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.

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.

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.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To improve efficiency, reduce travel and make better use of specialized staff, TV broadcasters are moving away from traditional facility-bound control rooms toward remote, distributed and hybrid production models.

“Broadcasters are rethinking the traditional control room,” said Costa Kokorogiannis, product manager at Matrox Video, a global provider of AV-over-IP solutions for live, remote and distributed broadcast workflows. “Instead of tying operators to dedicated hardware in a single facility, they want IP-based KVM and control systems that allow teams to access production resources from anywhere without sacrificing responsiveness.”

“Broadcasters are looking for flexible environments,” added Greg Lenczycki, chief operating officer of IHSE USA, which offers secure, zero-latency KVM and matrix switching solutions for 24/7 mission-critical environments. “The future of the industry is relying heavily on hybrid workflows—keeping latency-sensitive or high-resolution processes on-premises while leveraging IP for scalability and remote access.”

Layered Systems and Distributed Workflows
Today’s remote production architectures involve multiple layers of technology, combining on-premises equipment, transmission infrastructure and localized monitoring with virtualized or cloud processing utilities.

“It’s now common for production teams to work across multiple studios, broadcast centers or remote venues, requiring secure, low-latency access to equipment and resources regardless of location,” said John Halksworth, senior product manager at Adder Technology, which develops high-performance IP KVM (keyboard, video and mouse) solutions for the secure control of local and remote live production systems. “As a result, they’re looking for technologies that not only provide reliable remote access, but also integrate seamlessly into the wider broadcast ecosystem.”

Given this new operational reality, “broadcasters are no longer looking for one single ‘remote production product,’” said Matt Keske, director of business development, North America, at G&D and VuWall, which provides integrated KVM hardware and video wall management software for secure control rooms. Instead, “they are building layered hybrid infrastructures that combine on-site systems, IP-based transport, centralized control, monitoring, and cloud or virtualized services.”

Why Low Latency Matters
In this remotely connected world, fast data speeds are essential. This is why, “as broadcasters continue to adopt hybrid workflows and remote operations, they are increasingly seeking equipment that enables secure, low-latency access to systems and resources regardless of location,” said Thomas Tang, founder and president of Apantac, which offers multiviewers, KVM-over-IP and video processing solutions for the broadcast and pro AV industries.

“KVM-over-IP solutions have become a critical component of this transition, allowing operators, engineers, and production staff to remotely access and control servers, workstations, replay systems, graphics engines, and other mission-critical equipment as if they were sitting directly in front of them,” Tang said.

Connecting these low-latency solutions over standard IP networks lets remote operators feel as if they are sitting right next to the machines even when they are hundreds of miles away. In some KVM-over-IP deployments, standard 1 Gigabit Ethernet networks with transparent USB support can deliver responsive control with little or no perceptible delay, provided the network is properly designed for the workflow.

“Remote production really only works if operators can forget that they’re remote,” Kokorogiannis said. “In live environments, there’s no tolerance for sluggish keyboard response, delayed video or inconsistent switching between systems.”

The Challenges of REMI
In an idealized remote operational environment, the transition from a localized setup to a Remote Integration Model (REMI) workflow goes without a hitch. In the real world, there can be issues.

A case in point: “One of the biggest challenges in REMI workflows is maintaining visibility and control as operators, systems, and signals become distributed across multiple locations,” Kokorogiannis said. “In a traditional control room, everything is physically nearby. In a remote production model, broadcasters need to manage routing, monitoring and operator access across facilities without introducing latency or operational complexity.”

This is where IP KVM technology plays an important role. “By providing secure, low-latency access to systems regardless of location, operators can interact with remote resources as if they were local,” Halksworth said. “Combined with centralized management and monitoring platforms, engineering teams gain a single view of users, devices and system status across the entire environment, helping them identify issues more quickly and manage operations more efficiently.”

Ultimately, successful REMI deployments depend on more than moving signals between sites. “They require a consistent operational layer that allows people to monitor, access and control distributed resources with the same confidence and simplicity they would expect in a traditional facility,” Halksworth said.

Mixing Old and New
The move to remote workflows comes as money is tight in the TV industry. “Most broadcasters can’t afford to rebuild their entire infrastructure overnight, nor do they really want to,” Kokorogiannis said. “The reality for many facilities is that SDI, IP, and cloud-based workflows will coexist for years.

“That’s why flexibility and interoperability are so important,” he added. “Matrox Avio 2 is designed to integrate into existing environments using standard IP networks, allowing broadcasters to centralize and extend systems gradually rather than forcing a complete operational overhaul. Support for ST 2110 and NMOS also helps broadcasters align KVM workflows with the broader evolution of their IP infrastructure.”

Other companies interviewed for this article cited similar product flexibility. “Broadcasters can easily turn their existing Draco control infrastructure into a hybrid or fully remote platform by simply adding a tera IP gateway,” Lenczycki told TV Tech. “This addition to current systems allows users to effortlessly gain remote access to their matrix without a total replacement of their system.”

Added Keske: “G&D systems can be introduced step by step because they sit at the access and control layer, not as a replacement for the entire broadcast infrastructure. A broadcaster can start by centralizing existing computers in a technical room and connecting current operator positions via KVM. Later, additional workstations, systems, or KVM-over-IP components can be added as the facility grows.”

For most broadcasters, modernization isn’t a single project, but an ongoing process—including the transition from localized production to full REMI.

One of the key requirements is ensuring that operators can continue to work efficiently throughout this transition. “Broadcasters can’t afford to disrupt production workflows every time new technology is introduced, particularly in live environments where reliability is paramount,” Halksworth said. “This is where IP KVM can provide significant value.

“Because it sits at the user access layer, it allows broadcasters to connect operators to a wide range of systems regardless of whether those resources are based on legacy infrastructure, modern IP networks or cloud-hosted platforms,” Halksworth continued. “From the operator’s perspective, the workflow remains familiar even as the underlying infrastructure evolves.”

As for the future? Improvements in automation, artificial intelligence, network speeds and transport latency levels are all going to make REMI faster and more invisible than ever. In fact, the day may come when there is no perceptible difference between local and remote production for operators or viewers.

“Broadcasters are already demonstrating that talent, systems and resources can be distributed across multiple sites while operating as a single production environment,” Halksworth said. “Perhaps the most significant long-term trend is that physical location will continue to become less relevant.”

PRAGUE, Czech Republic—CS live is a Czech Republic–based outside broadcast company that covers domestic soccer and ice hockey leagues, international UEFA competitions and large-scale mixed martial arts events. As our production work has grown in scale and complexity, we reached a point where our existing setup no longer matched how we needed to operate day to day.

When we started planning our newest OB van, the real question wasn’t just what equipment to use but how it would all work together once it was in the truck.

OB trucks have always pulled from multiple vendors—audio consoles, switchers, replay, monitoring—and each comes with its own way of working.

In practice, that often means juggling several control systems simultaneously. Operators learn each one separately, and even small changes, such as swapping out a device or reworking a setup between shows, can take more effort than necessary.

Streamlined Control
That complexity was becoming harder to manage across productions, so we set out to simplify it.

After thorough planning with Czech integrator Smart Informatics, we went for a Riedel solution. including the company’s “hi human interface” control system, a browser-based, platform-independent control layer that enables operators to manage a wide range of devices. Part of that decision came from prior experience with Riedel technology, but just as important was their approach to tying systems together rather than treating them as isolated components.

At the core of the truck is a MediorNet-distributed network built on 12 MicroN UHD nodes. Seven nodes handle signal routing, while five are configured as multiviewers. Two additional MicroN Standard nodes act as stageboxes, linking the truck to stadiums and other sources over a single fiber connection. SDI, MADI and Ethernet all run together, which helps keep the physical side of the build manageable.

For us, another advantage is flexibility going forward. We’re still working in baseband today, but the system gives us a way to move toward IP at our own pace without having to rethink the entire build.

On top of that sits hi, Riedel’s control system, which we use as a single layer across the truck. It brings control of audio, switching, replay, monitoring, GPI triggers and signaling together into one interface. Instead of moving between systems, operators stay in the same environment.

The setup includes five hiPush18 panels, a hiPush32 Shading panel, a hiPush36 panel and three hiContact panels, along with tablet control where it makes sense. We also use Riedel 1200 Series panels, where the intercom can sit on one layer and routing or device control on another—a practical option when space is tight.

From Days to Just Hours
The biggest operational change for us has been how hi separates the operator experience from the underlying hardware. The interface behaves the same way regardless of what’s behind it. In most cases, when a device changes or is reassigned, that update carries through automatically across the system.

What used to take days to reconfigure can now usually be handled in hours. That shows up most clearly in how we manage tight production schedules. Moving between venues or back-to-back events often means adjusting sources or workflows quickly. With a unified control layer, those changes are easier to implement without forcing operators to adapt at the same time.

There’s also a practical benefit in staffing. Because the interface stays consistent, operators don’t need deep familiarity with each system in the truck. That gives us more flexibility in how we crew productions.

This is the first deployment of hi in the Czech Republic, and it’s already shaped how we think about future builds. Moving to a distributed signal backbone combined with a single control layer changes the day-to-day experience of working in the truck in a meaningful way.

The system we’ve put together—MediorNet, hi, Artist intercom and Bolero wireless—isn’t tied to a fixed way of working. Instead of locking ourselves into one approach, we’ve built something we can adjust over time as our needs evolve.

More information is available on Riedel’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Callahan sang the praises of HBS as well.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OSLO, Norway & LOS ANGELES—Appear has announced that Fox Sports is deploying Appear’s X Platform, a high-capacity, ultra-dense, low-latency media processing and gateway platform.

Fox Sports using the solution to build a unified foundation to support remote production, premium live events and large-scale IP workflows.

The rollout builds on an initial deployment and now extends across three major areas of Fox Sports’ production infrastructure: a refresh of HRP (Home Run Productions) REMI infrastructure, a standards-based IP workflow supporting coverage of a major global soccer event taking place in the Americas in Summer 2026, and the broadcaster’s Jewel Events production system for its highest-profile live broadcasts.

Appear and Fox did not specify the soccer event but Fox is the English-language broadcaster for this summer’s FIFA World Cup. Following the World Cup, Fox Sports plans to redeploy the same infrastructure across other major national broadcasts, including American football and baseball.

Together, these deployments create a common technology foundation supporting Fox Sports’ production models, from field kits and mobile units to large-scale premium live events.

“By adopting Appear across our REMI workflows, Jewel Events productions and Summer 2026 soccer coverage, we are creating a flexible production architecture that can support the scale and complexity of sports broadcasting today,” said Rob Rees, vice president, live production engineering, Fox Sports. “The ability to choose the right compression and transport approach depending on venue requirements, while maintaining the highest standards of performance and reliability, is critical to delivering the biggest moments in live sport.”

More specifically, the deployment spans three areas of its live production infrastructure:

• HRP REMI infrastructure refresh. Fox Sports’ Home Run Productions (HRP) operation is modernizing its remote production infrastructure, replacing legacy contribution and processing systems across field kits, mobile production trucks and compact deployments. By supporting both JPEG XS and low-latency HEVC on a single platform, Appear enables a consistent production approach across a broad range of live sports, while providing the flexibility to optimise codec choice and bandwidth usage without compromising operational efficiency.
• Standards-based IP production for Summer 2026 soccer coverage. For coverage of a major global soccer event in the Americas in Summer 2026, Fox Sports is deploying a REMI production workflow based on SMPTE ST 2110 and JPEG XS. This standards-based approach will enable ultra-low latency contribution of 104 live matches over 39 days, allowing workflows to seamlessly adapt across venues with different connectivity profiles.
• Jewel Events production system. Appear technology is also being deployed within Fox Sports’ Jewel Events production system, supporting the broadcaster’s highest-profile national live broadcasts with a scalable and robust processing platform.

Across the deployment, Fox Sports’ infrastructure includes Appear X20 platforms across HRP and Jewel environments, alongside Appear X5 systems supporting the commentator workflows.

The X5 provides a compact contribution solution for distributed production, enabling remotely located commentators to receive live feeds and deliver synchronised commentary with ultra-low latency.

Using a single platform, Fox Sports can select the optimal workflow for each production environment, from ultra-low latency JPEG XS over SMPTE ST 2110 to HEVC and SRT for more constrained or variable networks. This approach allows production teams to maintain consistent workflows regardless of venue connectivity conditions.

Looking forward, Fox Sports plans to redeploy the same infrastructure across other major national broadcasts, including American football and baseball, maximizing long-term value while maintaining performance and reliability.

“Fox Sports is setting a benchmark for how major broadcasters are evolving their live production infrastructures,” said Ed McGivern, president and GM, Appear US. “By deploying a single high-performance platform, they can scale workflows from compact field kits to the most demanding premium sports events.”

Join Appear at NAB Show 2026 (Booth: W1531) for live demonstrations of its latest live production solutions. To schedule a meeting, email: appear@platformcomms.com

LAS VEGAS—PSSI Global Services, a provider of live event transmission solutions, has acquired Beagle Networks, a developer of mission-critical IT infrastructure and onsite technical support for media and enterprise customers. Financial terms were not disclosed.

For more than a decade, Beagle has helped develop bespoke, robust IT and networking solutions for some of the largest live broadcasts in North America, including the World Series and the Super Bowl. Beagle has built its reputation on designing secure, resilient networks with both onsite and remote support, along with immediate, 24/7 responsiveness to its customers, PSSI said.

Ryan Werber, Founder and President of Beagle Networks, will continue to lead the team of network engineers and field technicians.

“We could not be more excited about PSSI’s investment in our company,” said Werber. “We’ve been working alongside PSSI for years on TV compounds, and their reputation in the industry is second to none. Combining PSSI’s transmission engineering and project management expertise with Beagle’s IT and network capabilities creates an impressive solution platform for the live events industry.”

One early initiative of the PSSI and Beagle teams will be a consolidated effort to more comprehensively support Fox Sports, a legacy customer of both companies.

“Complexity and innovation are standard across live productions, which is why Fox Sports trusts Beagle Networks and PSSI," said Brad Cheney, vice president of Field Operations and Engineering at Fox Sports. "We’re excited to see how this partnership evolves to navigate the increasing demands of today’s broadcast landscape."

In addition to its service to existing customers, including INDYCAR, NASCAR, and numerous enterprise customers, Beagle will leverage PSSI’s extensive engineering and project management expertise to expand its service capabilities. Beagle will also lend its know-how to ongoing IT upgrades at the PSSI International Teleport (PIT) and PSSI’s professional services portfolio.

“As soon as we met the team at Beagle, we knew they would be a perfect fit for the culture and spirit we have at PSSI Global Services,” said Derek Blount, CEO of PSSI Global. “We’ve been looking for the right opportunities to expand PSSI’s reach in the live event marketplace and beyond. Bringing Beagle into the family will enable us to provide so much more to our customers and their valuable content, from the TV compound to the teleport and to their viewers around the world.”

The PSSI/Beagle team will be in Booth W1543 of the West Hall of the LVCC at the 2026 NAB Show in Las Vegas, April 19-22.

LAS VEGAS—Sony Electronics has announced its lineup of new and returning products and services that it will be showing at the 2026 NAB Show, April 19-22 in Las Vegas, demonstrating the latest technologies designed to address emerging challenges and needs in broadcast and production.

“At this year’s NAB Show, Sony’s theme is ‘The Power Behind Your Story’ which demonstrates how our technologies are the driving force behind various forms of storytelling,” said Anthony Kable, CCS Group Manager, Sony Australia. “From products to workflows, and acquisition to delivery, Sony has the right people, tools and expertise to enable creators to capture their vision and communicate their truth with quality and authenticity.”

Sony says its new solutions address the entire production workflow, providing authenticity and provenance, creating more personalized and emotional viewing experiences, and supporting XR and spatial content creation.

At the Sony booth, the company will showcase its live production solutions including the evolution of Sony’s “Networked Live” ecosystem, as well as new system cameras, enhanced workflows for news production, the latest in virtual production tools and processes, and a comprehensive lineup of imaging solutions.

Cameras and Production Workflow
Sony will present its new “R Series” system camera range, which join the company’s existing HDC-5000 and HDC-3000 series camera lineup. The “R Series” significantly enhances image performance, allows system expansion through additional transmission pathways and infrastructure options, and usability that enables consistent color matching across models.

Additionally, the new series features an expanded dynamic range for enhanced details, and operation modes to address different lighting environments. Models include HDC-5500R, HDC-5500RV, HDC-3500R, HDC-3500RV, and HDC-3200R, along with related products such as the HDCU-3500R Camera Control Unit and the HKCU-LUT35 3D LUT option board. The models are expected to be available in mid-2026.

Sony will also demonstrate newly released firmware updates for the PTZ auto-framing cameras BRC-AM7 (Ver. 3.0), SRG-A40, and SRG-A12 (Ver. 4.0). Leveraging Sony’s latest AI technologies, these updates expand functionality to support increasingly diverse production needs, including sports broadcasting, education, and corporate content creation.

For the first time at NAB Show, Sony’s recently launched PXW-Z300 XDCAM handheld AI-powered camcorder—the world’s first to support the C2PA standard for video authenticity—will demonstrate the growing demand for trustworthy news reporting through authenticity and provenance.

Sony will also present an end-to-end workflow that leverages camera-originated authenticity files and metadata from the field through immediate production and editing. This workflow is achieved with the LiveU TX1, a compact IP bonding-capable data transmitter (announced in September 2025), the PDT-FP1 portable data transmitter, and the newly announced PWA-RXS Network RX Station.

In addition, LiveU has announced a further expansion of its integration with Sony’s PWA-RXS through an optional license. A reference demo will showcase a new workflow powered by Sony’s cellular connectivity management system, featuring real-time carrier optimization and seamless global connectivity for creators.

Sony will also show an expanded lineup of Alpha cameras and lenses, including the Alpha 7 V capable of 4K 60p capture without crop. The 33 MP (approx.) full-frame hybrid model incorporates a BIONZ XR2 processor with an integrated AI processing engine to facilitate subject recognition and Auto Framing. Additionally, the latest version (Ver. 2.6) of the Monitor & Control app, which enables video monitoring and remote control from smartphones, tablets, and Macs, will be showcased.

