AMSTERDAM—CAMB.AI is introducing its new Streaming SDK and Streaming Dashboard at IBC2026, with integrations into NVIDIA Holoscan for Media open reference architecture

The release gives developers and broadcast teams new ways to integrate, manage and deploy real-time multilingual broadcasting within their existing workflows.

CAMB.AI’s live localization technology has already been used across Ligue 1+, NASCAR and Eurovision Sport, including live AI-dubbed commentary and multilingual subtitling.

CAMB.AI is billing the launch as the “multilingual broadcasting’s first AI agent, now live as an SDK.”

Available for C++, Python, Java and Rust, the SDKs allow developers to start broadcasting in multiple languages with as little as three lines of code, making it easier to integrate multilingual capabilities directly into existing applications and workflows.

CAMB.AI’s live streaming platform supports 150+ languages, producing dubbed audio and subtitles for live content. It supports source-speaker voice cloning, studio voices and custom terminology, allowing names, venues, sponsors and other specific terminology to remain consistent across languages. The release features the latest quality enhancements backed by CAMB’s foundational models MARS and BOLI.

CAMB.AI’s new capabilities will be available within the NVIDIA Holoscan for Media reference architecture as a hybrid SaaS. Holoscan for Media is NVIDIA’s open reference architecture and developer toolkit for building AI-powered live media solutions on NVIDIA infrastructure.

Program audio can be processed by CAMB.AI’s models to produce dubbed commentary in each target language, with outputs returned to the production network or delivered directly to destinations including CDN, OTT and YouTube Live.

For broadcasters, this allows live localization to operate alongside other production applications. It reduces the need to send feeds to a separate cloud localization environment and back, reducing infrastructure hops while allowing media to remain within the broadcaster’s facility or own cloud environment when required.

The new Streaming Dashboard provides a visual environment for building, launching and monitoring multilingual streams.

Operators can configure sources, select audio, set processing profiles, create language pipelines and manage output destinations from a single interface. During a live broadcast, teams can monitor stream health, outputs, runtime and live transcripts, as well as pause and resume dubbing without stopping the stream.

CAMB.AI will preview its new dashboard, and SDKs at IBC2026. Visitors will be able to see live multilingual dubbing in action at the CAMB.AI Booth 5.C24.

CHESEAUX-SUR-LAUSANNE, Switzerland, and PHOENIX—Nagravision has signed an agreement with semiconductor maker MediaTek that enables operators to deploy their service to televisions sold by retailers, driving down the cost of serving each household while providing protection for the security of premium content.

The companies are jointly exhibiting during the ongoing IBC 202226, Sept. 11-14, at RAI Amsterdam Convention Center.

As connected TVs become the primary streaming device for premium content, protecting the integrity of the device is essential to preserve trust across the content distribution chain. This defense-in-depth approach enables operators to reduce the risk of key extraction and disrupts piracy faster, limits unauthorized redistribution and safeguards consumer experiences.

Under the agreement, the Nagravision secure element will be included in all future TV SoCs on MediaTek’s roadmap, giving the technology a footprint across the world’s television manufacturers. The deal addresses a long-standing requirement: broadcast-grade security for OTT services, delivered through hardware rather than vulnerable software alone. The same technology also supports traditional broadcast services on televisions, at a premium level of protection previously only available via hardware-secured set-top boxes.

"This agreement firmly places security in the silicon rather than it being added around it,” said Sam Lee, General Manager, Smart Home BU at MediaTek. “By embedding the NAGRAVISION secure element across our TV SoC portfolio, we’re giving television manufacturers and service providers a consistent, hardware-anchored foundation for premium content, wherever in the world those devices ship.”

The initiative is also aimed at the next generation of threats that exploit AI and quantum computing. The solution implements a hardware-anchored architecture, allowing the protection of service critical assets against advanced threats.

“With the Nagravision secure element on every future MediaTek TV SoC, operators can count on a single level of protection for broadcast and streaming content alike, and on a security model built to answer threats that are only just starting to be understood,” said Nagravision senior vice president of Management and Sales Development Stéphane Le Dreau.

See Nagravision and MediaTek at IBC stand 1.C81.

More information is available on the Nagravision website.

MUNICH, Germany—Rohde & Schwarz has unveiled the TM1 air-cooled UHF transmitter at IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The transmitter offers high system availability, enhanced energy efficiency and native support for NextGen TV broadcasting standards. It was specifically developed to help operators reduce energy consumption while enabling a simple migration path for existing TMU9 installations.

The TM1 expands the company’s UHF transmitter portfolio and covers power levels from 600 watts to 6.5 kilowatts. The transmitter supports ATSC 3.0 and 5G Broadcast natively. This enables network operators to implement new business models, such as mobile TV, targeted datacasting or interactive formats.

Advanced automation features ensure maximum efficiency in daily operations, Rohde & Schwarz said. For instance, R&S Auto-Doherty optimizes real-time performance for every operating point. Developed according to Secure by Design principles, TM1 transmitters help operators meet cybersecurity requirements, enabling secure and stable operation of critical broadcast infrastructure.

Rohde & Schwarz is offering a TM1 renewal option. Broadcast network operators can upgrade existing equipment from the previous generation to match the full functionality and performance of a modern TM1 in a cost-efficient manner.

The effort required to upgrade existing transmitters is significantly lower than a new system deployment. By extending the operational lifespan of current equipment, operators drastically reduce the time, space and capital expenditure typically needed for network modernization, Rohde & Schwarz said.

“The R&S TM1 is a future-proof solution that combines uncompromising RF performance with high sustainability,” Rohde & Schwarz Product Manager Maurice Uhlmann said. “Through TM1 renewal and native support for 5G Broadcast and ATSC 3.0, we help network operators immediately reduce their operating costs and carbon footprint, while simultaneously establishing the technological foundation for tomorrow's revenue streams.”

See Rohde & Schwarz at IBC stand 8.B70.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Atomos will be in stand 7.B19.

VIENNA—In the runup to IBC2026, the 10th annual Video Developer Report from video streaming solution provider Bitmovin highlights some of the major issues facing streaming media that will be top of mind at the show, with live latency and costs ranking as the industry’s top two problems.

The report finds that low latency for live streaming has overtaken controlling costs and is now the number one concern for 36% of respondents, making it the top challenge facing video teams today. This is followed by controlling costs at 35% and maintaining consistent monitoring and analytics at 28%. Finding the root cause of streaming issues and ad insertion are also major challenges for video providers today (both at 27%).

The latest edition of the report also indicates that AI has stopped being an add-on feature and is now deployed across the entire stack, often with agents operating the workflow.

Of the 486 respondents, 98% report using AI or ML for video with nearly half (46%) using AI tools every day. Only 2% report no plans for AI at all, with 4% of respondents not AI tools at all.

Audio transcription, translation and foreign dubbing are the most common applications cited by respondents (48%), followed by content recommendations (34%), visual quality and optimization (30%), and then tagging and categorization, personalization, and scene, shot boundary and ad placement opportunity detection, all come in joint fourth place (28%).

The report also highlights how expectations around low latency have shifted over time as the cost and complexity of delivering low latency has become clear.

In 2020, 60% of respondents expected low latency of less than five seconds, but that's now down to 16%, while 28% expect latency under 10 seconds. That said, sub-second latency still matters in certain use cases such as live sports, betting, auctions and interactive formats. It is this commercial need for more efficient video delivery that is driving the interest of MOQ. The report highlights that 28% of respondents plan to use MOQ in the next 12 months.

“It’s hard to believe that we’ve been producing this report for 10 years, and what a rollercoaster ride the last decade has been for the video industry,” Stefan Lederer, CEO and co-founder, Bitmovin, commented. “As we proudly present the 2026/27 report, it’s clear that AI is running the video stack, advertising is the primary revenue engine, QoE and observability have become foundational layers, and the business case for MOQ has never been stronger. But what really stands out this year, is just how fast the technology is developing - the last 3 months alone have reshaped what is possible for video developers to build and achieve. I can’t wait to see what another 10 years of the Video Developer Report will bring.”

This year's edition draws on insights from professionals across broadcast, OTT, and beyond, and for the first time includes analysis and contributions from industry analysts Jan Ozer and Dan Rayburn, alongside input from Bitmovin's partners and customers.

The Bitmovin Video Developer Report 2026/27 Edition is now available for download.

Bitmovin will be exhibiting at IBC from September 11-14 (hall 5, stand 5.F72). For more information, and to book a meeting, visit: https://bitmovin.com/ibc/.

AWS Elemental has announced that it will be showing four new capabilities that bring AI, personalization, and intelligent monetization to the live video workflow during IBC2026 in Amsterdam Sept. 11-14.

The new capabilities were created in response to the fact that live video audiences now expect content-aware streams, per-viewer personalization, and monetization opportunities that respond to what's happening on screen. But deployments of these features had been difficult in the past because each has historically required its own vendor, its own pipeline, and its own operational overhead and deployments.

The new features on display during IBC2026 are:

1. AWS Elemental MediaPackage Dynamic Multiview – Viewers choose their own multi-camera layout from a single set of encoded sources, delivered to any device over standard HTTP Live Streaming (HLS) or Dynamic Adaptive Streaming over HTTP (DASH), without per-layout encoding costs
2. AWS Elemental Inference Contextual Metadata – AI-generated metadata extracted from live video in real time, powering personalized video experiences and contextual ad decisioning
3. AWS Elemental MediaTailor Yield Optimization – Automated backfill of unfilled ad inventory using Amazon Publisher Services (APS) demand, giving streaming TV publishers incremental revenue with zero setup cost
4. AWS Elemental MediaTailor Low-Latency Ad Insertion – Extends personalized ad insertion of MediaTailor to low-latency streams using Apple's HLS interstitials, so publishers no longer have to choose between fast delivery and ad revenue

In terms of the MediaPackage Dynamic Multiview offering the company noted that multi-feed viewing has become a necessity across live content: multiple camera angles for a single sporting event, simultaneous games on one screen, or curated linear bundles combining different content types like news, sports, or entertainment into a single view.

But existing approaches force trade-offs. Tiled encoding limits reach to High Efficiency Video Coding (HEVC)-capable devices. Client-side compositing demands custom SDKs per device. Server-side compositing requires pre-encoding every layout combination, each costing as much as a new channel. Large operators using server-side compositing vendors spend $2M–$12M per year on infrastructure alone, and most streaming platforms can't justify the investment at any price.

MediaPackage Dynamic Multiview stitches multi-camera and multi-feed layouts on demand from encoded sources, delivered as a single adaptive bitrate stream through HLS or DASH. Sources encode one time through AWS Elemental MediaLive. AWS Elemental MediaPackage assembles layouts in the compressed domain with no re-encoding. The output reaches more than 95% of consumer devices with a single digital rights management (DRM) key and requires no SDK, per-device builds, or new vendors.

