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

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

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

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

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

LONDON—The International Swimming League (ISL) has appointed Gravity Media as its official broadcast content and production partner.

The partnership will focus on the ISL All-Star Match, a one-night relaunch event set for Dec. 19 at the London Aquatics Centre in Queen Elizabeth Olympic Park. The two-hour, head-to-head competition involves four teams of the world’s top male and female swimmers from the U.S., the Commonwealth, Europe and the rest of the world. Rather than the typical heats-and-finals swim meet, every race will count and only one team will leave London as champion, the companies said.

The partnership brings together ISL’s mission to reimagine competitive swimming as fast-paced, fan-first entertainment with Gravity Media’s three decades of producing complex, multicamera live events to the highest international standard, they said.

For the All-Star Match, Gravity Media will deploy a comprehensive production package designed to bring fans closer to the action.

“With the International Swimming League, we aim to bring the storytelling of swimming into a new dimension, transforming live sports production into an increasingly immersive and engaging experience,” said Claudio Cavalotti, Gravity Media’s Italy managing director. “Today, technology allows us to capture the competition from entirely new perspectives: from above and below the water, through robotic systems and dynamic poolside cameras to the integration of data and digital content.”

The Gravity Media production package includes:

• Underwater and specialty cameras that will deliver unprecedented views of strokes, turns and underwater technique.
• Robotic rail camera systems, capable of dynamic, high-speed moving shots around the pool deck at speeds of up to 42.6 feet per second (13 meters per second) to bring cinematic energy to every race.
• Gyro-stabilized robotic camera systems with three-axis stabilization and 8K-ready capability to deliver fluid, broadcast-grade visuals across the venue.
• Robotic minicams at the starting block and finish line, engineered for precision coverage of race-defining moments.
• Optional real-time data integration, including augmented reality graphics, live tracking and swimmer profiles layered directly into the broadcast feed.

Gravity Media’s full-service OB fleet and 19,700-square-foot (6,000-square-meter) production center in Cologno Monzese, Italy, will support the production.

“We are creating a visual spectacle that captures the speed, athleticism and drama of our event in a way audiences have never experienced,” ISL Chief Strategy and Commercial Officer Mario Medeiros said. “Gravity Media shares our vision of pushing creative and technical boundaries, and their track record with major international sporting events makes them the ideal partner as we relaunch the ISL on the global stage.”

More information is available on the company’s website.

SQUAMISH, British Columbia—Mesh Broadcast Services, a mobile production facilities company here, said it has deployed a Calrec Argo M console to fit the professional audio capabilities of a large production truck into a smaller unit.

Installed by Calrec’s Canadian partner, True North AV, the 36-fader desk sits in the production area of Mesh Broadcast Services’ Eclipse flagship, a 40-foot unit that was recently moved onto a 2025 Freightliner dual-axle truck. The truck now covers 10 to 12 events per month.

Mesh Broadcast Services first used its new Argo M during its six-week contract with InLive, the city of Vancouver and FIFA for the Vancouver FIFA Fan Festival. That event, held at the Pacific National Exhibition, served as a central hub for soccer fans watching FIFA World Cup games.

“We looked at several platforms, but when Calrec developed and launched the Argo series, we knew we had found both the power and size to fit our applications,” Scott McPhee, co-founder and production director at Mesh Broadcast Services, said.

“In North American sports, Calrec is the platform of choice for 90% of engineers,” McPhee continued. “With the Argo M, we have an extremely powerful audio workflow. The desk is intuitive enough that new A1s can get working fairly quickly, but seasoned A1s used to the older, larger Calrec consoles can still operate a show fairly easily."

Mesh Broadcast Services needed a console with multiple I/O options. That’s especially the case because Dante is a “huge” platform for Mesh, as many of today’s productions require it as part of the workflow, McPhee said.

“Combine that with the usual MADI connections and analog, and you can cover just about any workflow, be it a pro sport like hockey or soccer, or a streaming e-game event,” he said.

“In 2025, we were the official broadcast facilities provider for the Invictus Games in Vancouver,” he continued. “We purchased a DirectOut Prodigy MX as a MADI and Dante interface for our old audio system, but combined with the Argo M platform, these two devices have increased our capabilities tenfold. The card slot options for the Argo series are a huge bonus. With a small truck space, we need compact but powerful.”

Mesh Broadcast Services also installed three Calrec Type R analog I/O boxes, housed in flight cases as portable field boxes for a compact solution that is easy to move around the field of play.

More information is available on the Calrec and Mesh Broadcast Services websites.

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

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

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

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

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

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

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

For more on Emergent, visit its website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SGO has introduced Workflows Slate, a web-based application that transforms the slow, repetitive manual task of creating burn-ins and slates in post-production into a fast, automated, metadata-driven workflow.

For years, post facilities relied upon editing and finishing applications to create burn-ins and slates. Those tools were never designed specifically for the task. However, with Workflows Slate users create professional burn-ins and slate templates in minutes instead of hours, directly in their browsers.

Workflows Slate gives creators, post-production facilities and media companies a smarter alternative to building burn-ins and slates inside complex finishing software. With Workflows Slate, users visually design layouts, automatically populate them with dynamic metadata, generate thumbnails and adapt templates to any client or delivery specifications from a lightweight browser application.

The application allows virtually any metadata parameter to be incorporated into burn-in and slate templates, including custom fields. This enables fully tailored designs that adapt to the specific requirements of clients, post-production facilities, studios, VFX facilities, broadcasters, consumers and distribution platforms, ensuring consistency and accuracy across all deliverables. Slate templates can also generate thumbnail previews automatically, improving identification throughout review and delivery workflows.

“With Workflows Slate, we wanted to remove every unnecessary step from burn-in and slate creation. By bringing the entire process into the browser and making metadata fully dynamic, we’re giving teams the ability to design, adapt and deploy templates in minutes instead of hours—with absolute creative and technical control,” said Adrián González, creative solutions architect at SGO.

Templates created in Workflows Slate can be downloaded and used directly in Workflows Creator or Workflows Runner, where they integrate seamlessly with the platform’s automation and processing engine. The integration ensures a continuous workflow from template creation to final execution.

SGO is offering a 90-day launch promotion. Workflows Slate is a free-to-use application, but there will be a charge when using slate templates in Workflows Creator. As part of the introductory promo, SGO is allowing existing Workflows users and anyone who subscribes within the first 90 days from launch to receive Workflows Slate at no additional cost.

More information is available on the company’s website.

JOHANNESBURG, South Africa— South African Broadcasting Corp. (SABC) has selected Ikegami UHK-X600 camera systems as part of a shift to IP-based operation at its main production center here.

The broadcaster will transition to IP in four studios assigned to news, presentation and production and, ultimately, transition all 11 studios at the facility to IP. The order, confirmed in mid-September at IBC 2026, will be managed in cooperation with local distributor and systems integrator Harambe Technologies.

SABC’s transition to IP-based production coincides with the 90th anniversary of the broadcaster’s establishment in 1936. The network has evolved from traditional radio broadcasting into a multimedia organization currently serving audiences with six television channels, 19 radio stations and online platforms including SABC+.

“The move to IP, initially in a hybrid approach, is being driven by our adoption of an Evertz ST 2110 core router,” Lesetja Lekgotho, general manager of technology operations (TV) at SABC, said. “Everything has to work with that as we are building our IP capability from the inside out. We decided to go on a modular upgrade approach because of the funding challenges. The camera is the natural place to start with being visible to viewers’ eyes. This will be a rolling project that will cover all the studios. They won’t all necessarily use the same cameras, as drama and sport may need other equipment. Based on the performance of the cameras we have chosen, I think Ikegami stands a good chance in those applications as well.”

Fourteen cameras have been ordered for the project. Each will include a VFL-P700AD 7-inch HD-native LCD viewfinder and an OCP-500 Ethernet-connectable remote control panel. The project also includes two MCP-300 network master control panels and two BSX-100 base stations. Both BSX-100 units will incorporate a media-over-IP board supporting SMPTE ST 2100. SABC plans initially to operate the cameras in SDI and then gradually migrate to IP connectivity.

Developed from Ikegami's UHK-X700, the UHK-X600 is a 4K upgradeable HD portable system camera incorporating three 2/3-inch oversampling UHD CMOS sensors. It delivers 1000 TVL resolution, minimal aliasing, and 2000 lux sensitivity at F11 (50p). Standard features include full support for Hybrid Log Gamma HDR with the ability to select between BT.2020 and BT.709 chroma spaces. Global shutter imagers minimize artifacts when televising LED screen walls or flash/strobe illuminated stage environments.

The UHK-X600 relies upon a power-efficient ASIC that encapsulates a wide range of high-grade video processing functions. Measuring 13.3 x 9.64 x 6.1 inches (34 x 24.5 x 15.5 cm) and weighing 11 pounds (5 kilograms), the camera accepts a wide range of B4 lenses and supports chromatic aberration correction, vignetting correction, ramping compensation and remote control of backfocus when the latter is also supported by the lens.

When combined with the Ikegami BSX-100 type-S base station, the camera optionally supports simultaneous output in UHD and HD video formats. Future-proofing options for the UHK-X600 enable users to invest in additional capabilities when required. Among the license key-based options are support for 2x, 3x and 4x high frame rate capture and optional 4K processing delivering 2000 TVL resolution when operating in 2160p. Plug-in hardware-based options include a SMPTE ST 2110 compatible media-over-IP interface board and optional 12G output board.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

See Grass Valley at Broadcast India 2026 booth D04.

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

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

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

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

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

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

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

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

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

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

ESPN delivered its most-watched WNBA regular season ever in 2026, marking the third straight year that regular season viewing set records.

Across 29 games, the WNBA on ESPN networks averaged 1.37 million viewers, up 17% year-over-year.

ESPN presented 17 games this season, averaging 1.24 million viewers, up 32% year-over-year, while 12 games on ABC averaged 1.56 million viewers, up 9% year-over-year.

The historic season also delivered significant growth among younger audiences. Viewership among persons 2-17 increased 29% year-over-year, while persons 18-24 grew 27%.

Non-Indiana games averaged 984,000 viewers, up 24% year-over-year and its WNBA Countdown show averaged 595,000 viewers, up 27% year-over-year.

The record-setting season was highlighted by five games averaging more than 2 million viewers. Those games were:

• Indiana Fever at Atlanta Dream – Aug. 16, ESPN: 2.58M viewers
• Indiana Fever at Chicago Sky – Aug. 8, ABC: 2.56M viewers
• Indiana Fever at Minnesota Lynx – Aug. 2, ABC: 2.52M viewers
• Dallas Wings at Indiana Fever – May 9, ABC: 2.49M viewers
• New York Liberty at Indiana Fever – Aug. 11, ESPN: 2.01M viewers

Indiana Fever-Atlanta Dream on Aug. 16 led all WNBA games across ESPN networks this season and became the most-watched WNBA regular-season or postseason game ever on cable.

