STAINES-UPON-THAMES, England—Court TV has struck a deal to use Yospace’s server-side ad insertion (SSAI) solution to deliver addressable programmatic ads to viewers of its streaming channel.

The deployment follows Court TV’s February acquisition by Law&Crime. Both outlets are multichannel platforms for true crime and legal content, airing gavel-to-gavel courtroom proceedings, expert legal analysis, investigative reporting, award-winning documentaries and original programming through a team of veteran journalists and legal experts. Court TV’s streaming channel is available across video platforms such as Roku, Fire TV, Apple TV and Android TV.

Yospace’s DAI solution was deployed in five weeks to meet Court TV’s tight time-scale requirements. The solution was seamlessly integrated with Court TV’s existing infrastructure, enabling full monetization of its ad inventory from launch.

Yospace said its technology can monetize streams as soon as viewers press “play,” even if they join during an ad break. As advertising can cover up to 20 minutes of every viewing hour in the U.S. market, Court TV benefits from additional ad revenues across a significant proportion of its audience, Yospace said.

Yospace’s solution also uses dynamic pre-fetch technology to ensure ad decisioning services have enough time to fill all ad requests and achieve maximum value for each ad spot. Observability dashboards are applied to provide detailed, real-time insights for a constant lifecycle view of ad operations, allowing Court TV to fine-tune the ad experience and ensure maximum ad performance at any given time, Yospace said.

“Court TV’s integration into Law&Crime had to be completed in an incredibly short timeframe, leaving no room for errors. Yospace’s extensive knowledge and experience in Dynamic Ad Insertion, and its highly collaborative way of working, meant potential challenges could be anticipated and addressed early, helping us to get to market quickly,” Law&Crime Chief Technology Officer Debasish Mishra said. “Its innovative technology enables us to maximize the value of our advertising and ensure consistently high ad performance.”

More information is available on the company’s website.

Apple today announced the next generation of Apple TV 4K, which it says will deliver “its most immersive home theater experience yet.”

At the heart of the new box is Siri AI, an entirely new version of Siri powered by the next generation of Apple Intelligence, which the company says will “transform” how users search and discover content. It also features built-in far-field microphones for hands free communication with Siri AI.

The new Apple TV 4K delivers even faster performance and, when paired with four HomePod mini 2 or HomePod (2nd generation) speakers, unlocks the most immersive home theater surround sound setup Apple says it has ever offered. As a home hub, Apple TV 4K also allows for improved smart home management with Apple Intelligence-generated camera activity descriptions and summarized notifications in the Home app, and control of accessories and scenes.

“The new Apple TV 4K is our most immersive home theater experience yet,” said Bob Borchers, Apple’s vice president of Worldwide Product Marketing. “With Siri AI, finding something to watch becomes a full-screen, conversational experience, and with built-in far-field microphones, it’s completely hands-free. Pair it with HomePod for the best surround sound setup we’ve ever offered, and it makes managing your Apple Home accessories easier than ever. Now, alongside HomeView, HomePod mini 2, and Apple Home Collection, it’s part of the most connected Apple Home we’ve ever built.”

The A19 chip in the new Apple TV 4K delivers up to 50% faster CPU performance and up to 2x faster GPU performance than the previous generation, for greater responsiveness, faster navigation, and smoother animations, the company said. The A19 chip also includes a new, dedicated AV1 decoder, enabling more efficient, high-quality streaming while using less bandwidth.

The new Siri Remote keeps its familiar design while adding Find My support with Precision Finding and an option to play a sound on the remote — making it far easier to locate.

Pairing HomePod with Apple TV 4K will allow users to create a four-speaker surround sound experience with Apple TV 4K (4th generation) and HomePod mini 2. The four speakers work together with Apple TV 4K to intelligently recognize their position in the room so audio timing and levels are automatically calibrated to the space. HomePod (2nd generation) can also be used in this four-speaker setup for the ultimate audio experience, as long as the front and rear speaker pairs match.⁵

The new Apple TV 4K also serves as a home hub, giving users control of their smart home accessories from anywhere.

The new Apple TV 4K retails for $299 and can be pre-ordered starting today, with availability beginning November 13.

Check TV Tech sister brand TechRadar for the latest updates.

NEW YORK—Zixi and TAG Video Systems have extended an integration enabling Zixi to leverage TAG's Content Matching technology.

Together, the platforms will help broadcasters and content owners verify that SCTE-35 markers remain intact across delivery paths and confirm that redundant feeds carry the expected content before a switching error reaches air.

SCTE-35 markers carry the ad avails, program boundaries and regional cues that live distribution runs on, but encoders, transcoders and other processing stages can strip along the way, taking revenue with them. Through the SDK, the Zixi Platform can act on TAG Content Matching results, confirming that the output of a processing chain carries the same content as the input, and measuring the latency between the two.

The Zixi Platform will be able to restore the SCTE-35 markers at their precise, frame-accurate times. That adds to the SCTE-35 control Zixi customers already use for downstream compatibility, regional targeting and dynamic ad insertion.Fingerprinting will also give operators an automated check on redundant feeds.

When two sources match, Zixi can merge them for a seamless switch. When they stop matching, operations teams can catch a switching error before it reaches viewers. The work extends an integration that began in 2020 and has so far focused on monitoring and multiviewing.

This step takes TAG's content assurance capabilities into the delivery path itself. Zixi and TAG will discuss the integration at NAB Show New York, Oct. 21-22 and will be participating in the Local TV Strategies Conference.

More information is available on the Zixi and TAG Video Systems websites.

See TAG Video Systems in booth 607 at NAB New York 2026.

France 24 and PBS have inked a deal give the public broadcaster’s member stations the option to livestream France 24 English as a subchannel on their digital platforms.

“We are thrilled to team up with France 24, creating a new opportunity for our member stations to bring the channel’s English digital content to their viewers through PBS platforms,” Ira Rubenstein, PBS chief digital and marketing officer, said. “It’s a natural fit for public media's mission to reach viewers wherever they are with in-depth, trustworthy journalism.

The agreement strengthens France 24’s efforts to expand its digital reach among U.S. audiences, while giving PBS member stations a new way to bring fresh, daily content to viewers through PBS platforms,” he added. “With this addition, PBS stations can now offer nine different live, linear, commercial-free streaming channels on PBS.org and the PBS app.

France 24, an international news channel and part of France’s public-service media, reaches 577 million households worldwide, and 153.7 million people weekly. Its 200 correspondents around the world deliver balanced, in-depth coverage of global affairs.

“We are proud to offer France 24 in English to American audiences and firmly believe that the channel will receive a warm welcome,” Rubenstein said.

France 24 is available online.

BRUSSELS, Belgium—Mediagenix has unveiled AI Context-Aware Scheduling, which it calls a new approach to channel scheduling that brings real-world events, competitive programming and other external influences into decisions.

By adding this broader context to existing audience, content and performance intelligence, Mediagenix aims to help programming teams anticipate changes in viewing behavior, identify potential audience conflicts and opportunities and make more strategic decisions about what to schedule and when, it said.

“Programmers already know that a major sporting event, breaking news or cultural moment can completely change the assumptions behind a schedule,” said Tim Goff, vice president of product, scheduling at Mediagenix. “Context-Aware Scheduling is about using AI to bring that external intelligence into the scheduling process, so teams can see potential conflicts and opportunities earlier and evaluate their options before making the call.”

Mediagenix said Context-Aware Scheduling builds on its scheduling optimization capabilities by adding another dimension to the programming decision: understanding what is happening around the schedule and how those external factors could affect the audience.

For example, historical data may indicate Saturday evening is the ideal time to premiere a movie for a particular audience. If a major sporting event is expected to attract the same demographic, Context-Aware Scheduling could identify the potential conflict and allow programmers to evaluate alternatives before committing a high-value title to the slot.

External events can also create opportunities. A breaking news development, cultural moment, seasonal event or regional occurrence could suddenly make a particular title, genre or programming theme more relevant. Context-Aware Scheduling could help programmers identify those opportunities and activate content from their existing inventory while audience interest is high, Mediagenix said.

Context-Aware Scheduling is part of a broader Mediagenix ecosystem that connects intelligence across content strategy, title management, scheduling, curation and personalization. Rather than treating scheduling as an isolated operational step, Mediagenix enables media companies to understand and enrich their title inventory, strategically determine how and when content should be programmed, control how it is curated and presented and create more relevant experiences for individual viewers.

Semantic Intelligence provides an important foundation across these workflows by using a deeper understanding of content to help teams uncover relationships and opportunities that traditional metadata alone cannot reveal, Mediagenix said. Combined with automation and AI, this intelligence helps media companies maximize the value of their title inventory while maintaining editorial control over the strategies and decisions that shape the viewer experience, it said.

More information is available on the company’s website.

AUSTIN, Texas—Apple is bringing Dolby Atmos alongside Dolby Vision to Formula 1 for Apple TV subscribers beginning with coverage of the 2026 U.S. Grand Prix, Oct. 23-25, from the Circuit of The Americas in Austin, Texas.

For the first time, fans in the U.S. with an Apple TV subscription will be able to experience every Formula 1 race weekend in both Dolby Vision and Dolby Atmos.

“We’re always looking for new ways to make Formula 1 on Apple TV even better for fans,” said Oliver Schusser, Apple’s vice president of Music, Sports, Apple TV, and Beats. “The sound of Formula 1 is such an important part of what makes the sport so exciting, and with Dolby Atmos joining Dolby Vision, fans can experience the energy and intensity of every Grand Prix in a whole new way. It’s another example of how we’re continuing to innovate across the viewing experience to bring fans closer to the action.”



Dolby Atmos brings immersive audio to viewers, from team radio communications and race commentary to the roar of the engines, while Dolby Vision offers richer colors, greater contrast, enhanced brightness and lifelike clarity.

Formula 1 in Dolby Vision and Dolby Atmos is available through the Apple TV app on supported Apple devices and compatible Dolby-enabled TVs, soundbars and home theater systems.



"Formula 1 is one of the most captivating sports in the world, where every circuit, team, and race weekend has its own visual and sonic identity," said John Couling, senior vice president of Entertainment at Dolby Laboratories.

Apple TV is the exclusive U.S. home of Formula 1, delivering every practice, qualifying, Sprint session and race live and on demand.

More information is available on the company’s website.

