A crucial area of broadcast and streaming distribution that has undergone a high level of automation and streamlining in recent years is compliance and Quality of Service (QoS) monitoring. AI—and agentic in particular—is now offering the potential to take this further through new systems such as Bitmovin's Observability, which was introduced last October.

"We're leveraging AI in different areas of our product range, including the Observability product for looking at sessions, playback, QoS metrics, root cause analysis and error debugging," explains Jacob Arends, product manager for playback at Bitmovin. "AI is really good at summarizing data, for example, so we are using that in our Observability products to make it easier for customers to understand complex datasets [and] what actually went on in a session."

In the last year or so, doubts have arisen surrounding GenAI chatbots, especially with systems “hallucinating”—basically making things up— or just agreeing with a question. Because compliance monitoring is a crucial failsafe in the broadcast distribution chain, there can be no such doubts; any automation technology must be 100% trustworthy.

"Our Agentic SDK is not creating bugs within our customers' platforms," states Witbe's Mathieu Planche. "They detect errors and flag them for people to review and analyze. Then people decide if they are escalating them internally or if they just discard it."

As for the future, Planche acknowledges that agentic AI technology for broadcast is still "new for everyone" and that media control rooms, staffed by operators, are "not going away right now."

At AWS, Lone observes that the potential for Agentic AI in media production "is massive" but says the broadcast sector does have to be careful with it. "The industry still needs to establish strong guardrails around data governance, transparency, content provenance and responsible automation practices," she comments. "Once these are firmly in place, companies can have more confidence in AI-driven decisions and feel comfortable deploying the technology on a broad scale."

Standards and oversight are absolutely necessary for such an autonomous technology as agentic AI could be. But, right now, the broadcast sector appears to be weighing up whether there is already enough automation in key processes or if these new agents are the key to more efficient and fault-free operations.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LONDON—Vizrt has been named an official technical supplier of the 2026 Eurovision Song Contest (May 12-16), in partnership with host broadcaster ORF, supporting one of the world’s most complex and widely watched live television productions.

Broadcast live from the Wiener Stadthalle arena in Vienna to millions of fans across Europe and beyond, Eurovision’s 70th edition will employ Vizrt technology to create immersive visual elements.

“The hosting of the Eurovision Song Contest in its 70th edition presents the ORF as the host broadcaster, with an extraordinary technical dimension—both in terms of scale and redundancy and creative ambition,” said Claudio Bortoli, technical supervisor of the Eurovision Song Contest 2026. “With Vizrt, we are relying on a partner that allows us to operate highly complex live workflows stably while simultaneously setting new visual standards. Especially under the enormous time pressure and international visibility, it is crucial to employ technologies that combine precision, flexibility and absolute reliability.”

ORF, Austria’s national public broadcaster, is using a range of Vizrt solutions, including versatile real-time 3D graphics rendering and compositing with Viz Engine and virtual environments and augmented reality (AR) graphics with Viz Virtual Studio. The Viz Engine will also render all on-screen graphics and the data-driven graphics that display each country’s scores throughout the competition.

As host broadcaster, ORF is responsible for coordinating the live Eurovision broadcasts, complex graphics and live production across multiple shows and days. Vizrt’s technology will enable production teams to deliver compelling visual storytelling while maintaining the speed, reliability and flexibility required for live, large-scale events, the company said.

“Eurovision represents the pinnacle of live production. It’s high-octane, high-energy and high stakes; everything that Vizrt technology is trusted for,” said Chris Black, chief marketing officer at Vizrt. “We’re delighted to be providing technology that enables the boldest creative expression, as well as the dependability needed for broadcasts of this magnitude.”

More information is available on the Vizrt website.

SACRAMENTO, Calif.—CBS Sacramento is debuting a new augmented reality/virtual reality (AR/VR) technology-driven studio today, Monday, May 11, at 12:00 p.m.

The launch is part of an ongoing push to provide viewers with more immersive storytelling and next-generation journalism at the CBS Television Station group, which has been deploying AR/VR technologies developed in-house at various stations around the country.

The Sacramento station becomes the 12th newsroom in the CBS Television Stations group to adopt AR/VR technology across its local newscasts.

“CBS Sacramento has long served our community through trusted journalism and compelling storytelling,” said Scott Warren, president and general manager of CBS Sacramento and CBS Bay Area. “This new AR/VR studio gives viewers greater context and perspective, creating a more immersive way to experience the weather and local news stories that matter to them.”

Beginning with the 12:00 PM newscast on CBS Sacramento (KOVR), AR/VR technology will be integrated into all the station’s newscasts, including news, weather and sports. Select AR/VR elements will also be used during news and weather segments on GOOD DAY on KMAX, while the remainder of the program will continue to originate from a traditional studio.