SYDNEY—The decision to deploy multiple Sony ILME-FR7 and Sony BRC-AM7 cameras on Netflix’s reality competition series “Wonka’s The Golden Ticket” highlights the growing role of advanced PTZ production technology in premium television.

Premiered on Sept. 23, the unscripted series places 12 contestants and their partners inside a retro-futuristic chocolate factory for a high-stakes competition inspired by Roald Dahl’s universe with a licensed AI recreation of Gene Wilder’s voice and an appearance by original 1971 “Willy Wonka & the Chocolate Factory” cast member Rusty Goffe.

For a production built around spectacle, surprise and immersive world-building, the ability to capture dynamic, cinematic and often hidden angles was essential, making Sony’s latest generation of PTZ and remote camera systems a strong fit.

Cutting Edge Technical services (CETS), a specialist that has supported Australia’s production industry since the 1990s, deployed the cameras for the production. CETS supplied the PTZ camera component of the production, ultimately deploying 50 Sony BRC-AM7 cameras across the living area and 30 Sony ILME-FR7 cameras across the challenge sets, all cabled to a central MCR where seven hot head operators and two CCU positions controlled the system.

Use of the Sony ILME-FR7 and BRC-AM7 on “Wonka’s The Golden Ticket” is significant on two levels. For viewers, it helps support the immersive, polished and visually inventive style expected of a major Netflix reality event. For the production industry, it offers another clear example of how cutting-edge remote camera systems are reshaping the language of television production.

For the challenge sets in particular, the Sony ILME-FR7 proved to be one of the production’s most valuable tools.

The FR7 is a full-frame interchangeable-lens camera with remote pan, tilt and zoom, combining a back-illuminated 35mm full-frame CMOS sensor, BIONZ XR processing, 15+ stop latitude and compatibility with Sony’s E-mount lens ecosystem. In practical terms, that means the production could capture cinematic images with shallow depth of field and creative framing while still benefiting from robotic remote operation. Its compact footprint made it possible to hide cameras inside set pieces and install them in positions that would be difficult or impossible with larger traditional systems.

“The FR7 became the biggest utility camera on the production,” said Ray Martin, head of business development at CETS. “If you needed to find an angle, put an FR7 in there. Its small footprint meant we could hide these cameras all over the set and the ability to output 1080 on SDI while recording UHD internally was a great success. Some setups that were originally planned for three FR7s ended up using 10 because they were so effective at capturing angles that had not even been considered during the planning stages. There was a real wow factor in having such a high-quality sensor tucked away in set pieces, capturing amazing shots while remaining small enough not to be seen by the other cameras.”

The Sony BRC-AM7 also offers a set of advantages, including an advanced PTZ auto-framing, high-quality 4K 60p output across a 20x optical zoom range and support for S-Cinetone and S-Log3, helping it integrate more naturally into modern multi-camera production environments.

Sony has focused heavily on interoperability, remote control and AI-driven subject tracking, all of which were highly relevant for a show involving many contestants moving at the same time through a complex set. With 24 contestants on set and 50 PTZ cameras recording back to server, the operators were able to use auto-follow features and the web GUI to help track activity efficiently across the production space.

For sequences involving graphics compositing, selected FR7 cameras also recorded UHD in-camera, giving the graphics team higher-quality source material for final composites.

More information is available on the company’s website.

The official Netflix teaser for “Wonka’s The Golden Ticket” is available on YouTube.

ALAMEDA—Clear-Com has announced that First Baptist Nashville has upgraded its production communications with a Clear-Com intercom solution as part of a comprehensive sanctuary technology renovation led by systems integrator Mankin Media.

Centered on the Arcadia Central Station, the installation delivers reliable wired and wireless communications to support worship services while preserving the integrity of the church's historic sanctuary.

Serving downtown Nashville for more than 200 years, First Baptist Nashville recently completed an audiovisual renovation designed to modernize the worship experience while maintaining the character of the church's more than 50-year-old sanctuary.

Mankin Media integrated new audio, video, lighting and communications technologies, including a Clear-Com intercom system that enables production staff to coordinate seamlessly with uninterrupted communication throughout the 1,200-seat facility.

The Clear-Com installation includes Arcadia Central Station as its central hub, along with HelixNet Digital Partyline beltpacks, a HelixNet Remote Station and FreeSpeak II wireless beltpacks. The system provides dependable communications for production personnel while offering the flexibility to support both weekly worship services and special events.

"The church wanted technology that would enhance the worship experience without compromising the history and character of the sanctuary," said Rick Myers, marketing director at Mankin Media. "Clear-Com - provides the communications infrastructure needed to support future ministry growth and increasingly complex productions. "

The new communications platform provides a foundation for future production growth, enabling teams to coordinate worship services, special events and evolving ministry initiatives with greater efficiency and confidence. By unifying wired and wireless communications in a single workflow, Arcadia Central Station provides the First Baptist Nashville a scalable system that can adapt alongside its long-term production goals. Combined with the simplicity of HelixNet and the mobility of FreeSpeak, the solution helps technical teams communicate clearly in fast-paced live production environments.

The Clear-Com deployment complements First Baptist Nashville's broader technology investment, which includes new audio, video and lighting systems designed to support the church's ministry for years to come.

WASHINGTON—A bipartisan group of Republicans and Democrats in Congress have introduced the Motion Picture, Television, and Entertainment Revitalization Act, which aims to bring entertainment productions back to the United States from foreign countries through federal tax incentives.

Following President Trump’s call for Congress to establish a federal production incentive to bring entertainment jobs and production back to America, this bill would establish a 20% base tax credit for qualifying film, television, and visual effects (VFX) projects that are produced in the United States.

U.S. Senator Tim Scott (R-S.C.), Sens. Adam Schiff (D-Calif.), John Cornyn (R-Texas), and Raphael Warnock (D-Ga.) introduced the legislation on Sept. 24.

In the House, Representative Nathaniel Moran (R-Texas-01), Representatives Linda T. Sánchez (D-Calif.-38), Brian Jack (R-Ga.-03), Laura Friedman (D-Calif.-30), David Kustoff (R-Tenn.-08), Judy Chu (D-Calif.-28), Mike Carey (R-Ohio-15), and Tom Suozzi (D-N.Y.-03) introduced companion legislation in the House.

Backers of the legislation included the Motion Picture Association, companies like Paramount and NBCUniversal and a variety of unions.

Those supporters include the American Federation of Musicians, American Society of Composers, Authors, and Publishers (ASCAP), Coalition for American Production (CAP), CreativeFuture, Directors Guild of America (DGA), FilmUSA, Independent Film and Television Alliance (IFTA), International Alliance of Theatrical Stage Employees (IATSE), Motion Picture Association (MPA), Paramount, Producers Guild of America (PGA), Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA), Teamsters, Television Academy, Writers Guild of America East (WGAE), and Writers Guild of America West (WGAW) have endorsed the legislation.

“Having worked in a movie theater growing up, I saw early on how films can move and inspire generations of Americans. Films like ‘The Notebook’ bring us to tears, and films like ‘Forrest Gump’ inspire us to see the world differently. That is the power of film, and South Carolina is blessed to serve as the backdrop for both of these iconic American stories,” said Sen. Scott. “We cannot stand by as more and more American film production moves overseas, taking jobs, investment, and an important source of American cultural influence with it. This legislation will create jobs in communities across America, support local economies, and help ensure that the next generation of iconic American films is made right here in America.”

“The Motion Picture, Television, and Entertainment Revitalization Act would deliver a true gamechanger for American creators, workers, and businesses – a federal incentive that supercharges production at home, fuels jobs and growth in local communities, and makes the United States a more competitive destination for the next generation of great film and television," MPA Chairman and CEO Charles Rivkin said in a statement. "There’s a reason everyone from President Trump to a bipartisan group of members in Congress to studios, unions, guilds, and more want to get this done. Passing this legislation could inject $250 billion into the country’s economy and deliver nearly 145,000 new jobs every year across all 50 states. That’s a story we can write together by enacting this bill, to ensure that more stories are crafted, created, and made here in America."

The bill would also provide optional 5% bonus credits that could be stacked on top of the 20% base credit, with the total credit capped at 30%. Bonus credits could be received through:

• Production in rural Opportunity Zones or federally declared disaster zones
• Multi-state productions
• Production is completed by an independent producer
• Film companies that increase their number of domestic productions relative to their previous foreign investment
• The tax credit would exclude live sporting events, sexually explicit material, marketing, daytime-drama shows, award event programming, social media posts, and other non-legacy media productions.

Several states have established their own economic incentives, but the lack of a unified federal incentive has left the United States behind as productions leave for countries like Canada and the United Kingdom, the backers of the legislation argued.

Screen Actors Guild - American Federation of Television and Radio Artists President Sean Astin said that “SAG-AFTRA is proud to partner with our fellow unions, industry and policymakers in a bipartisan effort to rescue the domestic film and television business. The money is being invested, the productions are being made, the jobs are being created, just not in America. This is a jobs bill and that is exactly what our members want to see. We have the infrastructure. We have the crews. We have the talent. Now all we need is a level playing field. We are the storytellers who inform and entertain the world. Let's get back to doing that right here at home. Thank you, Senators Scott and Schiff and Representatives Moran, Sánchez, Friedman, and Jack, for championing this critical legislation,” said

Chairman and CEO of Paramount David Ellison and NBC Universal Entertainment chairman Donna Langley were also among those who backed the bill.

“Paramount fully supports this legislation, and thanks Senator Scott for his bipartisan leadership on this important issue," Ellison said in a statement issued just days after Paramount settled antitrust litigation by making commitments to maintain a certain production levels.

"America’s highly-skilled production workforce— including camera operators, set production designers, editors, visual effects artists, lighting and sound crews, costume and makeup teams, transportation workers filmmakers, and countless others — are critical to our nation’s economy, and have built and powered one of this country’s greatest cultural exports," he added. "We believe now is the time to pursue this important legislation, so we can support our critical production workers and make more films and TV right here at home. Paramount will continue working closely with our union partners and the broader creative industry at every level to help support this effort.”

“A federal incentive that complements existing state programs would help level the playing field, drive economic growth, create high-skill jobs, and ensure more film and television production is made in America by one of the nation's most dynamic industries," added Donna Langley.

