NASHVILLE, Tenn.—Gravity Media deployed its specialist flypack production system and numerous RF specialist cameras for Red Bull Rampage 2026, one of the world’s most demanding freeride mountain biking events.

Gravity Media USA’s flypack specialist and technical project manager Marshall Lucas was on the ground in Virgin, Utah, delivering a self-contained flyaway production system and specialist cameras to support the event’s broadcast requirements in a remote desert environment.

Red Bull Rampage, which ran from Oct. 8-10 and celebrated its 25th anniversary in 2026, Red brings together the world’s leading freeride mountain bikers to compete across Utah’s steep sandstone cliffs. Unlike traditional mountain bike competitions, riders design and build their own lines down the mountainside, navigating technical descents, challenging terrain and drops of more than 600 feet.

With no permanent on-site broadcast infrastructure, delivering live production from the remote environment presented a unique set of technical challenges. The flypack was transported, installed and configured on site, operating reliably despite limited power and connectivity.

The system also provided a portable broadcast control room, allowing video switching, audio, replay and communications in one integrated setup. Robust signal flow and clear communications were essential to keeping the production connected across a vast course.

This year’s production also featured five RF handheld cameras positioned across the mountain, alongside the RF infrastructure supporting a live FPV drone feed, delivering immersive and creative perspectives from every angle.

The Gravity Media team also leveraged the EVS XtraMotion AI solution, transforming standard camera feeds, including RF cameras and the FPV drone, into ultrasmooth slow-motion sources in real time. Widely used throughout the broadcast, the technology enhanced storytelling and replay capabilities.

“Delivering live production in a location as remote and challenging as Red Bull Rampage requires careful planning, technical expertise and a system that can be relied on when it matters most,” Lucas said. “Our specialist flypack and RF specialist cameras enabled the team to bring essential broadcast capabilities directly to the remote venue, helping ensure the production could operate effectively despite the demanding environment.”

More information is available on the Gravity Media website.

AUSTIN, Texas—BeckTV, Beam Dynamics, and Providius have announced a collaboration that connects broadcast system design, asset intelligence, and live network assurance. By linking BeckTV’s BeckFlow system documentation, Beam’s Asset Intelligence platform, and Providius’ network assurance, the collaboration gives broadcasters, production organizations, and system integrators a clearer view of their technology infrastructure, from how equipment is deployed and connected to how it is performing in the live environment.

Broadcast organizations have traditionally kept system documentation, equipment records, and live monitoring data in separate applications. Engineering drawings document equipment relationships and signal paths; asset platforms hold ownership and lifecycle information; and monitoring tools show what is happening in the live environment. Connecting those sources gives engineering and operations teams a more complete view of each asset:

• BeckFlow shows signal routing, device connectivity and technical system relationships.
• Beam provides asset, manufacturer, firmware, warranty, licensing, purchasing, and lifecycle information.
• Providius shows the live performance of the network, devices, and services across IP-based broadcast networks.

For example, when Providius identifies a service issue, users can quickly trace the alert to the equipment involved. BeckFlow shows where the device sits and what depends on it, while Beam provides the operational and lifecycle information needed to investigate, maintain, or replace it.

“Each platform understands a different part of the same asset,” said David Kaszycki, CEO and Co-Founder of Beam Dynamics. “Providius shows what is happening, BeckFlow shows where the device sits and how it connects, and Beam provides the operational, financial, and lifecycle context. Connecting those views gives teams the information they need without requiring them to piece the story together across multiple systems.”

The collaboration also supports planned maintenance and longer-term infrastructure management. Before taking equipment offline, teams can review its connections and dependencies, confirm its support and licensing status, and better understand the potential effect on services.

“Our ultimate goal is to answer a fundamental question: Is the network we are operating the network we intended to build?” said Jamie Horner, Senior Vice President, Corporate Strategy at Providius. “BeckFlow establishes the design intent, NVRT provides visibility into the actual operating environment, and Beam completes the picture with physical asset locations, software and firmware versions, and inventory change history. Bringing these perspectives together enables operators to validate the deployed environment against its intended design, identify discrepancies, and determine whether changes are accurately reflected in the system of record.”

The collaboration also extends the value of BeckFlow documentation beyond system design and delivery. Its centralized view of facility infrastructure remains connected to equipment records and operational information throughout the life of the system.

“Understanding how everything connects is fundamental to supporting complex broadcast infrastructure,” said Matt Weiss, Managing Partner and VP of Business Development at BeckTV. “By connecting BeckFlow with Beam and Providius, the system view remains tied to the equipment and its operational status throughout the life of the facility.”

The companies demonstrated the connected approach at IBC2026, with BeckFlow, Beam, and Providius working together across system design, asset intelligence, and live network monitoring.

NASHVILLE, Tenn.—The remote production workflow TNDV and GameTime Productions put in place for Season 4 of the Team Boxing League (TBL) saw a more comprehensive remote integration (REMI) production model leveraged than in the previous season.