"AWS Elemental MediaPackage Multiview lets us deliver multiple synchronized camera angles within a single stream, putting our subscribers in control of how they experience live sports. The server-side composition approach scales this premium experience to over 100 million viewers without multiplying origin complexity or CDN costs, giving us a true differentiator in India's competitive OTT landscape" explained Akash Saxena, CTO (JioHotstar).

By compositing in the compressed domain rather than re-encoding per layout, MediaPackage Dynamic Multiview provides up to 97% cost savings compared to solutions that require a separate video stream for every viewing combination.

In terms of the Elemental Inference Contextual Metadata offering, the company explained that personalizing video experiences requires understanding what's happening on screen. Whether that means surfacing the right highlight clip, recommending related content, or matching an ad creative to the moment, it starts with metadata. Until now, generating that understanding at broadcast scale required either manual tagging or bespoke machine learning (ML) infrastructure.

Elemental Inference Contextual Metadata uses AI to generate rich, scene-level metadata extracted from live video in real time. Computer vision models run in parallel with encoding to identify objects, actions, brands, on-screen text, and sentiment from real video content. The metadata is emitted through a standard API, aligned to the Interactive Advertising Bureau (IAB) content taxonomy and the Global Alliance for Responsible Media (GARM) brand suitability categories. As displayed in the following flow diagram, this powers downstream workflows including automated highlight clipping, content discovery, contextual ad decisioning through Elemental MediaTailor, and content moderation, all without custom ML infrastructure.

In terms of Elemental MediaTailor Yield Optimization, this feature fills available ad slots from Amazon Ads inventory during ad insertion, turning dead air and slate video into monetized impressions. It delivers incremental revenue with no cost to enable and no additional infrastructure. Because the ads are inserted server side (stitched directly into the stream before it reaches the viewer), they play seamlessly on every device, can't be blocked, and transition without buffering. At launch, MediaTailor Yield Optimization is available to APS streaming TV publishers.

"Our team set out to monetize low-latency streaming without giving up the latency itself, which had not been done on our platform before. Through DSPORTS's coverage of the FIFA World Cup 2026, we held six seconds glass-to-glass with ads running across every match, built on AWS Elemental MediaTailor and Amazon CloudFront," explained Claudio Rodrigues da Silva, head of IT (Streamco)

The capability is built for large-scale live events like professional league championships, with low latency and fast response times. It remains brand safe by filtering demand by category to avoid competitive conflicts within the same break. For example, if a sports drink brand is running a direct-sold spot, MediaTailor Yield Optimization won’t fill an adjacent slot with a competing beverage advertiser. Publishers set their own price floors and category rules throughout.

In terms of monetizing low-latency streams with MediaTailor Low-Latency Ad Insertion, the company noted that AWS Elemental MediaTailor already delivers personalized, server-side ad insertion at scale.

MediaTailor Low-Latency Ad Insertion now extends that capability to low-latency streams, using HLS interstitials, a server-guided ad insertion (SGAI) approach. As audiences increasingly expect streams to keep pace with social (a goal scored, a breaking headline, a viral moment), publishers can no longer afford latency that lets the timeline spoil the moment before their stream delivers it.

AWS also stressed that these four capabilities share a design philosophy: intelligence layered inside the video pipeline, not bolted on after.

They all run within the same AWS Elemental services that power millions of live streams globally, with the same 99.9% service level agreements (SLAs), the same operational model, and no new vendors to onboard.

The value compounds across the stack. AWS Elemental Inference generates metadata that enriches yield decisions, MediaPackage Dynamic Multiview delivers personalized viewing and ad experiences at scale, and MediaTailor low-latency insertion help to avoid impressions being left behind regardless of how fast the stream moves.

Visit AWS at IBC 2026 in Amsterdam (September 12–15) to see live demonstrations.

SHENZHEN, China—Converter box manufacturer EKT will showcase its new Linux-based ATSC 3.0 set-top box during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The new Linux-based ATSC 3.0 converter box is a second-generation product and represents a move away from the Android operating system, to reduce memory costs. EKT specializes in Linux, which uses less than half the memory of a similar set-top box running on the Android platform.

"It's exciting to see EKT, a partner in Pearl TV's converter box program, showcase this box at IBC," said Anne Schelle, managing director of Pearl TV. "As TV stations transition to ATSC 3.0, viewers want the option to convert the TVs they already own at a low consumer price, and that's exactly what this box is designed to deliver.”

The core ATSC 3.0 software stack is a joint development with DTVKit and will also support legacy ATSC 1.0. The platform is based on the collaborative DTVKit ecosystem with the core software stack available royalty-free to members, helping to accelerate deployment while reducing development costs.

"This is a great example of the DTVKit model in action," said Jason Nash, technical director of DTVKit. "EKT started with our royalty-free ATSC 3.0 stack and focused their engineering effort on building a better product, not reinventing the basics. The result is a cost-effective, Linux-based receiver that's fully standards-compliant and ready for deployment."

Designed for the U.S. consumer market as broadcasters transition to ATSC 3.0, the box lets viewers keep their existing television sets when their local stations move to the new standard, while supporting 4K content with HDR10 and HDR10+ for an improved viewing experience.

“I am very grateful to our partners DTVKit and Pearl TV in helping us to bring a cost-effective Linux ATSC 3.0 set-top box to the US consumer” said EKT CEO Richard Smith.

See EKT at IBC2026 stand 1.D15 and DTVKit at stand 1.B25., of group stated.

More information is available on the company’s website.

New data from Parks Associations finds the Ruku player and operating system remains the most popular streaming media system in the U.S. with 43% of Americans reporting that a Roku device is their most-used streaming media player.

The Parks Associates’ Tech Ecosystem Dashboard, which includes data and analysis from surveys of 8,000+ US internet households, also found that 17% say their primary smart TV runs on Roku OS.

The Parks researchers noted that Fox Corporation’s planned acquisition of Roku for $22 billion highlights the strategic value of owning the platform that connects consumers to content, advertising, and streaming services.

“Roku’s strength is its reach across the connected TV experience,” said Michael Goodman, research director, Parks Associates. “Its position across smart TVs and streaming media players gives the platform influence that extends beyond any single hardware brand.”

More specifically, the Fox-Roku acquisition would bring strategic value to both companies. Fox brings premium live content, including sports and news, as well as Tubi, while Roku brings its operating system, The Roku Channel, Frndly TV, Howdy, advertising capabilities, and first-party data. Fox reports that Roku reaches more than 100 million streaming households globally.

The combination also strengthens Fox’s position in the growing free ad-supported streaming television (FAST) market. Tubi and The Roku Channel give the combined company two major ad-supported streaming properties, while Roku’s platform provides additional opportunities to connect content discovery, audience data, and advertising across the TV experience.

In the Parks top ten list of U.S. FAST streaming services, Tubi ranked as #1, followed by The Roku Channel, Pluto TV, Samsung TV+, Xumo Play and LG Channels.

“Competition in video is now about who owns the relationship with the viewer,” Goodman said. “Content remains critical, especially live sports and news, but the platform determines how consumers discover that content and how providers engage and monetize audiences. The Fox and Roku combination brings greater control over how consumers access and discover content while expanding opportunities for viewer data, advertising, and distribution.”

WASHINGTON—FCC Chairman Brendan Carr announced on Wednesday that the commission will vote later this month on two items that would open up additional spectrum for “next-generation connectivity.”

In a satellite spectrum abundance order, the commission will vote on unlocking more than 1,000 MHz of spectrum in the 12 GHz and 42 GHz bands for a range of connectivity services, including even faster satellite broadband. Second, the commission will seek comment on a proposal to modernize the FCC’s rules for ultra-wideband technology (UWB)—unlicensed offerings that power a range of IoT, consumer, and other cutting-edge devices.

"Unlicensed device manufacturers are increasingly finding that UWB’s high data rates, precise location capabilities, and ability to coexist with other services across multiple spectrum bands make it the right technology for today’s needs," the FCC said. "Today’s NPRM addresses the technology advancements and explosion in innovative use cases since the commission’s landmark 2002 decision to authorize the first unlicensed UWB operations."

Carr said the FCC's proposal "will push more commercial spectrum into the marketplace than ever before. By unlocking these bands, the FCC will give a big boost to American innovation and promote economic growth across a wide range of industries."

“In the spectrum abundance decision, we will ensure that consumers continue to benefit from competitive, high-speed Internet delivered from next-gen satellites,” Carr added. “And in our UWB proposal, the commission will propose to modernize our existing rules to unlock even more opportunities for unlicensed devices across a wide swath of spectrum. This spectrum is so seamlessly woven into our everyday lives, from keeping us safe in our cars to tracking our package deliveries that most people don’t even realize its critical role. The proposal circulated today represents the Commission’s first comprehensive modernization of these rules since their adoption in 2002 and works to further refine and reshape our rules to meet today’s needs.”

The announcement comes amid a slew of initiatives to auction off more publicly held radio spectrum since the FCC's auction authority was restored a year ago.

LONDON—While a new study from Ampere Analysis documents the ongoing decline in new orders for TV series, the research also shows that orders for new linear TV series has been more resilient than streaming VOD and that the new orders for scripted programming on linear TV actually grew in recent years.

The new report from Ampere Analysis found that between 2022 and 2025, US-produced linear orders fell 26%, a smaller decline than streaming counterparts, which fell 41%.

Very notably, the research also found that linear scripted series orders actually rose 11% in a slightly different time frame between 2023 and 2025, with a particular focus on renewing reliable franchise comedies such as “The Simpsons” and “American Dad.”

"In the post-Peak TV era, the traditional seasonal development cycle from linear broadcasters in the U.S. is evolving,” explained George Evans, senior researcher at Ampere Analysis. “With streaming players now accounting for a greater share of content spend globally, free-to-air linear commissioners in the US have adopted a more flexible approach to ordering, putting fewer titles through the development and pilot process and instead working more responsively year-round. By responding more dynamically to audience appetite and leaning on scripted franchises with established fanbases, broadcast TV can continue to prove its worth in the seemingly streamer-dominated US market."

More specifically the report found that between 2022 and 2025, U.S.-produced linear orders fell 26%, from 1,773 to 1,304, compared with a 41% decline in streaming orders, from 1,144 to 678. Linear Scripted series orders subsequently increased 11%, from 236 in 2023 to 262 in 2025.

Overall, free-to-air (FTA) channels have fared better than Pay TV.

Pay TV subscriber numbers have declined by 56% since 2016, as consumers switch to streaming. This drove a 33% decline in series orders between 2022 and 2025, down from 1295 to 877. In contrast, free-to-air broadcasters such as NBC, ABC, and CBS saw series orders drop 13% over the same period, from 408 to 352. Thematic Pay TV channels, particularly those focused on specific niches, such as Food Network and HGTV, have struggled to maintain ordering levels.

