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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the conference’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The full report is available here.

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

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

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

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

2026 CBS Sacramento / UC Davis Football Broadcast Schedule:

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

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

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

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

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

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

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

Other key viewing figures include:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

AMSTERDAM—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.

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

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

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

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

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

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

See Dolby Laboratories at IBC stand 5.F86.

More information is available on the company’s website.

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

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

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

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

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

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.

SAN JOSE, Calif.—Roku is expanding availability of its NFL Zone from the U.S. to Canada, Mexico and Brazil.

NFL Zone, a centralized hub within the Roku Sports experience, brings global fans a dedicated destination to discover live and upcoming games, the NFL Fast Channel highlights, clips, and other NFL content throughout the season.

The expansion—which takes effect today—builds on Roku’s growing sports presence internationally, following the launch of the Sports experience in Mexico in 2025 and earlier this year in Brazil and Canada. It also comes as engagement across Roku Sports experiences continues to grow, with streaming hours up 122% year-over-year and unique visitors up 80% in the U.S. in Q2, the company said.

The expansion also includes the NFL Channel, the League's free, ad-supported destination for 24/7 NFL programming. Roku will offer officially branded NFL clips and highlights alongside live and upcoming games to viewers in Canada, Mexico and Brazil.

The NFL Channel offers a 24/7 stream of NFL programming, while the NFL app provides access to NFL+, the League’s exclusive streaming service featuring live local and primetime games on mobile, NFL Network, live game audio, and other on-demand content, plus game replays and NFL Redzone with an NFL+ Premium subscription.

YouTube TV has integrated the ESPN Unlimited service into its offers, making the content available directly on YouTube TV.

The integration means that subscriber to the main YouTube TV plan, or any plan that includes Sports, can now catch all the action directly within the YouTube TV app and interface.

The addition of ESPN Unlimited was part of a distribution deal struck between Disney and YouTube last year.

Popular features like unlimited DVR, key plays, scores and stats and multiview will also be available with ESPN Unlimited content, all within the YouTube TV app.

As part of the launch, the vMVPD has also enhanced the YouTube TV interface to make it easier for viewers to find the content they want. The live guide now shows three rows of currently airing live events from ESPN Unlimited, along with a dedicated network row for further browsing. When a game has multiple feeds, fans will now have the choice between options for different languages, home and away feeds, and alternate camera angles, all clearly labeled in our updated station picker.

In addition, the YouTube TV Fantasy View feature now supports ESPN Fantasy Football. ESPN Fantasy Football users can link their ESPN account through YouTube TV settings ahead of the upcoming NFL season to track their fantasy teams during live NFL games.

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.

ATLANTA—The Orlando Magic NBA franchise and Gray Media have announced a deal that will see Gray stations in Gainesville, Panama City, and Tallahassee broadcast about 70 games during the 2026-27 season.

All regular-season games, excluding exclusive national telecasts, will be broadcast over-the-air on digital subchannels of WTGB (Channel 34.3) in Gainesville, WJHG (Channel 7.6) in Panama City, and WCTV (Channel 6.3) in Tallahassee.

Each subchannel is affiliated with the 365BLK network and is also available on local cable systems.

In addition, select games will air on Gray’s ABC, NBC, CBS, and MyNetwork stations in these markets. A complete station lineup and broadcast schedule will be announced later.

“We are excited to partner with Gray Media to bring Magic basketball to Gainesville, Panama City, and Tallahassee,” Magic President of Business Operations Charlie Freeman said. “Adding Gray to our lineup will provide Magic fans a direct connection to the team all season long.”

Added Gray Chief Operating Officer Sandy Breland: “Gray knows that Orlando Magic fans in Gainesville, Panama City, and Tallahassee will love watching the full season of the Magic free, over-the-air. This relationship with the Magic builds on Gray’s other successful NBA partnerships and we look forward to continuing to build on this relationship with the Magic.”

The Magic’s broadcast team will comprise full-time play-by-play announcer Dante Marchitelli; analyst Jeff Turner, a former Magic forward; and Kendra Douglas, who is entering her fourth season as team reporter.

The Magic said that they will also announce a direct-to-consumer streaming partner in the near future.

NEW YORK—The software-based realtime media monitoring, multiviewing and quality control (QC) provider TAG Video Systems has announced TAG Blue, a cloud platform that gives every company on a delivery chain shared visibility of their workflow, and uses AI to turn that visibility an analysis of root causes and recommendations for dealing with issues.

TAG Blue will be previewed at IBC2026, Stand 1.D33, RAI Amsterdam, 11–14 September.

TAG’s Core platform already gives broadcasters complete visibility inside their own operation. The challenge is what happens beyond that boundary. As content moves across more entities, facilities, partners and workflows, visibility breaks down in two distinct ways. First, every entity on the chain sees only its own leg of the workflow. No one sees the full path. Second, the telemetry each deployment generates is rich enough to explain what went wrong, but connecting the dots across companies to a root cause and a next step is impossible or takes too much time and money.

TAG Blue gives every entity in a delivery chain visibility into the workflow points they have in common using TAG technology, with no new instrumentation required. AI technology then correlates errors across the defined path, finds the potential root cause, and recommends the steps to fix the issue.

Operators can also ask TAG Blue directly what happened, powered by a large language model (LLM) built into the platform, and get an answer instantly instead of digging through logs.

In a live sports broadcast, for example, shared visibility between production and takers is crucial. From the venue all the way to the platforms airing it, TAG Blue lets them all see the same picture, end to end. If something breaks along the way, everyone already knows where and why, instead of each side checking its own system while the clock is running.

TAG is working with other leading media technology vendors to extend that same shared visibility further across the industry.

"Traditionally, every entity on the chain could see what was happening inside its own walls and almost nothing beyond them. When something goes wrong, the phone starts ringing. TAG Blue changes that. It gives them real visibility across the chain, securely, without giving up control, and its AI turns that into a root cause and solutions. Now broadcasters, service providers and operators can solve the problem and avoid unnecessary costs related to service outages," said Ziv Mor, chief growth officer, TAG Video Systems.

TAG Blue is in development, with design partners and is expected to be available before the end of the year. TAG will preview TAG Blue at IBC2026, Stand 1.D33, RAI Amsterdam, 11–14 September 2026.

MILAN, Italy—Brightcove has launched Brightcove Gen 2, the next generation of its platform designed to give video teams more capacity to create, distribute, engage and monetize content at scale.

The update includes more than 22 new enhancements and 30+ platform advancements and is designed to allow media companies to reach more audiences, increase engagement and unlock more revenue; automate work, streamline workflows and reduce complexity and combine a more powerful, reliable and secure platform with faster innovation across the entire video workflow, Brightcove said.

These capabilities build on a year’s worth of new solutions and features across the platform. Recent additions include the redesigned Prism user interface, expanded monetization tools, new localization and accessibility capabilities, Next-Gen Live, and AI-powered features that help automate workflows and reduce manual work.

Among the features completely new to Gen 2 is the AI Agentic Hub, which will be unveiled at IBC 2026, Sept. 11-14 at the RAI Amsterdam. The Hub enables teams to move beyond step-by-step tasks by allowing users to define an outcome and have AI agents coordinate the actions and workflows needed to achieve it, according to the company.

AI agents can work across Brightcove’s functionality, meaning they can analyze video data, generate insights, and take action on those insights across the platform—from managing content and metadata to optimizing workflows and configuring experiences. Users interact with the agents through a chat-based interface, making it possible to automate complex, cross-platform workflows and move from insight to action faster.

The AI Agentic Hub is already available to customers in production.

Brightcove will be in Stand 5.A90 at the RAI Amsterdam.

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.

BERKELEY, Calif.—Eluvio today announced its plans for the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam, focusing on new advanced features in its Global Broadcast Fabric, the latest generation of the Content Fabric protocol and global infrastructure, as well as new advances in its Universal & Dynamic Video Intelligence architecture and Eluvio Video Intelligence Editor (EVIE)

At IBC, Eluvio will demonstrate the Global Broadcast Fabric’s live broadcast distribution architecture—a decentralized, zero-copy system that replaces satellite distribution, fiber point-to-point connections, and ground-to-cloud multi-point egress for live broadcast feed distribution, extended with new live-operations and monetization capabilities. One decentralized Content Fabric distribution simultaneously serves every downstream taker just-in-time — B2B broadcast affiliates and D2C consumer endpoints — from a single ingest workflow without duplication, according to the company.

Eluvio says Content Fabric “is powering thousands of D2C live games and streaming events and hosts hundreds of thousands of live, archive, and library titles for premium brands and creators — with 10x cost savings over legacy CDN and media cloud infrastructure at scale.

