At the 2025 IBC Show at the RAI Amsterdam, Sept. 12-15, Lawo and Italian-based broadcast systems integrator ARET Video & Audio Engineering will showcase a new demo OB truck that combines cutting-edge ARET coachworx exclusive Box over Box technology and will be “a showroom of advanced video and audio technology,” the companies said.

The new OB trailer, currently under construction at ARET’s Milan facility, will be presented to the public for the first time at IBC 2025. The truck will showcase samples of next-generation Lawo IP technology designed to redefine mobile production standards, the companies said. At booth 8.B90, Lawo will present its full portfolio of IP-native broadcast solutions, including the HOME platform for broadcast infrastructure management, the mc² audio production console series, the A__line and Power Core audio interfaces, and the flexible VSM control and orchestration system—technology that powers both broadcast studios and OB units around the globe.

Brand new, and ready to start system integration, it will make its debut on site in Amsterdam, giving visitors a firsthand look at what will soon be “one of the most modern OB trucks roaming the world,” according to the companies.

With support for up to 34 UHD cameras, hybrid 12G-SDI/IP workflows, and full UHD HDR production capability, this 14-meter (46-foot) mobile unit is built to perform under the most demanding production and environmental conditions. It also offers a rare “box-over-box” expansion on the left side and one wide traditional “box-in-box” expansion on the right, creating three acoustically optimized and fully separated workspaces for video shading, production, and audio.

Lawo’s IP-native audio and control systems form the technical backbone of this high-end production vehicle. The audio control room is centered around a 64-fader mc²56 audio production console, a top-tier mixing surface designed for agile operation in complex environments. With full native support for SMPTE ST 2110, AES67/RAVENNA, MADI, and Dante, the mc²56 delivers maximum format flexibility. The console is driven by redundant A__UHD Core engines, each offering 1,024 fully processed DSP channels, ultra-low latency, and full support for immersive audio workflows such as Dolby Atmos—making the system future-ready for evolving production demands.

Complementing the mc² system is a Lawo Power Core, which acts as a high-density gateway between IP and baseband audio, while also providing additional DSP resources and I/O expandability. The modular nature of Power Core ensures easy adaptation to any future changes in workflow or signal format.

For control and orchestration, the OB trailer will be equipped with Lawo’s Virtual Studio Manager (VSM)—the industry’s most powerful control system for IP-based broadcast infrastructure. VSM enables unified routing and control of all signal types and devices across video, audio, intercom, and multiviewers. With customizable touch GUIs, logic-based automation, and snapshot-based reconfiguration, VSM gives operators complete control and maximum flexibility, reducing downtime and ensuring operational continuity in fast-paced production environments.

“Lawo technology provides a perfectly integrated and highly flexible IP backbone for this complex project,” says Alessandro Asti, Vice President Sales at ARET. “From the mc²56 console to the A__UHD Core and Power Core, the Lawo infrastructure allows us to build a scalable, future-ready audio environment with full format compatibility, superb sound quality, and rock-solid reliability. Combined with VSM control, and thanks to the great support of Lawo HOME in IP environments we are able to offer a highly adaptable system that’s easy to operate and quick to reconfigure for different production needs.”

To ensure uninterrupted performance even in extreme temperatures and weather conditions, the trailer is equipped with a high-capacity, multi-zone HVAC system and advanced airflow design. Every element of the unit—from coachbuilding to systems integration—has been engineered and tested by ARET in-house, ensuring consistent quality and end-to-end accountability.

The truck will be located at outdoor position 0.A07 at the RAI Amsterdam during the show.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The boards of EMG and Gravity Media have announced the completion of a definitive agreement to combine their businesses.

The combination of the two companies creates one of the world’s largest broadcast technology and production organizations.

The new entity, which is yet to be named, will include more than 100 outside broadcast trucks and flypacks and 40 studios and production facilities across Europe, the Middle East, United States, and Australia.

