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

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

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

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

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

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

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

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

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

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

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

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

The latest capabilities include:

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

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

Users can choose between:

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

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the RED website.

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

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

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

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

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

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

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

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

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

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

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

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

More information is available at Grass Valley’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the Telycam website.

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

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

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

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

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

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

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

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

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

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

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

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

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

That word is transition.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the NEP and Riedel websites.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on the company’s website.

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

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

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

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

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

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

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

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

More information is available on the company’s website.

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

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

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

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

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

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

This article originally appeared on TV Tech sister brand TVBEurope.

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

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

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

The data was released in a blog post by Angela Courtin

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

STAINES-UPON-THAMES, U.K.—Dynamic ad insertion solution provider Yospace is reporting that it stitched 11.57 billion one-to-one addressable advertisements into live video streams during the 2026 FIFA World Cup.

This equates to 297 million advertisements per day during the 39-day tournament, which is a big increase on other recent global events - the Paris 2024 Summer Games saw 41% fewer ads stitched per day.

“The 2026 FIFA World Cup demonstrates the massive scale we’re seeing for ad-funded streaming today,” said Tim Sewell, CEO of Yospace. “The excitement of these moments, when entire nations are tuning in, means that the quality of the experience and the seamlessness of the advertising is absolutely critical. It’s a testament to the experience and dedication of the entire Yospace team that we have such a strong reputation for monetizing major live events. The data tells us that we’re only scratching the surface of the kind of scale that live streaming is set to achieve, and Dynamic Ad Insertion technology must be able to meet that demand.”

The data was collected from Yospace’s global customer base of broadcasters and distributors, of which 14 were streaming the action.

Yospace also reported that the growth is representative of some wider trends. Very notably, viewers are shifting their attention to app-based channels on their Connected TVs rather than traditional linear. Broadcasters responding to that shift are in turn focusing more attention on monetizing their OTT streams more effectively by ensuring as much online traffic as possible has DAI applied.

The 2026 edition of the FIFA World Cup also brought additional value, given the fact that there were 16 more teams compared to the last tournament in 2022, which created 40 additional matches to advertise against.

The introduction of a three-minute hydration break in each half also created an extra opportunity to advertise, which most ad-supported rights-holders utilized.

Yospace’s busiest ad break came at the start of Half-Time when England played Norway in the Quarter-Finals. In that two minute window, 13 million one-to-one addressable ads were stitched, demonstrating the need for DAI systems and the adtech to work together and to scale with very short notice if rights-holders want to achieve the highest possible fill-rates and maximize value.

Yospace’s Advanced Prefetch system was applied throughout the tournament to space out ad requests, giving the adtech the time it needed to respond, and helping to prepare for unscheduled breaks as matches ran into Extra Time and penalties.

Yospace also reported that across the entire tournament, there were 637 ad breaks (including hydration breaks) compared to 326 in 2022, based on how the majority of Yospace customers applied ad breaks.

This was driven by the increase in matches and more ad breaks per match, but also by the nature of play. Fewer matches were decided by a dreaded penalty shoot-out (four) than in 2022 (five), despite there being substantially more matches.

However, five matches were settled by goals during the Extra Time period, whereas in 2022 every single match that entered Extra Time went on to penalties.

Yospace also reported that there were more goals per game (2.96) compared to 2022 (2.69), meaning that, with hydration breaks effectively splitting matches into quarters, there was a far higher likelihood of a goal or a dramatic moment, and a resulting audience surge, occurring near an ad break.

When France was awarded a penalty against Morocco in the Quarter-Finals, the Video Assistant Referee (VAR) check that followed took an agonizing three minutes to reach a resolution. Between the penalty being awarded and France’s Kylian Mbappé kicking the ball, there was a 37% increase in stream starts. The hydration break came barely a minute after his miss. Advertisements during hydration breaks benefitted from a lower audience drop-off than other ad breaks. Being only three minutes long, Yospace saw just a 0.4% drop-off rate for some matches, compared to 16.82% during half-time.

Earlier in the tournament, Belgium’s dramatic comeback from 2-0 down against Senegal in the Round of 32 drove a 93% increase in stream starts in the space of two minutes, and rose steadily until the full-time whistle and subsequent ad break. Typically, the final whistle of a match prompts an audience drop-off around 50% within a matter of minutes. With Extra Time coming up next, Belgium’s late goals meant the drop-off was only 11%, meaning the ad break at that point benefitted from an audience surge following the goals and less drop-off than would otherwise have been expected.

Match reports and further tournament data is available on Yospace’s World Cup feed here: https://www.yospace.com/worldcup.

Yospace is exhibiting at the International Broadcast Convention (IBC), Amsterdam, on 11-14 September. You can find out more and request a meeting here: yospace.com/ibc.

MIAMI, Fla.—Telemundo is reporting that its Spanish-language coverage of the FIFA World Cup 2026 set audience records at every stage of the tournament.

Overall, the tournament is the most-watched FIFA World Cup tournament in Spanish-language media history with an average Total Audience Delivery of 6.3 million viewers across the 104 matches, up +143% vs. the 2022 tournament (2.6 million). Each stage of the 2026 tournament set a new Spanish-language World Cup Total Audience record and delivered triple-digit growth versus the 2022 World Cup.

The FIFA World Cup 2026 also delivered impressive growth over 2022 in linear and streaming, with the linear match window average up +79% (3.2 million vs. 1.8 million) and the digital average minute audience (AMA) up +297% (3 million vs. 767K).

In addition, Sunday’s final battle, which saw Spain earn its second title as they dethroned reigning champions Argentina, delivered a 23.9 million Total Audience Delivery (TAD), becoming the most-watched soccer match ever in Spanish-language media history.

It also set numerous records for streaming, digital media and social media.

Combined with the 39.8 million who watched Fox Sports English-language coverage on Fox, 63.7 million Americans watched the final.

Telemundo produced more than 700 hours of original programming through the 39-day tournament.

Other data highlights included:

• The FIFA World Cup 2026 tournament delivered the 15 most-watched soccer matches in Spanish-language media history based on Total Audience, led by Spain vs. Argentina’s 23.9 million viewership in the Finals.
• The 77.2 billion total minutes consumed during the FIFA World Cup 2026 across Telemundo, Universo, Peacock, and Telemundo streaming platforms, surpassed the 43.2 billion total minutes consumed for the combined 2018 and 2022 Men’s World Cup tournaments in Spanish by +79%.
• Mexico vs. England delivered 23.2 million viewers in Total Audience Delivery (TAD), making it the second most-watched soccer match ever in Spanish-language media history. On linear, the full program averaged 10.1 million viewers from 8:25–11:20 p.m. ET, making it the highest-rated telecast in Spanish-language TV history; viewership peaked at 11.7 million viewers at 10:45 p.m. ET.
• The France vs. England Third Place match delivered 7.7 million viewers in Total Audience Delivery, making it the most-watched Third Place game in Spanish-language media history, up +225% vs. the 2022 tournament (Croatia vs. Morocco, 2.4 million).
• 42 games had a Total Audience Delivery of at least 6 million viewers, up from two during the full 2022 tournament.
• Overall, streaming comprised 48% of Telemundo’s Total Audience Delivery for the FIFA World Cup 2026, up from 30% contribution in 2022. With an average minute audience (AMA) of 3 million viewers on Peacock and Telemundo streaming platforms, digital viewership grew +297% vs. 2022 (767,000).
• Spain vs. Argentina Finals on July 19, is the most-streamed World Cup match in Spanish-language history with an Average Minute Audience (AMA) of 13.9 million viewers, +370% over the most-streamed match of the 2022 tournament (Argentina vs. France Finals, 3 million AMA).
• There were 21 games that averaged 4 million or more streaming viewers, up from zero in 2022.
• Telemundo ranked as the #1 Spanish-language television network across all 34 matchdays (June 11 – July 19) during Total Day (7A-2A) with 1.9 million average viewers, and a share of 76% of the three Spanish-language networks. This Total Day delivery is up +300% vs. the network’s May 2026 average.
• June 2026 was Telemundo’s highest-performing month in network history with 1.4 million average viewers in Total Day, surpassing the previous World Cup highs set in June 2018 (954K) and December 2022 (837K).
• Sunday, July 5, set a new linear record with the highest Total Day average audience in Spanish-language television history with 3.6 million viewers, driven by the Mexico vs. England and Brazil vs. Norway Round of 16 matches.
• Throughout the duration of the FIFA World Cup 2026, Peacock drew four times its normal share of Hispanic viewers. Those viewers who watched World Cup also watched a variety of Peacock content, including Telemundo entertainment (e.g., El Señor de los Cielos), Peacock originals (e.g., Love Island USA, MIA, Five Star Weekend), Sports (e.g., MLB), and library content (e.g., Yellowstone, The Office).
• Cultural cross-over: While each of these cultural phenomena drew massive audiences on its own, 40% of Peacock viewers who watched Love Island USA also watched the FIFA World Cup 2026.
• On Peacock, one in three FIFA World Cup viewers are Gen-Z, and they are especially receptive to brands: +21% more likely to feel loyal to World Cup advertisers and +24% more likely to view World Cup advertising as more credible than other ads.
• The FIFA World Cup 2026 generated 2.25 billion video views across social platforms, more than 9x the combined total generated during the 2018 and 2022 FIFA World Cups.
• The tournament generated 75.1M social actions across social platforms, nearly 3x the combined total generated during the 2018 and 2022 FIFA World Cups.
• Round of 16 Match Day 26 became the highest social engagement day in Telemundo FIFA World Cup history, generating 5.28M social actions.
• Round of 16 Match Day 27 became the most-viewed social day in Telemundo FIFA World Cup history, generating 135.6M video views.
• On linear, the 26 Telemundo-owned stations reached 22.3 million total viewers through the FIFA World Cup 2026 Semifinals.
• The Telemundo-owned stations’ average audience through the FIFA World Cup 2026 Semifinals of 2.52 million viewers was +57% higher than the same period during the 2022 tournament (1.61 million) and +64% above 2018 (1.54 million).
• Eight Telemundo-owned stations captured 50 percent or more of the FIFA World Cup 2026 audience share in their markets, including in Los Angeles, New York, Miami, Houston, and Phoenix, through the Semifinals.