Disney+ will stream Super Bowl LXI on Sunday, Feb. 14, 2027, the company announced today.

Disney+ subscribers in the United States can stream the traditional game presentation airing on ESPN and ABC, with Joe Buck, Troy Aikman, Lisa Salters and Laura Rutledge on the call, as well as the Spanish-language telecast on ESPN Deportes.

Outside of the U.S., Disney+ will stream ESPN’s Super Bowl in more than 55 international markets, including Spanish-speaking Latin America, Brazil, the Caribbean, South Africa and Australia/New Zealand. In conjunction, ESPN’s linear platforms will carry the Super Bowl in more than 130 countries and territories.

In addition to Super Bowl LXI, two Monday Night Football regular-season games will be available to Disney+ subscribers in the lead-up to the big game: The Oct. 26 matchup between the Dallas Cowboys and a second game to be announced.

Both games will continue to air as scheduled on ESPN/ABC and ESPN Deportes, with the option to stream both the English- and Spanish-language broadcasts on Disney+. These add to the expanding roster of domestic and global live sports available on Disney+.

The 2027 Super Bowl is the first time ABC has broadcast the game since 2006, before Disney+ existed. Today's announcement is of most interest to subscribers to Disney+’s basic service, who don’t have access to ABC or ESPN’s live network feeds. While CBS has streamed the Super Bowl over Paramount+, NBC has streamed it on Peacock and Fox on Tubi and Fox Sports, this marks the first time the Super Bowl will be streamed on Disney+.

LOS GATOS, Calif.—Netflix has named IMG as its production partner for its coverage of the 2027 FIFA Women’s World Cup in Brazil.

Netflix is the U.S. and Canadian rightsholder for the 2027 tournament, which will run from June 24–July 25, 2027. IMG will produce coverage of all 64 matches in English and Spanish for U.S. audience and in English and French for Canadian viewers, as well as 100 hours of studio programming featuring top-tier talent and Netflix-exclusive in-tournament announcers, the streaming platform said.

IMG will also support Netflix’s live coverage of the soccer tournament’s final draw on Dec. 11.

“The FIFA Women’s World Cup is one of the fastest-growing events in global sport, showcasing the best football and captivating new audiences worldwide,” IMG president Adam Kelly said. “As Netflix makes its live football debut, we’re excited to help bring this tournament and its extraordinary athletes to new and existing fans in the U.S and Canada. Netflix’s scale, discoverability and storytelling, combined with IMG's best-in-class production expertise, make this a huge moment for football and women’s sport.”

More information is available on the Netflix TUDUM website.

NEW YORK—Last December, when the Academy of Motion Picture Arts and Sciences and YouTube struck a multiyear deal to give the streamer exclusive global rights to the Oscars starting in 2029, it marked an inflection point in the transition of live marquee TV events from traditional broadcast to streaming,

Now the Emmys have followed suit.

The Television Academy said it has inked a six-year deal to make Amazon’s Prime Video the exclusive home of the Emmy Awards starting next year.

The agreement succeeds the rotation among ABC, CBS, Fox and NBC, which concludes with this year’s telecast. This new alliance ensures that TV’s premier honors will continue to adapt to a changing media landscape, embracing the future of how audiences consume great television, the Academy said.

The 2027 ceremony will continue to anchor the fall TV season by streaming live in September and will not be paywalled, Amazon said. The Emmys stream will be made available free to audiences worldwide.

This year, the Emmys telecast on NBC and Peacock drew 6.7 million viewers, down from the 7.42 million that watched the 2025 ceremonies on CBS and Paramount+, its highest ratings since 2021.

Prime Video thinks it can greatly expand that number by leveraging its offerings and services to elevate the Television Academy’s mission, delivering new experiences and entry points for fans to discover, engage with and celebrate what they love about TV, it said.

“Television has never been more global, and the Emmys should be a celebration that the world can share,” said Cris Abrego, chair of the Television Academy. “Now Prime Video audiences in more than 200 countries will be able to experience the Emmys live with no subscription required.

Abrego thanked broadcasters but said it was time to move on.

“Our broadcast partners have been tremendous stewards of the Emmys for many years, helping to build them into the cultural institution they are today,” he said. “Having a dedicated home with Prime Video allows us to build on that legacy with unprecedented global reach and a broader commitment to the Television Academy and our mission throughout the year. Amazon shares our deep respect for the history of the Emmys and brings the investment, innovation and scale to help us shape their next chapter.”

More information is available on the Television Academy’s website.

FORT WORTH, Texas—Disc Golf Network is the subscription streaming service of the Disc Golf Pro Tour, providing live and on-demand tournament coverage to viewers worldwide. We worked with Big Blue Marble in August 2023 to connect our production capabilities with a scalable cloud distribution platform supporting reliable live coverage, instant VOD and flexible viewing.

Our events can involve eight to 10 hours of coverage per day, and we believe the viewing experience should remain consistent from the opening coverage to the final moments of play. Our production workflows were capable of creating broadcast-quality output, but our previous streaming platform could not maintain that quality consistently across devices and locations.

As our viewing audience grew, it became clear that reliability alone was not enough. We needed to be able to introduce features quickly and be more responsive to viewer expectations. For a direct-to-consumer sports service, continuous improvement is essential, and we needed a platform that could develop alongside our audience.

Cloud-Based Quality
Our previous platform reduced live streams from 60 frames per second to 30 fps, affecting the fluidity of fast-moving sports coverage. Video-on-demand recordings were slow to become available, viewers could not pause or rewind live broadcasts and the infrastructure had limited capacity to scale when demand increased.

We needed a cloud platform that could preserve the quality of our production output throughout distribution and give us more control over development. It also needed to scale during major tournaments, protect our content and support different subscription tiers.

Big Blue Marble became our strategic architecture and systems integration partner, leading the platform rebuild and defining its architecture, integration standards and operational model. Its team redesigned Disc Golf Network around a modular, cloud-native framework using Cloud Video Kit and AWS Media Services.

The migration was a significant undertaking for both teams because it had to be completed within a demanding timeframe, six months before the new season started in February 2024. Big Blue Marble was confident its products and cloud technology could support the service we had envisioned. Close collaboration helped us deliver the new platform to our audience on schedule.

The new architecture brings encoding, packaging, recording, ad insertion and distribution into a unified cloud environment. Big Blue Marble introduced higher ingest bit rates, more-efficient encoding profiles and consistent 60 fps streaming, allowing us to retain the motion and picture quality created by our production workflow.

Amazon CloudFront supports content delivery, with redundancy and continuous monitoring helping maintain reliable performance. Audience peaks should be a sign of success, rather than a threat to service quality, and the platform automatically expands capacity as traffic grows, helping us maintain picture quality and playback stability when interest is highest. Multi-DRM protects live and on-demand content, and responsive 24/7 support gives our team access to technical assistance throughout live operations.

For sports audiences, the value of coverage does not end with the live broadcast. Cloud processing makes tournament coverage available on demand almost immediately after an event and gives viewers greater control over how they follow it. Automated workflows support Live DVR, so subscribers can pause, rewind and replay coverage.

Foundation for Growth
Professional disc golf now has an active viewing audience of 1.5 million. We expect our live coverage to reach more than 15,000 unique viewers per broadcast and over 200,000 viewers per event across 85 competition days this year. Supporting that growing audience makes it essential the platform can scale without compromising the viewing experience.

The modular architecture gives us greater commercial and operational flexibility with support for multiple subscription tiers, regional customization and future integrations. It also provides clearer insight into service performance and viewing behavior, helping us continue to refine the platform.

By connecting our production capabilities with cloud-based processing and distribution, we have created a more consistent route from the live event to the viewer. The platform has improved the quality, reliability and availability of our coverage and given us greater scope to keep developing the service.

More information is available on the Big Blue Marble website.

SANTA ANA, Calif.—Producing niche sports for online fans faces challenges that mirror larger sports broadcasts, like long-distance signal transport. One video production company here is overcoming them with several solutions from AJA Video.

Bantaray Mobile Sports Production has developed a mobile production pipeline for niche sports content. The company regularly deploys AJA FiDO Mini-Converters alongside several other AJA SDI/HDMI Mini-Converters and Ki Pro recorders to ensure reliable signal conversion between fiber and SDI and transport signals across venues.

“Every event is different, and each venue presents unique challenges,” Bantaray Founder Steve Banta said. “Sending signals across long distances is almost always a hurdle. We have to find simple ways to get reporter feeds back to the truck, send program feeds to in-venue LED displays, and route audio and video signals safely across the venue. Our AJA FiDO Mini-Converters support these needs and have been incredibly dependable through rain, extreme heat, and constant travel—they just keep working.”

Since the company was founded in 2009, Bantaray has refined its mobile production pipeline for live sports. Today, its team uses that workflow to produce high school sports for Spectrum in Orange County and Riverside, Calif.; support Coachella Valley Firebirds event productions; and to produce other niche sports broadcasts. Rarely given the luxury of scouting a location beforehand, Bantaray taps into Google Earth to preview the space before arriving, determine where to park the OB truck and plan cable runs.

“That’s the beauty of fiber,” said Jeff Highbaugh, a freelance camera operator who works with Bantaray. “The truck can be parked anywhere on-site, and we can still quickly deploy audio and video using our FiDOs and daisy chain as much length as we need. The setup is so fast, and we can run four cameras down one fiber line.”

Bantaray owns 24 AJA FiDO Mini-Converters, including single-, dual- and four-channel models. They are mounted inside a portable booth kit containing an I/O panel and audio gear. Multiple cameras positioned around the commentator booth feed SDI signals into Bantaray’s booth kit, which converts them to fiber using the FiDOs and sends them back to the production truck over a four-pair tactical fiber-optic cable capable of carrying four signals.

“Each production typically involves a production truck, a commentator booth—which has the most signal paths going to it—and sometimes a video scoreboard, so we need to be able to move video and audio signals across long distances without power limitations,” Banta said. “Our longest fiber reel is 1,000 feet, and we often use Dante for audio. Fiber lets us barrel as many of those fiber reels together if we have a FiDO on each end."

Bantaray also relies on AJA Mini-Converters to convert SDI feeds to HDMI for monitoring, distribution amplifiers for signal management and AJA Ki Pro recorders for capture. “We don’t have a giant crew and everyone is wearing multiple hats,” Highbaugh said. “So, we need gear that is reliable, consistent and easy to use. Our AJA FiDO Mini-Converters provide reliable conversion between SDI and fiber, giving us additional flexibility to convert signals on the fly or extend them much farther than traditional SDI allows.”