The report also highlighted changes in traditional TV development cycles. US Commercial free-to-air broadcasters are shifting away from the traditional seasonal development cycle of Q4 script orders and Q1 pilot orders, towards year-round development and 'straight-to-series' orders, committing to an entire season without first testing a pilot, the study found.

In addition, U.S. broadcast networks have shifted towards more disciplined primetime commissioning strategies. Since 2024, 52% of new scripted series orders have been franchise-based, reflecting a more disciplined approach to primetime commissioning.

The strength of broadcast programming can also found on streaming platforms. Around 50% of both linear and non-linear TV viewers enjoy genres such as comedy, action & adventure, crime & thriller, and drama. This alignment supports complementary commissioning strategies across broadcast and streaming. Primetime series from ABC, CBS and NBC generate strong engagement on Hulu, Paramount+ and Peacock, respectively, extending their value beyond linear TV.

“Despite the continued growth of streaming, broadcast television remains an important part of the US media landscape,” explained Eric Kurtsel, research manager, SME Media at Ampere Analysis. “Post-Peak TV, broadcast networks are taking a disciplined approach to primetime commissioning, focusing on proven genres and franchises that can connect with audiences across platforms. Viewers continue to engage with broadcast series on streaming platforms, suggesting their value extends beyond linear television and reinforcing broadcast TV’s foundational role in today’s content ecosystem."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SAN JOSE, Calif.—Roku is expanding availability of its NFL Zone from the U.S. to Canada, Mexico and Brazil.

NFL Zone, a centralized hub within the Roku Sports experience, brings global fans a dedicated destination to discover live and upcoming games, the NFL Fast Channel highlights, clips, and other NFL content throughout the season.

The expansion—which takes effect today—builds on Roku’s growing sports presence internationally, following the launch of the Sports experience in Mexico in 2025 and earlier this year in Brazil and Canada. It also comes as engagement across Roku Sports experiences continues to grow, with streaming hours up 122% year-over-year and unique visitors up 80% in the U.S. in Q2, the company said.

The expansion also includes the NFL Channel, the League's free, ad-supported destination for 24/7 NFL programming. Roku will offer officially branded NFL clips and highlights alongside live and upcoming games to viewers in Canada, Mexico and Brazil.

The NFL Channel offers a 24/7 stream of NFL programming, while the NFL app provides access to NFL+, the League’s exclusive streaming service featuring live local and primetime games on mobile, NFL Network, live game audio, and other on-demand content, plus game replays and NFL Redzone with an NFL+ Premium subscription.

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

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

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

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

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

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

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

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

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

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

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

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

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

Multidyne will be in Stand 11.C12.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

YouTube TV has integrated the ESPN Unlimited service into its offers, making the content available directly on YouTube TV.

The integration means that subscriber to the main YouTube TV plan, or any plan that includes Sports, can now catch all the action directly within the YouTube TV app and interface.

The addition of ESPN Unlimited was part of a distribution deal struck between Disney and YouTube last year.

Popular features like unlimited DVR, key plays, scores and stats and multiview will also be available with ESPN Unlimited content, all within the YouTube TV app.

As part of the launch, the vMVPD has also enhanced the YouTube TV interface to make it easier for viewers to find the content they want. The live guide now shows three rows of currently airing live events from ESPN Unlimited, along with a dedicated network row for further browsing. When a game has multiple feeds, fans will now have the choice between options for different languages, home and away feeds, and alternate camera angles, all clearly labeled in our updated station picker.

In addition, the YouTube TV Fantasy View feature now supports ESPN Fantasy Football. ESPN Fantasy Football users can link their ESPN account through YouTube TV settings ahead of the upcoming NFL season to track their fantasy teams during live NFL games.

The Walt Disney Co. and Optimum have renewed a multiyear carriage agreement for ABC-owned TV stations, ESPN, NFL Network, NFL RedZone, Disney’s kids and family channels, Freeform, FX Networks and the National Geographic channels in a distribution deal that will also expand access to the ESPN Unlimited and Disney+ streaming services.

No financial details were provided and the two companies did not name specific channels.

Disney and Optimum said certain eligible Optimum TV customers will soon be given free access to streaming service ESPN Unlimited.

The agreement provides for “expanded rights to make Disney’s streaming services available to Optimum TV and internet customers for purchase.”

Optimum provides cable and broadband service to more than 4 million customers in 21 states, with operations in the New York City tri-state area, as well as smaller clusters in the South and Midwest.

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

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

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

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

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

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

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

LONDON—New data from Ampere Analysis shows Asia has become the world’s biggest region for first-run streaming scripted series orders for the first time, leaping two places from third to secure the top spot in the first half of 2026. More than one-third (36%) of first-run scripted TV orders from the leading global streamers now originate in APAC, the highest six-month share on record.

The new Ampere study also found that the APAC region surged ahead of North America and Western Europe in H1 2026 for the volume of new scripted TV commissions from the six leading global streamers - Prime Video, Apple TV+, Disney+, HBO Max, Netflix and Paramount+. The region secured 70 first-run scripted commissions during the period, versus 46 for North America, 44 for Western Europe, and 34 for all other regions combined.

Cyrine Amor, senior research manager at Ampere Analysis, explained that “APAC has become increasingly important to global streamers for two reasons: it offers attractive opportunities for subscriber growth, while Asian content is increasingly finding audiences far beyond its home markets. India, South Korea and Japan remain at the heart of commissioning activity, but growth in markets such as Taiwan and the Philippines shows how widely streamers are now looking for locally produced content with regional and global potential.”

Of all streamers’ first-run scripted TV orders, 36% now originate from the APAC region, the highest six-month-period share to date. The rise is primarily driven by Amazon’s and Netflix’s commissioning activity in the region. In the same period, their combined first-run orders in Western Europe and North America remained almost flat compared to H1 2025.

India led the region with 25 orders, the highest increase among APAC markets, fueled by Prime Video’s commissioning push across multiple Indian languages. South Korea remained the region’s second-largest market by volume, where Netflix continues to lead commissioning activity among global streamers.

In terms of genre, one-third of these commissions were Crime & Thriller. Drama hit a new record of one quarter of commissions. Meanwhile, the Sci-Fi & Fantasy genre, which led by volume share in H1 2025, fell sharply.

Newer entrants to the streamers' regional subscriber acquisition race also stood out in this commissioning shift, the Ampere study stressed.

Taiwan and the Philippines experienced unusually high volumes of streamer orders, with nine and seven new scripted series commissioned respectively during the first half of 2026. In Taiwan, Netflix quadrupled its new scripted series orders compared to last year, including the medical drama “How to Survive Med School” and the influencer-led crime investigation “Million-follower Detective.” In the Philippines, Amazon led the charge with five new series announcements over the past six months, including the romance drama “The Loyalty Game.”

Recent successes such as Netflix’s Thai original “My Dearest Assassin” and Korean original “The Great Flood” demonstrate the potential for locally produced APAC content to travel beyond its home market. Streamers are also using licensing to capitalise on this demand, with Prime Video further expanding an existing multi-year worldwide distribution deal with CJ ENM in 2026, Ampere reported.

The commissioning surge reflects different stages of streaming growth across APAC. In more established markets, including India, South Korea and Japan, new productions are being used to both attract and retain subscribers while also targeting increasingly receptive regional and global audiences. In emerging streaming markets such as Taiwan and the Philippines, first-run commissioning is being used to support subscriber acquisition.

STOCKHOLM, Sweden—Accedo and MediaKind will show their newly launched end-to-end, multi-platform streaming solution that enables operators of all sizes to launch, manage and monetize branded streaming services across TV, mobile, web and set-top boxes during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The joint white-label solution brings together the combined expertise of both companies, which have a long track record of designing, launching, operating and continuously evolving operator streaming services at global scale. Together, Accedo and MediaKind have helped many of the world's leading telecommunications providers, broadcasters and media companies deliver premium video experiences to millions of consumers worldwide.

The solution is powered by Accedo’s native application framework and cloud-based application management tools, which support all major connected TV, mobile and web platforms, as well as MediaKind’s MK.IO platform.

The joint solution provides operators with a scalable and reliable cloud-based pay-TV platform that reduces deployment complexity while maintaining the flexibility to customize the user experience and evolve services over time.

"The streaming ecosystem has become significantly more complex in recent years, making it increasingly challenging for operators to launch, manage and evolve modern streaming services cost-effectively,” said Accedo chief revenue officer Mrugesh Desai. “By combining Accedo's expertise in delivering world-class user experiences with MediaKind's market-leading backend platform, we've created a proven solution that dramatically reduces complexity, accelerates deployment and lowers total cost of ownership. Just as importantly, operators benefit from a platform backed by two companies with decades of experience launching and continuously evolving streaming services at scale.”

Designed to reduce implementation risk, engineering costs and time-to-market, the joint solution simplifies customer onboarding while delivering a consistent, premium user experience across Android STB, iOS, Android Mobile, Amazon Fire TV, Apple TV, Roku, Samsung Smart TV and web. Operators can rapidly customize branding, user experience and service configuration without the need to build and maintain multiple native applications from scratch.

"Operators are looking for a faster, lower-risk path to launching premium streaming services without compromising on quality or flexibility. This solution combines MediaKind's trusted MK.IO Platform with Accedo's market-leading application technology to deliver a production-ready offering that enables operators to go to market quickly while retaining the ability to innovate and differentiate over time,” said MediaKind senior vice president of product and marketing Shahar Barr.

The joint solution powers Canada’s Cogeco's EPICO streaming service, demonstrating its ability to support large-scale commercial deployments.

The new streaming solution will be shown in the Accedo and MediaKind IBC2026 stands, 5.D76 and 1.D71, respectively.

More information is available on the Accedo and MediaKind websites.

NORTH SYDNEY, Australia—AI-Media will showcase its latest advances in multilingual AI, demonstrating how broadcasters and media organizations can caption, translate, voice and localize content at scale across live and recorded workflows, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

AI-Media will showcase the complete LEXI Suite, two new LEXI Encoders, LEXI Direct and an expanding ecosystem of technology integrations as well as innovations under development that point to new ways audiences can experience multilingual content.

“As broadcasters look to reach increasingly global and multilingual audiences, language is becoming a critical part of the media technology stack,” said Tony Abrahams, CEO of AI-Media.

“What differentiates AI-Media is our ability to bring together a comprehensive AI language platform, broadcast-grade infrastructure and deep integration across the media ecosystem. Whether customers connect through our encoders, directly to LEXI or through the technology platforms they already use, we’re making it easier to deploy multilingual capabilities at scale.”

At the center of AI-Media’s IBC presence is the LEXI Suite spanning LEXI Text for real-time AI captioning, LEXI Translate for multilingual captions, LEXI Voice for AI-powered multilingual voice, LEXI AD for audio description and LEXI Recorded for captioning, translation and localization of recorded content.

Together, the LEXI Suite provides broadcasters with a scalable platform for applying AI-powered language and accessibility capabilities across live and recorded content.