Sony’s diverse Cinema Line cameras will enhance their functionality. The FR7 cinematic PTZ camera recently added AI-based Auto Framing and support for OpenTrackIO protocol through a Ver. 4.0 firmware update, while the FX6 full-frame Cinema Line camera rolled out BIG 6 home screen display support for easy access to top functions.

Additionally, experience spatial content creation brought to life through the VENICE Extension System Mini (Rialto) combined with the glasses-free 3D Spatial Reality Display.

Media Processing
Sony will also demo MOXELA, a new software-based media processing platform running on COTS (commercial off the shelf) servers or in the cloud, designed to transform how broadcasters, production companies, and media organizations transport, process, and monitor live video, audio, and data.

Additionally, attendees will see demonstrations of new features for the MLS-X1 multi-format switcher, enabling efficient production by sharing input and output signals across multiple studios. Sony will also debut the ICP-X7000A, a control panel featuring a newly developed XPT operation panel that significantly improves visibility and operability and is planned to be available in late 2026.

Virtual Production and Spatial Content Creation
To manage its ecosystem of virtual production solutions that include cameras, camera tracking and LED walls, Sony will showcase firmware updates to its Virtual Production Tool Set Ver. 3.0.

Sony will also launch the XYN Spatial Capture Solution, which generates photorealistic 3DCG (3D Computer Graphics) assets from photographs taken with mirrorless cameras. This professional solution, which will be shown at NAB Show and is expected to be available mid-2026, is comprised of three tools designed for use across virtual production and a wide range of 3DCG content creation workflows. XYN Spatial Scan Navi is a smartphone app[5] that guides efficient image capture. XYN Spatial Scan is a web application that delivers studio-grade generation quality. Finally, the XYN Renderer Plugin, enables highly realistic rendering for virtual production studios.

Additionally, Sony will host many engaging presentations and talks on trending topics throughout the show featuring notable industry voices. For more details about the company’s presence, visit Sony’s NAB Show website.

Sony will be in Booth C8401 in the Central Hall of the LVCC.

For much of its history, the multiviewer has served a straightforward purpose: Provide a quick visual check that channels were present and behaving. Operators watched feeds, listened to audio, and scanned captions for obvious issues. That approach worked when facilities monitored a relatively small group of linear channels.

Today’s environment is more demanding. Operations span linear broadcast, OTT, FAST, and pop-up services, often supported by teams that haven’t grown at the same pace. Add hybrid SDI/IP infrastructures and issues that don’t show up visually, and the limitations of traditional monitoring become clear. In response, the multiviewer has had to grow into a far more capable operational tool.

The Classic Multiviewer: What It Solved — and What It Missed
Legacy multiviewers excelled at confidence monitoring. They confirmed feed presence, audio activity, and the basic health of captions and formats. Their shortcomings became more visible as operations expanded.

Many were hardware-bound, difficult to scale, and reliant on constant human attention. Operators could easily miss issues that weren’t visually obvious, such as loudness violations, subtle compression problems, caption sync drift, or packet-level instability in IP streams. These systems also sat apart from deeper monitoring tools, forcing operators to jump between systems to determine the cause of an issue.

As more services came online and distribution moved across multiple platforms, that model stopped being sustainable. The traditional multiviewer simply couldn’t keep pace with the volume and complexity of signals in play.

Why Operations Teams Are Feeling New Pressure
Operations teams today face a convergence of added responsibilities and tighter resources. Channels have multiplied across linear, OTT, and FAST workflows, yet staffing often remains flat. Many teams now work across facilities, regions, and time zones, making coordination more complex and increasing reliance on automation.

Hybrid SDI/IP environments add challenges of their own. Timing drift, jitter, packet loss, and hardware instability can degrade service even when the video looks fine. Operators don’t just need to see that something is wrong on a multiviewer; they need insight into what’s driving those issues across the chain.

The Evolution of the Multiviewer: From Passive Display to Integrated Intelligence
The expanding scope of modern operations forced the multiviewer to evolve. Alarms and basic QC overlays were early additions, but they didn’t go far enough. Teams needed a clearer understanding of what was happening behind the picture.

Modern multiviewers now incorporate QoE and QoS metrics, loudness levels, caption behavior, SCTE-35 markers, transport stream data, network timing, and encoder/decoder health. Seeing these signals alongside video transforms the multiviewer from a passive display to an intelligence tool.

That change shows up in everyday workflows. Compression artifacts that appear intermittently, caption drift that worsens over time, or missing SCTE markers that disrupt ad delivery are often overlooked during visual monitoring alone. When these conditions are visible in the same place as the video, operators spot patterns sooner and can move more quickly toward root-cause analysis.

Enhancing Situational Awareness for Lean, Distributed Teams
Teams overseeing growing volumes of content need tools that help them focus on what matters. Modern multiviewers use metadata stacks, color cues, and KPIs to help operators evaluate issues at a glance. These cues highlight whether a problem affects the viewer and offer clues about its origin without requiring multiple toolsets.

The way alerts are handled is just as important. When thresholds and priorities are tuned correctly, automated alerts elevate meaningful events and help operators avoid distraction from less critical noise. Automation doesn’t override human judgment; instead, it supports exception-based monitoring, which has become essential for teams working across different locations. Shared dashboards also give operations, engineering, and IT a unified view of system health and service performance.

Multiviewers in IP Architectures — and the Arrival of Intelligence Platforms
As more facilities move toward IP-driven workflows, the link between network behavior and video quality becomes impossible to ignore. Packet loss, jitter, buffer instability, congestion, and PTP timing drift can disrupt service even when the picture appears stable on screen.

A modern multiviewer needs to surface transport—and network-level insight directly alongside video feeds so operators can interpret issues more accurately. This combined visibility helps close the long-standing gap between traditional engineering and IT/network teams.

At the same time, software-based, scalable multiviewers are replacing fixed hardware systems, giving teams the flexibility to run monitoring on standard servers or in the cloud. This makes it easier to expand monitoring capacity as workloads increase or change.

More advanced analysis capabilities are following the same path. Pattern recognition and intelligent correlation can help highlight trends or emerging failures before viewers notice anything is wrong. To support modern operations, next-generation multiviewers should unify monitoring and visualization, provide real-time actionable insight from anywhere, and correlate issues across the entire workflow. The aim is simple: help teams identify problems sooner, resolve them efficiently, and maintain high-quality service without adding operational burden.

As channel counts rise and workflows become more distributed and IP-driven, teams need tools that reveal insight rather than simply presenting imagery. For many organizations, the multiviewer is increasingly becoming that central surface — a place where video, metadata, network signals, and diagnostic context come together. For teams evaluating new platforms, the focus should be on flexibility, integrated intelligence, and the ability to support lean, distributed operations with confidence.

BURY ST. EDMUNDS, U.K.—At the 2026 NAB Show, April 18-22 in Las Vegas, Autocue will highlight its latest prompting solutions, including its new PTZ prompter

Launched at the 2026 IBC Show and making its NAB Show debut, Autocue’s new PTZ prompter will be demonstrated with a Sony FR7, showing how the camera can calibrate seamlessly within the hood. This enables fast setup and startup, helping operators maintain efficient workflows in remote and automated productions.

Autocue will also demonstrate its Pioneer Studio Teleprompter, a high-performance, high brightness prompter designed to meet the demands of modern studio production. Shown with a clock and tally light, the complete Pioneer Studio package delivers a reliable, broadcast-standard prompting solution while remaining a cost-effective option for a wide-range of production studios.

“NAB is an important opportunity for us to demonstrate how our solutions are evolving alongside the industry,” said Aaron Brady, Technical Specialist. “From our award-winning PTZ prompter to accessible, high-performance studio systems like Pioneer, we’re focused on making professional prompting more flexible and efficient than ever.”

Autocue will be in booth C5816 in the Central Hall of the LVCC.

NEWARK, NJ—Panasonic Video and Audio Systems North America has announced a partnership with NEP Group, integrating Panasonic’s Kairos IP live production system with NEP’s recently announced NEP Platform, a new software orchestration system.

The companies said the integration enables media companies and live events service providers to deploy flexible and scalable production workflows that bridge traditional and IP-native infrastructure without vendor lock-in.

“Media, broadcast, and streaming companies are rapidly shifting to software-defined, IP-based production architecture. Operators face mounting pressure to reduce infrastructure footprint, increase workflow agility, and support hybrid cloud–on-premises models without compromising the frame-accurate reliability live production requires,” said Steve Milley, Vice President, Professional Video and Audio Systems at Panasonic. “Our partnership with NEP marks a meaningful step forward for Kairos’ open-platform vision, giving customers a clear, validated path to IP. With flexible, scalable workflows, Kairos is designed to eliminate the integration challenges that have slowed adoption of software-defined production.”

NEP Platform allows broadcasters to customize and optimize their production environment, saving valuable time and resources. By achieving certified interoperability with Kairos, the two platforms share a unified control and data plane that allows operators to dynamically allocate production resources, trigger Kairos' multiviewer and production switching events, and synchronize metadata from a single interface.

The integration between Panasonic and NEP delivers operational advantages for production teams by streamlining control, scaling flexibility, and reducing deployment time, according to the companies. Operators can manage Kairos production switching, NEP routing, and resource orchestration through a single unified interface, eliminating the need for constant context switching. Additionally, the pre-validated integration was created to significantly reduce system commissioning time, with the goal of a faster, more efficient deployment.

“Through our ongoing partnership with Panasonic, we've been able to bring together best-in-class technologies into a unified, software-driven ecosystem,” said Dan Murphy, VP of NEP Platform. “Integrating NEP Platform with Kairos demonstrates how open, standards-based innovation can simplify complex workflows and deliver the performance and reliability live production demands.”

The collaboration builds on Kairos’ open architecture and established use across broadcast and live production environments worldwide. The platform exposes fully documented APIs through the Kairos Alliance Partners program, enabling third-party integrations and interoperability. Built on standards including SMPTE ST 2110 and NMOS, Kairos supports true software-defined workflows without legacy SDI constraints. The platform also aligns sustainability goals through its COTS-based, software-first approach, designed to reduce power consumption and physical infrastructure requirements.

The companies will showcase a joint demonstration at NAB Show 2026 in Las Vegas from April 19-22 at Panasonic’s booth (#C3509).

Blackmagic Design announced a range of new products it will launch at the 2026 NAB Show, April 18-22 in Las Vegas, led by its first immersive camera system for Apple Vision Pro.

The Blackmagic URSA Cine Immersive 100G is being billed as the world’s first immersive cinema camera designed for live production with Apple Immersive Video. Featuring dual 8Kx8K RGBW sensors with 16 stops of dynamic range, URSA Cine Immersive 100G uses 100G Ethernet to deliver the bandwidth needed to output live immersive video for the first time.

Also new for the camera is the Blackmagic URSA Live Encoder, a live processor module that compresses live immersive video into Apple ProRes for output as SMPTE-2110-22 IP video, allowing customers to combine the stereo, high frame rate image streams into a single 100G Ethernet connection.

“Live immersive production is here, and it’s extraordinary,” said Grant Petty, Blackmagic Design CEO. “URSA Cine Immersive 100G makes it possible, and the images from this camera are just incredible to watch. It truly feels like you’ve been transported to the middle of the action. From sports to concerts, this opens up an entirely new world in live production!”

URSA Cine Immersive 100G features new sensors designed for incredible quality images at 8K x 8K per eye. Using the same revolutionary RGBW sensor design as URSA Cine, the new dual sensor layout features larger photo-sites, delivering 16 stops of dynamic range. The unique RGBW architecture provides equal amounts of red, green and blue pixels for incredible color super sampling. This means it is optimized to deliver incredibly rich colors and provide the ultimate in image quality and flexibility, even at the high frame rates live immersive video requires, the company said.

The Blackmagic URSA Live Encoder enables the Blackmagic URSA Cine Immersive 100G to be used for live immersive production. It encodes live video into ProRes for output as SMPTE-2110 IP video via the high-speed 100G Ethernet port, creating an entirely new live immersive viewing experience. Plus, the camera data rate is under 50 Gb/s, so customers can combine two cameras into a single 100G Ethernet connection.

The URSA Cine Immersive 100G was recently used for Spectrum Front Row, a series of live Lakers games in Apple Immersive during the 2025-2026 season, which are now available to watch on demand using the Spectrum SportsNet and NBA apps for Apple Vision Pro.

Blackmagic’s first immersive camera, the URSA Cine Immersive has been used on a number of high-profile immersive productions, including MotoGP: Tour De Force, Debut at the BBC Proms, an upcoming documentary featuring Real Madrid, and NASA’s recent Artemis II launch.

Blackmagic will also debut its Blackmagic URSA Cine 12K LF 100G, with 100G Ethernet for high frame rate SMPTE-2110 live production output up to 440fps. Building on the digital film features of the URSA Cine 12K LF, including the large format RGBW 36x24mm sensor, the new model adds dramatically faster networking for cinematic live production workflows.

The camera will be available Q3 from US$8,995.

Software Updates
DaVinci Resolve 21 will be demo-ed at the Blackmagic booth, updated with a new Photo page,which enables colorists and photographers to use Hollywood’s most advanced color tools for still photos.

Other updates include new AI tools such as IntelliSearch for fast content searching, CineFocus for focal point adjustment, tools for facial refinement, and more. The Krokodove toolset adds over 70 new graphics to Fusion, Fairlight folders simplify audio track management, plus there are improvements to keyframing, MultiMaster trim passes, layer list node graphs and more.

DaVinci Resolve 21 public beta is available for download now from the Blackmagic Design website

Also new is Fairlight Live, a new software-based live audio mixer with spatial audio mixing and SMPTE-2110 broadcast workflows. Fairlight Live easily handles thousands of audio channels, working with standard computer audio or USB audio from ATEM live production switchers. Fully customizable, it has built-in effects and professional features such as a cue player, talkback busses, snapshots and more.

(Fairlight Live public beta is available immediately from the Blackmagic Design website free of charge)

Switchers
Two new additions to Blackmagic’s ATEM live production switchers platform, the ATEM 4 M/E Constellation IP and ATEM 4 M/E Constellation IP Plus are fully SMPTE-2110 native. They retain the features of the existing ATEM Constellation SDI based switchers, so they are familiar to users, allowing a seamless transition between SMPTE-2110 and SDI based switchers in facilities that have both.

Designed for high end broadcast and live production, the new design features front-to-back cooling, extensive redundancy, support for SMPTE-2022-7 on all 100G video ports, redundant PTP clock connections, 2 x 10G Ethernet for control ports and redundant AC power supplies.

The ATEM 4 M/E Constellation IP will be available in June from US$7,995.

Also new is the ATEM Monitoring Rack Panel, a new combination monitoring converter and control panel that can be used with ATEM Constellation IP live production switchers. It converts SMPTE 2110 IP to HDMI and 12G-SDI for connecting to monitors, however it also has front panel input buttons for controlling the switcher as well as an LCD and talkback connections.

It will be available in June from US$995.

Storage, Recording and Cloud
The new HyperDeck ISO Recorder 100G is a new SMPTE 2110 IP video recorder with 100G Ethernet that lets customers record all their cameras for live production. This means customers can also use DaVinci Resolve for live action replay. HyperDeck ISO Recorder 100G uses a single 100G Ethernet connection to connect all 8 video channels, plus it records high-quality Apple ProRes video to network storage via 100G Ethernet.

It will be available in June from US$4,995.

Blackmagic Cloud Store Ultra provides ultra-high performance flash storage with up to 48TB capacity and two independent 100G Ethernet connections that lets customers record and edit simultaneously without either workflow interfering with the other. Available in 24TB and 48TB models, it also features RAID 5 support, dual redundant power supplies and Blackmagic Cloud sync.

It will be available in June from US$8,835.

Conversion and Connectivity
The Blackmagic SDI Expander 8x12G converter lets customers connect all their 12G-SDI gear to the latest 100G Ethernet SMPTE-2110 IP systems. The converter supports 8 bi-directional 12G-SDI connections and has 2 separate 100G Ethernet connections allowing SMPTE-2022-7 redundancy.

It will be available in June from US$2,995.

The Blackmagic Media Dock Ultra is a new high performance dock for Blackmagic Media Modules with two fully independent 100G Ethernet ports. It also features SDI and HDMI status monitoring and Blackmagic Cloud sync that lets customers use Blackmagic Media Modules as extremely high performance removable storage.

It will available in June from US$2,995.

The new Blackmagic StudioBridge 10G PWR lets customers bridge eight separate 10G Ethernet SMPTE-2110 connections into modern 100G SMPTE-2022-7 redundant systems, allowing users to combine up to 8 separate cameras or converters into a 100G Ethernet IP video system. If the 10G Ethernet products use a single connection, then the Blackmagic StudioBridge 10G PWR will also bridge into the 2 x 100G Ethernet connections for a redundant broadcast system. Plus this converter has four separate internal power supplies so it can provide each of the 10G Ethernet connections with 90W PoE++ power.

It will be available in June from US$2,495.

The Blackmagic UpDownCross 100G standards converter lets customers simultaneously convert up to eight separate channels of SD, HD and Ultra HD video to any other standard. The new converter has redundant 100G Ethernet for full SMPTE 2022-7 compliance and a dedicated NMOS control port.

It will be available in June from US$2,435

The Blackmagic Ethernet Switch 820 is a new high performance, low latency model designed for advanced broadcast systems. It includes 8 x 100G and 2 x 10G Ethernet connections plus simple front panel SMPTE-2110 routing. Blackmagic Ethernet Switch 820 also has two redundant PTP clock Ethernet connections, a separate NMOS control port and a dedicated management port.

It will be available in June from US$2,295

Blackmagic Design will be in Booth N2502 in the North Hall of the LVCC.