WEITERSTADT, Germany—LYNX Technik, a global provider of signal processing solutions for the professional broadcast and media industries, has announced the PVD 5440 DO, a high-performance frame synchronizer and multi-format video processor designed for demanding broadcast and production applications.

Combining frame synchronization, up/down/cross conversion, motion adaptive de-interlacing, and comprehensive audio embedding and de-embedding, the PVD 5440 DO delivers extensive signal processing capabilities in a single 12G-SDI Series 5000 card.

At the heart of the PVD 5440 DO is the Up/Down/Cross (UPXD) processing engine, incorporating LYNX Technik’s high-quality motion-adaptive de-interlacing technology.

The de-interlacing process uses motion-adaptive processing followed by diagonal interpolation, delivering clean, detailed images while minimizing common interlacing artifacts, particularly around diagonal edges and moving objects.

The processing engine also supports conversion between virtually all broadcast formats, including resolution and frame-rate conversion. Additional features include crop and zoom, horizontal flip, and a built-in test pattern generator with automatic failover when the input signal is lost.

In addition, the PVD 5440 DO provides frame and line synchronization to bi-level or tri-level reference, with automatic reference detection. If reference is lost, the card can continue in free-run mode, with an optional latch-back function when reference returns. Independent video and audio delay adjustments provide precise timing control.

The PVD 5440 DO provides comprehensive audio processing across 12G-SDI, MADI, and AES, including full embedding and de-embedding capabilities.

More specifically, a 136x200 audio crossbar provides extensive flexibility for managing audio between all interfaces. The card supports up to 64 audio channels over 12G-SDI, 64-channel MADI input and 64-channel MADI output, plus four AES audio channels in and four AES audio channels out. Channels can be routed, swapped, muted, mixed, and gain-adjusted, with automatic monitoring for audio presence, silence, and overload. Dolby audio can be passed through transparently as part of the SDI signal but is not decoded or processed by the card.

The card provides one 12G-SDI input and four 12G-SDI outputs, with one output configurable as loop-through. Optional fiber connectivity is available through a wide range of SFP modules supporting transmitter, receiver, and transceiver configurations, including single-mode, multi-mode, and CWDM operation with up to 18 wavelength options. Two GPI inputs provide remote control for functions including input switching, video freeze, test pattern activation, etc.

Configuration, monitoring, and status are managed through LynxCentraal, providing intuitive graphical control of the card’s video, audio, synchronization, and system parameters.

More information is available at www.lynx-technik.com, and www.lynx-usa.com.

SAN JOSE, Calif.—Adobe has completed the acquisition of AI video and image enhancement specialist Topaz Labs.

The acquisition has been valued at $340 million.

Topaz Labs will continue as a standalone brand, and Adobe and Topaz will integrate its advanced capabilities into creative tools and workflows. In 2025, Topaz received an Emmy Award for its video technology.

Filmmakers, photographers and designers use Topaz Labs technology to recover detail, improve clarity, maintain temporal consistency and produce video and image, said Deepa Subramantam, vice president of product marketing for creative professionals at Adobe in announcing closing of the deal.

Topaz Labs technology is available in Adobe Firefly and Photoshop. It helps creators upscale and enhance images and video while maintaining a natural look and details of the original, said Subramantam.

With the company’s Neurostream technology, creators can process AI models on their own devices or Topaz Lab’s cloud-based option.

Its tools enable users to modernize content at scale. Studios with decades of archived films, broadcasters and others can use Topaz Labs tools to modernize content for high-resolution screens, said Subramantam.

“By integrating Topaz Labs’ tools and models into everyday Creative Cloud workflows, Adobe’s global community of creative professionals and enterprises will benefit from spending less time moving between tools and more time refining performances, shaping emotion and finding the perfect cut. Adobe will also optimize the performance of Topaz Labs models, while leveraging strong enterprise relationships and global reach to raise awareness of Topaz Labs among creative professionals,” she wrote.

The Topaz Labs brand will remain. Its apps and models will continue to be available as standalone products. Company CEO Eric Yang will join Adobe’s Digital Video and Audio team. Topaz Labs' customers will receiver the same level of support as they have, said Subramantam.

More information is available on the Adobe website.

SHENZHEN, China—Wireless film and video production product provider Hollyland has unveiled the LARK M3 scalable wireless audio system for multi-camera, multi-person productions.

LARK M3 can be a one-to-many or many-to-one audio system that captures interviews, podcasts, multi-person content and multi-camera shoots with a setup that adapts to the number of people and devices involved.

The new audio solution relies on a multi-transmitter and multi-receiver architecture. Up to four transmitters can connect to a single receiver, letting each person wear a mic and be recorded independently without passing around a single microphone. Conversely, one transmitter can connect up to four receivers simultaneously, so a single speaker's voice can be captured by multiple cameras or smartphones at once.

With four-track independent recording, the LARK M3 can be paired with the hot shoe adapter, or connected via a USB-C or camera receiver to a computer in post-production to deliver four isolated audio tracks.

Recording at 48kHz/32-bit with a 70dB signal-to-noise ratio and 125dB max SPL, the LARK M3 pairs studio-level specs with an easy-to-use design. It uses Hollyland's proprietary HDT wireless technology to move audio data 50% faster for richer, clearer sound over distances of up to nearly 1,000 feet (300 meters).

AI noise cancellation, powered by deep learning and computational auditory scene analysis, suppresses wind, traffic, running water and other background noise across three adjustable levels.

Custom voice tuning provides one-tap vocal enhancement for all transmitters, along with eight vocal presets that can be assigned individually to each transmitter. Each preset can be customized in the app for more precise control over vocal tone.

Auto-Limit Clip Protection keeps volume levels stable across dynamic ranges, while a Primary/Secondary receiver setup ensures recording never stops. If the primary receiver drops out, a secondary RX instantly takes over.

The kit is designed for portability. Each 9g transmitter uses flexible magnetic mounting, and an all-in-one charging case stores transmitters, receivers, cables and windscreens while delivering up to 48 hours of total battery life.

More information is available on the company’s website.

BERGEN, Norway—Agence France-Presse (AFP) and Dalet have announced a partnership to strengthen content provenance and authenticity across the news media ecosystem.

Unveiled at the Media Provenance Summit here, the collaboration brings together AFP’s early work applying the Coalition for Content Provenance and Authenticity (C2PA) standard to editorial content with Dalet’s more than three decades of experience supporting the mission-critical workflows news organizations use to create, manage and distribute content. During the 2024 U.S. presidential election, AFP’s photo department conducted a real-world proof of concept (POC) demonstrating how provenance information could accompany editorial content.

As news workflows evolve, Dalet is championing an approach in which trust, governance and human oversight are embedded throughout the content lifecycle. Integrating provenance information directly into operational workflows gives editorial teams the context they need to make informed decisions while preserving the speed required in modern news production.

"The agency believes content authenticity is a major issue in a world where AI-generated content may damage the public's confidence in images circulating online and in the news media," said Guillaume Meyer, AFP deputy news director in charge of video.

Article 50 of the European Union's AI Act provides that only generated content must be marked as such since August 2026. AFP wants to go further. "We believe that all content –both AI and non-AI– would benefit from watermarking to bolster the public's trust in the media. C2PA adds a verifiable certificate to real field journalism."

AFP and Dalet will collaborate on the implementation of the C2PA standard within video encoding and distribution workflows. Engineers from both organizations will develop a fully functional POC, scheduled for completion in the first quarter of 2027. The POC will demonstrate how a news agency can apply C2PA Content Credentials to video and deliver it to broadcasters with a verifiable record of its origin and history.

"It is urgent that the media find a way to help people navigate an increasingly complex information ecosystem,” said AFP news director Phil Chetwynd. “The C2PA project has the potential to raise trust levels in quality content by clearly identifying provenance. This is an encouraging step forward."

The joint AFP-Dalet project will also examine the commercial and legal considerations associated with implementing C2PA at scale.

“Trustworthy news depends not only on the journalism itself, but also on the integrity of the workflows that carry it from the field to the audience,” said Erwan Kerfourn, head of product at Dalet.

“Provenance cannot sit outside the production process or be treated as an afterthought. By working with AFP, we are embedding verifiable content history into the workflows news organizations use every day, giving editorial teams greater transparency while keeping people firmly in control of what is published. This is fundamental to protecting journalistic integrity and sustaining audience trust.”

More information on the Coalition for Content Provenance and Authenticity is available online.

More information is available on the Dalet website.

ATLANTA—The Ohio Valley Conference has renewed its deal with Gray Media to broadcast the league’s athletic events across twenty Gray markets in eight states.

As part of the Conference’s multi-year contract with ESPN, the entire package will also be simulcast live nationally on ESPN+ and available through the ESPN app without digital blackouts.

The 2026-27 package again features select men’s and women’s basketball matchups, plus expanded coverage with three men’s soccer, three women’s soccer and four volleyball contests this fall. A list of basketball contests to broadcast on Gray stations will be announced at a later date, in addition to plans for spring sports coverage.

Gray’s Tennessee Valley Sports & Entertainment Network and Mid-South Sports & Entertainment Network each looks forward to bringing two Tennessee institutions – Tennessee State University and the University of Tennessee at Martin – to viewers across the state.

The Tennessee Valley Sports & Entertainment Network broadcasts over-the-air in Nashville, Knoxville, and Chattanooga, while the Mid-South Sports & Entertainment Network broadcasts in Memphis and Jackson. The OVC is headquartered in Brentwood, Tennessee (just south of Nashville).

In addition, Gray’s Matrix Midwest in St. Louis and Cape Girardeau, Missouri, will serve hometown viewers of OVC’s Southeast Missouri State University, Southern Illinois University Edwardsville and Lindenwood University, while Gray’s Illinois stations in Champaign, Peoria, Quincy, and Rockford are excited to serve fans of OVC’s Western Illinois University and Eastern Illinois University.

Gray’s Indiana stations in Evansville, Ft. Wayne, South Bend, Lafayette and Terre Haute will focus on the University of Southern Indiana, and Gray will also bring the package to fans of Morehead State University in Lexington, Kentucky.

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

The device was launched during the just completed IBC 2026.

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

Features include:

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

More information is available on the company’s website.

BIRMINGHAM, Ala.—The Southwest Athletic Conference has expanded its SWAC TV with the launch of a dedicated FAST channel, increasing the accessibility and national reach of its programming.

SWAC TV will now be available via Prime Video, Plex, Xumo Play, Amazon Fire TV, Google TV and Dingo TV at no charge. The conference intends to announce more distribution platforms going forward.

“Expanding SWAC TV across leading FAST platforms represents a transformative moment for our conference and is a direct reflection of the tremendous support our fans have shown for SWAC programming,” said SWAC commissioner Charles McClelland. “The growth in our viewership has positioned us to take this significant next step and provide even greater access to our content on platforms that millions of consumers use every day.”