The technology allows journalists to visually explain complex stories, breaking news and weather systems with greater clarity while maintaining the station’s editorial standards.

As previously reported, the Sacramento launch continues the expansion of the CBS Stations AR/VR newsroom initiative, building on innovations first introduced at CBS Bay Area under Warren’s leadership.

CBS Sacramento serves viewers across the greater Sacramento region through CBS KOVR and KMAX, delivering local news, weather, sports and community coverage across broadcast and digital platforms.

About one month out, the behind-the-scenes work that makes coverage of the 2026 FIFA World Cup possible is beginning to swing into high gear.

One critical component is the coordination of limited spectrum to support all of the wireless mics, IFBs, cameras and other devices used to bring matches to a worldwide audience that’s expected to reach nearly 6 billion people.

Last week, the Federal Communications Commission designated Sinclair vice president of spectrum policy and engineering Louis Libin as special frequency coordinator and RF spectrum manager for the 2026 FIFA World Cup (June 11-July 19).

In this Q&A, Libin discusses the challenges of coordinating RF use at the 11 World Cup venues in the United States, the effect of having President Donald Trump as chair of the White House Task Force on the FIFA World Cup 2026 on frequency coordination, an ongoing effort by the North American Broadcasters Association to establish a point person at the FCC for spectrum use during special events and which procedures World Cup-approved broadcasters must follow at the venues.

(Editor’s note: In an email after the interview, Libin said requests for frequency and entry into the FIFA RF portal, as well as answers to questions about the RF schedule, should be directed to Juan Morales, head of spectrum for FIFA, at juan.morales@fwc2025.org.)

(An edited transcript.)

TV Tech: Louis, the World Cup is being played at 11 U.S. venues. You’ve been the FCC-designated frequency coordinator for many major events over the years, but 11 different venues has to be a unique challenge. How are you approaching those challenges?

Louis Libin: I work with the people who are going to be at the venues. There’s a structure created. Any kind of RF problems are handled by a local manager who deals with the frequency coordinators. If a problem needs to be escalated, then a regional manager gets involved.

Hopefully, we have an organization in place that will work sort of automatically. We tried something like this for the FIFA Club World Cup tournament last year.

TVT: To what degree will the local Society of Broadcast Engineers frequency coordinators be used in this structure?

LL: I don’t know the exact numbers, but about half.

TVT: Fox has the broadcast rights to the World Cup in the U.S. I am guessing the biggest share of frequency coordination will be devoted to managing the spectrum needs of all of the media coming from around the world to cover the event.

LL: That’s correct. It's interesting because frequency coordination at the same stadiums, where football games are played, is tight. But it’s not as tight as it is for an event like the World Cup or an Olympics.

There’s so much planning that’s done beforehand [for those events] that there’ll be no what we call “Game-Day Coordinators,” like for the NFL. There will be no game-day coordination happening. There’s game-day enforcement and game-day stickering of equipment that’s already approved.

It’s a little bit of a simplified RF coordination process. I don’t want to say it’s easier. Nothing’s easy. But it’s done beforehand, and it's done very formally.

It works out because there is so much going on at the event itself. For example, the one I’m closest to is at MetLife Stadium [renamed New York New Jersey Stadium for the World Cup].

I can't even tell you how many [channels will be used], for two-way communications, IFBs. It’s an unbelievable number of pairs and single 450 [MHz] and 455 [MHz] channels, almost every one is in use. And I’m able to reuse them, even though it’s just across the water from the city [the stadium is in East Rutherford, N.J., some 10 miles the Hudson River from New York City]. But I’m able to successfully reuse them, and a lot of it has to do with aiming antennas away from the city.

TVT: That crowded RF environment—and others around the country where the World Cup is being played—must require Special Temporary Authorizations from the FCC. Is getting STAs for coverage for the different venues difficult?

LL: It’s very difficult. But the STA process is a little bit easier for us because of the involvement with the administration. We have the president, who is chairing the World Cup. [President Trump is chair of the White House Task Force on the 2026 FIFA World Cup, not the chair of FIFA.]

TVT: Does that trickle down to making your life a little easier?

LL: Well, what it trickles down to is the FCC wanting to make sure that what we do goes through speedily. So, it’s very good.

It’s interesting because I’m working with NABA [the North American Broadcasters Association] as well.

We have a new project: To work with the FCC to get an office of special events. I would love that, but it won’t happen. That literally requires an act of Congress—you know, the cliché—but it does require an act of Congress.

So, what we’re trying to do is work with the commission to get a point person at the FCC for special events. And we're having a lot of luck [with] the OET [the FCC Office of Engineering and Technology] because it really transcends many, many bureaus.

STAs come from all over the place. They can come from wireless [the Wireless Bureau], from all over the place.

So—and this has nothing to do with the World Cup—the FCC is very, very cooperative. It’s not an official proceeding yet. But why wouldn’t they want to make it easier for us as well as easier for themselves?