At the 2026 NAB Show, April 18-22 in Las Vegas, LiveU will mark the U.S. debut of its new LU900Q, encoding platform. Powered by native LiveU IQ (LIQ), advanced eSIM technology, optimized 5G modems and a MIMO antenna array, LU900Q offers reliability and future-ready live transmission from virtually any location.

As a smart multi-tool, the compact platform offers advanced capabilities, such as 4:2:2 encoding and dual-camera support that enable high-quality production of news and sports applications ranging from field reporting and live events to drones and emerging workflows.

In a recent interview with TV Tech, Gideon Gilboa, LiveU’s chief product officer and general manager for Americas, discussed the new features of the LU900Q and the impetus behind its development.

Founded 20 years ago, LiveU started out as a company focused primarily on live contribution technology, particularly via bonded-cellular field units that were revolutionary for their time. But Gilboa said the company soon expanded its outlook to cover content workflows.

“There are more and more content sources coming into broadcast today; there are more and more content distribution pipelines going out, more workflows and 24x7 digital distribution,” he said. “And of course, there's less budget and less people to do all of that, so our customers are looking for workflows to handle all of that complexity.”

Intelligence driven by advances in artificial intelligence are helping to quickly evolve those workflows, Gilboa added.

“We believe the next few years are all about automating those workflows, and this has been and will be our focus from this NAB and onwards into the next few years,” he said. “So what does it mean for us? It means that we are taking this ecosystem that spans contribution, ingestion, production, distribution, and evolving it further in order to support these automated workflows.”

Although LiveU started out as a “closed ecosystem,” according to Gilboa, the company has opened up its platforms to encourage more integration.

“LiveU has evolved from a product company to more of a workflow company,” Gilboa said, adding that in the past few years the company has focused more on integration of third parties.

The LU900Q represents the next stage of LiveU’s workflow solutions, bringing a new focus on AI to help improve connectivity and workflows, especially in congested RF environments.

“The LU900Q is the first intelligent production unit that we're putting out on the market,” Gilboa said, adding that the product marks the first time that LiveU’s IQ intelligent cellular bonding technology is being integrated natively.

“The LU900Q has native eSIM, which means that you never have to worry about configuring your mobile data,” Gilboa said. “It's all built inside and we can change the profile of the eSIM and the operator that is on that eSIM, depending on where you are located and it supports two cameras.”

LiveU IQ uses AI to analyze all the historical data that LiveU has on cellular usage and the real time analytics from the encoder, and makes decisions on which models should be in which cellular network. It does not exist in any other mobile encoder, according to Gilboa.

“It basically looks at all the cellular networks that are available in your location, and knows how to move modems from one cellular network to another and manage them in a smart way to get the most out of it," he said. “In the Milan Winter Olympics, we saw units with LiveU LIQ delivering maybe 30% more bit rate, more bandwidth than standard units, because they know how to choose smartly in real time and move between the most robust seller network of those at that particular moment.”

That’s not the only area where LIQ is taking advantage of advances in AI, according to Gilboa.

“This unit has edge AI setting capabilities, and we'll show a few simple scenarios of how you could start transmitting with just clapping your hands and how you can recognize more objects to create more metadata,” he said. “But we have further plans to enhance the use of that edge AI, to make the lives of our photographers easier, and also to reduce costs of cloud processing, for AI, for object detection and metadata creation.”

Gilboa says he’s heard from numerous LiveU costumers who are looking forward to getting their hands on the LU900Q.

“[We’ve packed] the experience of the last 15-20 years into this product that we've been working hard on for awhile,” he said. “So we have customers who are very excited to receive the first units."

LiveU will be in Booth N1740 in the North Hall of the LVCC.

MELBOURNE, Australia—Atomos announced today that it is acquiring Flanders Scientific (FSI), a global provider of professional reference monitoring. Atomos says the acquisition reinforces its “long-term commitment to precision monitoring across the entire production pipeline, from on-camera capture through to final color grading and delivery.”

The company added that acquiring Flanders Scientific will add expertise in color science and reference display technology with Atomos’ global reach, product innovation, and connected ecosystem and that it can now “deliver a more complete and integrated monitoring solution for filmmakers, broadcasters, and content creators worldwide.”

Atomos already has a broad monitoring portfolio spanning multiple stages of production. This includes on-camera monitoring with the Shinobi range and the Ninja family of monitor-recorders, on-set monitoring with the Sumo range, and rack-mounted solutions for broadcast and corporate workflows with the Shogun AV line. In addition, the previously announced Studio Pro line will complement Atomos' growing reference monitoring capabilities later this year.

With the addition of Flanders Scientific, Atomos now spans the full spectrum of monitoring, from on-camera, on-set, and live production, through to postproduction and final delivery, the company said.

Flanders Scientific will continue to operate as a distinct brand within the Atomos family. There will be no change to its product philosophy, engineering approach, or the high standards that professionals rely on, Atomos said.

“We are incredibly proud to welcome the Flanders Scientific team into Atomos,” said Peter Barber, Atomos CEO. “They have built a reputation for absolute precision and trust in reference monitoring, and that aligns perfectly with where we are taking the Atomos business. This acquisition strengthens our commitment to monitoring at every level, from on-camera through to final delivery, while also accelerating our ability to support the highest tier of professional production and post-production workflows.

"By combining FSI’s expertise with our global scale and innovation, we are creating something truly unique for the industry," Barber added. "Just as importantly, we are committed to preserving what makes Flanders Scientific special. The brand, the philosophy, and the engineering approach will remain unchanged, while gaining the support and reach of the broader Atomos organization.”

Bram Desmet, Chief Executive Officer of Flanders Scientific, said joining Atomos “is a significant, and exciting, moment for Flanders Scientific.”

“FSI was built on the simple premise that professionals responsible for image fidelity deserve tools they can trust,” Desmet said. “That standard has never changed, and it won't. What this partnership gives us is the infrastructure and reach to stand behind that promise for more customers, in more markets, more effectively than we could on our own. I'm excited about what we can deliver together—not just for the broadcast, digital imaging technician, and colorist communities we have always served, but for the broader production world that Atomos reaches every day. The best work FSI has ever done is still ahead of us.”

Both brands will be represented on their respective booths at the 2026 NAB Show. April 18-22 in Las Vegas. Atomos is in Central Hall, booth # C4731, while Flanders Scientific is in North Hall, booth # N1827—although there will be product cross-pollination across the two locations, Atomos said.

COLUMBIA, MD—LTN has announced major enhancements to its purpose-built global IP video network, introducing new capabilities for channel creators as they accelerate their transition from legacy satellite models. The latest innovations are based on the company’s experience completing large-scale migrations for national networks, station groups and sports networks to deliver even better reach, reliability, visibility and operational control.

LTN will showcase the new network enhancements at Booth W2100 in the West Hall of the LVCC during the NAB Show, April 18–22 in Las Vegas.

U.S. federal auctions to free up large portions of spectrum capacity for 5G services are approaching, with up to 180 MHz set to be reallocated in the next auction cycle, expected before the end of July 2027. As broadcasters face severe pressure on the remaining C-Band capacity for content distribution, LTN says it is enhancing the transition to reliable, IP-based alternatives with new capabilities that exceed the performance, visibility and reach of C-band or Ku satellite or protocol-only IP solutions.

LTN’s latest innovations prioritize resilience under real-world conditions, operational visibility, scalable management and flexible deployment—aligning with evolving customer needs as broadcasters expand IP distribution footprints and increase channel complexity, according to Malik Khan, Co-Founder and Executive Chairman, LTN.

“We are continuing to invest in the areas that drive clear value for major networks and broadcasters—resilience, visibility, scale and cost control,” he said. “As the C-band spectrum auction approaches, broadcasters are looking for certainty and measurable performance. We’re seeing unprecedented momentum and are innovating to ensure we continue to deliver the market’s leading reliable and intelligent distribution platform. For our customers, this means they can unlock new growth opportunities while also driving meaningful cost efficiencies.”

Enhancements include:

• Reliability and performance: Enhancements include Adaptive Multicarrier Rapid Error Recovery (RER), hitless switching and last-mile improvements, delivering improved stability and consistent performance at scale.
• Visibility and monitoring: New capabilities include historical performance views, enhanced source monitoring and expanded API integrations for advanced reporting and analytics – providing greater transparency across feeds, faster issue identification and improved monitoring across complex distribution footprints.
• Reach and deployment enablement: LTN has introduced expanded network access options, including a gateway capable of receiving 500 channels targeted at headends with large channel lineups and small-footprint gateway targeted at affiliates needing to receive just a handful of full time channels. These enhancements deliver open interoperability, greater reach and faster deployment while integrating seamlessly into existing workflows and technical architectures.
• Edge device integration: LTN is working with the leading edge device manufacturers—encoding and IRDs systems—to integrate LTN Network access directly into those devices. The roster of partners—including MediaKind, Harmonic, Appear, and Ateme—will be demonstrated for the first time at the 2026 NAB Show.
• Control, orchestration and scale: Enhancements include more robust dynamic content routing, advanced distribution group management and centralized portal-based orchestration. Broadcasters can manage hundreds of affiliates, across a hybrid footprint, via a single interface, reducing manual workflows while improving visibility and control as scale increases.

LTN has delivered successful satellite-to-IP migrations for leading organizations, including Tennis Channel, TelevisaUnivision, Mid-Atlantic Sports Network, MSG and MovieSphereGold, while expanding innovation for cable, broadcast and streaming networks through new capabilities and partnerships.

The company says its IP distribution footprint surged 200% in 2025, enabling seamless access to every content delivery platform. Today, LTN powers over 80 million hours of live video content annually — including nearly 5 million hours of live news and over 1 million live sporting events.

KINGS PARK, NY—MultiDyne Video & Fiber Optic Systems will introduce two new fiber transport solutions at the 2026 NAB Show—April 18-22 in Las Vegas—that support evolving IP and hybrid infrastructures, reduce fiber requirements and simplify system design.

On deck are the new FiberSaver-10G wavelength-shifting multiplexer and VF-9100 fiber optic transport platform. The FiberSaver-10G marks a significant expansion of MultiDyne’s FiberSaver Series, bringing high-capacity 10GbE connectivity to a platform known for maximizing fiber efficiency.

Designed for the modern IP-based data workflows of SMPTE ST 2110, Dante AV and NDI, the system can transport multiple 10G signals over a single fiber strand. Customers deploying fiber across live production scenarios can reduce fiber infrastructure by up to 94 percent using FiberSaver-10G without comprising bandwidth.

“10 gig is becoming the new baseline for media networks,” said Jesse Foster, Director of Strategic Accounts and Products at MultiDyne. “With FiberSaver-10G, we’re giving customers a simple way to trunk multiple high-bandwidth networks together and dramatically reduce fiber usage without compromising signal integrity.”

FiberSaver-10G delivers up to an 18 to 1 reduction in required fiber strands by optically isolating, wavelength-shifting and multiplexing multiple independent 10G networks onto a single fiber. This is especially valuable for mobile production trucks, stadiums, corporate campuses and large venues where fiber resources are limited or costly to expand. The platform supports flexible configurations across the series, allowing users to mix 1G, 10G and 25G connectivity within the same system. An external redundant power option ensures reliability in mission-critical environments.

Complementing FiberSaver-10G is the new VF-9100, the next-generation evolution of MultiDyne’s widely deployed VF-9000 fiber transport platform. Used in studios, stadiums and mobile production environments worldwide, the VersaFrame Series is known for high-density signal transport, wavelength shifting and format flexibility, the company said.

The VF-9100 features key enhancements that improve integration, usability and future scalability. A new hardware controller introduces RESTful API support for seamless integration with modern network management and control systems.

"RESTful API changes the game for how these systems integrate into today’s facilities,” said Foster. “Engineers can now monitor status, manage configurations and automate control through a single interface, regardless of vendor. It makes the VF-9100 a much better citizen in IP-based environments.”

Additional updates include a redesigned chassis with improved card guides for easier field servicing, enhanced rack-mount options for flypack deployments, and more powerful internal power supplies to support next-generation modules. The VF-9100 also introduces new modular cards for audio, serial data, GPIO and genlock/timecode.

Like its predecessor, the VF-9100 supports high-density signal multiplexing, enabling users to transport up to 18 signals over a single fiber — or 36 signals in dual configurations — while maintaining full flexibility across SDI and IP workflows.

While both FiberSaver-10G and VF-9100 deliver fiber savings, wavelength shifting and signal optimization, they are typically deployed for different purposes within the same environment. FiberSaver excels at aggregating existing optical signals and IP networks onto minimal fiber infrastructure, while the VF-9100 serves as a powerful, modular platform for signal conversion, transport and system-wide integration.

“Together, these solutions reflect MultiDyne’s continued focus on delivering practical, engineering-driven innovations that solve real-world challenges in broadcast and AV environments,” said Frank Jachetta, CEO, MultiDyne.

MultiDyne will demonstrate FiberSaver-10G and the VF-9100 at Booth C4425 in the Central Hall during the show.

KAWASAKI, Japan—Media Links will showcase the latest updates to its IP transport solutions at the 2026 NAB Show, April 18-22 in Las Vegas.

A key focus will be Media Links’ Hitless Protection technology, designed to maintain continuous transport of media streams and data even when network conditions are less than ideal. By leveraging standards‑based approaches to redundancy and protection switching, the technology ensures that packet loss or network disruptions do not impact the integrity of live video, audio, or associated data services.

Media Links will also show the latest developments in its Xscend IP media gateway and transport platform. Built with software‑defined modularity and scalability in mind, Xscend supports a wide range of applications, from single‑site deployments to large‑scale, distributed production environments.

Recent enhancements to Xscend include expanded support for HEVC and AVC contribution workflows, delivering more efficient use of network bandwidth without compromising quality or latency.

Media Links’ will also discuss how its Xscend IP transport platform and ProMD EMS network management software are deployed across major live sports environments — from national football leagues in Europe and the Middle East to recent Winter Games workflows — and now support preparations for upcoming World Cup events.

During the 2026 Winter Games, the Xscend platform was used to aggregate and transport contribution feeds across a protected, high‑capacity network serving North American broadcasters, bringing together signals across a complex multi‑vendor ecosystem.

Media Links will also spotlight its role in supporting Video Assistant Referee (VAR) workflows, which use Xscend to transport multiple high‑resolution video feeds between stadiums and centralized officiating centers with ultra‑low latency, allowing referees to review plays in real time.

Whether enabling remote production or inter‑facility connectivity, Media Links says its combination of MDX switches, Xscend and MDP media gateways, and ProMD EMS network management software provides broadcasters and network operators “with a flexible foundation for building and managing IP‑based media networks with the performance and reliability required by today’s live production workflows.”

Media Links will be in Booth W2033 of the West Hall of the LVCC.

LAS VEGAS—Pliant Technologies will highlight a range of new accessories for its wireless intercom productions at the 2026 NAB Show, April 18-22 in Las Vegas.

While the company continues to support its established product families, Pliant is introducing several new accessories designed to enhance workflow flexibility, improve connectivity, and expand charging capabilities across its SmartBoom headsets, MicroCom XR, and CrewCom systems.

Among the new offerings is a SmartBoom USB connectivity option, available both as new headset models (SmartBoom PRO and LITE) and as a standalone cable compatible with SmartBoom headsets featuring dynamic microphones. This addition enables direct USB-C connection to phones, tablets, and desktop computers, expanding SmartBoom usability across Unified Communications (UC) and AV production environments.

For MicroCom XR users, Pliant will debut a 10-Bay Battery-Only Charger, capable of charging up to ten MicroCom XR All-In-One headset batteries simultaneously, ideal for larger teams requiring streamlined battery management. Also new is a MicroCom XR Multi-device Interface Cable, designed to connect the system to USB or Lightning-based devices, allowing users to bridge UC platforms or bring external mobile conversations directly into their intercom workflow.

CrewCom users will see a new Three-RT Bracket that enables mounting of up to three Radio Transceivers together. The bracket supports one-, two-, or three-RT configurations, offering increased deployment flexibility for applications requiring higher user density in a single location.

In addition to new accessory introductions, several previously announced CrewCom products will be on display at NAB, including the brand’s CrewCom 6-Bay Charger, Digital Audio Network Interface, IP-Rated Radio Transceivers and C12 Compact Radio Pack for CrewCom, and its CrewCom CB2 systems. The innovative CrewWare 2.0 software update will also be available to test drive at the Pliant Technologies booth. These products will provide customers with expanded networked audio integration, improved environmental durability, and enhanced system management capabilities.

Pliant will be in Booth C5535 in the Central Hall of the LVCC.

FRANKFURT, Germany—At the 2026 NAB Show, April 18-22 in Las Vegas, Manifold Technologies will discuss its participation in NEP Platform, the new software orchestration system launched by NEP Group.

Manifold CLOUD—the company’s software-defined media processing platform—will be available as a deployable application within NEP Platform, enabling broadcasters and rights holders to instantiate manifold’s FPGA-accelerated multiviewer, UDX conversion, and graphics services on demand, across NEP’s global fleet of mobile units, flypacks, and facilities.

NEP Platform represents a fundamental shift in how live production infrastructure is deployed and managed. Rather than building fixed, dedicated systems per function, the platform provides an orchestration layer that deploys and runs trusted third-party broadcast software on shared commercial off-the-shelf (COTS) compute in modern IP environments. Approved application versions and configurations are validated for deployment, lifecycle actions—bring-up, scaling, tear-down - are automated, and telemetry provides real-time health, performance, and usage visibility.

For manifold, this integration is a natural alignment: manifold CLOUD was built on the principle that processing should be decoupled from proprietary hardware, running on COTS FPGA accelerator cards from multiple vendors. The platform delivers broadcast-grade services—multiviewers, UDX conversion and graphics insertion—with deterministic performance and subframe latency, combining the elasticity of cloud-native orchestration with the reliability that Tier One live production demands.

Within NEP Platform, manifold CLOUD joins a lineup of industry-leading media production specialists, and together their applications will be deployed and scaled dynamically, enabling production teams to configure the right setup for each event at the click of a button and adjust resources on demand.