Improvements include :

• 8x increase in live stream cross-variant serving; <=30ms segment delivery latency; up to 4x scale of DRM encryption variants; zero-impact global maintenance; and instant-on HFR streaming.
• Stereoscopic HFR 4K (SBS and MV-HEVC), Dolby Vision and Dolby Atmos, HDR/HDR10+, full Widevine parameterization, AV1 (upcoming), optimized asset structure for hundreds of language and subtitle tracks.
• Powered by new Media Wallet v3 and Creator Studio CMS, allowing Eluvio to provide best-in-class TV, browser, and mobile native white label D2C OTT properties with advanced UX branding, interactive experiences, and configurable live, VOD and clip based content presentation and management.
• The ability to configure and deploy unlimited D2C OTT streaming and archive monetization apps for TV/mobile/browser, B2B portals, and Pocket TV microsites with fast multi-view, integrated DVR, automatic live and VoD content slating, and up-next autoplay. New multi-view sidebar, “In This Video” AI data panel, and expanded entertainment and sports layout options provide a flexible and outstanding UX experience for fans with no code deployment. Fully integrated with the Eluvio Video Intelligence Editor (EVIE), browse and publish zero-copy EVIE clips and compositions.
• Full SVOD/TVOD (rental and ownership) entitlements, match-based live entitlements, seamless JWT/SSO, and fully integrated Apple Pay, Google Pay, and Stripe in a single checkout flow. CableLabs-compliant Title Metadata API with territory-based offers and delta-only global updates.
• A fully white-labeled microsite for live and episodic content sales with zero friction: no login required, single-click Apple Pay and Google Pay, and magic links for return access. No PII collected. Instantly embeddable as a URL in any social post, paid ad, or CRM email. Deployed by a Tier 1 US broadcast network in 2026.
• Real-time analytics spanning B2B SRT/TS and D2C HTTP streams; global receiver map with per-receiver performance stats; expanded audience metrics; client-side QoS stats; and sales transaction reporting by currency, product, and country.

Eluvio will also showcase Eluvio AI and Eluvio AI and the Eluvio Video Intelligence Editor (EVIE), a new architecture for universal dynamic video intelligence.

According to the company, Eluvio AI is "the first commercially available inline, frame-accurate, multimodal AI built natively into a media platform — running inference on live and VOD content at frame and segment level with zero file copies, zero file movement, and zero transcoding, across open-source, custom, and third-party models."

The Eluvio Video Intelligence Editor (EVIE) provides the media-facing application layer for this intelligence, allowing users to inspect, search, validate, edit, and act upon AI data while remaining synchronized to the underlying video. The new EVIE Titles & Events experience brings the complete AI stack together around a title—such as a film or television program—or an event, such as a live sports match.

“Eluvio AI is fundamentally different from point AI solutions because the intelligence runs inline, with frame accuracy, across live and archival content — without the cost and delay of copying and re-transcoding media before it can be processed and ensembling the power of individual models with frame-accuracy,” said Michelle Munson, CEO and co-founder of Eluvio. “The AI is built directly into the video pipeline of the Content Fabric, rather than added afterward as a separate cloud workflow.

“Everything from identifying action, players, celebrities, speakers, or brands to turning that intelligence into highlights, vertical videos, compliance reels, or personalized content happens in place against the source media and has no limits on size, duration, or ensemble scale,” Munson added. “The result is dramatically greater efficiency and speed, while making AI intelligence immediately actionable for personalization and monetization. At IBC, we’re excited to show broadcasters and rights holders these capabilities running across both live sports and premium content.”

Eluvio will be in Stand 8.MS5 at the show. For more details, visit https://ibc.eluv.io.

LEXINGTON, Mass.—Signiant will showcase the latest evolution of the Signiant Platform at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

Topping the list is Media Shuttle's new Intelligent Transport, which allows customers to take greater advantage of all their high-bandwidth infrastructure with multi-threaded and multi-gigabit transfers that adapt to live network conditions.

Also new is Signiant Pulse, a new line of secure connected services designed to help media organizations work with content where it sits.

Signiant Pulse includes:

• Pulse Essentials: Unified content visibility, access, and action across every connected storage location, included free with the Signiant Platform
• Pulse Review & Approve: Collaborative, frame-accurate content review without needing to upload or download content
• Pulse Plus: AI-generated descriptions, tags and transcripts using the customer's chosen AI provider rather than a vendor-hosted model
• Pulse AI Studio: Multi-step AI agent workflows across enriched content libraries, with MCP-governed access and usage-based cost controls
• Signiant MCP Server: Connects MCP-capable AI clients, including ChatGPT, Claude and Gemini, enabling agents to search, validate and route content while operating within existing permissions and audit controls that govern transfers

Signiant will also showcase Signiant Verify, which enables media to be checked against delivery specifications before it is transferred. Content that fails validation can be held and suppliers will be notified before submission, rather than after delivery as well as Verify aiQC, which extend Verify’s capability with deeper inspection of the picture and sound.

Signiant will be in Stand 5.C74.

SAN ANTONIO—The San Antonio Spurs have announced a deal with the sports entertainment platform DAZN that will make it the team’s new direct-to-consumer media partner.

As part of the deal, which begins with the 2026-27 season. DAZN will serve as the exclusive direct-to-fan destination for Spurs games, airing all regular season games not selected exclusively for national broadcast, plus all preseason contests and team-produced original programming.

The Spurs also reported that they will also offer 22 games over-the-air through a soon-to-be-announced local broadcast partner.

“Partnering with DAZN gives Spurs fans an easy and innovative platform to follow Spurs game action and additional behind-the-scenes highlights,” said Frank Miceli, chief commercial officer at Spurs Sports & Entertainment. “This partnership expands access to Spurs basketball and original content across our home broadcast market while creating more ways for fans to connect with the team. We’re excited to work with DAZN to deliver an engaging viewer experience beginning with the 2026-27 season.”

“The San Antonio Spurs are an iconic sports brand with deep roots in their community,” added Shay Segev, CEO of DAZN Group. “DAZN’s partnership with the Spurs is another important step in our strategy to build the leading entertainment destination for sports fans in the United States. Across the country, we’re partnering with top-tier teams and rights holders to help them strengthen direct relationships with their audiences through a modern, flexible viewing experience. The Spurs share our commitment to innovation and fan engagement, and together, we look forward to bringing Spurs basketball and premium team content to local fans."

As part of the deal, the Spurs will oversee and manage the full production of all games.

The subscription service, which will launch in the coming weeks, will be available throughout the Spurs home broadcast market, which includes full coverage across Central, South and West Texas.

DAZN noted that fans who become Official Spurs Fan Club members by Wednesday, Sept. 9 are eligible for an exclusive subscription discount. A Monthly Pass will be available for $19.99, while a Season Pass will cost $119.99. Spurs season ticket members will receive a 20% discount on Season Pass subscriptions.

DAZN will also offer its Ultimate Tier with incremental benefits including a 25% off one-time discount code to the Spurs Fan Shop in addition to alternate feeds and camera angles, and multi-view capabilities, enhancing the fan viewing experience.

Monthly Pass Ultimate will be available for $24.99 and Season Pass Ultimate will be available for $139.99.

DAZN will also distribute select Spurs Sports & Entertainment programming, including San Antonio FC matches and NBA G League Austin Spurs games.

More information more about the San Antonio Spurs on DAZN and to sign up to be notified when subscription access becomes available can be found at DAZN.com/Spurs.

BRUSSELS, Belgium—Mediagenix, a provider of smart content solutions “Mediagenix Curation,” a new solution for managing content presentation and discovery across streaming services.

The announcement comes a year after the company announced the integration of Spideo’s humanized content recommendations, personalized discovery, and catalog exploration capabilities into its flagship Title Management solution. Mediagenix acquired Spideo in 2024.

The company says Mediagenix Curation solves the complexities of delivering personalized experiences at scale by combining editorial control with automation and personalization “to execute content presentation strategies at scale.”

Integrated across the Mediagenix ecosystem, the new curation solution helps media companies unify editorial and algorithmic curation by combining human creativity and editorial control with data-driven recommendations in one workflow; give editorial and product teams direct control over content presentation; launch and iterate pages and rails faster without engineering dependency, and increase engagement and retention by surfacing the right content at the right time for the right audience.

“Streaming has moved beyond the question of simply having great content; the challenge now is making sure every viewer can discover the right content at the right moment. That creates a tension between the scale and intelligence that automation can bring, and the editorial judgment that gives a service its identity. With Mediagenix Curation, we’re bringing those two forces together, giving editorial teams the control to shape the experience while using automation and personalization to execute their strategy at scale,” said Patricia Blanco, Product Manager of Mediagenix On Demand and Curation.