It will also have 30 offices across 12 countries, with a total of  2,000 permanent employees and access to a global network of freelance personnel.

The new entity will be led by Shaun Gregory, the current CEO of EMG, as its global chief executive officer. John Newton, founder, CEO and majority shareholder of Gravity Media, will serve as executive chairman.

Speaking to TV Tech sister brand TVBEurope as part of a media briefing, Newton and Gregory revealed the deal was officially signed before Christmas and has passed all regulatory hurdles.

The two companies first began discussing the merger pre-Covid, added Newton, and resumed negotiations last year.

“This is a non-cash transaction, which is why it’s a merger,” he added. “It takes the best of both businesses. There is a scale difference. The EMG business is bigger than the Gravity Media business, but all of the existing Gravity Media and EMG stakeholders are now in the new combination.”

The merger provides a much bigger and more stable company in an environment in an industry that’s been through some difficult times, added Gregory.

Asked what it means for staff, Newton said he doesn’t see much crossover between the two businesses. “One of the reasons for doing the deal is that the geographic markets are quite separate,” he added.

“Gravity Media has a big position in APAC, a bigger position in the U.S. than EMG. Obviously, we have some overlap in the U.K. but Gravity’s U.K. business provides slightly different services to EMG. There’s a good story for the aggregation of those services from glass to eyeball as such. We’re production and content, and media services and facilities. So that’s a combination of creative elements and also technical elements as well.”

In terms of geography in the U.K., Newton said he expects that in time all of the new entity’s production staff will move into Gravity Media’s White City production center, while the OB trucks and back-off staff will likely move to one single location, “if a location that can accommodate the scale of what’s needed can be found.”

“We’re always looking to improve, optimise and have an efficient business,” added Newton. “So just because there’s a merger, there doesn’t always have to be fallout from that.

“If you look at our industry, generally, all of our competitors are suffering from the same challenges that we have. Hopefully, those bad days are behind us and we’re going to start to see credit markets settle, inflation coming back under control, and that’s going to drive a growth phase. We want to take the best of the services that we have globally, offer them to our current markets plus new markets, which will mean we’ll be looking for more staff in those areas where we don’t work.”

According to Gregory, the merger allows the new entity to aggregate component parts of both businesses, enabling it to offer customers more services. “This industry is not behind the times, but I think it’s not mature, and there’s an opportunity to take a more proactive role,” he explained.

“There’s a kind of gap in the market for an Amazon of this sector, a truly digitized business that connects both people and customers around the world. There’s a real opportunity for someone to step in and provide that real customer-facing point where you can just do something differently.”

LONDON—The BBC’s "Winterwatch" has has become the first outside broadcast to be powered entirely by green hydrogen fuel and energy saving batteries.

The generator is located at the show’s OB hub in Bristol, and uses hydrogen gas made by splitting water into hydrogen and oxygen that is generated by solar and wind power. The production team have employed batteries powered by intelligent hybrid generator systems, which use spare energy to charge batteries, significantly minimizing the use of diesel fuel and CO2 emissions.

According to the BBC, using green hydrogen instead of diesel twinset generators at all sites during one live episode of "Winterwatch" avoided 3.6 tons of carbon emissions.

The hydrogen generator will remain at BBC Bristol’s outside broadcasting hub for the duration of the "Winterwatch" series. The production team plan to use the green hydrogen for future series.

Julian Hector, head of BBC Studios Natural History Unit, said: “Everyone at 'Winterwatch' and the BBC Studios Natural History Unit is punching the air at the prospect of finding a way to make our productions more sustainable. This is a superb development for us and the environment, and exactly the kind of thing we want to do more of.”

Videosys Broadcast is a leading supplier of quality camera control systems, RF links and camera backs to outside broadcast providers. At the forefront of technological innovation, Videosys Broadcast has successfully partnered with leading technology companies including, DTC, Wave Central, Hitachi, Panasonic, Ikegami, and Grass Valley . The company manages projects and design from concept to the finished article from its UK head office.

