PARIS and NEW YORK—Moments Labs will showcase Studio, an intuitive editing workspace with AI-based capabilities that helps production companies turn moments from their existing video catalogs into branded, publish-ready content, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Studio closes the gap between discovering valuable moments in a video catalog and activating them at scale.

“Audiences increasingly find and follow their favorite shows on social and video-sharing platforms, yet the content that could engage them and build loyalty often remains buried in an IP owner’s archive,” said Phil Petitpont, Moments Lab CEO and co-founder. “Getting short-form content out quickly and consistently has traditionally required very manual work across multiple tools. Now, teams can find the right clips to edit, brand and publish, all without leaving Moments Lab.”

Studio brings clips into the editing workflow from Moments Lab using the company’s Discovery Agent. Teams can assemble a story, pick a one-click hook and use AI to support the rest of the process, including automatic vertical reframing, captioning, branded text and overlays. Finished clips can be published directly to social platforms, without the need for export or re-upload.

At IBC2026, Moments Lab will also unveil the latest improvements to MXT, the multimodal AI that underpins the platform’s editorial intelligence. It now understands scenes, actions and show-specific context in greater depth, while processing videos up to 50% faster.

Together, Studio and the latest AI improvements help social and digital teams move from finding the right moment, to creating and publishing branded social video in one connected workflow.

See Moments Lab at IBC 2026 stand 1.D12.

More information is available on the company’s website.

HEBBEN BRIDGE, U.K.—Calrec has integrated its ImPulseV virtualized DSP software with NEP Platform, bringing its scalable audio processing capabilities to NEP’s growing software ecosystem.

NEP Platform is an orchestration layer that brings software applications together in a unified software-defined environment, enabling broadcasters, rightsholders, leagues and live content producers to deploy, orchestrate and scale resources up or down rapidly as production requirements evolve.

"Pairing the power of NEP’s software orchestration platform with Calrec’s ImPulseV allows NEP to offer customers virtualized audio production environments and services that best fit the needs of each production. The ability to add temporary virtualized processing resources means broadcasters can scale to support their biggest events without significant up-front hardware investment,” said Calrec director of product management Henry Goodman.

"It also simplifies technical complexity. Wherever the processing is located and however a workflow is designed, it should feel seamless to the operator. Working closely with NEP, Calrec’s ongoing ImPulseV development simplifies deployment and gives customers the freedom to build more flexible, scalable production workflows.”

Seamless blending of on-premises infrastructure with remote, virtual or hybrid operations across multiple processing environments has become an increasingly established way for media companies to generate more content. Calrec's ImPulseV DSP software gives companies the freedom to choose how they work with processing resources that flex to meet any production demand.

“NEP Platform brings those trusted applications together, making it easier to deploy, connect and manage them through a unified operational framework. Adding Calrec’s ImPulseV to the NEP Platform ecosystem further expands those choices, giving customers access to scalable, virtualized audio processing while streamlining how modern production workflows are deployed and managed. It's another example of how we're growing an open ecosystem that gives customers the flexibility to build the workflows that best meet their operational needs.”

More information is available on the company’s website.

DOWNINGTOWN, Pa.—PTZOptics will make the public debut of its Rise 4K broadcast pan, tilt, zoom (PTZ) camera during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Rise combines cinematic 4K imaging, professional broadcast connectivity and intelligent video technology in a robotic camera designed for sports, broadcast, live events, enterprise studios, universities, houses of worship and independent productions. It gives producers a practical way to add high-quality camera angles, expand multicamera coverage and create more polished content without placing an operator at every camera position.

At the heart of Rise is a 1-inch, 50MP CMOS sensor that captures 4K UltraHD video at up to 60 fps. A 20x optical zoom and approximately 71-degree horizontal field of view provide the flexibility to move from wide establishing shots to detailed close-ups.

Phase-detect autofocus keeps subjects sharp, while optical image stabilization and smooth brushless motors support stable images and precise, natural camera movement. A built-in three-stage ND filter provides greater exposure control across changing lighting conditions.

Rise offers timecode and genlock to keep cameras precisely synchronized. FreeD support enables integration with virtual production and augmented reality systems.

Video outputs include 12G-SDI for 4K60, 3G-SDI, HDMI and USB 3.0. Network options include NDI HX, RTMP, RTSP, SRT and 12G-compatible SFP+ fiber connectivity. Rise also offers professional XLR inputs with 48V phantom power, onboard TF card recording and front and rear tally lights.

The camera ships with Horizon Web as its standard camera interface, bringing responsive camera movement, image and color adjustment, intelligent presets, tracking, auto-framing and automation into an intuitive browser-based workspace accessible from any device on the same network.

Advanced tools, including waveform, vectorscope and RGB parade, help operators adjust and match cameras with precision. Built-in AI auto-tracking maintains framing and reduces routine operator input, allowing one operator to supervise more camera positions and focus on the wider production. Rise also supports PTZOptics’ broader ecosystem of Horizon Hub desktop applications for camera control, configuration and workflow management.

See PTZOptics at IBC 2026 stand 1.B07.

More information is available on the company’s website.

PARIS—Dalet has announced it will be participating in the IBC2026 Accelerator Media Innovation Program as part of a project exploring the future of AI in sports production.

During the Program, it will be collaborating with Astro Malaysia, Middle East Broadcasting Company (MBC), Tata Consultancy Services (TCS), AWS (Amazon Web Services), ITV, Google Cloud and other industry leaders on AI for Live Sports and Beyond: Rewiring Live Media via Agentic AI Orchestration and "meCast."

Located in Hall 14 at Stand 14.D25 in the Future Tech Zone, the project explores how agentic AI can automate live media workflows, enabling real-time content adaptation, personalization and new monetization opportunities for sports and other live productions.

As part of the demonstration, Dalet will showcase how its media-aware AI platform, Dalia, together with Dalet Flex and Dalet InStream, orchestrates live workflows from ingest through AI-powered analysis, compliance review and publishing, helping sports organizations accelerate production while maintaining editorial oversight and governance.

For sports organizations, broadcasters, leagues and rights holders, the ability to rapidly create, personalize and distribute live content is fundamental to enhanced audience engagement and revenue generation.

Dalet already supports sports customers with media workflows that accelerate highlight creation, content discovery, repurposing and multi-platform publishing, enabling teams and rights holders to maximize the value of every live event.

The IBC2026 Accelerator project showcases these capabilities by exploring how AI can intelligently orchestrate complex live production workflows while keeping humans in control.

The Accelerator demonstration complements Dalet's broader showcase at IBC2026, where the company will present innovations across Dalet Flex, Dalet Pyramid and Dalia, demonstrating how trusted, media-aware AI is transforming media operations from production through distribution.

Visitors to the Dalet stand will see how the latest innovations help media organizations modernize production and content supply chains, accelerate news workflows, improve content discovery, and streamline sports production through AI-assisted highlight creation, intelligent media management and automated publishing.

Attendees will also learn how Dalet's open, media-aware AI architecture enables organizations to deploy trusted AI while maintaining governance, operational control and flexibility through support for multiple large language models.

Dalet will be exhibiting at IBC2026 in Hall 7, Stand A43. For more information, visit https://www.dalet.com/events/ibc/.

MONTREAL—Grass Valley will demonstrate the principles of the Dynamic Media Facility, bringing hardware, software-defined applications, existing infrastructure and partner technologies together as one unified media operation during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Through its active support of the JT-DMF industry initiative and the open standards that will underpin the Dynamic Media Facility, the company will feature a complete, camera-to-consumer workflow while demonstrating how Grass Valley AMPP will continue to adopt DMF-aligned standards.

The demonstration will feature Grass Valley hardware, including LDX cameras, its latest Altair router and the new ACE-3901-GRID MXL gateway, with AMPP OS-based applications as an end-to-end media workflow.

ACE-3901-GRID bridges existing SDI and SMPTE ST 2110 infrastructure with software-defined workflows, while AMPP provides the orchestration, media fabric and scalable compute needed to deploy applications across on-premises, edge and cloud environments.

This hybrid-by-design approach allows media organizations to introduce software-defined production alongside the infrastructure, workflows and operational expertise already delivering value. Dedicated systems continue to provide predictable performance for live operations, while AMPP-based applications add flexibility and scalable processing where required.

Grass Valley said openness is a core principle of its strategy. AMPP allows users to combine technologies from Grass Valley its partners around their operational requirements without creating another closed production environment.

Native support for the Media eXchange Layer (MXL) extends this approach by providing software media functions with a shared method for accessing and exchanging media. It replaces application-specific approaches to media transport, conversion and integration.

At IBC2026, Grass Valley will demonstrate native MXL v1.1 support in AMPP and the latest NMOS implementations for MXL flow discovery and control.

The showcase also reflects the accelerating growth of the Grass Valley partner ecosystem. Technologies from Calrec, Lawo, Haivision, TVU Networks and Zoom will operate alongside Grass Valley solutions within real-world, multi-vendor workflows.

The company’s booth will serve as a connected production environment, demonstrating how SDI, SMPTE ST 2110, and MXL support different parts of a modern media workflow.

Visitors will see these technologies working together across live production, networking, processing, monitoring, content workflows, orchestration and automation. Grass Valley production switchers will extend familiar control surfaces across hardware and software-defined environments, while ACE-3901-GRID will connect established facility infrastructure with MXL-native applications in AMPP.

The showcase will include reverse REMI production and the remote operation of a software-defined OB truck in partnership with DMC Production and Broadcast Solutions.

See Grass Valley at IBC2026, stand 9.A01.

More information is available on the company’s website.

PRINCETON, N.J.—Triveni Digital has announced that TV Globo, a leading Brazilian broadcaster, has selected the company’s TV 3.0 broadcast chain and monitoring solutions to support its deployment of next-generation television services.

TV Globo will also leverage Triveni’s GuideBuilder XM, Broadcast Gateway, and StreamScope XM Analyzer to deliver live coverage of the upcoming international football tournament in Brazil.

The two companies did not specify the name of the tournament, but Globo has used Triveni solutions for its TV 3.0 broadcasts and Brazil will be hosting the FIFA Women’s World Cup Brazil 2027 from June 24 to July 25, 2027. Globo has broadcast rights to those matches.

“TV 3.0 represents an important step forward for broadcasting in Brazil, creating new opportunities to deliver richer viewing experiences while expanding the possibilities for broadcasters,” said Jonas Ribeiro, head of infrastructure and telecom projects and products, TV Globo. “Triveni Digital’s solutions have impressed our engineering team with their robustness and extensive feature set, giving us confidence as we deploy these new services across multiple markets. We are excited to have Triveni Digital supporting this important initiative.”

As Brazil transitions to TV 3.0, TV Globo has deployed Triveni Digital’s GuideBuilder XM transport stream encoder, Broadcast Gateway scheduler, and STLP generation solution in Brasilia. In addition, TV Globo will use the StreamScope XM Analyzer to monitor and verify service quality in Brasilia and other cities participating in its TV 3.0 rollout.

The deployment represents a significant milestone for Triveni Digital as Brazil launches what is widely regarded as the world’s most advanced next-generation broadcast television platform. Built on the foundation of ATSC 3.0 and incorporating innovations tailored to the Brazilian market, TV 3.0 is expected to transform how broadcasters deliver high-quality video, immersive audio, interactive applications, and new advertising experiences.

“We’re proud to bring our expertise in deploying ATSC 3.0 technology across the United States to TV Globo as Brazil enters this exciting new chapter in broadcast television,” said Mark Simpson, president and CEO of Triveni Digital. “Being selected to support TV Globo’s TV 3.0 deployment for coverage of one of the world’s largest sporting events is a tremendous honor. We look forward to helping ensure viewers receive the highest-quality television experience while supporting TV Globo’s broader vision for the future of broadcast and streaming. Ultimately, we believe many of the innovations being introduced in Brazil will influence future ATSC 3.0 deployments in the United States and other markets as the next phase of the transition unfolds.”

Triveni Digital will demonstrate its comprehensive TV 3.0 solution at SET Expo, Aug. 17-20 in São Paulo in booth 66b.

More information about Triveni Digital products is available at www.TriveniDigital.com.

HACKENSACK, N.J.—LiveU and Panasonic LUMIX have announced the launch of the “Live Anywhere” workflow.

Built around the LUMIX S1II, Panasonic UB-series box cameras, and LiveU’s Solo PRO and LU800 production field units, the system, which was demonstrated in collaboration with Social180Group, enabled a team to produce dozens of live streams directly from the crowded NAB 2026 and InfoComm 2026 show floors. The blend of mobile journalistic and IRL streaming styles provided engaging short form content for viewers who couldn’t attend.

“Live Anywhere” is a practical, mobile-first approach to live production that combines high-quality LUMIX imaging with LiveU’s IP bonding technology for transmissions. The result is a lightweight, flexible system that allows creators and production teams to go live from virtually any location without the need for traditional broadcast infrastructure.

At the center of the workflow is the LUMIX S1II, used as the primary handheld camera for its image stabilization, hybrid phase autofocus, and open gate flexibility. It was paired with the LiveU Solo PRO via HDMI to transmit a stable, high-quality signal. The team also used the compact Panasonic UB-50 box camera, connected via SDI to the LiveU LU800.

“This was about staying mobile and staying fast,” said John Porterfield, Social180 Group founder and webcast producer. “We were able to move through the trade show floors, capture what we needed, and go live without being tied down to a traditional setup. The combination of LUMIX and LiveU gave us the reliability and image quality we needed in a very unpredictable environment.”

“What stood out was how simple the system became once everything was dialed in,” continued Porterfield. LUMIX handled the image, including stabilization, autofocus, dynamic range, and LiveU handled the connection. It’s about having a system that just works so you can focus on the story.”

More specifically, Live Anywhere is built on two core components:

• LUMIX and Panasonic Cameras – Delivering cinematic image quality, advanced autofocus, and stabilization in compact, portable bodies.
• LiveU Transmission Solutions – Providing bonded cellular connectivity through Solo PRO and LU800 field encoders, ensuring reliable live streaming without dependence on a single network.

Together, these tools allow creators to produce professional live content from virtually any location without the need for satellite trucks, hardwired internet, or large production teams.

“LUMIX is helping what live production can look like,” explained Panasonic LUMIX business manager Neil Matsumoto. “With the S1II, creators can work untethered in a true run-and-gun environment while still capturing cinematic images with shallow depth of field, which is something that hasn’t traditionally been part of live broadcast.”

“In the current climate where production teams need to produce more content with smaller teams and budgets, our bonded technology coupled with a powerful camera like the Panasonic LUMIX, allow for “run and gun” flexibility – without compromising the production value,” said Mike Mahoney, VP Sales – Growth Markets, LiveU North America. “We were happy that this workflow, not only gave audiences a glimpse into their favorite brands but also offered each brand value in delivering a quality program.”

While demonstrated at NAB 2026 and InfoComm 2026, Live Anywhere is designed for a wide range of real-world applications, including:

• Live Sports Coverage – Sideline, grassroots, and niche sports production
• Music Festivals and Live Events – Mobile coverage across stages and environments
• Corporate Communications – Internal broadcasts, product launches, and executive messaging
• Social Media Creators – High-quality live streaming for platforms and brand partnerships
• News Gathering and Documentary – Rapid deployment in dynamic, on-location scenarios
• The system’s flexibility allows teams to scale from single-camera streaming to multi-camera productions without significantly increasing complexity.

To simplify deployment, turnkey Live Anywhere packages will be available through Broadfield Distributing, pairing LUMIX cameras with LiveU transmission solutions. The packages for include:

• LUMIX S1II + LiveU Solo Pro. A compact, mobile-first kit designed for single-operator or small crews. Ideal for run-and-gun live streaming with cinematic image quality and shallow depth of field.
• Panasonic UB-50 Box Camera + LiveU LU800. A scalable, multi-camera solution built for more complex productions. Designed for fixed positions, control rooms, or multi-angle coverage with reliable bonded cellular transmission.

Learn more about the Live Anywhere bundles offered by Broadfield Distributing: https://sales.broadfield.com/liveu-live-anywhere-bundles.

ATLANTA—Cox Media Group (CMG) has announced two multi-year NBA local broadcast rights agreements with the Orlando Magic and Charlotte Hornets that will see Cox stations and services airing live games from the NBA teams in their local markets.

Under these agreements CMG will air the Orlando Magic in Orlando and across Central Florida on WRDQ-TV 27 and WFTV Channel 9.

In Jacksonville and across Northeast Florida, games will primarily air on the newly created Action Sports Jax TV available on WJAX-TV 47.2, with games also airing on WJAX-TV 47 and WFOX-TV 30.

In Charlotte and across the Carolinas, CMG will air Charlotte Hornets’ regular-season games on WAXN-TV 64 and WSOC-TV. This is the first time in 27 years that Hornets’ games will be broadcast for free over-the-air.