The expanded distribution of SWAC TV represents another major step in the conference's ongoing investment in digital media and broadcast programming. Through the FAST channel, viewers will have access to live sporting events, original programming and additional content highlighting the SWAC's 12 member institutions and 18 conference-sponsored sports.

SWAC has partnered with Triple B Media to operate and distribute the SWAC TV FAST channel across participating platforms.

The SWAC TV FAST channel will officially begin its live sports programming with action from week three of the 2026 college football season on Saturday, Sept. 19.

The FAST channel will complement the conference's existing SWAC TV distribution and provide an additional avenue for fans, alumni and supporters to follow their favorite programs while significantly expanding the potential audience for SWAC athletics.

More information is available on the conference’s website.

As live sports proliferates on streaming platforms and more viewers are watching live sports, new research from Premion and Advertiser Perceptions finds that demand for live sports streaming/CTV ad inventory is also growing.

The survey found that nearly three-quarters (73%) of advertisers plan to allocate budget to live sports streaming/CTV advertising over the next 6–12 months, driven by engaged fans and major live events. Agency demand is even stronger, with 79% planning to invest, compared with 65% of marketers, the study found.

At the same time, the study also indicated that advertisers also want better measurement, stronger proof of ROI and simpler ways to navigate an increasingly fragmented sports marketplace as they ramp up those investments.

“Live sports continues to deliver something incredibly valuable for advertisers: passionate audiences showing up in real time,” said Blake Hebert, head of publisher operations, Premion. “As more sports viewing moves to streaming, advertisers want to capture that engagement with greater precision, accountability and local relevance. The opportunity now is to make live sports easier to access, measure and prove across an increasingly fragmented landscape.”

Six in 10 advertisers (61%) say reaching highly engaged sports fans during live events is a top reason for investing in live sports streaming, making it the leading investment driver. More than half (52%) also point to capitalizing on live sporting events that draw large audiences.

The appeal goes beyond engagement and scale. 41% cite aligning their brands with premium live sports content, while 40% are looking to extend the reach and impact of linear TV campaigns and 37% want to connect with streaming-first or cord-cutting sports fans. The findings reinforce streaming’s growing role in extending linear reach and connecting advertisers with shifting sports audiences.

57% of advertisers rank audience delivery and geographic reporting down to the local market among their most important measurement capabilities, higher than any other capability tested. That local focus signals that advertisers want to know not only that they reached sports fans, but that they reached the right audiences in the markets that matter, the researchers reported.

Accountability also ranks high. 52% prioritize attribution following exposure to live sports advertising, while 49% prioritize transparent reporting across publishers and inventory sources. Another 49% prioritize measuring incremental reach beyond linear TV. The expectation is clear: prove audience delivery, quantify streaming’s incremental reach and connect exposure to outcomes.

The survey also found that four in 10 advertisers (40%) are investing in live sports streaming to extend the reach and impact of linear TV campaigns, while nearly half (49%) prioritize measuring incremental reach beyond linear TV.

The findings underscore how streaming and linear are increasingly working hand in hand. As sports audiences spread across screens, streaming helps advertisers extend linear reach while adding greater targeting and measurement, the researchers said.

In terms of barriers to investment, the survey indicated that cost is the top obstacle to greater live sports streaming investment. That factor was cited by 44% of advertisers, with difficulty measuring campaign performance and ROI close behind at 41%.

Other hurdles reflect the complexity of today’s sports marketplace. 35% cite a lack of transparency into campaign delivery and reporting, while 34% point to the complexity of buying across multiple publishers and platforms. Another 34% cite limited access to premium live sports inventory.

Notably, just 23% cite difficulty reaching sports audiences at sufficient scale, the lowest-ranked challenge. The gap is telling: reaching sports fans isn’t the primary obstacle. Cost, proving performance and navigating a fragmented marketplace are the bigger hurdles to greater investment.

“Our research shows advertisers already recognize the value of live sports streaming. The next step is removing the friction that can hold back greater investment, from buying complexity to transparency and ROI. Solving those challenges will help advertisers get more from live sports,” added Hebert.

Premion commissioned Advertiser Perceptions to survey 302 U.S. advertising decision-makers from August 3–11, 2026. Respondents were involved in media brand selection decisions and represented companies or clients with at least $1 million in planned advertising spend over the next 12 months. The sample included both agency and marketer respondents from the Advertiser Perceptions AdPROs Community and trusted third-party partners.

The full report is available here.

SACRAMENTO—CBS Sacramento (KMAX), and UC Davis Athletics have announced a new deal that will bring five 2026 UC Davis Aggies football games to the greater Sacramento area via free broadcast TV.

The five-game package gives fans free televised access to a UC Davis team that enters 2026 ranked No. 6 in the FCS. Under third-year head coach Tim Plough, the Aggies are coming off a 9-4 season and a fifth FCS playoff berth since 2018.

“This partnership reflects our commitment to showcasing the teams, traditions and institutions that matter most to Northern California,” said Scott Warren, regional president and general manager, CBS Sacramento and CBS Bay Area. “UC Davis is an important part of the fabric of our region, and we're proud to partner with the university to bring Aggies football free to viewers across the Sacramento area while helping connect more fans with the excitement of the season.”

“Expanding the reach and visibility of Aggie football throughout the Sacramento region continues to be a priority for our department, and this partnership with CBS Sacramento is an important step forward,” said Rocko DeLuca, director of athletics at UC Davis. “Providing free, over-the-air access to our games gives us another opportunity to grow our base of support, connect with UC Davis alumni throughout the Sacramento region and introduce even more fans to Aggie football.”

2026 CBS Sacramento / UC Davis Football Broadcast Schedule:

• Saturday, Sept. 19, 7:00 p.m., Stetson
• Saturday, Sept. 26, 7:00 p.m., Montana
• Saturday, Oct. 24, 4:00 p.m., Northern Colorado
• Saturday, Nov. 7, 4:00 p.m., Utah Tech
• Saturday, Nov. 21, 1:00 p.m., Cal Poly

ESPN is reporting strong viewing numbers for its U.S. Open coverage, with Sunday’s US Open Men’s Championship match between Ben Shelton and eventual champion Alexander Zverev attracting an average audience of 3.2 million viewers on ABC, the largest viewership on record since ESPN began televising the tournament in 2009.

Viewership peaked at 4.0 million from 5:30-5:45 p.m. ET.

Earlier, Saturday’s Women’s Championship, won by Elena Rybakina over Aryna Sabalenka, averaged 2.7 million viewers, peaking at 3.2 million from 6:30-6:45 p.m. The audience was up 13% year-over-year (YOY) and was ESPN’s largest since 3.4 million watched Sabalenka and Coco Gauff in 2023.

The Men’s and Women’s championships combined to average 3.0 million viewers, up 9% YOY.

The All-American Friday night Men’s semifinal match between Shelton and Frances Tiafoe averaged 3.1 million viewers, peaking at 3.7 million between 10:45-11 p.m., the largest Men’s semifinal audience on record for ESPN. The earlier semifinal match with Zverev defeating Karen Khachanov averaged 1.2 million, with the two semifinals combining to average 2.2 million viewers, up 19% YOY.

Overall, the event ranks as ESPN’s most-viewed US Open since 2022. The two-week long tournament across ESPN networks (ABC, ESPN, ESPN2) averaged 1.2 million viewers, a 4% increase YOY.

Other key viewing figures include:

• ESPN delivered its largest US Open opening day audience ever on ESPN, ESPN2 and ABC, 914K avg. viewers, up 13% YOY. Action on ABC averaged 1.25M avg. viewers, up 7% vs. 2025.
• The second round drew 834K avg. viewers on ESPN/ESPN2
• Third round across ESPN and ESPN2 averaged 1.1 million, up +27% from last year and also standing as the most-viewed since 2022. ESPN2’s Saturday daytime telecast averaged 1.0 million viewers, up +31% from the comparable telecast last year, while ESPN2’s prime window (1.1 million viewers) was up +43%.
• Through the completion of the third round on Saturday, Sept. 5, ESPN had recorded its most-viewed since 2022 (avg. 846K)
• Third round viewership was boosted by Serena and Venus Williams competing in doubles during primetime, attracting an average audience of 1.2 million (peak 2.2 million from 10-10:15 p.m.) as they lost a three-set match to Hao-Ching Chan and Maya Joint.
• Tournament average (through Women’s Semifinals): 1.0 million viewers, up 2% YoY, ESPN’s most-viewed US Open since 2022
• Quarterfinals average: 1.3 million viewers
• Tuesday primetime Quarterfinals window (7:30 p.m. – 3:40 a.m.): 1.6 million viewers, featured latest-finishing match in US Open history
• Women’s Semifinals: 2.2 million viewers, up 24% YoY, most-watched US Open Women’s Semis in ESPN history
• Women’s Semifinals peak (9:45-10 p.m. ET, Gauff vs. Rybakina): 2.6 million viewers

ATLANTA—Gray Media and the Cleveland Cavaliers announced a deal with DAZN that will allow Gray to broadcast 15 regular season Cavaliers games on free, over-the-air TV during the 2026-27 NBA season.

The 15-game package is a simulcast of the games available for free that are in front of the Cavaliers on DAZN paid subscription paywall offering.

The games will air locally in Cleveland on Gray Media’s stations, WOIO (CBS 19) and WUAB (MyNet 43), and statewide on Rock Entertainment Sports Network.

Rock Entertainment Sports Network is a collaboration between Gray Media and Rock Entertainment Group, which owns the Cleveland Cavaliers, Cleveland Sirens, Cleveland Monsters, and Cleveland Charge.

In addition, Gray stations in other markets, including Cincinnati, Ohio; Lima, Ohio; and Parkersburg, West Virginia will also air the 15-game package. Gray will seek additional third-party broadcasters to air the games in other parts of the territory where Gray does not own or operate television stations.

“We are absolutely thrilled to partner with the Cavaliers and DAZN to bring world-class basketball straight to our viewers' living rooms completely free of charge,” said Chris Conroy, general manager of WOIO/WUAB. “Local sports belong on local television, and this historic agreement delivers for Cavs fans.”

WUAB has a long history of broadcasting Cavaliers games and a nostalgic legacy of carrying Cleveland Indians baseball. Live Cleveland Cavaliers basketball adds to a lineup that has featured the Cleveland Browns, Columbus Blue Jackets hockey, college football, NCAA March Madness, and events like The Masters.