The integration will be demonstrated at the NAB Show 2026 in NEP’s meeting space, N253, located in the North Hall Meeting Rooms, Level 2, as well as at manifold’s booth, which it shares with technology partner arkona (Booth C.1808). Visitors will interact with the NEP Platform user interface, select manifold from the application catalogue, and watch as the software is deployed onto shared COTS compute.

Once deployed, manifold appears as a virtual device within NEP’s TFC orchestration layer, where operators complete configuration and run a live workflow—demonstrating how software-defined processing can be instantiated in minutes, not days, and terminated just as quickly when the production ends.

manifold says the demonstration underscores a broader industry shift, and for manifold, NEP represents more than a distribution channel. Instead, they are a proving ground for software-defined, FPGA-accelerated production, highlighting how ‘software-first’ approaches grant immense amounts of operational flexibility, speed, power and adaptability, whilst maintaining the reliability and simplicity of traditional, fixed, single function, studio-rooted hardware approaches.

“Collaboration with our partners, including arkona and manifold, has been instrumental in turning the vision of NEP Platform into a practical reality,” said Dan Murphy, VP of NEP Platform. “Manifold’s FPGA-accelerated infrastructure harnesses the flexibility of COTS and software-defined processing capabilities with the power of hardware acceleration. This architecture combines deterministic performance with the scalability and agility modern productions demand. It is exactly this kind of partnership that enables us to deliver next-generation broadcast workflows for our customers worldwide.”

Aleksei Shevchenko, CEO and co-founder of manifold technologies, added: “NEP has always understood that the future of live production isn’t hardware or software alone - it’s how effectively both integrate. With NEP Platform, they’ve built the orchestration layer that makes that integration repeatable, scalable, and secure - and allows various service providers to come together and collaborate in order to offer a product which benefits the industry as a whole. We’re proud to be part of that vision and to have our technology available to NEP’s customers around the world”.

A gold medal final lasts seconds. At Milano Cortina 2026, the short track speed skating final—in which Jordan Stolz and Femke Kok seemingly made short work of obliterating Olympic records—lasted just over half a minute. Britain, meanwhile, took a breathtaking gold in the mixed team snowboard cross by a narrow 0.43 seconds.

In this environment, when the starting gun fires, every framing decision must be locked in. As with all live sport broadcasting, the room for error is small, and there can be no second takes or resets to get a better shot. There’s a production risk that can’t be avoided; cameras can miss moments, angles can obstruct. While traditional broadcast innovation, like rail cameras and first-person view drones, has narrowed that risk and brought the viewer closer to the action, it still operates within a flat, fixed perspective.

How Volumetric Video is Changing Sports and Music
Volumetric video changes the capture model itself. By recording subjects from multiple viewpoints simultaneously, it preserves the spatial performance rather than committing to a single camera angle at the point of capture. Producers can then reposition the virtual camera in post-production, even if the final output is rendered in conventional 2D. The end result is a different relationship between time, perspective and editorial control.

This distinction matters in high-profile sporting arenas. Early deployments, most notably at Paris 2024, showed that volumetric replays could be successfully integrated into top level sports coverage. While often constrained to replay segments that required additional processing time, they showed clear editorial value.

Milano Cortina 2026 marked a further step forward for the technology. AI-powered replay systems built on volumetric capture delivered significantly improved visual fidelity, with some sequences approaching almost cinematic standards. The quality leap was immediately visible, signalling that volumetric workflows are evolving from experimental enhancements into credible broadcast tools.

The uneven pace of adoption across sectors, however, reflects differing priorities. In music and selective creative productions, volumetric capture has enabled directors to defer certain camera decisions until post-production. Artists from Radiohead to A$AP Rocky have captured music videos entirely volumetrically, demonstrating how the boundary between capture and creative decision-making can be collapsed, freeing the shot from being permanently defined on set.

Why Aren’t Blockbusters Keeping Up?
Cinema presents a much tougher challenge. Blockbuster filmmaking is deeply director-led. Framing decisions are deliberate and often central to narrative intent. Sets, lighting plans and blocking are constructed to be seen from specific angles. Volumetric capture fundamentally shifts this by decoupling capture from final framing.

The hesitation, therefore, is not primarily about technical feasibility, but about authorship and embedded workflows. Directors must reconsider how their control ebbs and flows in a spatial medium where perspective is programmable after the cameras stop rolling.

As a result, widespread volumetric capture of entire narrative features remains unlikely in the near term. More commonly, multi-view rigs are being integrated selectively into visual effects pipelines, where the flexibility they provide aligns with existing post-production processes. The technology’s strengths are tangible today, but they are being applied pragmatically rather than universally.

What Needs to Happen Next
Creative convention may shape adoption in cinema, but engineering constraints are still limiting deployment in broadcast. Live production environments require reliability under stress. It is one thing for volumetric workflows to work in controlled demonstrations, but another to scale them predictably.

Visual quality is typically the first compromise under real-time constraints. Techniques such as 4D Gaussian splatting can produce high-fidelity representations, but they introduce latency. Generating these models requires iterative learning processes that cannot be accelerated through forcefully adding in more parallel compute resources. Even emerging single-camera approaches struggle to scale effectively in multi-camera environments, which remain essential for full volumetric capture.

Bandwidth heightens the challenge. Uncompressed volumetric datasets are substantial, and even with compression, bitrates can still reach tens or hundreds of megabits per second. Distributing that at broadcast scale, particularly to large audiences or mobile devices, remains a complex challenge.

In short, the industry’s next breakthrough is unlikely to come from capture hardware alone, and will depend on mature, interoperable ecosystems for compression, transport and decoding of volumetric formats. That said, the direction of travel is clear. Just as first-person view drones and cloud-based production have altered expectations of live sports coverage, volumetric workflows point toward a future in which perspective is no longer permanently fixed at capture. In the near term, they will continue to operate within director-led 2D outputs, adding flexibility upstream without disrupting established viewing experiences. Over time, as delivery systems evolve and extended reality devices mature, the possibility of viewer-controlled viewpoints may move from demonstration to mainstream.

For now, volumetric video has flourished where the stakes are highest and the moments are unrepeatable. In the Olympic arena, where fractions of a second define history, preserving every possible perspective is vital.

STRATFORD, Conn.—CueScript says it will be at the 2026 NAB Show with three new teleprompting innovations that “elevate flexibility, reliability, and control for broadcast, corporate and live production applications.”

CuePad
Cuescript’s CuePad app has been updated to add flexibility and portable teleprompting to iPads and iPhones, delivering the performance and reliability broadcasters expect from CueScript’s professional prompting systems. Powered by CueTALK connectivity, CuePad incorporates the same rendering technology used in CueScript V2 monitors, delivering flawless, jitter-free and frame-accurate scrolling for professional prompting environments.

Designed for portability and fast deployment, CuePad integrates easily into modern production workflows, perfect for on location, or live events. The app supports both iPad and iPhone, enabling flexible mobile prompting for productions on the go supporting compact setups on jibs, Steadicam rigs, and handheld cameras. Built-in horizontal mirror and vertical flip modes ensure correct script orientation for any teleprompter glass configuration.

With quick and easy setup and seamless integration with existing CueiT software, CuePad ensures a smooth transition and minimal disruption to any workflow for a simple, professional-grade prompting solution, the company said.

CueiT NextGen Software Release
The next generation CueiT software has been updated with a next-gen text editor built for precision, speed, and control. Designed specifically for production workflows, this latest version introduces a seamless and predictable editing environment featuring advanced cloaking, intuitive marker management, and fully integrated runorder tools—giving producers and talent complete confidence when working with complex scripts, Cuescript said.

A robust, fully reliable undo/redo system ensures every change is tracked and reversible enabling users to make quick last-second edits or manage large-scale script revisions, bringing a new level of confidence and flexibility to live production environments.

Above-Hood Talent Monitor Mount
CueScript’s Above-Hood Talent Monitor Mount provides a simple and secure way to add a second talent monitor directly above the prompter hood. Designed for seamless integration into an existing CueScript setup, it enhances visibility for additional on-set talent without impacting camera alignment or workflow.

Compatible with CueScript 22- and 24-inch talent monitors, this solution is ideal for multi-presenter environments, interviews, and broadcast applications where flexibility and clarity are key, according to the company.

"At CueScript, our goal is to empower talent, engineers and production teams with tools that are intuitive, reliable, and adaptable," said Michael Accardi, president at CueScript. "These three new solutions demonstrate our commitment to modern broadcast workflows, whether it’s mobile prompting, advanced script management, or enhanced visibility for on-air talent. We are delighted to introduce them at NAB."

Cuescript will be in Booth C4720 during the 2026 NAB Show, which takes place in Las Vegas, April 18-22.

At the 2026 NAB Show, April 18-22 in Las Vegas, EVS will introduce T-Motion, a new media production robotics solution based on the integration of Telemetrics and XD Motion. EVS acquired both companies last summer.

EVS's NAB showcase will feature the full T-Motion lineup: Arcam six-axis camera arm, OmniGlide roving platform, Telescope robotic jib, TeleGlide track system, Televator elevating pedestal, and XFly cablecam system.

Additionally, EVS will introduce a unified orchestration layer designed to integrate T-Motion systems seamlessly into its broader live production ecosystem. The approach combines creative flexibility with operational consistency while placing safety at the core of robotic system design and deployment.

At the show, EVS will also demonstrate its LSM-VIA live replay and highlights system, showing how a deeper integration with its Cerebrum broadcast control and monitoring system brings shortcut-based controls and integrated intercom management with push-to-talk functionality directly into the LSM-VIA operator interface. Support for the AMP protocol further sharpens responsiveness in fast-paced environments, the company said.

Creative tools such as XtraMotion leverage GenAI to produce super slow-motion, deblurred, and cinematic replays from standard feeds, while LSM-VIA Zoom enables operators to reframe wide-angle 4K feeds in real time, track action using AI-based object recognition, and quickly generate vertical formats for social and digital platforms.

For officiating and review, EVS will demonstrate how its Xeebra AI-driven field calibration, Virtual Offside Line and remote review capabilities can be further enhanced by XtraMotion's AI deblurring to ensure precise analysis of critical moments. Its mobile companion, Xeebra INSIGHT, extends these tools to coaches, medical staff, and pitchside supervisors, enabling live review, clip creation, and real-time sharing without any reliance on the control room.

A focus on stadiums and venues will highlight how unified control and scalable infrastructure within stadium and venue environments reduces reliance on multiple standalone systems, simplifies operations, and minimizes operational risk, ultimately improving content delivery for fans and sponsors alike.

EVS will also spotlight the VIA MAP Media Asset Platform, enabling seamless end-to-end workflows across on-premises, hybrid, and cloud environments. Supporting fast-turnaround workflows from live ingest to near-instant distribution, VIA MAP is ideally suited to large-scale sports productions, as demonstrated at major international events this year across North America, Milan, and Dakar. It leverages AI-enriched metadata, advanced logging, and seamless integration of third-party data feeds to accelerate content search and retrieval while enhancing archive monetization.

For news operations, VIA MAP unifies ingest, AI metadata enrichment, asset management, editing, playout and multi-platform distribution from a single interface. Deep integration with newsroom computer systems and NLEs, combined with AI-assisted tools, and flexible cloud deployments, facilitate efficient collaboration and content reuse across broadcast, digital, and social channels.

The MOVE product line will also be on display, offering cost-effective, all-in-a-box ingest, playback, and transcoding, ideal for entertainment, worship, and corporate production environments. MOVE I/O delivers customizable ingest and playback with extensive format support and extended EVS asset management and Avid environments integration. MOVE UP adds file-based ingest, transcoding, automated workflows, and a REST API for third-party control.

For broadcasters transitioning to IP, EVS will demonstrate how Cerebrum delivers a unified control layer across both SDI and IP environments, consolidating broadcast and router control, IP orchestration, and SDN into a single system. Pre-built UI packages, designed around common broadcast use cases and familiar operator terminology, mean teams can be productive from day one. For Neuron, new live preview capabilities allow engineers to monitor the processed video in the user interfaces of Bridge and Convert in real time.

The Strada routing system adds three new SDI-router replacement packages (160, 256, and 512 SDI I/O), enabling organizations to replace end-of-life routers today while preserving the ability to integrate into IP workflows when ready, all at a competitive price.

Also for the first time at NAB, EVS will showcase its Flexible Control Room solution, featuring Tactiq, a modular, software‑defined interface that decouples operator workflows from infrastructure, enabling role‑agnostic operations, scalable teams, and open or hybrid environments aligned with real production needs.

And lastly, the company will demonstrate how its EVS balanced computing model allows organizations to choose the optimal mix of CPU, GPU, FPGA, edge, or cloud resources for each workload. The new EVS eShop enables progressive system scaling, on-demand capability upgrades, and technology investment that adapts as production needs evolve. EVS specialists will be available at the booth to discuss how software-defined, flexible deployment and commercial models can be tailored to individual infrastructure and business needs.

EVS will be in Booth N1841 in the North Hall of the LVCC.

PITTSBURGH—NEP Group has announced NEP Platform, a new software orchestration system designed to help its customers improve their management of media infrastructure and hybrid workflows.

NEP Platform unifies the deployment of critical production applications from multiple vendors within a single, secure interface. Currently deployed in many of NEP’s own facilities worldwide, including new “software first” mobile units recently launched in Australia and Norway, NEP Platform is commercially available for customers who wish to integrate it into their own facilities, backed by the ongoing support of NEP’s engineers.

NEP Platform offers today’s largest collection of trusted software applications for media production, so that NEP customers have more choice and control over their workflow design. Essential production functions like vision mixing, audio mixing, replay, infrastructure, multiview, and measurement are available from Bridge Technologies, Calrec, Grass Valley, Lawo, Manifold, Panasonic, Sony and Sony’s Hawk-Eye Innovations, with plans to add more. At a click of a button, operators can configure the right setup for each event and adjust resources on demand, creating a truly dynamic, adaptable and scalable environment, the company said.

“The NEP Platform launch marks an important step in NEP’s innovation journey as well as how the industry uses software,” said Martin Stewart, CEO of NEP Group. “Companies are delivering more content, across more markets, to more audiences than ever before, and that requires great agility. Our goal has always been to simplify content production so our customers can easily and securely deliver their content at scale. I’m delighted that NEP Platform offers that long-term solution with the ability to change as our customers do.”

With NEP Platform, capabilities can be added through new applications and software updates instead of major rebuilds. It takes the efficiency of software a step further by automatically allocating resources as production demands change, ensuring teams only use the computing power they need. This provides clear insight into how infrastructure, licenses, and resources will be used, so costs can be forecast accurately.

In addition, NEP’s team of experts ensure that NEP Platform deployments are secure and that the system is resilient. NEP Platform provides continuous vulnerability scanning, strong identity and access controls, encryption, and ongoing monitoring to protect customer environments and keep productions on air. It also validates application versions and configurations at each deployment, avoiding many of the common pitfalls of software.

By scaling intelligently, NEP Platform supports more sustainable practices by helping productions reduce power consumption and the need to ship hardware, the company said.

“NEP Platform gives customers real choice without added complexity,” said Dan Murphy, vice president of NEP Platform. “From a single interface, teams can launch the applications they prefer, deploy workflows in minutes and scale as production needs change.

“With this new way of managing infrastructure, customers can transition to software-based solutions that seamlessly operate with existing hardware. This not only protects our customers’ investments; it positions them to take advantage of future technology.”

NEP will demo NEP Platform at the 2026 NAB Show in Las Vegas, April 18-22. To make an appointment, visit https://platform.nepgroup.com.

STOCKHOLM, Sweden—Net Insight has announced Nimbra 520, a high-density media processing node designed to simplify live contribution and distribution across both managed and unmanaged networks. The company will demo the new node at the 2026 NAB Show in Las Vegas, April 18-22.

Built as part of Net Insight’s Nimbra Live execution layer, the company says Nimbra 520 brings consistent, deterministic performance into hybrid live media environments where operational simplicity, cost control, and confidence under pressure matter more than individual device features.

Nimbra 520 extends Net Insight’s Live Intelligence approach into live media execution. Rather than optimizing isolated functions, it delivers measurable performance across real-world networks, helping operators stay in control during peak events, failures, congestion, and rapid change.

With support for multichannel HEVC and AVC, Nimbra 520 enables up to 50% bandwidth savings compared to legacy workflows, allowing customers to scale contribution and distribution capacity without expanding network infrastructure.

Nimbra 520 is designed to change the economics of live media operations. Combined with Nimbra Edge, it enables a simple and flexible per-stream cost model, centralized orchestration, and automated lifecycle management. This reduces operational overhead, avoids over-provisioning, and lowers the cost and minimizes the impact of failures.

The new media processing node supports unmanaged internet contribution, hybrid cloud workflows, and fully managed IP networks. When deployed in managed environments, it integrates seamlessly into Net Insight’s platform-based operations. In unmanaged environments, it delivers the same predictable behavior through Edge-orchestrated workflows. This flexibility makes Nimbra 520 well suited for broadcasters, service providers, regional sports networks, and cloud-connected production.

“Live media operations must scale without driving complexity or cost,” says Andreas Eriksson, CEO of Net Insight. “With Nimbra 520, we extend our Live Intelligence architecture into a simpler, more flexible execution layer, giving customers predictable performance and lower cost per stream.”

Nimbra 520 features multichannel HEVC and AVC processing with professional broadcast quality, including UHD workflows, 10-bit video, and low-latency operation. Its high-density architecture enables significant bandwidth and infrastructure savings while maintaining predictable performance across managed and unmanaged IP networks.

Net Insight will be in Booth W1653 in the West Hall of the LVCC.

The University of Nebraska’s HuskerVision has completed the second phase of a multi‑year modernization effort with the deployment of a comprehensive ST 2110‑based video infrastructure powered by Lawo.