“Local sports belong to the fans and they belong on broadcast television to best serve those fans and local communities,” said Dan York, President and CEO of Cox Media Group. “For decades, CMG has worked to earn trust by delivering essential local journalism, reliable weather, traffic, entertainment, and community-focused programming. Expanding our sports programming is another way we deepen our local connections, allow fans to follow their teams, and create value for local businesses. We are pleased to announce multi-year deals with the Orlando Magic and Charlotte Hornets to bring their games to their local fans over broadcast television.”

CMG expects to share additional schedules, coverage plans, and programming details as each market prepares for the upcoming NBA season and the launch of Action Sports Jax TV.

WHITE PLAINS, N.Y.—SMPTE announced a program of expert-led sessions, professional workshops and networking events for IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The program will deliver practical guidance on AI, open-source media workflows, cloud infrastructure and other technologies shaping the future of content creation and delivery.

“As a proud partner of IBC, SMPTE has the privilege of presenting sessions and workshops that explore the latest media trends and help technologists at all stages of their careers navigate this period of rapid change,” said SMPTE president Rich Welsh.

"From AI and cloud infrastructure to open-source solutions and evolving production architectures, media organizations are facing important technology decisions. Our IBC program is designed to provide practical insight — not just into what's changing, but how these technologies can be applied today. Whether you're an engineer, architect or technology leader, these sessions offer valuable perspectives from the people defining tomorrow's production workflows."

SMPTE will present four sessions within the IBC 2026 Partner Program. Free to attend, these expert-led sessions will explore the technologies, workflows and business models reshaping the media industry. They include:

• “Sovereign AI and Sovereign Cloud,” Hans Hoffman, deputy director of technology and innovation at EBU, Saturday, Sept. 12, 2:30-3:30 p.m., Room E102.
• “Dynamic Media Facility: Why It Matters, and Why Now,” Willem Vermost, senior IP media technology architect, Saturday, Sept. 12, 3:30-4:10, Room E102.
• “OGraf: Making Broadcast Graphics Open and Accessible,” Paola Sunna, senior technology innovation manager at Eurovision Italy/EBU and Niels Borg of TV2.DK, Saturday, Sept. 12,, 4:10-4:50 p.m., Room E102.
• “The Innovation Flywheel: How Open Source and Standards Reinforce Each Other,” Thomas Bause Mason, director of standards development at SMPTE, Saturday, Sept. 12, 4:50-5:30, Room E102.

SMPTE will present two in-depth professional education workshops on Monday, Sept. 14. Designed for engineers, architects and technology leaders seeking a strategic and practical roadmap for the modern media enterprise, these workshops require paid registration. They include:

• "Technology Roadmap for the Modern Media Enterprise," course modules include Visual Quality Formats, Codec Strategy, The Transition to IP, The Dynamic Media Facility, Graphics Workflows and Cinematography in Broadcast. Speakers include Pierre Hugues Routhier, advanced imaging technologies specialist at the Canadian Broadcasting Company. Monday, Sept. 14, 9:30 a.m.-12:30 p.m., Room G106.
• "DMF in Practice: Design and Operation for Software-Defined Production," course modules include Dynamic Media Facility: Why It Matters, Building Blocks of a Software-Defined Media Facility, From Concepts to Practice and Live Demonstrations. Speakers include Willem Vermost, senior IP media technology architect at EBU; Wim Van Roy, education architect at LAWO Academy. Monday, Sept. 14, 1:30-4:30 p.m., Room G106.

SMPTE will also present two networking events at IBC 2026. The include:

• “The Green Line Media Networking Event,” a unique rail journey to IBC that combines networking, industry discussion and sustainability-focused programming. The event will also feature a guest D.J. set from SMPTE president Rich Welsh. Thursday, Sept. 10, London St Pancras to Amsterdam Centraal.
• Evertz and SMPTE drinks and networking event. The two are partnering to provide relaxed networking and complimentary refreshments. Current members and those interested in learning more are welcome. Registration is available online.

See SMPTE the IBC2026 Owner Pavilion, along with the other international bodies, in the Hall 8 lobby and stand 7.P14.

For more information about SMPTE, please visit smpte.org.

BURY ST. EDMUNDS, U.K.—Vinten will demonstrate how its latest manual and robotic camera support solutions are helping broadcasters deliver more content from more locations, using a wider variety of cameras and lenses, while balancing crew, space and budget constraints during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The company will feature the Versine 240 fluid head, introduced at IBC 2025. The head joins the flagship Versine 360, extending a range designed specifically for every position without at box lens at outside broadcasts.

Supporting payloads from 0 to 55 pounds (0-25 kg), Versine 240 delivers the precise balance and smooth movement needed for long-lens operation within a lightweight design suited to roaming OB positions, touchline coverage and live event production.

Vinten will also demonstrate VEGA Lite, its broadcast-ready PTZ control solution that delivers professional automation, consistent workflows and scalable control. Supporting a wide range of broadcast PTZ cameras and robotic devices, VEGA Lite provides a single control platform that allows broadcasters to create a unified workflow.

The company will showcase dedicated support solutions, including the manual Osprey Lite pedestal, adapted for direct PTZ camera mounting, and the robotic Tecnopoint Starter Ceiling Track, which provides smooth overhead PTZ camera movement while maximizing valuable floor space.

Vinten will also highlight the FP-188+ full XY robotic pedestal, controlled by the VEGA Control System, for permanent studio facilities. Incorporating intelligent mapping and enhanced on-board sensing, the system enables precise, repeatable camera movement while helping operators avoid potential collisions in busy studios.

See Vinten at IBC 2026 stand 13.A05.

More information is available on the company’s website.

PITTSBURGH—CBS Pittsburgh (KDKA-TV) is reporting that it has debuted the region's first state-of-the-art Augmented Reality and Virtual Reality (AR/VR) news studio during its 4 PM newscast on August 10 with anchor Kristine Sorensen, and meteorologists Mary Ours and Ray Petelin.

The CBS-owned stations have widely embraced AR/VR studio technologies in recent years as a way to engage and improve their newscasts. With the debut of its new AR/VR studio, CBS Pittsburgh became the 13th CBS station to integrate this technology into its news operations

“Our new AR/VR technology helps us bring complex stories to life in ways that are more engaging and easier for viewers to understand,” said Julie Eisenman, president and general manager, CBS Pittsburgh. “Whether we're tracking severe weather, explaining breaking news developments or covering major community events, these advanced visual tools help us tell stories with greater clarity and context. It's an investment in innovation that strengthens our ability to inform and serve viewers across the Pittsburgh region.”

More on the deployment of the technology, which was developed in house at the station group, is available here.

CYPRESS, Calif.—FOR-A will showcase new, practical solutions to real-world production challenges, including its MixBoard, viztrick AiDi, the FA-1616 and Hi-RDS, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Typical of the issues facing broadcasters and production companies is the need to deliver multiple versions of the content to different formats and technical specifications, often in real time.

MixBoard, a software-based switcher powered by ClassX, is more than an integrated audio mixer and video switcher. It incorporates the ability to generate cropped versions for different aspect ratios and to stream outputs in multiple formats for broadcast and online services. As a software platform, MixBoard benefits from continuing enhancements, and IBC2026 will see the first showing of its comprehensive control for PTZ cameras.

Widely used for multiple outputs, viztrick AiDi is an on-device AI solution developed by Nippon TV and delivered globally by FOR-A. It is powered by NVIDIA AI infrastructure. One of its most widely used solutions is GoVertical! AiDi, which delivers AI-aided 9:16 autocropping for social media in real time while automatically keeping the action centered and optimized for vertical viewing.

Other applications include player tracking and object recognition. Unlike cloud-based alternatives, viztrick AiDi operates entirely on-device, eliminating reliance on internet connectivity.

With most installations still depending on hybrid architectures, the FA-1616 is proving immensely valuable as a software-defined digital video processor. It supports up to 32 streams, including SDI and IP, and incorporates up/down conversion, color correction, audio remapping and timecode generation. Capable of providing the bridge between 2K and 4K, SDI and IP, compressed and uncompressed, it is the Swiss army knife of video processing.

Aimed at solving the real-world problems systems architects face today as they implement increasingly complex software-defined environments, Hi-RDS goes simplifies network design. Typical Registration and Discovery Systems (RDS) allow each node to be incorporated in just one RDS. Hi-RDS – hierarchical RDS – adds a primary RDS layer that then manages each node on the operational layers, making it simple to pass content between operational areas, between different vendors’ technologies and between formats.

The IBC stand will also see demonstrations of the latest routing switchers and video switchers, including new additions to the MFR and HVS-Q12 Hanabi families. Each is designed with operational simplicity and high reliability in mind, while working with multiple formats and outputs for real-world practicality.

These switchers incorporate multiviewers, making cabling and installation simpler and reducing points of vulnerability. In addition, AI updates to the software-defined FOR-A IMPULSE live production platform will be shown.

See FOR-A at IBC 2026 stand 2.B53.

More information is available on the company’s website.

BURBANK, Calif.—Matthews, a global provider of grip gear for professional media production, has introduced the Monitor Stand III, the latest evolution of the company's trusted rolling monitor support.

To benefit today’s on-set workflow, Monitor Stand III adds straight-tracking, dual-locking casters that glide seamlessly across any set, with V-shaped brakes that lock in at three points of contact, so the rig stays put exactly where it's placed. A new tough black forge-texture finish adds durability and a premium look.

The stand can be paired with the optional bolt-on Battery Tray to place a battery at the base, freeing up the risers to support monitors and other equipment above.

The Monitor Stand III features a new black forge-texture finish, along with reinforced braces and an integrated carry handle. A 1/4-"-20 tapped baby pin provides an extra mounting point for flags and accessories, while an ultra-low 5.5"/14cm base height allows the stand to slide under furniture. A Rocky Mountain leveling leg is included to handle uneven surfaces, and the stand offers a 70-lb/31.75kg weight capacity supported by straight-tracking casters and 3-point V-brakes.

The Monitor Stand III has a minimum loading height of 31 inches (78 centimeters) and a maximum loading height of 69 inches (175 cm), with a base height of 5.5 inches (14 cm). It weighs 20 pounds (9 kilograms), carries a capacity of 70 lbs. (32 kg), and incorporates a 1/4"-20 thread.

The stand is fully serviceable, made entirely of nuts and bolts with replacement parts available from the company's Burbank factory.

The Monitor Stand III (SKU 249574) is available now. The optional Battery Tray (SKU 861837) and Battery Tray with Jr Pin (SKU 861836) are also shipping.

NEW YORK—The New York Jets and CBS New York have inked a multi-year extension of their deal that will provide fans with preseason game broadcasts, Jets shoulder programming, and exclusive team content.

The deal continues their 28-year relationship and re-establishes the station as the official broadcast home of the New York Jets.

The Jets preseason coverage begins on Friday, August 14 when the team hosts the Tampa Bay Buccaneers at MetLife Stadium (7:00 p.m. ET). On Friday, August 21, the team will make the trip to Pittsburgh to take on the Steelers at Acrisure Stadium (7:00 p.m. ET). The final tilt of the preseason slate will be the annual summer contest against the New York Giants (Friday, August 28, 7:30 p.m. ET) in Preseason Week 3.

All preseason games will air on CBS New York and stream on Paramount +.

“For nearly three decades, CBS New York has been a trusted partner in helping us connect with Jets fans across the region,” said Hymie Elhai, president, New York Jets. “This extension builds on that longstanding relationship and allows us to deliver even more access, insight and exclusive content to our fans. From live preseason coverage to behind-the-scenes programming and new team-focused shows, we’re excited to continue bringing Jets football to fans year-round through CBS New York.”

As the 2026 NFL preseason kicks off, the collaboration will feature exclusive behind-the-scenes content produced by “1JD Films,” including preseason and offseason special programming that the station said will bring fans closer to the action than ever before.

Throughout the season, Jets fans can also tune in to a robust lineup of team-focused programming, including “Jets GameDay,” “Jets Late Night,” and “The Official Jets Podcast.” As part of the refreshed programming slate, “Jets GameDay” will replace the former “Coaches' Show,” while “The Official Jets Podcast” will deliver new perspectives and expanded coverage of the team year-round.

"The New York Jets have been an outstanding partner for decades, and we're proud to continue this relationship for years to come," said Johnny Green Jr., regional president and general manager of CBS New York and CBS Boston. "As we extend the partnership past 30 years this reflects our shared commitment to serving fans, and continuing to work together to deliver compelling content and support impactful community initiatives that engage our audiences and Jets fans across the region."

TORONTO—Nolia Studios, a new AI-native film studio has launched under the leadership of award-winning filmmaker Bob Gaudette and veteran TV producer and creative director Kirk Hipkiss.

The launch follows the international success of Gaudette’s short film “A Face Only a Mother Could Love,” which has emerged as one of the most recognized AI films of the year. The eight-minute film earned the $50,000 Grand Prix at the 2026 Runway AI Festival, Best Picture at the OMNI International Film Festival, Best AI Film at the New York International Film Awards and the David Harold Blackwell Award for AI & Emerging Technology Film at The Eudaimonia Project Film Festival. It was also named a finalist at the 2026 Reply AI Film Festival in Venice.

Building on that momentum, Nolia Studios has been established as a dedicated, slate-driven production company focused on original intellectual property across film, television and emerging formats. The company formalizes a creative partnership that has been developing over the past year between Gaudette and Hipkiss through AI-driven film and broadcast projects.

Nolia Studios is currently developing a slate of original projects spanning short-form, feature and serialized content. Among these is “The Little Cloud Thief,” an animated property in development for both feature and episodic adaptation.

The launch of Nolia Studios is supported by Hipkiss’ broader production infrastructure through Radical Point Media, an established animation, visual effects, motion graphics and generative AI studio. The company is currently delivering CG and AI-driven production work for major broadcasters and platforms, including projects for Netflix, Warner Bros. Discovery and A+E Global Media, while continuing to support original IP development alongside client productions.

More information is available on the studio’s website.

COLUMBIA, Md.—LTN has expanded capabilities for its Live Event Master Control, providing sports broadcasters, leagues, rights holders and content owners with a more flexible and scalable approach to managing live event distribution.

Built on the LTN Network, the enhanced master control solution combines low latency IP transport, cloud-native playout, automation, scheduling, monitoring, graphics and optional operator-assisted services for live sports and events into a unified platform designed for live sports and events.

LTN’s Live Event Master Control capabilities have supported more than 20,000 live sporting events and broadcasts for leading broadcasters, sports leagues and content owners worldwide. The latest enhancements streamline live MCR workflows with greater automation, visibility and flexibility across live production workflows.

Its capabilities enable users to launch and manage complex workflows without the cost, time and infrastructure requirements traditionally associated with dedicated control rooms and on-premises systems.

The latest capabilities include:

• Automated workflows for frame accurate routing, graphics, ad signaling and playback.
• Enriched graphics, including integration with upstream data sources.
• Picture in picture, squeeze backs and other unique on-screen layouts. 
• Multi-language support, including captioning and announcer integration.
• Deep audio manipulation and video transformation.
• Advanced transmission and video/audio payload monitoring.

LTN’s platform enables customers to leverage LTN-hosted workflows running across the company’s purpose-built global IP video network.

Users can choose between:

• Live Event Master Control services operated by LTN experts.
• Self-service workflows powered by LTN’s scheduling, automation and monitoring software.
• Hybrid models that combine customer-provided operations with LTN’s managed services and technical support.

More information is available on the company’s website.

WUPPERTAL, Germany—Riedel Communications will feature the Live Production Experience, a connected demonstration that follows the production chain from image capture and signal transport to live switching, replay, audio processing, monitoring, control, communications and delivery during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Rather than presenting each technology in isolation, Riedel will show how its systems can work together within a coordinated, IP-focused environment to simplify operations and give production teams a more consistent and flexible way to build, run and evolve their workflows.

At the center of the demonstration are the SimplyLive Production Suite Flex, now expanded with SMPTE ST 2110-capable server configurations; MediorNet’s hybrid SDI-IP and native ST 2110 capabilities; SAME audio processing; and hi human interface as the overarching control and orchestration layer. With ARRI camera technology at the point of image capture, the demonstration makes the end-to-end vision tangible by connecting the production workflow within one coordinated IP environment.

Riedel will also make the IBC premieres of the MediorNet HorizoN ST 2110 MultiViewer App, the DSP-1216HL Commentary Control App and the StageLink NSA008-A as well as unveil intercom and audio developments.

SimplyLIveRiedel will highlight new Flex server configurations adding SMPTE ST 2110 to the SimplyLive platform’s existing support for SDI, SRT NDI, and other video workflows. The expansion broadens deployment choices and allows SimplyLive to fit more directly into ST 2110 production environments and Riedel’s wider IP infrastructure.