Making their European debut at IBC 2026 will be AI-Media’s new LEXI Text Encoder and LEXI Voice Encoder, purpose-built to bring AI-powered language capabilities into professional broadcast environments.

Supporting SDI, IP and ST 2110 workflows, the new encoders give broadcasters greater flexibility, through increased processing power, to deploy AI-generated captioning, translation and multilingual voice within existing infrastructure while supporting the transition to next-generation IP-based production.

Beyond AI-Media’s own hardware, LEXI Direct provides direct, programmatic access to LEXI, enabling its AI-powered language capabilities to be integrated into third-party platforms, applications and workflows.

AI-Media is also expanding its European infrastructure, with EU-based data processing for LEXI planned to be available by January 2027.

IBC visitors will also get an early look at LEXI Link, a proof of concept that delivers live captions, translations and multilingual AI-generated audio directly to viewers’ devices.

A photo accompanying this announcement is available at:https://www.globenewswire.com/NewsRoom/AttachmentNg/cdaa0981-2db5-4da3-8666-1b30bea36f6d

See AI-Media at IBC 2026 stand 5.C34.

More information is available on the company’s website.

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

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

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

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

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

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

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

BRISTOL, U.K.—DTVKit will showcase its production-ready DVB-I Client at the Ocean Blue Software stand during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The demonstration will give broadcasters, operators, TV manufacturers and technology providers a first-hand look at how DVB-I can be deployed using a practical, standards-compliant implementation designed to accelerate commercial adoption.

Developed collaboratively by Ocean Blue Software and DTVKit, the DVB-I Client is available to DTVKit members as a shared-source, royalty-free solution, delivering a portable and efficient implementation suitable for smart TVs, set-top boxes and next-generation hybrid television platforms.

As DVB-I moves from industry trials into commercial deployment, manufacturers are increasingly seeking production-ready solutions that simplify integration, reduce development effort and ensure compliance with evolving standards. The live IBC demonstration will show how the jointly developed implementation enables rapid DVB-I adoption while maintaining platform flexibility and low resource requirements.

The DTVKit DVB-I Client is implemented in native C++ for maximum portability, efficiency and minimal memory consumption. The client exposes a JSON-based API, enabling seamless integration with web-based user interfaces and applications across a broad range of operating systems and device platforms.

Key capabilities include:

• Shared-source, royalty-free DVB-I client available to DTVKit members. 
• Native C++ implementation designed for portability and low resource usage. 
• JSON API for integration with modern web-based user interfaces. 
• Compliance with DVB-I BlueBook A177r7 requirements. 
• Platform-independent architecture suitable for Android, Linux, RDK and other browser-capable environments. 

Visitors to the Ocean Blue Software stand will see the DVB-I Client integrated with a React-based web user interface running on the DTVKit Android reference set-top box platform.

The demonstration will showcase how users can:

• Discover DVB-I service lists with region selection. 
• Browse channels and services. 
• View program guide (EPG) information. 
• Access accessibility and parental-control metadata. 
• Play IP-delivered linear television services. 
• Navigate and launch on-demand boxsets. 
• Launch linked HbbTV and web applications. 

The demonstration highlights the flexibility of DTVKit's architecture, which separates the DVB-I client from the presentation layer through a standards-focused JSON interface.

Although the demonstration runs on DTVKit's Android reference platform, the implementation itself is not Android-specific. The web-based user interface communicates with the DVB-I client through a platform-independent JSON API, enabling deployment across a wide range of browser-capable environments.

The demonstration intentionally does not use the Android TIF/TIS framework, showcasing an integration model that can be readily adapted to different operating systems and middleware environments.

DTVKit continues to track developments within DVB and is actively following the DVB-I roadmap, including support for future specification updates. Members receive full source-code access to the DVB-I Client together with royalty-free distribution rights.

See Ocean Blue Software at IBC2026 stand 1.B25.

More information is available on the DTVKit and Ocean Blue Software websites.

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

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

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

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

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

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

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

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

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

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

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

Improvements include :

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

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

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

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

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

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

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

BERLIN—TiVo today unveiled significant enhancements to its TiVo OS media platform, expanding generative AI-powered content discovery experiences, more free streaming content, enhanced sports experiences, interactive commerce capabilities and platform optimizations that the company says could reduce costs for smart TV manufacturers.

TiVo, a wholly-owned subsidiary of Xperi, also announced the appointment of Tal Bone as senior vice president and general manager of TiVo OS. Bone, who brings more than a decade of experience building and scaling global smart TV and entertainment platforms most recently served as vice president of global product and chief technology officer at VIDAA, Hisense's smart TV operating system.

The company made its announcements in advance of the the IFA 2026 tech show, which takes place Sept. 4-8 in Berlin.

Expanded TiVo Channels Offering
TiVo announced that it has added hundreds of new global and local FAST channels to its TiVO Channels platform and added a new mini guide for faster channel navigation and personalized content carousels that offer relevant programming based on viewers’ preferences.

TiVo has also enhanced sports discovery across search, recommendations and the home screen on its OS, allowing viewers to more easily discover, follow, and access live games and sporting events through improved surfacing of sports content and real-time event promotion directly within the TiVo OS experience.

And in a nod to expanding its presence overseas, particularly in Europe, TiVo also announced that its OS now supports DVB-I, a protocol that adds IP capability to the DVB standard. DVB-I enables broadcasters to deliver television content over the internet while simplifying access for consumers. The enhancement allows viewers to discover and watch local broadcast channels without requiring a traditional aerial or antenna.

TiVo has also significantly reduced the TiVo OS memory footprint, enabling deployment on devices with as little as 1 GB RAM and 4 GB eMMC. These improvements are designed to help reduce bill-of-material costs, allow for more efficient hardware configurations, and expand deployment opportunities across a wider range of smart TVs and connected entertainment devices, the company said.

AI Enhancements
TiVo is also collaborating with IRCODE in a partnership that now combines AI and computer vision technologies to recognize on-screen content and enable immediate viewer interaction on its OS, unlocking “new opportunities for commerce, content discovery, advertising and companion experiences, allowing consumers to engage with content in entirely new ways while creating new monetization opportunities for partners,” according to the company.

TiVo said it plans to implement the soon-to-be released AI-powered discovery product, Agent TiVo, which is designed to enable consumers to navigate entertainment through natural conversation and help them discover content more intuitively and efficiently. Rather than relying on traditional keyword searches, viewers will be able to describe what they're looking for and receive personalized recommendations and guidance, creating a richer and more engaging content discovery experience, the company said.

The National Association of Broadcasters is reiterating its support for allowing the use of EAS software. But the association doesn’t want the FCC to reduce the time required to fix or replace defective EAS software, at least not yet.

As TV Tech sister brand Radio World has reported, the commission recently issued a Further Notice of Proposed Rulemaking (FNPRM) exploring possible rule changes for EAS and Wireless Emergency Alerts. In addition to proposing EAS software, the commission is looking at certain policy and technical updates to improve the effectiveness of EAS.

[Read Radio World’s four-part series about the proposals and questions in the FNPRM.]

The NAB is among those filing comments. The association applauded the commission for considering allowing EAS participants to install EAS software in a single device.

“The FCC correctly frames the proposed software-based EAS model as an opportunity to better integrate EAS into modern broadcasting IP-centric air chains, enhance public safety, and reduce unnecessary regulatory burdens on EAS participants,” NAB wrote.

A software approach, the NAB said, would facilitate remote EAS operations, monitoring and collection of performance data.

“This approach will also promote resiliency by enabling EAS operations to be located at multiple local or edge locations and will optimize maintenance by preventing the need to physically diagnose and repair problems within an EAS hardware device.”

The NAB believes that flexibility should be the watchword of a software-based model.

The FNPRM proposes allowing broadcasters to install EAS software in a single server or computer that manages a station’s EAS functions, or within multiple components to facilitate cross-system integration, which NAB is agreeable to.

“A software approach will promote resilient, redundant EAS operations that can be located at both a station’s studio or transmitter,” NAB wrote, “allowing immediate fail-over if the software’s primary location is inaccessible due to fire, flood, or other disaster.”

However, the NAB believes it would be “premature” to reduce the required time for repairing or replacing defective EAS software before notifying the commission.

Under current rules, participants may operate without defective EAS equipment pending its repair or replacement for 60 days without further FCC authority. The commission tentatively proposes to shorten this to 72 hours for those using software.

“There are still too many uncertainties around the implementation of EAS software to change the deadline at this time,” the NAB believes.

The commission said in the FNPRM that although 60 days is usually sufficient for the repair of hardware devices, a shorter amount of time seems reasonable for software that could be fixed with a patch or other remote solution.

NAB also said such a change is impractical since EAS participants test the functionality of their systems and review the logs of tests weekly at most.

Moreover, in many cases, a problem with a software-based model “could have nothing to do with the software itself, but instead [be] related to the server, computer or other hardware on which the software runs, or the firewall or some other component,” NAB wrote.

The association does believe that a shift from dedicated hardware boxes could help alleviate supply chain issues and encourage more vendors to enter the market.

The NAB says “a software approach could ease overall supply chain problems because software does not have to rely on the manufacture of the purpose-built, physical hardware components for new or replacement proprietary EAS boxes in which software is housed. Nor would EAS equipment have to be shipped to manufacturers or EAS Participants.”

The association also supports the FCC’s focus on the cybersecurity of EAS software. It says it believes a software approach will improve security by facilitating updates to address security vulnerabilities through a software patch instead of forcing personnel to upgrade all of their boxes manually or ship the products to a manufacturer.

NAB agrees with the FCC that EAS software should be tested and approved under a conformity assessment system.

It said it is optimistic that some of the Telecommunications Certification Bodies already approved by the FCC to certify EAS devices can perform conformity testing of software, or would develop this capability in response to demand.

The association generally supports other proposals in the FNPRM for improving the authentication and geotargeting of EAS alerts, using a universal alert identification number to reduce duplicative alerts, or integrating visual symbols into EAS.

The NAB does caution the commission against imposing additional mandates “that could outstrip the capabilities of existing EAS devices and require broadcasters to purchase new EAS equipment.”

The group asked the FCC to “avoid reducing the automated simplicity of EAS or limiting broadcasters’ ability to provide EAS alerts consistent with their journalistic judgement.”

Radio World will report shortly on other comments to the FCC. You can read filed comments in PS Docket 25-224 at the FCC site.

The deadline for reply comments is Sept. 29.

LEXINGTON, Mass.—Signiant will showcase the latest evolution of the Signiant Platform at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

Topping the list is Media Shuttle's new Intelligent Transport, which allows customers to take greater advantage of all their high-bandwidth infrastructure with multi-threaded and multi-gigabit transfers that adapt to live network conditions.

Also new is Signiant Pulse, a new line of secure connected services designed to help media organizations work with content where it sits.