The refined workflow positioned TNDV’s 40-foot HD Expando Sallie mobile production unit as the centralized production control room in Irving, Texas, while GameTime Productions coordinated local technical crews for live matches originating from venues around the country, including the Aug. 30 championship at War Memorial Auditorium in Fort Lauderdale, Fla. All events aired live on Envoy TV, Dr. Phil McGraw’s cable and streaming network.

While Season 3 saw TNDV supplying remote flypacks, cameras and supporting production systems at each venue and transporting live signals to a third-party REMI facility in Texas for production, TNDV assumed responsibility for both ends of the REMI workflow for the latest season, which ran March 20–Aug. 30. TNDV received live camera and audio feeds from the venues at Sallie, producing the live program and supporting outbound distribution to broadcast and streaming partners.

“Bringing the venue-side REMI systems and the centralized production environment under the same TNDV umbrella has made the entire workflow more cohesive,” said Rob Devlin, president of TNDV. “We already understood the production requirements from Season 3, so this year was about fine-tuning the model and taking greater responsibility for the complete technical ecosystem. We can see and manage what is happening from the venue all the way through the truck and into distribution, which gives the production team a much more unified operation.”

The regular season presented a demanding schedule of three live matches most weekends, typically originating from three different cities on Friday, Saturday and Sunday nights. TNDV maintained three remote production racks that rotated among venues nationwide, allowing crews to establish a consistent technical footprint quickly regardless of location.

Each venue typically relied upon six HD camera signals, including four operated cameras—a primary game camera, two handhelds and a jib—and two fixed cameras focused on the team corrals. The latter are particularly important to TBL’s distinctive format, which transforms traditional boxing into a team sport with teammates positioned ringside throughout a fast-moving sequence of single-round bouts.

GameTime Productions continued to manage the local crewing operation, providing camera operators, audio technicians and other technical personnel at the remote venues. The combination allowed TBL to maintain a consistent production standard while avoiding the expense and logistical complexity of moving complete production trucks and traveling crews between cities.

The REMI model is particularly well suited for many TBL venues, which can present space, parking, power and infrastructure limitations for conventional mobile production. Compact flypack systems can instead be brought inside and quickly configured using a standardized technical design.

“REMI was essential to making the schedule both logistically and economically practical,” said Larry Meyers, consulting executive producer for TBL television. “We can have our primary production team and talent working from the same location throughout a three-event weekend while the venues change around the country. TNDV and GameTime have helped us develop a production model that can move efficiently from city to city while still delivering a very polished television product.”

TNDV transports the venue feeds to Irving primarily using SRT over public internet connections, typically budgeting about 10 Mbps for each video feed. Return program feeds and confidence multiviewers are also sent back to the venues, giving local technicians immediate confirmation that their signals have successfully reached the truck.

TNDV maintains additional safeguards for less predictable venue connectivity, including cellular-based LiveU backup for maintaining an on-air camera feed if primary internet service is disrupted. TNDV’s Nashville operations center provides another layer of support by monitoring bandwidth and signal health, managing remote intercom and providing backup paths. Operators can adjust compression and latency when necessary to accommodate variations in available bandwidth.

Inside Sallie, the remote signals are combined with three additional cameras capturing TBL’s commentators and studio presentation in Irving, creating a nine-camera live production. The HD truck includes a Grass Valley production switcher, EVS replay systems, Calrec audio console and extensive routing and connectivity, with production, replay, graphics, audio and engineering personnel working in close proximity.

TNDV also supported outbound SRT distribution from Sallie to multiple broadcast recipients, while its Nashville infrastructure converted and distributed feeds via RTMP where required for connected and streaming platforms. The workflow also incorporated remote Unity Intercom connectivity between production personnel and venue crews.

Season 4 matches aired live on Envoy TV and were distributed across a mix of regional television and streaming outlets. The flexible architecture allowed additional feeds and destinations to be incorporated as TBL’s distribution requirements evolved.

More information is available on the TNDV and GameTime Productions websites.

PITTSBURGH—NEP Group today announced the availability of TAG Video Systems' software-based multiviewing, monitoring and QC capabilities through NEP Platform.

Customers can deploy TAG alongside complementary software applications through NEP Platform’s single, secure interface, bringing multiviewing, real-time monitoring and quality control into broader production workflows. TAG Core, the software behind TAG Video Systems’ technology, lets production teams view all of their media formats side by side, monitor them in depth in real time, and analyze signal quality with built-in QC tools.

NEP Platform is built around an open approach to software orchestration, running applications from multiple technology providers on commercial-off-the-shelf (COTS) servers. This gives customers the flexibility to run different production applications on common infrastructure, deploying and scaling capabilities up or down as production requirements change, the company said.

“We’re excited to bring TAG’s technology to NEP Platform and become part of its growing software ecosystem,” said Michael Demb, vice president, Product Strategy at TAG Video Systems. “TAG and NEP share a common view of where the industry is headed: toward open, software-defined environments that give customers more freedom to choose the technologies and capabilities that work best for them. By bringing TAG to NEP Platform, production teams get multiviewing for all their media formats side by side, in-depth real-time monitoring, and QC analysis in one place, so they can verify what they put on air with confidence.”