Further enhancements bring new capabilities and greater operational flexibility to the SimplyLive software suite. Alongside integration with SKAARHOJ control panels, Riedel will showcase new Venue Gateway options.

MediorNetThe new MediorNet HorizoN ST 2110 MultiViewer App expands native IP capabilities and reinforces HorizoN’s role in modern ST 2110-based infrastructures. The new app brings multiviewing directly into the MediorNet processing environment. It extends Riedel’s established multiviewer approach into native IP environments while maintaining the operational flexibility required for modern live production.

hi human interfaceRiedel's hi human interface is a vendor-agnostic control and orchestration platform. Browser-based, platform-independent and vendor-agnostic, hi enables operators to configure, control, and manage routers, multiviewers, video and audio mixers, software-defined networks (SDNs) and other third-party technologies with a unified interface.

Supporting baseband, IP or hybrid infrastructures, hi adapts to different users, operational roles, and production environments.

Smart Audio and Edge ConnectivityRiedel will showcase its SAME Smart Audio & Mixing Engine, an advanced audio processing software suite built on commercial off-the-shelf server cluster technology. Designed for scalable and automated workflows, SAME provides flexible processing resources that can adapt to changing production requirements.

Its distributed approach separates audio processing from individual physical workspaces, allowing resources to be accessed and managed across different locations. This supports a broad range of applications, including mixing, monitoring, voice-over, loudness management, signal analysis and in-line processing.

At the edge of the network, Riedel’s expanding StageLink Network Stream Adapter family provides compact, rugged devices for decentralized audio and intercom connectivity over standard IP networks. At IBC, Riedel will premiere the new StageLink NSA008-A, supporting flexible signal distribution within Artist, Bolero and wider IP audio environments.

Bolero and Bolero MiniThe company will introduce enhancements across its Bolero wireless intercom portfolio with new 5G filtering for Bolero antennas and beltpacks. The enhancements are designed to increase resilience in demanding RF environments and support reliable communications in increasingly congested production settings. Bolero beltpacks will also feature a refreshed, more robust hardware design, along with new RF-resilient options.

Bolero Mini complements the full-size Bolero beltpack. It combines four programmable keys and dedicated volume controls with the audio performance, RF capabilities, Bluetooth connectivity, and operational concepts of the wider Bolero ecosystem.

The company will also feature:

• The Artist Ecosystem with Virtual SmartPanel and 1200 Series SmartPanels.
• Easy5G private 5G network support.
• DIVA+ managed technology for complex live events environments.

See Riedel Communications at IBC 2026 Stands 10.A24, 10.A31 and 10.A38.

More information is available on the company’s website.

SAN ANTONIO, Texas—Video production and integration firm QuickLink has tapped Kane Peterson for its North American team as presales, customer success and product development engineer.

In the new post, Peterson is tasked with supporting North American customers with workflow consultation, presales guidance, onboarding and product development insights, the company said.

“We’re thrilled to welcome Kane to the QuickLink family,” QuickLink CEO Richard Rees said. “His extensive industry knowledge and customer‑centric approach make him an exceptional addition to our team as we continue expanding our presence and support across North America.”

A 34-year broadcast industry veteran, Peterson joins QuickLink after 14 years at NewTek, where he supported customers and advanced product capability. He stayed with that company through its acquisition by Vizrt, gaining additional experience in integrated production systems and IP-based workflows, QuickLink said.

“I’m excited to join QuickLink and contribute to a company that’s driving innovation in remote production and broadcast workflows,” Peterson said. “I’ve spent my career helping customers solve real‑world challenges and get the maximum functionality out of their systems, and I look forward to supporting QuickLink’s partners and users across North America as we continue to advance and evolve our solutions.”

QuickLink supplies more than 800 companies with software, hardware and cloud solutions for broadcast-quality multicamera video production and has been recognized with Emmy Awards and the Queen’s Award for Innovation.

For more information, visit its website.

NEW YORK—The New York Giants have expanded an agreement with WNBC (NBC 4 New York) and WNJU (Telemundo 47) for the 2026–27 NFL season, adding additional preseason programming.

New programming for this season will include three, 30-minute pregame shows, sponsored by Quest and airing on WNBC and NBC 4 New York’s digital platforms prior to each preseason game.

Fans will also be able to watch a Spanish-language telecast of the Aug. 22 Giants-Miami Dolphins preseason game on WNJU and all Telemundo 47 platforms.

This season, fans can also watch on Telemundo 47/WNJU the exclusive, Spanish-Language preseason broadcast, presented by GGL, of the preseason matchup between the Giants and Dolphins on all Telemundo 47 platforms.

Miguel Gurwitz and Rolando Cantú, the Spanish-language announcers for “Thursday Night Football” on Prime Video and NBC “Sunday Night Football” on Telemundo Deportes/Universo, will call the Giants-Dolphins game.

"Our expanded partnership with NBC 4 New York and Telemundo 47 reflects our commitment to bringing Giants fans closer to the team through innovative, year-round content across every platform," said Nilay Shah, senior vice president of marketing and brand strategy for the New York Giants. "From exclusive training camp access at The Greenbrier to enhanced preseason coverage and Spanish-language broadcasts, we're creating more opportunities for fans throughout the tri-state area and beyond to connect with the Giants in meaningful ways."

WNBC will air three Giants preseason games locally, presented by Tri-State Cadillac:

• Saturday, Aug. 15 – Pregame show at 12:30 p.m. and kickoff at 1 p.m.: Minnesota Vikings vs. New York Giants at MetLife Stadium (East Rutherford, N.J.) (WNBC only)
• Saturday, Aug. 22 – Pre-game show at 3:30 p.m. and kickoff at 4 p.m.: New York Giants vs. Miami Dolphins at Hard Rock Stadium (Miami) (WNBC and WNJU)
• Friday, Aug. 28: Pre-game show at 7 p.m. and kickoff at 7:30 p.m.: New York Giants vs. New York Jets at MetLife Stadium (East Rutherford, N.J.) (WNBC only)

WNBC’s preseason broadcasters will feature Giants radio voice Bob Papa along with former Giants players and analysts Carl Banks, Phil Simms and Howard Cross.

The partnership extension will also continue the station's exclusive program, "All-Access: Giants Training Camp" presented by Hospital for Special Surgery. New episodes will air on Saturdays on WNBC beginning Aug. 8 and on digital and streaming platforms.

“The Coach Harbaugh Show” will premiere Saturday, Sept, 12th and feature an interview with Harbaugh previewing the upcoming matchup, a strategy segment with Carl Banks and player interviews. On-demand episodes can also be found across all Giants digital platforms.

Big Blue fans in the tri-state area can exclusively access this preseason content on:

• NBC 4 New York/WNBC/Giants.com: Aug. 15, 22, and 28 preseason game broadcasts and the weekly training camp special will be available on WNBC (Channel 4), on nbcnewyork.com and the NBC 4 App.
• Telemundo 47/WNJU: The Aug. 22 broadcast of the Giants-Dolphins preseason game will be available in Spanish on WNJU (Channel 47), on telemundo47.com, and the Telemundo 47 App.

NEUSS, Germany—Ikegami will make the European market launch for additions to its UNICAM product range during IBC 2026, Sept. 11-14 at the RAI Amsterdam Convention Center.

“A highlight of our IBC 2026 demonstration will be a new constant-aperture variable neutral density filter function which expands the creative potential of the UHK-X700 and UHK-X750 UNICAM XE portable and full studio cameras,” said Gisbert Hochguertel, Ikegami Europe product specialist. “When used as an alternative to the iris, the VND filter allows the lens f-stop to remain fixed to control video exposure. This enables a director to set the depth of field for a specific shot and then control the exposure in real time by changing the continuously variable neutral density filter attenuation.”

Ikegami will also demonstrate two new viewfinders for use with its UNICAM XE and UNICAM HD cameras. Introduced at NAB Show in April, the VFE-P07D is a two-in-one viewfinder comprising a monocular OLED and an adjustable-angle 3.5-inch TFT LCD monitor.

The 3.5-inch monitor screen can face forwards, be tilted to more than 120 degrees or turned laterally to face forwards. Waveform, vectorscope and audio metering tools can be easily accessed. The VFE-P07D attaches to shoulder-mounting and studio-format cameras in the UNICAM XE series.

Shown as a prototype at IBC 2025 and making its IBC 2026 debut is the production version of the VFE-P711AD high-resolution 7-inch OLED viewfinder. Developed from the LCD-based VFL-P700AD, the new OLED model is designed to offer clear visibility even in environments with intense ambient light.

The OLED panel’s fast response time is particularly useful when focusing and framing content at high frame rate for slow-motion replay. The viewfinder also has front-facing tally indicators and a rear-facing tally. Like the VFE-P07D, the VFE-P711AD includes waveform, vectorscope and audio metering tools.

The centerpiece of Ikegami’s IBC exhibit will be the UNICAM XE series three-CMOS studio and portable cameras. Designed for the HDR, HFR, IP and UHD era, the UHK-X700 and UHK-X600 incorporate three ⅔-inch 4K sensors with global shutter architecture.

The UHK-X750 and UHK-X650 are hard-body, full-studio models sharing the same features. The UHK-X700RF is a wireless portable variant of the UHK-X700. Multichannel antenna diversity is a standard feature of this model, providing robust signal delivery in a wide range of transmission environments.

Ikegami will also promote its UNICAM HD HDK-X500 multiformat portable camera system, which can be purchased as a 1920p model upgradeable to full 4K-UHD.

Designed for remote image capture, the UHL-X40 shares the 4K-UHD 2/3-inch three-CMOS global shutter imaging architecture of the UNICAM XE series augmented for motorized pan/tilt/zoom applications in studios as well as outdoor applications, such as sports close-ups, theater and stage video capture, weather monitoring and point-of-view imaging. Two-piece construction allows remote control via up to 6.2 miles (10 km) of duplex fiber cable between head and CCU.

The UHL-43 is a three-CMOS 2160p-native 4K-UHD camera in a compact 5.7 x 6.1 x 6.6-inch (145 x 155 x 169 mm) 5.7-pound (2.6 kg) housing. It supports applications like studio robotics or remote-control PTZ image capture and point-of-view image capture. The camera can also be used on support devices, such as a shoulder brace, long-reach arm or overhead mount. The UHL-43HD variant has the same three-CMOS 2160p native sensors but comes with 1080p/i output that can be upgraded via an optional software key to allow 4K-native operation.

See Ikegami at IBC 2026 stand 12.A31.

More information is available on the company’s website.

NASHVILLE—Gravity Media has formed a strategic partnership with U.S.-based live event production and technology company Live Media Group (LMG) and has sold eight mobile units in the United States to LMG, including three premium production trucks with existing major broadcast contract.

The deal includes the addition of engineering and technical staff, further enhancing LMG’s production expertise around the country.

“The United States remains a critically important market for us. By partnering with Live Media Group, we are combining complementary strengths to deliver even greater value to our customers. We are excited about what this partnership makes possible and look forward to everything we will build together.,” said Jamie Hindhough, regional CEO of Gravity Media.

The new strategic partnership will see the companies collaborating on projects requiring both mobile production facilities and services. While Live Media Group assumes ownership and operation of Gravity Media's U.S. based Outside Broadcast (OB) truck fleet, Gravity Media will continue to support projects through its RF technology and other services, creating a comprehensive solution for clients operating throughout the United States.

Beyond expanding its mobile production fleet, the acquisition also provides Live Media Group's operating companies, including TNDV Television, Live Media and GameTime Productions, with access to additional specialty cameras, production equipment, production services and engineering resources that can be deployed across a broader range of projects.

The acquisition marks another milestone in Live Media Group's long-term strategy of expanding its national footprint through carefully selected acquisitions that enhance client service while preserving operational quality. Since acquiring SureShot Teleproductions in 2015, Live Media Group has continued to grow with the acquisitions of TNDV Television and HARB Production Services in 2019, Lyon Video in 2022 and now Gravity Media's U.S. mobile production assets.

Gravity Media and LMG are working closely to ensure a coordinated and seamless transition of the OB fleet. Throughout the process, customers can expect uninterrupted service and the same high standards of quality, innovation and delivery that both organizations are known for globally, Gravity Media said.

“Over the past few years, Live Media Group has transformed and grown in meaningful ways with a focus on expanding what we can offer our customers and partners,” said Michael Sullivan, Live Media Group president.

“This partnership with Gravity Media deepens that commitment, giving clients access to an even broader range of live production capabilities not only with additions to our mobile fleet, but also expanding what we can offer across RF, specialty cameras and flypacks for both domestic and international clients. None of this happens without great people on both sides, and I could not be prouder of where we are headed.”

The acquisition significantly increases Live Media Group's available production capacity at a time when demand for high-end mobile production services continues to rise. The three flagship production units included in the transaction arrive with existing contracts supporting major U.S. broadcast partners and premier professional events, while all eight mobile units expand the company's ability to support sports, entertainment, corporate and live event productions nationwide.

The additional fleet also arrives at a critical time for Live Media Group's operations. "Historically, our mobile units have been fully committed most of the year," said Sullivan. "These additional assets immediately provide us with greater scheduling flexibility while allowing us to support more clients without compromising the level of service they've come to expect. Rather than turning opportunities away, we're now positioned to say yes to more productions."

The strategic partnership established alongside the acquisition also broadens the company's service offerings. Clients requiring RF along with other solutions can now benefit from Gravity Media's specialized RF technology and services, while Gravity Media's international customers requiring mobile production support in the United States will be served through Live Media Group's expanded fleet.

More information is available on the Gravity Media and Live Media Group websites.

NEW YORK—TAG Video Systems will feature the latest innovations to its software-based real-time media monitoring, multiviewing and quality control (QC) platform during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The updates build on TAG’s cloud and virtualization development and include support for the emerging MXL standard and containerized deployment—both aimed at making full cloud production a practical reality, along with deeper automated audio, subtitle and lip-sync QC, the company said.

TAG’s latest platform innovations focus on flexible, deploy-anywhere software and on the emerging standards that make cloud production real. The latest platform developments include:

• Fully containerized—Both components of the platform (MCM, MCS) are now available as a Docker container, enabling fully automated, on-demand deployment across cloud and virtualized infrastructure, enabling spin-up monitoring where and when needed without dedicated appliances.
• MXL in production—TAG was among the first to support MXL workflows and has a full MXL implementation. At IBC, TAG will demonstrate advanced MXL interoperability with AWS and will present a new collaborative MXL demo with Sony.
• Production-ready performance—Reduced latency on ST 2110 streams, as low as 1.5 frames at 50 fps and 2 frames at 59.94 fps (MCM input to MCM output), together with CIR (Cyclic Intra Refresh) encoding on MCM output, making it practical to monitor and QC inside live and cloud production workflows, not just downstream.
• Massive software scale—Support for the Mellanox ConnectX-7 network card enables monitoring of 200 and 400 Gbps links, scaling to many more uncompressed ST 2110 video streams. Clear proof that software can meet the most demanding, high-density uncompressed environments.

Alongside its cloud developments, TAG continues to invest in the quality and compliance needs of its core customers. It has extended its automated checks beyond video into audio, subtitles and synchronization to audio QC, OCR of DVB subtitles and Hitomi MatchBox support. The company also has added support for the alpha (transparency) channel in NDI streams and automated test-pattern loopback detection and comparison.

"Our customers are rearchitecting how they produce content,“ TAG VP of Product Stratey Michael Demb said. “They’re moving off dedicated hardware, into containers, into the cloud, with open approaches like MXL leading the way. For their operations, that means monitoring that spins up anywhere and scales to formats and volumes that used to require a truckload of appliances. It also brings a meaningful reduction in the hardware footprint that used to define the cost of doing this. At IBC, we’re showing exactly what that looks like live: software-defined monitoring, at scale, with none of the dedicated boxes.”

See TAG Video Systems at IBC 2026, stand 1.D33.

More information is available on the company’s website.

It’s impossible not to notice that generative AI is the hot topic right now, and its explosive popularity means newsrooms of all types—especially those that broadcast images to the world—face authenticity challenges that go far beyond traditional issues of whether a certain clip is fake or doctored.

Newsrooms must now grapple with whether they can show how and where a particular clip came from, the process by which it reached the edit and whether the version that viewers see still matches the material it claims to represent.

In our increasingly low-trust media landscape, AI blows everything up at a time when many major broadcasters can scarcely afford more reputational harm and attacks, especially around the basics of authenticity and provenance.

A Delicate Balance
On both sides of the trust equation, the balance is becoming more delicate. Currently, AI tools can make scarily convincing images, video and audio in moments, a far cry from the stodgy, copyright-infringing outputs of even 12 months ago.

