As news organizations and broadcasters face more pressure than ever to capture, verify, and distribute real-time access to breaking news, Reuters and Amazon Web Services (AWS) have announced that they will demonstrate what they are calling a next-generation news distribution system during IBC2025.

The demo involves live content captured from the floor of the United Kingdom (UK) Parliament that is replicated in near real-time to multiple news organizations simultaneously, the two companies said.

Using the open-source Time-Addressable Media Store (TAMS) API specification and AWS services including Amazon S3, AWS Elemental MediaConvert, and AWS Step Functions, Reuters and AWS will showcase how cloud-native collaboration and interoperability can significantly reduce of the time need to share content, lower associated costs, and transform the way news is created, exchanged and monetized. Additionally, AWS will show how TAMS can be integrated with Amazon Bedrock and TwelveLabs video understanding models to enable embedding of news content.

In a live demonstration, Reuters will ingest UK Parliament feeds produced by the Parliamentary Broadcasting Unit, transmitted using TAMS to AWS, and then provide the content near instantly to broadcasting and distribution partners.

“Speed, accuracy, and trust are the pillars of Reuters visual journalism. By working with AWS, we’re turning camera-to-cloud from a concept into a working reality—moving high-quality footage from the field to our producers and customers in seconds,” Mahesh Ramachandran, head of technology, Reuters. “This isn’t just faster; it’s a fundamental shift in how we gather, edit and distribute video. With AWS’s TAMS-based cloud architecture, Reuters producers and Reuters News Agency customers can instantly access breaking news content, getting verified visuals to audiences sooner, at lower cost and with the flexibility to scale for any story, anywhere.”

“Our cost modeling suggests that TAMS can significantly reduce fast-turnaround workflow costs for organizations like Reuters, on top of time savings,” shared Chris Swan, principal solutions architect for content production at AWS. “Since content in these frameworks is moving between Amazon Simple Storage Service (Amazon S3) buckets in short segments, transfers can be done in parallel instead of linear. What took two hours can be done in seconds, and metadata updates happen instantly.”

Spearheaded by the BBC Research and Development (R&D) team, TAMS is based on the idea of storing short segments of media in an object storage service like Amazon S3, with an API to describe the segments and how they are inter-related, AWS explained.

AWS noted that TAMS solves the challenges of taking a lift-and-shift approach to running fast-turnaround media workflows in the cloud. Adoption of TAMS means shifting away from file-based workflows that lead to content duplication and are difficult to scale. Using timing and identity as key primitives to describe media in the store allows organizations to build more content-centric workflows.

The solution is also designed to address the fact that when news agencies and broadcasters cover the same big story, they must deploy separate teams and resources. With unified interoperability on TAMS, one reputable organization can be the source of truth for content, increasing efficiency and freeing time and resources for elements that differentiate programming.

The open-source standard can be quickly adopted, with the API-driven functionality shaving weeks if not months off development timelines. It also helps reinforce audience trust and expands reach through broader, faster distribution of verified video content and reliable information. The real-time demonstration from Reuters and AWS marks a significant step forward for practical TAMS applications, which are quickly gaining traction in the broadcast industry, AWS explained.

“With TAMS, broadcasters can make more content available to end users faster, using the same internal resources,” added John Biltcliffe, Senior Solutions Architect at AWS. “TAMS can also help revolutionize the viewing experience by supporting self-serve features and deeper personalization, while making it more intuitive for media organizations to use AI for richer audience experiences.”

TAMS was first implemented by AWS for a fast-turnaround workflow at IBC 2024 as a proof-of-concept supported by the Cloud Native Agile Production (CNAP) project. CNAP is a collaboration between companies (including BBC, Sky, Adobe, Cutting Room, Drastic Technologies, Techex, and Vizrt) to advance the development and adoption of the TAMS open-source framework.

After experiencing the demonstration at IBC 2024, Reuters decided to test out TAMS with its own implementation for real-time intercompany distribution.