“In partnership with Gray and DAZN, we've built the most enhanced and accessible broadcast ecosystem we've had in years,” said Nic Barlage, CEO of Rock Entertainment Group, Cleveland Cavaliers and Rocket Arena. “Our fans are at the core of every decision we make, and this season we're proud to triple the number of games available for free, over-the-air on Gray's local stations and Rock Entertainment Sports Network.”

The current schedule provided below is subject to change. The broadcast schedule will include pregame and postgame coverage.

• Mon. October 26, 2026 - Minnesota at Cleveland 7:00 PM (WUAB)
• Thur. October 29, 2026 - Cleveland at Atlanta 7:00 PM (WUAB)
• Mon. November 2, 2026 - Oklahoma City at Cleveland 7:00 PM (WOIO-CBS)
• Sat. November 14, 2026 - Dallas at Cleveland 7:30 PM (WOIO-CBS)
• Sat. December 12, 2026 - Golden State at Cleveland 8:00 PM (WOIO-CBS)
• Fri. December 18, 2026 - Cleveland at Detroit 7:30 PM (WOIO-CBS)
• Wed. December 23, 2026 - Cleveland at Washington 7:00 PM (WOIO-CBS)
• Sat. January 2, 2027 - Cleveland at Charlotte 1:00 PM (WOIO-CBS)
• Sat. January 23, 2027 - Cleveland at Dallas 8:00 PM (WOIO-CBS)
• Fri. January 29, 2027 - Cleveland at Toronto 7:00 PM (WOIO-CBS)
• Sat. February 6, 2027 - Orlando at Cleveland 7:30 PM (WOIO-CBS)
• Sun. February 14, 2027 - Phoenix at Cleveland 1:00 PM (WOIO-CBS)
• Tue. March 9, 2027 - Cleveland at Detroit 8:00 PM (WOIO-CBS or WUAB)
• Sun. March 14, 2027 - Cleveland at Sacramento 6:00 PM (WOIO-CBS or WUAB)
• Sun. April 4, 2027 - Charlotte at Cleveland 3:00 PM (WOIO-CBS or WUAB)

As a veteran of 25-plus IBC Shows over the past nearly 30 years, I can attest that navigating the annual gathering has its own particular quirks that distinguish it from the NAB Show, particularly the tone of the locale. Apart from the fact that Amsterdam is the “wet and humid” show and NAB is the “dry” show (but only when talking about the climate), IBC also represents a more relaxed tone that reflects the nature of the ancient city itself.

Nevertheless, most of the themes were similar, and before we set our sights on the next gathering (NAB Show New York), I wanted to share some of my thoughts around the central themes:

AI: IBC reported 41,225 attendees for the show, which ran Sept. 11-14 at the RAI Amsterdam, down 6% from 2025. Although consolidation, particularly among U.S. broadcasters, is often cited as one of the main reasons for the decline, I also think it represents a cooling off from the past three or four years, when interest was higher after COVID. (That’s not to mention that the number of attendees from the U.S. has declined since trade shows resumed in 2022.)

But I also think artificial intelligence is playing a role, as more processes become automated. I was reminded of this after hearing Grass Valley Chief Technology Officer Ian Fletcher’s rule that “complexity doesn’t go away, it just moves around.” As the process of media management, production and distribution becomes more automated and software-based, more people are moved out of the media production chain.

Seeing a software demo on the show floor can certainly have more impact than over Zoom, but is it still worth the cost of travel?

This is an ongoing issue that won’t be resolved by the oft-repeated trope that those same people who were doing rote tasks are simply being moved to other areas where they can “focus on other more important work.” Attrition is real and growing.

Collaboration: In our industry, companies have a long history of partnering with competitors, but that seems to be increasing—and this is more of a reflection of the increasing focus on software.

Nowhere was this better illustrated than by the growing influence and impact of MXL (Media eXchange Layer), a critical component of the EBU’s Dynamic Media Facility initiative. Tech demos showcasing partnerships between Grass Valley and Lawo, Matrox and EVS, as well as multivendor demonstrations at the Techex, Qvest and AWS stands, just to name a few, demonstrated how quickly MXL is moving beyond the proof-of-concept stage toward real-world deployment.

The EBU-led MXL initiative also received significant recognition at IBC, winning an IBC 2026 Innovation Award in the Content Creation category. The growing number of vendors incorporating MXL into commercial products and demonstrations suggests the technology is increasingly becoming part of the broader software-defined media ecosystem.

Cybersecurity: Alarmed over recent news of disruptions created by “rogue” AI agents, the security of media production systems was also top of mind for many attendees. As more media and media processing moves into the cloud, concern over potential vulnerabilities increases. This has prompted more production to become hybrid-based, with certain content and processes stored both in the cloud and on-prem.

It has also led to more interest in “MCP,” or Model Context Protocol, a framework that allows customers to establish guardrails to limit information accessible to AI agents.

Tariffs: The “T-word” was back, having been overshadowed by AI and the memory and chip shortages that were the talk of earlier shows. With many of the media tech industry’s largest companies based in Canada, President Donald Trump’s recent imposition of a 50% duty on targeted goods has forced some vendors to raise prices. And although some goods are exempt and vendors are attempting to absorb costs, the tariffs—along with the continued pressure on memory and chip availability worldwide—are cause for concern. However, the increased influence of software-defined production is helping to ameliorate the impact.

I’ll share more of my thoughts about my conversations with IBC exhibitors in the October issue of TV Tech.

MELBOURNE—The 2026 NFL Melbourne Game on Netflix, pitting the San Francisco 49ers against the Los Angeles Rams, averaged 18.5 million viewers in the U.S. according to Nielsen Big Data Plus Panel ratings.

Viewership peaked at 21.3 million viewers in the U.S. from 9:30 p.m. to 9:45 p.m. ET. That ranks the game among the top three most-streamed Thursday primetime NFL games.

The 49ers-Rams matchup averaged 4.0 million viewers among persons 18–34, the highest non-Christmas streaming delivery for an NFL regular season game, per Nielsen data plus first-party data from Netflix. Netflix now holds the top four highest-rated regular season NFL games among adults 18–34, including Christmas Day games.

Globally, the matchup drew 21.7 million viewers, with fans from more than 200 countries and territories tuning in for the first-ever regular season NFL game played in Australia.

49ers-Rams garnered over 14.5 million engagements across Netflix and NFL social channels.

The game was the most-watched NFL game ever in Australia.

Official attendance for 49ers-Rams was 100,021 at the Melbourne Cricket Ground, ranking as the seventh-most-attended regular-season game in NFL history.

PORTSMOUTH, N.H.—The tendency of younger viewers to spread their disposable time across more platforms and types of content than any other generation hasn’t reduced their interest in watching sports, according to Hub Entertainment Research.

Hub’s latest wave of “Evolution of Sports: What’s the Score?” research finds sports viewership is up, and it's rising fastest among younger fans.

Fans age 18 or younger are about seven times more likely to say they're watching more sports on TV than they were a year ago, rather than less—more than double the ratio seen among fans overall.

Among teens who say they're watching more, more than two in five respondents credit a genuine, growing interest in sports overall or in a specific team or athlete.

Older fans (age 55–74) are more likely to point to simply having more free time—not rising interest—as the reason for increased viewing.

“One factor driving the success of sports today: younger fans are just more interested than the generation before them,” said Jon Giegengack, a principal at Hub and one of the study authors. “But as with scripted content, their fandom is diffused across multiple kinds of media and content. It shows up as a YouTube stream, a group chat during the game, watching live stats on social while the game is on. The industry is built to reach the fan who plans their Sunday around kickoff. Now they need to adapt to fans that watch the game on TV and spend the rest of the week following it everywhere else.”

The research also suggests fans are finding sports through creators and social platforms, not appointment viewing. For younger fans, social platforms aren't a supplement to sports coverage, they're becoming the main event, Hub said.

The survey found that 45% of fans under 35 get “most” or “all” of their nonlive sports content from social media, more than four times the rate among fans 55 and older.

In addition, creators are increasingly carrying the games themselves, not just the highlights: during the FIFA World Cup, a single YouTube channel in Brazil streamed 104 matches—more than twice as many as the country's national broadcaster.

For younger fans, the second screen is part of the game, not a distraction from it, the study found.

With scripted TV, a phone in hand usually means divided attention. Sports works the other way: the second screen is mostly pointed back at the game. And that is far truer for young fans than older ones.

Among fans 13–34 who use social media during a live game, 62% say what they are doing on that second screen is about the game itself. Among fans 55–74, only 33% say the same.

The gap is widest on the most-social behaviors: 65% of younger fans posting to social during a game are posting about that game, versus 29% of older fans. Purpose-built tools are game-related for nearly everyone, with 89% of 13-to-34-year-olds and 85% of 55-to-74-year-olds following live stats saying it is about the sport they are watching.

These findings are from Hub's “Evolution of Sports: What’s the Score?” Wave 6 report, based on a survey of 3,814 U.S. sports fans ages 13–74, conducted in July.

AMSTERDAM—Chyron has partnered with Matrox Video for key presentations at IBC 2026 and is using several Matrox Avio 2 IP KVM extenders as part of its demonstrations.

“We work selectively with a number of vendors to create best-in-class solutions for important proof-of-concept and trade show presentations," said Jason Awerman, senior director of global customer success, IT and manufacturing at Chyron. “We are delighted to include Matrox Video in our portfolio of trusted partners. Matrox Video is known for the things that are important to Chyron customers, including true interoperability and a scalable architecture.”

Chyron is showing multiple solutions at its stand, including live-to-air graphics, HTML graphics, illustrated replay, virtual placement, weather presentations, venue display control, sports tracking, desktop-to-air tools, newsroom integration, maps and charts creation and virtual sets.

It is using several Matrox Avio 2 IP KVM extenders to enable seamless transitions from one demonstration to another. Designed for broadcast and live production environments, Avio 2 gives operators responsive access to production systems while allowing those systems to remain centralized and shared. Support for IPMX, SMPTE ST 2110 and NMOS enables Avio 2 to integrate into standards-based broadcast IP environments rather than operating as a separate KVM infrastructure.

“We’re excited to work with Chyron to bring Avio 2 into more broadcast production environments,” said Alberto Cieri, senior vice president of sales and marketing at Matrox Video. “Together, we’re combining Chyron’s proven production solutions with open, standards-based IP KVM that gives broadcasters more flexibility in how operators access and control the systems they rely on.”

The ongoing IBC 2026 concludes on Sept. 14.

See Chyron at IBC 2026 stand 7.A23 and Matrox Video at stand 7.B15.

More information is available on the Chyron and Matrox Video websites.

AMSTERDAM—Ikegami has unveiled four additions to its UNICAM XE range of 4K cameras, including the UHK-X700VN, UHK-X750VN, UHK-X600VN and UHK-X650VN here at IBC 2026, Sept. 11-14.