C2PA, or the Coalition for Content Provenance and Authenticity, is one attempt to shift that work earlier in the broadcast chain. The group, formed in 2021 and designed to protect content by building an open, industry-wide cryptographic standard to map the origin and history of digital media, features most of the heavy hitters in tech, including Google, Microsoft, Meta, OpenAI, Adobe and Amazon.

Rather than asking journalists, platforms or audiences to spot every possible fake after the fact, it creates a way to attach tamper-evident provenance information to media as it is captured, edited, distributed, and displayed.

To many broadcasters, the appeal of the C2PA solution should be obvious. In theory, a piece of video could carry a technical record of its journey from camera to newsroom, through the edit, out to publication, and eventually into a player or TV app.

In practice, thorny questions remain over whether that chain can survive the real broadcast workflow—from ingest to playout, streaming and social distribution—and the messy hand-offs that are a natural part of this process.

What C2PA Can Prove
At a basic level, C2PA is best understood as a way to preserve the history of a piece of media, rather than as a tool that decides if a story is true.

C2PA lets a validator check that a signed manifest belongs to a particular asset, whether the asset still matches that cryptographic binding and what the signer has asserted about its creation or editing history. It does not independently prove that every assertion is accurate, that nothing happened before the first signature or that the signer should be trusted.

In other words, C2PA is nowhere close to a panacea, and the most useful way to think about it is as a chain of custody.

As a Sinclair spokesperson put it: “Authentication and provenance answer questions such as: Where did this content come from? Who created it? Has it been altered? They do not independently determine whether every claim within the content is accurate or true.

“Editorial standards, fact-checking, reporting, and journalistic judgment remain essential,” the spokesperson said. “Provenance is a valuable tool that supports trust, but it does not replace the work of journalism.”

Bruce MacCormack, chair of the International Press Telecommunication Council (IPTC) Media Provenance Committee and co-founder of Project Origin, a consortium of global news organizations formed to combat digital disinformation by establishing a secure, end-to-end process to prove the integrity and origin of digital news and journalistic content, summed it up nicely: At both ends of the broadcast chain—ingest and output—knowing the provenance of media files is vital.

At ingest, signed content from a trusted camera, newsroom, agency or partner can help verification teams triage material more quickly; unsigned footage does not automatically become suspicious, but it may need extra manual checks.

“The issue is the increased fact-checking burden created by the wide availability of tools to generate or manipulate media,” MacCormack said. “C2PA can provide an ‘express lane’ for media that is signed by trusted parties.”

At output, the same infrastructure can help a broadcaster defend its own material once it leaves the newsroom, especially when clips are reposted, embedded or shared on third-party platforms.

A valid signature is therefore only part of the calculation. Newsrooms also need to establish who signed the credential—a camera, application, agency or publisher—and whether that identity is trusted in the relevant context. A credential from an unknown signer can be cryptographically intact without carrying much editorial weight.

Signing at the Source
The cleanest and earliest place to start that chain is in the camera.

If a newsroom can verify a video or image file only after it has been edited, compressed or pulled from a platform, it is already fighting a losing battle. Camera-side authentication aims to move the first trust signal as close as possible to the point of capture.

For Sony, that means building provenance into the camera (or media capture device) itself.

According to Martin Lindsay, head of networked solutions at Sony Electronics, Sony signs the captured file inside the camera, binding the media to the device so that downstream systems can validate its origin and integrity.

C2PA-compliant credentials then provide a standard way to record how and when media was created. In Sony’s case, capture time can help establish when the material was recorded, while 3D depth data—where supported—can add evidence the image came from a physical camera capture, rather than a generated or artificially constructed scene.

Camera-side signing is only the first link, though. Lindsay said provenance is strongest when it remains attached “from camera capture all the way through editing, storage, and distribution workflows.”

The challenge is that real-life broadcast media rarely travels in a straight line. “Provenance can be lost when content is exported, transcoded, compressed, screen-recorded or moved between systems that do not yet support these standards,” Lindsay said. “That is why industry-wide adoption and workflow integration are critical. Authentication needs to become part of the normal production pipeline rather than an additional step.”

Sony is also trying to move verification out of standalone tools. Lindsay said Camera Verify and its Image Verification Pre-Check SDK can be integrated into newsroom or media-management systems, allowing routine checks to run without requiring journalists to process every file manually.

Because news footage is rarely broadcast exactly as captured, the edit must become part of its provenance record.

Adobe Premiere and Media Encoder can attach Content Credentials at export, including verified identity and linked accounts. Premiere can also scan supported imported assets for existing credentials, while sequences containing supported Adobe AI-generated material receive credentials automatically in compatible export formats.

Adobe: Through the Edit
A clip may be trimmed, captioned, color-corrected, combined with other footage or prepared for several platforms before it reaches an audience—all of which are completely standard processes. Those changes do not make the media suspicious by default, but they do need to be carried out honestly if provenance is going to remain useful.

Each handoff still must understand what it is receiving, and cross-compatibility remains a potential stumbling block.

Adobe itself acknowledges that it cannot guarantee every publishing destination will support Content Credentials, which neatly captures the wider broadcast problem: one system can preserve provenance, but the chain only works if the next system does. too.

Any handoffs become more complicated inside a professional broadcast environment.

Much of the public conversation around C2PA has focused on capture, publishing and consumer-facing formats, but broadcasters work across a much messier chain of file formats, live signals, production tools, playout systems and distribution routes.

For Thomas Bause Mason, director of standards development at the Society of Motion Picture and Television Engineers, that means provenance has to be considered across the standards that already hold broadcast workflows together.

“SMPTE does not want to invent its own CPA specification but rather make sure that SMPTE standards are ready to support the CPA solution the market will choose,” he says. “That may be C2PA.”

In practice, the question is whether the systems used for professional editing, media exchange, IP production, legacy video links, and compression can carry a provenance record without losing it along the way.

The Material eXchange Format (MXF) is becoming more widely used for professional editing and distribution, but Bause Mason said no single format or handoff can solve the problem on its own. Broadcast workflows are made of many connected systems, and each one needs to know how to preserve the trust chain.

Bause Mason’s broader argument is that professional media infrastructure is not yet prepared to support content provenance end to end. Existing standards and systems need ways to carry manifests, identifiers or other durable links to provenance data before C2PA can move from controlled demonstrations into routine broadcast operations.

Editing, VFX, transcoding and format conversion can strip or break provenance, but they should also be able to add their own assertions to the manifest so the credential reflects what actually happened to the media.

Multiple Layers
Provenance also must represent several layers of origin. From a broadcaster’s perspective, the producer may be the source, but the audience may need to know which channel, platform or publisher endorsed the final version.

As one might imagine, this creates some difficult broadcast-specific questions.

Bause Mason helpfully frames some of them: Should authentication work frame by frame or shot by shot? How should provenance remain synchronized with the content during live production? What happens when contribution feeds from OB trucks are cut into a program, sent to consumer outlets and then passed to affiliates for further edits?

As he elegantly put it, “Only if the whole ecosystem is trusted glass to glass can the consumer be sure to receive content they as well can trust.”

When The Chain Breaks
A broken provenance chain cannot become a verdict in itself. If C2PA is going to work in a newsroom, it has to support editorial verification rather than replace it.

For broadcasters that handle user-generated video, archive footage, agency or wire material, social clips and content from third parties—in other words, many of them—this point is especially salient.

Some of the content may never have had credentials attached in the first place; some may have passed through systems that stripped or corrupted metadata before it reached the newsroom; and so on.

A newsroom may encounter media that was never signed, media whose manifest has been stripped, a credential that fails validation or a perfectly valid credential from an unfamiliar source—four different cases requiring different editorial responses.

As Marcos Armstrong, senior specialist, content provenance and integrity at CBC/Radio-Canada put it: “When dealing with user-generated content, archival assets, or third-party wire material that lacks a cryptographic signature, broadcasters cannot rely on data alone.”

At CBC/Radio-Canada, that means provenance sits alongside more traditional verification work. Armstrong points to visual vetting, geolocation, satellite imagery, public records and other open-source intelligence techniques used to check visual material when credentials are absent, incomplete or broken.

Armstrong said CBC/Radio-Canada is also exploring watermarking and perceptual fingerprinting as ways to reconnect broken credentials to their original manifests.

CBC/Radio-Canada has also tested more complete provenance workflows, including an in-house signing tool, the EBU’s C2PA-enabled video player, a C2PA-enabled Sony PXW-Z300 and Adobe Premiere in demonstrations of how a “glass-to-glass” workflow might operate.

Provenance can also fail for ordinary reasons. A genuine piece of footage may lose its credentials during compression or resizing, while a misleading video can still carry a clean technical chain.

For broadcasters, C2PA adds another signal to the verification process, helping newsrooms see where confidence is stronger, where the chain has gaps and where human judgment still needs to take the lead.

Reaching the Viewer
Even if provenance survives the production chain, it must still reach the audience in a form people can understand. Sinclair sees that display layer as central to adoption.

“For content authentication to become a routine part of broadcast news and production workflows, the standards work needs to move beyond carrying provenance in technical metadata and ensure that the end viewer can actually see and understand it,” a spokesperson for the station group said.

Authenticated enterprise identity needs to be shown consistently in media players, televisions, and software players, the broadcaster said. Without that, a piece of content may carry valid provenance data, but the viewer may never see that it came from Sinclair or another trusted source.

There is a UX problem here as well as a standards problem.

Armstrong said CBC/Radio-Canada has been exploring how Content Credentials should appear on its digital platforms without overwhelming users or making routine edits look suspicious, a delicate balance.

CBC’s proposed model uses progressive disclosure: an unobtrusive icon or banner first, followed by an expandable plain-English summary for users who want more detail. The interface would distinguish routine technical changes, such as resizing or colour-profile normalisation, from edits that can affect context, such as a heavy crop, and from transformative changes involving generative AI.

For provenance to become routine, it has to disappear into the workflow. C2PA only becomes useful to broadcasters at scale if it is built into cameras, editing tools, asset-management systems, CMS platforms, distribution chains and players.

From Trial to Broadcast Infrastructure
MacCormack argued that media provenance should become a feature rather than a standalone product—something built into capture, edit, distribution and display systems rather than handled by specialist signing or validation tools outside the normal workflow.

Armstrong makes a similar point from the broadcaster side, saying that the goal is to move away from manual resigning and embed provenance natively into common tools.

For Bause Mason, the standards challenge reaches across the professional media ecosystem, with each transformation point preserving the credential or identifier while adding its own record of what changed.

Broadcasters are not there yet. Workflows are mixed-vendor, format-heavy and full of hand-offs that were never designed to preserve cryptographic manifests. Social platforms, browsers, operating systems, televisions and software players also need to recognize and display provenance consistently before audiences can benefit from it.

C2PA will not replace newsroom judgment or settle every dispute over whether a piece of media is trustworthy. Its value is more practical: If the chain can hold, broadcasters gain a way to show where media came from, how it moved through production and why viewers can have confidence in the version they are watching.

SAN DIEGO—Established in San Diego in 2009, Show Imaging was known as the group of producers who refused to say “no” to the crazy and seemingly impossible. Over the years, Show Imaging has grown to a team of over 200 people nationwide and a community of unique creators who come from every background to build all aspects of premier experiences.

San Diego Comic-Con, one of my favorite events of the year, draws hundreds of thousands of devoted fans across film, television, literature and comics to experience panels, artist showcases and cosplay competitions. Delivering a memorable experience requires reliable, high-quality video capture and displays to ensure every fan has a front-row seat.

In 2025, Show Imaging partnered with Panasonic to bring that vision to life, providing the production technology needed not only to capture Comic-Con’s iconic panels but also to deliver high-quality video coverage to engage devoted fans and audience members.

Immersive Fan Experiences
Many panels operate on a first-come, first-served basis, so auditoriums fill quickly, including the seats in the back. Our job is to ensure all 6,000 attendees receive a front-row experience, delivering real-time audio and video that keeps every viewer connected to the action regardless of where they’re seated.

That’s why we equipped the room with three Panasonic AW-UE150 4K PTZ Cameras, one AK-UC4000 Studio Camera and the Kairos Live Video Production Platform. Designed for fast, intuitive setup, these solutions allowed our team to capture dynamic panels in 4K without having to worry about technical complexity or system reliability.

For close-ups during panel discussions and audience Q&As, Panasonic’s 4K PTZ and studio cameras delivered precise color reproduction and consistent shading, ensuring every attendee—even those watching online—experienced an accurate view of the action on stage.

Panasonic’s AW-UE150 4K PTZ Cameras were particularly instrumental when “Star Wars” creator George Lucas made a surprise appearance to promote the new Lucas Museum of Narrative Art. Attendees not only saw and heard the exclusive announcement of the museum, but also close-up video of Lucas as he shared behind-the-scenes stories and insights about his work, making the panel an unforgettable moment for “Star Wars” fans.

We also deployed 18 Panasonic PT-RQ35 projectors to map content across a 250-foot linear projection screen. Thanks to Panasonic’s interoperable ecosystem, the 4K PTZ cameras and projectors worked seamlessly together to deliver accurate visuals at scale with minimal adjustment. Panasonic’s Kairos Live Production Platform enabled the production team to easily edit, overlay and switch this content across screens in real time.

Kairos can also handle
ST 2110 signals directly, dramatically streamlining workflows. Comic-Con is a large-scale live event with many moving parts, and Kairos helped us manage the PTZ cameras, studio cameras, audio inputs and other visuals.

Panasonic’s integrated production ecosystem gave us the flexibility to prioritize storytelling over technical complexity, as illustrated during the “Tron: Ares” panel. A dramatic red laser light show and live stage performance were captured seamlessly by Panasonic’s PTZ cameras, ensuring audiences experienced every moment from wherever they were seated.

Images and Energy
Panasonic’s professional AV solutions enabled our team to immerse Comic-Con attendees in every iconic moment with precise imaging, seamless workflows and reliable performance. Rather than focusing on the technology behind the scenes, our crew could focus on what mattered most: capturing the energy of every panel and delivering an unforgettable experience for fans throughout the venue.

As audience expectations continue to rise, broadcast-quality cameras and production platforms will become even more essential to live events of every size.

Combined with emerging capabilities like AI-powered auto-tracking and live captioning, these technologies will help production teams create more accessible, engaging and immersive experiences to allow every attendee and remote viewer to feel connected to the action, no matter where they are.

More information is available on Panasonic’s website.

Now that consumers can stream live sports of just about every description through one OTT service or another, the question is, can service providers draw enough viewers to make money on their big sports streaming bets?

Amid much publicity about the boom in sports streaming, the general absence of sports-specific ROI data can’t hide the fact that, by all indications, providers are a long way from generating the returns they’re looking for on huge licensing and infrastructure costs. Notwithstanding a wealth of vendor-supplied, audience-building solutions aimed at achieving that goal, live sports viewing is still predominantly experienced through legacy TV outlets.

That point was driven home in April by Dan Rayburn, streaming media analyst and producer of the annual NAB Show Streaming Summit, who noted that pay TV still accounts for around 85% of total live sports viewing hours in the U.S. Citing inflated numbers widely ascribed to recently streamed marquee productions, Rayburn said the impression that streaming services are drawing “tens of millions of viewers” is wrong.

“It’s not happening,” he said, adding, “I see almost nobody reporting the numbers correctly.”

With streamers spending $12.5 billion of the $64 billion global outlay for sports distribution rights in 2025 and likely to add another $1.7 billion this year, according to Ampere Analysis, it remains to be seen if the pursuit of better UX will deliver the payback platforms are looking for. Getting there starts with eliminating the hassles confronted by consumers in searching for specific events, suggested Sandeep Tiku, chief technology officer at global sports streaming giant DAZN, which, as reported by the Financial Times, finally hopes to turn a profit by year’s end.

Battling the Fragmentation Impact on UX
Joining Rayburn for a different session at the NAB Show Streaming Summit, Tiku took streamers to task for thinking the use of recommendation engines qualifies as personalization. “Personalization totally is a joke,” he said, with Rayburn voicing concurrence. “Open your app and keep scrolling to find what game to watch? That’s not personalization. That’s marketing buzz.”

Tiku suggested the granularity of the in-the-moment, per-user personalization providers need will require streaming via the new Delta protocol, which DAZN and multiple development partners plan to demonstrate at next month’s IBC in hopes of bringing it to market over the next two years. But there’s ample evidence that sports streamers are already moving toward significant improvements in personalization and UX in general by tapping into the outpouring of new vendor solutions now at hand.

One way to get over the fragmentation hump with a more search-friendly UX can be found among the many multiview platforms that have appeared over the last year or so. While multiviewing with three or four on-screen options has gained some currency, a spurt of newly introduced next-gen systems could bring streamers much closer to mitigating the fragmentation issue.