Reuters and AWS began collaborating in February 2025, and then enlisted BBC, CNN, Sky, and Elliott Media. The resulting setup enables Reuters to make content available almost instantly to any broadcast or distribution partner.

“News broadcasters record everything just in case, and much of this content will be discarded,” explained Swan. “There will still be a need for live contribution for certain events, but using a TAMS approach with the cloud is much more efficient. Reuters records once, then its broadcast partners can access what they need after the event. Moving this workflow to the cloud also enables Reuters to produce more, or less, content as the news cycle dictates. It brings true flexibility and scalability to fast-turnaround workflows.”

The demonstration will leverage TAMS to store, query and access segmented media over HTTP.

Working closely with the BBC, AWS teams built an interoperable framework that provides a single virtual store for live content. This makes it faster and seamless for creators to craft video highlights clips and packages for integration into live content, social sharing and other applications using their preferred toolsets and the AWS Cloud. Visitors to the AWS stand will be able to see a complete, fast-turnaround media workflow spanning low-latency video ingest through to playout—with file import and export, and web-based editing, AWS reported.

For the demo, live video feeds from UK Parliament, Reuters live feeds and Reuters produced short-form video on-demand (VOD) content will be ingested directly into the Reuters TAMS store. From there, content is instantly and securely federated with an AWS TAMS instance, acting as a customer of the Reuters store.

The demonstration also features AWS Partners Mimir, Adobe, Techex, Matrox, and CuttingRoom. The TAMS on AWS implementation is also integrated with video understanding models from TwelveLabs, in Amazon Bedrock, to create embeddings of news content in real time.

“TAMS is foundational for helping the broadcast industry advance AI understanding for live video,” noted Biltcliffe. “It brings all the pieces together by providing the customer with one ingest for all purposes, whether for social media, content production, archive or syndication.”

On Sunday at 12:45 PM in the AWS IBC Showcase Theatre, Reuters, BBC, Sky, and CNN will be speaking on a panel. AWS said that session attendees can hear from technology leaders about:

• Challenges the TAMS approach solves for their organization
• How they are collaborating with AWS to redefine news workflows
• What new opportunities are being unlocked by adopting a cloud-native, open and interoperable approach

Organizations looking to learn more about the CNAP initiative and TAMS, can find additional resources by reading Guidance for Cloud-Native Fast-Turnaround Media Workflows on AWS. Included are a detailed implementation guide, reference architectures, sample code for use in TAMS workflows, and related content.

Attendees can get more information at the AWS IBC Booth (Hall 5, Stand C90). They can also schedule time with AWS at IBC2025.

A major new survey and analysis of how news is consumed on digital media highlights the ongoing financial crisis of the news media around the world, particularly in the U.S. as “the U.S. news industry shed jobs at a precipitous rate over the last year, with total losses of nearly 2,700 positions in 2023 – the grimmest year since the pandemic – followed by a wave of high-profile layoffs in early 2024,” the researchers reported. 

The “Digital News Report 2024” from the Reuters Institute for the Study of Journalism provides a detailed breakdown of consumer attitudes towards news consumption as well as deep dives into such topics as the use of AI in journalism for both global audiences and consumers in specific countries like the U.S.

In terms of the U.S., only 28% of American surveyed said they had accessed local TV news in the last week while overall trust in the news media remained stable but low. Only 32% said they trusted the news in 2024 (same level at 2013). The global average was 40%; the U.S. ranked 35th out of 47 countries surveyed.  

Local TV news in the U.S., however, fared much better, with 62% trusting it, the highest score of any other online or TV source. Regional and local newspapers came in second (58%). 

Among the broadcast networks ABC and CBS raked the highest (52%). NBC/MSNBC was trusted by 49% followed by CNN at 48% and Fox News at 43%. 

In terms of their preferred way to access news, 72% of Americans said online news sources, including social media, remained a top choice  slightly down from 75% in 2013. TV came in second at 51% (down from 72% in 2013 but up 3 percentage points since 2023), followed by social media at 48% (up from 27% in 2013) and print at 16^, down from 47% in 2013. 