LOS ANGELES—Fox Sports is reporting record viewing levels for the FIFA World Cup 2026, which culminated on Sunday with a historic Final match that saw 38,937,000 viewers watch on Fox, an all-time high mark for viewership as the new most-watched soccer telecast in U.S. television history and most-watched FIFA World Cup™ final ever in the U.S.

According to Nielsen Media Research the record-breaking Final reached its dramatic peak with 51,685,000 viewers watching from 5:45 to 6:00 PM ET as Spain secured a 1-0 victory in extra time over Argentina.

Overall, FIFA World Cup 2026 finished as the most-watched FIFA World Cup in U.S. history averaging 7,737,000 viewers across 104 matches on Fox, FS1 and Tubi up +116% vs. FIFA World Cup Qatar 2022 (3,588,000) and up +179 vs. FIFA World Cup Russia 2018 (2,770,000).

Fox Sports' FIFA World Cup 2026 coverage also redefined digital sports consumption, generating more than 17.2 billion content views on Fox Sports digital and social platforms to become the most digitally viewed event in network history.

Across Fox Sports social media, tournament content generated a record-breaking 16.5 billion social impressions with 2,560 of Fox Sports' FIFA World Cup 2026 social videos surpassing one million views. During the tournament’s 39-day run, Fox Sports grew its social media audience by more than 10 million followers.

Fox Sports recorded 542 million social video views on Sunday, July 19 around the FIFA World Cup 2026™ Final - the most socially viewed day in its history.

Other key viewing highlights from the FIFA World Cup 2026 included:

• Up +132% vs. FIFA World Cup Qatar 2022 Final (France vs. Argentina, Sunday morning 12/18/22, 16,784,000 viewers); up +240% vs. FIFA World Cup Russia 2018 Final, (France vs. Croatia, Sunday morning 7/15/18, 11,441,000 viewers).
• Fox Sports’ jam-packed, four-hour "FIFA World Cup Live" pregame show scored 2,873,000 viewers as America gathered in anticipation for the epic closing ceremony and festivities in the leadup to Spain vs. Argentina.
• The 38,937,000 viewers bested the previous record for most-watched soccer telecast in U.S. history set earlier in the tournament by U.S. Men’s National Team (USMNT) vs. Belgium in the Round of 16 (33,089,000 viewers).
• FIFA World Cup 2026™ finished as the most-watched FIFA World Cup™ in U.S. history averaging 7,737,000 viewers across 104 matches on Fox, FS1 and Tubi up +116% vs. FIFA World Cup Qatar 2022™ (3,588,000) and up +179 vs. FIFA World Cup Russia 2018™ (2,770,000).
• On Saturday, July 18, the bronze final on Fox between France and England drew 13,130,000 viewers becoming the most-watched FIFA Men’s World Cup third-place telecast in U.S. history (previous record: Uruguay vs. Germany, FIFA World Cup South Africa 2010, 4,755,000 viewers). France vs. England finished up +232% from the FIFA World Cup Qatar 2022 third-place match on Fox (Croatia vs. Morocco, Saturday morning, 3,956,000 viewers) and up +330% from the FIFA World Cup Russia 2018 third-place match on Fox (Belgium vs. England, Saturday morning, 3,052,000 viewers).
• France vs. England peaked at 18,529,000 viewers from 6:45 to 7:00 PM ET.
• Two FIFA World Cup 2026 matches surpassed 30 million viewers (the Final and U.S. Men’s National Team (USMNT) vs. Belgium Round of 16).
• Five broke 20 million viewers (Final, USMNT vs. Belgium, USMNT vs. Bosnia-Herzegovina Round of 32, Norway vs. England Quarterfinal and Mexico vs. England Round of 16).
• 11 matches surged past the 15 million viewers markNine FIFA World Cup 2026 telecasts on Fox eclipsed the previous high mark for most-watched FIFA Men’s World Cup telecast of all-time (France vs. Argentina, FIFA World Cup Qatar 2022™ Final on Fox, 16,784,000 viewers).
• Two FIFA World Cup 2026 matches surpassed 30 million viewers (the Final and U.S. Men’s National Team (USMNT) vs. Belgium Round of 16).
• Five broke 20 million viewers (Final, USMNT vs. Belgium, USMNT vs. Bosnia-Herzegovina Round of 32, Norway vs. England Quarterfinal and Mexico vs. England Round of 16).
• 11 matches surged past the 15 million viewers mark.
• Nine FIFA World Cup 2026 telecasts on Fox eclipsed the previous high mark for most-watched FIFA Men’s World Cup telecast of all-time (France vs. Argentina, FIFA World Cup Qatar 2022 Final on Fox, 16,784,000 viewers).
• Fox Sports’ first-ever "Always On" live stream - available exclusively on the Fox Sports YouTube channel, TikTok (starting Round of 32), Tubi, FoxSports.com and the Fox Sports App - launched June 11 and remained live for 974 consecutive hours over the course of the entire tournament and beyond, generating 1.2 billion total minutes of watch time across platforms. Fans watching on the Fox Sports YouTube channel generated more than two million comments, with half of all live stream viewers choosing to watch with live chat enabled to engage with other fans on a second screen.
• Editorial coverage reached historic levels as FIFA World Cup 2026 became the most-read event in Fox Sports history, with time spent across FoxSports.com and the Fox Sports App increasing +73% compared to FIFA World Cup Qatar 2022.
• Over the span of the tournament, Fox Sports produced over 300 live-streaming shows, pushed out over 27,000 social media posts and authored more than 1,300 stories around FIFA World Cup 2026, representing the most ambitious and successful digital content operation in the network’s history.

Banana Ball TV (BTV), the production arm for the Savannah Bananas baseball team, has installed three Calrec 36-fader Argo M consoles, three Type R systems, and True Control 2.0, to expand remote production capabilities.

The Savannah Banana exhibition baseball team tours packed baseball stadiums worldwide, using altered baseball rules that favor trick plays, all within a two-hour limit to increase audience engagement. Think Harlem Globetrotters, but for baseball.

This year, the team introduced the “Banana Ball Championship League,” which adds even more opponents and an even busier broadcast schedule covering games across 75 stadiums and 45 states.

Spread across two main control rooms at BTV's remote facility in Savannah, and with flypacks positioned out in the field, Calrec’s flexible audio network sits at the core of a significant expansion of BTV's REMI capabilities. Designed to extend capacity and accommodate future growth, it makes BTV's workflows much more fluid, according to Savannah Bananas’ Head of Technology Matt Webster.

“We’ve seen lots of expansion for the 2026 World Tour season, and part of re-building our facilities from 2025 to 2026 was to expand capabilities and increase overall efficiency,” Webster said. “The Calrec consoles are all being used to support REMI broadcasts; we have Argo consoles in our main control rooms and we deploy the Type R frame in the field in our mobile units and flypacks.

“This gives us a combination of analog, embedded SDI, MADI and Dante, and all the audio is given a first pass mix and level set before it is embedded in our video transmission system back to Savannah. We ensure lip sync is correct on-site, so when it comes back into the control rooms, we just focus on mixing the broadcast as if we are doing it at our home stadium.

“We also have remote control of the consoles via the Calrec Assist GUI for changing things on the fly. The most challenging part of any audio console is how you have to interact with it if you are not standing directly in front of it, but nothing beats having access to a web page; it means we can access any console from inside the stadium to make changes, and I can also work remotely to support all our shows from home and fix issues that arise quickly. It is a game-changer for sure.”

Access to Calrec’s True Control 2.0 protocol, which provides even greater levels of remote control and unparalleled flexibility to scale up when required, gives scope for BTV to further develop its workflows. Webster says he plans to introduce it more as the season progresses.

It demands an audio workflow as dynamic as the Savannah Bananas’ antics on the field, Webster added.

“We want the technology to outpace production,” he said. “It’s all about scale and simplicity, and Calrec allowed us to achieve this in our second generation of REMI workflows. With broadcast consoles like the Argo and Type R, our workflow has dramatically improved. The Calrec equipment allows us to truly make sure we have the best audio – sweetened and observed.

“It brings us a level of consistency that we have been looking for; it just works, and it is simple enough for any audio operator to just jump in and start driving. We have many local audio mixers in the Savannah area that have an entertainment and film focus rather than a broadcast one, but the Calrec consoles have been extremely easy for them not only to make the transition, but to excel.

“It means all our production staff are able to move from room-to-room and from site-to-site and not have any compromises or workflow limitations.”

MIAMI—Building on the record ratings produced by its Spanish-language coverage of the FIFA World Cup 2026, Telemundo continues to acquire more soccer rights with a major deal for U.S. Spanish-language rights to all UEFA men's club competitions.