The platform Broadpeak introduced at April’s NAB Show is a case in point. As Broadpeak sees it, the key to getting the most from multiviewing lies with lifting limitations on the number of user choices, how those options are configured and how fast they are rendered, said Damien Sterkers, the company’s vice president of products and solutions marketing. In an interview, Sterkers said the new multiview platform meets these requirements with improved cost and streaming efficiency compared to other available options.

But as with any consumer-targeted multiviewing platform, there are matters of rights, market testing and other business complexities that must be dispensed with before Broadpeak can talk about customer implementations. “There’s huge interest, but it takes a lot of time,” Sterkers said.

That appears to be the case with most of the other next-gen systems just hitting the marketplace, including the widely varying approaches taken by AWS, Eluvio, Harmonic, Imagine Communications, MediaKind, Syna­media, Tiledmedia and Red5, all of which were also on display at NAB Show. To date, very few service provider implementations of these solutions have been publicized.

One exception involves AWS, which began its foray into multiviewing late last year with the development of Formula One’s F1 TV Premium platform, enabling in-sync displays of camera feeds from every car in a race. Still in development with general availability targeted for IBC in September, Prime Video used the AWS solution in last season’s NBA telecasts to give viewers instant access to all games in action at any given time, according to Greg Truax, director of live services at AWS Elemental.

Truax said his team has put a lot of work into developing a ready-to-deploy platform that can be customized to each provider’s specific needs. Given that implementations can be resource-intensive on the server side, he said, this can only be done at reasonable cost “with on-demand scaling in the cloud.” What matters is that, by packing multiple videos into a single bitstream, “you’re not burning batteries or using other extra resources like advanced chips on the client,” he added.

Innovations in Production
There’s also a lot happening on the production side to enliven live-streamed sports, as exemplified by the support industry operators are getting from Techex, the longtime U.K.-based broadcast production system integrator and solutions provider that is expanding its U.S. customer base. At NAB Show, Techex announced a partnership with Encompass Digital Media that integrates Encompass’ cloud-production workflow platform with Techex’s content transformation, user interface and control technologies.

As described by Techex product manager David Edwards, the partnership is focused on live sports and production convergence for traditional broadcast and streaming in the cloud, including hybrid operations involving both on-prem and public commodity processing centers. “What’s unique for Techex is we can insert content seamlessly in multiple live transport streams with the ability to scale operations in the cloud compute environment,” Edwards said, adding this is done with no need to decode the streams.

A big focus for customers has been enabling on-the-fly insertions of SCTE 35 (“Scutty”) markers and then ads on a regionally targeted basis whenever game breaks occur. The benefits and scalability of the Techex functionalities were on display in DAZN’s 2026 World Cup productions, he said, noting production for the championship game in New Jersey involved dealing with feeds from 50 cameras.

A UX Game-Changer Tied to Latency Reduction
On another front widely regarded as essential to a better sports streaming UX, industry players are moving aggressively to lower end-to-end distribution latencies. These initiatives have two goals: reducing streaming latencies to broadcast equivalency in the 6-to-8-second range (and sometimes lower) over conventional HLS and MPEG DASH streaming platforms, and achieving sub-500-millisecond latencies, commonly referred to as “real time,” over new streaming infrastructures.

As previously reported, the search for real-time streaming solutions shifted into high gear at the NAB Show with surging industry participation in testing and, in a few cases, commercial operations over new CDN infrastructure supporting the new MOQ Transport standard.

But there’s something more to MOQ beyond support for real-time streaming that may account for the surging industry involvement, and this could go beyond the latency question to address the larger challenge of how to drive ROI on live sports streaming.

As Broadpeak’s Sterkers noted: “MOQ gives us one single protocol for streaming all video applications. Imagine you have a streaming service where you can mix programs on the same transport platform, adding real time for watch parties or to bring in commentary from influencers, while maintaining broadcast-level latency with the core content.”

That’s possible because MOQ users will have independently managed dashboard control over each track of a MOQ stream. They can assign latencies ranging from sub-500 milliseconds to two-second “interactive live,” for applications like sports betting and interactive shopping, to 5-second “conservative live” matched to broadcast speeds.

Broadpeak is all in at this stage of MOQ experimentation, taking a highly flexible approach to its CDN infrastructure that will be productized as soon as one of its tire-kickers is ready to go public, Sterkers said. “It really depends on how much people want to spend on latency optimization,” he added. “But with MOQ they can do a lot more natively.”

Whatever the motivations might be, demand for MOQ support is high enough to persuade AWS it is worth a lot of the Elemental team’s time, AWS Elemental’s Truax said. Given that AWS has long supported streaming with the User Datagram Protocol (UDP), a fundamental component of the QUIC protocol used with MOQ, “we’re excited about the standardization of UDP video delivery,” he said.

With several customers already in MOQ beta testing, “it’s kind of a latency thing right now,” Truax added. But now that “all the pieces of the chain” are in play, aside from control over device playback, AWS has more expansive goals in mind.

“You will see us make a fairly big splash,” Truax predicted. But with the IETF hoping to complete the MOQ Transport specifications by year-end, getting to commercial operations is “going to take a lot of work all the way into December.”

PORTLAND, Maine—Portland Media Center is the nonprofit community media hub for the greater Portland, Maine, area. We operate two local broadcast stations and two fully equipped production studios that are open to the public.

Our mission is straightforward and a little radical: Everyone has a story worth telling, and everyone deserves the tools, the training and the airtime to tell it. We offer workshops, seminars, and hands-on media production training for everyone from seasoned documentary makers to people who have never so much as touched a camera.

When I walked into the control room for the first time, I saw a love letter to every decade of broadcast technology since 1985. Racks upon racks were assembled over the years with genuine skill and craftsmanship, each piece there for a reason, often because something older needed a translator to talk to something newer.

It worked, but it was clunky. It was difficult to teach, scale and maintain. It was not exactly a system you could confidently put in front of a newcomer and say: “You belong here. This is yours to use. Go tell your story.”

Designing a New Studio
That needed to change and I knew what I wanted. A system that spoke one language, camera to switcher to edit suite—all of it integrated, intuitive and designed to get out of the way and let the storytelling happen.

We built out the new studio around four Blackmagic Studio Camera 4K Pro live production cameras, an ATEM Television Studio HD8 ISO live production switcher, an ATEM Camera Control Panel and four camera converters. The transformation was immediate and dramatic—three full racks of old equipment came out, and the entire Blackmagic Design system went into half of one rack.

The cameras run on Power over Ethernet, delivering clean, timeline-ready files directly to the ATEM. The clutter and complexity are gone, and now we have a studio that looks exactly as it is supposed to look.

Choosing the Blackmagic Studio Camera 4K Pro was deliberate. For a nonprofit operating on a community media budget, cost matters, but so does performance and teachability.

The Blackmagic Studio Camera 4K Pro delivers on all three. Color correction is intuitive whether you are working in camera or through the CCU. The switched feed integrates flawlessly into DaVinci Resolve Studio and Fairlight, producing a pipeline that feels less like a workaround and more like it was designed by someone who actually thought about how these things connect (because it was). Files arrive already embedded in a timeline, ready to go. In a pinch, the entire system can be run by a single operator.

Perhaps more importantly for our mission, the system is easy to teach. New creators can get up to speed quickly, while more experienced producers have plenty of depth to explore. We have shifted from a place that produces programming to a place that produces producers.

Simplfied Debates
The proof came in the form of a recent live gubernatorial debate. Five candidates—
including one appearing remotely—as well as two hosts and a live studio audience of 65, were delivered simultaneously to broadcast, video-on-demand and YouTube. It was exactly the kind of high-stakes civic production that used to require crossing your fingers and hoping nothing went sideways.

Nothing did. The Blackmagic Design system handled every element with zero drama and delivered a production we were genuinely proud of. Having the right tools meant it looked as important as it was.

For us, that’s the real value of the Blackmagic Studio Camera 4K Pro. The cameras don’t just produce excellent images, they simplify complex productions, make professional broadcasting accessible and allow our nonprofit to do more with limited resources. By modernizing our infrastructure, we’ve strengthened our ability to serve the community and ensure that more local voices can be seen and heard.

More information is available by contacting Blackmagic Design at 408-954-0500 or by visiting the Blackmagic website.

MINNEAPOLIS—I first founded Curling Stadium, a systems integration firm specializing in deploying livestreaming systems in curling arenas using PTZ cameras and NDI connectivity technology, in 2019. Combining my 25 years of IT experience with my background as an Olympic curler, we installed and managed systems in 23 curling clubs around the world.

Those deployments captured the attention of organizations, including USA Curling and international governing body World Curling. We started getting requests to provide full broadcast production services for major curling events, leading us to evolve into Stadium Sports Network, the full-service production company we are today.

Curling Challenges
We had used a variety of PTZ camera brands over the years, ranging from budget-oriented brands for small clubs to the premium high-end models we rented for larger productions. With our productions for World Curling destined for linear television anywhere in the world, we knew we needed to upgrade our cameras to achieve higher quality while remaining cost-competitive. A tipping point came when we were contracted to produce broadcasts of the U.S. Olympic Curling Trials in South Dakota last November for NBC Sports and Peacock.

Shooting curling involves some unique challenges. For example, when we’re tilting a camera down at the ice, we’re getting a lot of bright white that blows out the exposure on most of the other cameras we’ve used. The lighting also varies a lot between events depending on the venues—from dimly lit older curling clubs to bright, modern arenas—so we needed cameras with at least a 1-inch sensor as well as exceptional exposure handling.

One of our partner companies recommended we check out Telycam PTZ cameras, and I’m glad we did. After testing their broadcast-class Explore XE model, we purchased three of them.

In our typical workflow, the Telycam cameras output NDI HX3 streams that are delivered to the production center over a 10 Gbps Ubiquiti network. Switching is done on a computer running vMix software, with Singular Live powering HTML5 graphics and a Behringer X32 audio mixing console.

We use AVKANS controllers for PTZ camera control. Telycam makes its own controllers, but the Telycam cameras support the standard VISCA control protocol and we already owned many AVKANS controllers, so we stuck with them.

The Telycam PTZ cameras have been outstanding, and we couldn’t be happier with the results. When I compare them to other manufacturers we’ve used, aspects like color shading and autofocus have been standouts, and the autoexposure has been amazing in overcoming the above challenges.

In fact, we had rented high-end cameras from a big broadcast brand for a previous project, but we found that Telycam’s autoexposure and focus management blew the more expensive cameras out of the water. The Explore XE gives us superior quality and at its price point, we can buy the cameras rather than renting them. The value we’re getting from them allows us to be competitive at the high end of our market.

PTZ Creativity
Curling is also fairly repetitive compared to other sports, so the shots are almost always the same. We need to be more creative with how we mix in shots with zoom, and the Telycam cameras’ responsiveness with different presets has been valuable.

Most importantly, our broadcast clients have also been happy with the results. We previously heard from skeptics that PTZ cameras couldn’t achieve this level of production quality, but I believe that’s been proven not to be true.

Telycam has also been great to work with. The demo and sales process was smooth and their technical support has been excellent. During one project, we found that we needed a different firmware package, and within an hour, they had responded and new firmware was running on the camera.

We plan to expand to produce multiple broadcasts at the same time, so we’ll be investing in more cameras. Based on our experience, when we do, it will be with Telycam.

More information is available on the Telycam website.

BRISTOL, Conn.—“College GameDay” is ESPN’s premier college football pregame show, for which we have won the Sports Emmy for Best Weekly Studio Show for three consecutive years (2024–2026). It’s a privilege to work on the show and to continue to shape it.

For those unfamiliar with “GameDay,” it’s a 20-plus-camera, multiset, fan-immersive broadcast that moves to a new college campus every week of the season. It’s exciting, unpredictable and one of the most technically complex studio shows on television.

Live in HDR
Last season, we began exploring how to evolve the show’s visual identity. We had already moved “GameDay” into HDR, and that shift opened the door to a more cinematic presentation. I don’t just mean shallow depth of field, which tends to dominate conversations about “cinematic sports,” but the full package: Crisp edge detail, richer color and extended dynamic range. With a controlled lighting environment on our set (even outdoors), we knew we could push the look further.

At the 2025 NAB Show, RED’s booth immediately caught my attention. They were showcasing the V-RAPTOR with the SMPTE back, and the combination aligned exactly with my search for a cinema-grade sensor that could still integrate cleanly into a broadcast workflow.

After meeting RED’s specialists and digging into the camera’s capabilities, it became clear the V-RAPTOR could deliver two things we needed simultaneously: One was a true cinematic image suitable for HDR and the other was high-frame-rate performance for studio slow motion.

We weren’t just chasing a “pretty picture.” I needed a camera that could slot into our EVS replay system, take a matching look-up table to sit alongside our Sony broadcast cameras and still be painted live from the truck. V-RAPTOR ticked every box.

Every week of the season, “GameDay” rolls into a new campus. We build a full studio environment outdoors, surrounded by thousands of fans who show up before sunrise. It’s a wild place to deploy a cinema camera, but RED made the integration straightforward.

Canon supported us with optics, primarily the Canon 17–120 mm Cine Servo zoom, and later a prototype Canon 11–55 mm. We ran the camera through a Cyanview control panel, RED provided the necessary rack gear and we powered the camera directly from the truck to accommodate the different power requirements.

Operationally, the only noticeable change was weight. With cine glass and the larger body, we assigned the camera to an operator with experience carrying one through long, energetic handheld sequences. Once it was on his shoulder, he ran with it creatively.

We deployed the V-RAPTOR for two weeks of the 15-week regular season, at Vanderbilt and Utah. Vanderbilt was a perfect test case—the show featured live country music performances, and the camera produced standout images that immediately
differentiated themselves from our standard broadcast coverage.

We ran the camera at 3x slow motion, using it for fan reaction slo-mos, which are a show signature. We also used it for our on-set field-goal challenge, where a student attempts a kick for a cash prize.

Ready for 500th Show
The camera bridged the gap between cinematic presentation and high-frame-rate replay in a way we hadn’t achieved before. RED proved itself as a valuable tool in our broader innovation strategy.

As “GameDay” enters its 40th season and prepares for its 500th road show, we’re always looking for ways to evolve. V-RAPTOR gave us a new visual language to explore and helped inform how we think about balancing cinematic storytelling with live broadcast reliability.

As we continue to push forward in HDR, in camera tech and in how we bring the energy of thousands of fans into viewers’ homes, RED will remain part of the conversation.

More information is available on the RED website.

SAN DIEGO—When your “broadcast studio” is 5,000 meters below the ocean surface, you have to get creative with your camera technology. That’s what our combined teams at DeepSea Power & Light and Ocean Exploration Trust (OET) did on a deep-sea expedition, modifying Sony’s HDC-P50 POV camera to explore and live-stream UHD content from the ocean depths of the Cook Islands.

Each OET expedition is focused on scientific exploration, visiting never-before-seen parts of the planet, documenting ecosystems in poorly understood ocean regions, discovering new species and sharing this data with the world. A core part of OET’s mission is education and outreach, using the excitement of discovery to inspire the next generation of explorers.

Extreme Tech
Sending exploration tools to depths of 5,000 meters or more requires a unique set of hardware that can survive and operate in extreme temperatures and low light. Space constraints further complicate mounting cameras on remotely operated underwater vehicles and controlling them from confined workspaces aboard an exploration vessel.

In 2019, DeepSea partnered with the Monterey Bay Aquarium Research Institute (MBARI) to design a camera system that could deliver studio-level imaging quality in these conditions, an idea first championed by MBARI’s Mark Chaffey. The team sought a camera capable of UHD resolution, HDR and native 12G outputs to integrate with standard broadcast workflows. The Sony HDC-P50 hit the sweet spot for all criteria.

What sealed the deal was the camera’s modular design. DeepSea completely deconstructed and re-engineered its chassis to integrate the HDC-P50’s features into the MxD SeaCam, a broadcast-
grade 4K subsea imaging system with a ruggedized pressure housing designed for deep‑ocean exploration, scientific research and underwater filmmaking.

Building the MxD SeaCam around Sony’s proven compact broadcast camera helps us deliver the same imaging performance and control as a full-sized studio system but hardened for thousands of underwater pressure cycles. In 2025, OET and DeepSea brought the camera to sea on the Exploration Vessel Nautilus and tested it under real-world conditions.

A key objective of the Cook Islands expedition was to explore the South Pacific region’s biological and geological diversity and provide information about these environments to the Cook Islands Government.