Signiant Pulse includes:

• Pulse Essentials: Unified content visibility, access, and action across every connected storage location, included free with the Signiant Platform
• Pulse Review & Approve: Collaborative, frame-accurate content review without needing to upload or download content
• Pulse Plus: AI-generated descriptions, tags and transcripts using the customer's chosen AI provider rather than a vendor-hosted model
• Pulse AI Studio: Multi-step AI agent workflows across enriched content libraries, with MCP-governed access and usage-based cost controls
• Signiant MCP Server: Connects MCP-capable AI clients, including ChatGPT, Claude and Gemini, enabling agents to search, validate and route content while operating within existing permissions and audit controls that govern transfers

Signiant will also showcase Signiant Verify, which enables media to be checked against delivery specifications before it is transferred. Content that fails validation can be held and suppliers will be notified before submission, rather than after delivery as well as Verify aiQC, which extend Verify’s capability with deeper inspection of the picture and sound.

Signiant will be in Stand 5.C74.

SAN ANTONIO—The San Antonio Spurs have announced a deal with the sports entertainment platform DAZN that will make it the team’s new direct-to-consumer media partner.

As part of the deal, which begins with the 2026-27 season. DAZN will serve as the exclusive direct-to-fan destination for Spurs games, airing all regular season games not selected exclusively for national broadcast, plus all preseason contests and team-produced original programming.

The Spurs also reported that they will also offer 22 games over-the-air through a soon-to-be-announced local broadcast partner.

“Partnering with DAZN gives Spurs fans an easy and innovative platform to follow Spurs game action and additional behind-the-scenes highlights,” said Frank Miceli, chief commercial officer at Spurs Sports & Entertainment. “This partnership expands access to Spurs basketball and original content across our home broadcast market while creating more ways for fans to connect with the team. We’re excited to work with DAZN to deliver an engaging viewer experience beginning with the 2026-27 season.”

“The San Antonio Spurs are an iconic sports brand with deep roots in their community,” added Shay Segev, CEO of DAZN Group. “DAZN’s partnership with the Spurs is another important step in our strategy to build the leading entertainment destination for sports fans in the United States. Across the country, we’re partnering with top-tier teams and rights holders to help them strengthen direct relationships with their audiences through a modern, flexible viewing experience. The Spurs share our commitment to innovation and fan engagement, and together, we look forward to bringing Spurs basketball and premium team content to local fans."

As part of the deal, the Spurs will oversee and manage the full production of all games.

The subscription service, which will launch in the coming weeks, will be available throughout the Spurs home broadcast market, which includes full coverage across Central, South and West Texas.

DAZN noted that fans who become Official Spurs Fan Club members by Wednesday, Sept. 9 are eligible for an exclusive subscription discount. A Monthly Pass will be available for $19.99, while a Season Pass will cost $119.99. Spurs season ticket members will receive a 20% discount on Season Pass subscriptions.

DAZN will also offer its Ultimate Tier with incremental benefits including a 25% off one-time discount code to the Spurs Fan Shop in addition to alternate feeds and camera angles, and multi-view capabilities, enhancing the fan viewing experience.

Monthly Pass Ultimate will be available for $24.99 and Season Pass Ultimate will be available for $139.99.

DAZN will also distribute select Spurs Sports & Entertainment programming, including San Antonio FC matches and NBA G League Austin Spurs games.

More information more about the San Antonio Spurs on DAZN and to sign up to be notified when subscription access becomes available can be found at DAZN.com/Spurs.

BRUSSELS, Belgium—Mediagenix, a provider of smart content solutions “Mediagenix Curation,” a new solution for managing content presentation and discovery across streaming services.

The announcement comes a year after the company announced the integration of Spideo’s humanized content recommendations, personalized discovery, and catalog exploration capabilities into its flagship Title Management solution. Mediagenix acquired Spideo in 2024.

The company says Mediagenix Curation solves the complexities of delivering personalized experiences at scale by combining editorial control with automation and personalization “to execute content presentation strategies at scale.”

Integrated across the Mediagenix ecosystem, the new curation solution helps media companies unify editorial and algorithmic curation by combining human creativity and editorial control with data-driven recommendations in one workflow; give editorial and product teams direct control over content presentation; launch and iterate pages and rails faster without engineering dependency, and increase engagement and retention by surfacing the right content at the right time for the right audience.

“Streaming has moved beyond the question of simply having great content; the challenge now is making sure every viewer can discover the right content at the right moment. That creates a tension between the scale and intelligence that automation can bring, and the editorial judgment that gives a service its identity. With Mediagenix Curation, we’re bringing those two forces together, giving editorial teams the control to shape the experience while using automation and personalization to execute their strategy at scale,” said Patricia Blanco, Product Manager of Mediagenix On Demand and Curation.

“Over time, our ambition is to connect that viewer experience much more closely with the wider content lifecycle, so that what audiences discover and engage with can help inform how media companies plan, schedule and ultimately get more value from their content.”

Mediagenix will demo Mediagenix Curation at Stand 1.B57 during the 2026 IBC Shoiw, Sept. 11-14 at the RAI Amsterdam.

CULVER CITY, Calif.—Sony Pictures Television (SPT) has launched a new advertising-supported entertainment offering for PlayStation 5 users in the U.S., with Canada to follow. As part of the launch SPT will offer more than 100 FAST channels and a growing selection of free on-demand programming, all accessible natively on the PlayStation 5 console. This will expand to Bravia televisions later this year.

“PlayStation is a place where millions of people come to play, connect and be entertained. By adding premium linear and on-demand programming, we're creating an even richer entertainment experience for users,” said Peter Wood, executive vice president, Consumer Platforms and Services, Sony Pictures Entertainment. “This launch also enables brands to connect with a highly engaged audience through thoughtfully integrated entertainment experiences, creating long-term value for advertisers, content partners and consumers alike.”

The free streaming content launched on Sept. 1 on PlayStation 5 consoles in the new Live TV on PS5 destination, bringing together free ad-supported linear channels and on-demand programming from many of the world's leading media brands alongside content from across Sony's entertainment portfolio. Designed to extend the PlayStation experience, the destination gives users even more ways to enjoy great entertainment through programming centered on popular genres, franchises, fandoms and live events.

At launch, the experience features content from ABC News, A+E Global Media™, AMC Global Media, Amazon MGM Studios, ESPN, Fox, Lionsgate, NASCAR, NBCUniversal, NFL Channel, Radial Entertainment, UFC, and more.

Among the channels are ABC News Live and ESPN8: The Ocho from Disney; Fox Sports, Fox Weather and LiveNOW from Fox; Ice Road Truckers from A+E’s HISTORY; NBC News Now and NBC Sports Now; and NFL Channel, the NFL’s free, 24/7 channel featuring live game-day coverage, game replays, original programming and more.

It also includes exclusive and custom-programmed channels, such as esports broadcaster eCLUTCH's North American debut, Spotify's The Ringer, dedicated Community and The Shield channels, Sony One's Action Hits and Horror Hits (featuring Alamo Drafthouse Cinema's Terror Tuesdays and Weird Wednesday series), and two Crunchyroll anime channels created exclusively for Live TV.

Spanning live news, sports and reality to blockbuster movies, hit television and digital creator content, the lineup offers something for every type of viewer.

Highlights include popular series such as “Hot Ones,” “Wicked Tuna,” and “The Walking Dead,” alongside such films as “The Hunger Games,” “Elysium,” “Hancock,” “Resident Evil: The Final Chapter” and “Escape Room: Tournament of Champions.”

Anime is also part of the offering, featuring globally recognized franchises including “My Hero Academia,” “Naruto,” “Hunter x Hunter,” and “Sailor Moon,” along with a dedicated “Black Clover” channel created in partnership with Crunchyroll.

The launch also unlocks a new premium advertising environment across PlayStation consoles and Bravia televisions. For the first time, brands can reach highly engaged PlayStation 5 users—and later this year, viewers on Bravia televisions—through an advertising-supported entertainment destination integrated directly into PlayStation 5 consoles and, later, Bravia televisions, creating new opportunities for advertisers and content partners alike. At launch, the advertising experience will feature Publica and PubMatic as core ad technology partners, bringing hundreds of Fortune and Nielsen top advertisers to their audiences.

EVS will highlight its new Neuron 4X processor delivering four times the processing capacity of the previous Neuron generation during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Designed to enable broadcasters, production companies and content owners to handle higher stream counts, greater bandwidth and increasingly complex workflows Neuron 4X offers native 400Gb/s connectivity in the same compact Neuron form factor.

It consumes less than twice the power of the previous Neuron without compromising the reliability and operational resilience required for mission-critical live production environments.

“The industry has spent the last decade getting live production onto IP. Now we’re seeing the next challenge: How do you scale those infrastructures as steam counts, UHD requirements and centralized production all grow?” said Oscar Teran, executive vice president of markets and solutions at EVS.

“That’s what we’re addressing with Neuron 4X. We’re giving customers significantly more processing capacity, while reducing their infrastructure footprint, and optimizing their capital and operational costs.”

Neuron 4X expands the current Neuron portfolio rather than replacing it, giving users the flexibility to choose the platform that best matches their specific requirements. Designed for deployments requiring higher UHD stream counts and greater processing density, Neuron 4X complements the existing 100Gb/s platform, which continues to address a broad range of production and infrastructure needs.

“Neuron 4X brings together the deterministic and predictable processing of an FPGA-based platform with the flexibility of software-defined media processing,” said Peter Schut, senior vice president of processing, media infrastructure solutions at EVS.

“Customers can add new applications and processing capabilities through software, while maintaining the consistency and performance mission-critical live production demands. It’s a platform that scales with their requirements, rather than forcing them to continually redesign their infrastructure.”

The first application running on the platform is Bridge 4x, and ultra-high density IP gateway designed for large UHD workflows. View 4X will follow, delivering four times the channel count for high-density multiviewing.

See EVS in IBC 2026 stand 7.B11.

More information is available on the company’s website.

ATLANTA—East India regional broadcaster Odisha Television Network (OTV) has selected Quortex to replace its legacy hardware with advanced video processing software and to manage its end-to-end on-premises network.

The broadcaster is Odisha’s largest broadcast and digital media network. It reaches 45 million Odia speakers worldwide across satellite and digital platforms.

OTV has gone live with encoding, multiplexing and scrambling using Quortex virtualized Digital Content Manager (vDCM), the company’s software-centric, cloud-native video processing and delivery platform. It is also using Quortex Video Service Manager (VSM) to centralize the configuration and control of its complex video distribution workflows.

“Odisha Television needed a partner who could support them locally, at scale and around the clock,” said Elke Hungenaert, head of products at Quortex. “By transitioning their video processing from hardware to software, we’ve established a flexible foundation that supports their critical business needs today and scales for the journey ahead.”

The Quortex Global Network Operations Center (GNOC) in Bangalore is providing OTV with 24/7 premium technical support, including proactive maintenance and incident management across its entire network infrastructure, including third-party components.