The deal with UC3 gives it the exclusive Spanish-language media rights in the U.S. for all UEFA (Union of European Football Associations) men’s club competitions including the UEFA Champions League for three seasons, beginning with the 2027/28 season.

The deal also includes exclusive rights to the UEFA Europa League, UEFA Conference League, UEFA Super Cup and UEFA Youth League.

The deal adds the UEFA Champions League to Telemundo's portfolio of premium sports programming including Premier League, Bundesliga, US Men’s and Women’s National teams, Liga MX clubs CD Guadalajara, FC Juárez, and Tigres UANL and Olympic soccer.

Under the agreement, Telemundo will deliver comprehensive live coverage of every UEFA Champions League season across its portfolio of broadcast, cable, streaming and digital platforms, including the Telemundo Network, Peacock, Universo and Telemundo Deportes Ahora, the company's dedicated FAST sports channel.

Telemundo's coverage will include every match of the competition, supported by comprehensive studio programming, expert analysis, original digital content and extensive match-day coverage designed specifically for U.S. Hispanic audiences.

Additional programming details and coverage plans for all UEFA men’s club competitions will be announced closer to the start of the 2027/28 season.

“The UEFA Champions League is the pinnacle of club soccer tournaments, bringing together many of the world's greatest teams and players in one of the most prestigious competitions in sports," said Cesar Conde, chairman of NBCUniversal News Group, which includes NBCUniversal Telemundo Enterprises Group, NBC News, NBC News NOW and NBCUniversal Local. "We are delighted to partner with UC3 to bring the excitement, passion and drama of the UEFA men’s club competitions to Spanish-speaking fans across the United States. Telemundo's commitment to excellence and its deep connection with soccer audiences make it an outstanding home for the UEFA Champions League."

In announcing the deal, Aleksander Čeferin, UEFA president and chair of the UC3 Board, said that “UEFA club competitions represent the very highest level of club football, and their popularity continues to grow globally. This agreement with Telemundo reflects both the strength of our competitions and the passion of Spanish-speaking fans in the United States. We look forward to working together to deliver unforgettable moments and bringing the drama, excitement and excellence of European football to millions of viewers over the next cycle.”

UC3 unites European football’s governing body UEFA and European Football Clubs (EFC) and represents more than 800 top European clubs in rights negotiations.

"Coming off the unprecedented success of Telemundo’s coverage of the FIFA World Cup 2026, we are excited to dedicate our expertise and resources to present the very highest level of club soccer tournaments to millions of passionate fans across the United States," said Luis Fernandez, Chairman, NBCUniversal Telemundo Enterprises. "We are ready to deliver the best world-class experience for all US Hispanics through the full power of Telemundo’s broadcast, cable, streaming and digital platforms."

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

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

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

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

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

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

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

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

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

LAUSANNE, Switzerland, and CINCINNATI—Scripps Sports has signed an agreement with Volleyball World for the U.S. domestic broadcast rights for all 64 games of the 2027 Women’s Volleyball World Cup for Ion and Scripps Sports.

The deal, which covers English- and Spanish-language rights for all tournament games, was facilitated by Horizon Sports & Experiences (HS&E), the exclusive sponsorship and media rights sales agency for the 2027 FIVB Women’s Volleyball World Cup. Volleyball World is the 2027 FIVB Women’s Volleyball World Cup organizing committee.

As part of the deal, Ion, FIVB Women’s Volleyball World Cup 2027 and Horizon Sports & Experiences will collaborate on title and presenting sponsorship sales packages.

The 2027 FIVB Women’s Volleyball World Cup adds to Scripps’ growing portfolio of women’s sports rights, including the WNBA, NWSL (National Women’s Soccer League), PWHL (Professional Women’s Hockey League) and Premier Women’s Rodeo (PWR).

“The FIVB Women's Volleyball World Cup is a premier global tournament that showcases the incredible athleticism and competitive intensity of the world's best volleyball players,” Scripps Sports President Brian Lawlor said. “We’re thrilled and honored to bring the 2027 event to ION and to the millions of loyal and passionate volleyball fans across the United States.”

The three-week tournament will feature 32 national teams in competition in the U.S. and Canada in August and September of 2027.

The deal comes amid growing interest in volleyball and women’s sports. The 2027 FIVB Women’s Volleyball World Cup will also play a significant role on the road to the 2028 Los Angeles Summer Olympics, with the three highest-finishing national teams that have not already qualified securing their places in L.A.

While live sports have become a bulwark of broadcast programming, a new analysis of sports viewing shows that viewers of the NFL and other popular sports are skewing older, with more than half of the NFL’s casual viewers being older than 55.

According to S&P Global Market Intelligence, approximately three-quarters of Americans watch live sports, with football dominating viewership at 53%. The analysis reveals that casual sports fans, who watch less than five hours weekly, comprise 44% of NFL viewers and that these casual viewers represent a significantly older demographic, with half being adults over 55 years of age.

After football, the Winter Olympics (41% of Americans), Summer Olympics (38%), baseball (36%) and basketball (38%) were watched by the largest percentage of the population.

Other key highlights include:

• Casual sports fans dominate the NFL viewership landscape, accounting for 44% of all NFL viewers, the highest percentage among major professional sports leagues. These casual viewers, defined as watching less than five hours of sports per week, represent 53% of total sports viewers and demonstrate a distinctly older demographic profile, with 51% being adults aged 55 and older and only 18% being young adults under 35.
• Major league viewership shows consistent patterns across baseball, basketball, and hockey, with approximately one-third of MLB, NBA, and NHL viewers classified as casual sports fans. The NFL attracts 48% of US internet adults for regular-season games, followed by MLB at 34%, NBA at 29%, and NHL at 19%, demonstrating football's substantial lead in overall market penetration.
• Age distribution reveals stark contrasts between casual and engaged sports fans, as moderate sports fans (5-10 hours weekly) and avid fans (over 10 hours weekly) share very similar demographic profiles. Both segments consist of approximately one-third young adults under 35 and one-third adults aged 55 and older, contrasting sharply with the older-skewing casual fan base.
• Total media consumption correlates directly with sports viewing intensity, as avid sports fans spend an average of 7.2 hours per day watching TV and video programming compared to 4.9 hours for casual sports fans. The data indicates that increased sports viewing displaces entertainment content such as movies, TV series, and documentaries, while news programming consumption remains consistent across all fan segments.
• Football maintains its position as America's dominant sport, with 53% of Americans watching football (NFL or NCAA), significantly outpacing other major sports. Baseball and basketball each attract approximately 36% of Americans, while ice hockey draws 20% viewership. The recently-completed Winter Olympics attracted 41% of US internet adults, demonstrating strong interest in major sporting events beyond traditional league play.

LOS ANGELES—Global broadcast design agency Girraphic selected Vizrt graphics for mixed martial arts promotion MVP’s premiere event, streamed on Netflix May 16.

Broadcast live from the Intuit Dome in Inglewood, Calif., the 18,000-seat arena’s graphics lit up the venue, creating an immersive experience for fans at the event and bringing Netflix viewers closer to the action.

The venue’s Halo Board LED displays, augmented reality (AR) graphics, and every visual element were designed and operated by longtime Vizrt partner Girraphic. The agency specializes in virtual production and augmented graphical integrations.

“In live sports, you never know what’s going to happen,“ Girraphic CEO, North and South America Nathan Marsh said. “That anticipation brings fans to the edge of their seats, and visual elements on every screen should meet the magic of the moment. By counting on Vizrt technology, our teams were able to bring our collective vision to life, engaging the Netflix MMA fans in the venue and at home.”

A unified graphics workflow ensured the production team had the flexibility needed to deliver for both Netflix viewers and fans in the arena—all controlled from a single interface. Broadcasters, rightsholders, streamers and leagues are shifting strategy to handle more productions for more audiences in less time and with fewer added resources.

Essential to the workflow was the Viz Engine 5 real-time 3D graphics rendering and compositing engine, Vizrt said. Combined with Vizrt’s Viz Multiplay video wall and multiscreen control platform, the Viz Engine 5 enabled the team to create an original experience for every live event. Viz Multiplay enables the control of every display from a single interface, with playout available in any aspect ratio.

The solution blends prerendered animation, live video feeds and real-time broadcast graphics into a unified production workflow, Vizrt said. making the management of giant LED displays in venues of all sizes simple and solid. At the heart of both solutions is the reliability to not only support but also uplift productions, the company said.

More information is available on the Vizrt website.

MILWAUKEE—The Milwaukee Bucks will return to a full-season over-the-air television for the first time in 31 years, with 2026-27 preseason and regular season games airing on MY24 and statewide affiliates as part of a deal with the Rincon Broadcasting Group.

“We’re excited to bring the Bucks back to MY24,” Rincon Broadcasting Group CEO Kern Dant said. “This is more than a television partnership. It’s the return of a Milwaukee tradition. Welcome home, Bucks fans.”

MY24 first served as the over-the-air broadcast home of the Bucks from 1988-94.

With the new deal, viewers in the Milwaukee area will be able to watch Bucks games over-the-air on MY24 and on most major cable systems and YouTube TV during the 2026- 27 season.

The over-the-air broadcasts will tip off on MY24 during Bucks games at the 2026 NBA Summer League in Las Vegas, beginning on Sunday, July 12, against the San Antonio Spurs at 8 p.m. CT. The Bucks will then play the Phoenix Suns on Monday, July 13, at 9 p.m. CT and the Charlotte Hornets on Wednesday, July 15, at 6:30 p.m. CT.