NEW YORK—IPC will make its debut as an NAB Show New York exhibitor, demonstrating its One Connect WebRTC matrix interconnect platform and its One Link and One Link Studio keypanels in the Dale Pro Audio show-floor booth at Javits Convention Center Oct. 20–21.

In Booth 761, attendees can see One Connect, which IPC said provides a flexible, IP-based approach, supporting secure, low-latency communications in a variety of environments, including on-premises, offline, cloud-hosted or as a turnkey hosting option for teams that prefer a fully managed experience.

Visitors can also get a look at One Link, a compact, desk-ready unit with a touch-screen interface and programmable physical smart buttons that let every user work according to their preferences. OneLink delivers electro-acoustical echo cancellation and ultra-loudspeakers to support point-to-points, party lines, fixed groups and IFBs, IPC said. It has a compact form factor that’s suitable for control rooms, studios and production environments and has a powerful keypanel that is easy to deploy, supports continuity across distributed teams and features industry-leading affordability, IPC said.

Also on display will be One Link Studio, a 1U rackmount version that can be a drop-in replacement for legacy keypanels.

“We are excited to exhibit at NAB New York as a featured partner of Dale Pro Audio,” IPC Head of Sales–One Connect Nicole D’Antuono said. “One Connect is built on a legacy of providing the reliability and performance customers depend on for their communications needs. We continue to build on that foundation while working with valued parters like Dale Pro Audio, who understand the evolving needs of broadcast and Pro AV professionals.”

The collaboration with Dale Pro Audio gives NAB Show New York attendees a chance to see IPC’s solutions alongside other pro audio technologies in a real-time working environment, IPC said.

For more information, visit IPC’s website.

ALAMEDA, Calif.—Clear-Com played a critical role in the production communications infrastructure for Rock in Rio 2026, one of the world’s largest music festivals.

With multiple stages, major international and Brazilian artists and a live broadcast operation reaching a worldwide audiences, Rock in Rio requires communications technology that performs reliably at scale, Clear-Com said. The deployment was supported by Savana Comunicação, a Clear-Com partner in Brazil.

For the 2026 festival, Clear-Com provided the communications solutions connecting production teams across the event while creating a seamless link between the festival site and TV Globo’s broadcast facilities.

The deployment featured four Clear-Com Arcadia Central Station systems supporting about 50 wireless FreeSpeak II and FreeSpeak Icon beltpacks. A combination of E1 and IP-connected FreeSpeak transceivers provided wireless coverage across the festival’s production areas, giving teams the mobility and flexibility needed to coordinate a large-scale, multistage live event.

The system’s capabilities extended beyond the festival grounds, integrating Rock in Rio’s on-site communications infrastructure with TV Globo’s broadcast operation. The Arcadia systems were connected via Dante over a dedicated network to the broadcaster’s facilities, providing audio connectivity between the festival’s Arcadia systems and Clear-Com Eclipse matrix infrastructure.

This integration enabled on-site production and broadcast teams to operate within a connected communications environment, helping streamline coordination between the live event and the television production. Multishow, a cable and satellite TV network operated by Globo, broadcast the festival live.

More information is available on Clear-Com’s website.

LiveU has unveiled details of its work to support CRD Audiovisuel in delivering live content from the start of the 2026 men’s and women’s Tour de France.

Working with the organiser of the annual cycle race, CRD Audiovisuel had to overcome issues with fluctuating connectivity to provide live paddock shots, behind-the-scenes coverage, interviews and more from locations that have previously presented difficulties.

Key objectives for the project included ensuring reliable connectivity at each race start, a plug-and-play setup that avoided heavy RF infrastructure, strong enough bitrate to ensure broadcast-quality output and a simple intercom system.

Featuring LIQ, LiveU’s AI-driven intelligent connectivity software to manage eSIM cards, LiveU’s LU900Q was deployed, with each unit connected to the strongest available network based on its location. The solution provided CRD Audiovisuel with reliable performance across congested or saturated network environments, said the company. Using only public 4G/5G networks, the LU900Q provided 99.9 per cent of connectivity needs across the men’s and women’s races.

Stéphane Reibre, MD at CRD Audiovisuel, said, “I could never have imagined that LU900Q and LIQ would perform so well in the field. We had exactly zero problems, which, in this specific context, is a small miracle. If you’ve ever covered a Tour, you know what I mean.”

“The trust Stéphane has shown in our teams and our technology honours us,” added Philippe Gaudion, LiveU’s regional sales manager for France, Belgium, and Luxembourg. “We supported him as closely as possible to contribute to the success of his project, and we are all very proud and happy about it.”

Riedel Communications said it has deployed its private 5G platform to support coverage of Germany’s DTM racing series.

Developed in collaboration with (Deutsche Tourenwagen Masters, or German Touring Car Masters) series and broadcast service provider TV Skyline, the infrastructure uses Riedel’s Easy5G private 5G platform as the primary transmission system for onboard camera signals, aiming to enable more immersive motorsports coverage and opening the way to fully digitally connected cars on track, according to Riedel.

The solution enables reliable transmission of high-resolution video signals directly from the cars, with data rates remaining robust even at top speed, Riedel said. All 21 DTM cars feature on-board cameras; six are equipped with additional action cameras. Production of the Porsche Sixt Carrera Cup Germany incorporates 24 different camera angles, providing viewers with enhanced views of the action.