As niche sports continue to find dedicated audiences through streaming platforms, Bantaray sees growing opportunities ahead and is focused on expanding further into the multicamera production space.

"Streaming continues to grow, so I'm looking at technology that can help me send high-quality, low-latency signals efficiently,” Highbaugh said. “Whether we're working with limited bandwidth or remote locations, finding reliable ways to get content on the air remains a major priority.”

More information is available on the Bantaray Mobile Sports Production and AJA Video websites.

NEW YORK—FuboTV has launched “My Local Sports,” a new service that allows subscribers in select markets to purchase their local regional sports network (RSN) as part of an add-on package to their Fubo Sports subscription. My Local Sports also includes a selection of sports-focused FAST channels.

Fubo has marketed itself as a prime source for regional sports and local network coverage. This new service allows Fubo subscribers stream coverage of their favorite local teams packaged alongside the lighter Fubo Sports content service according to the company. A year ago, the streamer launched its first 'Fubo Sports' skinny bundle for $56/month.

“As we build FuboTV’s strategic plan for profitable growth, giving fans flexibility, choice and value is one of our key priorities,” said Alisa Bowen, CEO, FuboTV. “The launch of My Local Sports advances this by offering Fubo subscribers a competitively-priced lighter sports package together with their local regional sports network, for the best in local and national coverage. With My Local Sports, Fubo strengthens our leading position as the home for local sports while offering our subscribers new options to follow their favorite teams.”

The Fubo Sports standalone plan features 20+ sports and broadcast networks, including direct access to ESPN Unlimited, featuring national and local pro and college team coverage. Fubo Sports is currently priced at $54.99 for the first month (new customers only) and $64.99/month thereafter, following a free trial. RSN add-on package pricing varies per market.

RSNs/team coverage available in the My Local Sports add-on package to Fubo Sports currently includes:

• AB TV (Los Angeles Angels, Los Angeles Kings)
• Blue Jackets Hockey Network (Columbus Blue Jackets)
• Blue Note+ (St. Louis Blues)
• BravesVision (Atlanta Braves)
• Brewers.TV (Milwaukee Brewers)
• Cardinals.TV (St. Louis Cardinals)
• Chicago Home Sports Network (Chicago White Sox, Chicago Blackhawks, Chicago Bulls)
• Detroit Sports Network (Detroit Tigers, Detroit Red Wings)
• Diamondbacks.TV (Arizona Diamondbacks)
• Guardians.TV (Cleveland Guardians)
• Hurricanes Hockey Network (Carolina Hurricanes)
• Mariners.TV (Seattle Mariners)
• Marlins.TV (Miami Marlins)
• Marquee Sports Network (Chicago Cubs)
• MASN (Baltimore Orioles)
• NBC Sports Bay Area (San Francisco Giants, San Jose Sharks, Golden State Warriors)
• NBC Sports Boston (Boston Celtics)
• NBC Sports California (Athletics, Sacramento Kings)
• NBC Sports Philadelphia (Philadelphia Phillies, Philadelphia Flyers, Philadelphia 76ers)
• Padres.TV (San Diego Padres)
• Rangers Sports Network (Texas Rangers)
• Rays.TV (Tampa Bay Rays)
• Reds.TV (Cincinnati Reds)
• Rockies.TV (Colorado Rockies)
• Royals.TV (Kansas City Royals)
• Twins.TV (Minnesota Twins)
• Wild+ (Minnesota Wild)

SYDNEY—The decision to deploy multiple Sony ILME-FR7 and Sony BRC-AM7 cameras on Netflix’s reality competition series “Wonka’s The Golden Ticket” highlights the growing role of advanced PTZ production technology in premium television.

Premiered on Sept. 23, the unscripted series places 12 contestants and their partners inside a retro-futuristic chocolate factory for a high-stakes competition inspired by Roald Dahl’s universe with a licensed AI recreation of Gene Wilder’s voice and an appearance by original 1971 “Willy Wonka & the Chocolate Factory” cast member Rusty Goffe.

For a production built around spectacle, surprise and immersive world-building, the ability to capture dynamic, cinematic and often hidden angles was essential, making Sony’s latest generation of PTZ and remote camera systems a strong fit.

Cutting Edge Technical services (CETS), a specialist that has supported Australia’s production industry since the 1990s, deployed the cameras for the production. CETS supplied the PTZ camera component of the production, ultimately deploying 50 Sony BRC-AM7 cameras across the living area and 30 Sony ILME-FR7 cameras across the challenge sets, all cabled to a central MCR where seven hot head operators and two CCU positions controlled the system.

Use of the Sony ILME-FR7 and BRC-AM7 on “Wonka’s The Golden Ticket” is significant on two levels. For viewers, it helps support the immersive, polished and visually inventive style expected of a major Netflix reality event. For the production industry, it offers another clear example of how cutting-edge remote camera systems are reshaping the language of television production.

For the challenge sets in particular, the Sony ILME-FR7 proved to be one of the production’s most valuable tools.

The FR7 is a full-frame interchangeable-lens camera with remote pan, tilt and zoom, combining a back-illuminated 35mm full-frame CMOS sensor, BIONZ XR processing, 15+ stop latitude and compatibility with Sony’s E-mount lens ecosystem. In practical terms, that means the production could capture cinematic images with shallow depth of field and creative framing while still benefiting from robotic remote operation. Its compact footprint made it possible to hide cameras inside set pieces and install them in positions that would be difficult or impossible with larger traditional systems.

“The FR7 became the biggest utility camera on the production,” said Ray Martin, head of business development at CETS. “If you needed to find an angle, put an FR7 in there. Its small footprint meant we could hide these cameras all over the set and the ability to output 1080 on SDI while recording UHD internally was a great success. Some setups that were originally planned for three FR7s ended up using 10 because they were so effective at capturing angles that had not even been considered during the planning stages. There was a real wow factor in having such a high-quality sensor tucked away in set pieces, capturing amazing shots while remaining small enough not to be seen by the other cameras.”

The Sony BRC-AM7 also offers a set of advantages, including an advanced PTZ auto-framing, high-quality 4K 60p output across a 20x optical zoom range and support for S-Cinetone and S-Log3, helping it integrate more naturally into modern multi-camera production environments.

Sony has focused heavily on interoperability, remote control and AI-driven subject tracking, all of which were highly relevant for a show involving many contestants moving at the same time through a complex set. With 24 contestants on set and 50 PTZ cameras recording back to server, the operators were able to use auto-follow features and the web GUI to help track activity efficiently across the production space.

For sequences involving graphics compositing, selected FR7 cameras also recorded UHD in-camera, giving the graphics team higher-quality source material for final composites.

More information is available on the company’s website.

The official Netflix teaser for “Wonka’s The Golden Ticket” is available on YouTube.

STAMFORD, Conn.—Spectrum plans to demo new capabilities to its Edge Compute Infrastructure (ECI) enhanced with NVIDIA accelerated computing platforms at the SCTE TechExpo, Sept. 29-Oct. 1 at the Georgia World Congress Center in Atlanta.

As AI moves beyond digital tasks to influencing and interacting with the physical world, the need for immediate, precise interactions with compute becomes critical. Spectrum says this increased need to use AI more quickly to control physical machines - robots, sensors, real-time video, secure personal data where geography adds too much latency has become “mission critical” and that it has begun to activate computing power across its network. This expansion is allowing its network to reach over 1,000 smaller facilities already embedded in its existing infrastructure—placing distributed compute capacity within 10 milliseconds of 500 million devices in homes and businesses across the U.S.

By combining its high-capacity fiber network and distributed footprint of powered edge data centers with NVIDIA accelerated computing, ECI brings AI infrastructure closer to where data is generated and decisions are made, the company said.

At SCTE TechExpo 26, Spectrum’s booth (B335) will host demonstrations stemming from close collaborations with Cast AI, HP and World Wide Technology (WWT), each illustrating how edge network capabilities are advancing cloud, AI and customer applications on Spectrum’s ECI platform. Spectrum also is working with Hydra Host to commercialize its AI Factory “Operating System” on ECI. These collaborations demonstrate Spectrum’s focus on building the distributed infrastructure that supports AI and data-driven technologies for a range of industries, the company said.

Cast AI will highlight its OMNI technology integrating NVIDIA Blackwell Ultra-based accelerated computing platforms, embedded, owned, hosted and operated by Spectrum on its ECI platform, into diverse hyperscale cloud environments. OMNI extends these GPUs natively into its multi-cloud compute fabric, where they appear as standard cluster nodes alongside major cloud provider capacity. Connectivity for this AI infrastructure is delivered through Spectrum's network, demonstrating how deep integration of compute and connectivity at the edge can advance AI innovation.

HP will showcase HP Z Boost, which shifts GPU access from hardware-bound to on-demand, accelerating rendering, visualization, and AI workloads through shared GPU resources. By delivering performance when and where it is needed, HP Z Boost helps organizations maximize GPU utilization while reducing infrastructure inefficiencies. HP will also demonstrate ZGX Nano and ZGX Fury, AI Stations purpose-built for enterprise edge AI development, enabling organizations to deploy and scale AI workloads closer to where data is created while reducing reliance on the cloud.

Hydra Host and Spectrum have an agreement allowing Hydra’s AI Factory platform to use capacity that is owned, hosted and operated by Spectrum on its ECI. As a global AI compute provider serving companies in need of GPU resources, Hydra Host will help extend the reach of Spectrum’s edge compute capabilities to organizations looking for advanced AI infrastructure solutions, Spectrum said.

WWT, NVIDIA and Spectrum are working together to advance distributed edge AI infrastructure for physical AI, combining Spectrum’s ECI with WWT’s system-integration expertise to help enable new applications such as robotics and industrial automation. WWT will exhibit a Unitree G1 humanoid robot in Spectrum’s booth, demonstrating advanced automation and kinetic AI as it performs dynamic tasks that showcase how edge compute enables scaled, low-latency, private and secure processing for next-generation robotics.

In a blog post announcing new features that expand the ways content creators can tell stories and interact with content, YouTube announced that it is launching capabilities to create episodic short series or what it is calling "YouTube Shorts series."