The researchers also reported that: "Concern about what is real and what is fake on the internet when it comes to online news has risen by 3 percentage points in the last year with around six in ten (59%) [globally] saying they are concerned. The figure is considerably higher in South Africa (81%) and the United States (72%), both countries that have been holding elections this year. Worries about how to distinguish between trustworthy and untrustworthy content in online platforms is highest for TikTok and X when compared with other online networks."

In the U.S., the survey found a surprisingly limited awareness of AI, with 42% saying that had heard only a small amount or nothing about it and 5% didn't know what it was.  Slightly more than half (52%) said they had heard a moderate or large amount about AI. 

In the U.S. respondents indicated they were concerned about the use of AI to produce news, with only 23% saying they would be comfortable with AI produced news versus 52% saying they were comfortable with news produced by humans. About 42% they were comfortable with news produced mostly by humans with AI, versus 30% who were uncomfortable. 

Key findings globally include:  

• “In many countries, especially outside Europe and the United States, we find a significant further decline in the use of Facebook for news and a growing reliance on a range of alternatives including private messaging apps and video networks. Facebook news consumption is down 4 percentage points, across all countries, in the last year," the researchers wrote.
• “News use across online platforms is fragmenting, with six networks now reaching at least 10% of our respondents, compared with just two a decade ago. YouTube is used for news by almost a third (31%) of our global sample each week.”
• “Linked to these shifts, video is becoming a more important source of online news, especially with younger groups. Short news videos are accessed by two-thirds (66%) of our sample each week, with longer formats attracting around half (51%). The main locus of news video consumption is online platforms (72%) rather than publisher websites (22%), increasing the challenges around monetization and connection.
• “Although the platform mix is shifting, the majority continue to identify platforms including social media, search, or aggregators as their main gateway to online news. Across markets, only around a fifth of respondents (22%) identify news websites or apps as their main source of online news – that’s down 10 percentage points on 2018. 
• In terms of sources for news that people pay most attention to on various platforms, there was “an increasing focus on partisan commentators, influencers, and young news creators, especially on YouTube and TikTok.”
• “As publishers embrace the use of AI we find widespread suspicion about how it might be used, especially for ‘hard’ news stories such as politics or war. There is more comfort with the use of AI in behind-the-scenes tasks such as transcription and translation; in supporting rather than replacing journalists.
• “Trust in the news (40%) has remained stable over the last year, but is still four points lower overall than it was at the height of the Coronavirus pandemic. 
• “Elections have increased interest in the news in a few countries, including the United States (+3), but the overall trend remains Downward.”
• “At the same time, we find a rise in selective news avoidance. Around four in ten (39%) now say they sometimes or often avoid the news – up 3 percentage points on last year’s average.”
• “In exploring user needs around news, our data suggest that publishers may be focusing too much on updating people on top news stories and not spending enough time providing different perspectives on issues or reporting stories that can provide a basis for occasional optimism. In terms of topics, we find that audiences feel mostly well served by political and sports news but there are gaps around local news in some countries, as well as health and education news.”
• “Our data show little growth in news subscription, with just 17% saying they paid for any online news in the last year, across a basket of 20 richer countries.”
• “In some countries we find evidence of heavy discounting, with around four in ten (41%) saying they currently pay less than the full price.”
• “News podcasting remains a bright spot for publishers, attracting younger, well-educated audiences but is a minority activity overall.”

SYDNEY—Sony has announced that the global news agency Reuters has selected Alpha and XDCAM cameras, G Master lenses and audio equipment to equip its video journalists across the world. 

The fleet will be using Alpha 7S III, and PXW-Z280 as their main shooting kit, paired with UWP-D wireless audio. 

The cameras and associated equipment have now started shipping to 23 Reuters locations across the world.

This investment from Reuters builds on a long-standing relationship between Reuters and Sony. Sony’s Media Backbone Hive is already in use at Reuters as its main multi-platform news production system. 