From the outset, the architecture was designed to scale, providing the technical foundation for additional camera angles, higher data volumes and future production requirements, Riedel said. Additionally, the company’s DIVA+ infrastructure (Data, Intercom, Video, and Audio) forms the technical foundation for on-site production near the track, the company said.

Operating at 100 MHz, the private 5G network achieves uplink data rates of up to 140 megabits per second. Efficient spectrum utilization enables high network capacity with comparatively low bandwidth, also ensuring growing data volumes are processed reliably. The topography-optimized design requires only four to seven antenna locations depending on the track’s characteristics, aiming to minimize infrastructure requirements, the company said.

“With Easy5G, we’re bringing private 5G into live operations for an international racing series for the first time—and this is just the beginning,” Riedel CEO, Managed Technology Luz Rathmann said. “This isn’t just a one-off solution; it’s a future-proof platform for professional live productions.”

Added TV Skyline CEO Wolfgang Reeh: “As the DTM’s TV production partner and technical service provider, we are constantly working to innovate and further develop our product. We have identified a limitation in the area of onboard cameras, which we plan to resolve in the future using private 5G technology.”

Claudia Wagner, managing director of DTM, added: “With our continued development of private 5G, we are laying the digital foundation for the next generation of DTM production: scalable, data-driven, flexible, and independent. With this technology and the ability to show spectacular onboard footage of all participants in every race, the DTM is setting a new standard. This gives us the foundation for new content formats and innovative fan experiences, thereby creating opportunities for sustainable new business models in motorsports.”

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Francesco Scartozzi, vice president of sales and development at Matrox Video.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Francesco Scartozzi: Software-defined production will continue to be a defining theme. The conversation has moved beyond whether software belongs in live production and is now focused on how software, standard IT infrastructure, and purpose-built hardware work together to create more flexible media facilities.

We also expect growing momentum around the Dynamic Media Facility (DMF) vision and the Media eXchange Layer (MXL). These industry initiatives reflect the move toward more open, interoperable architectures that simplify media exchange, improve resource utilization and give customers greater flexibility to build production environments around their operational needs.

At the same time, organizations are increasingly looking for ways to seamlessly connect edge devices, on-premises infrastructure and cloud resources. Broadcasters want the freedom to deploy applications wherever it makes the most operational and economic sense while maintaining a unified workflow across their entire operation.

Hardware remains essential at the edge. Signal capture, transport, synchronization, monitoring and control require technologies that complement software-defined infrastructure and deliver the performance and reliability live production demands. The opportunity is not cloud versus on-premises, but creating a unified media environment that connects the edge, the ground and the cloud through open, software-defined architectures.

TVT: What’s your key product announcement for the show, and what problem does it solve?

FS: Our key focus is Matrox ORIGIN, our software-defined media framework that enables developers, broadcasters, OEMs and technology providers to build flexible production applications on commercial off-the-shelf IT infrastructure.

Broadcasters want to become more agile and efficient while maintaining reliable operations. They need technologies that work with existing infrastructure, support applications from multiple vendors and give them room to evolve as production requirements change.

Matrox ORIGIN addresses these needs by providing a complete framework for building software-defined production environments. Its MXL-compatible fabric helps organizations realize the Dynamic Media Facility vision today, supporting more flexible media exchange and integration across an open ecosystem of applications.

Beyond interoperability, Matrox ORIGIN dramatically reduces the complexity of building and deploying professional media applications. Developers can leverage a rich catalogue of production-ready media services, open APIs, and modern software development tools to accelerate innovation while avoiding the cost and complexity traditionally associated with broadcast infrastructure.

Matrox ORIGIN’s asynchronous architecture enables media services and applications to operate seamlessly across edge, on-premises and cloud environments. This allows organizations to connect the edge, the ground and the cloud as a single logical production environment while modernizing at their own pace and leveraging existing infrastructure investments.

TVT: How does this new solution stand out from what’s available on the market?

FS: Matrox ORIGIN combines an asynchronous media framework with an open ecosystem approach, giving organisations the flexibility to build production applications on generic IT equipment and integrate technologies from multiple vendors.

Its MXL-compatible fabric supports the industry’s direction toward more interoperable, software-defined media facilities. Customers can develop workflows around their needs while connecting existing infrastructure with new applications and capabilities.

What truly differentiates ORIGIN is that it goes beyond the vision of software-defined production to provide a complete, production-ready implementation. It combines media transport, processing, control, deployment, resilience and scalability within a single framework while remaining open to third-party applications and services.

ORIGIN also delivers capabilities including location-independent routing, intelligent transport optimisation, and built-in multiproducer redundancy. These technologies simplify deployment, improve resilience, and enable seamless scaling across edge, ground, and cloud environments without requiring complex reconfiguration or custom failover mechanisms.

The result is a platform that enables organizations to build, deploy, and operate software-defined production systems faster, with greater reliability, and with the flexibility to evolve alongside industry initiatives such as DMF and MXL. The growing ORIGIN ecosystem reflects that approach, giving customers greater choice and the ability to modernize at their own pace.