They put in some very interesting ideas. For example, they would like data to be collected, so that they’ll learn more about events. So, the next time there’s an event, we don't have to start from scratch. I thought that was a great idea.

TVT: So this will not be an office. How do you think it will be structured?

LL: Right, it won’t be an office. It will be a process. I’m not even sure which office it will be with. But it’ll be a process where the bottom line is we’ll have a number to call, and we’ll have a person to talk to.

If there’s a challenge, if there’s a problem, if on event day somebody needs to do something, there’s a number to dial.

I love this because we have this in other countries. You know, in the U.K., in Canada, it’s a much simpler process that’s geared towards events and temporary use.

TVT: Can you describe how some of these event-day problems arise?

LL: You know, when we apply for STAs, there are actually a few different ways of applying, and it might be experimental, even though it’s not always exactly experimental.

This could be a great way of, No. 1, educating people and, No. 2, having everyone go through the same process.

Today, I could go to an event and there could be three different STAs that came through three different [FCC] bureaus, and we won’t know about it.

TVT: That’s surprising.

LL: People can show up with equipment that’s licensed on some kind of, let’s say, experimental [use STA], but not from OET, and I wouldn’t even know about it.

TVT: So just to be clear, you said this new role at the FCC would deal with the authorizations related to special events like the World Cup or the Olympics, but not more regular sorts of events such as a Sunday NFL game.

LL: No, it could be that, too. I’m not speaking for the NFL or any other league. But for example, this weekend there’s a NASCAR race at Watkins Glen, N.Y. [Sunday, May 10] or next week the PGA Championship. That’s going to be in Philadelphia, but typically a golf event or even NASCAR racing is in an area where there’s not much RF.

All of a sudden, it becomes a mini RF city. That’s how much RF there is. So, I would say that for golf events, for NASCAR, for racing events and all these kind of events where you wouldn’t necessarily think [there’s RF congestion], it could be a big help because of where these events are located.

Sometimes you go to the Daytona 500, and you’re 100 yards from the Daytona International Airport.

TVT: Getting back to the World Cup, I imagine the amount of RF congestion will vary dramatically from venue to venue.

LL: There's definitely a difference between venues. They’ll pose their own challenges. You know, Seattle is varying terrain. You know that is good and bad.

Miami is Miami, and so it’s flat. Signals go forever over there. That also means you’re receiving a lot of signals. You go to MetLife Stadium, and you’re looking straight at the transmitters from the city. They’re all big challenges, but each one is unique.

TVT: To what degree has LTE and 5G relieved some of the congestion for video that traditionally was transmitted on Broadcast Auxiliary Service (BAS) channels in general and specifically as relates to the World Cup?

LL: We’re still at the beginning of it, and it’s still a challenge and it still doesn’t have the same reliability right now. In other words, it’s still emerging, but I could see it coming more and more into use.

But even the COWs [Cell on Wheels], when they come to a temporary event, have to be set up. You would expect them to be set up, and everything is great.

We’ve found that oftentimes, including at recent events, they have different challenges themselves. They set up in one location. Verizon, AT&T and T-Mobile [COWs] are within 100 feet of each other. That’s kind of not great.

That said, they all have their links that are attaching them to someplace else—on 3.9 GHz, for example. Are they as clean as they should be? Well, they should be because they are specific to them.

Did they mount their antenna in the right direction? That’s never perfect, and it’s only a temporary event. So, we often have to live with that. It’s not terrific. And that impacts the reliability of those systems operating in the cellular bands.

I have a feeling that all of the new Wi-Fi—in the 6 GHz and 7 GHz bands—coming in now are encroaching on the massive amounts of wireless microwave channels that broadcasters use for events. I’m not saying that in an FCC/legal manner, but I feel they are encroaching.

There’s only a limited amount of shifting and playing Jenga with the channels that we can do. Eventually, something’s going to have to give and unfortunately, Wi-Fi is going to win, because it’s ubiquitous.

TVT: What do broadcasters who have followed the procedures to use spectrum at World Cup venues have to do when they arrive on-site? Do they check in? What is the procedure?

LL: When they get into the venue, if they're already approved—and they would have a piece of paper that says they’re approved to get inside the venue—then they come in through one entrance where they’ll follow signs.

There will be a desk and a couple of people. The frequency coordinator and another person will check equipment and put approved stickers from FIFA onto equipment.

If they’re not approved, or if a foreign broadcaster comes in, then they can stay in the parking lot and use their wireless mics. Nobody can stop them.

But if they are approved to get inside the venue, they’ll follow signs to the desk.

TVT: You have a lot of experience serving as the FCC-designated frequency coordinator for major events. If you look back over the political conventions, sporting events and other major events covered, has coordination gotten any easier over time?