“Over time, our ambition is to connect that viewer experience much more closely with the wider content lifecycle, so that what audiences discover and engage with can help inform how media companies plan, schedule and ultimately get more value from their content.”

Mediagenix will demo Mediagenix Curation at Stand 1.B57 during the 2026 IBC Shoiw, Sept. 11-14 at the RAI Amsterdam.

DARMSTADT, Germany—All sound engineers probably agree that delivering high-quality audio mixes for sporting events requires a versatile mixing console, a good speaker setup, and carefully selected microphones with an excellent tonal balance.

For my work at tier-one events, I need a console that provides quick access to all critical features, is easy and fast to configure, and is flexible. For this, I use as many direct access buttons and custom functions as possible. Designed to address these needs, the Lawo mc²56 console makes it easy to check the availability and status of hundreds of audio sources.

Dolby Atmos Sound
This is especially important for Dolby Atmos productions where I need to create and monitor several 5.1.4 presentations, as well as 5.1 and stereo renditions provided by the mc²56’s downmix function—both with and without commentary. Near-instant tweaks are of the essence when the world is watching.

Automation tools such as audio-follows-video, Lawo’s KICK software for tracking-based, close-ball mixing that delivers crisp ball and other on-pitch noises—and increasingly AI, which I use to clean audio signals such as commentary—have become essential. Without them, the high audio-quality standards viewers have come to expect would probably be impossible to achieve.

I prefer to mix remotely, in an optimized acoustic environment, which usually involves audio sources coming from several locations. The Remote Audio Control Room (RACR) in Germany, where I mix frequently, provides such an environment. While this might work with proprietary MADI over Ethernet connections, only an IP-based network allows me to mix signals originating from different parts of the world.

The total absence of bleed from the venue allows me to make informed decisions about the sound. Today’s audio and video workflows more than justify using a networked ST 2110 backbone for the production of top-notch TV events, be they World Cups, four-year athletics jamborees or music performances.

Lawo mc² consoles have become the de facto standard in all productions I work for. Almost all OB trucks in Germany and the Benelux are equipped with Lawo desks, and the host broadcaster for global soccer events also provides them. So, for me, there is definitely a muscle-memory dimension to Lawo consoles: I know them inside out and find their layout highly intuitive. Working with an mc² console almost feels like my fingers can reach inside the desk and directly touch what I need to refine. This gives me speed, reliability and confidence.

I also use a lot of plug-ins, such as Waves, high-quality Seventh Heaven reverbs, AI tools such as Clear or Clarity and many others, depending on the production, as well as new metering tools that we developed at the university.

Quest for Big Audio
I am very lucky to work on so many immersive audio mixes: the whole crowd is cheering, music is playing, different camera angles are shown in rapid succession—and everything is immersing you. This conveys the impression that viewers at home are actually at the event.

We spent the last 20 years looking for “bigger” audio as video moved from SD to HD, then to UHD and HDR. The tricky part was figuring out how to get rid of unwanted noises in the audio for optimal channel separation. We now have the tools to provide an enveloping sound experience, and we can even specify the scale of an immersive mix to match the average screen size viewers have in their homes—or make it as huge as we like.

More information is available on the Lawo website.

EverPass Media has announced a multi-year distribution agreement with Netflix that will bring Netflix's NFL content to commercial establishments nationwide.

The agreement builds on the existing agreements between EverPass and Netflix, which has delivered NFL Christmas Day games on Netflix over the past two seasons and distributed other Netflix-exclusive live boxing events to bars and restaurants.

Through the expanded agreement, commercial venues will have access to Netflix's full NFL slate.

The 2026 lineup includes the NFL's Week 1 Melbourne game, the first-ever Thanksgiving Eve game, two Christmas Day matchups, a Week 18 game and NFL Honors, the league’s annual awards show during Super Bowl week.

“Netflix continues to bring some of the NFL’s biggest moments to fans, and we're excited to expand our partnership to make those events available to commercial businesses across the U.S.,” said Alex Kaplan, CEO of EverPass Media. “Digital distribution has fundamentally changed how audiences access content, and EverPass was built to help commercial businesses keep up with that evolution. By providing a simple, authorized way to access premium live events, we help bars, restaurants and other venues deliver the games that matter most to customers. Adding Netflix’s NFL live events to EverPass further strengthens our offering, giving establishments access to even more must-see events that drive engagement and create memorable experiences.”

Through EverPass, commercial businesses will have access to the following NFL games and events on Netflix during the 2026 season:

• Week 1 (Melbourne): San Francisco 49ers vs. Los Angeles Rams – Thursday, September 10, 2026
• Week 12 (Thanksgiving Eve): Green Bay Packers vs. Los Angeles Rams – Wednesday, November 25, 2026
• Week 16 (Christmas Day): Green Bay Packers vs. Chicago Bears – Friday, December 25, 2026
• Week 16 (Christmas Day): Buffalo Bills vs. Denver Broncos – Friday, December 25, 2026
• Week 18 (Final Week of the Regular Season): Saturday, January 9, 2027
• 2027 NFL Honors: TBD Super Bowl week

Under a separate multi-year agreement with EverPass, DirecTV for Business will market, sell and distribute these NFL games and events, along with other premium sports programming available through EverPass, to commercial customers.

The deal comes in the wake of recent news that EverPass has agreed to be acquired by the sports entertainment platform DAZN.

The acquisition, announced August 26, will bring together EverPass' leading U.S. commercial sports distribution capabilities with DAZN's global scale, premium content portfolio, established international commercial distribution and technology capabilities. The transaction is expected to close following receipt of required regulatory approvals.

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.

CLEVELAND—Telos Alliance will highlight its latest product line for TV, streaming, and radio at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

Visitors to Stand 8.D37 will find two European product debuts as well as major updates and additions across intercom, live production audio, and file-based audio workflow tools.

New this year for Jünger Audio flexAI, is flexAI CastCompanion. Powered by JAIC, the Jünger Audio Intelligent Companion, flexAI autonomously manages live voice sources that may arrive at very different levels, with varying quality and background noise. JAIC analyzes the incoming audio and helps optimize parameters, while Jünger’s deterministic algorithms handle the actual processing, delivering predictable latency and broadcast reliability. CastCompanion combines automixing, AI-assisted de-noising, voice enhancement, and loudness management to create consistent, intelligible mixes without an operator constantly riding levels.

Telos Alliance will show new flexAI support for 12G-SDI and NDI and will demonstrate how flexAI now integrates with the TVU MediaMesh cloud-native live production platform, allowing producers to extend Jünger’s powerful processing ecosystem across hardware, server, IP, partner, and cloud workflows.

The company will also highlight new Infinity MK2 hardware panels for the Telos Infinity IP intercom range. Designed for use in the studio and in the field, the larger buttons feature bright TFT displays, programmable colors, flexible Talk/Listen controls, three shift pages, a Reply to Last Caller function, and four-way “compass” controls.

For sports commentators, Infinity VCP Virtual Commentator Panel now integrates directly with Elgato Stream Deck+, adding compact physical controls to its browser-based commentary environment without requiring a traditional dedicated commentary box. VCP also uses adaptive bitrate control to help maintain contribution audio intelligibility and network reliability.

Also making its debut in Europe is Axia Pulsar, a compact AoIP console, that features an 8-fader Master Module that uses dual operating layers to provide access to 16 inputs; an optional Expansion Module gives physical access to all 16 faders. Axia Pulsar features bright TFT displays, touch-sensitive encoders, spill-proof 100mm motorized faders, programmable controls, Show Profiles, and integrated EBU R128 loudness metering. Powered by the 2RU StudioCore engine, the compact Pulsar integrates directly into all Livewire and AES67 environments. Optional Pulsar Soft browser-based control also makes remote operation possible from a computer, tablet, or smartphone, according to Telos Alliance.

Minnetoka AudioTools Server v7 will debut at IBC, with new A.I./machine-learning modules that include Language Detection, Dialog Intelligibility, and a powerful new tool, AudioTools Source Separation by AudioShake. This new subscription module can extract dialogue, music, and effects from finished program audio to give broadcasters, studios, streaming providers, and content owners new ways to work with existing material when original multitrack sessions are unavailable or incomplete.

Dialogue can be isolated for dubbing or intelligibility enhancement, music can be replaced for creative or licensing reasons, and clean M&E tracks can be created for alternate-language versions and new distribution opportunities. Because source separation runs inside AudioTools Server, it can also be combined with existing loudness, QC, transcoding, language, and delivery processes to create repeatable, automated workflows at scale.

For radio, the Omnia XII will mark its European debut at the show. Its new processing architecture combines wideband AGC, five bands of intelligent multiband AGC and compressors, six bands of multiband limiting, smart dynamic EQ, refined bass management, and a new “Clemenza” clipper, designed to deliver competitive loudness without the distortion and listener fatigue that can come with aggressive processing.