Good Karma Brands will work with the Bucks to lead media and advertising sales and develop a full state-wide network of affiliates, helping connect advertisers with one of the NBA's most passionate fan bases through the new statewide video broadcast network. The Bucks will also develop a direct-to-consumer streaming service to further expand access to Bucks games, with additional details to be announced at a later date.

“This season marks an exciting return to our roots as we bring Bucks basketball back to full-season over-the-air television for the first time in more than three decades,” said Bucks and Fiserv Forum president Josh Glessing. “We’re grateful to our partners at Rincon Broadcasting Group for helping us make Bucks games more accessible to our fans throughout Wisconsin.”

MONTREAL—Game Creek Video, one of North America’s largest mobile production providers, has reached an agreement with Grass Valley to purchase 10 fully configured K-Frame production switchers as part of a two-year fleet expansion program.

Two K-Frame systems have already been delivered, with the remaining eight scheduled over the next two years.

Game Creek serves major professional sports leagues and premium live event productions across the United States. , and the agreement continues a long-standing relationship between the two companies.

“We have always invested in technology that gives our clients the flexibility and performance they need for the most demanding productions,” said Pat Sullivan, president and founder, Game Creek Video, which produces major professional sports leagues and premium live event productions across the United States. “The K-Frame platform and its fully IP-native configuration reflects our commitment to serve our demanding customers by building customers by building a fleet of trucks ready for modern live production workflows.”

Each K-Frame system will be deployed with a Kayenne 4ME control surface and configured identically, featuring nine MEs and a fully loaded 192×96 IP-architecture. The common specification provides Game Creek with a consistent operational framework across its fleet to support high-end sports and entertainment productions.

“The combination of scale, reliability and IP capabilities made K-Frame the right fit for our next generation of trucks,” said Jason Taubman, senior vice president of technology, Game Creek Video. “Standardizing on a common architecture gives our engineering and production teams the same unique capabilities, regardless of which truck is on-site.”

Grass Valley will showcase its latest live production solutions, including the K-Frame production switcher family, at Booth 219 at the 44th Annual IDEA Conference, taking place 12–15 July at the Northern Kentucky Convention Center, Cincinnati, Ohio.

LONDON—NEP Europe has announced a new multi-year agreement with Wimbledon Broadcast Services (WBS) to remain the broadcast services provider and detailed how it used a number of innovative technologies to produce The Championships, Wimbledon 2026, which continues at the All England Lawn Tennis Club through Sunday, July 12.

"What makes this relationship successful is a shared commitment to continually improving how The Championships is delivered," said Ed Tischler, managing director, NEP UK. "Working alongside WBS, we've evolved the host broadcast operation by finding smarter ways to work, embracing new technologies and giving both teams greater flexibility to innovate. This new agreement reflects the trust we've built together and, most importantly, the commitment of our people who continue to push the operation forward every year."

"Our focus is always on delivering the highest-quality coverage of The Championships for rightsholders around the world while continuing to evolve how the event is produced," added Paul Davies, associate director of broadcast, production, and media rights at The All England Lawn Tennis Club. "NEP has worked in close collaboration with our team to refine workflows, adopt new technologies and continually improve our production approach. That shared commitment to innovation has strengthened the host broadcast operation and provides a strong foundation as we continue to enhance coverage of The Championships in the years ahead."

In making the announcement, NEP also detailed a full range of technical services from across the content supply chain that are being used to deliver the broadcast feed to rightsholders around the world.

The 2026 deployment expanded the use of SMPTE ST 2110 infrastructure across The Championships grounds, with NEP's TFC broadcast control system serving as the central orchestration layer that coordinates workflows across the production. Together, they enable more agile production workflows, streamline replay operations and provide more efficient deployment of engineering and production resources.

Supporting the production are two IP-powered UHD HDR outside broadcast units, a large-scale IP flypack serving 11 production galleries and seven automated courts, and an integrated workflow featuring more than 150 cameras, 32 EVS replay servers, NEP's MediaBank media asset management solution, graphics, quality control and new video review capabilities. More than 350 engineering, operational and commercial specialists from NEP are supporting the delivery of The Championships, along with the Qualifying Competition at Roehampton.

Specialty cameras were also used to expand court coverage. NEP's AI-powered Tr-ACE robotic camera system provided automated capture across Courts 4–7 and 9–11 while enabling a single operator to manage complete on-court coverage. For the first time, Centre Court and No.1 Court also feature NEP's Nucleus camera system, delivering ultra-high-quality 4K super slow-motion images that bring fans even closer to the action.

In addition, Creative Technology (CT), NEP Group's live events solutions division, is delivering one of the largest visual technology deployments at The Championships, with 74 LED displays installed across multiple venues, including the iconic Henman Hill. CT also manages live content production for public viewing areas, helping create an engaging spectator experience throughout the grounds.

LOS ANGELES—LA28 has announced that the International Broadcast Center supporting broadcasters around the world covering the 2028 Summer Olympics will be located at Warner Bros. Studios’ The Ranch Lot in Burbank.

LA28 has initially announced in May of 2025 that a newly developed facility, the Hollywood Park Studios, located next to the SoFi Stadium in Inglewood would house the international broadcast center.

Instead, the International Olympic Committee Executive Board recently approved plans for LA28 to use two studio campuses—Hollywood Park Studios (HPS) in the Inglewood Zone next to the SoFi stadium and the much larger The Ranch Lot across town in the Burbank Zone.

LA28 will use the HPS facility as a key media and operational hub for the Olympic Opening Ceremony, Paralympic Opening Ceremony, Swimming, Basketball and the Main Press Center (MPC).

More specifically, HPS production facilities will support Main Press Center operations, provide space for broadcasters conducting live stand-ups, and accommodate a variety of other operational functions.

The Ranch will house the International Broadcast Center (IBC), the global operational headquarters for Media Rights Holders who have secured the exclusive rights to distribute Games coverage. This campus offers the scale, technical infrastructure and production facilities required to support one of the world’s largest temporary broadcast operations and will be fully operational for several months before, during and after the LA28 Games.

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

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

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

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

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

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

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

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

CAMBRIDGE, U.K.— New research commissioned by Bango, a U.K.-based provider of subscription bundling platforms, finds that 43% of Americans would switch their mobile, broadband, or TV provider for a better sports streaming bundle, putting more than four in ten customers up for grabs.

That churn risk is the clearest signal yet that sports has become a frontline battleground for telcos fighting for customers. With sports rights fragmented across streaming platforms, telco providers are becoming a trusted way for consumers to consolidate sports content, according to Bango, which cites that more than half (52%) say they would trust their own provider above anyone else to pull all the live sports they care about into a single bundle.

This fragmentation is on full display right now. To follow the 2026 World Cup in the US, English-language viewers are split across Fox and FS1, subscription service Fox One, and free ad-supported Tubi, while Spanish-language coverage runs on Telemundo and streams on Peacock. Even the biggest event in world sport has fans hopping between apps and subscriptions to follow a single tournament: exactly the kind of confusion consumers are looking to their telco to solve, Bango said.

The findings also indicate that sports content now influences telco choice nearly as much as price, with 45% of respondents preferring a provider with a strong sports streaming bundle over one with a lower monthly price. In fact, 42% would pay more to their current provider if it included the sports they care about, according to Bango.

Sports bundles are also a strong driver of loyalty and growth; 46% of Americans say a sports streaming bundle would make them more loyal to their current provider, and 49% say it would be more likely to recommend them. On the other hand, if telcos remove access to sports, 48% of Americans would then consider switching to a competitor.

Bango notes that these findings highlight an ongoing shift in the telco sector, with providers moving beyond connectivity to bundle the subscriptions consumers value most.

“Just like on the field, telcos can win or lose with sport, and the numbers make that impossible to ignore,” said Giles Tongue, subscription expert at Bango. “More than four in ten Americans would switch telco for a better sports bundle, and almost as many would walk if their provider lost access to the sports they love. Connectivity alone has never held that kind of power over customer choice.”

"This is the clearest commercial signal telcos will get. Sports rights are scattered across a dozen platforms, and consumers are looking to their provider to pull them back together. They'll pay more, stay longer, and recommend whoever does it first. In this fight, bundling is the weapon. The telcos that move fast to bundle sports will win the customer, but the ones that hesitate will spend the next decade defending against churn."

The research, commissioned by Bango and conducted by an independent research agency, is based on a representative sample of 2,500 American consumers aged 18 and over and was conducted in May 2026.

ALAMEDA, Calif.—Mobile live production solutions provider Ross Production Services (RPS) has standardized on Clear-Com intercom systems across its fleet of mobile units, flypacks and production control rooms to support complex live production workflows.

RPS supports a wide range of productions, including sports broadcasts, entertainment concerts, rodeos, esports, political debates and corporate events. To meet the demands of these diverse environments, the company relies on a fully integrated Clear-Com ecosystem that spans headquarters facilities, production trucks and remote user workflows.

“Every show has Clear-Com involved, from party lines to point-to-point communication and IFB connectivity,” said Lance Bracale, RPS director of broadcast engineering. “Any time you step into an RPS mobile unit or control room, you will be using a Clear-Com panel.”

RPS has deployed a comprehensive Clear-Com infrastructure throughout its operations, including Eclipse Omega and Delta digital matrix frames, IrisX user panels, Agent-IC mobile app, LQ Series IP interfaces and FreeSpeak wireless intercom systems. The systems are integrated into Ross Ultrix routing environments and configured to support both local and remote productions.