With Shorts series, creators can now structure their Shorts into seasons and episodes, while new features like custom thumbnails and sequential playback make it easy for viewers to discover new Shorts and keep watching. Shorts series rolled out to creators, across web, mobile, and TV on Sept. 23.

The launch builds on the growing popularity of episodic, multi-part storytelling on the platform.

YouTube noted in its official blog that creators from around the world such as Kinigra Deon and GOKKO CLUB are already leaning into episodic, multi-part storytelling with Shorts and that they had seen a “huge increase in popularity in microdramas. In the first half of 2026 alone, microdramas on YouTube surpassed 6.5 billion views, with watch time growing by over 50% year-over-year. And even though microdramas are a mobile-first format, views of microdrama content on TV alone increased by over 90% year-over-year,” the official YouTube blog reported.

YouTube also announced that posts are also getting an upgrade to enhance how creators connect with their communities. “On average, more than 300M users engage with posts daily on YouTube,” the blog explained. “On web and mobile devices, viewers will now be recommended posts from the Shorts feed, expanding creators’ audiences. And in the coming months, we’re bringing posts to TVs so you can easily find and engage with creators from the comfort of your couch.”

More information is available here.

New data from Parks Associates shows that the number of standalone streaming services continues to decline in the U.S. market, with the research company’s Streaming Video Tracker reporting ten US streaming service profiles were phased out in Q2 2026 as many services rebrand and reorganize their content and brands.

Notably, Paramount Skydance ended BET+ as a separate service and consolidated that content within its flagship Paramount+ streaming service.

The Streaming Video Tracker also started tracking two new services last quarter, OG Network and TrueTVplus.

Overall, there were 336 standalone streaming services in the U.S. down from 366 in 2022.

Recent market changes highlight an active streaming market where services are closing, consolidating, or moving content to different distribution models, the researchers noted.

In particular, the market has been active regarding sports content, as providers experiment with the best strategies to capture sports fans and viewers:

For example, FIFA+ moved to DAZN, RidePass now operates solely as a FAST channel and FanDuel Sports Network shut down its television channels and streaming operations.

“Streaming services continue to experiment with the best ways to reach and monetize audiences,” said Michael Goodman, director, Entertainment Research, Parks Associates. “The movement of content from standalone apps to larger platforms and FAST channels shows how quickly distribution strategies are changing.”

In its monthly updates, the Streaming Video Tracker analyzes the strategies and emerging market trends when providers move content into larger offerings or launch new services:

• BET+ has been phased out by Paramount Skydance, and its content library has migrated to Paramount+ under a dedicated BET Hub.
• CTV Throwback and Movies moved to Crave.
• OHL Live transitioned its digital streaming content to FloHockey.
• Barça One was replaced by Barça Play, which is integrated into FC Barcelona’s app and website.
• OG Network and TrueTVplus were added to the tracker in Q2 2026. OG Network operates as an AVOD and FAST service, while TrueTVplus launched as a FAST platform with programming across sports, independent films, documentaries, and lifestyle content.

Parks Associates will host the industry webinar “Streaming Video: Churn, Loyalty, and Competition” on September 24, where the firm’s analysts will share research and comment on market trends and the implications for service providers and content owners.

While the introduction of AI-enabled smart glasses has prompted widespread privacy concerns, a new report and survey from S&P Global Market Intelligence Kagan finds that AI-enabled smart glasses are beginning to move beyond an emerging technology category and into everyday use.

The research, which highlights reported impacts on productivity, accessibility, and broader consumer experiences among US adults, found that more than 4 in 10 U.S. online adults’ expressed interest in or already own smart glasses. In addition, one in six owners use smart glasses to help manage a disability, with features supporting vision, hearing, and cognitive needs.

"Smart glasses are often discussed as a future technology, but many owners are already reporting practical benefits,” explained Neil Barbour, industry analyst at S&P Global Market Intelligence. “Our findings suggest the category is beginning to evolve from another wearable device into a platform for contextual AI assistance, with applications spanning productivity, creativity, accessibility and everyday life.”

Other key findings include:

• The report shows that families adopt at nearly twice the general-population rate.
• 44% of smart glasses owners report greater productivity at work and at home, with hands-free access to information and communication cited as core benefits.
• More than a third of owners say smart glasses help them stay present in the moment, and nearly one in five reports spending less time looking at their phone.

As major streaming services work to control programming costs, a new study finds that streaming series are struggling with cancellation rates that are higher than broadcast TV.

“The Show Must Go Off," a new report from Luminate that takes a closer look at renewals and cancellations in a post-peak TV landscape, finds only 44% of streaming series were being renewed by the major SVODs.

In contrast broadcast networks’ renewal rates are now significantly higher than those of streaming services and cable channels, a reversal of the once-conventional wisdom that series would have an easier time surviving on streaming than on broadcast TV.

The networks renewed 65% of their output in 2025, Luminate reports.

New streaming hits are also in serious decline, with freshman series falling from half of U.S. scripted output on the major SVODs in 2022 to 42% in 2025. HBO Max was the only major service where freshman series increased as a share of total premieres in 2025, while only Apple TV and Prime Video increased their number of new shows.

That figure, however, excludes limited series.

The study also found that despite its reputation for aggressive cancellations, Netflix actually renewed the most shows among the major SVODs from 2022 to 2025, renewing about 50% of its U.S. slate on average.

Audience retention across a full season is the single strongest predictor of renewal or cancellation when it comes to streaming series. Shows have a much stronger chance of renewal if more than half of the viewers who start a season end up finishing it, with cancelled series in our dataset averaging 44% retention.

The Luminate streaming viewership data also indicated that SVOD shows with more than 50% audience retention between their season premiere and finale are usually renewed, but each service has a different benchmark for what they’ll accept; Apple TV appears to accept the lowest retention, particularly for prestige series like The Studio (28% over 120 days).

WASHINGTON—America's broadband providers invested $92.6 billion in U.S. communications infrastructure in 2025, a 3.4% increase over 2024 and the third-highest annual total since 2003, according to the 2025 Broadband Capex Report released by USTelecom – The Broadband Association.

Cumulative industry investment now approaches $2.3 trillion since 1996, extending the strongest sustained era of network investment on record.

The report ties this investment to a fundamental shift in how networks are used.

Average monthly broadband usage reached 767.4 gigabytes per subscriber in 2025, up 9.9% year-over-year, and Cisco projects AI and agentic AI adoption could drive a 6.6-fold increase in consumer network traffic by 2035.

More strikingly, upstream usage—prompts, photos, video and sensor data flowing back into the network—rose 21.7% in 2025, more than double the growth rate of overall traffic, as networks built for one-way streaming adapt to an increasingly two-way, AI-driven internet. Fiber's ability to deliver matching capacity in both directions, the report notes, makes it central to that shift, along with the 5G, fixed wireless and satellite networks that depend on fiber backhaul.

“Fiber isn't just wiring for today's internet – it's the load-bearing infrastructure for whatever comes next,” said Jonathan Spalter, president and CEO of USTelecom.

“In 2025, providers extended an era of historically high broadband industry investment—expanding rural reach, modernizing wireless networks, adding capacity, and pushing fiber deeper into communities,” the report states. “At its core, this investment reflects broadband providers' sustained commitment to ensuring that the opportunities created by American innovation reach every community.”

The full report is available here.

PORTSMOUTH, N.H.—New research indicates that in the streaming subscription businesses, not all subscribers are equally valuable. According to Hub Entertainment Research’s “Decoding the Default” 2026 study, the more engaged users are, the more likely they are to stay and the less likely they are to churn and drop subscriptions.

This has important implications for the problem of subscribers churning in and out of subscriptions, which increases marketing and retention costs.

The HUB researchers found that the clearest signal of that engagement is whether a viewer considers a service their default, which is to say it is the service they turn on first when they want to watch something.

Being the default service not only drives usage. The new Hub data indicates that across paid streaming, free ad-supported services, and live TV, a viewers' default services are far less likely to be canceled, often remain in households for years, and are the ones consumers are most likely to personalize and make their own.

More specifically the survey found that viewers’ default source is the last one to get cut. When viewers are forced to imagine keeping only one service, being someone’s default source is worth two to six times as much loyalty as simply being used.

Among all Netflix users, 28% say they’d keep it if they could only keep one service. Among users who call Netflix their default, that jumps to 62%. The gap is even wider for Disney+: 10% of all users would keep it alone, versus 61% of users for whom it’s the default — more than six times as loyal.

“This data illustrates why streaming’s metric of success is shifting from subscriber numbers to engagement,” said Jon Giegengack, principal at Hub Entertainment Research and one of the study authors. “It also suggests the benefits that might come from combining Fox and Roku, and partnerships like Peacock and YouTube Premium, or Netflix and TF1 in Europe. These all create combined services that have more than one ‘starting point’ than either platform does by itself. And if you give viewers a compelling reason to start with your service, they will use your service more and stick around longer.”

Default services are also long-lived: nearly 70% have kept the same one for more than two years, Hub reported.

The no-contract streaming era has made viewers notoriously fickle when it comes to subscription-hopping. But once a service becomes “home base” for TV, that relationship is much more stable. More than two thirds (69%) say they have subscribed to their current default source for more than two years.

The survey also found that viewers invest time to make their default “their own," which in turn makes them more sticky.

Most viewers say they’ve spent time making their default service “their own,” by creating profiles, building watchlists, and customizing the app settings. This is especially prevalent among younger viewers (a segment particularly hard to retain).

More specifically, two-thirds (68%) of viewers overall agree they’ve made their default source “their own” through a profile, watchlist, or saved preferences. Among viewers under age 35, that rises to 79%, compared with 62% of viewers 35 and older.

These findings come from Hub Entertainment Research’s “Decoding the Default” 2026 study, based on a survey of 1,600 U.S. TV viewers ages 16-74 with broadband access, U.S. census balanced, conducted in August 2026. It is part of Hub’s ongoing series of syndicated Hub Reports.

SAN JOSE, Calif.—TiVo Platform Technologies and Element have announced the availability of new Element smart TVs powered by TiVo in the U.S.

The televisions are available with 4K Ultra High-Definition in 50-inch and 65-inch screen sizes through major online retailers including Amazon.com, Walmart.com, BestBuy.com and Target.com, as well as exclusively at BrandsMart retail locations.