LL: No, RF coordination is becoming more and more complicated because everything is wireless now and everybody wants to be wireless for everything.

The only thing that is helping in terms of frequency coordination is that many ENG crews are now using Wi-Fi/2 GHz devices. That’s a big help.

When you’ve spent enough time around broadcast systems, you start to notice a pattern: every facility grows in layers.

A new requirement comes along, so another piece of gear gets added. Then another. Over time, what started as a clean design becomes harder to follow, harder to maintain, and harder to change. Nobody plans it that way. It just happens. You solve the problem in front of you, then move on to the next one.

For a long time, that was simply how infrastructure evolved. And to be fair, it worked. Broadcasters built serious, dependable operations that way. But the downside always showed up eventually.

More hardware meant more cabling, power, cooling, and space which means more things to manage when something went wrong not to mention trying to sort your way through the additional cables that have accumulated on top of your neatly dressed cable bundles. A modest change could potentially have a large impact. That’s why the conversation around infrastructure has changed over the last few years.

The Consequences of Changing Focus
Reliability and speed are still the primary drivers in live production. However, there is a lot more attention on flexibility and efficiency, and for good reasons. Production teams are being asked to support more formats, take on more responsibility, all while dealing with more variation in how a show gets managed from one day to the next.

The production and audience changes, but the core need remains the same. Teams want systems that can handle change quickly without requiring significant downtime. That sounds simple, but it has real consequences for system design. It affects how much functionality can be tied to software and whether a system has room to grow without major changes to the tech stack.

And it affects costs in a very practical way. This is one reason software-defined infrastructure is getting so much attention. There is a steady interest in systems that can do more over time without demanding a new hardware investment every time the workflow shifts. That matters because most facilities are not static anymore.

A production may still be based on-site, but some of the people operating it may be somewhere else. A plant may still be centered on SDI, but some form of IP may already be part of the picture. A system may be installed for one main use case, then quickly be asked to support something broader once people see what is possible.

Infrastructure is Becoming Part of the Solution
That last part is important. In my experience, users almost always find applications and ways to use equipment that they did not fully predict at the start. Once they get comfortable, they push. They ask for more I/O, processing and monitoring. More ways to adapt the system to the work at hand. That is usually a good sign. It means the infrastructure is becoming part of the solution instead of something they must work around.

It also explains why software defined hardware keeps coming up in these discussions. When teams can reduce the amount of separate gear needed to accomplish the same job, the benefits are immediate. The system takes up less space. It draws less power. It is easier to deploy and easier to support and typically provides significant cost savings. The net effect is that the efficiency adds up.

That is really where broadcast infrastructure is today. Not aiming at a complete reinvention or some theoretical universal model that fits every operation. The smarter path is usually more measured than that.

Build systems that leave room to move. That may be the most useful lesson right now. Because the facilities that will hold up best over time are the ones that can adapt without becoming more complicated. That’s where the industry is headed. Not through a dramatic reset, but through smarter decisions made one practical step at a time.

BRIGHTON, UK—Mavis has launched Mavis Studio, a new live production app for iPad that gives creators, broadcasters and production teams a new way to build and deliver professional multi-camera content affordably, with a highly portable setup.

Mavis Studio combines multicamera video switching, playback, integrated graphics, audio mixing, recording and streaming in a single iPad app. The product is positioned as a portable, mobile-first platform for live video workflows, with Mavis Camera integration, NDI certified with HX3 support for high-quality IP video workflows, internal recording and streaming output to all popular social platforms including YouTube, Facebook, Twitch. For custom streaming, RTMP and SRT protocols are also supported.

Mavis Studio’s touch-first interface makes live production feel immediate and intuitive, with interactive multiviews for fast source selection, revealable control panels for extended functionality and support for professional codecs such as Apple ProRes, the company said. It is aimed at a wide range of real-world workflows, from video podcasts and music performances to corporate events and house of worship.

“Mavis Studio is designed for productions that want the quality and features typically associated with a traditional broadcast production but with the ease of use and pricing model of a consumer-based app” said Patrick Holroyd, CEO of Mavis. “There are now huge numbers of content creation teams and event producers who need professional live output, but do not want to be tied to large, fixed systems. With Mavis Studio, we are giving them a flexible, portable production tool built around the power of the iPad.”

At the heart of the app is a powerful production switcher with support for live and internal sources. Users can manage up to four live inputs and combine those feeds with multiple integrated playout tools. Video packages can also be rolled from the built-in media players, stills displayed from the image players, and HTML5-based graphics overlays and web presentations incorporated.

Support for alpha-aware graphics across the application allows for lower thirds, branding and other visual elements to be layered cleanly into the live output. Preset and custom scene layouts allow operators to build anything from simple two-way interviews to richer multi-layer productions with graphics and branded visual elements.