According to Bracale, Clear-Com’s flexibility and hybrid workflow capabilities were major factors in the company’s decision to standardize on the platform.

“One of the biggest things is deploying two-wire comms in the field over network using the LQ interfaces, while also being able to add four-wire connectivity when needed,” said Bracale. “Agent-IC has also been incredibly valuable for at-home users and as a fail-safe option for remote connectivity.”

RPS engineers and audio teams also benefit from the usability of Clear-Com’s EHX configuration software.

“The ease of the EHX software has made it simple for engineers and A1s to program and control intercom workflows,” Bracale said. “The Go LIVE functionality makes changes instantaneously without needing to push a full configuration, and Supervisor Mode gives engineers visibility into what users are hearing and selecting in real time.”

RPS has expanded its use of Clear-Com’s wireless solutions, transitioning from standalone FreeSpeak systems to IP-based wireless deployments using E-IPA cards and FreeSpeak Icon beltpacks.

“We are slowly upgrading to IP antennas connected directly to the E-IPA cards along with the new Icon beltpacks to save time during setup and simplify deployment,” Bracale said.

The company has also leveraged remote panel connectivity and Agent-IC clients to support distributed production teams, allowing users working from home to connect directly into production environments as though they were onsite.

More information is available on the Clear-Com and RPS websites.

MUNICH, Germany—ARRI has unveiled the ALEXA 35 Live Xtreme camera supporting high frame rate output of up to 8x for live productions using traditional SDI workflows.

With ARRI’s Live Production System LPS-1, the camera enables the emotion and drama of live entertainment events to be broadcast not just in ARRI image quality, but also in beautiful slow motion, enhancing creative options for producers and directors.

ALEXA 35 Live Xtreme comes permanently pre-installed with the existing High Speed License for ALEXA 35 and a new High Frame Rate SDI License. When combined with the ARRI LPS-1 Fiber Camera Adapter and Fiber Base Station (and a standard slow-motion playout server such as SimplyLive or EVS) the camera outputs HFR at up to 8x in HD or 2x in UHD. Up to 4x HFR can be output via a single SDI connector, and higher speeds are split across both SDI outputs.

Frame rates up to 330 fps use the camera’s full dynamic range of 17 stops, while a Sensor Overdrive mode enables frame rates up to 480 fps at a dynamic range of 11 stops. Whatever frame rate is chosen for the slow-motion feed, the system simultaneously outputs a live feed for broadcast, allowing operators to switch between the program frame rate and HFR in real time. A unique phase-blending feature provides control over motion blur and shutter effects in the live feed.

Broadcasters have embraced the ARRI Multicam System because it transforms the visual impact of live coverage, elevating production value and enriching audience experience.

With its Super 35 sensor, high dynamic range and sensitivity and exceptional color fidelity, ALEXA 35 Live Xtreme delivers a base look that stands out from the crowd. Users can choose looks from the ARRI Look Library, try ARRI’s Multicam looks or build their own LUTs—with traditional live painting still possible no matter what look is chosen.

Sports broadcasting is a key application area for the ALEXA 35 Live Xtreme with coverage of indoor, outdoor, individual and team events set to benefit. The camera’s wide dynamic range helps capture high-contrast environments, such as winter sports, while the cinematic image quality conveys the full emotion and drama of decisive moments—all in slow motion.

Since a separate high-speed camera is no longer required, the HFR content now has the same ARRI look as the regular feed, and a consistent visual style is assured across both the live coverage and highlight reels.

Seamless integration is fundamental to the ARRI Multicam System. When using ALEXA 35 Live Xtreme for a live production, everyone from the engineers and operators to shaders and directors can do their job in the normal way. The LPS-1 Fiber Base Station simply plugs directly into the slow-motion playout server, and an HFR signal is available from the camera via a standard baseband workflow for easy incorporation into the live coverage.

The ALEXA 35 Live Xtreme is now available to order.

More information is available on the company’s website.

HACKENSACK, NJ—LAt the 2026 IBC Show, Sept. 11-14, LiveU will showcase what it refers to as its "Q Era," which uses AI-driven connectivity intelligence in a modular, open IP-video EcoSystem to automate live production workflows across news, sports, entertainment and other live events.

Among the highlights at its booth are the LU900Q, LiveU's Intelligent Production Unit, the first unit built natively around LiveU IQ (LIQ). The unit applies AI-driven connectivity intelligence and smart operator selection to optimize performance in real time, helping crews stay reliably connected in challenging conditions, according to the company.

Built for multi-camera workflows, the LU900Q combines native LIQ connectivity, advanced eSIM technology, optimized 5G modems and a MIMO antenna array with support for SDI, HDMI, USB and IP camera input. It delivers HD/4K transmission with 10-bit HDR 4:2:2 encoding, up to 32 audio channels, dual video return, dual intercom with built-in Bluetooth audio and wireless file transfer for faster field-to-production turnaround.

LiveU will also showcase its expanded collaboration with Sony Corporation, first announced at the 2026 NAB Show. On display, and currently available, will be the LiveU TX1—a compact, camera-mounted unit purpose-built for Sony's professional camera range—delivering fast, reliable bonded file transfer directly from the camera. Also demonstrated will be the Sony RXS Connection License, enabling direct file transfer from compatible Sony cameras to the PWA-RXS solution via supported LiveU field units, starting with the compact LU300S.

LiveU has also announced that Cuez has signed up as its latest EcoSystem partner, extending workflow automation into cloud-based newsroom and rundown management.

As a member of the EBU's working group, LiveU is actively involved in advancing the MXL shared-memory architecture – enabling multiple applications to access the same video frame simultaneously, eliminating redundant processing and reducing latency.

Together, these developments reflect the broader LiveU EcoSystem approach, supporting the full arc of live production, across live and file-based workflows.

Also at the LiveU booth is LiveU Nexus, a universal gateway for digital and IP workflows that converts, normalizes, and routes feeds across LRT, SRT, and RTMP, bridging social, online, and remote sources with traditional broadcast operations. As well as offering seamless digital source integration for Zoom, Teams and YouTube, it can be used as a scan converter for any web content, the company said.

LiveU Studio is a cloud-native production service for video switching, audio mixing, graphics, and more. It enables multi-output cloud production, allowing teams to deliver multiple feeds in multiple formats from a single production. Together, Nexus and Studio give newsrooms and digital teams a faster, leaner path from live event to published content—across every platform simultaneously.

Also on tap, LiveU Ingest, which replaces fragmented, manual processes with a single story-centric workflow for live and file based—from planning and scheduling through ingest, and metadata enrichment.

Actus Digital, a LiveU company, will showcase the latest capabilities of Actus X – a modular, browser-based platform that unifies compliance logging, low-latency multiviewing, QA monitoring, clip creation, and AI-powered media intelligence.

LiveU will be in Stand 7.C24 at the RAI Amsterdam.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information is available on Riedel’s website.

With the fall football season only two months away, a major regulatory battle with far-reaching implications for the future of high-profile sports and the National Football League on TV is already well underway.

In what could be considered either a regulatory Hail Mary or a politically savvy power play to strengthen their negotiating position in upcoming NFL talks, broadcasters are pushing for legislative and regulatory changes that aim to reverse the ongoing shift of NFL rights from broadcast to streaming platforms.

“Games from the four major professional leagues are now spread across Amazon Prime [Video], Netflix, YouTube TV and Apple TV,” National Association of Broadcasters President and CEO Curtis LeGeyt told a House subcommittee in June. “Fans increasingly need multiple paid subscriptions to watch their favorite teams, and survey after survey shows fans are confused and frustrated. Some estimates suggest that accessing every NFL game over the course of a season would cost a consumer well over $1,000.”

Last Rallying Cry
How Congress or regulators might change current rules to address those complaints or how well any of the proposed changes might weather court challenges remains open to question. But there is little doubt that a powerful coalition of politicians, regulators and people who rarely agree on anything—President Donald Trump, Congressional Democrats and Republicans, the Federal Communications Commission, the Justice Department and long-suffering fans—are upset with the current system.

With the president and members of Congress openly criticizing the NFL, the FCC’s Media Bureau launched a public inquiry in March seeking public comments on how the changing broadcast and sports-rights landscape is impacting consumers. The DOJ followed in April with an antitrust probe of the league.

In a March interview on Fox News Channel, FCC Chair Brendan Carr said the experience of watching sports “has become frustrating over the last several years…It’s more complex; it’s more costly.”

“We’re all for sports leagues getting fair-market value for their product, but right now, they’re benefiting from a very unique antitrust exemption to pool their bargaining together,” he added. “[W]e’re at a tipping point where these leagues can push it so far [in] putting games behind paywalls that they undermine their ability to claim that anti­trust exemption.”

The NFL has so far been keeping a low profile on the controversy. Commissioner Roger Goodell declined to appear in June beside LeGeyt and other witnesses testifying before the House Judiciary Subcommittee on the Administrative State, Regulatory Reform and Antitrust, which is probing the issue.

In a private meeting with FCC staffers in April, NFL executives argued that “100% of NFL games have aired on broadcast television in the home markets of the competing teams” and that their contracts with ABC, CBS, Fox and NBC account for “more than 87% of all NFL games, a number that has varied little in the past two decades,” according to a letter describing the meeting.

In that letter, the NFL also insisted that ending antitrust exemption would mean “higher costs and confusion,” calling its current media distribution policy “good for our fans” and “for local broadcasters.”