TiVo, which is owned by Xperi, said that the launch represents an important milestone in the continued expansion of TiVo OS in the U.S. market, providing consumers with more opportunities to experience a smart TV platform designed to simplify entertainment discovery and viewing.

TiVo OS brings together live television, streaming apps and personalized content recommendations into a single, intuitive experience that helps viewers spend less time searching and more time enjoying the entertainment they love. By organizing content across entertainment sources and putting discovery at the center of the viewing experience, TiVo helps consumers quickly find something worth watching.

"The smart TV experience should revolve around content, not complexity,” said Geir Skaaden, chief products and services officer at Xperi. “TiVo OS is being used by millions of consumers who spend less time searching and more time enjoying entertainment, and our partnership with Element expands access to that experience for households across the U.S."

"Consumers shouldn't have to choose between value and a great entertainment experience,” added Vlad Kazhdan, president of Element. “With Element smart TVs Powered by TiVo, we're bringing together trusted quality, affordability and an intuitive content-first platform that helps viewers quickly find what they love to watch."

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

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

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

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

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

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

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

More information is available on the conference’s website.

SAN JOSE, Calif.—Roku has introduced Roku Labs, a new program built on the concept that the best innovation happens when customers help shape it.

Available soon in the U.S., Roku Labs will give viewers early access to experimental, in-development apps from Roku’s engineers and innovators, letting them test new experiences, share feedback and directly influence what gets built next. Roku Labs is found directly through a tile on the Roku Home Screen.

“Our best breakthroughs have never happened in a vacuum; they start with Roku engineers building and the people watching,” said Roku senior vice president for advanced development Brian Pinkerton. “Roku Labs continues to bridge the gap between engineers and our viewers, giving millions of households a seat at the table to explore, test and shape experiences in real time. It ensures every feature that comes to our platform solves a real pain point, brings genuine delight and reinforces our commitment to streaming.”

One of the first concepts to come out of Roku Labs is Roku City Dash, an original game that takes viewers inside Roku City, past iconic buildings and unexpected surprises from outer space. Having graduated from Roku Labs, Roku City Dash is now available to viewers everywhere. At launch, four more features remain in testing inside Roku Labs. Roku Stocks allows viewers to keep an eye on their portfolio, and Roku Weather checks the forecast from their TVs.

Backdrops Studio lets viewers get more creative with custom artwork and images for their screens, and Roku Immerse enables them to set the screensaver atmosphere they want, whether that’s looking for spectacular mountain views or the desert at sunset.

Other updates are planned, including global expansion of the new Roku Home Screen with Brazil and Mexico launching in coming months; premium subscription bundles offering 30% savings compared to a la carte subscriptions in the U.S. and Mexico; smarter search offering a more personalized, dynamic experience; and expansion of Roku Voice into a more capable on-screen assistant outside of entertainment.

The new OS features will be available over the coming months across all Roku TV models and streaming devices in the United States.

The company today also announced that Roku LT OS, its lightweight operating system powering Roku remote and Roku Smart Home is now open source, making the core technology available to programmers.

More information is available on the company’s website.

As traditional cable operators and telcos grapple with increased competition from satellite and fixed wireless broadband providers, new data from S&P Global Market Intelligence delves into who is cutting the broadband cord and why they are choosing wireless alternatives.

According to S&P Global Market Intelligence Kagan’s Q1 2026 MediaCensus consumer survey, 16% of respondents do not subscribe to a traditional wired home broadband service, choosing instead fixed wireless, satellite, mobile data, or forgoing home internet entirely.

Among those without a wired connection, 28% report they have never subscribed to a wired broadband service, while 38% severed their wired connection more than 12 months ago.

Non-wired home internet adoption is led by fixed wireless services at 9%, followed by satellite home internet at 2%, smartphone-only home internet users at 2%, and households with no home internet service at 3%, the S&P Global Market Intelligence Kagan’s Q1 2026 MediaCensus consumer survey found.

Younger consumers demonstrate the highest rate of broadband cord-cutting, with 23% of 18- to 24-year-olds lacking a wired internet connection, compared to just 11% of consumers aged 65 and older. Furthermore, younger cord-cutters and cord-nevers favor satellite internet while older cord-cutters lean toward fixed wireless or no household internet service.

The research also indicates that rural access and mobile bundling serve as key drivers for alternative internet adoption: 43% of satellite internet subscribers cite living in a rural area without wired options as their main reason for not subscribing to wired broadband, whereas 37% of fixed wireless subscribers report being motivated by bundled deals tied to their mobile plans.

In another notable finding, the study found that smartphone-only internet users rely heavily on mobile feature sets, with 52% citing an unlimited data plan and 37% using their phone as a hotspot. Notably, 24% of smartphone-only users claim local wired options are too expensive, compared to 14% of those with no internet service at all.

Satellite subscribers represent the largest share of recent broadband cord-cutters, with 61% having dropped wired broadband in the past 12 months whereas fixed wireless subscribers are more established cord-cutters, with 44% having dropped wired service more than a year ago.

CULVER CITY, Calif.—Prime Video has launched a $29.99 a month five-service streaming bundle combining AMC+, BritBox, MGM+, PBS Masterpiece, and Starz on Prime Video in the U.S.

The $29.99 a month fee offers a savings of nearly 39% compared to subscribing to each service individually.

The offering marks the first time the five streaming services have come together in a single bundle.

"Today marks a milestone for our customers, the launch of the first-ever five-service streaming bundle on Prime Video. Our subscriptions and bundles business continues to see incredible growth because we stay focused on delivering unmatched selection, value and convenience,” said Ryan Pirozzi, head of prime video channels, U.S. “With AMC+, MGM+, BritBox, PBS Masterpiece, and STARZ together, Prime Video customers get the premium entertainment they love, all in one place."

Amazon's Prime Video described the content from the services in the bundle as follows:

• AMC+ – AMC+ is a premium streaming service featuring award-winning original series, exclusive movies direct from theaters, and the ultimate destination for fan-favorite franchises including The Walking Dead Universe and the immortal world of Anne Rice. Subscribers can catch up on the latest critically acclaimed seasons of The Vampire Lestat and The Walking Dead: Dead City, streaming exclusively on AMC+, and look forward to an exciting line-up of new series this fall including Kill Jackie, starring Catherine Zeta-Jones and YAGA with Carrie-Anne Moss, Noah Reid, Clark Backo and Hudson Williams in his first role since Heated Rivalry.
• BritBox – The leading streaming destination for the best of British television, featuring acclaimed drama and mystery series like The Other Bennet Sister, Ludwig, Blue Lights, and the largest collection of Agatha Christie adaptations streaming in North America—including new BritBox Original Agatha Christie’s Tommy & Tuppence (September 15).
• MGM+ – An ad-free linear and streaming service delivering a broad lineup of exclusive, acclaimed original series and docuseries, current movie releases, and classic film franchises—all available in 45 countries across the U.S., Europe, Latin America, Asia-Pacific, and Canada. MGM+ is a destination for premium content, with original series including the hit sci-fi horror series FROM, crime drama The Westies, A Tale of Two Cities, and the highly anticipated crime thriller American Hostage.
• PBS Masterpiece – PBS Masterpiece is a premier streaming destination featuring Emmy® and Peabody Award winning British and international dramas and gripping mysteries. Featuring fan-favorites like, All Creatures Great and Small, Miss Scarlet, and Astrid alongside glamorous new hit, The Forsytes. Fans can cozy up this fall with returning mystery series, The Marlow Murder Club Season 3, Marble Hall Murders and Maigret Season 2 (October 18).
• Starz – Starz's premium programming, including the entire “Power” Universe, all eight seasons of the acclaimed series “Outlander” and its popular prequel series “Outlander: Blood of My Blood” (September 18), the crime drama “S.W.A.T. Exiles” (September 25), available exclusively on Starz, the season finale of the British boxing series “Fightland” (September 25), and the highly anticipated upcoming third season of “P-Valley.” The lineup also features Starz’s library of hit movies, including Michael, starring Jaafar Jackson, and The Housemaid, starring Sydney Sweeney.

In a move that will create more competition for news organizations while opening up new ways to attract audiences, Prime Video is introducing on-demand news clips.

The quick, short-form video clips give customers a fast way to catch up on national and local news, weather and trending topics for free, with or without a Prime membership.

The news clips are now available to all U.S. customers on the dedicated news destination on Prime Video.

As part of the launch, Prime Video is introducing curated playlists of on-demand news clips for major national and local stories. Each playlist brings together short-form clips from multiple news sources, making it easy for customers to catch up on key topics in seconds.

News Clips are available on the dedicated news destination on the Prime Video app across living room devices, with mobile and web coming soon. To find them, scroll down to the Trending Topics or Local News carousel on the dedicated news page.

“Until now, customers coming to Prime Video for news could watch breaking news live or tune into full-length on-demand programs. But not everyone can catch breaking news the moment it happens," said Brian Griffin, head of global app experience, Prime Video. "With News Clips, customers have a quick and easy way to get caught up on the latest stories happening in their neighborhood and around the world. Combined with our extensive lineup of free 24/7 live news, Prime Video is becoming a truly comprehensive destination for news."

The news clips expand the news content on Prime Video, which already offers news stories, financial-market analysis and talk shows through networks such as ABC News Live, CBS News 24/7, LiveNOW from Fox, CNN Headlines, NBC News NOW, and hundreds of other free ad-supported streaming television (FAST) channels.

Customers can also access additional news offerings with third-party subscriptions to Peacock Premium Plus, Paramount+, Fox One or CNN All Access, among others.

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

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

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

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

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

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

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

TiVo has introduced “Agent TiVo,” an AI agent that uses conversational prompts to help users of the Xperi-owned platform discover and engage with TV and streaming content.

Agent TiVo lets viewers interact naturally by voice or text, helping them find content in the way they think and speak, the company said. Instead of relying on traditional keyword searches, viewers can ask questions, refine results through follow-up conversations, receive personalized recommendations and move directly from discovery to action.

“Entertainment choices have expanded dramatically, making content discovery increasingly complex for viewers,” said Kevin Lenhart, general manager of pay TV at Xperi. “Agent TiVo combines conversational AI with TiVo's proven voice, discovery and personalization expertise to deliver an experience built specifically for entertainment. The result is a faster, more personalized experience that helps viewers spend less time searching and more time watching, while giving operators and entertainment platforms a powerful new way to deepen engagement.”