“Partnering with Quortex delivered a seamless migration to a future-proof software platform,” said Litisha Panda, head of business at Odisha Television Network. “We gained immediate operational efficiency and complete peace of mind knowing Quortex is managing our broadcast operations.”

More information is available on the company’s website.

SAN JOSE, Calif.—Roku has launched its first-ever 4K OLED TVs: the new Roku Pro Series OLED TV and Roku Pro Series LX OLED TV.

The Pro Series feature Dolby Vision support and Roku Smart Picture Max for automated image adjustment, Automatic Game Mode with FreeSync Premium, and VRR (Variable Refresh Rate) to reduce lag and screen tearing, enhanced voice remote, and and an on-TV remote finder built into the TV.

The Roku Pro Series LX OLED is Roku's most advanced TV yet, with a 144Hz variable refresh rate (VRR), and an advanced polarizer that cuts room reflections. In addition to the same features on the Pro Series, the Pro Series LX OLED TV features a Roku Voice Remote Pro that includes backlit buttons, hands free voice, customizable shortcuts, and a rechargeable battery with USB-C.

The Roku Pro Series OLED is now available in 55” and 65” sizes nationwide on Amazon, with an MSRP starting at $999. The Roku Pro Series LX OLED TV will be available beginning October 2026 with an MSRP of $1,299.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Telos Alliance will be in Stand 8.D37.

PLANO, Texas—Having a live TV bundle option is still important to half of all consumers surveyed in a recent Parks Associates report.

In the research firm’s latest consumer research The New Live TV Model: Skinny Bundles, Sports, News, 27% of US internet households prefer a live-TV bundle combined with their favorite streaming on-demand services, while 24% prefer a skinny bundle combined with their favorite streaming services. In total, 51% prefer a package that combines live TV with their favorite streaming services.

"Consumers are not necessarily choosing between live TV and streaming. Many want access to both in one package," said Michael Goodman, Director, Entertainment Research, Parks Associates. "Providers have the opportunity to offer greater flexibility to their consumers while making it easier to access the content they value."

Parks Associates also noted that 68% of streaming pay-TV subscribers (vMVPD subscribers), including consumers using services such as YouTube TV, Hulu + Live TV, Fubo, and DirecTV Stream, like the idea of a skinny bundle—a pay-TV or streaming channel package that includes a limited number of core channels, typically focused on specific content types (e.g., entertainment, sports, or news). It is priced below traditional all-inclusive TV packages.

The findings show consumers continue to value live television, but their expectations for how it is packaged are changing, according to Parks. Smaller channel packages combined with streaming services can provide a middle ground between traditional pay TV and streaming-only options.

"Skinny bundles offer providers an opportunity to address consumers who want to maintain access to live television but are increasingly sensitive to the cost and size of traditional channel packages," Goodman said. "The strongest opportunity is retention. These packages can give existing subscribers another option before they decide to cancel service entirely."

Back in the day, when you produced and/or distributed content mostly through one broadcast or cable channel, making certain everything looked and sounded the way it should was easy. You simply checked it at the last point where you touched it and then verified it via a return feed. Oh, that it was still that easy.

Now, thanks to content distributed through multiple distribution pipes and consumer-
side reception devices, you have to check the same piece of content multiple times. Think of it as creating a single drink but having to deal with a wide range of pipes, pressure and different faucets. Oh, and on top of that, different sizes and shapes of glasses. If you are not careful, this economic necessity becomes a QoS nightmare.

The options used to be simple: Black and white or color; mono or stereo. Monitoring, particularly at the local level? Easy peasy: a decent consumer TV set and an antenna or cable feed.

Know Where to Look
How have you and those in your organization or at client locations adjusted to the ways that even a single program or piece of content is viewed? How are you and your team assessing and then assuring end user or viewer image and sound quality?

Here’s a bit of guidance from the consumer side of things: No matter who is at the root cause of an issue, the one who touched it last is always blamed by the end user. They don’t care about who or what is upstream from you; if it breaks, it is your fault and you look bad. In the age of social media, you can’t afford that, so here are some suggestions on how to avoid it.

First, make certain you are properly monitoring any error conditions in the full streaming workflow, no matter whose side it is on. Encoding, packaging, CDN delivery, DRM, caption timing, audio and anything related to ad insertion, such as SCTE-35 Ad Break Market Integrity. That last one has to be “right on the money”—if not, there may not be any money! You also need to ensure your own internal content management system matches the needs of the various distribution feeds and services. A metadata mapping mismatch may cause your content to be rejected.

Even when you’re comfortable with how content left your facility, you must check the quality against the matrix of the streaming services/distribution channels and the multiple consumer devices.

To do that, you need to consider two things: First, create a “streaming QC station.” The second and equally important part is to create checklists and score reports to validate the results.

Remember that the same feed may not look and sound the same on different services or on different devices. Beyond that, each generation of the same device brand and model may impact how a feed looks and sounds. You are no longer monitoring a single off-air or return feed.

Devices Matter
Start with one each of the Roku, Fire TV, Apple TV 4K and Google TV 4K external streamers with the latest OS updates. Then, look on sites like eBay or ask around with colleagues for older models that no longer get updates. That covers you from missing errors that might not be revealed on current devices or OS drops.

For monitoring, have two midpriced connected TVs (CTVs). Why two? Because Roku, Fire TV and Google/Android TV can be monitored with external streaming dongles, but the captive TV manufacturer OS systems (LG’s WebOS, Samsung’s Tizen and Vizio’s OS/SmartCast) can’t. Depending on which HDR formats your consumer-facing feeds use, make sure you can check the current HDR formats beyond the now almost standard HDR-10, including Dolby Vision, HDR-10+, HLG and Advanced HDR.

When it comes to switching between the two sets, instead of using an HDMI switcher, get a midline AVR with at least six HDMI inputs and two HDMI outputs. That will also let you monitor multichannel audio presentations. If you need more HDMI inputs, simply connect some of the streaming devices directly to the TV sets.

For control, the AVR remote should be able to cycle through everything. However, because you may need to have a bucket of remotes for the TVs and the streamers whose remote codes might not be in the AVR remote, consider a programmable universal remote.

For the more adventurous, experiment with a simple home-device control system or talk to a local CEDIA member residential design/installation firm, as this type of system is what they do for a living.

Test Systematically
To justify the time and expense of the QC station, it is essential you develop a repeatable test sequence to identify when something is wrong and then locate where the fault originates. That will help you correct the root cause for things you can correct.

You can’t be expected to provide tech support for your viewers, but if something is happening outside your control, knowing what is going on allows you to post a message on social media feeds (or, if it is more significant, consider an on-air crawl message). Remember, if you don’t catch errors when the cause may be the viewer’s slow bandwidth or outdated streamers and CTVs, you could become the scourge of the internet.

Capture your daily QC check across all services in a database matrix against how each stream lands from all services and on each device. Remember, the same stream viewed on a Roku might appear differently than on a CTV app or through a different streamer. Keep a record of the download speed and occasionally check it using a smartphone, either directly or by using the phone as a hotspot to the QC station rather than from your facility’s usual broadband access. There are a lot of variables, and any one of them can be the root cause for a single outage or reception issue, even when other streams are perfect.

As you would for any QC/QoS testing, check and record the image quality and color gamut. Is there buffering or occasional freezing? Is there excessive latency from one stream and device to another? Is the sound in sync? Be sure to check that for a few minutes on each view to make sure you don’t have issues with audio/video sync drift when variable frame rate (VFR) encoding is used. Is the audio, particularly multichannel audio, correctly passed through from an app originating in a CTV through to the AVR? Are the captions working properly?

Finally, chart every place your content appears, including channel aggregators. Think of a feed coming not from a station, but from the feeds of local newscasts that are part of a network’s news app. Those, in turn, may be picked up by FAST aggregators like Pluto TV or Xumo.

This may seem a big task, and to some extent it is, or at least can be. However, if you construct your QC station properly, set a logical-but-comprehensive test schema and develop the database for metrics, you don’t need to do everything every day. Create a manageable rotation so that over the course of a week, you check everything at least once with the caveat that during major news, sports or milestone programs, you have someone checking things in real time.

Always remember that no matter what the root cause of a system or technical issue is, and regardless of how far upstream it was from you, the consumer blames the last one to touch it. In the case of streaming content, if it has your name on it, that’s you. Don’t let that “last one to touch it” syndrome hit you in the face.

As U.S. TV station owners’ prospects increasingly depend on how they deal with challenges posed by the global 5G juggernaut, newfound flexibility in the use of the fast-evolving cellular technology is opening more promising paths to their success in the battles ahead.

“We’re now at our last chance to remain a viable communications platform across all devices,” said Mark Aitken, president of ONE Media Technologies, Sinclair’s engineering unit. The opportunity lies in the fact that multiple strands in the long and complex evolution toward broadcast and mobile service integration are coming together on commercially viable chipsets capable of making things work across all fronts, he added.

“Whether our integration into the 5G domain is by way of ATSC 3.0, 5G Broadcast or some combination of the two, we as an organization don’t care,” Aitken said. What matters above all is “over-the-air broadcast remaining viable.”

Whatever Means Necessary
Many in broadcast TV circles, including Aitken, first viewed 5G Broadcast as an approach to multicasting video and other content to smartphones aimed at circumventing ATSC 3.0. But Aitken said he saw things differently after learning about the ATSC 3.0/5G Broadcast strategy implemented by Castanet, with live LPTV prototype services supporting the current 3GPP (Third Generation Partnership Project) version of 5G Broadcast on ATSC 3.0 transmitters in Las Vegas and Silicon Valley.

In fact, Aitken said, ONE Media plans to test the Castanet platform on Sinclair’s WIAV-CD Washington, D.C., once the LPTV station receives the multiplexing and exciter equipment from Castanet partner Televes.

“We can see how [the Castanet solution] plays against the widest variety of 3.0 receivers,” Aitken said. “I think we have a bigger variety than just about anybody. If it comes out as claimed, why wouldn’t we support another means?”

How long before the solutions developed by Sinclair and Castanet will be relevant to getting ATSC 3.0/5G convergence off the ground remains to be seen. Eventually—and not so far in the future—TV station owners will be able to bolster the long-term viability Aitken said they’re looking for by leveraging 5G as a so-called bootstrapped radio access network (RAN) component of ATSC 3.0 transmitters through implementation of the recently announced Broadcast-to-Everything (B2X) standard.

The emerging 5G/TV convergence stems from the fact that both ATSC and the wireless industry’s 3GPP have moved their respective architectures ever closer through successive waves of standards development. Like LTE, ATSC 3.0 employs orthogonal frequency-division multiplexing (OFDM) modulation, and like the New Radio (NR) version of 5G, the B2X Radio Access Network (BRAN) framework will employ OFD Multiple Access (OFDMA) to support slicing capabilities with disaggregation between core and edge processing sites.