Audio is also central to the app, which is particularly important for podcasts, house of worship and music productions. Mavis Studio includes a 16-channel audio desk with channel strips, pan, gain, EQ, grouping and master output control, enabling users to create a polished live mix directly inside the app.

Mavis Studio is NDI Certified, allowing it to take advantage of high-quality IP video running over a conventional network for events such as university lectures, corporate events or brand live streams, which often need more than a single camera but may not justify the expense of a full outside broadcast rig.

The app supports receiving up to four synchronized NDI feeds and sending an NDI output, enabling compact, flexible IP-based workflows for live events. As with other outputs, NDI can also be configured from the internal video matrix, allowing users to record a clean PGM feed while simultaneously sending a branded feed out via NDI.

"Over the past few years, we have seen NDI adoption expand well beyond traditional broadcast, and Mavis Studio is a natural reflection of that shift," said Miguel Coutinho, Head of NDI. "Creators who want professional multi-camera output should not have to invest in fixed, expensive systems to get it. By building NDI certification into Mavis Studio, that level of production quality is now accessible to a much wider audience."

The Mavis Studio app is a free download available from the App Store. The free version applies a watermark on all outputs, which can be removed for $24.99 per month or $79.99 per year. To remove the watermark and activate NDI costs $39.99 per month or $129.99 per year.

WASHINGTON—The Federal Communications Commission has issued a public notice designating Louis Libin as special frequency coordinator and RF spectrum manager for the the 2026 FIFA World Cup.

The notice also detailed how RF spectrum will be coordinated during the 39-day global men’s soccer tournament and detailed some waivers of FCC rules.

The move makes Libin, vice president of spectrum policy and engineering at Sinclair Broadcast Group, the single point of contact for coordinating Broadcast Auxiliary Service (BAS) operations during the World Cup. Tournament matches are being staged in 11 U.S. cities, as well as cities in co-host countries Canada and Mexico. Some 6 billion viewers worldwide are expected to watch the June 11-July 19 tournament via broadcast, streaming and digital platforms. Fox is the U.S. World Cup rightsholder.

In addition, the FCC also granted waivers to permit low-power auxiliary operators. Low-power auxiliary operations are a subset of BAS operations.

BAS stations, which are licensed under Part 74 of the Commission’s rules, make it possible for television and radio stations and networks to transmit program material between various locations (e.g., from remote sites of breaking news stories or other live events to television studios, from studios to broadcasting transmitters for delivery to consumers, and between broadcast stations).

In addition to licensed BAS stations, section 74.24 of the Commission’s rules allows eligible broadcasters to operate BAS stations on a short-term basis, not to exceed 720 hours annually, without prior Commission authorization.

FWC 2026, a subsidiary of Fédération Internationale de Football Association (FIFA), had previously requested that the agency designate Libin as the coordinator.

The FCC noted that BAS frequency coordinators are often named in connection with major events such as national political conventions, presidential inaugurations, the Olympic Games, and the 2025 FIFA Club World Cup.

In a filing with the FCC, FWC 2026 said it expects extensive video, audio, and data coverage of WC26 and extensive use of wireless equipment.

FWC 2026 anticipates that over 2,700 pieces of equipment, such as interruptible foldback systems for real time communication, wireless intercoms and talkbacks for production crews, and RF audio links for sound mixing and audio routing, will be utilized during WC26 to support over 300 media agencies.

Based on FWC’s recommendation, the FCC said it finds “that appointing Louis Libin as the special frequency coordinator will facilitate WC26, and will serve the public interest. Mr. Libin has extensive experience in coordinating frequency use for a variety of national and international events.”

The FCC said the designated frequency coordination period will start five days before each venue’s initial match and conclude one day after each venue’s last match so that FWC 2026 can prepare the RF environment to ensure spectrum readiness before matches begin and can oversee a controlled shutdown of the venues.

This designation will also allow for advance coordination of auxiliary broadcast frequency usage in the designated areas.

The FCC said Libin can be reached for frequency coordination at (516) 374-6700 or by email at louislibin@broad-comm.com.

In addition to the operations discussed above, the FCC noted that the event will see the potential use of unlicensed next-generation devices operating in TV white spaces.

In an filing with the FCC, FWC 2026 also requested that the Commission grant a waiver of the distance-separation requirement to permit the use of low power auxiliary stations (LPAS), not to exceed 1 watt of power on channels allocated for TV broadcasting where the nearest operating television station transmitter is located at least 40 kilometers from the event venues.

Similarly, FWC 2026 requested that the commission grant a waiver of rules that limits the power for LPAS operating in the 600-MHz duplex gap and the bands allocated for TV broadcasting.

FWC 2026 has requsted these waivers to “accommodate specialized equipment required for reliable and robust operations in large, open-air stadium environments,” including equipment necessary to support international broadcast systems, in-stadium long-range coordination, wireless intercoms and public safety communications, the filing said.