Following an audio‑first transformation in 2023—HuskerVision’s initial step into IP workflows—the new video implementation brings all major athletic venues into a unified, software‑based production environment. The result is a campus‑wide media fabric capable of handling simultaneous shows from multiple control rooms, while giving student operators access to the same tools used in top‑tier broadcast facilities, according to Lawo.

The earlier audio upgrade had introduced HuskerVision to Lawo’s IP ecosystem through mc²56 production consoles, A__UHD Core processing, A__stage 64 and A__mic 8 interfaces, and HOME Management for routing and orchestration.

“Doing audio first was key,” recalls recently retired Chief Engineer Scott Guthrie. “We learned timing, stream management, PTP, device discovery—all the fundamentals. When it came time to roll out video, everyone was ready.”

That readiness was crucial as the university moved towards their SMPTE ST 2110 implementation designed and integrated by BeckTV. With Nebraska’s athletic venues spread across a wide geographic area—including Memorial Stadium, Hawks Championship Center, the Devaney Center, Pinnacle Bank Arena, Haymarket Park, and the Dillon tennis and Hibner soccer complexes—the goal was to bring all locations together through a single IP backbone feeding three co‑located control rooms inside Memorial Stadium. This allowed operational consolidation while dramatically boosting routing flexibility.

Lawo’s .edge platform is at the core of the new video infrastructure, used both as a high‑density gateway and as a full IP processing node. Multiple .edge frames provide 3G‑SDI and 12G‑SDI ingest, while native ST 2110 connectivity and quad‑25GbE interfaces feed the production fabric. The system’s ability to present SDI inputs as network “proxies” gives HuskerVision high scalability with minimal bandwidth overhead.

“We can bring in signals from any venue—whether five cameras from volleyball or a full football package—and everything just shows up in the fabric,” says Director of Technology Garrett Hill. “Routing video or audio essences independently is as easy as moving blocks around.”

One of the most operationally transformative areas is the truck dock at Memorial Stadium. Using .edge for video and A__stage64 for audio, HuskerVision can now exchange 24×24 bidirectional signals with national broadcast trucks, accommodating 12G‑SDI, HDR, SDR and ST 2110 feeds without additional hardware.

“Trucks get whatever flavor they want,” says Guthrie. “Up, down, HDR, SDR—it’s all handled right there in the IP edge.” Hill notes that the increase in available I/O and native processing “has completely changed how we interact with visiting crews.”

Workflows inside the control rooms benefit heavily from Lawo’s HOME Apps, running on COTS servers. The HOME Multiviewer, combined with theWall layout builder, enables dynamic, venue‑specific monitoring setups that can be reconfigured in seconds. Meanwhile, the HOME UDX app provides on‑demand up/down/cross conversion directly in the network, reducing the need for traditional baseband converters.

BeckTV Senior Engineer and Nebraska alumnus Brock Raum describes this flexibility as the project’s defining characteristic: “From season to season your shows change—and sometimes just from sport to sport. You might have soccer in one control room one day and football in another. With HOME Apps you shut down the tools you don’t need and spin up the ones you do. We’ve played with the webRTC app, downstream keying, UDX—you name it. The flexibility of using COTS hardware with the HOME App system is the highlight of the whole solution. If I need an app for a set of shows, I use FLEX credits. When I don’t, I shut it down and reuse those credits for something else.”

All workflows—video routing, tally, device control and multiviewer changes—are orchestrated through Lawo VSM, which gives operators a single, intuitive control layer across the multi‑venue environment.

According to Guthrie, “VSM lets us go from a big‑screen volleyball show to a press‑conference recording setup with one or two clicks. In a schedule where events overlap constantly, that’s huge.”

Because HuskerVision relies heavily on student operators, the accessibility of the system was essential. Seven full‑time staff oversee a large student team who are involved in every aspect of the productions.

Raum says, “Students are doing real engineering tasks now. They’re learning on the same tools used in the broadcast trucks.” Guthrie adds, “They learn the backend—how to modify layouts, manage essences, fix routes. And they get it.” Hill emphasizes the career value: “Training on the best gear helps them get jobs. Our students leave here ready for the industry.”

The new IP backbone, allows HuskerVision to scale productions, transport media content more efficiently between venues, and makes it easier for the network to support multiple overlapping events, Lawo said.

MURRIETA, Calif.—DigitalGlue, creator of the creative.space on-premise managed storage platform, says it will launch creative.space Intelligence (CSI) at the 2026 NAB Show, April 18-22 in Las Vegas. The company describes CSI as “a first-of-its-kind Managed Creative Operating System designed to solve the dual crisis of physics and cognition currently facing the professional video market.”

DigitalGlue says media organizations currently face a two-fold crisis. As global archives are set to reach 174 exabytes, media organizations are having to deal with video files that are becoming too massive.

Traditional cloud storage introduces latency and punitive egress costs, which DigitalGlue describes as a “Cloud Tax" that breaks production budgets and makes large files too "heavy" to move. In addition, production houses are drowning in “Dark Data,” unsearchable, untrackable footage.

“Highly paid creative professionals currently lose up to 25% of their work week acting as librarians, forced to manually log and search media because current tools lack narrative intuition,” the company said.

DigitalGlue says it has solved this physical and cognitive conundrum by unifying high-performance, on-premise hardware (The Body) with a forensic AI engine (The Brain) into a single ecosystem.

At the center of this system is a content-addressable identity system that categorizes media into Core Assets (the underlying DNA of the footage) and Versions (proxies, high-res masters, web exports). Instead of fighting physics by pushing petabytes of video into a slow cloud, CSI brings the Intelligence directly to the source. This creates Data Gravity, where the platform analyzes media exactly where it sits, eliminating costly migrations and instantly linking every Version back to its Core Asset, the company said.

While most industry AI remains "context-blind," DigitalGlue says it is establishing a new standard for creative operations. "Most AI tools just point out objects in a video (a car, a person, a tree),” the company said. “creative.space Intelligence (CSI) does something much more valuable: it tells you why your video matters, how it makes the audience feel, and how to repeat that success."

Because CSI understands the Core Asset, it generates “Contextual Wisdom” that reveals the hidden architecture of successful content, automates the path to delivery, and serves as an indispensable co-creator by mapping narrative beats, simulating audience pulse, and predicting reception before a single dollar is spent on distribution, according to DigitalGlue.

At NAB 2026, DigitalGlue will demonstrate how CSI wraps an unmatched AI engine in the workflow primitives that modern studios require:

• The Vault (Universal Asset Library): Replaces folder-based browsing with Agent-driven ingestion and CSI ID fingerprinting for instant duplicate detection and version tracking.
• The Oracle (Semantic Multimodal Search): Natural language search that understands emotion and mood (e.g., "Find high-energy celebration moments").
• Consensus (Review & Approval): An agentic review experience that summarizes massive feedback threads into actionable change requests and uses "Annotation-to-Action" to generate edit commands.
• Launch (Distribution Hub): Automated multi-platform publishing with AI-driven compliance checks for duration, aspect ratio, and content warnings.
• The Crew (AI Agent Workforce): Autonomous agents - The Librarian, The Researcher, and The Compliance Officer - that work 24/7 to catalog and protect assets.
• Nerve Center (Intelligence Dashboard): Real-time analytics on asset utilization, content velocity, and storage cost intelligence.
• The Bridge (Integration Ecosystem): Users don't have to copy their media assets to work with them; CSI plugs into the user's existing creative.space, local, and cloud storage.

DigitalGlue will also offer a sneak peek at CSI Studio, a unified generative production environment. Designed to bridge the gap between pre-production logic and post-production assets, CSI Studio allows creators to move from a logline to a fully visualized animatic in a single session, utilizing "Character Lock" and automated script breakdowns to reclaim hours of manual labor.

In addition to live demos of CSI, the company will also showcase its Neuro-Seismograph, which visualizes tension and engagement in real-time.

DigitalGlue will be in Booth N3152 in the North Hall of the LVCC.

Live sports has emerged as a perfect use case for cloud workflows. Teams travel. Venues change. Games are seasonal. Demand fluctuates. Distribution across diverse channels grows more complex by the day. In the face of these challenges, leagues, broadcasters, and streaming platforms increasingly are leveraging cloud workflows to produce, manage, and deliver live sports. Instead of moving infrastructure to each event, they are connecting each event to infrastructure in the cloud.

In employing cloud workflows, these organizations realize greater efficiency, agility, and scalability that translate to lower production costs , as well as better responsiveness to expanding distribution demands and new business opportunities. These gains are driving the shift of cloud-based workflows from experimental deployments to core broadcast infrastructure supporting live sports production and distribution.

Innovation, Inspired by Inefficiency
Sports is a dominant driver of real-time television viewing, possibly now more than ever. As rights costs for this valuable content rise and as distribution opportunities extend across more diverse platforms and geographic regions, media organizations are looking to realize greater flexibility with lower operational costs.

It has become harder to justify an operationally rigid production model that involves complex logistics, with large crews and large amounts of physical equipment sent to every game or event. Similarly, there is less willingness today to power and maintain physical systems that often sit idle between games. As media organizations expand production to include regionalized feeds, language-specific streams, alternate commentary versions, and platform-specific distributions, conventional approaches that depend on duplication of infrastructure are no longer feasible.

Solving for these inefficiencies presents an opportunity for innovation, and cloud workflows offer a highly adaptable vehicle for such change. Once infrastructure and systems are enabled in the cloud, there is no need to duplicate the same physical footprint to support the next game or match. Moreover, modern cloud-based workflows give media organizations the capacity to extend production — from one show to multiple parallel shows built around one event — by scaling compute resources and orchestration tools and by facilitating collaboration among distributed team members.

An organization can spin up and reuse resources across events with ease. It can scale up or down quickly, according to need. Rather than overbuild physical systems to handle peak demand, it can align infrastructure more closely with actual production schedules and requirements. At the same time, production team members working remotely can contribute their talents more effectively, and without the time and stress associated with travel.

Having embraced cloud-based workflows for live sports production, broadcasters and other media organizations unlock added potential for further opportunities across services and markets. They deploy limited resources on-site, and the cloud gives them the capacity to monetize those resources in countless ways.

From Compromise to Core Infrastructure
A decade ago, remote and cloud workflows were often viewed as compromises, lacking the quality and reliability considered essential to broadcast-grade production. Today, practical and technical barriers to adopting cloud workflows for live production and distribution have largely been overcome.

On the technical side, modern encoding technologies and increased available bandwidth now support full 1080p HDR workflows from end to end. Compressed production has matured to the point that end viewers don’t notice a difference; the image quality is consistent with broadcast standards.

While latency and reliability remain critical in live sports, these challenges also have been met. When properly engineered, today’s networks and encoding methods support latency levels that allow for real-time communication and coordinated production by distributed teams. Sophisticated monitoring and telemetry ensure reliability by making it possible to see what is happening across the entire workflow — from source to destination — instead of simply sending a signal and hoping it arrives cleanly.

Together, all these elements preserve broadcast-grade quality and boost capacity while reducing the on-site footprint necessary for live sports production.

What does not change is the human element. Directors still direct. Operators still operate. Live sport is still the product of top-notch coordination, judgment, and storytelling. Cloud infrastructure supports that work by making the underlying systems more flexible and easier to scale across events.

Integration of Cloud Workflows
Even the most advanced users of cloud workflows began the shift incrementally, integrating new technology selectively. Hybrid models allow media organizations to preserve current investments in on-prem equipment while gaining flexibility where it makes the most sense. Over time, the balance may shift, but the transition typically is gradual.

As organizations lean into compute-powered production, common entry points include remote contribution, replay, multiviewers, and graphics integration. These workloads are relatively easy to virtualize and can be layered into existing facilities without disrupting broader operations. While many of the engineers and operators rising within modern production operations are used to working with distributed systems and are familiar with software-driven environments, ongoing education and training can help ensure that the right operations are moved to the cloud, for the right reasons.

As cloud adoption increases, improved visibility into cloud spending and production costs will also facilitate optimization of operations both on-prem and in the cloud. Within intelligent cloud platforms for live production, more definite attribution is emerging: workloads are tagged, usage is categorized, and software value is separated from raw compute costs. Cost control is catching up with technical flexibility, empowering media organizations to evaluate and refine cloud workflows more effectively — and better align their expenses with production outputs.

In recent years, live sport has successfully served as a testbed for innovations including REMI workflows, IP contribution, and centralized production models. Once again facilitating a significant structural shift within the broadcast industry, the live sports segment is providing real-world validation of cloud workflows in the most demanding of production environments.

MALAGA, Spain—Tedial says it will focus on its “intelligent” media asset management platforms at the 2026 NAB Show in Las Vegas, April 19-22.

The company will demonstrate how its intelligent, composable future-ready platform combines pervasive AI, composable architecture, and deployment flexibility to increase operational efficiency, accelerate production, and unlock greater content value.

“The future of media operations depends on intelligent automation and architectural flexibility,” said Julian Fernandez-Campon, Tedial CTO. “The platform enhancements we are unveiling at NAB 2026 bring practical AI, deeper composability, and real operational control to modern media operations — helping teams work faster, more efficiently, and with greater agility.”

For Tedial, artificial intelligence is not an add-on—it is embedded throughout the company’s platform with new agentic AI capabilities directly integrated into media workflows, enabling intelligent automation, proactive assistance, and faster decision-making, the company said.

New this year is Tedial’s integration of agentic AI with the Model Context Protocol (MCP), providing organizations with comprehensive flexibility and control over their AI models and services. The MCP interface ensures organizations can select and integrate AI technologies that best suit their needs, ensuring flexibility, scalability and future-readiness. This empowers teams to unlock the full value of their content libraries, improve reuse, and accelerate production workflows.

With NoCode workflow design capabilities, teams can easily automate processes, connect systems, and adapt operations without relying on development resources, according to Tedial.

An ecosystem of more than 200 integrations connects seamlessly with production systems, archive platforms, editing tools, distribution channels, and AI services. This integration-first approach eliminates silos and enables organizations to evolve their technology stack without disruption.

At the core of Tedial’s platform is an AI-powered MAM that uses semantic search capabilities to allow users to locate relevant media instantly based on meaning, context, or visual content, not just metadata.

Tedial’s NoCode UI designer allows organizations to create fully customized user experiences tailored to their workflows and operational needs. Using modular widgets —including media players, metadata panels, dashboards, search interfaces, and storyboards— teams can design intuitive workspaces without coding.

Tedial’s platform supports IP-based live workflows, enabling broadcasters to ingest live streams, enrich them with metadata in real time, and perform live clipping for immediate publishing. By integrating live metadata sources and AI-driven technologies, the platform enhances live content discoverability and value, enabling faster publishing, improved audience engagement, and new monetization opportunities, the company said.

Tedial’s modular platform adapts seamlessly to diverse media sectors, including social media, news, sports, and post and can be fully deployed to support cloud, hybrid, and on-prem.

Tedial will be in Booth W1851 in the West Hall of the LVCC during the show.

At the 2026 NAB Show, April 18-22 in Las Vegas, Interra Systems will showcase its latest advancements in automated QC, real-time monitoring, and captioning.

“Media and broadcast companies are under increasing pressure to scale streaming operations while maintaining absolute reliability, with little margin for error. As the industry moves toward IP- and streaming-first workflows, the conversation has shifted from experimentation to execution at scale,” said Anupama Anantharaman, vice president of product management at Interra Systems. “Our solutions provide a trusted platform for mission critical operations, delivering production-ready, human-trustable media intelligence for FAST, live linear, and on-demand workflows. Automated QC, captioning, and real-time monitoring for IP and OTT streaming remain our foundational pillars, so we are sharpening our focus in areas where we have strong traction and credibility.”

“At NAB Show 2026, we will also demonstrate how Interra Systems is applying AI responsibly to deliver results customers can rely on, especially where accuracy and error-free content delivery are crucial,” Anantharaman added.

Interra Systems solutions on display:

• ORION monitoring platform: Recent updates include all-frame deep-dive analysis, support for modern IP formats such as NDI and Zixi, and AI-driven video corruption detection to improve visual quality and reduce troubleshooting time. For live events, ORION enables faster issue detection and response, helping teams operate with greater confidence under pressure. ORION Suite now includes an integrated multiviewer that unifies monitoring data across multiple streams. Enhanced automation – including real-time multiviewing, automated audio language detection, and updated SCTE35 signaling – streamlines advertising workflows and monetization. Additional security and networking enhancements such as IPv6 compatibility, SNMPv3 support, and granular DRM authentication provide a flexible, reliable foundation for live sports, news, and large-scale streaming operations across on-prem, hybrid, and cloud environments.
• BATON Automated QC: Interra Systems will introduce BATON 9.4, the company’s latest version of its BATON platform featuring enhanced audio and video QC that delivers greater accuracy, fewer false alarms, and broader detection for more reliable automation and reduced manual rechecks. Other enhancements include support for Oracle Cloud Interface (OCI) as S3 compatible storage, one-click diagnostics for faster troubleshooting and quicker resolution of operational issues, and more.
• BATON Captions: The latest BATON Captions updates focus on faster workflows, higher transcription accuracy, and simplified compliance. Enhancements include a new web-based editing experience, Whisper AI integration, expanded language support, automated workflows, and advanced tools for localization and broadcast compliance — all designed to reduce operational overhead for streaming and broadcast teams.
• VEGA Media Analyzer: Interra Systems’ VEGA media analyzers help teams validate compliance and troubleshoot complex streaming and hybrid workflows, with recent updates adding AV1, VVC, faster multicore analysis, built-in chatbot assistance, expanded cloud compatibility, and improved tools to boost reliability and reduce validation time.

Interra Systems will be in Booth W2243 in the West Hall of the LVCC.

COLUMBIA, MD—LTN and MediaKind today announced a strategic partnership to tightly integrate MediaKind’s MK.IO Beam on-premise devices with the LTN Network, combining advanced edge video processing with LTN’s global IP transport infrastructure.

The integration connects MediaKind’s MK.IO Beam devices directly to the LTN Network, enabling reliable, redundant transmission of compressed video transport streams — for both contribution and distribution. The companies said the end result will be the delivery of a seamless path from high-availability IP distribution to on-premise content processing at scale.