Built specifically for entertainment, Agent TiVo lets viewers search naturally by mood, genre, actor, quote, episode, sports team, source, availability or other criteria. The experience adapts throughout the conversation, helping viewers narrow options, explore alternatives and receive recommendations tailored to their interests and viewing habits.

Agent TiVo combines the power of large language models (LLMs) with TiVo’s voice-recognition technology in a hybrid architecture that intelligently routes queries to the most appropriate models, helping reduce costs and latency. As a result, operators and entertainment platforms can deliver conversational AI experiences without the expense, risk and complexity of an LLM-only approach, while maintaining control over their brands, content experiences and platform evolution.

Other key features include:

• Entertainment expertise: Optimized for entertainment experiences, not general-purpose AI.
• Hybrid architecture: Intelligent model routing helps reduce costs and latency.
• Seamless integration: Extends existing TiVo deployments without major platform changes.
• Brand control: Fully white-labeled to reflect each operator’s brand and content strategy.
• Operational simplicity: Delivers conversational AI without the burden of managing an LLM-only solution.

Agent TiVo reflects Xperi’s ongoing commitment to creating intuitive entertainment experiences that help consumers navigate large, fragmented content ecosystems.

For more information on Agent TiVo, visit the TiVo website.

LONDON—A new study from Omdia finds that nearly three in four U.S. TV viewers regularly use their smartphones for other media while watching television. The finding highlights the growing competition for audience attention between TV and mobile video, the research firm said.

The study also found that this isn’t simply an issue for younger age groups. Simultaneous media use is becoming increasingly widespread across older age groups, Omdia reported:

• Among 55-to-64-year-olds, simultaneous media use has risen from 42% in 2023 to 56% in 2026.
• Among 45–to-54-year-olds, it has increased from 62% to 73% over the same period.
• Among 35-to-44-year-olds, the direction is also upward, from 69% to 76% over that span.

The findings highlight how competition for viewers’ attention is extending beyond TV programs and streaming services to the smartphone screen. Short-form video, in particular, is increasingly competing for viewers’ attention even while the television remains on.

“We don’t have a content problem. We have an attention problem,” said María Rúa Aguete, global head of media and entertainment at Omdia. “Three in four U.S. TV viewers are using their phones while watching TV, and increasingly what they are doing is watching more video. The battle is no longer simply TV versus mobile. Both screens are on. The question is, which one has your attention?”

Short-form and vertical video are playing an increasingly significant role in this shift, the data shows.

Viewers are becoming accustomed to highly personalized, instantly accessible video experiences on smartphones, adding another source of competition for traditional television and streaming services.

For broadcasters, streaming platforms, advertisers and content owners, this changing behavior reinforces the need to consider TV and mobile as part of the same viewing experience, as audiences increasingly move their attention between the two, the Omdia researchers explained.

“The future isn’t TV versus mobile. It’s TV and mobile,” Rúa Aguete said. “The companies that understand how audiences move between those screens, and how to capture attention on both, will be best positioned to win.”

The findings are based on Omdia’s latest research into changing video consumption habits, the attention economy and the growth of short-form and vertical video, presented by Rúa Aguete at IBC2026 in Amsterdam.

CHESEAUX-SUR-LAUSANNE, Switzerland, and PHOENIX—Nagravision has signed an agreement with semiconductor maker MediaTek that enables operators to deploy their service to televisions sold by retailers, driving down the cost of serving each household while providing protection for the security of premium content.

The companies are jointly exhibiting during the ongoing IBC 202226, Sept. 11-14, at RAI Amsterdam Convention Center.

As connected TVs become the primary streaming device for premium content, protecting the integrity of the device is essential to preserve trust across the content distribution chain. This defense-in-depth approach enables operators to reduce the risk of key extraction and disrupts piracy faster, limits unauthorized redistribution and safeguards consumer experiences.

Under the agreement, the Nagravision secure element will be included in all future TV SoCs on MediaTek’s roadmap, giving the technology a footprint across the world’s television manufacturers. The deal addresses a long-standing requirement: broadcast-grade security for OTT services, delivered through hardware rather than vulnerable software alone. The same technology also supports traditional broadcast services on televisions, at a premium level of protection previously only available via hardware-secured set-top boxes.

"This agreement firmly places security in the silicon rather than it being added around it,” said Sam Lee, General Manager, Smart Home BU at MediaTek. “By embedding the NAGRAVISION secure element across our TV SoC portfolio, we’re giving television manufacturers and service providers a consistent, hardware-anchored foundation for premium content, wherever in the world those devices ship.”

The initiative is also aimed at the next generation of threats that exploit AI and quantum computing. The solution implements a hardware-anchored architecture, allowing the protection of service critical assets against advanced threats.

“With the Nagravision secure element on every future MediaTek TV SoC, operators can count on a single level of protection for broadcast and streaming content alike, and on a security model built to answer threats that are only just starting to be understood,” said Nagravision senior vice president of Management and Sales Development Stéphane Le Dreau.

See Nagravision and MediaTek at IBC stand 1.C81.

More information is available on the Nagravision website.

VIENNA—In the runup to IBC2026, the 10th annual Video Developer Report from video streaming solution provider Bitmovin highlights some of the major issues facing streaming media that will be top of mind at the show, with live latency and costs ranking as the industry’s top two problems.

The report finds that low latency for live streaming has overtaken controlling costs and is now the number one concern for 36% of respondents, making it the top challenge facing video teams today. This is followed by controlling costs at 35% and maintaining consistent monitoring and analytics at 28%. Finding the root cause of streaming issues and ad insertion are also major challenges for video providers today (both at 27%).

The latest edition of the report also indicates that AI has stopped being an add-on feature and is now deployed across the entire stack, often with agents operating the workflow.

Of the 486 respondents, 98% report using AI or ML for video with nearly half (46%) using AI tools every day. Only 2% report no plans for AI at all, with 4% of respondents not AI tools at all.

Audio transcription, translation and foreign dubbing are the most common applications cited by respondents (48%), followed by content recommendations (34%), visual quality and optimization (30%), and then tagging and categorization, personalization, and scene, shot boundary and ad placement opportunity detection, all come in joint fourth place (28%).

The report also highlights how expectations around low latency have shifted over time as the cost and complexity of delivering low latency has become clear.

In 2020, 60% of respondents expected low latency of less than five seconds, but that's now down to 16%, while 28% expect latency under 10 seconds. That said, sub-second latency still matters in certain use cases such as live sports, betting, auctions and interactive formats. It is this commercial need for more efficient video delivery that is driving the interest of MOQ. The report highlights that 28% of respondents plan to use MOQ in the next 12 months.

“It’s hard to believe that we’ve been producing this report for 10 years, and what a rollercoaster ride the last decade has been for the video industry,” Stefan Lederer, CEO and co-founder, Bitmovin, commented. “As we proudly present the 2026/27 report, it’s clear that AI is running the video stack, advertising is the primary revenue engine, QoE and observability have become foundational layers, and the business case for MOQ has never been stronger. But what really stands out this year, is just how fast the technology is developing - the last 3 months alone have reshaped what is possible for video developers to build and achieve. I can’t wait to see what another 10 years of the Video Developer Report will bring.”

This year's edition draws on insights from professionals across broadcast, OTT, and beyond, and for the first time includes analysis and contributions from industry analysts Jan Ozer and Dan Rayburn, alongside input from Bitmovin's partners and customers.

The Bitmovin Video Developer Report 2026/27 Edition is now available for download.

Bitmovin will be exhibiting at IBC from September 11-14 (hall 5, stand 5.F72). For more information, and to book a meeting, visit: https://bitmovin.com/ibc/.

New data from Parks Associations finds the Ruku player and operating system remains the most popular streaming media system in the U.S. with 43% of Americans reporting that a Roku device is their most-used streaming media player.

The Parks Associates’ Tech Ecosystem Dashboard, which includes data and analysis from surveys of 8,000+ US internet households, also found that 17% say their primary smart TV runs on Roku OS.

The Parks researchers noted that Fox Corporation’s planned acquisition of Roku for $22 billion highlights the strategic value of owning the platform that connects consumers to content, advertising, and streaming services.

“Roku’s strength is its reach across the connected TV experience,” said Michael Goodman, research director, Parks Associates. “Its position across smart TVs and streaming media players gives the platform influence that extends beyond any single hardware brand.”

More specifically, the Fox-Roku acquisition would bring strategic value to both companies. Fox brings premium live content, including sports and news, as well as Tubi, while Roku brings its operating system, The Roku Channel, Frndly TV, Howdy, advertising capabilities, and first-party data. Fox reports that Roku reaches more than 100 million streaming households globally.

The combination also strengthens Fox’s position in the growing free ad-supported streaming television (FAST) market. Tubi and The Roku Channel give the combined company two major ad-supported streaming properties, while Roku’s platform provides additional opportunities to connect content discovery, audience data, and advertising across the TV experience.

In the Parks top ten list of U.S. FAST streaming services, Tubi ranked as #1, followed by The Roku Channel, Pluto TV, Samsung TV+, Xumo Play and LG Channels.

“Competition in video is now about who owns the relationship with the viewer,” Goodman said. “Content remains critical, especially live sports and news, but the platform determines how consumers discover that content and how providers engage and monetize audiences. The Fox and Roku combination brings greater control over how consumers access and discover content while expanding opportunities for viewer data, advertising, and distribution.”

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

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

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

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

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

LONDON—While a new study from Ampere Analysis documents the ongoing decline in new orders for TV series, the research also shows that orders for new linear TV series has been more resilient than streaming VOD and that the new orders for scripted programming on linear TV actually grew in recent years.

The new report from Ampere Analysis found that between 2022 and 2025, US-produced linear orders fell 26%, a smaller decline than streaming counterparts, which fell 41%.

Very notably, the research also found that linear scripted series orders actually rose 11% in a slightly different time frame between 2023 and 2025, with a particular focus on renewing reliable franchise comedies such as “The Simpsons” and “American Dad.”