Developed from the established UHK-X700, X750, X600 and X650 broadcast and professional video production cameras, the VN versions offer new creative features normally associated with digital cinematography, including seamless depth of field adjustability, Bokeh effects and seamless exposure adjustment.

Integral to the VN models is an advanced variable neutral-density filter that allows camera operators to maintain their existing iris setting and depth of field while precisely controlling exposure, regardless of changes in the amount of incoming light. This supports a wide range of creative applications, including naturally blurring the background to emphasize the subject. Applications include reducing interference patterns when shooting LED walls in news studios or in virtual production environments.

Conventional variable neutral-density filters typically cause light loss when switched from a clear-filter state to variable neutral-density operation. The new cameras employ a proprietary Ikegami filter structure to provide seamless and stepless variable neutral-density control, starting from a zero-attenuation state.

This minimizes the exposure shift and changes in image characteristics that can occur when variable neutral-density control is initially engaged. Exposure can thus be adjusted even during live production, maintaining the desired iris setting and depth of field as well as providing greater creative freedom.

The VN cameras include new control modes based on the variable neutral-density filter. Among these is a mode allowing the operator to define the variable range of the lens iris. This is particularly effective when maintaining optimal optical lens performance as a priority or when a specific depth of field is desired.

In addition, an automated mode delivers continuous exposure control across a wide range by enabling simultaneous control of the variable neutral-density filter, lens iris and electronic gain. The camera system optimizes exposure while maintaining the operator's desired visual characteristics.

The UHK-X700VN incorporates 2/3-inch CMOS 4K sensors with global shutters to eliminate rolling shutter distortion and flash-banding artifacts. It includes full support for HDR imagery with HLG as well as BT.2020 and BT.709 chroma spaces.

When combined with the BSX-100 base station, the UHK-X700VN optionally supports simultaneous output in 4K and HD video formats, including mixed sources. 4K video is available as a 12G-SDI feed directly from the camera head, allowing the UHK-X700VN to be integrated into a wireless system. High frame rate shooting at up to 2x speed in 4K or up to 8x speed in HD via the base station is possible as an option for applications such as capturing fast motion in sport or stage events.

The UHK-X750VN is a full studio camera with all the UHK-X700VN features except those that apply to portable shoulder operation. It offers a lower center of gravity than the UHK-X700VN plus easier staging compared to a portable camera with telephoto lens and supporter.

The UHK-X600VN and UHK-X650VN are HD variants of the UHK-X600 and UHK-X650 respectively, upgradeable to native UHD by adding a software license key.

See Ikegami at IBC 2026 stand 12.A31.

More information is available on the company’s website.

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

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

Highlights of the solutions and technologies on display include:

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

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

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

BURLINGTON, Mass., and SUNNYVALE, Calif.—Avid and Google Cloud have expanded their strategic partnership with the introduction of browser-based Avid Media Composer and an upgraded Avid Content Core content data platform and are showcasing their agentic workflow at IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

By embedding Google Cloud’s Gemini Enterprise and Google BigQuery directly into Avid’s post-production environment alongside media-specific AI agents and Avid tools, creators can remove the constraints of physical hardware and administrative friction. As a result, editors and directors can collaborate seamlessly from anywhere, automate repetitive tasks and focus on storytelling.

Media production houses today face two competing pressures. Content demand is soaring, yet creative teams remain bogged down by administrative overhead. Editors often spend substantial portions of their day tagging footage, organizing timelines and searching through fragmented archives. Additionally, professional editing historically has required heavy, on-premises workstations, making adoption of remote global collaboration slow and cost-prohibitive.

The next phase of the Avid and Google Cloud partnership embeds Gemini Enterprise directly into Media Composer and Content Core to accelerate the creative process. Connecting an intelligent, searchable media archive directly to a browser-based timeline X streamlines media discovery and timeline organization bottlenecks.

The expanded partnership included four tech integrations, including:

• Browser-based Media Composer and agentic editing, making the editing solution available in the Google Chrome Browser, enabling creators to edit timelines in Avid Content Core. Within Media Composer, agentic AI capabilities in Avid’s Ready to Edit allow editors to use natural language prompts to sync media, transcribe and align dialog and organize project bins, putting the focus back on editorial storytelling.
• Semantic search in Content Core to speed up media discovery. Using Google Cloud technologies to analyze and enrich media as it is imported, Avid Content Core and Gemini Enterprise automatically generate transcripts and semantic descriptions, eliminating hours of manual logging.
• Connected workflows from newsroom to timeline. Through Content Core Insights—built with Gemini Enterprise and BigQuery—organizations can bridge the data gap between how content is produced and how it performs. Newsrooms can plan stories and assign teams in Content Core Planning and Rundown, which coordinate assignments, resources, and program rundowns, while editors can pull matching footage into their timelines via natural language search. Final cuts then sync back to broadcast programming.
• Flexible, secure hybrid cloud deployment. The Avid Content Core Site Engine links customer Google Cloud environments directly to Content Core, ensuring media processing, production intelligence and agentic workflows are managed centrally, while compute and high-res assets remain in the user’s own cloud environment.

See Avid at IBC2026 stand 7.B59 and Google in the Accelerator Program location in Hall 14 and Content Everywhere community in Hall 5.

More information is available on the Avid website.

HEBDEN BRIDGE, England—Calrec Audio will introduce the Type RT range of broadcast consoles at IBC2026, held Sept. 11–14 at the RAI Amsterdam Convention Cent4er. The compact, self-contained units condense all essential broadcast features into models featuring 6, 12, or 18 motorized faders, the company said.

The launch is part of the wider IP ecosystem Calrec will exhibit The new console is built around Calrec’s established Argo consoles, which allow broadcasters to build productions their own way, sizing their investment to the project, the company said.

Type RT relies on proven Calrec technology and is suitable for such applications as stadiums and sports venues, radio stations, local TV/podcast studios, corporate events and houses of worship, the company said. Type RT combines the best of Calrec’s Argo and Type R platforms in a ready-to-use, self-contained console, it said.

Built-in features include DSP, control processing, comprehensive I/O, monitoring and integrated USB audio connectivity. Created as an accessible entry point into the Calrec IP ecosystem, Type RT is well-suited for new users who want the confidence of proven broadcast audio performance in a straightforward, all-in-one unit, Calrec said.

Built for fast deployment, Type RT is a compact, fanless tabletop console that ensures silent operation, delivering professional live broadcast performance in environments where space, time and budget matter, according to Calrec.

Dedicated information and metering displays beneath each fader give clear, instant visual feedback. The user-configurable control and monitoring panel features up to 138 assignable buttons, 24 rotary encoders with dedicated displays, three ancillary displays and a four-inch TFT screen with user-configurable meters, putting critical controls and status information where needed.

Calrec's Medium Capacity Card delivers native SMPTE ST 2110 AoIP connectivity with full support for existing Calrec AoIP boxes. Dante is available via an optional card, and MADI via a software license.

Type RT combines optional True Control 2.0 for remote production and ImPulseV virtualized DSP in an ultra-compact form factor. Calrec Assist, the browser-based control interface, is included as standard.

Large and small soft panels from the existing Type R line are fully supported, with one soft panel per six-fader section as standard.

Every model shares the same capability, I/O and licensing options, so users can choose the surface size that suits their needs and budget rather than compromising on performance.

The company will also unveil Apex M6 at IBC. Apex M6 is a compact, cost-effective 1U modular I/O platform for audio interfacing, routing, bridging and network edge connectivity.

Designed to expand and extend connectivity across broadcast audio infrastructures, Apex M6 supports ST 2110-30, AES67, Dante, MADI, SDI, Waves SoundGrid AES3 digital formats and analog workflows.

The platform can be deployed independently of Calrec consoles, making it a good solution for broadcasters transitioning to IP, expanding existing networks or integrating mixed-format environments, the company said.

Apex M6 works with Calrec's full range of consoles while opening opportunities in standalone conversion, virtualized workflows and multivendor environments. Its 512-512 channel internal router allows any input to be sent directly to any output without patching signals back through the network, while NMOS-native operation ensures interoperability across multi-vendor ST 2110 ecosystems.

The company will also preview a series of Argo and ImPulseV software enhancements at the convention that reinforce its commitment to the EBU Dynamic Media Facility project and give broadcasters more freedom in shaping infrastructure around their priorities.

See Calrec at IBC2026 stand 8.C47

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.

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

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

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

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

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

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

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

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

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

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

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

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

LOS ANGELES—Tiger Commercial & Industrial (C&I) has announced that it will offer more than 500 lots of high-quality audiovisual and broadcast-production equipment from a national broadcasting studio in Eden Prairie, Minnesota.

The timed online auction features more than 500 lots of diverse equipment and gear with an original at-cost value of approximately $1.5 million.

Bidding opens on Tues., Sept. 15, at 10 a.m. (CT) and closes on Tues., Sept. 22, at 10 a.m. (CT) at SoldTiger.com.

“Tiger is pleased to have been selected to auction a complete studio broadcast facility,” said Jonathan Holiday, senior director of Tiger C&I, a division of Tiger Group. “All the gear and support equipment is in excellent condition and was manufactured by premier brands in the industry. This is a perfect opportunity to purchase from the sale and immediately put equipment to use in active productions.”

The auction features broadcast cameras, lenses, lighting, LED-wall technology, audio and video equipment, complete control rooms, camera-support systems, jib cranes and studio infrastructure from leading manufacturers, including Sony, Fujinon, Absen, Chroma-Q, Kino-Flo, ETC and Vinten. “The scale and depth of available equipment is a strong draw for TV stations, production companies, corporate media departments, rental houses and other buyers looking to expand capacity well below new-equipment cost,” Holiday said.

Highlights of the sale include:

• Professional Sony broadcast cameras and Fujinon lens packages
• Camera-support systems and pan-tilt heads
• Studio and field-production accessories
• Jib cranes and camera-movement systems
• Complete broadcast control-room equipment
• Large-format Absen LED video wall with controllers
• Video-processing and routing equipment
• Broadcast-monitoring and production systems
• Extensive inventory of studio and location lighting
• LED soft lights and space lights
• Fresnels, fluorescent fixtures and soft lights
• Professional theatrical and broadcast lighting equipment
• Pipe grids and chain hoists
• Pallet racking and storage systems
• Standing sets and studio-support assets
• Office and facility equipment, including Konica copiers

Inspection is available by appointment on Mon., Sept. 21, from 10 a.m. to 4 p.m. (CT) in Eden Prairie, Minnesota.

To arrange an inspection or obtain additional information, email support@soldtiger.com or call (805) 497-4999.