ROV-based (remotely operated vehicle) surveys are best suited for filming macro fauna, which is everything large enough to see with the naked eye, or about a few centimeters in size. During the Cook Islands expedition, the camera’s combination of UHD resolution with a faster frame rate to capture more detail per second brought out the finer details of organisms that scientists need to identify species and examine geological patterns. Color is also important, and this HDR system gives us a richer range of hues and spectral information about underwater habitats and environments.

High-Resolution Science
The HDC-P50 will remain an essential part of DeepSea’sMxD system and the team will test and evaluate newer Sony camera versions as our organizations continue to advance deep-sea floor imaging. Only about 28% of the seafloor has been mapped at high resolution. We know more details about the moon’s surface than we do about the ocean floor.

The ocean contains about 99% of our planet’s habitable volume, yet roughly 90% of the species that live in it have yet to be identified. The visual information we gather with Sony tools is used for high-quality broadcast viewing and permanently stored in public repositories where it remains available to scientists and anyone interested in researching and learning in the future.

For many scientists, the complexity and cost of at-sea research limit their access to the sea floor. With advanced imaging solutions like the Sony HDC-P50 and DeepSea MxD SeaCam as well as OET’s telepresence outreach, researchers worldwide can unlock new ultra-high-resolution views of the deep. The better the quality of the data we can deliver to our audiences, the better they can do their jobs.

More information is available on Sony’s website.

RICHMOND, Va.—Opening a brand-new, state-of-the-art production facility at CarMax Park for the Richmond Flying Squirrels minor league baseball team presented many challenges and opportunities.

Among them was the all-important decision of selecting the camera system. Taking the leap from our previous workflow in our old stadium, “The Diamond,” our goal was clear: support productions of home games, live events, LED programming and multiplatform content with a consistent, high-quality production standard that truly sets us apart.

Knowing that the cameras would be in use throughout the day, reliability, image quality and flexibility were all important factors.

We looked at several options before selecting the Grass Valley LDX 110. During our evaluation, it delivered better performance in low light and other challenging lighting conditions than the alternatives we considered, while remaining within the budget we had set for the project. The Xenios CMOS image sensor consistently delivered the picture quality we were looking for, and the compact camcorder-style design was a good fit for how our operators work on game days.

All-Action Capture
Our production schedule begins when the gates open and finishes after the last fans leave the ballpark. During that time, in addition to the game itself, we’re producing a variety of content including player introductions, fan features, live entertainment, promotions and activity around the concourse. Camera operators are constantly moving between different environments and lighting conditions.

Our fixed cameras, including the high home and centerfield positions, provide the main coverage throughout the game. They produce excellent pictures and give us the consistency we need across the entire production.

The MVP in our live production workflow has been the mobile camera system, a huge upgrade over previous systems deployed. The LDX 110 gives us much more freedom to cover everything happening around the stadium with the same picture and color quality we see on fixed cameras. Operators can move freely around the 360-degree concourse to spend time with fans, react to big moments and capture entertainment occuring on and off the field, all with a consistent high-quality production standard. These shots are critical in telling the story of the fan experience at CarMax Park.

The mobile system is a seamless, natural fit in our workflow with the color-grading system in our control room, allowing our shader full control while the camera operator freely moves around CarMax Park. That combination has made mobile operation far easier than we have experienced in past workflows.

We use the word “consistency” often, as that has probably been the biggest operational improvement seen since opening the venue. The picture quality and consistency of the LDX 110 systems is big league, giving our production the polish our fans and partners deserve while allowing our team to stay focused on the live show.

Big-League Delivery
The response from our fans and community partners has been extremely positive. Fans, colleagues and industry peers who visit CarMax Park often describe our productions as “big league.” That was one of our main objectives when we designed the production facilities, so it is very rewarding to receive that feedback.

Overall, the deployment has exceeded our expectations, and we are already working with Grass Valley and our integration partners to add a second mobile camera system. That decision is based on how much value the first system has added to our productions and how often we now rely on it during a game.

Opening a new ballpark gave us the chance to build the production workflow we wanted from the beginning. The LDX 110 cameras have become an important part of that workflow, helping us produce consistent, professional coverage throughout every game while giving our production team more creative freedom around the stadium.

More information is available at Grass Valley’s website.

WHITE PLAINS, N.Y.—SMPTE has opened early registration for the 2026 Media Technology Summit (MTS) and announced initial program highlights, including the debut of the SMPTE Media Tech Business Forum.

Early registration rates will be available through August 31.

The annual summit, taking place November 16-19, 2026, in Pasadena, California, brings together engineers, technologists, business leaders, innovators, and decision-makers shaping the future of media technology. This year's conference program will feature peer-reviewed technical papers, keynote presentations, and executive panels tackling today’s most pressing media technology issues.

“The Media Technology Summit is more than a technical conference,” says SMPTE executive director Sally-Ann D’Amato. “It's where our industry comes together to exchange ideas, build relationships, and move media technology forward. This year's program spans everything from AI and sustainable media workflows to the role of media technology in adjacent fields such as space exploration, giving attendees a unique perspective on where our industry is headed."

Programming highlights include Tuesday's keynote presentation from NASA. Astronaut Donald R. Pettit will discuss his unique images taken from the International Space Station, followed by a panel discussion on the Artemis II mission and imagery beyond low Earth orbit.

New for MTS 2026, the SMPTE Media Tech Business Forum will open the summit on Monday with a dedicated program delivering market intelligence and executive perspectives from senior leaders shaping the future of media technology. Executives from leading studios, technology companies, and industry analyst firms will participate in keynote conversations, panel discussions, and interactive roundtables focused on the business forces transforming the industry.

"Our MTS programming on day one is dedicated to business strategy, keynotes from global industry leaders, an outlook on what comes next, and the health of our industry," notes Hans Hoffmann (EBU), chair of the Media Tech Business Forum. "This program shares the vision of industry leaders and brings them into dialogue with users. We offer profound insight from decision-makers, big tech in dialogue with start-ups, and critical strategies for shaping the future. Our industry is changing rapidly, and the Media Tech Business Forum is critical for anyone who needs to understand where our industry is heading, where decisions have to be made, and where opportunities will emerge.”

The Solutions Hub will return, giving attendees the opportunity to experience emerging technologies, engage directly with leading technology providers, and explore real-world applications through presentations from artists, users, and solution providers. Expanded networking events and roundtable discussions will create additional opportunities for collaboration throughout the week.

“The Media Technology Summit has always been where our industry comes together to learn, collaborate, and prepare for what's next,” says Juan Reyes, Summit co-chair. “This year, we’ve implemented further measures to equip industry leaders, mid-career professionals, and newcomers with the skills needed to navigate future challenges.”

More information about the 2026 Media Technology Summit can be found here.

MINNEAPOLIS/ST. PAUL—The Minnesota Timberwolves have announced a new local media rights agreement with DAZN that makes it the new exclusive home for Timberwolves basketball across its local broadcast territory.

The deal creates a new team-branded subscription service. Launching later this summer, it will allow fans to stream Timberwolves games and provide access to broader team content.

Fifteen games will be available for free this season, underscoring the team’s commitment to reaching more fans.

The subscription service will be available throughout the entirety of the Timberwolves' home broadcast territory, which includes full coverage across Minnesota, Iowa, Nebraska, North Dakota and South Dakota, with partial coverage extending into Kansas and Wisconsin.

The team reported that DAZN’s digital-first viewing experience and multi-device capabilities will allow fans to seamlessly access games, programming, and additional content across smart TVs, mobile devices, web browsers, and partner streaming platforms.

Production for all local game broadcasts, including pregame and postgame coverage, will be provided by the NBA.

“Our commitment to the best possible fan experience is what drives everything we do,” said Timberwolves & Lynx CEO Matthew Caldwell. “With DAZN, we’re delivering on that promise, bringing Timberwolves basketball directly to fans through a modern streaming experience that expands reach with 15 free games and meets fans wherever they are.”

“The Timberwolves are one of the most exciting young franchises in the NBA, with an incredibly passionate fanbase. We are honored to be their exclusive regional home starting next season and to give fans an easy way to watch the team they love," said Shay Segev, CEO, DAZN Group. “The NBA is one of the most popular leagues in the world and the Timberwolves are an indelible part. Bringing a team of this calibre onto DAZN is an amazing addition to our growing U.S. sports portfolio. We can’t wait to start serving Timberwolves fans as the team prepares for another incredible season.”

DAZN will deliver live Timberwolves games alongside a broad slate of additional content, giving fans expanded access to live action, pre- and post-game shows, highlights, behind-the-scenes storytelling, and original programming that deepens the fan experience.

DAZN also reported that new interactive features will be launched throughout the season including live in-game fan chats, polls, quizzes, and games.

Available in more than 200 markets worldwide, DAZN has partnerships spanning the NFL, NHL, soccer, boxing, MMA and other major sports leagues, competitions and properties.

Additional details regarding game availability, programming, launch timing and pricing will be announced at a later date.

For the better part of a decade, there's a word the broadcast industry has been using to describe the move from traditional to software-defined production.

That word is transition.

But transition implies a journey from one state to another. What broadcasters are really living through is more permanent than that. They're not crossing a bridge. They're building one while keeping traffic moving on both sides.

The hybrid reality that most production operations face today isn't a phase. It's the terrain they're operating in. And the industry is only beginning to work out what that really demands.

Two Worlds, One Team
As IP and cloud-based production matured, the assumption in most technology strategies was that organizations would eventually retire traditional hardware workflows. But that hasn’t happened. Client commitments, capital cycles, rights agreements and the genuine complexity of software-defined environments have all kept legacy infrastructure in service.

This means that production teams manage both at the same time, and engineers who once worked in a single signal chain are now expected to be fluent across various architectures. That pressure isn’t always obvious, until something goes wrong.

Client expectations are moving in different directions at the same time. Some rights holders won't compromise on premium quality. Others are under real pressure to deliver faster and cheaper, sometimes for the same content through a different window. In some cases both demands land in the same contract.

The Cost of Keeping Both Engines Running
Operating in a hybrid environment is costly in ways that aren’t always easy to quantify. Maintaining two categories of infrastructure, training staff on both and building workflows that flex between them: the obvious costs are significant. But the subtler ones are too.

Every infrastructure decision now has a strategic dimension to it. Whether to extend the life of traditional kit, push harder toward software workflows and take on the short-term risk that comes with it, or route projects through different models depending on the brief, none of it is straightforward and each path brings its own complexity.

None of these are easy calls. They involve trade-offs between cost, speed, quality and flexibility. The right answer shifts with each client and project. The teams that navigate this skillfully have stopped looking for one cohesive answer and instead relied on the judgment to make the call differently each time.

Remote and Cloud: Real Gains and Real Limits
Remote and cloud production have proven their worth. The ability to draw on the right talent wherever they are, scale infrastructure around event demand and cut crew travel has truly changed how operations plan and staff major events.

But the limits of working fully distributed are also getting clearer. Some productions benefit greatly when people are in the same room, where decisions need to be made quickly and creative judgment is built through proximity. The best hybrid operations aren’t choosing between remote and on-site. They’re developing the discipline to recognize which approach will work best for any given brief, and then investing in the infrastructure to support both.

Flexibility: The Baseline Requirement
The most important shift in thinking may be that flexibility isn’t something to sell anymore. Clients expect workflows that flex to last-minute changes, support teams who are spread across different technical environments and scale without everything falling apart.

That’s a structural challenge. Not a technology challenge. The tools exist, but what production operations are still building is the confidence to lean on them and the organizational design to deploy them well.

The broadcasters and service providers who define the next phase of this industry will not be those who complete the move to software-defined production fastest. They will be those who build the judgment and workflows to operate effectively in a world where both models coexist, indefinitely, at the same time.

Hybrid production isn’t a problem to be solved. It’s the operating environment. The sooner the industry plans accordingly, the better.

MIRAMAR, Fla.—NBCUniversal’s Telemundo 51 Miami/WSCV has announced an agreement with the Miami Marlins that will make live Spanish-language coverage of Marlins games available for the first time on the station.

Telemundo 51 will broadcast the Marlins against the Los Angeles Angels on Sunday, Aug. 9, at 1:40 p.m. ET, and against the Atlanta Braves on Sunday, Sept. 27, at 3:10 p.m. ET – the final game of the 2026 regular season – on free over-the-air television in South Florida.

“Our viewers have a deep passion for baseball, and we are proud to make Marlins baseball available to Spanish-speaking fans on Telemundo 51 for the first time,” said Jorge Carballo, president and general manager of Telemundo 51 and NBC6 / WTVJ. “This initiative underscores our shared commitment to serving South Florida’s vibrant Hispanic community.”

“Baseball is deeply rooted in the Spanish-speaking community, and that is especially true here in South Florida,” said Caroline O’Connor, Miami Marlins president of Business. “Our partnership with Telemundo 51 Miami allows us to connect with Spanish-speaking fans in a more meaningful way through Spanish-language broadcasts while expanding access to Marlins baseball across the region.”

PITTSBURGH—NEP Group has announced the availability of Riedel's SimplyLive Production Suite through NEP Platform, expanding the platform's ecosystem of technologies.

With the latest integration, customers now have access to one of the industry's leading live production software solutions, giving them greater flexibility to build modern production workflows using software they know and trust, while leveraging NEP Platform to deploy, orchestrate and manage these applications through a single, secure interface.

"Organizations don't want to replace the workflows and expertise they've already invested in or be locked into a single solution. They want the freedom to choose the right software for every production,” said NEP vice president Dan Murphy.

“That's exactly what NEP Platform enables. We provide the orchestration layer that allows customers to deploy, connect and manage trusted software applications through a unified operational framework. The addition of SimplyLive further expands customer choice while continuing to grow the industry's largest software ecosystem for media production."

Riedel's SimplyLive Production Suite offers key capabilities, including live production, replay, ingest recording, streaming and video review in a flexible, modular suite. Through NEP Platform, customers can now seamlessly integrate SimplyLive into broader production workflows, alongside complementary software applications from other trusted suppliers.

Offering a large ecosystem of trusted software applications for media production, NEP Platform gives customers greater choice and control over how they build production workflows.

Rather than replacing software that NEP’s customers already know and trust, NEP Platform provides the orchestration layer to bring applications together into a unified software-defined environment. Through a single, secure interface, organizations can rapidly deploy, orchestrate and scale applications up or down as production requirements evolve.

"SimplyLive is built to give production teams maximum flexibility — whether on a truck, in a studio, remotely or in the cloud. With integrated live production, replay, ingest recording, streaming and video review combined in a single, modular suite, customers can deploy exactly the components their workflows demand,” said Ulrich Voigt, director of Live Production Solutions at Riedel Communications. “Making SimplyLive available through NEP Platform takes that flexibility even further: customers can now embed SimplyLive seamlessly into broader, software-defined production environments — while retaining the operational freedom that modern production teams expect."

Every NEP Platform deployment is backed by the expertise of the teams delivering many of the world's largest and most complex live productions every day.

More information is available on the NEP and Riedel websites.

MONTREAL—Haivision will make the European debut of its Makito ONE video transport platform and Falkon X4 5G mobile video transmitter during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Makito ONE and Falkon X4 represent the newest additions to Haivision's broadcast contribution ecosystem for live sports, news and event production. Together, the solutions enable broadcasters to contribute high-quality, ultra-low latency live video from fixed, remote and mobile production environments over any type of network.

Makito ONE is Haivision's fully configurable video transport platform that combines dual-channel video encoding and decoding, ultra-low latency 4K UHD, HD and HDR video, and multi-codec flexibility in a single compact blade.

Used for primary contribution and remote production, Makito ONE supports H.264, HEVC and JPEG XS along with SDI and SMPTE ST 2110 connectivity, enabling broadcasters to configure the platform for encoding, decoding or mixed workflows as needed while delivering broadcast-quality video contribution over public internet, wireless, satellite and fiber networks.

Scalable from a compact single-blade system to high-density modular chassis, Makito ONE ensures rock-solid AV synchronization and highly reliable video transport, supporting productions of any size.

Falkon X4 is Haivision's newest mobile video transmitter, purpose-built for remote production of live sports and 24/7 news. Featuring a four-modem, 2x2 MIMO architecture and Haivision's cellular bonding technology, Falkon X4 delivers robust, uninterrupted connectivity across public and private 5G, 4G, Wi-Fi, Ethernet and Low Earth Orbit (LEO) satellite networks. Supporting pristine 4K/UHD, HD, and HDR video with HEVC and H.264 encoding, Falkon X4 provides reliable video transmission with true mobility and flexible operational control, enabling production teams to capture live content from virtually any location.

Haivision will also demonstrate how its ultra-low latency bonded cellular technology is able to transmit video over private 5G networks at under 100 milliseconds. The company will highlight how it is transforming the way broadcasters are covering live events from crowded locations where public mobile networks can become congested and when cabling is not possible.

See Haivision at IBC 2026 stand 2.B32.