TVT: What makes NAB Show New York so essential for your business, and what brings you back each year?

FS: NAB Show New York provides a valuable opportunity to connect with customers, partners, developers and technology providers and discuss the operational challenges shaping their next investments. Digital communication keeps us connected throughout the year, but in-person conversations offer a deeper understanding of what organizations need and how those priorities are changing.

Customers want to know how technologies integrate into complete workflows, work alongside existing infrastructure and fit within a broader ecosystem. The show gives us an opportunity to have those conversations and exchange ideas with the people building and operating these environments.

For Matrox Video, those conversations help shape our product development and ensure that our solutions continue to address real operational challenges.

Visit Matrox Video at NAB Show New York in Booth 827.

Anthony James Partners (AJP) and the Florida Panthers have completed a comprehensive modernization of the broadcast production facility at Amerant Bank Arena, transforming the arena’s existing production environment into a fully IP-based system designed to support Panthers games and the venue’s year-round sports and entertainment schedule. The new facility went live for its first game on Sunday, September 20, marking the first live event produced using the Panthers’ new SMPTE ST 2110 production system.

Designed by AJP and implemented by broadcast integrator BeckTV, the project represents the next phase of a multi-year technology program at Amerant Bank Arena. The new production environment transitions the venue from its previous 3G infrastructure to a full SMPTE ST 2110 1080p workflow, providing significantly greater flexibility across production, replay, content creation and signal distribution while establishing a scalable foundation for future expansion.

The project went well beyond replacing production equipment. The existing production facilities were completely demolished and rebuilt, with AJP redesigning the layout of the production spaces to improve workflow between production, engineering, replay, graphics and audio personnel while supporting the operational requirements of the new broadcast environment.

Beyond the control room, AJP designed a major expansion of the arena’s broadcast connectivity infrastructure. Thirty-five new junction box locations were installed throughout the venue, replacing legacy cabling with new single-mode fiber, SMPTE fiber and audio connectivity. New truck-dock panels and six new truck-dock racks further integrate mobile production units with the arena’s broadcast infrastructure and Technical Operations Center.

Together, the improvements create an integrated production ecosystem extending from cameras and field locations throughout the arena to the production control room, Technical Operations Center and visiting broadcast trucks.

The broadcast modernization follows the recently completed LED and venue technology program at Amerant Bank Arena, also designed and managed by AJP. That work included the arena’s new 4K HDR-capable center-hung display, LED halo, ribbon boards and additional displays throughout the venue, together with associated hoist and rigging systems and reconfiguration of the bowl audio system.

With the completion of the new production facility, the Panthers now have a broadcast platform designed to take full advantage of those venue-wide systems while supporting the organization’s continued development of live game presentation and content production.

SAVANNAH, Ga.—What we love most about working for Fans First Entertainment and the Savannah Bananas is that every game feels like a live event, a broadcast and a social-media moment all at once. We are not just producing baseball—we are creating an experience that has to work in the stadium, on television, on YouTube and on every short-form platform where fans discover us. That is exactly why Sony’s Ci Media Cloud has become such an important part of our workflow.

Before this year, our media process was much more fragmented—we were relying on hard drives, laptops, and a very old-school sneakernet system to move footage around. It worked, but it was slow and it made it hard for everyone to stay connected. We were capturing a huge amount of content every weekend, but the process of getting that footage into the right hands took too long. That changed when we began using Ci Media Cloud.

Multiplatform Speedsters
Now, everything lives in one place. That may sound simple, but for us it has been a huge shift. We can upload footage on-site, organize it and share it instantly with the people who need it. Our editors can get to work faster and our marketing team can find what they need without waiting for drives to arrive. Even our cast members can log in, pull clips and create their own content. That kind of access has completely changed how quickly we can move.

We shoot about a terabyte of footage every weekend, so speed matters. With Ci Media Cloud, we can collect all of that material and start shaping it into clips almost immediately. That helps us get the best moments out while they are still fresh and still relevant. In our world, timing is everything: A great play, a wild fan reaction or a funny moment can become a viral clip fast, but only if we can move quickly enough to package it the right way.

Ci Media Cloud has also helped us control the quality of our storytelling. Our fans see us across a lot of different platforms, so we want the image and the feeling to stay consistent no matter where they find us. With everything in one system, we can make sure the footage looks and feels like the Savannah Bananas everywhere it appears. That consistency matters because we want the broadcast, video board and social clips to all reflect the same energy.

Shareable Stories
One of the best parts is how many people can use it. Our players and cast members can access footage and post their own clips, which has been huge for us, because so much of our growth comes from people sharing their own version of the Banana Ball experience. When our players can grab a clip and post it right away, they are helping tell our story in their own voice, making the content feel more immediate and more authentic.

Ci Media Cloud has also made it easier for us to support the moments that never make it into the main broadcast but are still a huge part of the fan experience. We can capture more from the plaza party, more from behind the scenes and more from the parts of the show that make Banana Ball unique. Those moments matter just as much as the game itself.