Along with products featured at IBC, Telos Alliance will showcase its work with industry partners to advance interoperability and more consistent audio workflows.

As part of the IBC Accelerator “Crystal Clear” project, Telos Alliance is collaborating with Nugen Audio, RTW, Steinberg, Fraunhofer IDMT, Channel 4, BBC, ITV, and others on standardized dialogue intelligibility measurement across the industry.

Telos Alliance will take part in Grass Valley's AMPP demo, with Minnetonka Audio ARC loudness processing and UPMAX up/down/cross-mixing interconnected via MXL to enable higher-quality, lower-latency audio processing within AMPP workflows.

Telos Alliance will also participate in Qvest’s Dynamic Media Facility demonstration, a portable, multi-vendor production environment handling live feeds, real-time audio and video processing, Dolby Atmos upmixing, signal monitoring, and multiviewing. Telos Alliance processing will operate alongside tools from other vendors, with MXL providing the common connection between applications. The demo shows how MXL can simplify integration and reduce latency across on-prem and cloud workflows.

Telos Alliance will be in Stand 8.D37.

TAMPA, Fla.—As the A1 audio mixer for Tampa Bay Rays, Tampa Bay Lightning and Orlando Magic home broadcasts, I try to make viewers feel like they’re part of the experience. Whether watching from their living room or on a mobile device, the fans should feel like they’re sitting behind home plate, courtside or inside the arena.

The best broadcasts don’t draw attention to microphones, mixers or technology. They create a listening experience that feels authentic. I don’t want viewers to think that I’m trying to make them hear something. They should hear it naturally.

Sports audio is complex, with crowd noise, public address systems, venue acoustics and the pace of the game all competing for attention. My job is to present the sounds that matter most naturally, so viewers experience the game, not the technology behind it.

Natural Sound
That philosophy is what first drew me to the Shure DCA901 microphone array. I was introduced to the tech through colleagues working on major national broadcasts, and my first opportunity to spend significant time with it came during NBA All-Star Game productions. What stood out immediately was how the DCA901 allowed me to focus less on chasing individual sounds and more on creating a complete listening experience.

In basketball, I originally relied on a large number of microphones spread around the court. Capturing the sounds required constant attention as the action moved from one end of the floor to the other. The DCA901’s steerable lobes and automixing capabilities simplified that process while still giving me the detail and coverage I needed. Instead of constantly chasing the action, I could focus on getting the sound where I wanted it.

What impressed me even more was what I heard when using the DCA901 for baseball. For years, I’ve worked with high-end parabolic microphone systems that are considered industry standards in sports production and they do an excellent job. But when I first listened to the DCA901 behind home plate, I noticed something different.

With many traditional systems, you hear the impact of a baseball hitting a bat. With the DCA901, I felt like I could hear the wood itself. A clean hit sounded different from a foul tip. A player finding the sweet spot sounded different than one getting jammed inside. When a bat splintered, the detail of the wood breaking apart came through with remarkable clarity. As an audio engineer, those details matter, because they’re the sounds that make fans feel connected to the game.

Flexible Coverage
Today, I regularly deploy DCA901 systems on MLB and NBA broadcasts. For basketball, I place units on the basket stanchions. For baseball, I position them along the first- and third-base lines to capture key game sounds throughout the field of play. The steering flexibility gives me options that would traditionally require a much larger microphone deployment.

Pairing the DCA901 with Shure Action Isolator software has also been incredibly valuable. In baseball, I route my effects mics through the Action Isolator before bringing them back into the console. My crowd mics remain separate, so crowd energy stays natural, while Action Isolator cleans up the effects mix and makes it easier to feature key game sounds.

For me, the two technologies complement each other. The DCA901 gives me flexible coverage across the field and court, while Action Isolator helps reduce ambient noise that naturally exists in live sports environments. One feature I’ve especially appreciated is the ability to independently adjust processing on individual channels, allowing me to tailor the mix to the sport, venue and production requirements.

What continues to impress me most is how naturally the system captures important moments. Whether it’s the crack of the bat, the sound of the ball hitting the mitt, a pickoff attempt at first base or action developing across a basketball court, the DCA901 helps reveal details that might otherwise get lost in the mix.

More information is available on the Shure website.

SAVANNAH, Ga.— What started in 2015 as a college summer baseball team selling just a handful of tickets in its opening months has evolved into the phenomenon known as the “Savannah Bananas,” selling out every single game since we adopted the moniker in 2016.

This year marked the Savannah Bananas’ biggest broadcast season yet. In June, we brought “Banana Ball” to ABC for the first time, taking on the Party Animals at Autzen Stadium in Eugene, Ore., and our new Banana Ball Championship League is bringing more fans into more packed stadiums than ever.

Our exclusive distribution deal with Disney+ and ESPN—the most ambitious in Banana Ball history—allows for every game to be streamed on the ESPN App and Disney+, with select games airing across ESPN networks and ABC. True to our “Fans First” ethos, every broadcast remains free to watch on YouTube regardless of where else it airs.

REMI Banana Ball
With our audience growing at pace, BTV (Banana Ball TV, our production arm), has needed to rapidly build up its technical capabilities. We’ve seen a lot of growth for the 2026 World Tour season, so we’ve rebuilt our facilities over the past two years to increase our efficiency and output. Prior to this latest expansion, we were operating with consoles not designed for broadcast production, which caused a number of challenges.

Working closely with Sean McCluskey, our head of engineering, we designed and implemented a REMI workflow that gives our production staff consistency without compromise as they move from room to room and site to site. Spread across two main control rooms at our remote facility in Savannah, and with flypacks positioned out in the field, we’ve placed Calrec’s audio network at the core of our REMI operation, building in the capacity our rapidly expanding operation demands.

We adopted an agile, distributed system, installing three 36-fader Argo M consoles, three Type R systems, and True Control 2.0. This gives us a combination of analog, embedded SDI, MADI and Dante. All of our audio gets a first-pass mix and level set before it’s embedded in our video transmission back to Savannah. We make sure lip sync is correct on-site, so when everything reaches our control rooms, we can focus on mixing the broadcast as if we were at our home stadium.

The Calrec Assist GUI gives us full remote console control, keeping our operation agile whatever the demands. Using a browser means we can access any console from inside the stadium to make changes, and I can also work remotely from home to support our shows and fix issues quickly. It’s a genuine game-changer.

Range of Venues
That agility matters because no two venues where we play are the same. We love massive stadiums, but we also love the smallest ones equally. We recently played at Kyle Field in College Station, Texas, one of the largest venues in the state with a seating capacity of more than 100,000; two days prior, we played at a high school with free admission and a maximum capacity of 1,000. We are here to deliver a consistent entertainment experience.

That range of venues also demands an adaptable approach, which is why we work with local audio operators rather than carrying a full crew with us. Many of these engineers come from an entertainment and film background rather than broadcast, but the Calrec consoles have made it extremely easy for them to make that transition and excel.

Banana Ball is as much about performance as it is sport. It’s designed for casual fans who love great entertainment as much as for die-hard sports fans who want a legitimate season to follow, and creating that fun, positive environment is what resonates with people.

With our Championship League in its inaugural season and our television and streaming output expanding, Calrec’s Argo consoles have dramatically improved our production, putting us in the best position to broadcast the next chapter of one of sport’s most extraordinary success stories.

More information is available on Calrec Audio’s website.

DALLAS—Being selected to host nine 2026 FIFA World Cup matches, including a semifinal, was a great honor for AT&T Stadium and a tribute to the work of our entire team. From an audio perspective, the project brought our in-stadium production together with an international broadcast operation requiring several new signal combinations and delivery paths.

Our main audio control room is built around a 48-fader Solid State Logic System T S500m surface. It is the central point for audio distributed throughout the venue and for the feeds we exchange with broadcasters.

Game-Day Planning
We began meeting more than a year before the tournament and as plans developed, we learned that a central hub would connect the stadium’s audio, video and communications systems to the International Broadcast Center in downtown Dallas and the international broadcast truck at the stadium.

The show content was not radically different from a Cowboys game, where we regularly manage dozens of inputs routed to around 30 auxiliaries and patchable outputs, together with several stage submixes.

For the World Cup, the principal difference was how that content needed to be packaged and distributed. We had to send our show audio to both the IBC and the international broadcast truck, while continuing to supply feeds to the stadium PA and back-of-house areas. Our production partners at Media West provided audio support for the entertainment stage and sent their mixes back to me.

Broadcast requirements called for several distinct mixes and delivery paths. Music, video playback and entertainment content were supplied in stereo, while commentator and host microphones required a separate mono mix-minus. Later in the planning process, we received an additional request for crowd microphones and introduced a separate submix position in an adjacent control room, where the operator managed a combination of sources that changed during each match.