Optimizing 5G
But B2X does away with reliance on 5G broadband, although it employs techniques similar to those adopted in 3GPP’s latest Release 19 version. The idea with B2X is to optimize execution of all 5G-like functionalities in accordance with ATSC 3.0 architecture while ensuring smooth interoperability between the two domains.

Current U.S. broadcaster options related to using 5G Broadcast with ATSC 3.0, as supported by the Sinclair and Castanet solutions, are a bridge to opportunities across a virtually unlimited range of 5G multicast verticals anchored by B2X, ATSC President Madeleine Noland said. As for broadcasters that feel constrained by the fact that bandwidth availability for 5G multicasting is highly restricted by the current “lighthouse” sharing scenario of ATSC 3.0 spectrum, where Federal Communications Commission rules require full-power stations to continue ATSC 1.0 broadcasts, Noland said to stay tuned.

“I think it’s a good idea to keep an eye on B2X and what that can enable in the future,” she said.

One example of bridge-building to BTX already underway is in India, where government-run broadcaster Prasar Bharati and its technology partners are conducting direct-to-mobile (D2M) 5G/ATSC 3.0 service trials in 19 cities in preparation for commercial rollout by year-end. Smartphones and other devices will run on chipsets developed by Saankhya Labs, now owned by Tata Group’s Tejas Networks, with investment support from Sinclair. This full-reception system is built on a patented, software-defined radio platform that supports demodulator, antenna, filter and other front-end components, Aitken noted.

As this phase of the D2M strategy takes hold across India, Prasar Bharati and its tech partners have begun gearing up for the transition to B2X with high-profile standards development support from the Indian Institute of Technology (IIT) Bombay. Sinclair and the other partners backing Saankhya Labs have launched Sampige Semiconductors to create B2X chipsets “in roughly the same time frame that semiconductors supporting 5G Broadcast will be appearing in some smartphones,” Aitken said.

Ready for Qualcomm
LPTV spectrum owners, who are free of 1.0/3.0 simulcast requirements, represent an immediate market for 5G Broadcast solutions providers, as long as they implement 5G Broadcast over ATSC 3.0 transmitters as required by the FCC. Castanet is allied with what founder and Executive Chairman Vern Fotheringham describes as a coalition of LPTV spectrum holders with footprints covering 60% of the U.S. population. Castanet documents point to expectations of expanding that base to 95%.

Castanet’s immediate goal is to ensure broadcast customers are fully prepared to capitalize on the projected 2028 rollout of smartphones equipped with new Qualcomm chipsets, Fotheringham said. Those chipsets support 3GPP Release 19 advancements that bring TV reception and 5G applications together on smartphones and tablets without requiring a separate tuner or SIM card and with no impact on a user’s data cap. These
systems-on-chips (SOCs) will enable interleaving, which allows non-TV 5G signaling to share the same spectrum with TV broadcasts, and CAS muting, which prevents that TV protection mechanism from impeding the 5G flows.

Once the smartphone turnover cycle puts these new devices into mass circulation sometime around 2031-32, the floodgates should open for broadcasters, Fotheringham said. “Our capex for the 5G Broadcast master site is equivalent to the cost of a 4G macro-level site but serves population areas covered by hundreds or even thousands of those cell sites,” he added. This translates to a massive cost reduction for 5G multicasting compared to MNO reliance on narrowcast streaming, he said.

The LPTV Factor
Of course, there are two sides to 5G tech advances, with benefits also accruing in directions unfavorable to the ATSC 3.0 agenda. One such trend is the widely publicized push by some segments of the LPTV community for freedom from FCC rules limiting use of 5G Broadcast to ATSC 3.0 broadcasters.

Last month, LPTV broadcaster XGN and sister company X1 Mobile, along with Tyche Media LLC, owner of WCRN-LD Boston, filed a petition with the FCC requesting permission to completely replace ATSC TV broadcasts with 5G Broadcast distribution. This goes beyond last year’s filing by the largest LPTV station owner HC2 Broadcasting—soon to be acquired by Dish founder Charlie Ergen—that seeks authority to use 5G Broadcast overlaid on a single ATSC 1.0 TV channel with no 3.0 requirement.

The proposed rule change would require LPTV stations to stream at least one free TV channel and to devote at least 50% of the remaining spectrum capacity to the types of public-safety applications ATSC 3.0 broadcasters are considering with use of 5G, such as emergency alerts, first-responder data and GPS backup.

WCRN for the past three years has been running FCC-sanctioned tests demonstrating 5G Broadcast delivery of linear programming streams, emergency alerts, global positioning and many other public-safety solutions, said Frank Copsidas, founder of XGN/X1 and founder and president of the LPTV Broadcast Association. Elsewhere, Copsidas said, LPTV stations in France, Africa and other countries with fewer regulatory restrictions are pursuing commercial rollouts of 5G Broadcast services.

“By 2029, short-form programming produced by the TDF Group for LPTV distribution will be available to 90% of the French population,” he said.

Another player pushing 5G Broadcast—but with the full expression of the Release 19 version—is Austria-based Big Blue Marble.
With support for interleaving and CAS muting, the company’s Nakolos platform is ideally suited for enabling 5G Broadcast over existing DVB-T2 infrastructure in Europe free of licensing restrictions, said Johann Mika, Big Blue Marble’s chief innovation officer.

“From a regulatory perspective, in Austria, for example, we can ask for a 10-year license for 5G Broadcast with no issue,” Mika said. But, as with Castanet, the “missing piece for us is mobile phones.” Broadcast organizations across Europe are “working to get phone costs lower,” he added, noting that with the wait for Release 19-capable chipsets, things “aren’t 100% set yet.”

But when they are, those Qualcomm-designed chipsets will also open the gate for MNOs and 5G fixed wireless access (FWA) providers to put 5G Broadcast to use over their own networks, said Andrew Towe, a 5G Broadcast specialist and participant in media streaming standards who worked closely with WCRN at the outset of the 5G Broadcast testing project in Boston.

“It will be pretty impressive when you get to an ecosystem with all the 5G advanced capabilities working on smartphones,” Towe said, noting there is a widespread expectation in many quarters, including among European broadcasters, that when that happens, “5G is going to take over.”

Aitken is well aware of the “threat,” which he said is a big reason suppliers and broadcasters must be incentivized to move ahead with preparations for 5G rollout on ATSC 3.0, free of the 1.0 broadcast burden.

“We’re just waiting for somebody to cut the shackles,” he said. “Until they do, we have to hop around on one foot with our hands behind our backs.”

To win the fight against churn and build lasting engagement, media and entertainment companies are leaning heavily into content personalization. In fact, they’re committing themselves to it.

“We’ve reached this inflection point where AI hyperpersonalization is transitioning from experimental into foundational,” said Nina Walsh, global leader of business development, Media & Entertainment, Games and Sports, at Amazon Web Services (AWS). “Consumers are drowning in content and are looking at how best to find what they want when they want it. Passive discovery is dying. Channel surfing is gone.”

Personalization is also one of the most effective defenses against churn, added Mrugesh Desai, chief revenue officer at Accedo.“When viewers can’t quickly find something worth watching, they begin to question the value of their subscription,” he said. “The best streaming services know that content discovery, not content volume, is what drives engagement and retention.”

This means treating television like any other modern application. “People expect the same level of convenience from television that they get from every other digital service they use,” explained Elodie Levrel, corporate marketing and communication director for Broadpeak. “That means recommendations should reflect their interests, live and on-demand content should be easy to find and the experience should feel consistent whether they’re watching on a connected TV, tablet or smartphone.”

Breaking the Metadata Bottleneck
Today’s hyperpersonalized content delivery relies on a massive amount of high-quality data. Unfortunately, the efficiency of these systems is being hampered by legacy databases and the very nature of household viewing.

“One of the problems with personalization is the fact that a television is a shared device—one per household, rather than a truly personal device like a phone or a tablet,” said Dimitri Tarassenko, senior vice president of product management for LTN. “To make a step from addressable [i.e. targeted at a household] to personalized [targeted at a viewer] you need more data, and programming context [what the viewer has watched to date] is often a very good clue.”

Extracting that context in a useful way is the industry’s biggest hurdle. “This is the No. 1 conversation that I have with media companies all over the globe: Legacy metadata is the biggest obstacle that they encounter,” Walsh said. “The reason for that is that there are decades of inconsistently tagged, multiformat, multilanguage content libraries that weren’t designed for algorithmic consumption.”

Desai agreed. “Poor metadata is still the quiet killer of personalization projects, and it’s rarely fixed by buying a better recommendation engine,” he said. “The real work is foundational: First, an honest audit of where metadata is inconsistent, incomplete or siloed across legacy CMS systems, then establishing a single normalized schema that every content source (live, VOD, licensed and owned) maps into.”

Titan TV President Heidi Steffen stressed the importance of reliable data for feeding content personalization systems. “You need the data that is being fed into AI to be consistent,” she noted. “‘Garbage in’ results in ‘garbage out.’ If the data being used is inconsistent and confusing, AI will not be able to produce reliable, useful content recommendations.”

Curing Choice Fatigue
Conventional wisdom says churn happens because viewers are tired of paying for too many streaming services, which isn’t necessarily the case.

“Churn in streaming, much like piracy, is a convenience problem rather than price,” said Jacob Arends, senior product manager for Bitmovin. “If one of those services isn’t meeting a viewer’s needs or keeping them engaged, then it will likely be on the short list for the next service to drop.”

The same convenience problem occurs when platforms present viewers with too many recommendations. “Casual viewers do not want to be the director, so giving them too much choice and options actually creates a less rewarding experience,” Arends told TV Tech.

Instead, these viewers want to be told what to watch, and those recommendations had better be spot on—or else. “The data shows that if a viewer hasn’t had a ‘wow’ moment in 72 hours, it’s probably a 30-day churn from there,” Walsh said.

Ironically, making it hard for viewers to drop services can actually increase churn over the long term. “For the Gen Z and millennial cohorts driving the 50%-plus churn rate, the fix is rarely a smarter algorithm alone but rather to remove the friction around leaving and returning,” Desai said. “The platforms with the lowest churn make cancellation painless and reactivation a single click, because a subscriber who leaves easily is far more likely to come back than one who feels trapped.”

Ultimately, keeping those subscribers engaged requires an end-to-end approach to the user experience. “The broadcasters most likely to reduce churn are the ones that combine personalization with a simple interface, value-added features such as multiview for live sport and advertising that feels relevant without interrupting the viewing experience,” Levrel said.

Live Sports Demands Clean Data
Live sports and hyperlocal news present unique challenges for content personalization algorithms.

A case in point: Broadcasters that decide to route a live game to a secondary over-the-air channel can wreak havoc on smart-TV algorithms and viewer retention. “They can’t put it on their 9.1 due to other demands, so they put it on their 9.2, which is traditionally a pass-through,” Steffen said.