For us, Ci Media Cloud is more than a storage platform. It is the tool that helps us turn a fast-moving, high-energy live show into content fans can connect with everywhere. It has streamlined our workflow, improved our speed and made it easier for everyone on our team to create. Most importantly, it helps us stay true to what we believe: fans first, entertain always.

More information is available on the CI Media Cloud website.

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

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

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

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

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

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

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

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

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

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

The Gravity Media production package includes:

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

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

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

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The device was launched during the just completed IBC 2026.

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

Features include:

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

More information is available on the company’s website.

As broadcasters transition to remote and hybrid production, KVM systems are undergoing a major evolution.

In our latest TV Tech Guide to KVM & Remote Workflows, we explore how IP infrastructure and cloud technologies are reshaping KVM operations—and why these systems remain crucial for delivering a low-latency, reliable, and seamless production chain.

To access the Guide click here.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Atomos will be in stand 7.B19.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

STOCKHOLM, Sweden—Net Insight has introduced Nimbra 1020G, a compact, ultra-dense addition to the Nimbra Live portfolio that combines IP media processing, switching and controlled interconnection in a modular 1U platform.

The company will demonstrate Nimbra 1020G and Open Live Media at IBC2026, Booth 1.B47, RAI Amsterdam, September 11–14.

Net insight’s Nimbra 1020G combines open standards and APIs with Net Insight’s Trust Boundary technology, enabling broadcasters, production companies and media service providers to extend Broadcast IP without overbuilding infrastructure.

As live production becomes more distributed across venues, partners, facilities and cloud environments, IP workflows increasingly need to extend beyond the media core without bringing core-scale footprint, power and cost with them.

“The value of Trust Boundary is that organizations can exchange live media without sharing network design, investing in complex integrations or adding conversion,” said Larissa Görner-Meeus, CPO of Net Insight. “With Nimbra 1020G, that controlled handoff can now be placed wherever services enter or leave the network.”

Nimbra 1020G addresses this need in a compact 1U modular platform, supporting up to 64 channels of 2110 JPEG XS compression and 600 Gbps of lossless Ethernet switching. This increases service density while reducing rack space, power, external switching requirements and cost per live service. Built around the Nimbra Media Pro App architecture, Nimbra 1020G can adapt across contribution, remote production, facility connectivity, partner interconnect and distribution access.

A key differentiator of Nimbra 1020G is the always-enabled SMPTE RP 2129 Trust Boundary. It creates a secure demarcation between independently operated media networks, allowing organizations to exchange live media services while retaining full control of their own addressing, multicast architecture, security policies and orchestration. To maintain service resilience and interoperability, full media payload and timing is always preserved through each Trust Boundary.

With demarcation from 1G to 100G Ethernet, Trust Boundary combines per-service admission, address adaptation, strict QoS control and real-time flow monitoring. One application handles the full range of media flows, from compressed transport streams to uncompressed 2110 UHD essences. Up to 128 lossless Ethernet switch instances provide guaranteed QoS, fine-grained traffic isolation and workflow aggregation for any broadcaster or service provider workflow.

Nimbra Live Intelligence adds service-level visibility, control and assurance, giving operators real-time insight as live services are added, rerouted or changed. This enables more dynamic, software-driven operations while maintaining operational control.

For existing Nimbra operators, compatibility with Nimbra 1000 modular hardware and the Nimbra Media Pro App family provides a direct expansion path, allowing customers to extend on the infrastructure rather than introduce a separate platform.

Nimbra 1020G adds a new scale point to Nimbra Live, complementing Nimbra 520 for HEVC contribution and Nimbra 1060 for high-capacity media processing. Together with Nimbra Edge and Nimbra Live Intelligence, it extends Net Insight’s Open Live Media architecture across contribution, access, aggregation, controlled interconnect, core and distribution.

LONDON—Alex Pannell has joined live production services provider Gravity Media as chief business officer.

The 20-year industry veteran joins Gravity Media from Appear, where he was chief commercial officer. In his new London-based role, he is charged with working closely with Gravity’s leadership team and its business units worldwide to support continued development, strengthen collaboration across regions and identify new growth opportunities, the company said.

“I’m excited to be joining Gravity Media at such an important and exciting time in its journey. Gravity Media has an outstanding reputation, an exceptional team and an impressive global footprint,” Pannell said. “I’m looking forward to getting to know the business, meeting colleagues, partners and customers, working together to build on the strong foundations already in place which provide a fantastic platform for the next phase of growth and help shape what comes next.”

Panell’s experience spans group strategy, sales and business development, marketing, technical sales, pricing, customer service and support, Gravity said. He brings a strong track record of delivering performance and business development across complex, global markets, the company added.

“As our business continues to evolve and grow, it is important we have the right leadership structure and expertise in place to support our ambitions,” Gravity Chairman and CEO John Newton said. “We were looking for someone who could bring broad leadership experience, a collaborative approach and a genuine understanding of our industry. I’m looking forward to working with Alex as we continue to build on our momentum and create exciting opportunities for our people, clients and partners around the world.”

Gravity Media provides media services, facilities, production and content services for live events around the world. It is involved with such events as the UEFA Euro Championships, Olympics, FIFA World Cup, Tour de France and U.S. Open, as well as shows such as “I’m a Celebrity … Get Me Out of Here!” and “The Voice.”