The partnership comes at a pivotal moment as satellite-based C-Band distribution options continue to decline. With the FCC scheduled to auction off the remaining C-Band spectrum by 2027, programmers and content distributors, particularly in mid- and small-size headend markets, are seeking solutions that match the reliability of traditional C-Band while delivering faster deployment and improved cost efficiency.

“As the industry accelerates its shift away from satellite distribution, programmers and content distributors need IP solutions that deliver the same reliability, with greater flexibility and speed,” said Malik Khan, executive dhairman and co-founder of LTN. “Our integration with MediaKind brings advanced content processing directly to the edge of the LTN Network, enabling customers to deploy faster, operate more efficiently, and confidently scale their IP distribution plans.”

Enabling Direct, Redundant Connectivity at the Edge
Through the integration, MK.IO Beam devices can connect directly into the LTN Network, extending LTN’s multicast and multipath IP delivery capabilities to the edge. This enables multipath delivery over dual redundant IP connections, automatic “steering” of last-mile traffic to the best available LTN Network access node, and reliable, managed transport for both sending and receiving compressed video streams.

At the same time, the LTN Network gains streamlined access to MediaKind’s edge processing capabilities, allowing customers to transcode, multiplex, and transform content directly on-prem — ideal for source- or destination-specific processing requirements.

“The industry is under growing pressure to modernize distribution workflows without sacrificing performance,” said Shahar Bar, senior vice president, Products & Marketing at MediaKind. “By integrating MK.IO Beam directly with the LTN Network, we combine advanced software-based video processing with a highly reliable IP transport backbone—enabling faster deployments, greater operational agility, flexible cloud economics including monthly or hourly pay-as-you-go models, and a seamless transition away from legacy satellite infrastructure.”

Faster Deployment and Simplified Edge Operations
The companies say the partnership significantly accelerates IP distribution and contribution rollout timelines. Any MK.IO Beam device can now be quickly provisioned onto the LTN Network, shortening deployment cycles for contribution and distribution workflows, particularly in environments where time, infrastructure constraints, or cost sensitivity are critical.

For existing LTN customers, the integration enables content transformation at the edge, by simplifying custom encoding for regional or affiliate requirements, multiplexing for cable headends, and destination-specific processing handled locally.

By combining managed IP transport with on-prem video processing, programmers and content distributors can reduce infrastructure complexity while maintaining high reliability, they said.

MONTREAL—Haivision has released its seventh annual Broadcast Transformation Report, with remote production tech and AI dominating the trends.

Based on input from more than 1,300 broadcast professionals worldwide, Haivision—a global provider of mission-critical, real-time video networking and visual collaboration solutions—says the 2026 report offers "a broad-reaching snapshot of adoption trends, ongoing challenges, and emerging areas of innovation shaping the industry. The findings highlight continued focus on remote production, increased usage of SRT, growing reliance on cellular networks, AI adoption, and the dominance of SDI, reflecting an industry balancing modernization with operational realities."

The report examines how broadcasters are adapting workflows, infrastructure, and technology investments as they balance modernization efforts with operational constraints.

Key Broadcast Trends:

• Remote production dominates tech priorities: For several years now, broadcasters have identified enabling remote production as their leading technology focus for the next 12 months. In fact, it has consistently ranked as the top choice in the report for the past four years, with 41% of respondents citing it as their biggest technology priority in 2026.
• SRT celebrates 5 years at #1: Since the report’s debut in 2020, SRT usage has steadily grown in broadcast workflows, ranking as the most widely used video transport protocol over the last five years. SRT adoption climbed from 47% in 2020 to 78% in 2026 – a 31% increase overall.
• Broadcasters embrace cellular for live video contribution and redundancy: Broadcasters are increasingly relying on cellular networks in their live video contribution workflows. In 2026, 54% of respondents reported using cellular networks for live video contribution, up from 46% in 2025. When using fiber as their primary network for remote production workflows, cellular networks are the leading choice for redundancy, with 61% of respondents using them for backup to fiber.
• AI tops list as most impactful future technology: While AI usage among broadcasters rose slightly from last year’s report (increasing from 25% in 2025 to 27% in 2026), the outlook for AI is very strong. 64% of respondents cited it as the technology expected to have the greatest impact on broadcast production over the next five years.
• SMPTE ST 2110 adoption is growing, but SDI still dominates: SMPTE ST 2110 adoption is rising, however SDI remains the backbone of most broadcast operations. This year, 30% of respondents reported using ST 2110, up from 26% in 2025. Despite these advances, SDI is dominant, with 82% of respondents leveraging SDI infrastructure.

“Broadcasters continue to evolve their workflows while navigating operational and financial realities,” said Marcus Schioler, Vice President of Marketing at Haivision. “With record participation in this year’s survey, the report reflects a broad industry perspective balancing innovation with operational reality, where reliability, flexibility, and efficient contribution workflows are essential to supporting future growth.”

Haivision says the findings reflect an industry increasingly relying on hybrid workflows that combine established and emerging technologies. While SDI remains foundational, IP-based contribution, cloud-enabled workflows, and cellular connectivity continue to shape the future of live production.

The 2026 Haivision Broadcast Transformation Report is available for download here: https://www3.haivision.com/broadcast-report-2026-pr

MIAMI—With 100 days to go until the kickoff of FIFA World Cup 2026 on June 11, 2026, Telemundo, the exclusive Spanish-language home of the tournament in the U.S., says its coverage of the world’s largest sporting event, “will be the most ambitious World Cup presentation ever in broadcast television, regardless of language,” according to Joaquin Duro, executive vice president of Sports and Head of Streaming for Telemundo

Telemundo will have a fully live on-site presence at all 104 matches at stadiums across Canada, the U.S. and Mexico, coupled with dedicated daily shows and what it terms "an unprecedented" streaming and digital footprint. The network celebrated the key milestone with the release of its official World Cup song “Somos Más” and the launch of a new phase of its marketing campaign on the road to the World Cup.

“With over 700 hours of coverage, including over 90 games on our broadcast network and extensive sports content across our daily shows, FAST channel and app, we are delivering the most comprehensive Spanish-language World Cup experience ever produced in America,” Duro added.

Of those 700 hours of coverage, 104 of the matches during the World Cup, June 11 to July 19, 2026 will be broadcast live, with 92 airing free over-the-air on Telemundo and 12 on Universo. Every match will stream live on Peacock (Premium and Premium Plus subscribers) and the Telemundo App.

Coverage across all screens will prioritize key moments, including all U.S. Men’s National Team and Mexico National Team matches, the Opening Match, July 4 programming from the New York/New Jersey host cities, and the FIFA World Cup 2026 Final, with extended pre- and postgame coverage delivering deeper storytelling, analysis and cultural context—especially surrounding the championship match, according to the network.

Telemundo Center, the company’s state-of-the-art headquarters in Miami, will serve as the heartbeat of the network’s production operation, complementing its presence across host cities in the United States, Mexico and Canada. Studio programming will feature live analysis, debate, pregame, halftime and postgame shows, and original content dedicated entirely to the tournament.

Comprehensive shoulder programming will surround every stage of the tournament across Telemundo, Universo, Peacock, Telemundo Deportes Ahora, and Telemundo Deportes’ digital and social platforms.

Sports fans can also watch the Telemundo Deportes Ahora FAST Channel on Peacock, Xumo, Roku, Prime Video, TCL, Google TV, Comcast, the NBC News FAST hub, and Telemundo.com, with more to come, the network said.

Coverage will also be available on @TelemundoDeportes social accounts like TikTok, YouTube, X and more.

Telemundo has also unveiled the next stage of its publicity campaign with “Y Tú, ¿Con Quién Lo Vas a Ver?,” debuting two promotional spots that spotlight the traditions, emotions and shared rituals of the event.

Broadcasters heading to the 2026 NAB Show in April will find a range of new developments and technologies enabling more efficient, secure and reliable workflows for live production.

Perhaps the most discussed advance is the industry’s continued transition to the cloud and aligning the demands of “broadcast quality” with the promise of IP. With much of the industry still using SDI, most broadcasters are adopting a hybrid approach, according to Ian Wagdin, vice president of Technology and Innovation at Appear.

“The most important trend NAB attendees should look out for is the shift toward truly hybrid live production, where linear IP video is combined with on-prem processing and cloud-based workflows to operate as a single, unified system,” he said. “Standards such as SMPTE ST 2110 and SRT, alongside emerging frameworks DMF and MXL [see sidebar], are helping to define a universal architecture model including flows, timing and control across both on-prem and cloud environments.”

Going All In
This software-based approach is gaining steam, but hesitation remains, said Deon LeCointe, director, networked solutions for Sony Electronics.

“Since many customers aren’t yet ready to dive into a fully software-based environment, I’d expect to see a push around hybrid operations that allows customers to take advantage of their existing hardware with software augmenting those operations,” he said.

Adam Marshall, chief product officer for Grass Valley, said that for the last 12 to 18 months, the company has seen “a real inflection point” in market adoption of software-defined production (SDP), adding that the practical driver is simplification.

Although 2110 may be a heavy lift for existing facilities, new projects are moving towards full 2110 deployments as the standard matures, according to Joe Davenport, director of business development, hyperconverged solutions for Ross Video.

“We’re seeing 2110 taking more market share of greenfield system builds, where scale and flexibility are paramount and there’s a budget to support it; there’s also plenty of people sticking with baseband deployments,” he said. “But 2110 is almost 10 years old, and many kinks have been worked out. Interop between vendors is largely stabilized now, and we’re seeing broadcasters implement best-of-breed technologies across their facilities.”

Dave Van Hoy, president of systems integrator Advanced Systems Group, said the democratization of production gear, driven by lower costs and wider availability, is giving more broadcasters the ability to focus on lower-profile events and leagues. The days of focusing on only the most popular sports on the high school or college level are over, he said.

“With Title IX in play, schools need to be able to cover less popular sports,” he said, referencing the federal law prohibiting sex-based discrimination in educational programs. “This is now possible because the cost of distributing the content has become low operationally.

“I expect there will be a plethora of tools for a far wider cost range than we’ve seen before, Van Hoy added. “As live production has become increasingly popular with viewers, the ability to produce live content across a broad range of production values is necessary.”

Staying Connected
Distribution and connectivity are among the pillars of a successful live production and the need to find reliable ways to bring live feeds into production environments and deliver produced shows affordably wherever you are in the world is a continuing challenge, said Rick Young, senior vice president, head of global products at LTN.

The upcoming C-band spectrum auction will force many broadcasters to find alternatives, in which case they should consider IP, Young said.

“The right IP transport options can provide the required reliability, but more so provide significant advantages when it comes to latency, flexibility and ability to fit into various complex workflow scenarios,” he said.

Picking the right provider can help lessen the impact of changes, Young added, particularly with personnel.

“Live events and sports production demands ultrareliability and low latency for feed acquisition with minimal overhead in terms of people required to manage the acquisition process; basic, best-effort protocol only solutions often result in on-air issues,” he said. “Further, perhaps equally important, SRT and other options force scarce human resources to spend valuable extra hours monitoring and rerouting feeds when the internet does what it does—which is to play havoc on nonmanaged, nonnetwork-based options.”

A Year of Progress
John Mailhot, senior vice president of product management at Imagine Communications, agreed, adding that a lot has changed just since the last NAB Show.

“Each year brings a wider range of IP-based products, giving production teams more flexibility in how they design and scale workflows,” he said. “As budgets are planned, that flexibility matters—the ability to handle both larger and smaller productions using the same investments in equipment and training is a hallmark of IP.”

Some of the larger station groups are taking matters into their own hands. At the 2025 NAB Show, Sinclair launched “Broadcast as a Service (BaaS),” which enables station owners to eliminate much of the on-prem infrastructure, maintenance and technical operations traditionally required for master control, including content preparation, playout and monitoring, according to Mike Palmer, assistant vice president, enterprise media management.

“The service is fully turnkey and is operated using the same cloud-resident systems, workflows and technical staff that run Sinclair’s own stations every day,” Palmer said. “This allows customers to benefit from proven, broadcast-grade operations while taking advantage of cloud-scale economics. For many operators, this represents a practical and lower-risk path to cloud adoption, shifting broadcast operations from capital-intensive infrastructure to an operating-expense model without sacrificing reliability or control.”

Cost remains the primary gating factor in any move to the cloud, Palmer added, and must be evaluated first as a business decision. “Smaller station groups and individual stations often struggle to achieve cost-effective cloud operations on their own, as they do not qualify for the same volume-based discounts offered by cloud service providers to their largest customers,” he added. “As a result, standalone cloud deployments for smaller groups or individual stations can be economically challenging.

“BaaS addresses this directly by allowing smaller owners to aggregate demand, leverage large-scale cloud pricing, and access enterprise-class workflows developed and proven by Sinclair,” he added. “This enables cloud economics that would otherwise be out of reach while preserving margins in competitive markets.”

Kyle Walker, vice president of technology for Weigel Broadcasting, is still skeptical that cloud is for everyone just yet, emphasizing that the flexibility must be balanced with the cost.

“For consistent applications such as news production, I’m not convinced that cloud-based production is the best solution,” he said. “The payback of on-prem equipment is fairly obvious, even if some flexibility is lost. However, for applications such as REMI, the benefit makes more sense.”

Dr. Ciro Noronha, chief technical officer for Cobalt Digital, is excited about new developments on the IPMX (aka IP Media eXperience) front, a new standard that extends the benefits of 2110 to the Pro AV market.

Calling IPMX “ST 2110 made easy,” Noronha said the standard doesn’t need PTP, uses NMOS for control and supports HDMI, which means IMPX simplifies the deployment and operation of the IP production network.

“The first IPMX certification test happened in January 2026, ensuring that devices from different vendors fully interoperate,” he said. “IPMX makes IP production possible for the smaller operators, which have not made the transition due to the cost and technical complexity of the full ST 2110 standard.”

Christian Scheck, head of marketing content for Lawo is excited about what IPMX could offer.

“Content producers have started exploring production tools originally conceived for the Pro AV space, such as robotic and PTZ cameras, virtual user interfaces, and compact solutions for ingesting and transmitting signals without compromising on quality,” he said.

What to See on the Show Floor
Although exhibitors are still finalizing plans for the NAB Show, some of them were able to share them with us.

Sony plans on showing advances in the company’s “Networked Live,” LeCointe said. “This includes enhanced format support on our powerful Virtuoso platform, significant advancements in cloud-based production and orchestration leveraging our M2L-X software-based switcher and the VideoIPath Orchestration platform, and new features on our MLS-X1 scalable production switcher platform.”

Marshall said Grass Valley will demonstrate what it terms “practical approaches” to software-defined, IP and hybrid production that scale without reintroducing complexity—grounded in real operational needs.

“A key focus will be the operational layer required to run these models day-to-day, including orchestration, security and identity, and end-to-end observability, alongside ‘open-by-design’ approaches that support a true multivendor ecosystem,” he said. “This is fully aligned with the principles behind JT-DMF and the momentum behind MXL.”

Ross will focus its continued work on bridging networks and standards, with a new release of its Ultricore control and orchestration system designed to manage Ross Video’s routing and hyperconverged infrastructure.

“Broadcasters and production teams want to collapse the technology stack, reduce middleware and standardize integration through multivendor partnerships so deployments become repeatable and agile,” he said.

“Our Ultricore release 7.0 integrates NDI Router functionality into Ultricore BCS, allowing operators to connect and manage NDI endpoints using the same workflows they already use for SDI, ST 2110, and other formats,” said Davenport. “We also have other things in the works including ongoing expansion of native format support in Ultrix that enhance its format-agnostic capabilities and support low-latency, bandwidth-efficient workflows.”

Young said LTN will showcase the company’s IP transport solutions and workflows for both full-time and event-based use cases. “The upcoming FCC driven C-band spectrum auction and the need for content creators to drive more efficiency and reliability out of some of the early experimentation with best-effort, protocol-based solutions like SRT is driving our focus, investment and roadmaps,” he said.

Appear said it will highlight how hybrid IP and cloud-based production are being delivered in practice across real-world workflows, including a focus on its VX Media Gateway, introduced at the 2025 NAB Show.

“The VX Media Gateway, a software-based, cloud-ready solution, simplifies media transport across hybrid on-prem and cloud environments, supporting software-defined and scalable production architectures, said Wagdin. “Appear will also showcase X5, the latest compact addition to the X Platform, demonstrating how low-latency hardware can support encoding and decoding for AVC and HEVC, and hardware-accelerated SRT for secure, cost-efficient remote production.”

In addition to launching its HOME Commentary app, for remote-style commentary, Lawo will also focus on the convergence between broadcast and Pro AV.

Mailhot says Imagine will showcase HDR and 1080p production and playout capabilities, along with increased scalability enabled by IP-2110 architectures.

“We will also highlight our new Prismon multiviewer line—which brings compressed and IP-2110 workflows together into a fully scalable enterprise solution—and our Aviator Orchestrator deployment toolchains, designed to support rapid spin-up and spin-down for occasional-use workflows,” he added.

PORTLAND, Ore.—Iyuno, a global provider of media localization services, is using Dante AV video to transport video streams throughout their production studios.

Based in Burbank, Calif. lyuno specializes in translation, dubbing, subtitling, and voice-over services for a wide array of entertainment content. The company helps major studios, streaming platforms, broadcasters, and production companies bring their films, television shows, video games, and other media to international audiences by providing culturally relevant and high-quality language solutions in more than 80 languages.

Iyuno’s 52,000 square foot facility features 10 recording studios, four Dolby Atmos mixing stages, a large format theatrical mix stage, multiple QC suites, and advanced video and audio editing stations. Iyuno was already using Dante for audio transmission and routing and wanted to find a complementary low-latency video transmission platform to simplify their workflows.