The main change to our System T game-day showfile was adapting the existing routing for the new broadcast workflows. We expanded the routing and monitoring setup to support the additional feed requirements, while keeping our control-room operation intact.

System T allowed us to make these additions without affecting our established stadium workflow. Its routing and I/O options gave me the flexibility to add sources, build new submixes and position the additional playback channels where I needed them, all on top of our typical configuration.

Touch and Done
During each match, the S500m remained at the center of the production, with a remote System T TCA and fader tile allowing an operator in the bowl to adjust EQ and levels as crowd conditions changed. Our bowl mix was embedded into the video feed returning to the IBC. The music mix and the mix-minus for commentator and host microphones were sent separately, while our crowd microphones were routed through another video stream with embedded audio.

I received the international broadcast audio feed and routed it to our back-of-house submixer. My mix and a return submix from the IBC, which needed adjustments during the match, were then sent to another control room. From there, a further submix was created and returned to both the IBC and the international broadcast truck.

The stadium’s Dante infrastructure continued to carry signals between our Shure wireless microphone receivers and System T, while connections to the World Cup broadcast operation were made through the IBC hub in our broadcast rack room.

Redundant System T engines provided confidence for both our team and FIFA’s technical team. At source level, I used the console’s A/B inputs for the primary and backup music playback, making either source immediately available while preserving my normal layout.

Delivering nine matches required preparation, coordination and an ability to adapt our established operation as broadcast requirements evolved. System T gave us that flexibility. When a technical manager requested another source in a submix during one match, it was simply a case of “touch, touch, touch…done.”

More information is available on Solid State Logic’s website.

CYPRESS, Calif.—For-A has announced the expansion of viztrick AiDi into an overarching AI technology brand encompassing two dedicated products: Go Vertical! AiDi and AiDi Sports Hub. Developed by Nippon TV and delivered globally by For-A, viztrick AiDi brings advanced AI capabilities directly into live production workflows, with on-device processing designed to deliver the speed and responsiveness live content demands.

The new product structure makes it easier for broadcasters, sports producers, and other content creators to choose the AI tools that fit their needs, according to the company. Go Vertical! AiDi addresses the growing demand for mobile-first video delivered in a 9:16 format, while AiDi Sports Hub applies AI to create more engaging live coverage with tools that provide additional context.

“AI is becoming an increasingly practical part of live production, but customers don’t need technology simply for technology’s sake,” said Hiro Tanoue, Director, Alliance Department at For-A Company Limited. “They need tools that solve real production challenges without adding complexity. By establishing viztrick AiDi as our overall AI technology brand and introducing Go Vertical! AiDi and AiDi Sports Hub as dedicated products, we can make it much clearer for customers to identify the capabilities that can make a difference in their workflows.”

Previously introduced at the 2026 NAB Show as a feature of viztrick AiDi, Go Vertical! AiDi is now a dedicated product built around AI-driven, real-time 9:16 cropping, For-A said. The system analyzes live video and automatically creates vertically formatted output optimized for social media and mobile viewing.

For broadcasters and content owners, that means existing 16:9 programming can be adapted for mobile audiences as the action happens, without creating an entirely separate production workflow. Go Vertical! AiDi supports automated tracking modes for sports including basketball, soccer, and baseball, as well as group subjects. Operators can also identify and track specific subjects, with the system automatically resuming tracking if a registered subject temporarily disappears.

The technology operates on-device rather than depending upon cloud processing - an important advantage when immediacy matters. Go Vertical AiDi features near-real-time processing for live 9:16 production, avoiding the five-to-ten-second delay associated with some competing approaches.

Go Vertical! AiDi also supports mobile-first coverage of news, conferences, red carpets, entertainment programming, and other live events where audiences increasingly consume content vertically.

AiDi Sports Hub takes viztrick AiDi technology in another direction, giving sports production teams AI-assisted tools that can add information, context, and visual storytelling to live coverage.

The system's capabilities include telestration, player tracking, player speed, distance and angle measurement, baseball runner speed, automated score graphics, and facial-recognition graphics. For-A said it is also developing additional capabilities including 2.5D/3D graphics, ball-trajectory visualization, sensor-based golf-ball trajectory, and AI-assisted automated program production.

Both Go Vertical! AiDi and AiDi Sports Hub are now available globally.

For more information about viztrick AiDi, Go Vertical! AiDi and AiDi Sports Hub, visit www.for-a.com.

NEW YORK—In the runup to the start of the 2026 season on Sept. 9, the National Football League has inked three major commercial agreements with sports betting operators.

DraftKings and FanDuel, who have been sports betting partners with the NFL since 2021, each signed a multi-year deal while Fanatics Betting and Gaming signed a separate multi-year agreement, expanding a relationship with the NFL that includes collectibles and official league merchandise.

“We are thrilled to have three world-class partners in the sports betting category,” said Renie Anderson, executive vice president and chief revenue officer at the NFL. “DraftKings, FanDuel and Fanatics share our vision for innovation and fan engagement, but most importantly, our commitment to protecting the integrity of the game. We look forward to navigating this next chapter in sports betting together.”

As part of these multi-year deals, all three partners will have the ability to leverage NFL marks within the sports betting category and promote online and retail sports betting. They will also have presence at NFL tentpole events such as the Super Bowl and NFL Draft, unique hospitality and VIP experiences and integrations across NFL-owned digital media properties. Finally, they will have access to real-time, official play-by-play statistics, proprietary Next Gen Stats and BetVision through Genius Sports, the league’s exclusive data distribution partner.

All three NFL partners agreed to adhere to the league’s core game integrity policies and will collaborate on intelligence sharing, advocacy efforts and responsible gambling initiatives. This includes working together to prohibit wagers the league finds objectionable, including bets tied to officiating and injuries, along with those that can be knowable in advance or easily manipulated by a single person.

In addition to sports betting, DraftKings will continue its partnership as the Official Daily Fantasy Sports Partner of the NFL, which began in 2019 and includes exclusive rights to NFL IP and marks. Fanatics will become an Official Online Casino Marketing Partner of the NFL.

Along with the announcement of the new deals, the league emphasized its focus on game integrity as the foundation of the NFL’s approach to legalized sports betting. The league’s comprehensive integrity program features collaboration with sports betting partners, policy education and enforcement, information sharing and monitoring for suspicious activity in coordination with law enforcement, regulators and third-party partners.

Genius Sports provides real-time monitoring of betting patterns to identify potential manipulation. Each club also has an assigned Integrity Representative—typically a retired FBI agent or senior law enforcement officer—to support these efforts.

All players, coaches, officials and staff are required to complete annual training on the league’s Gambling Policy and to sign and acknowledge the policy each year.

More information is available at media.nfl.com/LSB.

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.

ATLANTA–Gray Media has announced a deal with the Atlanta Braves fans for rights to air two Atlanta Braves games in Spanish across 18 Telemundo Affiliate Stations across the Southeast.

The first game, in which the Braves beat the Los Angeles Dodgers 4-3, aired on August 25.

The second will air at 7:15pm ET on September 8 and feature a matchup with the Tampa Bay Rays.

A locally produced pre-game featuring analysis, statistics, roster highlights and more are scheduled from 7:00pm to 7:15pm prior to both games featuring play-by-play host Alejandro Villegas, and sports commentator Juan Jordan.

These games will air on the following Gray Media stations that comprise Telemundo Georgia, Telemundo Alabama, Telemundo Tennessee and Telemundo South Carolina:

• Atlanta (WKTB)
• Savannah (WPHJ)
• Augusta (WGAT)
• Columbus (WCTA)
• Macon (WTMH)
• Albany (WTSG)
• Birmingham (WTBM)
• Huntsville (WTHV)
• Mobile (WMBP)
• Montgomery (WBXM)
• Dothan (WRGX)
• Nashville (WTNX)
• Memphis (WTME)
• Knoxville (WBXX)
• Greenville-Spartanburg-Asheville (WDKT)
• Myrtle Beach-Florence (WXIV)
• Charleston (WZCH) Columbia (WTES)

The full Atlanta Braves schedule and tickets are available at Braves.com.

NEW YORK—DAZN today announced that it is acquiring EverPass Media, a provider of premium live sports content to commercial venues. The acquisition furthers the sports streamers expansion in the U.S. and marks the expansion of DAZN for Business, a dedicated media platform serving bars, restaurants, hotels, and other commercial venues into the U.S.