More information is available on the company’s website.

The cloud is playing an ever increasing role in media production, with broadcasters increasingly deploying hybrid platforms that combine the cloud with on-prem solutions that take advantage of advances in processing, connectivity and AI.

In our latest Guide to Cloud Solutions, we examine the current landscape of cloud-based production and how media companies are adopting the best of both worlds to make workflows simpler and more efficient.

Download your free guide here.

BURBANK, Calif.—The CW and ESPN have announced that their streaming agreement to bring live CW Sports events to the ESPN App will officially launch on Tuesday (Aug. 4).

ESPN App users can watch all CW Sports offerings live on any device as a complement to The CW’s nationwide over-the-air broadcast and pay TV distribution.

More than 800 annual hours of CW Sports content will be broadcast live on The CW and livestreamed on the ESPN App for viewers with an ESPN Unlimited subscription plan.

CW Sports on the ESPN App launches Aug. 4 at 8 p.m. with a live, two-hour “WWE NXT” event. Next, motorsports fans will be able to stream the final two the final two regular season NASCAR O’Reilly Auto Parts Series races from Iowa Speedway on Saturday, Aug. 8, at 4:30 p.m. ET and Daytona International Speedway on Friday, Aug. 28 at 7 p.m. ET before The Chase for the Championship continues throughout the fall.

CW Sports offers college football and men’s and women’s basketball from the ACC, Mountain West and Pac-12 conferences, the NASCAR O’Reilly Auto Parts Series, WWE NXT every Tuesday night, WWE NXT premium live events, PBR Bull Riding, AVP volleyball, PBA bowling and the 2026 Arizona Bowl.

Fans can activate the ESPN Unlimited plan through their TV or mobile providers in addition to a standalone subscription.

The CW’s biggest college football season in network history—featuring140 hours of games across the ACC, Pac-12 and Mountain West conferences—kicks off on Saturday, Aug. 29 at 6:30 p.m. ET with New Mexico State-Florida State.

GENEVA—GlobalM will feature the latest evolution of its software-defined media platform that enables broadcasters, telecom operators and media organizations to deploy identical live IP workflows across public cloud, private cloud and on-prem infrastructure during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

“Protocols such as SRT and RIST have played a major role in accelerating IP adoption, but moving video from A to B is only one part of the equation,” said Paul Calleja, CEO of GlobalM.

“Broadcasters still need to provision services, manage thousands of live connections, monitor quality, schedule events, configure edge devices and build resilient networks that can scale," he added. "That’s where we believe the real value lies.”

GlobalM’s software-defined platform provides a unified operational layer across cloud, hybrid and on-prem environments, allowing customers to deploy and manage services through a single interface regardless of where the infrastructure is located. The platform combines orchestration, automation, monitoring, scheduling, device management and workflow automation to simplify live contribution and distribution operations.

The company will highlight its GMX1 on-prem deployment platform on its stand. The platform is designed for broadcasters and telecom operators that require the flexibility of software-defined workflows while retaining full control of their own infrastructure. GMX1 can be deployed on customer-owned hardware, virtual machines or dedicated appliances. It integrates seamlessly with the company’s cloud platform to support hybrid deployments.

GlobalM will also demonstrate GMDC (GlobalM Device Control), enabling supported third-party encoders and decoders to be configured, monitored and managed through a single operational environment, reducing complexity and improving operational efficiency across multi-vendor networks.

See GlobalM at IBC 2026 stand 1.A11.

More information is available on the company’s website.

NEW YORK—DAZN, one of the world’s leading sports streaming services, said today that it will be the exclusive direct-to-consumer streaming home of MSG Networks and YES Network starting with the 2026-2027 NBA and NHL seasons.

This now gives DAZN subscribers in the New York City region access to live Yankees, Knicks, Nets, Rangers, Devils, Islanders and Sabres games, as well as 24/7 feeds of regional sports networks MSG, MSG Sportsnet and YES Network, as well as on-demand content including highlights, behind-the-scenes programming and Emmy Award-winning original series.

Pay TV subscribers who receive MSG Networks or the YES Network as part of their content package will receive MSG and YES content, as applicable, via the DAZN platform at no additional cost, the company said.

Subscribers to the Gotham Sports App—the previous home to MSG Network and YES Network streaming—will continue to receive uninterrupted access as YES and MSG prepare to migrate users to DAZN during the 2026-2027 NBA and NHL seasons. Exact timing and other details of the migration will be announced in the coming months, according to DAZN.

Although it's the largest digital sports streaming service in the world, covering about 200 countries, the partnership is DAZN’s biggest move yet to gain a larger foothold in the world's most lucrative sports market, allowing it to stream several marquee U.S. sports leagues to American subscribers for the first time.

Up until now, DAZN’s presence in the U.S. market has focused on combat sports, airing 185-plus fight nights a year as well as soccer leagues and competitions, such as the UEFA Champions League and FIFA+. Outside the U.S., DAZN streams NFL Game Pass, NHL.TV, the NBA and NCAA college football and basketball to international subscribers.

In May, the company said it was specifically targeting local rights to certain NBA franchises, telling Awful Announcing, “let’’ be clear, we want to be in that space.“

DAZN Group CEO Shay Segev said the deal was a "defining moment for us and underscores our commitment to expanding our footprint in the United States.”

“The New York sports landscape has a rich heritage of teams and DAZN is honored to partner with both the YES Network and MSG Networks to become their exclusive direct-to-consumer streaming home, bringing the Yankees, Knicks, Rangers, Nets, Devils, Islanders, and Sabres to more fans than ever before," he said. "This is what DAZN does best—connecting fans to the sport they love and creating immersive digital experiences that go far beyond the game."

STUDIOS IN SWANSEA, U.K.—QuickLink will debut its new StudioPro AnywhereTally system during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Purpose-built for QuickLink StudioPro, AnywhereTally extends tally control beyond traditional local workflows, delivering reliable, real-time on-air indication over the internet for multi-camera productions operating across multiple locations.

Designed for the future of cloud-enabled production, StudioPro AnywhereTally integrates natively with the brand’s StudioPro Proton and StudioPro Fusion control panels, creating a unified workflow across software, control surfaces and remote tally devices. With support for four, eight or 12 tally light configurations, the system provides the flexibility required for everything from compact studio setups to large, distributed productions.

“StudioPro AnywhereTally is a first-of-its-kind cloud tally solution, designed to meet the evolving needs of modern live production. Built for cloud-based workflows while supporting traditional on-premises environments, it gives production teams the flexibility to extend professional tally capabilities wherever they operate,” says Richard Rees, CEO of QuickLink. “By combining real-time remote tally, seamless StudioPro ecosystem integration and professional-grade wireless performance, AnywhereTally enables more connected, flexible and efficient production workflows.”

StudioPro AnywhereTally delivers high‑performance wireless reliability with up to 7,200‑ft range, strong wall penetration and 20ms low‑latency response using military‑grade wireless technology, ensuring dependable tally performance in demanding environments.

Built for long production days, it provides 20 to 40 hours of battery life, USB‑C charging and a clear battery status indicator. It’s compact, lightweight aluminum alloy design supports both hot‑shoe and 1/4‑inch mounting for fast, flexible deployment. With cloud‑controllable operation through StudioPro Cloud instances, AnywhereTally enables production teams to stay coordinated and connected regardless of physical location.

With cloud-controllable operation through StudioPro Cloud instances, StudioPro AnywhereTally enables production teams to stay coordinated and connected regardless of physical location, bridging the gap between cloud-based and traditional production environments.

See QuickLink at IBC stand 7.C19.

More information is available on the company’s website.

BRIDGEVILLE, Pa.—Brightline Lighting has introduced the MOD1, the first fixture in its new MOD Series of professional LED lighting solutions.

Designed for today's evolving production environments, the MOD1 combines the soft, flattering illumination of Brightline's Flex-T rotating, lay-in ceiling fixture with the directional versatility of its SeriesONE LED studio fixtures. The result is a compact, suspended lighting solution that helps broadcasters and organizations create professional studio looks in spaces where conventional lighting systems aren't practical.

"As production spaces continue to evolve, so must the lighting," said Kathy Katz, co-founder of Brightline Lighting. "Broadcasters are building smaller studios, corporations are producing more in-house video, podcast production is booming and many projects are moving into multipurpose rooms with suspended ceilings.

“The MOD1 was developed specifically for these environments. It bridges the gap between architectural lighting and traditional studio lighting, giving designers the freedom to achieve a soft, broadcast-quality look in spaces that previously presented significant design challenges."

Unlike traditional lay-in ceiling fixtures, the MOD1 suspends below the ceiling on extension hardware, allowing the fixture to be lowered into the best lighting position while rotating to precisely illuminate talent. The design provides significantly greater flexibility when working with high ceilings, limited room dimensions or installations where traditional studio grids are impractical.

Drawing on the strengths of both the Brightline Flex-T and SeriesONE product families, the MOD1 represents a new approach to lighting design that blends architectural integration with professional studio performance.

"The MOD Series is designed to bridge environments as well as product lines," Katz said. "We're seeing organizations create studios where every square foot matters. The MOD1 delivers the soft, natural appearance people expect from a professional studio while providing the flexibility needed for these modern production environments."

The MOD1 uses high-performance mid-power LEDs delivering greater than 97 CRI for exceptional color accuracy on camera. Available in multiple fixed color temperatures or a Variable White (3000K-5600K) model, the fixture supports dynamic color matching for a wide range of production environments.

Weighing 8 pounds (3.63 kg), the compact fixture features adjustable optics with ±90-degree directional beam control and is available with either spot or flood beam options. The fixture supports industry-standard control protocols including 0-10V, DALI, DMX/RDM, and Low Voltage DMX.

Designed for long-term reliability, the MOD1 features a durable 6063-T5 aluminum heat sink, universal 120-277V operation, and high-efficiency electronic drivers with power and control connections integrated directly into the fixture housing.

The MOD1 is available in black or white finishes with C-Clamp or Surface Mount configurations and is MET certified.

More information is available on the company’s website.

HACKENSACK, N.J.—LiveU said it achieved historic performance records during six weeks of 2026 FIFA World Cup coverage, with deployment of 1,700 portable IP transmitter units, 31,000 live transmissions and 17,000 broadcast hours for its customers in 45 countries, representing 695 TB of data.

Broadcasters, production houses, football federations and digital content creators, including independent creators and IRL streamers covering the championship for their own channels, turned to LiveU to support their coverage.

Coverage spanned prematch briefings, official training sessions, press conferences, in-stadium editorial positions, fan zones, team hotels and IRL creator streams from city centers and public viewing areas. Broadcasters also deployed LiveU technology across additional camera positions to capture unilateral feeds for richer multi-angle coverage. The range reflects a fundamental shift in how broadcasters of all sizes and independent creators are now building distributed, IP-first workflows around a major tournament, the company said.

LiveU’s LU800 multicamera field unit and intelligent production unit, LU900Q—both of which are powered by the smart routing capabilities of LiveU IQ (LIQ) AI-driven connectivity technology—anchored multisite broadcasts. The combination enabled ultra-low-latency, 4K-ready content to be delivered directly to millions of viewers worldwide.

“The sheer scale of this cross-border deployment reflects a joint collaboration with our global customers and partners to push the boundaries of live sports productions,” said Gideon Gilboa, chief business officer and general manager of the Americas at LiveU.

“We didn’t just supply equipment; we worked in partnership with our customers in advance to design and refine workflows to meet their operational needs and budgets,” Gilboa said. “By shifting heavy infrastructure to the cloud, our customers could expand their tournament footprint, capture more angles and maximize ROI without compromising on broadcast quality. LIQ and the LU900Q both demonstrated LiveU’s focus on robust, high-performance field connectivity, helping broadcasters maintain reliable live transmissions in demanding sports production environments.”

Field coverage of the tournament relied predominantly on LiveU’s LU800 portable field units running LiveU IQ (LIQ), LiveU’s intelligent connectivity solution that analyzes real-time and historical network data to optimize every transmission. LIQ dynamically prioritized and load-balanced cellular connections through predictive network analysis, enabling critical resiliency in crowded stadium environments.

On average, broadcasters leveraging LIQ during the tournament achieved bit rates up to 35% higher than average and maintained near-zero packet loss, even within those highly congested environments.

LIQ's performance in the U.S. market made a measurable difference for broadcasters operating across multiple cities and time zones. LIQ was complemented by LiveU Mobile Data, LiveU’s cellular connectivity offering, connecting teams to multiple networks. All LiveU rental units came with Mobile Data as default, saving international teams from the hassle of sourcing local SIM cards in the U.S.

“When it was announced that Boston would be a host city, we knew this event would be massive," said Adam Liberatore, chief photographer at WFXT, Boston’s Fox affiliate. “As rightsholders, we immediately planned for a collaboration with LiveU to assist with giving us the bandwidth necessary to put on a flawless in-stadium newscast. The LU800 helped turn this platform into a mobile newsroom with one unit handling up to four video sources. The LU800 and LIQ connectivity helped our lean production crew make this global event memorable for our viewers.”

Field transmission was only half of the story. Broadcasters relied heavily on the LiveU EcoSystem, a unified suite of cloud-native tools spanning the entire live production workflow, to execute sophisticated REMI workflows without sending massive, expensive production trucks to every venue.

LiveU Central gave operations teams a single point of visibility across every unit in the field. LiveU Ingest automated file-based recording and metadata tagging for rapid highlights and LiveU Nexus handled ingest, conversion and distribution of live streams from traditional encoders to social media. LiveU Matrix routed live camera feeds to global newsrooms, production hubs and distribution partners.

With deployments built around remote production, there was less of a need to have massive crews on-site. LiveU estimated the number of traveling crew members was reduced by around 40%.

LiveU’s team was on the ground in all key tournament locations. When urgent deployments arose, they hand-delivered equipment directly to stadiums and production hubs to keep broadcasters on-air.

LiveU's partnership with One Media was central to managing that complexity in Mexico, where close to 200 systems were coordinated, staged and tested more than a month before the opening match.

“The 2026 World Football Championship was a true proving ground for modern sports broadcasting, demanding unmatched logistical agility and flawless network resilience,” Gilboa said. “By combining our purpose-built hardware, open architecture and global footprint with AI-driven cloud orchestration, we showed that broadcasters don’t need a heavy physical presence on-site to deliver world-class coverage. We're already deep in preparations for 2030. Spain, Portugal, Morocco and Uruguay present an even greater logistical challenge, and we intend to meet it the same way.”

More information is available on the company’s website.

The AI creative platform OpenArt and kids content startup, NovaLand, have announced an agreement that will see NovaLand’s animation studio use the suite of OpenArt’s creative AI tools.

As part of the partnership, NovaLand will use OpenArt's newly launched Director platform to create high-quality animation focused on social-emotional learning for preschool and early grade audiences, both neurodivergent and neurotypical.

Some early examples of their content are focused on a major problem for parents and families: helping these younger kids transition from screentime.

“At NovaLand, we believe every child deserves stories that don't just entertain them, but also help them grow. OpenArt is helping us achieve our goal of creating content that helps children navigate big emotions and gives families practical support during some of their most challenging everyday moments,” explained Helena Shi, co-founder and CEO of NovaLand, which is a member of the Harvard Innovation Labs and a Novab Social Impact Fellow. “It is helping us build an entirely new production workflow that allows a small team to create cinematic-quality content faster than ever before on a fraction of the budget traditional animation requires. For an impact-driven startup like ours, OpenArt enables us to contribute something truly meaningful to the communities we serve”

“We are passionate about mental health and wellbeing, especially when it comes to little ones,” added Ermin Monzon, head of content and education at OpenArt, said. “We are gratified to partner with NovaLand, who is not only utilizing our tool creatively, but also making a difference for so many families.”

NovaLand’s production team is led by award-winning director William Lau (Emmy Award-winning series The Last Kids on Earth, Barbie, Batwheels, My Little Pony) and CTO Cheng Zhao (former Tech Lead at Meta). The first episodes from NovaLand can be viewed on YouTube here.

NovaLand aims to build the next generation of children's media, using original stories designed to help children develop emotional skills through characters they love. In its content it is paying particular attention to one of the most challenging moments for families, the transition off screens.

To address that issue, NovaLand combines storytelling with child-development expertise and evidence-backed design to create content for both neurodivergent and neurotypical families. The company is currently collaborating with clinics, neurodivergent organizations, and educational partners to bring its stories to families.

OpenArt Director, OpenArt debuted last month, enables longer-form AI storytelling to become conversational rather than prompt-based.

Through the platform’s “vibe directing” interface, creators simply describe the feeling, story, characters, set environments, and pacing, and then OpenArt Director renders it to life, in whatever genre the user wants, from live-action realism to numerous animation styles.