Launching at IBC 2019:
NEW: Epsilon - 4K integrated Camera Control System - Launching at IBC 2019, Epsilon is a multi-function broadcast RF camera control system that includes a fully integrated 4K decoder and receiver. Comprised of base and head modules, Epsilon is an ideal solution for HD and 4K live sports and music events. Significantly reducing rig time and equipment count, Epsilon delivers wide area coverage in stadia, large studio environments, houses of worship and educational centres, simplifying set-up and reducing production costs. The system works seamlessly with the 4K Aeon-CC TX digital video transmitter to provide the complete 4K wireless RF system.

NEW: Stagebox – Also launching at IBC 2019 is Videosys Broadcast’s Stagebox solution. Stagebox enables the delivery of video, audio and data from A-to-B, over fibre. Using an ad-hoc commentary position as an example, Stagebox enables all the audio and video components (microphone, monitors, talkback panel) to be multiplexed onto a single SMPTE fibre cable and powered remotely. Traditionally, operators would have to run a cable for each feed. Stagebox provides crews with a swiss army knife style production tool enabling all the feeds to be connected to the base unit in the OB truck and multiplexed onto the single SMPTE fibre cable. This reduces significant rigging time and costs. Stagebox can also be used for the lighting director’s position or in a small remote studio.

The system can manage four video and four audio signals in each direction, which can be selected from a small screen, providing confidence to the operator that the correct signal has been selected. Additional features include a monitoring output so the operator can check individual video and audio signals without interrupting the main feed. Stagebox also includes talkback to the OB truck or studio again adding an extra layer of confidence for operators.

Also showing:
Camera Control (CC) System – The Videosys Broadcast Camera Control System is comprised of three units, Indoor Unit (IDU), Outdoor Unit (ODU) and Camera Receiver (RXSM-E). The CC system provides an end-to-end solution from RCP to camera for the outside broadcaster, allowing them to seamlessly control their camera settings no matter what their location. Videosys’ CC system works with cameras from all the major camera manufacturers and has over 500 deployments worldwide. 

NASHVILLE, TN.—TNDV has redesigned and upgraded its Destination live multi-camera HD production truck to offer sports and entertainment producers an agile, compact mobile production solution in a 40-foot form factor.

“While there are plenty of full-sized HD production trucks on the road today, there aren’t many that can fit backstage or in the alley behind the venue,” said TNDV President and owner Nic Dugger. “By offering the same firepower in a much smaller footprint, Destination definitely fills that void in this specialized, niche market.”

The truck, originally called Blackjack, had been owned by three different companies before being acquired by TNDV, moved to Atlanta and parked outside the Philips Arena (now State Farm Arena) for four years where it was used to produce the home games of the NBA’s Atlanta Hawks.

Once done with that coverage, the vehicle was redesigned, upgraded and rebranded. Destination was re-engineered with a robust infrastructure to handle a high density of video and audio feeds, said Dugger.

The redesigned Destination has expanding sides that broaden the production vehicle from nine to 11.5 feet. The interior is divided into a main video production area, an audio suite and an isolated video production space to allow producers and editors to work on content without disrupting live shows.

The main production space is equipped with a Ross Carbonite 3 M/E production switcher, which faces a large multiviewer. Digital video effects and live broadcast graphics options include two Ross xPression dual-channel CG systems, and either a Chyron Duet Hyper X3 or Pinnacle Deko 3000 dual-channel live graphics system.

A bank of AJA Video Ki Pro digital disc recorders are provided to record programs. Sony 1800 HDCam and Panasonic AJ-HD1200A VTRs are available as options. The production area also offers a six-channel EVS HD XT[2] slo-mo system for live sports production.

Destination carries Hitachi SK-HD 1200 portable HD studio/field production cameras that are capable of low-noise 1080p image capture with support for high dynamic range (HDR).