Asset photos, descriptions, bidding and additional information are available here.

Sony will feature its latest technology for news, cinema, immersive and live production, including its R-Series broadcast system cameras, SRG-AS10 and SRG-XS10 auto-framing PTZ cameras and its latest networked live and software-defined broadcast innovations, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Other tech developments on display will be:

• The new DP7 and DP5 controllers, FX5 Cinema Line camera and current development of the RIALTO 65 image sensor block expanding VENICE 2 to 65mm format.
• Cinematic Live's color-matched Cinema Line and HDC cameras showcasing a broad portfolio for cinematic live production.
• The fourth generation DWX series digital wireless microphone system, DWT-B40 and DWR-R40Q.
• Spatial content production solutions, OCELLUS camera-tracking system V2.0 and XYN
• HawkREPLAY delivering rapid turnaround to air with enhanced zoom and hold keyframe and HawkNEST improving fast 9:16 social exports for quicker content delivery.

Sony will also present several use cases in specific applications, including cinematic live, AR and IP broadcast studio, immersive production, AI-powered streaming studio and podcasting.

For news, Sony will feature an expanded range of data transmitters, including its previously announced collaboration with LiveU and additional demonstrations with Dejero and TVU Networks, designed to enhance transmission efficiency from the field. It will also show its latest version of a camcorder with remote-control capabilities to broaden its range of applications.

Sony's live production solutions will demonstrate how broadcasters, production teams and content creators can deliver higher-value productions with greater flexibility and operational efficiency. Next-generation system cameras will be on display, including the newly launched R-series, and the latest AI PTZ auto-framing cameras, including the BRC-AM7 for broadcast.

The BRC-AM7 demo will highlight version 3.1 firmware featuring improved tracking performance in Ball Sports (Basketball) mode, enabling smoother shooting and camera operations.

The company will also showcase the evolution of virtual and spatial content production with its latest camera tracking system OCELLUS with Crystal LED VERONA. CAPRI will be on display separately. Based on customer feedback, the upcoming OCELLUS FW V2.0 supports lens calibration and automatic offset measurement functionality to measure the positional relationship between the camera and tracking sensor. Sony’s XYN Spatial Capture solution enables real-world spaces to be captured and transformed into high-quality 3DCG assets.

Sony continues to expand its Digital Imaging and Cinema Line portfolio, with the latest Cinema Line Camera FX5 and RIALTO 65 image sensor block making show debuts. Designed to enhance creative flexibility, the FX5 features a newly developed fully stacked CMOS image sensor, while new DP7 and DP5 monitors deliver accurate color reproduction and remote camera control.

Company representatives will also lead two sessions in the Showcase Theater in Hall 3, including: "A Software Revolution: The Future of Broadcast,” Sept. 12, 4-4:20 p.m., and "The New Frontier: Redefining Multi-Camera Virtual Production,” Sept. 11, 5:15-5:35 p.m.

See Sony at IBC 2026 stand 13.A10.

More information is available on the company’s website.

SAN FRANCISCO—Dolby Laboratories will feature updates for Dolby OptiView, the company’s live sports platform, during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The updates include new AI-powered intelligence to understand what drives fan engagement, the debut of Dolby Vision on the platform and greater flexibility for Dolby OptiView Ads.

The Dolby OptiView platform is designed to deliver more engaging live sports experiences. It gives teams, leagues and streamers capabilities that enable a better understanding of their audiences. The platform also allows them to create personalized experiences, unlock monetization opportunities and deliver premium-quality live content that keeps fans watching.

Dolby Vision is now available through Dolby OptiView for the first time, bringing stunning brightness, contrast, color and detail to live sports. Dolby Vision helps fans experience every moment with greater clarity and realism. The Seattle Seahawks are the first team to introduce Dolby OptiView with Dolby Vision, bringing exclusive live programming and preseason coverage directly to fans through the official Seahawks app and Seahawks.com.

The company also is expanding Dolby OptiView Ads beyond the Dolby OptiView Player, enabling support for additional video players. As a certified server-guided ad insertion solution verified within the Google ecosystem, Dolby OptiView Ads helps publishers maximize monetization while maintaining a high-quality viewing experience.

In one deployment with a major sports organization, the solution delivered an average 76% increase in eCPM and an average 132% increase in fill rates. In-stream ad formats help providers make more effective use of their ad inventory while keeping live action visible during ad delivery, reducing disruption for viewers.

See Dolby Laboratories at IBC stand 5.F86.

More information is available on the company’s website.

PARAMUS, N.J.—Sony Electronics has announced the DWT-B40 bodypack transmitter and the DWR-R40Q rack-mount receiver, the latest additions to the DWX Digital Wireless Microphone Series.

With this generation of the DWX Series, channel setup and pairing can be performed through straightforward operations, making the products suitable not only for professional production environments but also for a broader range of applications, such as large and small scale studio operations and a variety of live events.

The new series achieves enhanced transmission reliability through improved RF stability and audio transmission over long distances. The DWT-B40 newly incorporates an in-transmitter audio recording function powered by Sony's technology that enables distortion-free backup recording within the transmitter itself.

This series delivers professional-grade high performance at a competitive price, making it well-suited for a broader range of production applications. In terms of transmission reliability, enhanced interference resistance and low-noise RF output waveforms ensure consistent and stable operation even in challenging RF environments.

The DWT-B40 supports a maximum transmission power of 50mW, based on region, enabling stable long-distance audio transmission without the need for an external power source, and can be used at high transmission output in environments that demand long-range transmission.

The DWT-B40 offers flexible audio transmission options tailored to diverse production needs — from settings that deliver quality sound with low latency, to modes optimized for maximum transmission reliability in demanding broadcast and sports environments.

The DWR-R40Q employs high-performance RF technology in its receiving circuitry, significantly improving transmission stability and delivering reliable performance even in RF-congested environments. In addition, its four-antenna diversity mode further enhances transmission stability.

The series enables frequency configuration and pairing for four channels with just a few simple button operations. This intuitive workflow makes the products easy to operate for any user, allowing operations to begin almost instantly.

The DWT-B40 now supports power supply via lithium-ion batteries (sold separately) and USB, offering greater flexibility and convenience in securing power on location. Condenser microphones can be connected directly to the transmitter, with a +48V phantom power supply also available.

The DWR-R40Q supports four-channel true diversity reception in a 1U form factor, contributing to efficient use of rack space. It also supports a Dante audio network with an expanded set of four output ports, providing flexible output options that accommodate diverse user workflows while delivering more stable IP connectivity and retaining analog XLR connections to support conventional operations.

The two new DWT-B40 and DWR-R40Q are expected to be available in March 2027.

More information is available at the company’s website.

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

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

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

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

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

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

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

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

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

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

With the NFL season starting on Weds. Sept. 9, a new study from Guideline is projecting another year of hefty ad sales growth, with 8% growth in ad revenue for the 2026-2027 season compared to last year.

Guideline is projecting that total ad revenue will hit $6.3 billion, with the inaugural Thanksgiving Eve game expected to generate $48 million in revenue.

That comes after 7% YoY growth in ad revenue in the 2025-2026 season, which hit a record $5.9 billion. Regular season ad revenue was up 6% YoY last year while playoff ad revenue was up 13% YoY.

"Overall ad demand looks healthy headed into the 26/27 season,” explained Sean Wright, chief insights and analytics officer at Guideline. “Upfront commits are pacing up double digits ahead of where they were last year, partly driven by increases in pricing, partly in a surge of new ad budgets. We'll see how much ultimately gets booked but right now, the regular season is shaping up to be another potentially record setting year."

Guideline also reported that in 2025-2026, streaming-exclusive games accounted for 13% of full-season revenue, nearly double the 8% share from two seasons ago. Overall, streaming-exclusive network ad growth was up 6% YoY in last year’s 2025-2026 season.

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

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

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

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

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

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

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

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

More information is available on the NVIDIA and NDI websites.

NEW YORK—Media software technology provider Dalet has promoted Brian Doheny to chief executive officer.

Doheny had joined the company in April as president and chief revenue officer, leading the company’s go-to-market and customer experience organizations. As CEO, he will lead Dalet’s global strategy and operations.

Dalet provides enterprise media asset management systems, newsroom computer systems and content supply-chain orchestration platforms to broadcasters, studios and enterprise content owners.

“Since joining Dalet, I have had the opportunity to spend time with our customers, partners, and teams around the world, and one thing is very clear: the pace of change in our industry is only accelerating, and Dalet is uniquely positioned to lead the way,” Doheny said. “Our opportunity is not simply to respond to that change. It is to anticipate it. We need to understand the challenges our customers face today, anticipate the ones they’ll face in the future, and how Dalet will help address them with speed and confidence.”

Doheny, a 30-year technology industry veteran, was chief revenue officer at risk management software provider Veriforce before joining Dalet. He also held senior leadership posts at TIBCO and Hewlett Packard Enterprise, among other companies.

“Brian has brought strong strategic focus and operational discipline to Dalet, while keeping customer value at the center of the company’s strategy,” said Will Brennan, managing partner of Dalet owner Long Path Partners. “His appointment as CEO reflects our confidence in his ability to lead Dalet through its next phase and ensure we continue to innovate around the evolving needs of our customers and the broader media industry.”

MUNICH– ARRI has unveiled SMPTE ST 2110 support for the ALEXA 35 Live multicam system, opening the system to fully IP-based broadcast studios, stadiums, high-end flypacks, and remote productions and will exhibit the development as well as its other enhancements for live entertainment workflows during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Delivered through Software Update Package (SUP) 1.5.0 for the Live Production System LPS-1, the new support brings ALEXA 35 Live directly into modern ST 2110 infrastructures through a permanent software license.

By combining ARRI’s cinematic image quality with open IP standards and proven live-production reliability, the update strengthens ALEXA 35 Live as a platform for the next generation of high-end media and entertainment workflows.

The ST 2110 implementation enables independent routing and control of uncompressed video, multichannel audio, and time-sensitive metadata over a 25GbE full-duplex connection. It can simultaneously transport two uncompressed UHD camera feeds alongside multiple HD or UHD return-video and return-AUX channels. Multiple HD streams also support HFR slow-motion acquisition over IP.

For resilient live production, the implementation includes seamless SMPTE ST 2022-7 redundancy. With two third-party SFP28 25GbE fiber-optic transceiver modules installed at the rear of the LPS-1, the unit maintains dual active network paths for automatic, glitch-free failover. Recommended transceiver modules are listed in the LPS-1 SUP 1.5.0 user manual.