“One of the overarching goals for the facility was to increase our capabilities while also affording us the most flexible solution for delivering audio and video in a secure environment,” said Nate Green, Technical Manager at Iyuno’s Burbank facility. “With Dante audio being delivered via low latency over segregated IP networks, we recognized that a video solution that worked alongside the same infrastructure would provide multiple benefits. With Dante as the audio foundation, adding Dante AV video seemed logical, but it had to deliver flexible, reliable, and synchronized performance. After an exhaustive evaluation, we determined Dante AV video was the right choice for us.”

Dante AV video is a family of hardware and software solutions that enable manufacturers and end users to easily integrate networked video into the Dante platform. It provides interoperability between manufacturers while keeping discovery, configuration, and control to a single platform for all audio and video endpoints and is designed to run on standard 1GbE networks alongside Dante audio devices.

Iyuno selected Bolin’s D20H Dante AV Ultra transceivers to transmit video to its Voice Over (VO) and Automated Dialogue Replacement (ADR) studios. Source videos in their original language are fed from a central AV server to a recording room via the D20 transceivers, where a VO artist dubs them in the desired target language, precisely in sync with the character's actions on screen.

Another design goal for the facility was to enhance client-centric services while providing engineers with maximum flexibility to support simultaneous and accurate video distribution solutions. Dante AV can route a specific video feed to a client’s viewing position or enable complex workflows that allow multiple performers in different studios to collaborate using the same frame-accurate video source through multicast feeds to decoders.

I can still remember the first time I clipped a lavalier microphone on someone for a TV broadcast. It was during my internship at AT&T Corporate Television in 1978, back when razor blades were still used for editing and the smell of hot glue meant progress.

The mic was a Sony ECM-50, a small, rugged piece of engineering that quickly became my favorite. It needed a quirky little “N” battery that you could only find in specialty stores, but it sounded beautiful.

A few months later, I met what felt like pure science fiction: my first professional wireless microphone system. It was a Sony UHF transmitter and receiver paired with that same ECM-50 element, and for the first time, I could capture sound without being chained to a cable. The audio was clear, the signal was stable, and there were no wires to trip over. It just worked.

For a long time, wireless microphones felt like magic. Today, they feel more like triage. The magic has been replaced by management. Behind every concert, broadcast, or corporate event, there’s now a quiet war being fought over invisible real estate: radio spectrum.

The Shrinking Airwaves
Wireless microphones used to have plenty of room to breathe. For decades, most systems operated comfortably within the UHF television range from 470-806 MHz. These frequencies offered the perfect balance of power, antenna size, and propagation. But that was before governments realized the commercial value of those airwaves.

The first big hit came in 2009, when the transition to digital television freed up the 700 MHz band. The Federal Communications Commission auctioned that space to mobile broadband carriers like AT&T and Verizon, shrinking the number of open TV channels available for wireless microphone use. A few years later, it happened again with the 600 MHz band, much of which went to T-Mobile. Each time, the usable spectrum for professional microphones shrank.

While those auctions raised billions of dollars for the U.S. Treasury, none of that windfall ever found its way back to the professional audio community that once depended on those frequencies. Wireless microphone users—from broadcasters to theaters to houses of worship—lost access to critical portions of the spectrum without compensation or assistance to transition. The mobile carriers that won the auctions gained valuable assets, while production teams were left scrambling to replace equipment and redesign systems at their own expense. In effect, it was a one-sided trade: Culture and communication ceded ground so commerce could expand.

What had once been an open field is now a narrow alley. In most major cities, there may be only one or two available TV channels left for unlicensed wireless microphones. The rest belong to high-power mobile networks or other licensed users. As one engineer put it, “It’s like trying to park 50 trucks in a two-car garage.”

Problems and Solutions
I recently sat down with Mike Sinclair, a professional sound designer, to chat about problems and possible solutions. He's worked on everything from live events to concerts to corporate audio and described it bluntly: “You can plan every cue, map every signal path, and test every channel, but if you don’t have enough frequencies to manage the production there’s very little you can do.”

Even when you do find enough open frequencies, it doesn’t mean it will stay quiet. Modern environments are packed with devices that share or spill into the same spectrum. Multiple digital services are now actively competing for what is ultimately the same limited bandwidth.

The problem isn’t just about congestion; it’s about unpredictability. What used to be simple “set and forget” gear now requires active management. Sound engineers who once mixed audio now find themselves either running RF scans, plotting frequency tables, and negotiating for airspace—or spending a boatload of additional cash buying wireless systems that will do the investigating and hopping for you. Every production feels like a temporary truce with chaos.

The answer is often counterintuitive. You might think throwing more power and more money at the problem would make things easier, but in many cases, it doesn’t. As Sinclair told me, when multiple wireless systems have to coexist in tight spaces, very close together—like, for example, Broadway theaters—the solution is precision, not brute force. Engineers have to be surgical, using highly directional antennas and carefully tuned devices that keep their signals tightly contained to avoid interference.

Devices Fight Back
To survive in this new landscape, manufacturers have had to reinvent their technology. Early wireless microphones operated on fixed frequencies. Modern systems can tune across wide ranges, automatically scan for open spectrum, and adjust power output on the fly.

One possible approach could be treating each microphone as a separate radio signal, using one wide channel to transmit dozens of audio streams using time-division multiplexing. In simple terms, it sends tiny slices of each audio channel in rapid succession so that multiple mics can share a single piece of spectrum without stepping on each other. Sennheiser, one of the world’s leading innovators in professional wireless audio, has been at the forefront of developing new spectrum-efficient technologies, such as Wireless Multichannel Audio Systems (WMAS).

Joe Ciaudelli, the company’s director of spectrum and innovation, explained that WMAS technology "occupies a broader bandwidth but transmits multiple audio channels within that space using time-division multiplexing. This design dramatically increases spectral efficiency, enabling dozens of microphones to operate in a single TV channel.”

Solutions like this allow both microphones and in-ear monitors to operate in the same RF channel, dynamically allocating bandwidth based on priority. A lead performer can get full-fidelity, low-latency audio, while a backstage communication channel can tolerate higher latency and lower quality. For large productions, this means far more microphones can coexist peacefully in the same space.

For high-profile events, technology alone isn’t always enough. On-site professional frequency coordination can offer productions peace of mind by managing and accounting for each frequency.

Companies like Professional Wireless Systems (PWS) provide RF management and coordination for various events, including major productions like the Super Bowl Halftime Show. Jim Van Winkle, general manager at PWS, emphasizes that their competitive edge lies in on-site experience. He notes that an experienced RF coordinator is a "game-changer," bringing invaluable knowledge for pre-planning and crucial troubleshooting if issues arise.

For smaller or budget-limited productions, advanced technology safeguards can still help avoid chaos. One such approach uses wireless transmit/receive pairs that continually search for and stand by with clean backup channels. If interference or dropouts are detected on the main channel, the devices automatically switch to that backup while beginning a new search for the next available path.

Another company that has fully embraced the need for adaptability is Wisycom, a manufacturer long respected for its RF engineering in broadcast, live performance, and location sound. Its CEO, Davide Morsiani, said RF coordination has become "one of the biggest challenges in modern production—not because engineers lack skill, but because the spectrum itself is shrinking and unpredictable. Every location behaves differently, and even the same venue can change throughout the day. Our goal is to give users visibility and flexibility across the widest possible tuning range, so they can adapt instantly rather than rely on luck."

And one final approach that should be mentioned, despite its quixotic nature, would be for the FCC to actually begin policing the use of approved frequencies, as it's clear that everyone isn’t playing nicely in the sandbox.

Unified Voices
Technology alone isn’t enough. The professional audio industry has also learned that it needs a stronger and more unified voice in the policy arena. Shure led the formation of the Wireless Microphone Spectrum Alliance (WMSA), bringing together manufacturers, engineers, and end users to create a coordinated front at a time when spectrum access continues to shrink.

Shure has been deeply involved in the development of regulations in the United States and other countries, with spectral efficiency as the center point of its advocacy. According to Prakash Moorut, Shure’s global head of spectrum and regulatory affairs, WMSA now provides a platform for the industry to proactively educate policymakers about preserving wireless microphone access to spectrum, even as manufacturers innovate to use the remaining airwaves more efficiently.

The WMSA's work is already gaining traction. With more than 200 members, it has begun drawing attention in Washington at a critical moment, as the United States prepares to co-host the 2026 FIFA World Cup and later welcome the 2028 Los Angeles Olympics, two enormous global events that will rely on hundreds of wireless microphones for live performance, broadcast, and ceremony production.

Its outreach spans the White House, National Telecommunications and Information Administration (NTIA), FCC, and Congress, reinforcing how essential wireless microphones are to live performance, broadcast, cultural storytelling, religious services, and civic engagement. As Sinclair put it, “We can innovate all we want, but without spectrum, we’re just building better paperweights.”

Sinclair also floated an idea that goes beyond better microphones and smarter antennas—fixing the imbalance at its source. Many parts of the radio spectrum are still occupied by legacy government systems that haven’t been modernized in decades. Instead of pleading for scraps of spectrum, the professional audio industry could partner with agencies to modernize their outdated communications equipment, offering better technology in exchange for access to cleaner airwaves.

He suggested manufacturers and private sector innovators could help by providing modern replacements for that aging infrastructure, freeing up underused bands for shared, coordinated access. “There are military and public safety systems out there still running gear designed in the 1970s,” Sinclair said. “They’re holding huge chunks of spectrum hostage because no one’s upgraded them.”

As Moorut noted, during the 600 MHz auction, broadcasters—one of the largest groups of professional wireless microphone users—received roughly half of the auction’s proceeds, around $10 billion. That scale of compensation underscores how valuable this spectrum is to the wider media ecosystem, why the wireless production community must be included when national spectrum decisions are made, and how meaningful funding already exists to support the kind of modernization Sinclair is calling for.

Engineering Creativity Under Constraint
Despite the challenges, the show always goes on. Engineers have adapted by developing meticulous coordination strategies that resemble air traffic control. Frequencies are planned weeks in advance, with backup sets pre-programmed and tested. Large events can involve dozens of engineers managing hundreds of transmitters and receivers, all synchronized to avoid collisions.

Sinclair recalled a recent broadcast where every spare frequency was spoken for. “We had to label each transmitter like it was a boarding pass," he said. "One mistake and someone’s mic would vanish mid-sentence.” Some productions have even started reverting to wired microphones for reliability, not as a nostalgic choice but as a practical one.

It’s a strange twist: The technology that once symbolized freedom now represents a kind of scarcity. Yet within those constraints, creativity thrives. It forces precision, collaboration, and a renewed respect for the craft of live sound.

If history is any guide, the demand for wireless bandwidth will only grow. Each new generation of mobile networks (5G, 6G, and beyond) will hunger for more spectrum. Without deliberate protection for professional audio, the remaining white spaces could vanish entirely.

Spectrum is a shared public resource. Every wireless signal, from a singer’s microphone to a teenager’s smartphone, travels through the same air. What’s at stake isn’t just bandwidth, it’s the ability to express and connect through live sound.

The professional audio community has always been inventive, finding ways to make art work under constraint. But the next chapter will depend on collaboration—engineers pushing technology forward, manufacturers sharing innovation, and policymakers ensuring that culture has a place in the spectrum. The future of wireless audio won’t be about finding empty space. It will be about learning how to share it wisely.

This op-ed originally appeared on our sister brand AV Networks/Systems Contractor News.

When Imagine Communications announced last fall that it was acquiring Pixel Power from Rohde & Schwarz, the company said its main goal was to “broaden Imagine’s live production ecosystem and playout offerings via integration of Pixel Power’s software-defined, deploy-anywhere platforms.” This week, Imagine President Steve Reynolds updated TV Tech on how the integration is progressing.

Of particular importance to Imagine is Pixel’s playout and multiviewer solutions, two parts of the production workflow chain Reynolds thinks are key to expanding the company’s presence in these markets.

“Imagine has been in the playout business pretty much since the playout and automation business started all the way back to when we were Harris, and it's always been a really important segment for us,” he said. “We like to be in those mission-critical operational systems, the things that our customers depend on day in and day out in order to run their business.

“Those are the kind of products that Imagine has really focused on as we made the transition from a hardware centric company—which is what Harris really was—towards the software centric company that we are today,” Reynolds added.

The Power of a Combined Solution
The acquisition of Pixel Power, Reynolds says, will not only help strengthen its current playout solutions portfolio—which include ADC, Versio and in more recent years, the Aviator orchestration platform—but also expand its geographic footprint, Reynolds said.

“Pixel Power—which is a company that we have competed with for years—has built a really great solution for the European public broadcaster space, where they had a lot of success,” Reynolds said. “With customers like TV2 in Norway, SVT in Sweden, the work that they've done with the German public broadcasters, the work that they've done with TV5MONDE in France, they had a really great customer base around those public broadcasters.”

The two main products Pixel had built its success on in this market, according to Reynolds, were the company’s Gallium automated multiplatform content management solution and StreamMaster platform for realtime graphics and control. Combining automation plus a media server “really formed a nice bundle for anybody that's in that kind of public broadcast space,” Reynolds said.

“Pixel had done a good job of winning market share with those [national broadcast] customers, so the reason we wanted to acquire Gallium and StreamMaster was really aimed at that market segment,” he added. “We saw the success that they had in that segment, and as we continue to move forward with investments in Gallium and StreamMaster, it's going to be focused, at least initially, in Europe, to continue to build on that customer base.”

Reynolds said the combination of the two created a powerful and sophisticated graphics solution for Pixel Power, which was beating Imagine when it came to bidding for business with European broadcasters.

“Imagine was bidding on a lot of those same projects, and Pixel Power was winning,” Reynolds said, “And one of the things that we consistently heard is that the graphics package that is in StreamMaster is a top-tier integrated graphics package that a lot of those national broadcasters were leveraging because it had the capabilities that they needed not only to be able to do the 2D graphics—which Imagine already had—but they had some more advanced capabilities to be able to handle some 3D and to be able to handle a lot of the kind of the more advanced and more sophisticated on-air look that that those broadcasters were looking for.

“They had a sophisticated graphics package that was integrated into a playout system that met all of the criteria—it supports all the formats, it supports all of the different resolutions, it supports all the ingest workloads that those guys need,” he added. “So it had it checked all the boxes on kind of the basic set of competitive features. But it also added in that higher power graphics.”

Scaling Up
The second product Imagine was keenly interested in was multiviewers, specifically Pixel’s Prismon platform, which is designed to scale up to support hundreds of channels. This large-scale type of monitoring platform was high on Imagine’s shopping list, according to Reynolds.

"Imagine has always been in the multiviewer business, but we had a different focus—we were more on the production multiviewer side of things,” Reynolds said. “[Imagine’s] SNP was intended to be a production multiviewer, very low latency, very high quality, but not large scale.”

Integrating Prismon into Imagine’s multiviewer product line gives Imagine the ability to build facility-scale, multiviewers, especially in production facilities, turnaround facilities including satellite and cable operators, or in large scale, playout operations where there's dozens or even hundreds of channels being played out of the same facility, Reynolds said.

“So we now have multiviewer offerings for large scale and for smaller scale, low latency, and that would be in OB vans, production galleries, or control rooms at a sporting venue, where the number of feeds that you're dealing with is 10, 20 or maybe 30.”

Reynolds said Prismon helps Imagine respond to more market demands for integrated solutions. “What we realized was we really need to have a product in our portfolio that lets us create that fully bundled solution, because increasingly, that's what the market wants to buy,” he said. “It's the same thing as with the playout solution, right? The market wants an integrated solution, they don't want to have to build, or have to be their own systems integrator. They want to buy something that is integrated. And so Prismon filled that gap for us.”

The timescales for building new media production facilities has been declining for years, according to Reynolds, another reason for increased interest in integrated solutions.

“The idea of having these multi-year facility builds… that's in the past,” Reynolds said. “And in many cases now, we're looking at time frames that are measured in months between the time somebody acquires rights and they want to be on air. And that's what's really driving the demand for these fully integrated solutions. Customers want to know that it's already been tested, it's already been integrated, and you can deploy it quickly, easily and within a set of budget constraints to get on air.”

The acquisition of Pixel Power was completed at the end of 2025 and Reynolds said not a lot will change in terms of what existing customers should expect, including keeping the product names.

“That's why we bought them, we like the products, we like the differentiation of those products, they fit well within our portfolio, and they give us something new to offer to the customers that want to buy that kind of solution,” Reynolds said.

NAB Show Plans
Imagine’s booth (N1328 in the North Hall of the LVCC) at the NAB Show, April 19-22 in Las Vegas, will reflect this expanded market focus, according to Reynolds. Among the highlights will be the company’s cloud-based XVR playout engine, which was introduced at the 2025 IBC Show.

Gallium StreamMaster will be demonstrated running on COTS and its expanded multiviewer portfolio will be highlighted, including advanced automation features such as intelligent monitoring, automated audio/video issue detection, and “penalty boxing,” which elevates problem signals for immediate operator attention.

"The other thing you're going to see is this kind of fully integrated solution of gateways—the ability to use the SNP as the gateway between the SDI and IP world, and to do format conversion with JPEG access and things like that, directly into ingest,” Reynolds said. “And we'll be using the new XVR engine, which is the Linux-based ingest engine with multiple playout systems. So you'll see StreamMaster, XVR, and Nexio all sitting side by side in a kind of a multiserver environment.”

In October 2025, Kenna Hilburn, a former television producer, was promoted to Chief Product Officer for Avid, succeeding Tim Claman. TV Tech spoke with Kenna at IBC and recently caught up with her to talk about her new responsibilities and Avid's plans for the 2026 NAB Show.

TV Tech: Can you provide us with an update on Avid Content Core? Can you characterize what types of customers you expect to use it?
Kenna Hilburn: Avid Content Core addresses the real challenges media teams are encountering today in a fast-evolving media economy. It provides a cloud-native foundation to help teams manage, find, move, and understand their content across both linear and digital platforms. Content Core is about connecting the systems customers already have – not asking them to rip and replace what’s working.