After generation, users continue directing through conversation, editing scene by scene to make targeted changes without the video being regenerated from scratch.

This is a notable change from other AI video tools that would recreate the entire piece when edits were made, frequently changing key details like character appearance or settings that a user didn’t want changed.

Learn more at thenovaland.com and https://openart.ai/home.

FREMONT, Calif.—“Texas Legacy in Lights,” a new live action projection mapping film, was captured with Blackmagic Design URSA Cine 12K LF and Blackmagic PYXIS 6K digital film cameras, the company said today.

Director John Franklin Rinehart of Austin Film Crew created the project for the Gonzales Memorial Museum, producing a first of its kind narrative film that’s projected twice a day against the large exteriors of the museum.

Rinehart collaborated closely with director of photography (D.P.) Alex Walker for the project. “When we first conceived ‘Texas Legacy in Lights,’ the world's first live action projection mapping film, which covers the Texas Revolution of 1835, there were a lot of technical questions and challenges that came up right off the bat. Alex and I were pioneering something together, solving problems that didn’t yet have answers. There were moments on set where we’d look at the monitor and realize we were capturing something that had never existed before,” said Rinehart.

The project’s main challenge was properly shooting for the architecture of the Gonzales Memorial Museum, which is 96 feet by 32 feet, about one and a half times the size of an IMAX screen.

“When you’re shooting for projection mapping, you’re shooting for the architecture of the building itself. We picked different points in the building’s architecture and different surfaces that would house various parts of the story, with the plan to blend the images together so that you could see the whole narrative on one giant canvas. In a way, we were shooting multiple films simultaneously and then compositing them into a single experience,” said Rinehart.

Rinehart selected the URSA Cine 12K LF as the A camera due to its large format RGBW sensor, oftentimes shooting with up to five URSA Cine 12K LFs at once.

“There’s something about shooting large format that you just can’t replicate: the shallow depth of field, the scope, the cinematic feel. Even though we were doing something very foreign to audiences, as people aren’t used to seeing multiple pieces of the story on screen at the same time, we still wanted to keep it incredibly cinematic and familiar so the audience could lose themselves in the story. At the end of the day, this wasn’t about being a technical marvel. It was about telling an incredible story in a different way,” he said.

The PYXIS 6K was an ideal workhorse B camera, complementing the URSA Cine 12K LFs, said Rinehart. “We loved the PYXIS’s form factor; it was very stripped down and nimble. We could rig it up in different locations, do overheads and move it around without requiring a lot of crew.”

The URSA Cine 12K LFs’ sensor quality and high resolution capabilities were paramount as the team had to shoot very wide to allow for the building’s architecture. “Having the ability to crop into the image became the backbone of our editing process. Since we had that extra resolution, we were able to be very creative in how we problem solved in post, in a way that no other cameras currently on the market would allow,” said Rinehart.

“For example, at times we would use a tight shot on the right of the building and a wide shot on the left, showing the exact moment from two different framings simultaneously. In traditional filmmaking, these are shots you would usually cut back and forth between. But in this case, we had both images playing simultaneously. The audience on the left side of the museum would have a different experience from those on the right.

“To make that work, we needed to shoot wide because there are different areas of the building’s architecture, and if you let the image bleed over, it ends up distorting. You have to mask out a window or other architectural elements, so the image almost seems to sit behind the architecture rather than fighting against it. To do that, you need a lot of latitude in your image to punch in and reframe. That’s where the URSA Cine really came in handy,” said Rinehart.

The scale of the project often required five URSA Cine 12K LFs shooting simultaneously, all capturing one take. “We put our whole building together like a mosaic. Different façades yielded different images at various times, so if we wanted the entire image to come from a single scene, we needed five angles shooting simultaneously,” said Rinehart.

“Since all the shots were shown at the same time on different parts of the building, we couldn’t cut back and forth like traditional filmmaking, so I couldn’t hide performances between different takes. It had to be a single continuous take that encompassed the entire performance. That meant shooting with coverage for tights and wides simultaneously, getting two different masters, two different tights and an overall master of both characters in the frame—all at the same time.”

The cameras continued to prove themselves in post. Rinehart shot in Blackmagic RAW, which he called “second to none” when it came to being lightweight and working well inside DaVinci Resolve Studio.

The team used Resolve Studio across editing, color grading, visual effects (VFX) and audio post production, with Rinehart noting its all-in-one toolset as crucial to achieving the tight 45 day turnaround for post.

“At one point, we were compositing the town of Gonzales burning, placing fire elements along the outside of the building and bending those to the architecture itself. We had 42 layers of 12K footage being pushed through the timeline, which is an extraordinary amount for any system to handle. The fact that it could actually play back in real time blew my mind. That’s not something you could do with any other codec or software combination unless you were running on a supercomputer or dealing with a ton of proxies,” said Rinehart.

“For the actual projection mapping work, we relied heavily on the crop and feathering features in Resolve,” he said. “We could quickly blend images without having to grab a mask tool and manually work on them. Just being able to line up horizons quickly, that’s absolutely fantastic.”

“We mixed and mastered everything inside of the Fairlight page, including all the sound effects, dialog, music--the whole mix. I was really thrilled with how it performed. Even when I was pulling in a lot of VST3 plugins, it didn’t bog down the system,” he said. “We used the Fusion page as our primary VFX tool for particle effects and compositing. The node based workflow inside Fusion is really hard to beat.”

Since the film was projected on the side of the building, grading had specific challenge. “With projection mapping, you don’t have a beautiful white screen. We were projecting onto a weathered sandstone museum with aging, color variations and surface inconsistencies. Each image had to be color corrected specifically for the part of the building it would hit,” said Rinehart.

“We had to go onsite and perform a live grade of each element to ensure it had the correct color for its specific section of the building. Sometimes that required creating gradients because the stone was darker on the bottom and lighter at the top. So, we had to create graduated corrections, essentially blending two different color grades within a single image to account for the surface variations.

“This is where DaVinci Resolve’s ability to switch between node based grading and layer based editing really shone. We could create multiple correction layers with different masks and gradients, adjust them independently, and see the results in real time on the actual building.”

More information is available on the company’s website.

MELVILLE, N.Y.—NBCUniversal Telemundo relied on Chyron PRIME 5 to support its need for real-time graphics production for its FIFA World Cup 2026 coverage.

The Chyron PRIME 5 platform supported the live graphics workflows used across Telemundo, Universo and Peacock.

NBCUniversal Telemundo's FIFA World Cup 2026 coverage delivered record-breaking audiences throughout the tournament. Through the Round of 16, Telemundo and Peacock delivered the 10 most-watched FIFA World Cup matches in Spanish-language media history, averaging 5.7 million viewers—up 157% from the 2022 tournament through the same stage.

Mexico vs. South Korea became the most-watched soccer match in Spanish-language media history, delivering 14.0 million Total Audience Delivery (TAD). During the Group Stage, Telemundo and Peacock averaged 4.6 million viewers across 72 matches, up 122% versus the FIFA World Cup Qatar 2022 Group Stage.

Chyron's PRIME 5 platform enabled HDR graphics production across more than 700 hours of World Cup programming, spanning all 104 matches while supporting real-time graphics across Telemundo, Universo and Peacock.

Leveraging PRIME 5's Adobe After Effects workflow and flexible template architecture, Telemundo's creative teams efficiently transformed broadcast designs into live motion graphics that could be deployed across Telemundo Network, Universo and Peacock while integrating live data from SPORTSAPP, SMT and FIFA.

The platform also enabled production teams to manage graphics for up to four simultaneous World Cup matches, delivering operational efficiency, creative consistency and real-time performance throughout the tournament.

"Delivering a tournament of this scale required graphics tools that could support multiple productions simultaneously while maintaining creative consistency across every broadcast. PRIME 5 was one of the technologies that helped our team execute that vision," said Fabian Albarracin, director of Realtime Graphics at Telemundo, NBCUniversal.

More information is available on the company’s website.

Olympic Broadcasting Services (OBS) has revealed some of its plans for the next Summer Olympics, taking place in Los Angeles in 2028.

At a meeting of rights holders last week, OBS said it intends to provide approximately 3,800 to 4,000 hours of competition and Ceremonies coverage.

The host broadcaster added it is expanding its use of first-person-view (FPV) drones, real-time 360° and stroboscopic replays, point-of-view (POV) cameras, microphones on officials and coaches, dynamic graphics, back-of-house access and enhanced digital content at LA28.

The broadcast ecosystem will be designed around virtualization, cloud-based workflows and AI-ready infrastructure, said OBS, to deliver increased flexibility, resilience and operational efficiency across broadcast operations.

Plans include expanded cloud services, AI-assisted production workflows, enhanced digital content delivery and new approaches to content distribution.

Work on the IBC fit-out will begin in early 2027, added OBS.

This article originally appeared on TV Tech sister brand TVBEurope.

FIFA World Cup 2026 has officially become YouTube's most-viewed FIFA World Cup in history, pushing lifetime views for videos related to the current and past FIFA World Cups past 200 billion views, the streamer reported.

Overall, more than 1.7 billion unique viewers globally watched World Cup-related videos on YouTube during the FIFA World Cup 2026, including over 550 million that watched on their televisions.

Official YouTube broadcasts of the FIFA World Cup 2026 final match between Spain and Argentina on July 19 drew over 21 million average minute audience (AMA) across more than 40 markets. Together, they reached a peak of over 27 million concurrent viewers on YouTube.

The data was released in a blog post by Angela Courtin

Vice president of sports and entertainment marketing on YouTube and Justin Connolly, vice president, global head of media and sports, YouTube.

They also reported that FIFA’s official YouTube channel amassed over 4 billion views and added over 7.5 million new subscribers between June 11-July 19. The channel now has over 34 million global subscribers.

The YouTube executives also noted that the tournament also redefined what it means to be a soccer (or fútbol) fan, with a global roster of creators with a combined 350 million YouTube videos related to the FIFA World Cup uploaded by its creator roster accumulated over 2.5 billion views globally.

YouTube also hosted the first YouTube FIFA Creator Cup exhibition match on July 12, live from Central Park, New York. Led by team captains IShowSpeed and Celine Dept, the official live streams for the event drew over 10 million live views globally, including broadcasts from FIFA’s official channel, participating creators and official broadcasters, the blog said.

At the IBC2026 Show, SDVI will give European media organizations their first hands-on look at the next-generation Rally media supply chain management platform.

The centerpiece of SDVI's presence will be a live demonstration of the platform's redesigned orchestration engine, new graphical supply chain builder, and agentic AI interface.

SDVI will also showcase new AI-powered integrations for ad break detection, speech translation, and subtitle correction, along with new support for connecting on-premises infrastructure into Rally-managed, cloud-orchestrated supply chains.

Together, SDVI reported that these developments help media organizations respond to the intensifying pressure to create more content, deliver it to more destinations, and adapt it for more markets, all while giving their operations teams more flexibility.

“IBC2026 is where we bring the next generation of Rally to our European customers and partners for the first time, and it is the top highlight of what we are showing this year," said Geoff Stedman, chief marketing officer, SDVI. "Beyond the platform itself, we continue to expand what Rally can do with our partners, showcasing new AI-powered integrations for ad break detection, speech translation, and subtitle correction. And for many of the media organizations we meet at IBC, how Rally works alongside existing on-premises infrastructure matters just as much as what is new in the cloud, which is why our hybrid infrastructure support is such an important part of the story this year.”

More specifically, SDVI said platform introduces a redesigned orchestration engine built on a declarative architecture that separates the control plane from the data plane, enabling a new graphical supply chain builder, a modular supply chain functions layer, a supply chain rewind capability for faster troubleshooting, and a new foundation for agentic AI integration.

IBC attendees can get hands-on time with the new graphical interface at the SDVI stand (5.F88) and see firsthand how it changes the way media supply chains are built, operated, and monitored.

It will also showcase new Rally integrations at IBC2026 that build on an already extensive ecosystem of technology and application partners. These integrations bring specialized capability into the Rally platform, delivering a more complete and efficient media supply chain without requiring operators to work across disconnected systems. SDVI described those integrations as follows:

• Ad Break Detection: SDVI will demonstrate AI-powered ad break detection using Vionlabs in combination with Accurate.Video Validate Ad Detection mode, accelerating the identification and creation of ad breaks with greater accuracy and speed.
• Speech Detection and Translation: Rally integration with ElevenLabs delivers AI-powered speech detection and translation, including high-quality voice synthesis for audio translation into new languages.
• Subtitle Modification: Edit subtitle text, timing, and positioning with Accurate Video Subtitle integrated with Rally Access, streamlining subtitle corrections and avoiding costly external fixes.
• Hybrid Infrastructure Support: SDVI will demonstrate how Rally connects on-premises storage systems into cloud-orchestrated media supply chains using Spectra BlackPearl as a software-defined storage gateway, giving media organizations a practical way to bring existing on-premises infrastructure into a Rally-managed workflow without a full migration to the cloud.

France’s convincing 2026 FIFA World Cup win against Morocco revealed a lot about how in-match play affects audience trends, and their knock-on effect on the advertising potential of major sports. The French side was threatening throughout as it marched to a 2-0 victory that included an early penalty miss and an eventual goal breaking the deadlock midway through the second half. A second goal just minutes later put France in control, allowing the team to see out the closing moments easily and continue its World Cup journey.

Throughout the tournament, Yospace has been collecting streaming and advertising data from 14 OTT rightsholders worldwide to understand how key moments influence streaming audiences and advertising opportunities. France’s victory demonstrated how momentum can shift even without a flurry of goals, keeping audiences engaged and creating valuable advertising opportunities throughout the match.

Early Drama Drives Audience Growth
Within the opening half-hour, France was awarded a penalty following a Video Assistant Referee (VAR) review. Around three minutes passed before the kick was eventually taken, creating an unusually prolonged period of suspense as viewers waited to see if France would take the lead. To viewers’ surprise, France’s star player, Kylian Mbappé, missed the penalty. Rather than slowing audience growth, the delay resulted in a nearly 10% increase in viewership, with new viewers tuning in to see what would happen. This sharp increase came right before a hydration break, meaning an even larger audience reach for rightsholders that chose to serve ads here.

New to the 2026 FIFA World Cup, hydration breaks are mandatory three-minute pauses taken midway through each half, creating space for an extra two-minute ad break previously unavailable to rightsholders. As you can see from the chart, the audience spike was timed particularly well for maximizing this new advertising opportunity, and dipped only slightly before quickly regaining momentum.

Morocco continued to challenge France ahead of halftime. Despite neither side making a breakthrough, a healthy stream of chances kept viewing figures high right up until the interval.

Second-Half Goals Produce the Biggest Advertising Opportunity
Halftime led to a temporary decline in viewership, as is typical of soccer matches. As play resumed, audiences quickly returned and continued to climb as the quarterfinal remained evenly poised at 0-0.

The breakthrough finally arrived midway through the second half. France’s first goal gave audience numbers a sharp boost, with many tuning in to catch the replay on mobile. A second goal just six minutes later boosted viewers again for the same reason, and effectively decided the contest.

The second-half hydration break followed immediately after France doubled its advantage. With audience numbers high after two quick goals, broadcasters were gifted the largest live audience of the match for an ad opportunity they previously wouldn’t have had.

Audience Declines as the Result Becomes Clear
France’s two quick goals midway through the second half proved to be the decisive period of the match. While audience numbers remained high immediately afterward, the second hydration break marked a clear turning point. Unlike other knockout matches analyzed during the tournament, where viewers returned quickly after this break as the result still hung in the balance, audience numbers continued to decline once play resumed.

The graph suggests many viewers felt France’s place in the semifinals was no longer in doubt. As the defending champions comfortably managed the closing stages and Morocco struggled to create a route back into the match, concurrency fell steadily towards the final whistle.

What This Means for Ad Tech
France’s victory shows that goals are not the only factors influencing streaming audiences. VAR reviews, missed chances and decisive scorelines can all influence viewer engagement.

Hydration breaks add another layer. Their timing depends on the referee rather than on a fixed schedule, meaning broadcasters need technology that responds immediately when advertising opportunities arise.

Dynamic Ad Insertion (DAI), supported by advanced prefetch, helps rightsholders maximize the value of these moments. By preparing ad requests shortly before each break, broadcasters give the advertising ecosystem more time to respond, allowing demand partners to compete without being overwhelmed by sudden traffic spikes. This improves technical fill rates and helps ensure every advertising opportunity is monetized seamlessly, regardless of when the biggest audience arrives.

France’s reward was a place in the World Cup semifinals, but for broadcasters the match demonstrated something equally important. No two matches will behave the same way, and it’s not always the goals that keep viewers engaged. Ad tech infrastructure must be able to handle this unpredictability at a moment’s notice and at scale to capture every last advertising opportunity on the table.