"In the post-Peak TV era, the traditional seasonal development cycle from linear broadcasters in the U.S. is evolving,” explained George Evans, senior researcher at Ampere Analysis. “With streaming players now accounting for a greater share of content spend globally, free-to-air linear commissioners in the US have adopted a more flexible approach to ordering, putting fewer titles through the development and pilot process and instead working more responsively year-round. By responding more dynamically to audience appetite and leaning on scripted franchises with established fanbases, broadcast TV can continue to prove its worth in the seemingly streamer-dominated US market."

More specifically the report found that between 2022 and 2025, U.S.-produced linear orders fell 26%, from 1,773 to 1,304, compared with a 41% decline in streaming orders, from 1,144 to 678. Linear Scripted series orders subsequently increased 11%, from 236 in 2023 to 262 in 2025.

Overall, free-to-air (FTA) channels have fared better than Pay TV.

Pay TV subscriber numbers have declined by 56% since 2016, as consumers switch to streaming. This drove a 33% decline in series orders between 2022 and 2025, down from 1295 to 877. In contrast, free-to-air broadcasters such as NBC, ABC, and CBS saw series orders drop 13% over the same period, from 408 to 352. Thematic Pay TV channels, particularly those focused on specific niches, such as Food Network and HGTV, have struggled to maintain ordering levels.

The report also highlighted changes in traditional TV development cycles. US Commercial free-to-air broadcasters are shifting away from the traditional seasonal development cycle of Q4 script orders and Q1 pilot orders, towards year-round development and 'straight-to-series' orders, committing to an entire season without first testing a pilot, the study found.

In addition, U.S. broadcast networks have shifted towards more disciplined primetime commissioning strategies. Since 2024, 52% of new scripted series orders have been franchise-based, reflecting a more disciplined approach to primetime commissioning.

The strength of broadcast programming can also found on streaming platforms. Around 50% of both linear and non-linear TV viewers enjoy genres such as comedy, action & adventure, crime & thriller, and drama. This alignment supports complementary commissioning strategies across broadcast and streaming. Primetime series from ABC, CBS and NBC generate strong engagement on Hulu, Paramount+ and Peacock, respectively, extending their value beyond linear TV.

“Despite the continued growth of streaming, broadcast television remains an important part of the US media landscape,” explained Eric Kurtsel, research manager, SME Media at Ampere Analysis. “Post-Peak TV, broadcast networks are taking a disciplined approach to primetime commissioning, focusing on proven genres and franchises that can connect with audiences across platforms. Viewers continue to engage with broadcast series on streaming platforms, suggesting their value extends beyond linear television and reinforcing broadcast TV’s foundational role in today’s content ecosystem."

AMSTERDAM—Ceeblue, a Dutch-based provider of ultra-low-latency video streaming technology and Australian media technology company Layercake, today announced the expansion of their partnership with the full production rollout of an advanced Digital Rights Management (DRM) framework alongside revolutionary Server-Side Ad Insertion (SSAI).

Building directly upon the integration of Ceeblue’s sub-second WebRTS streaming with Layercake’s orchestration and workflow management platform, Streamcake, the two companies now support studio-grade content protection in live production on sub-second streams.

The upgraded feature set supports both major industry encryption schemes, CENC and CBCS, which unlocks full coverage across the Widevine, PlayReady, and FairPlay DRM ecosystems over DASH, HLS/CMAF, Low-Latency HLS, and WebRTS delivery channels.

Engineered for efficiency and extreme security, the DRM architecture introduces three strategically vital innovations:

• Encrypt Once at Ingest: Encryption metadata is computed and persisted at the origin, eliminating redundant processing and ensuring content is encrypted only once rather than per-output;
• Passthrough at the Edge: Edge and relay nodes forward protected streams without ever holding decryption keys, drastically lowering edge compute costs while materially reducing the key-exposure attack surface, and
• Open Integration Architecture: Built-in trigger hooks allow seamless interoperability with self-managed or third-party KMS/DRM backends, currently supporting Google Secret Manager.

This production capability directly addresses contractual content-protection requirements, unblocking deals for premium tier-1 live sports and entertainment streaming that were previously relegated to much higher latencies by the limitations of HLS/DASH streaming.

Alongside robust content protection, the expanded integration delivers Server-Side Ad Insertion (SSAI). Until now, operators had to choose between latency and monetization. But now, the combination of sub-second delivery, full-fledged DRM, and seamless SSAI running on standard CDNs gives sports and live broadcast operators a huge incentive to go ultra-low latency.

By coupling Streamcake’s automated cloud control plane, which makes management and scaling intuitive and reliable, with Ceeblue’s WebRTS origins, the combined solution delivers targeted value across core verticals:

• OTT Sports & Betting: Eliminates the "spoiler effect" by aligning digital delivery precisely with live play. Feeds delivered under one second expand live-betting windows, combat courtsiding, and protect high-value rights with DRM;
• iGaming & Live Auctions: Provides real-time interactivity to thousands of global users at the same time, allowing hybrid on-site and remote play / bidding. The immediacy of real-time interactivity maximizes Gross Gaming Revenue (GGR) and engagement, and ensures auction integrity, and
• Corporate Comms & Live Commerce: Drives interactive corporate town halls over HTTP, which easily traverses strict enterprise firewalls, while empowering live commerce platforms to handle massive viral traffic surges with automatic edge scaling.

The production DRM framework capabilities are available immediately across the integrated Ceeblue and Streamcake deployment options. Customers can deploy the unified solution across major CDNs, including Akamai, Orange CDN, Fastly, and many more.

Visitors to the 2026 IBC Show can see demos at Ceeblue (5.C43) and Layercake Partner Pod on the Grass Valley Stand (9.A01).

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

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

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

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

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

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

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

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

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

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

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

KINGS PARK, NY—Multidyne Video & Fiber Optic Systems will introduce SilverBack-IP, the newest member of its SilverBack Series of fiber camera adapters, at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. SilverBack-IP brings native SMPTE ST 2110 connectivity to Multidyne’s fiber camera platform, providing a direct path for integrating digital cinema cameras into modern IP production environments, the company said.

Multidyne developed the SilverBack Series to help content producers bring the cinematic quality of digital cinema cameras into live multi-camera production. The lightweight, vendor-agnostic adapters convert digital cinema cameras for SMPTE studio-camera workflows and have been deployed across live sports, concerts, television productions, houses of worship and other professional production environments.

Purpose-built for the industry’s transition from SDI, SilverBack-IP retains the series’s mobility, camera flexibility and familiar operational benefits while moving the transport layer to IP. The new design enables production teams to connect their preferred cinema cameras directly to SMPTE ST 2110 networks while maintaining the camera-centric workflows that have made SilverBack a fixture in live cinematic production.

SilverBack-IP features dual 25GbE network interfaces and supports SMPTE ST 2022-7 hitless protection across the two fibers within SMPTE hybrid cable, providing redundant network paths for demanding live production environments. Two 12G-SDI and two 3G-SDI connections accommodate a broad range of HD and UHD workflows, with video, audio, intercom and data encapsulated and de-encapsulated as standardized IP streams.

The IP architecture removes many of the point-to-point limitations associated with traditional camera chains. Rather than requiring signals such as intercom, timing and video to be discretely connected and distributed through dedicated hardware, SilverBack-IP makes those signals available within the ST 2110 network infrastructure. Integrated intercom, for example, can operate as an ST 2110-30 audio essence flow, allowing production teams to source and associate intercom audio through the network instead of a dedicated point-to-point connection.

The dual 12G-SDI capability also positions SilverBack-IP for emerging immersive production requirements. Stereoscopic cameras that generate discrete right- and left-eye UHD signals can deliver two simultaneous 12G-SDI feeds into the adapter, allowing both signals to be transported into the ST 2110 environment. The architecture extends SilverBack’s vendor-agnostic philosophy to new generations of digital cinema and immersive cameras, allowing producers to select the most suitable cameras.

SilverBack-IP’s studio camera-style physical design puts controls, menu access and system status directly in front of the camera operator. Full-size professional connectors complement the operator-centric interface, marking a departure from the traditional ENG-style cameraback configuration of earlier SilverBack systems. The result is a familiar studio-camera experience while retaining the flexibility of adapting a digital cinema camera for live production.

SilverBack-IP supports both 12V and 24V camera systems when paired with appropriate Multidyne power extension solutions, accommodating traditional cinema cameras as well as newer high-power camera platforms, the company said. The adapter can operate independently of a camera as a standalone fiber gateway, allowing production teams to place the unit remotely and transport video, intercom and other signals between SDI endpoints and IP networks.

Multidyne will be in Stand 11.C12.

DENVER—Comcast Technology Solutions today announced a new multi-year agreement with A+E Global Media to provide premium content distribution services using Comcast MediaExpress, part of the Comcast Media360 portfolio.

Under the agreement, Comcast Technology Solutions will provide centralized video-on-demand (VOD) management and distribution for content from A+E Global Media brands (A&E, History, Lifetime, and others). Using Comcast MediaExpress, A+E Global Media will leverage a single point of ingest for premium video titles and associated metadata to streamline content preparation, packaging, and delivery. The 24/7 managed service is designed to simplify VOD distribution for improved operational efficiency, CTS said.

"A+E Global Media is committed to delivering exceptional storytelling to audiences wherever they are, while embracing technology to help accomplish that core objective,” said Prakash Patel, Senior Vice President of Technology Strategy and Transformation at A+E Global Media. "Comcast MediaExpress gives us an efficient and scalable approach to managing content distribution, helping simplify workflows to ensure our programming reaches distribution partners quickly and reliably."

Comcast Media360 is a premium managed service for the media and entertainment industry, offering an integrated suite of technologies for comprehensive global video delivery, distribution, and monetization across linear and on-demand platforms.

AMSTERDAM—swXtch.io, a global provider of software-defined networking solutions for media, has launched an AI-based broadcast engineer platform which it says is designed to remove the infrastructure and networking complexity behind live media workflows.

abbe removes the requirement for operators to configure networks, cloud infrastructure, compute resources, and AI software in media routing and interface workflows, according to the company.

abbe takes a conversational description of the desired outcome and deploys the necessary infrastructure, networking, and software required to make the workflow run and does so in the most economical way while meeting performance requirements.

abbe is a cloud-agnostic orchestration layer, able to deploy live media and AI workflows across any provider including Microsoft Azure, Oracle Cloud Infrastructure (OCI) and Amazon Web Services (AWS). Workloads are located based on user requirements including optimizations for cost and latency, without forcing the operator to design a different solution for each cloud environment.