Monopoly Money
While much of the consumer debate revolves around the larger issue of sports rights shifting to streaming TV platforms, many of the policy issues and recommendations stem from the 1961 Sports Broadcasting Act. One of its key provisions gave the NFL,
Major League Baseball, the National Basketball Association and the National Hockey League an antitrust exemption when negotiating broadcast rights. That exemption allows the leagues to negotiate deals on behalf of individual teams.

Such exemptions were not unprecedented. Nearly 40 years earlier, a 1922 Supreme Court decision gave MLB an antitrust exemption, and there is little doubt that the NFL’s ability to negotiate deals simplified the process of acquiring broadcast rights, which helped the sport and the networks. In 2025, 89 of the top 100 TV programs in the U.S. were NFL games, according to Nielsen.

Critics, however, argue that much has changed since the SBA was passed. In 1960, TV ad revenue (all of which went to broadcasters) totaled only $1.6 billion; this year, linear TV advertising for broadcast and cable is expected to hit $48 billion, a 2,900% increase, and connected TV ad revenues—which primarily go to streaming platforms—will total another $36.9 billion, according to ad agency Media Architects.

Data on the sports business of the late 1950s and early 1960s isn’t very reliable and estimates can vary widely, but the average NFL salary in 1960 was probably $12,000 to $15,000, and total NFL revenues were believed to be around $1 million, mostly from ticket sales. The league’s first post-SBA network deal with CBS in 1962 produced a massive increase in revenue but brought in only about $4.65 million a year, according to the Associated Press. That is a tiny fraction of the $111 billion in revenue produced by the NFL’s current TV contracts, which run through 2033.

Legislative Action Required
With the NFL pushing to extract many more billions from media outlets by renegotiating its current long-term deals, the league’s wealth has attracted increased political scrutiny. In the June House hearings examining potential changes to the SBA, Republicans and Democrats were united in their concerns about the NFL’s distribution strategy that has shifted more games to streaming.

During the hearing, FCC Commissioner Anna Gomez expressed serious concerns about how the NFL has sold its media rights and handled its distribution strategy. “The economics of how fans actually watch have shifted in ways that deserve serious attention,” she said, praising the FCC’s decision to probe broadcast sports rights. “For a family trying to follow their team through a full season, the cost of piecing together access across multiple platforms adds up quickly.”

But Gomez, a Democrat, also cautioned the FCC has limited authority to change the current system. “The commission can gather information, raise concerns and call out fouls where it sees them, but any meaningful update to the Sports Broadcasting Act will ultimately require legislative action,” she said.

For its part, the NAB doesn’t want to abolish the antitrust exemptions in the SBA, given the confusion and difficulties that would result in having to negotiate separate deals with all the teams.

“NAB is not asking to eliminate the Sports Broadcasting Act,” LeGeyt told Congress in June. “But this Committee should reaffirm that the SBA applies only to league-wide negotiations with media companies that will distribute games through broadcast television, not lock games behind streaming paywalls.”

How that could work in terms of the media business or the legal system isn’t clear. The major media companies that own the Big Four broadcast networks and ESPN—The Walt Disney Co., Comcast, Fox Corp. and Paramount Global—don’t just have the biggest NFL deals; they also have large streaming subscription services that have bought exclusive rights to stream NFL games in recent years. If approved, Fox’s proposed $22 billion acquisition of Roku in June would allow it to move even more games to streaming.

Nor is it clear how the courts will react to legislation that favors one medium (broadcast) or another (streaming). And if the antitrust exemption is changed, the alternative of having teams negotiating deals rather than leagues could easily fragment rights and cause more confusion than the current system.

Either way, as the NFL pushes to renegotiate its current contracts, expect this regulatory battle to last well into 2027 and beyond.

NEW YORK—Versant Media Group continues to make acquisitions following its spinoff from NBCUniversal earlier this year with a definitive agreement to acquire Full Swing, a leading sports technology company with patented hardware and integrated software used by consumers, competitive athletes, coaches, and commercial venues for about $530 million from Bruin Capital and a group of minority investors.

Full Swing, which is best known for its golf simulators and its tracking and analytics software, will add an interactive sports platform to Versant’s portfolio, spanning immersive simulation, launch monitors, virtual greens, integrated software, and performance data.

Built first in golf and now extending into baseball and other sports, Full Swing supports data-driven practice, play, training, and entertainment across at-home, commercial and professional environments with simulated sports and family entertainment experiences.

At a time when traditional cable network brands are looking to expand their presence beyond the declining pay TV eco system, Full Swing will strengthen the company’s golf business, which includes Golf Channel, GolfNow and GolfPass, and will provide a new way to engage the growing golf community.

The acquisition will also create opportunities to develop content, commerce, training, and venues while supporting Full Swing’s continued growth as a sports technology company, Versant said.

“Full Swing is exactly the kind of strategic platform that reflects how we are building Versant: investing in our core markets, extending the reach of our iconic brands and creating new ways to serve passionate audiences,” said Mark Lazarus, CEO of Versant. “Sports are becoming more interactive, more data-driven and more connected, and Full Swing allows us to build on that momentum. Starting from our strength in golf, we see an opportunity to scale a multi-sports technology platform for athletes, coaches, consumers, and fans.”

"This is an exciting next chapter for Full Swing. Joining Versant gives us the scale and distribution to bring our technology to even more golfers, athletes and fans, while staying focused on what we do best — building the most connected and immersive way to play and train,” added Ryan Dotters, CEO of Full Swing. “We're proud of what our team has built, and we look forward to growing it alongside Versant's portfolio of iconic brands."

Following the closing of the transaction, Full Swing will operate within Versant’s Digital Platforms and Ventures portfolio, and Dotters will join Versant, reporting to McIntosh. The transaction is subject to customary closing conditions and is expected to close in the second half of 2026.

Gibson Dunn acted as legal advisor to Versant. Moelis & Company LLC. acted as financial advisor, and Kirkland & Ellis LLP acted as legal counsel to Bruin.

NASHVILLE, Tenn.—Gravity Media USA, a provider of production, content and media services and facilities, has hired Brittney Boston as head of business development.

Based in Nashville, Boston’s charge is to lead its business development strategy and drive revenue growth across its RF and wireless solutions, production flypack services and production and managed services offerings, the company said. She’ll work closely with Gravity Media USA’s leadership team to focus on strengthening customer partnerships and developing new opportunities across the region, Gravity Media said.

“The opportunity to join the team at such an exciting stage of growth is incredibly exciting,” Boston said. “I'm looking forward to working with talented teams across the business to build new partnerships, expand our client base and help drive the next phase of growth for Gravity Media USA.”

Prior to Gravity, Boston had founded and operated Supreme Republic Entertainment, a consultancy serving major record labels, production companies and Fortune 500 brands, the company said. She brings 13 years of experience on such major events as the Grammy Awards, Oscars and Emmy Awards, as well as with the National Basketball Association’s Los Angeles Clippers.

“Brittney joins Gravity Media as we continue to expand our U.S. operations and invest in the growing demand for RF, specialist cameras and live production services,” Nathan Spencer, managing director of Gravity Media USA, said. “Her extensive experience across sports and entertainment, along with her strong commercial track record, will be instrumental in strengthening customer partnerships and driving the next phase of the business’ growth.”

Gravity Media is a media services, facilities, production and content company that delivers end-to-end media services and solutions to broadcasters, rightsholders and production houses in 37 locations across 10 countries, including such highly watched events as the UEFA Euro Championships, Olympic Games, FIFA World Cup, Formula E, the Tour de France and the U.S. Open tennis tournament, as well as programs such as “I’m a Celebrity…Get Me Out of Here!” and “I Kissed a Boy.”

WUPPERTAL, Germany—Riedel Communications says it's expanding its partnership with SKAARHOJ, a Danish provider of tactile controllers for media production, bringing official SKAARHOJ panel support to SimplyLive production workflows. Enabled through the latest SimplyLive 2.1 release, the integration expands SimplyLive’s control options with a tactile switcher panel experience, complementing both its touchscreen interface and existing RCU-based workflows.

The integration addresses customer demand for dedicated hardware control in live production environments where operators want the speed, confidence, and familiarity of a classic switcher panel, Riedel said. With SKAARHOJ panels, SimplyLive users can control key live production functions such as source switching, program output switching, transitions, auxiliary output control, keying, graphics, and macros.

“SKAARHOJ was the obvious partner for this integration because of their strong reputation for high-quality products designed with the user in mind,” said Paul Macklin, Senior Product Manager, SimplyLive at Riedel Communications. “Their collaborative approach allowed us to tailor the solution around the specific needs of SimplyLive operators, especially in single-operator environments where speed, confidence, and ergonomics are essential.”

This operator-focused approach extends beyond the panel integration itself. To support fast deployment, Riedel and SKAARHOJ said they provide a curated starting configuration that helps customers get up and running quickly while preserving the flexibility to adapt the setup to their preferred production workflows.

“We're excited to expand our collaboration with Riedel through the SimplyLive integration,” said Kasper Skårhøj, CEO, SKAARHOJ. “Having previously integrated with Riedel SmartPanels and MediorNet, this is another great example of how our technologies can come together to create new and flexible workflows. While the solution is tailored for the Master Key 48, users can choose any SKAARHOJ panel that best fits their production needs.”

SimplyLive 2.1 introduces official support for SKAARHOJ panels through a gRPC API, enabling responsive communication between the panel and the SimplyLive ViBox application. Alongside a range of other enhancements and new features, the release also adds a new Venue Gateway license for SimplyLive Production Suite Flex customers, allowing the same server hardware to support Venue Gateway applications in addition to All-in-One, Replay, Ingest, and Review workflows.