More information on the FCC’s decision to grant those waivers, affected venues and the process of coordinating spectrum during the games can be found here.

STA VENERA, MALTA—CPI Media, a voluntary organization within the Missionary Society of St Paul (MSSP) and a producer of religious programming, has integrated QuickLink StudioCall into its production workflow.

With StudioCall, CPI Media can invite clergy, guests and community members to participate in broadcasts from anywhere in the world. This simplicity ensures contributors with varying levels of technical ability can join without difficulty, while maintaining professional-grade audio and video quality.

The integration has already enhanced CPI Media’s coverage of live liturgical events, community updates and religious discussions, making it easier to involve voices from different parishes, missionary stations and international locations. Whether broadcasting the daily mass or producing in-depth faith programs, QuickLink enables CPI Media to create engaging, interactive content that resonates with viewers and strengthens community bonds, the companies said.

Facilitated and installed by DAB Electronica Malta, an official QuickLink reseller in the region, CPI Media is using the solution to transform the way it connects with audiences across television and online platforms. Known for broadcasting daily masses, CPI Media’s adoption of QuickLink enables the organization to deliver high-quality, real-time content to viewers regardless of location.

As remote production becomes more ubiquitous, CPI Media identified the need for a solution for seamlessly integrating remote contributions that was not only scalable and professional, but also user-friendly for guests with little to no technical experience.

The organization’s studios’ and production facilities, located in Sta Venera, Malta, are now equipped with QuickLink StudioCall, which enables them to receive high-quality, low-latency remote video and audio contributions flawlessly, directly through a web browser, with no app or software download required.

“In our mission to bring faith and uplifting stories into people’s homes, it’s vital that we remove barriers for participation,” says Paul Jones, systems engineer at CPI Media. “Our clients are increasingly expecting seamless, broadcast-ready results regardless of where participants are located. QuickLink’s technology allows us to connect with priests, parish representatives and guests globally, without sacrificing the quality or intimacy of our broadcasts.”

QuickLink StudioCall allows CPI Media to send guests a simple URL to connect with studio-grade audio feeds, reducing the technical overhead and minimizing the need for extensive pre-production. This results in smoother workflows, faster turnaround and more engaging content for both live and pre-recorded productions.

“Faith is about connection,” adds Jones. “With QuickLink, we’re able to bring the Church and its message closer to the faithful—whether they’re across town or across the world.”

QuickLink’s StudioCall is also integrated natively into QuickLink StudioEdge, a versatile, multi-platform remote guest solution that effortlessly combines the integration of Zoom, Microsoft Teams and StudioCall callers in a single, unified solution, streamlining communication and enhancing workflow efficiency for professional broadcasts and productions.

DAB Electronica provides design, assembly and complete technical solutions of professional AV and broadcast system integrations. The company is involved in all phases of a project, from design and planning to material procurement, installation and commissioning of the integrated systems. DAB Electronica serves a range of markets and product segments including AV, LED screens, supply and installation, broadcasting equipment, system integration, streaming, radio and TV installs and outside broadcasting.

For more information about QuickLink StudioCall and StudioEdge, please visit the QuickLink website, or contact the QuickLink team at sales@quicklink.tv.

ALAMEDA, Calif.—Clear-Com has named Brian Grahn as market outreach manager, Americas, and Ben Turnwell as business development manager, EMEA live, expanding their roles to work more closely with customers, consultants and partners in those regions.

Grahn, who joined the intercom and communications system provider in 2022, now leads consultant-focused outreach and technical engagement across such markets as themed entertainment and cruise lines, the company said. Formerly regional sales manager, Southwest U.S., Grahn will work across sales, marketing and product management and engineering teams to support system design conversations, refine messaging and help translate real-world workflows into future product direction, Clear-Com said.

“I am very much looking forward to building deeper connections with consultants, shaping how we tell our story in the market, and helping deliver communication solutions for some truly complex and creative environments,” Grahn said.

Added Kris Koch, Clear-Com’s director of sales, North America: “Brian has a unique ability to connect the technical and human sides of what we do. He understands how systems are used in the field, but also how to communicate that value clearly. That’s critical as we continue to engage more closely with consultants and end users.”

The U.K.-based Turnwell will lead business development across the live production sector in Europe, the Middle East and Africa (EMEA), working with production companies, venues, promoters and other stakeholders to identify new opportunities and support sustainable business development across the region, Clear-Com said. He brings to the company more than a decade of experience in live sound, system design and technical sales, it said, with a background in touring, theater and large-scale live productions.

“Ben brings a practical understanding of how our customers operate in high-pressure, real-world environments,” Chris Willis, vice president of worldwide sales at Clear-Com, said. “He’s focused on building trust and long-term partnerships, which is exactly how this industry works and how Clear-Com continues to grow globally.”