“Sony has designed its cameras to operate to the best of their abilities in high pressure environments such as news gathering,” explained Sony Australia CCS group manager Anthony Kable. “We do this so we can provide the world’s leading media organizations with cameras that are ultimately reliable whilst producing the very best picture quality so they can capture news whenever required. Reuters' decision to choose Sony cameras for its worldwide video group is a great example of that philosophy in action.”

Sony said that the PXW-Z280 has become an industry standard, thanks to its ease of use, electronic variable ND filter and Sony’s Instant HDR workflow, eliminating the need for color grading. Its advanced network features and multiple format support means it can easily, securely and wirelessly fit into a cloud-based news gathering workflow. 

Since its launch, the Alpha 7S III has established itself as a go to camera for on location content creators needing a compact form factor and exceptional picture quality, Sony added.

The advanced autofocus performance for hybrid use, together with its outstanding low light performance were key features in Reuters’ decision making, the company said. Sony’s E-Mount strategy will also provide journalists with the flexibility to capture images in their truest form, when perfectly paired with the vast options of Sony lenses of their choosing, including the SEL2470GM2.

Both cameras benefit from the connectivity features needed to easily connect to the cloud for seamless and reliable content transfer, from the capture location back to the remote broadcast unit, particularly critical for news gathering, with its emphasis on speed.

NEW YORK—The supply side ad platform Magnite and the video discovery platform Primis have launched Sustainable Stream, a new programmatic video marketplace for content focusing on climate change. 

Sustainable Stream is designed to bring together environmentally conscious content creators, publishers and advertisers. It will generate funding for the production and distribution of content related to combating climate change via programmatic advertising and at the same time provide publishers and advertisers with high quality content, the companies said. 

“Sustainable Stream was designed to create a continuous cycle of support for content creators that focus on climate awareness, amplifying that through respected publishers, and to make it easier for brands to dedicate their programmatic investments to this important cause,” said Adam Soroca, chief product officer at Magnite. “We are excited to establish this initiative with Primis to help encourage more sustainable practices in the advertising industry.”

“Content is a key part of driving action to solve climate change but it lacks the reach and scale to make a difference,” said Rotem Shaul, co-chief executive officer at Primis. “Our technology provides publishers with an engagement-based video unit that connects content creators, generates new inventory and monetizes it. This is where we saw an opportunity to work with Magnite to make a difference. Leveraging this within Sustainable Stream, we can curate and deliver content that resonates with audiences and change their behavior.” 

Gwyn Edwards, senior channel partner manager at Reuters added that they believe “Reuters’ independent and impartial reporting on climate change can reach even more people through this effort” and that “we hope our video coverage – sourced from across Reuters’ global newsroom – will help increase understanding of this important topic.”

LONDON—Reuters and cloud-based video production specialist Grabyo have partnered to give broadcasters, news organizations and publishers that use the news agency’s Reuters Connect the ability to edit and publish live video in real-time, Grabyo said.

“With more and more of our customers around the world forced to work from home [due to COVID-19], Reuters is constantly seeking ways to help them adapt and face a new set of challenges,” said Nick Cohen, global head of product, Core News Services, Reuters. “Partnering with remote platforms such as Grabyo helps us to ensure our customers’ live news teams can continue their critical work without interruption.”

The deal makes it easier for distributed news teams, including those working from home, to publish and edit live video to various destinations. 

Under the agreement, Reuters Connect customers can access the Grabyo platform at a discount, giving them a cloud-based means to maintain coverage of live news remotely even when working from home during the COVID-19 epidemic, Grabyo said.

Reuters Connect users can access live broadcasts and review previous broadcasts of any event broadcast on the Reuters Connect platform via Grabyo. Users can localize content with their own graphics and branding for owned-and-operated platforms, making it easy to personalize news for digital channel delivery. 

Grabyo’s browser-based live editing tools also make it possible for users to create additional video packages from a live Reuters Connect broadcast, the company said.

The tools enable editing multiple assets, audio files and graphics, as well as automatically adding real-time captions via Grabyo’s speech recognition capabilities.