Additional SimplyLive resources, including the curated starting configuration, are available via the MyRiedel portal. Further guidance on SimplyLive 2.1 workflows, including instructions for implementing the SKAARHOJ configuration, is available in the SimplyLive 2.1 user guide.

MIAMI—Telemundo and Peacock continue to report record-setting audiences for FIFA World Cup 2026 matches, with the USA vs. Turkey match ranking the most-watched U.S. Men’s National Team (USMNT) FIFA World Cup match in Spanish-language history. The match attracted 7.4 million viewers in total audience delivery (TAD).

The June 25 match was also +111% greater than the USA’s final Group Stage match in the 2022 tournament (3.5 million TAD) vs. Iran.

With this match, Telemundo and Peacock have now seen three of most-watched USMNT FIFA World Cup matches in Spanish-language history with USA vs. Paraguay delivering a 7.0 million TAD on June 12th and USA vs. Australia delivering 6.8 million TAD on June 19th. Over its three Group Stage matches this year, the USA delivered an average 7.1 million TAD, up +83% over its average Group Stage TAD in 2022 (3.9 million).

In addition, the Ecuador vs. Germany match on June 25th delivered a 4.1 million TAD, becoming the third most-watched Ecuador FIFA World Cup™ match in Spanish-language history, behind the June 14th match vs. Ivory Coast (6.8 million TAD,) and the June 20th match vs. Curaçao (6.0 million TAD). Thursday’s match also delivered +120% growth vs. Ecuador’s final Group Stage match in 2022 (1.9 million TAD) vs. Senegal. Ecuador’s 2026 Group Stage performance averaged 5.7 million TAD, up +90% vs. the average from its Group Stage in 2022 (3.0 million TAD).

Meanwhile, Japan vs. Sweden delivered a 4.7 million TAD, an increase of +104% vs. Japan’s final Group Stage match in 2022 (2.3 million TAD) vs. Spain, while its 2026 Group Stage matches averaged a 4.6 million TAD, surging +230% vs. 2022 (1.4 million TAD).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Callahan sang the praises of HBS as well.

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

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

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

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

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

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

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

As the 2026 FIFA World Cup moved into the 32-team knockout stage, Fox Sports said viewer interest in the tournament is still strong.

Fox’s June 19 coverage of four matches set an English-language record for the largest full-day audience of men’s World Cup coverage in the U.S., the network said.

The United States-Australia match attracted 16.217 million viewers, making it the second-most-watched English-language group stage telecast in the U.S. ever, followed by 9.174 million average viewers (10.548 million peak viewers) for Scotland-Mexico.

The day also saw 8.741 million viewers (9.894 million peak viewers) for Brazil-Haiti and 2.752 million viewers (3.157 million peak viewers) for Turkey-Paraguay.

Team USA’s 2-0 defeat of Australia had a peak audience of 21.219 million and was the top-rated Friday-afternoon telecast on broadcast TV since Fox’s Christmas Day Minnesota Vikings-New Orleans Saints NFL telecast in 2020.

It was also the second-most-watched U.S. men’s national team game since the U.S.-Paraguay group-stage World Cup match on June 12.

NBCUniversal’s Peacock and Telemundo said an average of 2.3 million viewers have watched some of their coverage of the 2026 FIFA World Cup during the competition’s first two weeks, up 277% from the same perioid during the 2022 World Cup in Qatar.

Peacock and Telemundo are the exclusive Spanish-language streaming platforms for the 2026 World Cup. Fox Sports holds the English-language rights to the competition, which runs June 11 through July 19.

Through the first 40 matches, the Average Minute Audience (AMA) across Telemundo and Peacock streaming platforms has averaged 2.3 million viewers, up 277% from the same stage of the 2022 World Cup (622,000 AMA). AMA is defined as the average number of viewers watching the stream in any given minute of the telecast.

Several variables drove the viewership increase, not the least of which is that marquee live matches are being streamed during primetime as the tournament is in North America. Also, Peacock now has a much larger subscriber base at 46 million, more than double the roughly 20 million it had in 2022.

Total Audience Delivery (TAD) over the first 40 World Cup matches averaged 5.5 million viewers, up 141% from 2022. To date, 19 matches have delivered a Total Audience Delivery of more than 5 million viewers, compared to just two matches at the same point in the 2022 tournament.

TAD measures the entire audience across every single platform combined—traditional broadcast television (Telemundo), cable, and all digital streaming platforms (Peacock and apps).

The June 19 U.S.-Australia match delivered TAD of 6.8 million, up 46% from the U.S.’s second Group Stage match of FIFA World Cup Qatar 2022 against England (4.7 million). The match ranks as the second most-watched U.S. Men’s FIFA World Cup match ever in Spanish.

Audience engagement remains at historic highs, with 26.2 billion total minutes consumed across Telemundo broadcast, Peacock and Telemundo streaming platforms through the first 40 matches of the tournament, already surpassing the 22 billion total minutes consumed during the entirety of FIFA World Cup Qatar 2022 in Spanish, Telemundo said.

Fox Sports, the host broadcaster for the World Cup in the U.S. has also reported record ratings in the early days of the event, with viewership of 18.4 million for the first U.S. men’s game against Paraguay, making it the most-watched World Cup in U.S. history. The second U.S. men’s match against Australia attracted 14.78 million overall viewers on Fox.

The 2026 FIFA World Cup continues across Fox, Telemundo, Universo, Peacock and the Telemundo app through July 19.

In Australia, the patch bay is called a tail board. In the United Kingdom, the engineer responsible for matching cameras is often called a “racker” rather than a shader.

At the FIFA World Cup, those differences disappear remarkably fast.

The world’s largest sporting event brings together hundreds of broadcast professionals from different countries, cultures and technical traditions. Within days, engineers from Australia, England, the United States and beyond must operate as a single crew delivering one of the most recognizable sounds in sports.

They arrive speaking slightly different technical languages. The same piece of equipment or role can have multiple names. Yet by kickoff, those differences largely vanish. The audience hears one broadcast, not the dozens of production cultures working behind it.

What viewers remember is the roar after a goal, the tension before a penalty kick, the swell of a national anthem and the eruption of a stadium after a dramatic winner. They remember how the World Cup feels. Audio is a major part of that feeling.

Australian broadcast veteran Tim Stapleton, audio guarantee for Host Broadcast Services (HBS) in Kansas City, is one of the people responsible for creating that experience. A veteran of UFC, cricket, combat sports in the Middle East and the recent Milan-Cortina Winter Olympics, this is his first World Cup. The scale stood out immediately.

"The World Cup is unique because of the sheer number of moving parts," he said.

Big Event, Big Undertaking
Commentary facilities are handled by a completely separate company, with 10 dedicated booths inside the stadium. Outside, the production compound fills a parking lot with mobile rack rooms and support units from multiple vendors.

The biggest difference from a normal match is the atmosphere. “The crowd makes it sound like a magical moment, not a regular weekly game,” Stapleton said. “You can tell it is something special.”

HBS deploys a standardized audio plan across all venues while adapting to each stadium's characteristics. In Kansas City, the bowl design allows crowd noise to rise naturally, giving the mix team exceptionally clean audience capture.

Capturing that atmosphere requires far more than the standard soccer microphone package. The foundation remains familiar: pitch microphones positioned around the field to capture ball strikes, player movement and referee whistles, along with microphones mounted on cameras to follow the action.

Beyond that foundation, the World Cup expands significantly. Additional crowd microphones and immersive audio arrays are deployed throughout the venue to capture the atmosphere that defines the tournament. In Kansas City, ambient microphone arrays are positioned on the roof, camera deck, and pitch level, allowing the team to capture everything within the roar of the stadium.

The goal isn't simply to make the crowd louder. It's to make viewers feel present.

GEHA Field at Arrowhead Stadium (or, FIFA is calling it during the tournament, Kansas City Stadium) presents a unique advantage in that regard. Stapleton noted that the stadium's bowl design allows crowd noise to rise naturally through the venue, creating excellent opportunities to capture clean audience reaction.

A Mix That Tells a Story
For Stapleton, however, the technical design is only part of the equation. His approach to mixing is rooted in storytelling. Rather than simply balancing levels, he actively follows the action around the field, searching for sounds that draw viewers deeper into the match. The crowd remains a constant emotional foundation while individual moments are allowed to breathe naturally. "You're telling a story," he said.

Goals are allowed to build organically rather than exaggerated artificially. As the action moves around the field, microphones mounted on handheld cameras, Steadicams and other mobile systems help bring viewers closer to the moments they are seeing on screen. There is even a microphone mounted on the referee, though it is only used during specific review situations.

The Lionel Messi hat trick in Kansas City was a perfect example. “The reaction inside the stadium was immediate and overwhelming,” Stapleton said. Moments like that are exactly why so much effort is placed on crowd capture. The goal isn't simply to hear the reaction; it's to transport viewers into the stadium and allow them to experience the emotion of the moment alongside the fans in attendance.

The technology behind those moments may be sophisticated, but for many of the visiting engineers, the most memorable part of the World Cup has been adapting to life in the United States.

For Felix Harris, an HBS A2 from London with extensive Premier League and Club World Cup experience, the technical approach feels familiar, just on a larger scale. American stadiums, compounds, and travel distances are noticeably bigger than what he's accustomed to in the U.K.

"It's really tomato-tomah-to as far as nomenclature goes," Harris said. "But it's definitely a bit more." A lot more.