Founded in 2023 by 32 Equity and RedBird Capital Partners, EverPass is described as “a purpose-built media and technology platform that partners with rightsholders, distribution partners and business owners to unlock access to premium live events and drive business growth. “

The acquisition reflects EverPass' three-year effort to evolve how premium live sports content is distributed to commercial venues. Following completion of the acquisition, EverPass’ technology will serve as the foundation for DAZN’s next generation of commercial venue distribution, and EverPass will formally rebrand to DAZN for Business.

Alex Kaplan, CEO of EverPass, will continue to lead the business as well as take on a larger role within DAZN. RedBird Capital Partners, 32 Equity and TKO Group Holdings will become minority shareholders in DAZN. Existing EverPass customers will continue to receive service and support as usual, with no interruption to their current service as a result of the acquisition.

DAZN has had an ambitious summer with its U.S. expansion, signing exclusive streaming deals with MSG, and NBA franchises Minnesota Timberwolves and Indiana Pacers just in the past month. It also signed a deal last fall to be the exclusive provider of live NHL games in to 200 countries outside the U.S., Canada and the Nordics.

EverPass has the exclusive commercial distribution rights for NFL Sunday Ticket, which includes every live out-of-market Sunday regular-season afternoon NFL game. In July 2026, EverPass and DirecTV reached a new agreement to collaborate and provide distribution of NFL Sunday Ticket via satellite and streaming, ensuring the commercial marketplace has access to this content across the United States.

In addition to NFL Sunday Ticket and other NFL content, EverPass provides commercial venues with access to programming from leading sports leagues and competitions, including the English Premier League, UEFA Champions League, MLB, NBA, WNBA, NWSL, NASCAR, PGA TOUR, MLS, Formula 1, college football and basketball. EverPass also has distribution partnerships with Peacock, Netflix, Paramount and Apple as well as YES Network and Chicago Sports Network.

EverPass has developed an IP-based technology platform purpose-built for multiscreen commercial venues. The platform delivers premium streaming content through one commercial solution and gives venue operators greater flexibility, control and consistency across their screens and locations. Following deal completion, the platform will be the technology and operational foundation for DAZN for Business.

EverPass’ capabilities include centralized management of multiple screens and venues, smart content scheduling, integration with existing audiovisual infrastructure, commercial-grade streaming devices and tools that allow businesses to promote offers, engage customers and measure performance.

The platform is designed to simplify the transition from traditional satellite and cable distribution to streaming, while giving rights holders and content partners a scalable and secure route into the commercial market, the company said.

“This is an important step in DAZN’s journey to become a global home of sport,” said Shay Segev, CEO of DAZN Group. “EverPass Media gives us a proven commercial distribution platform, deep relationships across U.S. venues, and an attractive portfolio of premium rights that perfectly complements our growing U.S. business. DAZN can now serve every type of customer in the U.S.— from individual sports fans using the DAZN app to commercial venues looking to provide the best possible viewing experience for their customers.”

BOSTON—EditShare will unveil new developments across EFS, FLOW AI, MediaSilo and EditShare One at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

EditShare will launch new all-in-one Ultimate EFS configurations for EFS 310 and EFS 410 with FLOW media management and GPU-powered FLOW AI processing built into the nodes. By combining shared storage, media management and AI processing, the new configurations provide a more accessible route to AI-assisted media discovery for teams that do not require the processing scale of a dedicated standalone GPU system, the company said.

FLOW AI has now expanded transcription support across 13 languages: English, Catalan, Croatian, Czech, Danish, Dutch, French, German, Greek, Italian, Portuguese, Spanish and Turkish, with Hebrew and Arabic following shortly after. The expanded language support will help broadcasters, production companies and post-production teams apply AI-assisted search and discovery across a wider range of international content.

EditShare will also preview how MediaSilo is expanding beyond review and approval into a broader production media hub. Media Drives, a new connected-storage capability, will allow authorized users to access approved S3-compatible storage directly through MediaSilo, including on-prem EFS storage presented through S3 and supported third-party on-prem and cloud platforms.

Teams will be able to browse folders, search mounted media by filename and preview content where it is stored. They can then copy only the files they need into MediaSilo, rather than transferring everything before they know what is needed.

Once there, MediaSilo AI allows users to search transcripts, on-screen text, people, logos and scenes. The same workspace supports timecoded feedback, version management, dailies, approval tracking and protected external review.

EditShare will also demonstrate the latest developments in EditShare One, giving users a faster and more intuitive way to access and manage content across EFS and FLOW.

Users can archive and restore complete media spaces or folders directly from EditShare One, making it easier to manage large collections without handling assets individually. The expanded archive workflow also supports integrations with Telestream DIVA Archive and Spectra Logic Rio MediaEngine in addition to the currently supported 3rd party storage capabilities within FLOW.

EditShare will be in booth 7.B18.

PARAMUS, N.J.—Sony Electronics and Vitec today announced a strategic global collaboration targeting corporate environments, entertainment venues, hospitality, healthcare, and public facilities by integrating Sony’s Bravia professional displays with Vitec’s IPTV and digital signage platform. The collaboration delivers an end-to-end IPTV and signage ecosystem that enhances visual experience and eliminates the need for external media players, offering a simpler-to-deploy, native Android-based app for Sony’s displays, the companies said.

By integrating Sony’s Bravia professional displays with Vitec’s Avedia IPTV and digital signage platform, the combination offers a player-less IPTV solution directly to the display’s system-on-a-chip (SoC). The Android-based Bravia professional display’s deployment tools offer smooth deployment of Vitec’s Avedia player software directly onto Sony displays without the need for additional hardware. This all-in-one approach reduces installation complexity, streamlines management, and lowers the total cost of ownership for end users, the companies said.

The combined technology, orchestrated by Vitec’s CMS can support thousands of displays—covering a wide range of screen sizes—while maintaining centralized control. From live IPTV channels to interactive signage and targeted advertising, users can adapt content in real time to maximize engagement and revenue opportunities.

“By combining Sony’s world-class display technology with Vitec’s powerful IPTV and signage platform, we are delivering a game-changing solution across many verticals,” said Rik Willemse, Head of Professional Display Solutions Europe, Sony Europe. “This collaboration allows operators and end users to create dynamic, engaging environments while simplifying installation and reducing operational complexity,” said Rich Ventura, Vice President, Professional Display Solutions America, Sony Electronics Inc.

This integration provides robust performance even in large-scale deployments with demanding requirements. Centralized content control, redundancy features, and support for the latest security standards ensure that any setup can rely on the system for mission-critical operation with end-to-end content protection.

“This strategic global collaboration between Vitec and Sony marks the beginning of an evolving collaboration focused on delivering innovative, secure, and scalable IPTV and digital signage solutions worldwide. By integrating our technologies and expertise, we are committed to providing customers with seamless, future-ready platforms and workflows that address the diverse needs of modern organizations,” said Eli Garten, Senior Vice President, Global IPTV and Partner Solutions for Vitec.

In addition to IPTV and digital signage solutions, Vitec’s end-to-end offering includes head-end encoding and streaming, IP gateways and video wall systems to manage, distribute and display content across using any network.

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.”

Nugen Audio is launching two new flexible subscription offerings designed to give audio professionals short term access to the brand’s most essential plug-ins at the 2026 IBC Show, Sept. 11-15 at the RAI Amsterdam.

Built for project based workflows, “Post” and “Producer” plans provide a cost-effective way for users to access the exact tools they need, only for as long as they need them, Nugen said, which will provide guided demonstrations at the show, giving attendees a closer look at how each subscription supports real-world workflows.

The new Nugen Audio subscription model allows mixers, editors and producers to scale their toolset in real time. Whether tackling immersive upmixing for a streaming series or mastering a single track for release, subscribers can activate the appropriate plan for a specific project, pause it when the work is complete and restart it whenever new demands arise, according to the company.

The Post Plan delivers Nugen’s full suite of audio post-production tools, including VisLM, Halo Upmix, Halo Downmix, Halo Vision, Paragon, LM-Correct with DynApt, ISL with DSP extension, DialogCheck and more. It’s designed for dialogue editing, loudness compliance and multiplatform delivery for surround and immersive workflows.

The Producer Plan offers Nugen’s essential music production plug-ins, including MasterCheck, Paragon ST, ISLst, SEQ-ST, Stereoizer, Monofilter, Visualizer and others and is ideal for mixing, mastering and pre-production.

A key advantage of these new subscription options, Nugen says, is the ability for audio professionals to align plug-in costs directly with client billing. Instead of absorbing the expense of a full bundle purchase, users can activate a subscription for the duration of a specific project and invoice it as part of the production budget. This model supports freelancers, independent studios and project-based teams who need access to high-end tools without committing to long-term licenses, according to Freddy Vinehill-Cliffe, Product Specialist for Nugen Audio.