The initial capabilities being shown at IBC focus on two areas where live media teams face significant operational complexity: managing live media transport and deploying AI into production workflows.

For live media networking, abbe provides SRT management and control, enabling operators to ingest, monitor and distribute streams globally without manually configuring the underlying infrastructure. abbe is designed to automate decisions around where and how live media moves, helping operators maintain reliable, high-quality feeds while reducing the manual intervention traditionally required to respond to changing network conditions.

For AI workflows abbe will demonstrate a live audio processing workflow using NVIDIA models and other select partners. An operator can describe the desired outcome and abbe stands up the cloud infrastructure, networking, security, and software required for the audio processing use case.

The future of abbe is much broader than the initial iteration being shown at IBC, swXtch.io said.

abbe treats AI models as interchangeable components within a live workflow. Operators can select and test different models, chain models together, compare performance, and swap from one model to another easily and quickly. abbe separates what an operator wants to accomplish from the increasingly complex infrastructure, networking, and knowledge required to accomplish it.

NVIDIA models provide the foundation for abbe's initial real-time AI capabilities and swXtch.io is already expanding abbe's support across additional NVIDIA AI models and capabilities over time.

“The AI models are becoming incredibly capable but putting them into a live production still requires expertise across networking, cloud infrastructure, and AI software,” said Brent Yates, CEO of. “abbe is designed to remove that complexity. You describe what you want to accomplish, and abbe stands up everything needed to make it work. And because workflows are not locked to one model, you can easily optimize it as the technology changes. abbe simplifies AI for live media.”

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

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

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

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

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

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

The Walt Disney Co. and Optimum have renewed a multiyear carriage agreement for ABC-owned TV stations, ESPN, NFL Network, NFL RedZone, Disney’s kids and family channels, Freeform, FX Networks and the National Geographic channels in a distribution deal that will also expand access to the ESPN Unlimited and Disney+ streaming services.

No financial details were provided and the two companies did not name specific channels.

Disney and Optimum said certain eligible Optimum TV customers will soon be given free access to streaming service ESPN Unlimited.

The agreement provides for “expanded rights to make Disney’s streaming services available to Optimum TV and internet customers for purchase.”

Optimum provides cable and broadband service to more than 4 million customers in 21 states, with operations in the New York City tri-state area, as well as smaller clusters in the South and Midwest.

LONDON—New data from Ampere Analysis shows Asia has become the world’s biggest region for first-run streaming scripted series orders for the first time, leaping two places from third to secure the top spot in the first half of 2026. More than one-third (36%) of first-run scripted TV orders from the leading global streamers now originate in APAC, the highest six-month share on record.

The new Ampere study also found that the APAC region surged ahead of North America and Western Europe in H1 2026 for the volume of new scripted TV commissions from the six leading global streamers - Prime Video, Apple TV+, Disney+, HBO Max, Netflix and Paramount+. The region secured 70 first-run scripted commissions during the period, versus 46 for North America, 44 for Western Europe, and 34 for all other regions combined.

Cyrine Amor, senior research manager at Ampere Analysis, explained that “APAC has become increasingly important to global streamers for two reasons: it offers attractive opportunities for subscriber growth, while Asian content is increasingly finding audiences far beyond its home markets. India, South Korea and Japan remain at the heart of commissioning activity, but growth in markets such as Taiwan and the Philippines shows how widely streamers are now looking for locally produced content with regional and global potential.”

Of all streamers’ first-run scripted TV orders, 36% now originate from the APAC region, the highest six-month-period share to date. The rise is primarily driven by Amazon’s and Netflix’s commissioning activity in the region. In the same period, their combined first-run orders in Western Europe and North America remained almost flat compared to H1 2025.

India led the region with 25 orders, the highest increase among APAC markets, fueled by Prime Video’s commissioning push across multiple Indian languages. South Korea remained the region’s second-largest market by volume, where Netflix continues to lead commissioning activity among global streamers.

In terms of genre, one-third of these commissions were Crime & Thriller. Drama hit a new record of one quarter of commissions. Meanwhile, the Sci-Fi & Fantasy genre, which led by volume share in H1 2025, fell sharply.

Newer entrants to the streamers' regional subscriber acquisition race also stood out in this commissioning shift, the Ampere study stressed.

Taiwan and the Philippines experienced unusually high volumes of streamer orders, with nine and seven new scripted series commissioned respectively during the first half of 2026. In Taiwan, Netflix quadrupled its new scripted series orders compared to last year, including the medical drama “How to Survive Med School” and the influencer-led crime investigation “Million-follower Detective.” In the Philippines, Amazon led the charge with five new series announcements over the past six months, including the romance drama “The Loyalty Game.”

Recent successes such as Netflix’s Thai original “My Dearest Assassin” and Korean original “The Great Flood” demonstrate the potential for locally produced APAC content to travel beyond its home market. Streamers are also using licensing to capitalise on this demand, with Prime Video further expanding an existing multi-year worldwide distribution deal with CJ ENM in 2026, Ampere reported.

The commissioning surge reflects different stages of streaming growth across APAC. In more established markets, including India, South Korea and Japan, new productions are being used to both attract and retain subscribers while also targeting increasingly receptive regional and global audiences. In emerging streaming markets such as Taiwan and the Philippines, first-run commissioning is being used to support subscriber acquisition.

STOCKHOLM, Sweden—Accedo and MediaKind will show their newly launched end-to-end, multi-platform streaming solution that enables operators of all sizes to launch, manage and monetize branded streaming services across TV, mobile, web and set-top boxes during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The joint white-label solution brings together the combined expertise of both companies, which have a long track record of designing, launching, operating and continuously evolving operator streaming services at global scale. Together, Accedo and MediaKind have helped many of the world's leading telecommunications providers, broadcasters and media companies deliver premium video experiences to millions of consumers worldwide.

The solution is powered by Accedo’s native application framework and cloud-based application management tools, which support all major connected TV, mobile and web platforms, as well as MediaKind’s MK.IO platform.

The joint solution provides operators with a scalable and reliable cloud-based pay-TV platform that reduces deployment complexity while maintaining the flexibility to customize the user experience and evolve services over time.

"The streaming ecosystem has become significantly more complex in recent years, making it increasingly challenging for operators to launch, manage and evolve modern streaming services cost-effectively,” said Accedo chief revenue officer Mrugesh Desai. “By combining Accedo's expertise in delivering world-class user experiences with MediaKind's market-leading backend platform, we've created a proven solution that dramatically reduces complexity, accelerates deployment and lowers total cost of ownership. Just as importantly, operators benefit from a platform backed by two companies with decades of experience launching and continuously evolving streaming services at scale.”

Designed to reduce implementation risk, engineering costs and time-to-market, the joint solution simplifies customer onboarding while delivering a consistent, premium user experience across Android STB, iOS, Android Mobile, Amazon Fire TV, Apple TV, Roku, Samsung Smart TV and web. Operators can rapidly customize branding, user experience and service configuration without the need to build and maintain multiple native applications from scratch.

"Operators are looking for a faster, lower-risk path to launching premium streaming services without compromising on quality or flexibility. This solution combines MediaKind's trusted MK.IO Platform with Accedo's market-leading application technology to deliver a production-ready offering that enables operators to go to market quickly while retaining the ability to innovate and differentiate over time,” said MediaKind senior vice president of product and marketing Shahar Barr.

The joint solution powers Canada’s Cogeco's EPICO streaming service, demonstrating its ability to support large-scale commercial deployments.

The new streaming solution will be shown in the Accedo and MediaKind IBC2026 stands, 5.D76 and 1.D71, respectively.

More information is available on the Accedo and MediaKind websites.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Improvements include :

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

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

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

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

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

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

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

BERLIN—TiVo today unveiled significant enhancements to its TiVo OS media platform, expanding generative AI-powered content discovery experiences, more free streaming content, enhanced sports experiences, interactive commerce capabilities and platform optimizations that the company says could reduce costs for smart TV manufacturers.

TiVo, a wholly-owned subsidiary of Xperi, also announced the appointment of Tal Bone as senior vice president and general manager of TiVo OS. Bone, who brings more than a decade of experience building and scaling global smart TV and entertainment platforms most recently served as vice president of global product and chief technology officer at VIDAA, Hisense's smart TV operating system.

The company made its announcements in advance of the the IFA 2026 tech show, which takes place Sept. 4-8 in Berlin.

Expanded TiVo Channels Offering
TiVo announced that it has added hundreds of new global and local FAST channels to its TiVO Channels platform and added a new mini guide for faster channel navigation and personalized content carousels that offer relevant programming based on viewers’ preferences.

TiVo has also enhanced sports discovery across search, recommendations and the home screen on its OS, allowing viewers to more easily discover, follow, and access live games and sporting events through improved surfacing of sports content and real-time event promotion directly within the TiVo OS experience.

And in a nod to expanding its presence overseas, particularly in Europe, TiVo also announced that its OS now supports DVB-I, a protocol that adds IP capability to the DVB standard. DVB-I enables broadcasters to deliver television content over the internet while simplifying access for consumers. The enhancement allows viewers to discover and watch local broadcast channels without requiring a traditional aerial or antenna.

TiVo has also significantly reduced the TiVo OS memory footprint, enabling deployment on devices with as little as 1 GB RAM and 4 GB eMMC. These improvements are designed to help reduce bill-of-material costs, allow for more efficient hardware configurations, and expand deployment opportunities across a wider range of smart TVs and connected entertainment devices, the company said.

AI Enhancements
TiVo is also collaborating with IRCODE in a partnership that now combines AI and computer vision technologies to recognize on-screen content and enable immediate viewer interaction on its OS, unlocking “new opportunities for commerce, content discovery, advertising and companion experiences, allowing consumers to engage with content in entirely new ways while creating new monetization opportunities for partners,” according to the company.

TiVo said it plans to implement the soon-to-be released AI-powered discovery product, Agent TiVo, which is designed to enable consumers to navigate entertainment through natural conversation and help them discover content more intuitively and efficiently. Rather than relying on traditional keyword searches, viewers will be able to describe what they're looking for and receive personalized recommendations and guidance, creating a richer and more engaging content discovery experience, the company said.

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

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

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

Signiant Pulse includes:

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

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

Signiant will be in Stand 5.C74.

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

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

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

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

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

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

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

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

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

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

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

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