Audio support includes a Soundcraft Si Impact 32-facer digital audio mixer with a Soundcraft stagebox. A large Imagine Communications Platinum router handles video signal distribution, including multiviewer support.

More information is available on the TNDV website.

LONDON–NEP Group, a worldwide live sports and entertainment event production provider, has acquired SIS LIVE Limited, a provider of connectivity services and subsidiary of U.K.-based Sports Information Services (“SIS”). NEP says the acquisition complements its Broadcast Services and Media Solutions businesses, strengthening the company’s support of live sports, broadcast and entertainment clients across the U.K., Europe and worldwide. NEP added that the addition provides connectivity capabilities critical to its ability to deliver a full suite of managed services worldwide. Terms of the deal were not made public.

“We are excited to bring the wealth of knowledge of SIS LIVE’s leadership team and the company’s talented staff into the NEP Worldwide Network,” said Stephen Jenkins, President of NEP UK & Ireland. “With SIS LIVE, NEP will be able to offer additional and enhanced connectivity capabilities critical to delivering the best managed service and solutions to our clients. And, it’s a great fit culturally for both of our companies. A win for clients and our teams all around.”

SIS Live has two dedicated network operations centers that provide 24/7 service monitoring and management, 17 antennas across two geographically diverse teleports, over 150 connected venues, a large fibre and satellite hybrid fleet and fully managed services offerings that allow the division to provide global critical connectivity services to millions of viewers worldwide. Their core Anylive fibre network has over 150 access points at major sporting venues, entertainment complexes and other connectivity cenetes supporting clients such as BBC, ITV, ITN, Sky Sports, SIS, ARC, TRP and Tata.

[Read: Red Bull Media, SIS LIVE Set Web Streams World Record]

Following a short transition period, SIS LIVE will become NEP Connect, which will serve clients globally as part of the NEP Worldwide Network and go to market under the NEP brand. SIS LIVE’s current leadership team will continue to run the business under the direction of David Meynell, Managing Director, who will report into the NEP UK & Ireland division.

“We have worked with NEP for a number of years and have been impressed by their technical innovation and consistent, superior service to their clients,” said David Meynell, Managing Director of SIS LIVE. “I’m extremely proud of all we’ve accomplished at SIS LIVE and pleased that combining talents and resources with a company like NEP will take our business to the next level.”

SIS CEO Richard Ames added: “It was immediately apparent during the sale process that NEP Group has significant opportunity to grow its Media Solutions segment, and SIS LIVE has the infrastructure, people and services that support that strategic objective. We look forward to continuing to work with SIS LIVE as a long-term supply partner.”

PITTSBURGH– NEP Group announced today that it has acquired the assets of Danish Outside Broadcasting firm DBlux, based in Aalborg, Denmark. The acquisition will add three mobile units, an ENG truck, and a studio control room to NEP’s global resources. DBlux is a leading provider of OB services in Denmark, according to NEP. The acquisition will allow NEP to provide a deeper inventory of production resources to clients in Denmark and throughout Scandinavia. Terms were not disclosed.

DBlux has provided OB, TV, sound, lighting and AV productions to clients throughout Scandinavia for more than 20 years. DBlux specializes in live broadcasts of sporting events and news coverage, and they are the largest supplier in Denmarkof live transmissions to several national TV channels, NEP said. 

“We look forward to bringing the DBlux team onboard to assist with our production support in the Nordic region,” said Paul Henriksen, president of NEP Broadcast Services Europe. “The DBlux team shares the same commitment to client success as we do in NEP, and the additional staff and equipment based in Denmark will be a significant benefit to our clients.”

DBlux will operate as NEP Denmark from the current facility in Aalborg, and will maintain its current staff. The managing director for NEP Denmark will be Mats Berggren, and daily operations will, as before, be led by Henrik Borup who will work in close cooperation with NEP Sweden.