“Subscriptions can make it easier to align software costs with client work, helping you access the tools you need when you need them, without a large upfront investment,” he said. “Now, your plug-in subscription can be part of your per-project costs, paused during projects that don’t require the tools and then restarted when one of the solutions needs to come to the rescue.

Both plans are now available at https://nugenaudio.com/subscriptions/

Nugen Audio will be in Pod P27 at the show.

WASHINGTON—IndyCar and Fox Sports will celebrate the 250th anniversary of the nation’s founding this weekend by presenting the Freedom 250 Grand Prix from the National Mall and surrounding streets.

(Race coverage begins Sunday, Aug. 23, at 1 p.m. ET on Fox and FS1. Pre-race coverage starts at 11:30 a.m. ET.)

While the broadcaster is devoting a bevy of broadcast and production tech to covering the race, the real highlight is the nation’s capital, historic architecture and storied landmarks as drivers run the circuit past the U.S. Capitol, down Pennsylvania Ave. and along the National Mall. Some 250,000 race fans are also expected to attend, adding to the spectacle.

“All credit to making this race happen goes to the president of Penske and to our CEO,” said Michael Davies, executive vice president, field and technical management and operations for Fox Sports. “This was their vision. They wanted to do this to have IndyCar contribute to the celebrations for the 250th, and that's how we're going to treat it.”

The backdrop for the race played heavily into coverage planning efforts. “Of course, there’s a competition afoot, but we really made an effort to have each shot show off the iconic nature of where we are,” he said.

OWL Cam and Washington Monument
Among the 90 cameras the broadcaster will use to cover the race is a newly designed specialty camera dubbed OWL Cam, mounted to a 4D gimbal for four-axis stabilized shots and suspended about 12 to 13 feet over Pennsylvania Avenue.

Fox Sports constructed a special arched truss over the street with a track for OWL Cam to follow. As the race’s main straightaway, Pennsylvania Avenue will see drivers reach speeds of around 180 miles per hour as they pass beneath the camera.

“The camera itself is going to be able to crawl from one side of the arch to the other,” Davies said. “But more importantly, its 4D gimbal will allow the camera to pan and swivel as the cars go underneath.”

Conceived in a Washington bar and drawn on the back of a beer coaster, OWL Cam will give the broadcaster a view of the Capitol as it looks down the straightaway, he said. Fox Sports worked with JitaCam (Jib in the air Cam) to bring the camera concept to fruition.

JitaCam started with an inverse jib widely used to fly over crowds at combat sports and other events. As the broadcaster’s “go-to people for specialty cameras,” in Davies words, the company souped up the setup to meet Fox Sports’ vision, adding the gimbal and the ability to crawl. “They basically pieced it together with different things that they own and rented to make it a reality,” he said.

Five hundred feet above the race, on the observation deck of the Washington Monument, Fox Sports is positioning a camera and operator to capture the massive crowd expected to attend.

“Interestingly enough, there’s a piece of fiber up there that we found out about from one of our video guys who does pool work,” Davies said. “It doesn’t get more iconic than that, looking all the way down the National Mall to see 250,000 people."

Drones and Beyond
Once again, Fox Sports will work with drone partner Beverly Hills Aerials to capture race action with the help of drones. As would be expected, flying a drone in the nation’s capital, especially when heightened security is always a concern, required Fox Sports to secure many government approvals.

Seeking those approvals began months ago, and only days before the race, when Davies was interviewed for this article, did the Fox Sports executive vice president express confidence that “our aerial profile is complete.”

Aerial shots from drones are critical to race coverage at this point because “it just wouldn’t look like the same kind of race” without them, he said.

“This is how far drones have come over the years,” Davies said. “They've become not a nice-to-have, but something that is essential to the sport.”

In all, Fox Sports will deploy some 90 cameras to cover the Freedom 250 Grand Prix, consisting of multiple manned and robotic cameras along the streets, including a swift-panning robotic camera it first used in March, during the Java House Grand Prix in Arlington, Texas.

Fox Sports will also deploy in-car cameras, which “have been a huge part of what we’ve been reimagining for IndyCar,” Davies said. The broadcaster has doubled the number of in-car cameras used.

“We now have two cameras and two simultaneous feeds out of every car,” he said. “We’ve added some positions, including the ‘Top Gun’ position, which basically looks back at the driver to see the driver’s helmet, as well as the driver’s eye view camera.”

However, it’s not simply the in-car cameras but also the graphics paired with those shots that create the biggest impact on viewers. “The graphics that go with them allow viewers to really stay focused within the context of the race in watching the cars,” he said. “The graphics communicate where the car is on the track, its speed, its position and the turn that is coming up.

“When you take an in-car [camera], you not only take the camera, but you also take the graphics that go with it,” Davies said.

RF Environment and More
As with other races, RF plays a critical role—not only for video transmission from in-car cameras but also telemetry sources, communications between drivers and crews and production comms. However, unlike in other locales, the federal government in Washington makes extremely intensive use of RF to support its communications needs.

Fox Sports contracted with BSI, an NEP company, for in-car camera transmission and “everything else,” said Davies. BSI began three months ago working on every facet of frequency coordination, including securing Special Temporary Authority (STAs) from the FCC to meet the broadcaster’s needs.

“Nothing has been left to chance in terms of making sure that all the stakeholders, from law enforcement to government security to everything else, are on the same page with us in terms of all the frequencies that we use,” he said. “Coordination definitely was not an afterthought.”

The broadcaster will produce race coverage on site with its production partner Indy Motorsports Productions, using the Penske Entertainment-owned company’s flagship HD5 production truck. For its pre-race coverage, Fox Sports will work from a Game Creek production truck, he said.

For its audio coverage of the race, the broadcaster will continue to rely on two mics in the car—one at the front of the vehicle towards the engine and one onboard the car. “One of the things we’ve been working on is separating the audio both in IndyCar and NASCAR to expand the audio. It’s always great to hear that separation of audio in street races. It’s fantastic,” Davies said.

Contemplating the upcoming Freedom 250 Grand Prix, Davies reflected on the race’s historic nature.

“You know, back in the late 1700s and early 1800s they used to run horses by the White House,“ Davies said. ‘For five years, they had a horse track—that was the racing that used to be in D.C.. We’re looking forward to bringing back horsepower to Washington, D.C.”

ESPN delivered the most-watched WNBA game ever on cable as the Atlanta Dream-Indiana Fever matchup averaged 2.6 million viewers on Sunday, August 16.

The telecast ranks as the most-watched WNBA regular-season or postseason game ever on cable. The audience was up 178% compared to last year’s ESPN regular season average. The game peaked at 4 million viewers from 7:15-7:29 p.m. ET.

Leading into the game, WNBA Countdown presented by Google Pixel averaged 452,000 viewers on ESPN, up 33% compared to last year’s ESPN regular season average.

The second game of ESPN’s Sunday doubleheader also delivered a record audience, as the Phoenix Mercury celebrated Diana Taurasi’s jersey retirement. Portland Fire-Phoenix Mercury averaged 1.4 million viewers, the most-watched non-Indiana regular-season WNBA game ever on ESPN and up 46% from last year’s ESPN regular-season average.

Through 25 games, the WNBA on ESPN networks is averaging 1.4 million viewers, up 16% compared to the comparable point last season.

EL SEGUNDO, Calif.—Spectrum SportsNet LA, the exclusive television home of the Los Angeles Dodgers, is now available to Spectrum customers in former Cox markets throughout the Dodgers broadcast territory.

The launch, which follows the close of Charter's acquisition of Cox Communications, is in time for the August 21 game against the Pirates. It brings Dodgers baseball and SportsNet LA's full slate of studio programming to a significantly expanded audience just as the playoff race heats up.

Beginning immediately, subscribers to Contour TV Preferred or Contour TV Ultimate in former Cox markets located in the Las Vegas, Orange County, Palos Verdes and Santa Barbara areas have access to SportsNet LA as part of their TV service.

On Contour TV lineups, the network can be found on channel 50 in Las Vegas, channel 63 in Orange County, channel 54 in Palos Verdes and channel 36 in Santa Barbara.

SportsNet LA's coverage includes live regular season games alongside the network's full lineup of studio programming. Regular season game coverage is led by Joe Davis and Dodgers legend Orel Hershiser, now in their 11th season together as the voices of Dodger baseball, with additional game analysis from Eric Karros, Jessica Mendoza and Dontrelle Willis, and field reporting from Kirsten Watson.

More information on the network is available at sportsnetla.com.

INDIANAPOLIS—Pacers Sports & Entertainment has named DAZN its exclusive streaming, bringing fans live games and team content with 22 regular season games and four preseason games available free on the DAZN app.

Through the new team-branded streaming service launching in early September on DAZN, fans throughout the Pacers' home television territory, including Indiana, Kentucky, Iowa, Illinois and Missouri, will be able to watch every Pacers game live and on demand.