Turnwell will also work closely with Clear-Com’s internal teams to ensure alignment on commercial strategy, product capabilities and customer expectations across the market, the company said.

Today’s live venues — sports stadiums, concert halls, corporate facilities and houses of worship — are becoming increasingly sophisticated in both technology and audience experience. With competition from television and streaming services, venues must offer compelling in-person experiences that keep audiences engaged and coming back for more.

Many successful venues are integrating technology that enhances the event rather than distracting from it. Examples include augmented reality visuals that overlay stage performances and interactive mobile apps that connect audiences to the action. System integrators that design and deploy AV systems said understanding the audience is critical when selecting technology. In houses of worship and corporate settings, audio quality typically takes priority, followed by lighting and video.

Hybrid Solutions

At NAB Show, exhibitors and conference sessions are highlighting the tools that make these experiences possible. Professionals increasingly seek systems that combine software-defined flexibility with reliable hardware so they can create and distribute more content efficiently — without exceeding budget limits.

“I think more than ever, system engineers and producers want the biggest bang for the buck,” said Dave Van Hoy, president of Advanced Systems Group (ASG), a longtime systems integrator that installs technology for hundreds of venues each year.

“They’re tasked with producing more content and better distribution systems, but with limited resources. It’s not a new challenge, but it’s getting trickier every year.”

Through technical sessions and panel discussions, attendees are exploring the latest strategies and technologies to support modern venue production.

Despite industry interest, Van Hoy estimated that only about half of live venues have transitioned to SMPTE 2110 IP-based architectures, leaving significant room for upgrades. ASG recently completed such a transition at the Los Angeles Coliseum, the University of Southern California’s football stadium, replacing traditional signal distribution with an IP-based system.

Interactive technology is also reshaping the live event experience. Matt Weiss, vice president of business development and managing partner at BeckTV, said venues increasingly deploy gamified features that encourage participation.

“High-tech, gamified, interactive features help create an intense home-court advantage,” Weiss said. “At the Intuit Dome in Inglewood, California, the home of the NBA’s Los Angeles Clippers, seat sensors track fan cheering and movement to reward engagement. An immersive audio system tailors sound to every seat, making each one feel like the best in the arena.”

Immersive Audio Expands

Audio innovation is another major trend. Beyond traditional stereo, venues are adopting immersive formats such as Dolby 5.1, 7.1 and Atmos systems with up to 22 channels. As streaming services began offering immersive audio to consumers at home, expectations for live events changed quickly.

“We’re seeing multichannel audio systems deployed in all kinds of venues,” Van Hoy said. “Concert halls are obvious, but sports stadiums are adopting them too. Broadcasters want immersive sound both for viewers at home and fans in the stadium. Achieving that often involves additional microphones around the field and improved monitoring systems in control rooms.”

New for 2026 is an expanded four-day Sports Summit in the West Hall’s Sports Theater. The program explores how professional and collegiate stadiums are modernizing their facilities.

Advances in Display Technology

Display technology, another key element of live venues, has also advanced significantly. New LED systems offer higher resolution, lower power consumption and more affordable pricing.

NAB Show attendees are seeing the latest models using technologies such as MicroLED, Chip-on-Board (COB) and Glue-on-Board (GOB), which provide improved reliability and reduced moiré patterns compared with traditional display panels.

One notable development involves the Big 12 Conference, which used LED sports flooring developed by Germany-based ASB GlassFloor at the T-Mobile Center in Kansas City for its men’s and women’s basketball tournaments. The system replaces traditional wood floors with LED surfaces capable of displaying graphics and animations during games or events.

Modern 4K and 8K displays are also integrating artificial intelligence to automatically adjust brightness based on ambient lighting, enhance image sharpness through upscaling and monitor performance to predict potential failures.

While large stadiums typically use professional-grade LED displays, smaller facilities such as houses of worship and corporate venues often rely on consumer-
grade commercial off-the-shelf (COTS) displays. However, these systems may not deliver the same durability or performance.

AI Across Workflows

Artificial intelligence is expanding rapidly across the entire production workflow. At NAB Show, hundreds of new products will demonstrate how AI can automate processes and improve efficiency.

In corporate and worship environments, AI tools can track on-stage talent and quickly locate clips in large video libraries. Sports broadcasters are also using AI to automate highlight generation. For example, ESPN now provides automated highlight clips through mobile apps that fans can access while attending games.

Another technology gaining traction is the unified content management system. Modern venues rely on CMS platforms to centralize control of displays, video distribution and digital content.

“For increased efficiency, reduced costs and a better user experience, many venues are upgrading their CMS platforms,” Weiss said. “They enable multiplatform distribution, live-to-VOD workflows, centralized monitoring, rapid clipping and dynamic advertising insertion.”