Proven in demanding live-production environments

The LPS-1 ST 2110 architecture is designed for interoperability with broadcast ecosystems, including Riedel Communications infrastructure and SimplyLive production environments. Comprehensive AMWA NMOS support (IS-04, IS-05, IS-08, IS-09, BCP-003-01 and BCP-003-03) and Precision Time Protocol (PTP) enable automated discovery, connection management, audio-channel mapping, synchronization and secure operation across the media network.

Supported standards and protocols include:

• SMPTE ST 2110-10: System timing and synchronization (PTP)
• SMPTE ST 2110-20: Uncompressed active video transport
• SMPTE ST 2110-21: Traffic shaping and packet timing
• SMPTE ST 2110-30: PCM audio transport (AES67 compatible)
• SMPTE ST 2110-40: Ancillary data transport (captions, VITC, timecode)
• SMPTE ST 2022-7: Seamless protection switching (hitless redundancy)
• AMWA NMOS Suite: IS-04 discovery and registration, IS-05 connection management, IS-08 audio channel mapping, IS-09 system parameters, BCP-003-01 secure communication and BCP-003-03 authorization.

LPS-1 SUP 1.5.0 can be downloaded from the ARRI website. The LPS-1 ST 2110 license is available from the ARRI License Shop. It is priced at $8,735 (U.S.) or €7,500.

More information is available on the company’s website.

See ARRI at IBC2026 stand 10.A24.

BURLINGTON, Mass.—Avid has announced a major expansion of its award-winning Avid Content Core with new features that will enable media organizations to look beyond managing content to understand how it is produced, what it costs, and where resources deliver the greatest value.

At IBC2026 (RAI Amsterdam, September 11–14, Booth 7.B59), Avid will demonstrate Content Core’s new Insights, native asset management, agentic orchestration and its capabilities for deeper cloud integration. Those capabilities allow the platform to connect media wherever it resides, unlock new business insight, and power governed AI workflows across news and post production.

Launched at IBC2025, Avid Content Core is the industry’s first true cloud-native production platform that unifies asset identity, ingest, storage, metadata, orchestration, and rights information into a single intelligence layer.

It embeds enterprise-grade agentic intelligence directly into industry-trusted production workflows rather than treating AI as a standalone technology. By connecting people, media, and experience across the Avid portfolio, Content Core enables organizations to balance growing content demands with reduced budgets, automate routine processes, improve decision-making, modernize without disruption, and achieve a clearer understanding of the value of their assets.

“Avid has spent decades inside the real workflows of professional media, and that experience shapes how we think about AI," said Wellford Dillard, CEO at Avid. "We're not simply bolting on AI tools; we're connecting content with production and workflow context across cloud, hybrid, and on-premises environments so teams can find, prepare, and act on their media right inside the systems they already trust. Enterprise controls, human judgment, and editorial oversight aren't friction to engineer around - they're the foundation everything else has to work within. That's what intelligent innovation means at Avid: solutions that understand how media actually gets made, without asking anyone to rip out what already works.”

More specifically, the new capabilities being launched at IBC2026 advance Avid’s vision for Content Core as a data-driven foundation spanning the full content lifecycle.

By building context around the content, the people and resources involved in creating it, and the value it delivers, Avid is paving the way for media organizations to gain a clearer picture of their content's value. This approach brings together three areas that have traditionally remained separate: managing and understanding media, orchestrating production, and turning operational data into actionable business insights, the company explained.

One of the first demonstrations of this vision is Insights, a new capability designed to give media leaders visibility into production activity and associated costs.

Insights marks the first step in Avid's broader vision to connect production costs to business outcomes. Avid will demonstrate the first application of Insights at IBC2026, showing how organizations can use production data along with their own ERP data to forecast staffing and equipment requirements, identify underused resources, and allocate costs more accurately. This gives decision-makers a clearer understanding of what content costs to produce, how resources are being deployed, and where investment can deliver the greatest value.

By giving content a consistent identity and context as it moves from assignment through production and delivery, Avid Content Core provides the foundation for bringing together staff time, production activity, storage and technology costs and, over time, connecting them with what content earns. Avid will extend this further through integration with enterprise systems and data services, giving media companies a more complete view of production cost and return.

Avid is also expanding Content Core with native asset management capabilities that go beyond traditional MAM architectures.

Organizations will be able to index, search, manage, and work with content across their own storage and cloud environments without wholesale migration or consolidating entire media libraries into a single repository. Content Core can therefore build a common understanding of media while allowing organizations to retain control of where assets live.

This extends the original Content Core proposition of treating media and its associated production information as interconnected data rather than isolated files. The result is a richer layer of context that can include intent, assignments, versions, approvals, lineage and delivery state – information that can be used not only to find media but also to inform automation, decision-making, and future AI-driven processes.

During the show, Avid will also introduce Avid Assist, its new governed orchestration layer for agentic media production. Assist provides a framework for organizations to build and deploy agents that can automate real production steps while operating within enterprise controls, permissions, and approved AI environments. Rather than sending production work to disconnected AI tools, Assist is designed to allow automation to operate within the context of Avid workflows and systems.

The platform is LLM-agnostic, enabling customers to choose the technologies appropriate to their organization while maintaining governance over how automation accesses content and production information. Avid will demonstrate early Assist-powered experiences at IBC, with further applications planned across news and post production.

In addition, Avid is broadening its cloud strategy through closer collaboration with Amazon Web Services (AWS), Google Cloud, and Microsoft to provide organizations with an end-to-end cloud production environment while retaining choice over the creative tools their teams use.

Teams can access the same Content Core-managed media through Media Composer’s new browser-based editing capability, enabling workflows to extend seamlessly from search and selection through editing, high-resolution conform, and social publishing.

Avid Content Core Site Engine deploys within a customer's own AWS, Google Cloud, or Microsoft Azure environment, ensuring content stays under the organization's existing security, governance, and residency controls.

These developments extend the initial Content Core offerings, allowing users to go beyond finding content to understanding how content is used, what it costs to produce, and what value it creates – giving creative, operational, and business teams a shared foundation for making better-informed decisions. Platform-specific capabilities include:

• Avid Content Core, built on AWS, provides a scalable and unified foundation for media intelligence, metadata, and workflow automation across the media supply chain. New support for media stored in Amazon S3 and Amazon Bedrock allows organizations to accelerate content discovery, automate processes, and unlock greater value from their content.
• Content Core is built with Google’s Gemini models in Gemini Enterprise to deliver advanced video understanding and context-aware search. This allows customers to keep their media files in their cloud tenant while retaining advanced video understanding and search capabilities. Additionally, BigQuery powers Avid’s intelligent production analytics and operational intelligence.
• Microsoft Azure now supports Content Core deployments within customers’ own Azure environments. Microsoft Azure indexes and streams media directly from Azure Blob and Avid NEXIS Cloud.

Avid Content Core is fully available for customers to deploy today. Avid will demonstrate all new Content Core capabilities for the first time at IBC2026. To schedule a meeting or demonstration, visit www.avid.com/ibc.

SIEGEN, Germany—Guntermann & Drunck (G&D) and VuWall, both Panoptec companies, will introduce vsNEO, a new KVM-over-IP platform designed to simplify the deployment and operation of control rooms and broadcast environments, during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Built around the principle of simplicity, vsNEO creates a standalone KVM network that operates independently from the corporate LAN and eliminates the need for complex network configuration. The vsNEO-center controller provides network intelligence for every installation, including built-in DHCP, allowing connected devices to establish a dedicated, isolated KVM environment with minimal IT involvement. AES-256 encryption provides an additional layer of protection for KVM traffic.

At the heart of the platform is vsNEO-link, a universal transceiver that can operate as a transmitter, receiver, video wall node or multi-PIP KVM mosaic station using the same hardware device. This flexible architecture reduces the number of device types integrators need to specify, stock, deploy and support, simplifying both project design and long-term system management.

Designed for installations of up to 96 endpoints, vsNEO is well-suited for OB vans, esports studios, corporate control rooms and other environments requiring reliability and operator ergonomics without the infrastructure complexity of a large enterprise KVM deployment.

The simplified architecture extends to the hardware itself. At 4.13 inches (105mm) wide, three vsNEO-link transceivers fit side by side in a single rack unit, maximizing rack density in space-constrained environments. Because the same device can serve multiple roles within the system, integrators can also reduce hardware variation across a project.

Operators interact with vsNEO through a streamlined dark-mode OSD featuring live source thumbnails and intuitive source selection. The control ecosystem supports different workstation and room-control requirements through multiple interfaces, including G&D CommandDeck and CommandKeyboard, VuWall ControlVu for touch-based room control and CommandKeyboard-Advanced for advanced operator positions.

To further simplify system planning, a dedicated online configurator allows integrators and customers to design a vsNEO system based on their required number of endpoints and components. The tool automatically generates a bill of materials and system topology diagram in PDF format to support project planning with a certified partner.

See G&D and VuWall at IBC2026 stand 8.B63.

More information is available on the G&D and VuWall websites.

SAN JOSE, Calif.—Adobe will highlight new AI-based tools to enhance video editing, effects and audio processing during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The company will unveil a new generative media tool that enables Adobe Premiere editors to select a video or audio as well as a video and audio gap in their timelines, describe what is needed and generate clips that fit the context of the edit.

Similarly, the AI Assistant in After Effects, now in public beta, allows motion designers to describe what they want in their on words and carry out the steps required from reorganizing projects with thousands of layers to creating motion effects and expressions without writing code.

New AI audio tools help editors clean up recordings by separating sound sources, adjusting reverb, removing unwanted elements like unlicensed music and splitting overlapping dialog into independent tracks for separate mixing and editing.

The intuitive new Generative Media Tool in Premiere generates context-aware, editable video and audio clips. Editors may choose from Adobe Firefly, Google Veo, Kling, Runway and Luma model to create with.

Among the tools available in the Premiere task bar are Generate Video, Generate Sound Effects, and Generate Soundscape and Generate Music, both of which are in beta.

New AI audio tools in Premiere enable editors to clean up noisy recordings, bad takes and overlapping dialog. The tools include Enhance Audio, offering noise reduction and independent control over dialog, sound effects and other audio characteristics of an individual clip; Separate Crosstalk to split speakers into their own tracks; Dynamic Audio Ducking to balance dialog and music automatically; as well as other sound tool improvements.

Adobe is also leveraging AI to address workflow challenges in After Effects. AI Assistant, available in beta for After Effects, offers newer users a more intuitive way to work in the program and gives experienced users a way to execute once tedious, multi-step operations more quickly.

AI Assistant enables users to describe what they want in plain language and reorganizes large projects without requiring code to be written.

See Adobe at IBC2026 stands 13.D501 and 7.B35.

More information is available on the company’s website.

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.