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

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

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

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

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

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

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

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

GRASS VALLEY, Calif.—AJA Video Systems today unveiled OG-FiDO-4, a new family of openGear-compatible cards offering four channels of conversion between 12G-/3G-SDI and fiber, expanding the OG-FiDO-4 family to nine different modules. The product line is designed to enable reliable, uncompressed SDI transport over LC fiber and includes DashBoard software support for centralized monitoring.

The new cards will be demonstrated at the IBC Show, Sept. 11-14 at the RAI Amsterdam.

“At a time when multicamera setups are growing in size and complexity across broadcast, live production, and proAV environments, extending SDI infrastructure over fiber has never mattered more. The OG-FiDO-4 family delivers practical, cost-efficient solutions with the channel density, signal integrity, and dependability that mission-critical environments demand,” said AJA President Nick Rashby.

The nine models available include the base card and AJA Fiber SFP variations such as 12G-SDI, 3G-SDI, single-mode, and multi-mode models. Each model features independent, isolated SDI-BNC connectors that enable different rates to be carried simultaneously and an integrated rear I/O card unlocks high-density transport, up to 40 channels in an openGear frame.

DashBoard software streamlines installation, configuration, monitoring, and service updates on Windows and macOS with support for HDR video and pass-through of SDI metadata.

The models also feature Input Present and Input SMPTE Lock LEDs, automatic data rate detection and reclocking and are compatible with current AJA FIBERLC TX and RX SFP Modules, as well as the OG-X-FR and OG-3-FR openGear frames. Power consumption is 8W maximum.

The OG-FiDO-4 family will be available soon for purchase through AJA’s network of resellers starting at $2,295 and $2,695 US MSRP.

AJA will be in Stand 7.B25 during the show.

LAKE FOREST, Calif.—Boland Communications today announced a new SMPTE ST 2110 input option for its full range of professional 4K HDR monitors. Featuring integrated 25GbE connectivity and SMPTE ST 2022-7 protection, the option brings resilient UHD monitoring directly to IP-based production environments without requiring external ST 2110-to-SDI gateways.

Boland will demonstrate the new capability on the QD4K32HDR10-Opt 2110 at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. Using a single 25GbE SFP interface with either fiber or RJ45 connectivity through an SFP28 module, the option can deliver UHD video directly to up to two monitors.

The integrated design reduces the switch ports, gateways, transceivers, cabling, rack space, and power required for monitor walls, production control rooms, master control facilities, mobile production units, and other multidisplay environments. Removing external conversion equipment also simplifies installation and maintenance while reducing system complexity and potential points of failure.

Support for SMPTE ST 2022-7 allows equivalent media streams to travel over redundant red/blue network paths, helping maintain uninterrupted monitoring if one path experiences packet loss or a failure.

“As broadcasters and production facilities accelerate their transition to IP, now is the right time to introduce the ST 2110 option for our 4K monitors, and IBC is the perfect place to launch it,” said Mike Boland, president of Boland Communications. “This new option gives our customers a more direct and cost-effective way to bring trusted, color-accurate monitoring into modern IP workflows while reducing cabling, switch-port requirements, and reliance on external gateways.”

Boland will be in Stand 12.C57.

Broadcast Management Group has designed and deployed a custom REMI production ecosystem for The Pro Tour, a new professional golf tour featuring elite athletes from some of the world’s biggest sports leagues including the NFL, MLB, NBA, and NHL.

LiveU’s LU800 field units and LIQ intelligent connectivity served as key components within BMG’s broader production workflow. The setup gave camera operators the freedom of movement and a new view from the green that has always been challenging to achieve, while eliminating the cost constraints, environmental strain, and access limitations of legacy OB trucks.

As the tour’s turnkey broadcast partner, BMG provided creative services, live production, engineering, transmission, media management, and distribution for each five-hour live broadcast.

During a stop at the PGA National Resort in West Palm Beach last spring, BMG was faced with covering a crucial hole that had reportedly never been televised because it fell outside the venue’s fixed fiber infrastructure, according to the company.

In response, BMG implemented a nearly fully wireless production workflow using LiveU LU800 bonded cellular transmission systems enhanced by LiveU IQ intelligent connectivity. Starlink was ready as backup connectivity, though according to BMG, never had to be deployed. This meant that the technical director, master control, and channel management team could work from home or the NOC.

The hybrid workflow dramatically shrunk the production footprint compared to a traditional cable-and-truck build, with more cameras able to cover more of the course because they’re no longer limited by where fiber happens to run, BMG said. Every camera, including drone coverage, transmitted live feeds to BMG’s Network Operations Center (NOC), where AI continuously monitored available network conditions and automatically optimized connectivity across multiple cellular networks.

“The Pro Tour let us design a broadcast ecosystem from the ground up, built around where the story was, not where cable could reach,” said Kathy Samuels, BMG’s director of creative services. “LiveU's LU800, and LIQ intelligent connectivity gave our creative vision somewhere to actually run. Bringing creative services, live production, engineering, and distribution into one workflow gave us a scalable model that supports the tour today and can grow with it.”