Andrew Lilley, another U.K.-based HBS A2, pointed to one practical difference: U.K. vehicle-length restrictions limit how much equipment can fit in a mobile unit. American trucks simply have more room, allowing for larger technical footprints and expanded microphone deployments. “A good tech sheet keeps everyone on the same page,” Lilley said.

Teamwork Comes Quickly
While terminology and workflows may vary, crews quickly find common ground. According to Stapleton, the real key to building a successful crew has nothing to do with technology.

“The first few days are essential,” he said. Crews learn each other’s strengths. They figure out how people communicate. They discover who works best in which roles. Shared meals, a drink after work and long production days help transform a group of strangers into a functioning team. “You spend so much time together that you become a family.”

Harris described the welcome from U.S. crews as warm and accommodating. Lilley joked about adjusting to the food, the lack of public transportation and a level of humidity that felt different from anything he experiences at home. “You do not do green vegetables in the States,” he joked. “And everything is on a bun.”

Stapleton has been impressed by Kansas City itself. “The best part is the locals,” he said. "Everyone has been friendly and willing to help.”

By kickoff, the terminology has been sorted out. The accents have become familiar. The workflows have aligned. Engineers who arrived from different continents are now focused on a single objective, helping billions of viewers feel connected to a match happening thousands of miles away.

Shared meals, long production days and countless hours spent solving problems together have transformed a group of strangers into a crew. The microphones, trucks and technology make that possible. The people make it memorable.

Together, they create the sound of the World Cup.

ALAMEDA, Calif.—Clear-Com has announced the successful deployment and testing of FreeSpeak Cell by RTL Deutschland during a live event production at Germany’s Nürburgring race circuit. The test validated the system’s ability to deliver reliable, low-latency communications across both private and public 5G networks, demonstrating the potential of cellular-based intercom workflows for future broadcast operations, the company reported.

Conducted in collaboration with RTL Deutschland and supported by Deutsche Telekom’s 5G network expertise and connectivity, the proof of concept demonstrated how FreeSpeak Cell can extend communications coverage across large-scale production environments by leveraging existing 5G infrastructure. The test integrated with RTL's existing communications ecosystem and provided stable connectivity across areas that would traditionally require multiple DECT antennas or additional infrastructure.

“For us at RTL, the flexibility of our production workflows is one of our top priorities,” said Jens Schilder, Project-Engineer at RTL Deutschland. “The successful test at the Nürburgring proves that integrating intercom solutions into 5G infrastructures efficiently bridges the last mile of wireless communication. Thanks to FreeSpeak Cell technology, we were able to ensure stable communications coverage across almost the entire Grand Prix circuit, the paddock, and additional production areas without relying on complex infrastructure. This is a decisive step toward fully mobile remote productions that demand the highest standards of latency and reliability.”

By leveraging 5G connectivity, RTL achieved clear audio quality and reliable communications coverage across almost the entire Nürburgring Grand Prix circuit, as well as the paddock and additional production areas including Hatzenbach.

Key results from the text included:

• Successful operation across private campus and public 5G networks
• Extended communications coverage using existing 5G infrastructure
• Integration with RTL's established communications workflow
• Validation of cellular-based intercom technology for live production environments

“The partnership with RTL Deutschland shows our commitment to implementing innovative solutions directly in real-world applications,” added Alex Hemme, sales manager DACH at Clear-Com. “The market demands scalable systems that reduce operating costs while increasing freedom of movement for production teams. FreeSpeak Cell delivers exactly that kind of flexibility and investment security. Demonstrating these capabilities under the demanding conditions of the Nürburgring sends a strong signal to the entire broadcast industry.”

CENTENNIAL, Colo.—Mobile TV Group (MTVG) today launched its full-stack MTVG Production Platform, a comprehensive solution covering every stage of a live broadcast, from on-site capture and production through contribution, media control and final distribution.

Located at the Mountain Media Center, the MTVG Production Platform was built to deliver through a single, unified partner what previously required multiple vendors and a patchwork of systems.

“What we’ve built at the Mountain Media Center isn’t just a facility; it’s the cornerstone of a complete production platform. From the mobile unit through contribution, media control, and all the way to distribution, every piece is connected and purpose-built to work together, for better performance and cost efficiency,” said Nick Garvin, CEO, Mobile TV Group. “Teams and leagues no longer need to stitch together a dozen vendors to get on air. We built this because the industry needs it right now, and the Angels partnership shows exactly what’s possible when you have the full platform behind you.”

The MTVG Production Platform plays an integral role in the daily success of Angels Broadcast Television. In late March, the Angels partnered with MTVG to stand up a complete broadcast network from scratch in one month. Leveraging every layer of the platform, MTVG delivered a fully operational, end-to-end production and distribution solution for the Angels, with the first game airing May 1, 2026.

“As plans for a new broadcast network moved from concept to reality this past spring, we identified MTVG's Production Platform as the best solution for Angels Broadcast Television,” said Molly Jolly, president, Angels Baseball LP. “They leveraged every layer of their platform to provide a fully operational, end-to-end solution in a month. It is an incredible partnership, and the MTVG team proved they are a unified, trusted partner who supported our objectives and positioned us to continue delivering baseball games to our fans.”

The MTVG Production Platform operates across four interconnected capability areas, delivering comprehensive live media capabilities through specialized divisions, including content and production, contribution, media control and centralized production and distribution services.

One year after opening its doors, the Mountain Media Center has become one of the most capable live production facilities in the country. The 300,000-square-foot, Class A facility, located near the Denver Tech Center provides the infrastructure that makes the full-stack platform possible.

The platform includes:

• More than 30+ mobile units
• Over 70 live media control pods
• Two technical operations centers (TOCs)
• 25 Cloud control rooms built nationally
• 24 centralized cloud control stations
• Four Edge/REMI rooms for flexible remote production
• Redundant power stations serving power
• Four data halls with uninterruptible power supplies and redundant generators
• Four satellite uplinks and six satellite downlinks
• Hundreds of fiber strands from multiple providers
• Capable of operating entirely off-grid without external power
• 30 minutes from Denver International Airport; few natural disaster risks

More information is available on the company’s website.

ODENSE, Denmark and Santiago, Chile—Pixop and Dynamics Media Group are reporting that the Pixop platform is the real-time video enhancement layer behind one of the Americas’ only 4K World Cup broadcasts.

Working with Chilevisión, Chile’s exclusive free-to-air rights holder for the tournament, and ClaroVTR, the country’s largest pay-TV operator, Pixop is processing Chilevisión’s live 1080i HD signal and delivering a continuous 4K UHD channel to subscribers throughout the tournament.

The channel, which launched on 1 June 2026, operates 24/7 and is available on VTR channel 710 and Claro channel 557, covering 52 matches of the tournament. In South America, Chile and Brazil are the only territories where viewers can watch the tournament in 4K.

The deployment uses a workflow based as a hybrid cloud architecture. Chilevisión’s live 1080i SDR broadcast signal is contributed via an Appear X20 encoder over secure SRT transport to AWS, where Pixop, the real-time ML-powered video enhancement platform, performs motion-compensated deinterlacing, AI restoration, super-resolution upscaling, and color processing in a single pass at sub-second latency. The resulting signal is encoded and delivered through ClaroVTR’s Harmonic ProStream X, ATEME Titan Live, and Velocix Origin infrastructure to subscribers.

The production configuration delivers 4K SDR at 60fps. HDR conversion was successfully completed during testing; 4K SDR was selected for the production launch based on subscriber device compatibility across ClaroVTR’s installed base.

Several Pixop platform capabilities were developed and strengthened during the project, including a real-time monitoring dashboard, an auto-recovery engine, remote decoder reset controls, and live adjustment of sharpness, clarity and color parameters without requiring encoder restarts.

The origins of the project date back to early 2025, when Dynamics Media Group invited Pixop to conduct live demonstrations in Santiago for Chilean broadcasters and technology partners. Chilevisión attended and subsequently requested a dedicated 4K channel proof of concept, which was completed in March 2026 and demonstrated HD-to-4K upconversion, 60 fps output, long-haul SRT transport, and continuous operation. The PoC led directly to this production deployment.

Dynamics Media Group acted as local integration and coordination partner, organizing the initial demonstrations in Santiago, coordinating technical workshops between all parties, and facilitating the operational deployment.

“At Chilevisión, we are convinced that free-to-air television continues to evolve to stay closer to people every day, especially in today’s highly competitive environment for audience attention,” Edgar Spielmann, chairman of the board, Chilevisión.” That is why we have invested and innovated to make all our programming available in 4K, delivering higher quality in both our content and our audiences' viewing experience. This advancement goes beyond technology: it is an essential part of our brand promise, ‘Vamos Contigo’ (‘We Go With You’). It allows us to be present with greater proximity and detail in our news coverage, entertainment programming, and major sports broadcasts, such as the FIFA World Cup 2026.”

“This is the kind of deployment we built Pixop for. A major live event, a mixed-format contribution chain, a tight latency budget, and an audience that expects premium quality,” added Jon Frydensbjerg, CTO, Pixop. “The team has spent seven years getting the ML processing and the real-time architecture to the point where it can handle this reliably at scale. Delivering 4K World Cup football to Chilean viewers, in one of only a handful of territories in the Americas where that’s possible, is something we’re genuinely proud of.”

The deployment marks Pixop’s first major production in the Americas and the first deployment of the Pixop platform for a live sporting event of this scale in the region.