More information is available on the Grabyo and Reuters Connect websites.

New York City, NY – June 19, 2019 –Pond5, the world’s largest royalty-free video marketplace, today announced the launch of its industry-disrupting, royalty-free Editorial collection, featuring timely footage from the worlds of current events, sports, and entertainment, plus a wealth of video from citizen journalists, who are able to capture unique footage in the moment, as it unfolds.

Access to high-quality news footage has traditionally been subjected to complicated licensing structures at high prices. With this collection, Pond5 is reinventing an industry largely known for a strict rights-managed approach. The new royalty-free model for this content gives filmmakers and creators worldwide access to a massive collection of premium news, celebrity, sports, and archival footage with one simple license, at a fraction of the cost of traditional licensing options — footage in the collection starts at $79 a clip.

“Historically, it’s been very difficult for content creators to license quality, reliable news footage,” said Pond5 CEO Jason Teichman. “Prices were often based on a litany of factors, such as where you’re using the media, how you’re using it, and how many different places you’re going to use it. That antiquated process needed to be reinvented, and with the launch of our new royalty-free editorial marketplace, it all goes away. Anyone can now license content under one license, for a reasonable price.”

To build the new collection, Pond5 has partnered with global news agency Reuters, one of the world’s most respected editorial resources. As an undisputed leader in the industry, Reuters is a natural fit to help launch the collection, which will be continuously updated with their recent topical and newsworthy content.

Pauliina Hepola, Global Head of Channel Partners, Reuters News Agency, said: “Reuters is committed to delivering trusted, independent, and impartial news from around the world. We’re excited to share this content with newsmakers and content creators in a new way by partnering with Pond5.”

Other partners include Cover Video, which offers celebrity and entertainment video content, and Newsflare, known for user-generated breaking news videos, with more partners to be announced in the coming weeks. Through these partnerships, Pond5 is both expanding its collection of valuable archival footage and presenting buyers with royalty-free options for video relating to timely topics and current events, with thousands of new clips added to the collection every day.

“To gain access to quality news footage — a critical component of their content — producers have often had to deal with complicated licensing restrictions and/or price points that force them to figure out alternative solutions,” said John Ford, general manager of NPACT, the trade association representing non-fiction production companies. “Pond5’s new royalty-free editorial collection is a big benefit to production companies and a great opportunity for our community.”

Learn more about the new Pond5 Editorial collection and start exploring at http://pond5.com/editorial.

About Pond5

Pond5 is the world’s largest video marketplace, providing the footage, inspiration, and resources today’s content creators need to tell their stories in film, television, advertising, social media, online video, and beyond. With more than 14 million video clips, award-winning tools including patented Visual Search for video, and integrations for all major video-editing software, Pond5 is the go-to video marketplace for filmmakers, media organizations, and marketers worldwide. Driven by its commitment to the creative community, Pond5 proudly provides a platform where creativity can flourish and contributors can make a sustainable living licensing their work to buyers around the world. All contributors licensing their content on Pond5 receive an industry-leading revenue share. Pond5 is a venture-backed company funded by Accel Partners and Stripes Group with offices in New York, Dublin, Prague, London, and LA.

For more information, please visit https://www.pond5.com.

Press Contact:

Megan Linebarger

Zazil Media Group

(e) megan@zazilmediagroup.com

(p) +1 (617) 480-3674

Sports coverage is changing. More than ever before, we’re finding that leagues, clubs, associations and event organizers are taking control of their own content. Organizers can be federations, teams, leagues, tours, individual events and the agencies that represent them. For the purposes of this article, let’s oversimplify and refer to them as “leagues,” knowing that they self-identify and can be organized with great diversity.

When we ask why leagues are producing so much more than before, we see a variety of inter-related factors driving this trend. When you look at them together, it’s hard to imagine how every league in the future wouldn’t have a unit that works and functions a lot like a multimedia sports newsroom.