As we work through proofs-of-concept, together with our customers, we see Content Core resonate strongly with broadcasters, news organizations, and enterprise media teams operating in hybrid environments. These are organizations that require coordination across people, tools, workflows, and global teams – especially as they work to do more with less, across more formats and with more complexity than ever.

TVT: Where is Avid applying artificial intelligence today in ways that actually save time or reduce friction – while still protecting creative control and editorial intent?
KH: We’re deploying AI very specifically and very strategically to remove friction in the workflow. That means focusing on areas where teams historically spend a lot of time – like transcription, search, and metadata. For example, we’re using AI to automatically transcribe and tag incoming footage so journalists can find what they need in seconds instead of scrubbing timelines.

If it doesn’t save time or reduce friction, it doesn’t belong in our workflows.

At the same time, we’re designing AI as an assistant rather than as the creator. Creative control always comes first. We design AI tools to be transparent, predictable, and optional – especially in environments like news, where precision and trust are non-negotiable. Editors and journalists can see what the system is doing, accept or reject it, and stay in control of the final output.

AI should make skilled professionals faster and more confident in their work – not distance them from it.

TVT: You've been with Avid as Chief Product Officer and were Senior VP of Product for 10 months before that. How are you making your mark on Avid's product strategies? Are you implementing any new approaches or direction?
KH: I started my career in media production – I went to college for television and film production – and I’ve always seen myself as a person who loves storytelling. Stepping into this role has given me the opportunity to come back to my storytelling roots.

When I started, I asked a simple question: What’s the story we’re actually trying to tell – to customers, to partners, and to our own teams? You’ve got to start there and then line up all the people and the work behind that vision – and show how you’re bringing it to life at every step of the way. That’s how you create culture, and how you help teams feel what they are doing is a meaningful part of the greater whole.

At the same time, we can’t just tell stories – we have to deliver. That’s meant simplifying our portfolio, being explicit about who each product is for, and prioritizing execution over ambition.

The craft has only gotten more complex as technology has evolved – and we’re at a tipping point where technology can actually get in the way. We see a simplification moment. Our job is to deliver the next era of tools that re-simplify the process, so creativity can be in the driver’s seat.

One of my strengths is translating real customer problems into clear product direction – and then holding the organization accountable to delivering against it. We’ve become much more explicit about outcomes, not just features, and about how each product fits into a broader solution rather than standing alone. Success isn’t defined by how ambitious a roadmap looks; it’s defined by whether we deliver the right solutions and customers see the value.

TVT: What are Avid's plans for NAB and are trade shows still vital to the company's business strategy, given that there are many more options and other competing events?
KH: NAB remains important for us, but the way we approach it has evolved. It’s less about big announcements and more about having meaningful conversations – showing real workflows, listening to customers, and getting feedback.

NAB and other trade shows bring the industry together in one place, creating a vital moment to hear what’s happening on the ground and help customers navigate an increasingly complex media landscape. But it’s part of a broader approach that includes more continuous engagement – direct customer collaboration, regional events, and ongoing digital touchpoints. It’s about continuity, not a single moment. And about showing real progress, not promises.

TVT: Are there any new developments in Avid's news production products and how would you assess the state of TV news production currently, especially considering the push for more station group consolidation?
KH: Newsrooms are under enormous pressure. Budgets continue to tighten, teams are being asked to do more with less, and the news-gathering process has become far less structured. Twenty years ago, a tip came in through the news desk. Now it can come in via tweet, a phone call, or a Facebook post as the story evolves in real time.

We’re hearing from customers that this creates huge strain. Producers are building the broadcast story while the social team is already posting, and everyone needs multiple versions immediately – often while names, facts, and footage are being revised.

We’re bringing all those disparate pieces together into one connected ecosystem, so an entire news operation can work together seamlessly – whether they’re in the newsroom or on location. That’s the strategy we’re executing with Wolftech News and iNEWS: enabling planning, gathering, uploading, sharing, editing, reviewing, and approving in one place.

TVT: At IBC, we discussed the "content creator economy" and Avid's role in that. Can you update us on Avid's approach and plans to address that market?
KH: The lines of content creation are blurring – whether you’re talking about an individual creator publishing online, a global studio, or a major broadcast network. Those worlds are coming closer together.

Our approach to the creator economy is to meet people where they are today, support where they’re going, and position professional tools like Pro Tools and Media Composer to take their craft to the next level.

We’re not looking to chase the latest trends or compete on novelty. We’re focused on supporting creators who want to build something sustainable – and giving them a clear path from emerging talent to professional scale as their needs evolve, without forcing them to abandon professional standards as they grow.

TVT: In an interview with our sister brand TVBEurope, Avid's CTO talked about customer demand for more "hybrid workflows." How is that impacting product development?
KH: Hybrid workflows aren’t a transition phase – they’re how many of our customers are operating today. We see a world where customers will still need some systems on-prem – while also needing the flexibility and scalability the cloud has to offer.

So rather than forcing an “all on-prem” or “all cloud” approach, we’re bringing those two infrastructure models together. That’s what customers are asking for, and it’s shaping how we prioritize product development. It’s all about giving them the freedom to evolve at their own pace while maintaining stability in day-to-day operations, which is critical in live and deadline-driven environments.

TVT: How have changes in technology impacted how Avid promotes its product solutions to customers and have trade shows had any impact on that?
KH: Technology has changed not just how products are built, but how customers evaluate them. They have more information, more options, and less patience for hype. They want to see real-world examples that actually make their work easier. Credibility now comes from execution - customers can see very quickly whether a product actually makes their work easier.

CESSON-SÉVIGNÉ, France—Broadpeak will launch its new Multiview solution for live sports at the 2026 NAB Show in Las Vegas, April 18-22. Multiview enables broadcasters, streaming platforms and telecom operators to more efficiently deliver multiple simultaneous feeds on the same screen. The solution offers a new alternative to traditional multiview technologies, enabling viewers to watch a number of different events simultaneously, or follow several camera angles, with improved cost and streaming efficiency compared to other options available on the market, according to Broadpeak.

Multiview enables broadcasters, operators and streaming services to offer fans more personalized and engaging viewing experiences during tournaments and gameday weekends. Parks Associates’ S.O.S State of Streaming 2026 report found that multiview is one of the most appealing interactive features for sports viewers, popular among 53% of fans alongside critical capabilities like multiple match choices, in-game analytics or recording to watch later.

“Sports audiences, particularly younger viewers, increasingly expect control, choice and interactivity – whether that’s switching between games, watching multiple events at the same time or following player performance stats for betting purposes,” said Michael Goodman, Director, Entertainment Research at Parks Associates. “As multiview becomes a standard feature that subscribers demand from premium sports services, providers need practical, cost-effective streaming architecture to deploy it at scale.”

Broadpeak enhances traditional multiview workflows through a new multi-package approach. This combines video feeds at the packager level, after encoding, meaning much less processing power is needed at the encoder level. All the processing is done in the network, and a single stream is delivered. This means end-user devices do not need to have particular player capability or extra device processing power to get the best experience. This gives content providers the freedom and flexibility they need to create and scale innovative multiview experiences to the largest possible audiences while also actively driving down costs.

“Multiview is quickly becoming table stakes for the biggest sports streaming companies – especially around major championship finals or global events like the World Cup,” said Jacques Le Mancq, President and CEO at Broadpeak. “Delivering it cost-efficiently at scale remains a persistent challenge due to heavy processing requirements and limited screen configurations. Our approach enables unlimited layout flexibility with greater efficiency and compatibility. We’re excited to bring this next evolution of multiview to the global streaming market.”

Multiview will be displayed for the first time at Broadpeak's booth #W3034 at the 2026 NAB Show.

AWS has launched a new service that uses artificial intelligence to convert video into vertical formats optimized for mobile and social platforms in real time.

The company is touting its new AWS Elemental Inference, as a tool that will help broadcasters and streamers reach audiences on social and mobile platforms like TikTok, Instagram Reels, and YouTube Shorts without manual post-production work or AI expertise.

Although today’s viewers consume content differently than they did even a few years ago, most live broadcasts are still produced in landscape format for traditional viewing. Converting these broadcasts into vertical formats for mobile platforms typically requires time-consuming manual editing that causes broadcasters to miss viral moments and lose audiences to mobile-first destinations, according to AWS.

AWS Elemental Inference uses an agentic AI application by analyzing video in real time and automatically applies the right optimizations at the right moments. Detection of vertical video cropping and clip generation happens independently, executing multistep transformations that require no human intervention to extract value.

AWS Elemental Inference analyzes video and automatically applies AI capabilities with no human-in-the-loop prompting required. IT applies AI capabilities in parallel with live video, achieving 6-10 second latency compared to minutes for traditional post-processing approaches. This “process once, optimize everywhere” method runs multiple AI features simultaneously on the same video stream, eliminating the need to reprocess content for each capability.

The service integrates seamlessly with AWS Elemental MediaLive, so AI features can be enabled without modifying existing video architecture. AWS Elemental Inference uses fully managed foundation models (FMs) that are automatically updated and optimized, so no dedicated AI teams or specialized expertise are needed.

Regina Rossi, head of product for AWS Media Services explained how development of the tool was driven in large part by live sports and the importance of using metadata in the conversion process.

“One of the things we’ve been hearing from our customers is that they need help when it comes to understanding the context of what's happening in their video—in particular, live sports which is their most valuable content,” Rossi said. "So we wanted to provide them with the appropriate metadata that gives them the ability to transform their video in a way that's meaningful.

“They want to meet their viewers where they are more and by that I mean, a lot more of their viewers were watching content on mobile phones as an example,” she added. “And for them to be able to be formatted for that mobile native viewer, they had to convert their horizontal video into vertical video. And so what we wanted to be able to do was actually use the right set of x, y coordinates, and be able to create things like a saliency map so that the focus of that video is going to be in that vertical frame.

“So when you're watching it on a phone, it actually moves with the action, so you're not missing out on what's happening in a scene.”

One of AWS’s earliest customers, Fox Sports Digital, reinforced how important vertical video is to the network, Rossi said, adding that “90% of their content is actually consumed vertically.”

Rossi emphasized that unlike earlier efforts in this space, AWS Elemental’s AI architecture is not just about “following the ball” during live play. The company has tested the technology on a variety of sports and found that a lot of them actually lend itself well to a vertical format, according to Rossi.

“Ones that might be harder are things like tennis, where you have a ball that's traveling really fast between opposite sides of the court. But even then, one of the things that we do is we make adjustments to some of the foundation models that we use,” she said. “So as an example, we're not doing just object tracking. We're not just following a ball back and forth. What we're doing is actually creating a saliency map, so understanding where the action is happening in a scene, and so we're able to then follow the action, not just the ball.”

Key Features at Launch

• Vertical video creation – AI-powered cropping intelligently transforms landscape broadcasts into vertical formats (9:16 aspect ratio) optimized for social and mobile platforms. The service tracks subjects and keeps key action visible, maintaining broadcast quality while automatically reformatting content for mobile viewing.
• Clip generation with advanced metadata analysis – Automatically detects and extracts clips from live content highlights for real-time distribution. For live broadcasts, this means identifying game-winning plays, touchdowns, and emotional peaks with precise start and end points—reducing manual editing from hours to minutes.

Now Available
AWS Elemental Inference is available today in 4 AWS Regions: US East (N. Virginia), US West (Oregon), Europe (Ireland), and Asia Pacific (Mumbai). AWS Elemental Inference can be activated through the AWS Elemental MediaLive console or integrate it into workflows using the APIs.

Customers pay only for the features used and video processed, with no upfront costs or commitments, meaning that customers can scale during peak events and optimize costs during quieter periods. More features and capabilities will be introduced throughout this year, including tighter integration with core Elemental services and features to help customers monetize their video content better.

Big Blue Marble has been named as Launch Partner with AWS Elemental Inference integrated into Big Blue Marble’s cloud-native Cloud Video Kit platform

The company will demo AWS Elemental Inference at its Booth (W1701) in the West Hall during the 2026 NAB Show, April 18-22 in Las Vegas.

To learn more about AWS Elemental Inference, visit the AWS Elemental Inference product pag

RONCO SCRIVIA, Italy—Racing Force Group has announced a multi-year agreement to supply its Driver’s Eye technology to Fox Sports, the TV rights holder of the NTT Indycar Series. Following the success of its introduction at selected rounds in 2025, starting from the 2026 season the system will be integrated into the broadcast coverage of every event during the season.

Driver’s Eye, developed and patented by Zeronoise, the electronics division of Racing Force Group, is the world’s smallest micro-camera designed for live broadcasting, the company claims. In 2023, Racing Force Group inked deals with Fox Sports and NASCAR to use Driver's Eye for the NASCAR Cup Series events aired by Fox Sports, as well as a similar agreement to deploy the technology in F1 cars.

“We are thrilled to continue our collaboration with Fox Sports to integrate Driver’s Eye into the television coverage of the NTT Indycar Series," said Alex Haristos, Chief Operating Officer of Racing Force Group. Following the excitement generated during selected events in the 2025 season, including the Indianapolis 500, it’s fantastic to extend the Driver's Eye presence to every round, with the goal of making the viewing experience even more engaging and immersive for fans thanks to our leading-edge technology.”

In Indycar, Racing Force Group said it was first deployed at the 2025 Grand Prix of Long Beach: fitted into the helmet of Kyle Kirkwood, it delivered a live, first-person view from the cockpit of the race winner. Driver’s Eye was also featured during the Indianapolis 500, further showcasing its capabilities.

The FIA-homologated system is installed inside the race helmets to offer TV viewers a fully immersive experience from the driver’s exact point of view during the race. The micro-camera measures just 9x9 millimeters and weighs only 1,43 grams.

The 2026 NTT Indycar Series season will kick off with the Firestone Grand Prix of St. Petersburg this coming Sunday, March 1, and will feature a total of 18 races, including the 110th Running of the Indianapolis 500, scheduled for May 24.

The broadcast industry has seen major transformations, but what we’re facing now is a deeper shift. It’s not just transport or tools. It’s a rethinking of how we build, scale, and operate live production infrastructure.

You’ve probably heard “infrastructure as code” a lot lately. For some, it’s the next step in automating and scaling live production. For others, it sounds like handing your OB van to a DevOps engineer with a YAML file.

I get the skepticism. But if you look at where the pain points in live production are today, you’ll see this isn’t just another tech trend. It’s a strategic necessity.

Why This Feels Risky (and why it’s necessary)
For decades, broadcast engineering has been a hardware-first, hands-on craft. SDI routers, frame syncs, multiviewers, and patch panels were built with precision and meant to run 24/7. Rebuilding a live environment on demand in the cloud? That’s a radical shift.

This works well for customers in sports, OTT, and fast-channel environments. They want modular workflows, not one-size-fits-all systems. But flexibility brings complexity.

It’s relatively easy to code infrastructure to spin up servers, storage, and connections. But configuring tech from 10 different vendors? That’s the real challenge. You need a unified, software-based control system.

The Real Bottleneck: Control
The industry’s made progress solving video transport. SMPTE ST 2110 helped us move beyond SDI into scalable IP production. But in focusing so hard on transport, we overlooked something else: control.

As we added more vendors, cloud services, and hybrid workflows, that gap became more obvious. It’s not just the complexity. It’s the manual overhead of stitching together multiple systems in real time. That doesn’t scale.

Customers don’t want one big system from one vendor. They want to curate their own stack. At Ross, we now support over 200 control protocols across our products. No one would design a system that way, but here we are.

Event-based, ephemeral infrastructure makes sense. But with a dozen vendors, each with different APIs and quirks, spinning it up isn’t trivial.

What is Infrastructure as Code?
It means managing infrastructure with software logic instead of manual steps.

Think:

• Configuration as version-controlled text files
• Automated deployments of full production environments
• Predefined templates that launch workflows in minutes

Engineers don’t need to become Python programmers. But they’ll spend less time fixing protocol mismatches and more time producing content.

In software, Infrastructure as Code defines entire environments, networks, services, storage, application workflows, via configuration files. Tools like Terraform and Ansible aren’t just for DevOps anymore. Broadcast engineers need them to deliver scalable, on-demand infrastructure.

At AWS, this approach runs some of the most advanced live workflows in the industry. It’s not just about cost, it’s about agility.

Not Just Hype: A Culture Shift
Let’s be honest: not everyone’s ready for this.

Broadcast engineers aren’t usually trained in cloud orchestration or declarative configs. That’s not a criticism. It reflects how the industry grew up. Our workflows were built to be robust and hands-on.

Going in as a traditional engineer will be tough. If we don’t invest in training — or use automation to bridge the gap — adoption will stall. But tools exist to help. That’s part of what SMPTE ST 2138 (Catena) is about.

ST 2138 provides a vendor-agnostic, software-based control layer across on-prem, private cloud, and public cloud, without rewriting APIs each time.

The Payoff: Real Agility
The goal isn’t to turn live production into a science experiment. It’s to reduce friction—especially when you need to launch fast, reconfigure often, and scale on demand.

Software-defined infrastructure lets teams work faster and more consistently. It’s the only path forward if you need to do more with less. You can’t afford brittle, inflexible systems.

With a software-defined control layer you can:

• Launch events in hours, not days
• Automate failover, resource allocation, and monitoring
• Test environments in isolation
• Run infrastructure only when needed
• That’s not just smart engineering. It’s good business.

Final Thoughts: Change is Hard; Standing Still is Harder
ST 2138 provides a unified control standard across vendors, platforms, and environments. It simplifies control and enables multi-vendor automation.

This shift challenges legacy thinking, skills, and comfort zones. But it’s already happening. If you’re skeptical, that’s healthy. But the transition won’t wait.

To future-proof operations and protect quality and creativity, we must stop start seeing infrastructure as code: reusable, testable, scalable, and under your control.

That’s not the end of engineering. It’s the evolution of it.

Infrastructure as code won’t replace the art of live production. It just changes how we manage the canvas.

The draft of ST 2138 (Catena) is now open for consultation. If you’ve ever wrestled with multi-vendor control or hybrid workflows, we need your help.

Click here to review the draft and join the conversation.