Fans will have multiple ways to watch all 82 Pacers regular-season games this season. Of the 22 games available for free on the DAZN app, 15 are also expected to air on a local over-the-air broadcast station partner. Eleven games will be nationally televised through NBA broadcast partners, while all locally available games will be available live and on demand through DAZN.

Chris Denari, Quinn Buckner, Jeremiah Johnson and Eddie Gill will continue to call Pacers games throughout the 2026-2027 season.

“This partnership is about making Pacers basketball more accessible than ever before,” said president and CEO of Pacers Sports & Entertainment Mel Raines. “Local sports broadcasting has evolved significantly over the last decade and so has the way people watch games. DAZN is a global leader in sports streaming, and its premium viewing experience gives our fans more flexibility and affordable access to Pacers basketball, while creating more opportunities to connect with the team.”

DAZN subscribers will have access to expanded pregame and postgame coverage, highlights, behind-the-scenes access and original programming throughout the season.

Available in more than 200 markets worldwide, DAZN is a leader in direct-to-consumer sports entertainment, annually delivering more than 140,000 live sports events as well as innovative viewing experiences through partnerships spanning the NBA, NFL, NHL, college football and basketball, soccer, boxing, MMA, F1, MotoGP and other major sports leagues, competitions and properties.

When the service launches later this summer, fans can download the DAZN app for free and start with a free, 7-day trial before choosing the subscription that works best for them. Fans who sign up by Oct. 15 can purchase an Early Bird Season Pass for just $59.99, saving 50% off the regular $119.99 price and getting every available game for about $1 per game. A monthly pass will be available for $19.99.

More information is available online.

KINGS PARK, NY—MultiDyne Video & Fiber Optic Systems will demonstrate its expanding camera robotics and motion control portfolio at IBC2026, Sept. 11-14 at the RAI Amsterdam. The show marks the first time MRMC (MultiDyne Robotics Motion Control), will exhibit as part of the MultiDyne organization, since it announced the acquisition of the assets of MRMC in June.

MRMC will be in Stand 12.H11, complementing MultiDyne’s separate Hall 11 stand (11.C12) and giving the combined organization two points of presence at the show.

MultiDyne says its strategy is to grow MRMC across all three of its established market areas: broadcast, film and commercial production, and rentals, all of which will be represented on the MRMC stand. New MRMC products are in the early stages of development for 2027

Neil Maycock, Managing Director, MultiDyne MRMC says its primary message at IBC is one of strength and continuity.

“IBC gives us an important opportunity to reinforce that MRMC remains the same innovative business our customers know,” he said. “We have preserved the respected MRMC brand along with its core technologies, intellectual property, manufacturing capabilities and key engineering expertise. Customers will see familiar faces, established products and the same commitment to exceptional engineering and support.”

MRMC says it will focus on three product ranges, including Cinebot Nano, which brings MRMC’s professional motion-control capabilities to filmmakers, content creators and smaller production teams in a compact platform. The nine-axis robot supports cameras up to 7kg and offers one meter of reach. PushMoco control allows operators to physically position the arm and record keyframes, while included Flair Lite software provides an accessible path to creating precise, repeatable camera moves. The system can operate on a pedestal or optional track and can be mounted to tripods, tables, carts, vehicles or in an inverted configuration, extending high-end robotic cinematography into productions.

The StudioBot range brings MRMC’s robotic-arm expertise directly into broadcast production, combining smooth multi-axis camera movement with precision, repeatability and production automation. Available in several configurations, StudioBot is designed to help broadcasters move beyond static studio camera positions and create more dynamic content while supporting virtual and automated production workflows, according to the company. Its Robokam software provides centralized graphical control for creating and editing shots, moves and playlists, with support for controlling multiple robotic systems and executing predefined movements or complex sequences without requiring programming expertise.

Rounding out the exhibit, MRMC’s Slidekamera extends the company’s portfolio from robotic arms into precision rail-based motion systems. The range spans modular sliders and PTZ camera movers for applications ranging from single-camera productions to large multi-camera studios, delivering the stable, fluid movement required for broadcast, videography, live events and other production environments. Of particular focus is ATLAS, which features modular configurations that can support creative cinematic moves as well as repeatable and automated studio workflows.

As the NBA gears up for the start of the 2026-2027 season on October 20, a new study from Guideline shows that NBA ad revenue hit a record $2.1 billion in the 2025-2026 season.

This growth was helped out by a 39% year-over-year spike in ad revenue during the NBA Finals, with ad spend rising from $183 million to $256 million for five games.

Overall, the regular season generated $870 million in revenue, while the playoffs brought in $1 billion.

Guideline also reported that streaming was up 8,481% YoY, rising to a 41% share in spending, the highest of any league ever recorded.

In addition, streaming-simulcast estimated revenue was also up 3,303% YoY, rising from $10 million in 24/25 compared to $347 million in 25/26.

However the linear ad spend declined 19% YoY, as spending from Warner Bros. Discovery shifted to Peacock and Amazon.

In contrast, playoff spending grew across every round, led by the play-in round, which was up 54% YoY.

William F. Rasmussen, the visionary who co-founded ESPN, has died at age 93 from Parkinson’s Disease.

In 1978, Rasmussen, a former sports broadcaster and public relations executive, and his son Scott started investigating satellite delivery of television. On a Friday afternoon in August 1978, he and Scott were stuck in traffic on Connecticut’s Interstate 84 while travelling to the New Jersey shore. They were discussing possible programming for their newly acquired satellite transponder from RCA. On a lark, Rasmussen blurted out the idea of creating a network devoted only to sports. Sports fans both, father and son instantly thought they had a great idea.

In time, their idea grew from a service showing Connecticut sports to state residents to a 24-hour national sports network. Bolstered by financial backing from the Getty Oil Co., a contract for programming with the NCAA and an advertising agreement with Anheuser-Busch – then the largest sponsorship deal in cable history – the Entertainment and Sports Programming Network (changed to ESPN, Inc. in 1984) launched in 1.4 million homes at 7 p.m. ET on Sept. 7, 1979.

In July 1979, Rasmussen was named ESPN chairman, succeeded as president by Chet Simmons, formerly president of NBC Sports. In addition to “SportsCenter,” under Rasmussen’s leadership the network introduced around-the-clock sports programming and coverage of the early rounds of the NCAA men’s basketball tournament in the spring of 1980.

From its beginning in Bristol, Conn., with about 80 employees at launch working in one, unfinished building on less than an acre, ESPN has grown to employ more than 5,900 people around the world, providing eight U.S. television networks and the sports programming on ABC.

Rasmussen was predeceased by his wife of 56 years, Lois, in 2011 and is survived by two sons – Scott Rasmussen and his wife Laura and Glenn Rasmussen – his daughter Lynn Van Hollebeke and her husband Louie, seven grandchildren, Andy, P.J., Wil, MaryAnn, Donna, Jessica and Sarah, one great grandson, Otto, and one great granddaughter, Adelaide.

After publicly disclosing his Parkinson’s Disease diagnosis in 2019, Rasmussen became an ambassador for Parkinson’s patients through both the American Parkinson Disease Association and The Michael J. Fox Foundation for Parkinson’s Research.

In lieu of flowers, donations may be made to https://www.apdaparkinson.org.

DirecTV is updating its user interface with the planned launch of Curated Multiviews, a new feature that brings together live games in a single view, scheduled around what’s on that day.

DirecTV noted that Curated Multiviews are currently rolling out to customers and will be available to eligible customers by August 27.

Each Multiview features live games from networks already included in a customer's package, laid out together and ready to watch. When a Multiview is available for the game a user is watching, that viewer will see a “Multiview” button in the video player.

Users will only see Multiviews for networks included in their packages and games available in their areas.

DirecTV said that its sports team curates each of these Multiview around two ideas: marquee matchups fans may want to follow together and themed slates built around the day’s action.

That could mean an SEC Saturday lineup one weekend or a collection of NFL games airing across CBS and FOX on Sunday, the operator explained.

DirecTV noted that the Curated Multiviews aren’t replacing existing Mix Channels. Those always-on channels bring together a set lineup of live networks in one place, making it easy to keep an eye on sports, news, weather and more.

Curated Multiviews work differently. Instead of occupying a permanent spot in the channel guide, they’re built around specific live sporting events. A Multiview appears when the action starts and wraps up when the games do, with program titles and artwork that make it easy to see exactly what’s playing.

DirecTV noted that Curated Multiviews are currently rolling out to customers and will be available to eligible customers by August 27. As the experience becomes available, users will find Multiviews on the Sports Central carousels.

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

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

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

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

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

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

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

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

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

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

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