At the 2026 IBC SHow, Sept. 10-14 at the RAI Amsterdam, QuickLink will introduce StudioEdge 4K, the first 4K model in the StudioEdge lineup, and new native 4K 60fps support for StudioCall. Designed for professional production environments, StudioEdge 4K combines native 4K 60fps StudioCall ingest with NVIDIA powered AI upscaling for contributors joining from widely used communication platforms. Whether a guest connects through StudioCall, Zoom or Microsoft Teams, StudioEdge 4K enables production teams to deliver a consistent 4K output.

Also at its IBC booth, QuickLink will unveil how StudioCall contributors can now deliver native 4K 60fps when using a compatible video device, allowing productions to preserve the resolution and frame rate of a caller’s native 4K source. These 4K feeds can be output from StudioEdge 4K over 4K SDI and NDI, providing seamless integration into modern broadcast and live production workflows.

For contributors joining through platforms where native 4K is not available, StudioEdge-4K uses NVIDIA-powered AI Upscaling to intelligently enhance HD video to 4K. This enables production teams to maintain a consistent high-resolution output while continuing to connect guests through familiar communication platforms.

StudioEdge-4K gives broadcasters, media organizations and enterprise users a flexible way to incorporate remote contributors into professional 4K workflows, combining native 4K contribution, NVIDIA-powered AI video enhancement and professional 4K SDI and NDI connectivity, the company said.

QuickLink will be in 7.C19 at the RAI Amsterdam.

OSLO, Norway—Live production tech provider Appear ASA has successfully completed a demonstration with Thoroughbred Racing Productions (TRP) that showed how a full multi-camera remote live production can be delivered reliably over bonded 5G cellular and Low Earth Orbit (LEO) satellite connectivity without relying on fixed internet infrastructure.

"Remote production continues to transform the economics of live broadcasting, but until now its benefits have often depended on access to dedicated network infrastructure," said Thomas Bostrøm Jørgensen, CEO, Appear. "This proof of concept demonstrates that broadcasters can reliably extend those same production models to remote venues using bonded 5G cellular and LEO satellite connectivity. By combining our unique, hardware-accelerated SRT technology with the flexibility of the X Platform, we're helping customers rethink how and where live production can be deployed."

The proof of concept successfully demonstrated a complete REMI production workflow, transporting four live HD camera feeds from a remote racecourse to TRP's production facility while simultaneously returning two HD programme feeds back to the venue over the same bonded network, Appear reported.

The successful outcome also demonstrated how broadcasters can extend high-quality remote production to locations where dedicated fiber or fixed connectivity is unavailable, creating new opportunities to deliver live coverage from geographically dispersed venues while reducing operational complexity, Appear explained.

TRP, the production arm of Racing Victoria, delivers live horse racing coverage from 51 regional racecourses across the Australian state of Victoria.

Of these, 20 – together with the state's metropolitan venues – benefit from access to high-quality wired connectivity that makes REMI possible; the remaining 31 regional racecourses do not. With TRP planning to centralize its production resources, the organisation wanted to determine whether broadcast-grade REMI production could be achieved at these remote racecourses using cost-effective bonded cellular and LEO connectivity.

Working closely with TRP, Appear deployed its compact X5 platform at the racecourse and an X20 at the production centre to validate the workflow.

Four live HD camera feeds were encoded in HEVC and transported using Appear's unique, industry-leading hardware-accelerated SRT technology across bonded 5G cellular and LEO satellite networks.

At the production center, the X20 decoded the incoming feeds for live production while simultaneously encoding and returning two HD programme feeds to the racecourse, enabling complete two-way production and communications throughout the event.

Once production was complete, the finished programme was reviewed by TRP and Racing Victoria, produced end-to-end as though it were a live broadcast.

The proof of concept was conducted across two separate racecourse locations, including a more remote venue where heavy rain and challenging weather conditions tested the resilience of the workflow. Across both sessions, all four camera feeds and two return feeds were delivered successfully, with no video quality issues reported and no operator intervention required, demonstrating the robustness of Appear's hardware-accelerated SRT transport and the viability of broadcast-grade remote production over bonded cellular and LEO connectivity, the companies reported.

Unlike traditional contribution solutions limited to a single programme feed, the Appear X5 simultaneously transported four live camera feeds and two return feeds within a single compact platform. Combined with Appear's hardware-accelerated SRT technology, the deployment delivered reliable, low-latency transport while maintaining broadcast-quality video across variable network conditions. The same platform can also be reconfigured via software to support JPEG XS workflows over high-bandwidth IP networks, allowing broadcasters to use a common platform across both remote and metropolitan production environments.

"For us, this wasn't simply about proving that the technology works; it was about validating a new way of producing live racing from some of our most remote venues," said Charles Cole, engineering and technical operations manager, Thoroughbred Racing Productions. "The success of these trials has given us confidence that multi-camera REMI production over bonded cellular and satellite connectivity is a practical option for our regional racecourses. It opens the door to centralising production resources while maintaining the quality, reliability and operational standards our live coverage demands."

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.