Below are some of the catalysts we found to be driving this movement:

1. Leagues spent millions to capitalize on social. Over the past five to 10 years, every league has needed to invest in and develop a social strategy to capitalize on the popularity of sport on those platforms. Many developed content strategies that were social first but have realized that actually it’s not everything, and now seek to make the most of those investments through broader and more diverse distribution of that content via more traditional channels.
2. Leagues are plugging the holes created by the shrinkage of independent newsrooms. Sports desks are not immune to the pressures to reduce costs in the face of falling ad revenue. Leagues are stepping in to create coverage of their events to ensure fans can follow all their action, not just the events independent newsrooms can justify covering.
3. Gaming revenue is growing. It turns out that gap is widening from both sides as integration gets tighter between leagues and the gambling industry. Leagues have greater incentive to serve that constituency, often with events that don’t warrant mainstream coverage but pull their weight through the gaming audience. Again, the leagues find themselves incentivised to create coverage themselves.
4. Sports fans want more personal, authentic content that only leagues can produce. Modern fans want to see athletes sharing personal stories, inside jokes and having real conversations. They have an aversion to watching the traditional press conference, which too often feels staged and choreographed to be as inauthentic and “safe” as possible. Event organizers have found themselves in a unique position to capture or create more fun, off-the-pitch content that Gen Z sports fans want, and news organizations can’t realistically produce at scale.
5. Leagues are seeing a bright light at the end of the online tunnel. Traditional TV sport distribution has developed organically over the past 80 years into a very lucrative but also ungainly web of rights deals. They come with restrictions that can limit innovation and very shallow audience data. Increasingly organizers are finding the more predictable, controlled and transparent business OTT and online platform partnerships offer them are more satisfying. These services are most successful when games are supplemented with news coverage, interviews, etc., which the leagues are producing for them. It will be awhile before those gargantuan and complicated broadcast contracts take a back seat to digital distribution for top leagues, but if this trend continues it might not be quite as long as you think because …
6. Leagues are making it a priority to get to know (and cross-sell to) fans directly. Front offices are combining customer data from ticket sales, merchandise sales, online viewing and social engagement to develop CRM systems that aim to categorize and keep track of all fans. Data from content consumption can be a key piece of this puzzle (see #5). With better data on fan behavior, leagues can cross-sell their services more efficiently and create content that is measurably better at achieving specific goals.
7. Most leagues have global expansion plans. Breaking into a new market, often across a language barrier, to a land where news coverage does not generally prioritize your sport is a lofty goal shared by almost all leagues. This creates an incentive for leagues to create content fans in these regions can use to stay connected.
8. Sponsors expect a lot more than just a bit of signage. They want to see their products being used organically in the context of the sport. They want to activate in creative ways, especially on social, and they want to measure everything they can. As the sponsorships continue to become more valuable and complex, sports bodies will be under pressure to find new ways to prove those sponsors are getting value for their money. The news content created by leagues provides another platform for sponsorship activation that can range from simple to innovative.

If most of these trends continue, leagues will have incentive to develop more comprehensive files of news style content for their fans and I fully expect those newsrooms to start surpassing some more sophisticated broadcast and digital news publishers on the maturity curve, at least in their chosen domain.

In these trends, there are new opportunities for traditional media companies to partner with leagues in new ways. At Reuters, we’ve expanded what was a more regional sports agency globally —Action Images—to help leagues benefit from our traditional media know-how to create, monetize and distribute their own news content globally.

If you’re at a sports desk and this new competition is making you queasy, don’t reach for the Alka-Seltzer just yet. There is one big catch for the purists out there. Everyone knows this content is always going to at least come with some perceived bias. The leagues will openly admit they have an agenda in creating this content; the fans know it instinctively. We won’t read many negative opinions on questionable coaching decisions, bad behavior off the pitch by athletes, the latest front office scandal or labor disputes in league-generated content. That’s still squarely the role of independent media, and readers will always seek and value balanced coverage for the competitions they love most.

Rob Shack is vice president of Reuters Sport.