Making such switches confuses algorithms and viewers alike. This is why broadcasters and other content producers need to ensure their real-time metadata is properly synchronized so that content personalization systems can function correctly.

With the right data, delivered cleanly and consistently, these systems can work wonders. “We’re now at a point where productions can offer real-time user preference graphs, where you can build live models of each fan’s teams, leagues, favorite players and what their viewing patterns are,” Walsh said. “This enables them to personalize the ‘what’s on now’ experience for fans—but it requires ingesting real-time schedule data, rights, and metadata.”

To further optimize this experience, the delivery infrastructure must keep pace. “Technologies such as Media over QUIC (MoQ) are helping improve live streaming by reducing zapping time, lowering latency and limiting rebuffering,” Levrel explained. “During major tournaments, features such as multiview also give fans more control by letting them follow several matches or different camera angles at the same time.”

From ATSC 3.0 to Agentic AI
As content personalization expands, traditional broadcasters face technical hurdles—particularly in implementing ATSC 3.0.

“For traditional broadcasters, the biggest roadblocks are addressable advertising and interactive overlays onto ATSC 3.0 hybrid delivery orchestration,” Walsh explained. “Legacy infrastructure coexists, so broadcasters can’t abandon ATSC 1.0 overnight. This creates massive operational challenges, not to mention the cost.”

Added Tarassenko, “While the ad replacement and ad decisioning technologies are largely there, one of the biggest gaps lies in connecting the ad sales systems used for digital campaigns with the traditional infrastructure used to originate the linear channels.”

The good news: In the future, improvements in agentic AI, predictive behaviors and even physical biometrics are poised to make content curation entirely seamless.

The next real shift is agentic AI, according to Desai.

“Agentic AI closes this gap by letting specialized agents work together toward a shared outcome rather than each optimizing in isolation,” he said. “Get that right, and personalization stops being just a feature to become the core of a service’s operating model.”

Added Walsh: “Sensors in wearables can provide real-time emotional signals to enhance recommendation engines. A system that senses viewer stress, for example, could surface more calming content. Or, if your heart rate spikes during a scene, it could use that as a preference signal.

“Privacy is an important piece of all of this,” he continued. “The platforms that win long-term will be those that give users the transparent control over the personalization of their data, creating a trust-based value exchange.”

Of course, deploying such wearables will require a high level of consumer trust, because tapping into biometric and emotional signals moves content personalization from viewing behavior into sensitive personal data.

Overall, Walsh believes the M&E industry is moving towards agentic, predictive and generative personalization.

“As for how far it will go, it’s likely we will reach a point where the default entertainment experience will feel handcrafted for each viewer,” she said. “When this happens, the generic broadcast experience will feel dated, like the old-school telephone. As we move this direction, it’s vital to ensure that ethical frameworks are in place to build alongside the technology that’s evolving at a rapid rate.”

However, the ultimate goal isn’t total automation. “Personalization will continue to improve, but the goal isn’t to personalize every part of the viewing experience,” Levrel said. “The real opportunity is using personalization where it adds value, so people stay engaged and broadcasters can better understand what’s working.”

BERKELEY, Calif.— Pasifika+, a new direct-to-consumer streaming service for Pacific Cooperation Broadcasting Limited (PCBL) in New Zealand, has selected Eluvio to power its service.

The announcement comes less than two weeks before the start of IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center. The company will highlight its work with Pasifika+ and showcase the full capabilities of the Global Broadcast Fabric and Eluvio AI during the convention.

Eluvio’s Content Fabric will provide Pasifika+ with a unified zero-copy platform for broadcast, streaming and AI video intelligence from a single ingest workflow without creating file copies at any stage and superseding the use of legacy media clouds or CDNs.

Formed to strengthen partnerships between New Zealand and the Pacific Islands through television broadcasting, PCBL delivers Pasifika TV to a growing collective of more than 30 free-to-air broadcast partners across the Pacific.

Pasifika+ will extend that mission via a direct-to-consumer streaming service globally for the first time. Pasifika+ aims to connect diaspora audiences in New Zealand, Australia, the U.S. and elsewhere back to their home islands, preserve and share Pacific culture, sport, news and original entertainment and provide the region's broadcasters and content creators a new, revenue stream.

Eluvio’s Content Fabric receives live or VOD source feeds and dynamically ingests, transcodes, publishes and generates just-in-time streaming output directly to viewers. Streaming is provided at full source resolution, including HD and 4K, with dynamic automatic adaptation to the user's available bandwidth with low latency HLS/DASH delivery, unlimited multi-view, and zero-copy live-to-VoD and fast DVR playback.

Pasifika TV will provide a white-label browser, mobile and connected TV application to its viewers built using the Eluvio Media Wallet platform (full turnkey OTT Suite). The platform also provides subscriptions, pay-per-view and/or ad-supported monetization, while providing end-to-end content security and anti-piracy protection, including strong encryption, DRM, forensic watermarking and dynamic authorization per-offering, including geo blocking and rights control. All features are built-in allowing for a hyper-efficient, tamper-proof distribution, fast and easy purchasing and on-screen authenticity proofs for the viewer.

In addition, the Eluvio Video Intelligence Editor (EVIE) and AI-assisted tools provide frame-accurate, in-line analysis, indexing and search, composition and transformation, such as live vertical video, all without file copies or re-transcoding.

Eluvio Content Analytics provides complete transparency of source-to-viewer audience, QoS, and sales analytics.

See Eluvio at IBC 2026 stand 8.MS5 and in the Future Tech Zone, Hall 14, Stand 14.A58.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Charter Communications is suing E.W. Scripps over retransmission rights to carry Las Vegas station KMCC.

Charter, which became the largest U.S. cable operator after its Aug. 20 merger with Cox Communications, filed a lawsuit in a Nevada federal court this week to force Scripps to honor an agreement that allows Scripps-owned KMCC to be carried on Charter’s Spectrum TV nationwide.

Although the agreement, which applies to Scripps’ Ion TV stations, was not made public, Charter said the terms allow the company to carry independent station KMCC (Channel 34) on Cox cable systems in the Las Vegas DMA. KMCC is licensed to Laughlin, Nev., and operates under the brand The Spot. A former Ion station that now carries that network’s programming on a digital subchannel, it forms a duopoly with Scripps-owned ABC affiliate KNTV Las Vegas.

Charter said in its court filing that Scripps agreed that the contract applied to the carriage terms even after Charter acquired Cox, but that a section of the contract that allowed it to remain applicable even after acquisition was a “drafting mistake.”

Scripps said Charter is not legally allowed to carry KMCC regardless of prior agreements and said the cable operator could be liable for violations of “the Copyright Act for unauthorized distribution.”

Cox has carried KMCC since at least 2023, when the station announced that it would broadcast the NHL’s Vegas Golden Knights and the WNBA’s Las Vegas Aces.

Charter is asking the court for declaratory relief that would force Scripps to abide by Charter’s amended contract.

MONTREAL—Encompass Digital Media has launched Altitude Playout Plus, a software-defined channel origination platform it has developed with Grass Valley to help broadcasters manage live, late-changing and complex programming.

Encompass Digital Media provides managed media services to broadcasters, networks, sports leagues, federations, and OTT platforms worldwide, supporting channel origination, content processing, live event distribution and delivery.

The new service combines Encompass’s managed services, Media Cloud and Altitude Flow, with Grass Valley AMPP and Playout X, creating an integrated workflow from media supply chain operations through to channel origination and transmission. Channel 4 has selected Altitude Playout Plus to support its channel portfolio under a new multi-year managed playout agreement, with services scheduled to launch in 2027. Channel 4 is the second major U.K. public broadcaster to select the Encompass and Grass Valley platform, following the successful launch this month, according to the companies.

Altitude Playout Plus has been developed for channels where schedules and content can change close to and during transmission, such as live sports, news and entertainment. Alongside playout, the architecture supports live contribution, event management, recording and fast-turnaround workflows.

Grass Valley’s AMPP provides the software-defined production and playout foundation, with Playout X supporting channel origination. Encompass integrates these capabilities with Altitude Flow, its media supply chain and control platform, while its web-based Playout Director brings together the operational data needed to manage live programming and late changes.

This distributed architecture can be deployed across cloud and on-premises infrastructure and operated from multiple Encompass locations, the companies said. Services for the UK public broadcasters will be delivered from Encompass facilities in London and Riga, providing geographic diversity while giving operational teams flexibility over where resources are deployed.

The architecture also gives Encompass access to additional AMPP applications when specialist capabilities are required. Resources can be introduced according to the requirements of a channel or event rather than maintained permanently for workflows that may only be used periodically.

Grass Valley says the deployment demonstrates how its Dynamic Media Facility approach supports established broadcast services across hybrid, geographically distributed infrastructure. AMPP applications can operate alongside existing systems and Encompass technology without requiring the service provider or its customers to standardize operations around a single deployment location.

The two companies have completed extensive design work ahead of the Channel 4 transition to ensure the platform meets the broadcaster’s technical and operational requirements.

Visitors to the 2026 IBC Show can learn more about Grass Valley AMPP, Playout X and the Dynamic Media Facility at the company’s booth (9.A01), Sept. 11-14 at the RAI Amsterdam.

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

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

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

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

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

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

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

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

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

TSL team will be Stand 7.B12.

STAMFORD, Conn.—Charter’s operating brand Spectrum has announced that it is offering free Amazon Prime memberships and benefits to eligible lower-income Spectrum Internet customers. Prime currently costs consumers $139 a year.

As part of the program, existing and new customers who currently qualify for Spectrum Internet Assist, affordable internet for low-income customers with speeds up to 50 Mbps, can receive Prime membership included with their Internet subscription at no extra cost.

“Our goal at Spectrum is to give customers more value from the services they already count on every day,” said Adam Ray, executive vice president, chief commercial officer for Spectrum. “That value already includes the fastest mobile service at the lowest prices, and our inclusion of programming apps in our video services at no extra charge. And that value now extends to including Prime for low-income customers to help make everyday life a little easier while delivering incredible savings and entertainment – reflecting just a part of our ongoing investment to ensure the communities we serve can thrive.”

Valued at $14.99 per month or $139 per year, qualifying Spectrum Internet customers can sign up for Prime through Spectrum’s simplified onboarding experience.

Benefits of Prime include low prices on Amazon.com and free delivery on 300 million items across 35 categories as well as free Same-Day Delivery on perishable grocery orders over $25 in most places.

It also serves as an entertainment destination, offering unlimited streaming of movies and shows, plus access to must-see live sports including NBA, WNBA, NASCAR, and Thursday Night Football.

In addition, members also enjoy ad-free listening of 100 million songs and millions of podcast episodes with Amazon Music, cloud gaming with Amazon Luna, unlimited photo storage with Amazon Photos, and Alexa+, Amazon’s next-gen AI assistant that enhances the Prime experience, making it easy to shop, discover new entertainment, and manage photo content through natural conversation.

More information is available at spectrum.com/AmazonPrime.