A recent example is M&T Bank Stadium, home of the NFL’s Baltimore Ravens. In collaboration with Ross Video, BeckTV expanded the stadium’s LED display system to enable stadium-wide control. The project added new displays in premium clubs and concourse areas, extending the Ravens’ CMS beyond the main bowl displays.

Better Than 
Watching at Home

To remain competitive, live venues must replicate — and surpass — the production quality audiences experience at home. Today’s facilities are becoming dynamic environments where lighting, sound and visuals respond in real time to performances and audience reactions, often guided by AI-driven analytics.

These efforts reflect a broader trend: Fans increasingly value shared in-person experiences.

A study from venue hosting provider Boldyn Networks suggested 93% of fans prefer attending live events over virtual alternatives.

For venue professionals, NAB Show provides an opportunity to explore these innovations firsthand through exhibit demonstrations, technical sessions and informal discussions with peers.

“NAB Show attendees will discover tools they didn’t even know they needed,” Van Hoy said. “They’ll see technologies still in development that vendors are eager to showcase. It’s an exciting time for venue operators, and NAB Show is the place to see it all in action.”

© 2026 NAB

NAB Show celebrated 50 seasons of CBS’s “Survivor” with the presentation of the NAB Spirit of Broadcasting Award during Monday’s Opening Session.

NAB President and CEO Curtis LeGeyt was joined by “Survivor” host Jeff Probst, who beamed into the session via video from the show’s location in Fiji, and fan-

favorite competitor Cirie Fields to discuss the show’s journey.

Probst learned about “Survivor” while listening to the radio as he drove around Los Angeles. He heard Mark Burnett, the original producer, talking about how he was going to put 16 people on an island and force them to live together while voting each other out.

“I’m not exaggerating when I say, from that moment forward, I wanted to be a part of ‘Survivor,’” Probst recalled.

“And I went after it with everything I could. I tried everything to get their attention. And when I finally got the job, I was so excited. The crazy part is, my enthusiasm is the same today. I love being a part of making ‘Survivor.’”

Probst took over as showrunner in 2010, bringing innovation into the production workflow. He wanted to make the show even more cinematic than it had been under Burnett.

“We have elevated the cinematic experience through our cameras and our microphones, with the intention to fully immerse the audience as much as we can with the disconnect of a screen,” he said.

“We want to say, ‘This is what it’s like to wake up after a storm and look at your fingers, and then you hear a whisper over that person’s shoulder.’ … Between a camera and a microphone, we’re taking you inside their world.”

Fields said the show’s immersive nature is something she particularly enjoys as a viewer.

“When I watch it back now, I can feel that immersion,” she told the audience. “My children can almost feel what I’m feeling when they see me dirty. They can actually see the sand and the grime on me, knowing that I slept just right there in the middle of the camp.”

Cinematic in Live

Cinematic visuals are also finding their way into live production. For Jesse Collins, CEO of Jesse Collins Entertainment and renowned producer of the Grammys, Oscars, BET Awards and Super Bowl halftime show, technology is helping push the boundaries of what’s possible on-screen.

“We are able to use cinematic lenses now. They are enabling us to change the way that we shoot performances,” Collins said in a conversation with entertainment journalist Carolyn Giardina during the Opening Session.

“Technology is everywhere, and when it’s used properly, it helps make the content better.”

Collins cited Lauryn Hill’s performance at this year’s Grammys as an example of how technology has enabled him to bring an amazing visual and audio experience to the screen.

“Ten or 15 years ago, I don’t know if we could have gotten that many live instruments in a live show, but we were able to get it done through advances in audio technology,” he said. In fact, Hill’s performance had more audio inputs than any performance in Grammy’s history.

Collins also shared his thoughts on artificial intelligence and its potential impact on live production. He said the technology is being used to help create visions of what producers want to accomplish. But he doesn’t think it will replace what viewers see on-screen.

“At the end of the day, an artist is going to be an artist. Beyoncé is Beyoncé. People want to see Beyoncé. And, especially in live television, that’s what people want. So I haven’t seen it really creep into the final broadcast.”

Asked if he has a wish list for how technology could help achieve something that’s not currently possible, Collins gave the audience food for thought. During the Super Bowl halftime show, the broadcast is transferred from the broadcast game truck to one that handles just the musical performance. “There’s a terrifying moment leading into that, which is called the point of no return, that last minute when they’ve given us the broadcast and there’s no turning back,” he said. “Sometimes not all the cameras are connected, and then they’re working through it and working through it and working through it. Fortunately, it’s always worked out.

“If someone could create something where at the beginning of the event, everybody’s dialed in, I don’t know if that’s a massive truck with an entertainment side and a live broadcast sports side,” he said. “It would take a lot of that anxiety away in the transition and it would give us more time for entertainment.”

© 2026 NAB