The intersection of Wall and Broad Streets in Lower Manhattan has seen its share of memorable events over the years at the New York Stock Exchange.

Whether it was the first time more than 1 million shares were traded in a single day 131 years ago, the Great Crash of 1929, the installation of the bronze Charging Bull sculpture two blocks south of the exchange in 1989, or simply the trading floor where traders and market makers each weekday transact, the exchange occupies a special place in the psyche of the nation.

Less public but equally noteworthy to NYSE insiders is the exchange’s recent completion of three new video production control rooms to support financial journalists and news organizations reporting on the exchange as well as to meet its own video requirements, ranging from coverage of opening and closing bell ceremonies, corporate announcements and interviews with business leaders to producing its own one-hour “NYSE Live” show streamed weekdays from the exchange via its website, the NYSE app and other streaming platforms.

Ian Wolff, director of Broadcast & AV Operations at the exchange, long dreamed of expanding the NYSE’s video production technology. So, when the exchange approved a major upgrade in 2023, Wolff was more than ready.

“It was time to do a full infrastructure upgrade,” said Wolff. “There were times we were doing three events at once in a control room designed to do one event. I wanted three control rooms that had the same exact gear and management said, ‘OK, go for it.’”

“We replaced every piece of equipment that dealt with the New York Stock Exchange control room. We went from pretty much one and a half control rooms to three control rooms.”

Before the project began, the NYSE production team was using the Ross Video XPression broadcast graphics solution and saw it could more fully leverage the system if it moved away from its existing production switcher to the Ross Video Carbonite.

“We realized that once the XPression and the Carbonite got together with RossTalk, it was a lot easier for the two of them to communicate to each other,” explained Wolff. “If we wanted to have a whoosh or something from the XPression, we could trigger it on the Ross Carbonite with ease.”

When management authorized Wolff to upgrade its video infrastructure and production control rooms, that level of seamless integration made it easy for Wolff to select Ross Video, he said.

CTI, a Ross Video Diamond systems integrator, assisted Wolff and the NYSE with the design of the rooms as well as installation and integration of the production control room technology. “CTI made me feel like I was part of the team and always treated me with respect,” said Wolff.

A large part of creating that rapport was CTI’s willingness to sit with Wolff and the production team, observe what they used to do, how they did it and ultimately bring in the new technology that met today’s production requirements, he said.

The centerpiece of each new control room is a Ross Video TouchDrive control panel controlling its own Ross Video Carbonite switcher. The main control room uses a Ross Carbonite Ultra 60 3 ME advanced production switcher, while the other two control rooms are each outfitted with their own Carbonite Ultra 24 3 ME switchers. The installation also relies upon a variety of Ross Video openGear modular cards to support various signal processing tasks, as well as Ross Video Tally Control.

The NYSE also deployed Ross Video XPression with support for real-time data to power broadcast graphics generation in each control room. Having the ability to import real-time data into XPression is critical to much of what the NYSE produces as the constantly changing stream of price ticker data drives the on-screen presentation of ticker crawls that many viewers tune in to see.

Production Workflow

Production control room workflows at the NYSE are essentially identical to those that drive most TV newscasts and other live shows. Typically, about 10 production personnel are required in the control room. From directors and floor producers to camera operators and teleprompter, also included are playback and show producer.

The NYSE house production format is 1080p 60. However, Wolff’s production team hands off 1080i HD to journalists, broadcasters and outside production houses that frequently rely upon the exchange for video. The exchange uses Ross Video openGear processing modules to convert from the house production format to 1080i.

In October 2025, the NYSE began using the last of its three new production control rooms to come online. Having three rooms available has proven to be a blessing due to the increasing volume of live production done daily at the exchange. Rather than having to double or triple up simultaneous productions in a single control room, NYSE is well-equipped to handle multiple live productions at the same time.

For the foreseeable future, the NYSE production control room buildout will continue to support a mix of HD-SDI 1080p baseband signals as well as a limited number of NDI IP video sources. While 4K isn’t on the table at the moment, Wolff and CTI worked together when designing the control rooms to be prepared for 4K/UHD. “We’re ready for 4K if somebody says the world is going 12G and everybody needs it,” said Wolff.

“I think we’ve futureproofed this house as much as we can. If management says, “We want you to start going 4K, we have the gear and the capability to do it.”

Looking back on the project, Wolff expressed a great deal of satisfaction with and an appreciation for the willingness of both Ross Video and CTI to address any issue that came up during the buildout.

“I’ve dealt with a lot of different manufacturers, and I’m not saying they don’t have good support, but Ross is at the top right now—just from what they gave us anytime we needed help. Even after the buildout, when we have questions for them, they are very responsive. They treat us like family,” said Wolff.

LAS VEGAS—QuickLink, a provider of video production and remote guest contribution solutions, will be presenting its latest StudioEdge models at the 2026 NAB Show 2026, April 19-22 at booth N2761.

Building on the StudioEdge expansion introduced in 2025, the company will showcase the full StudioEdge range, including StudioEdge-1, StudioEdge-2, the flagship StudioEdge-4 and StudioEdge-2110.

“Expanding our StudioEdge offering was the clear next step for us, filling a direct need in the industry for a swap-in replacement for the discontinued Skype TX,” says Richard Rees, CEO of QuickLink. “StudioEdge delivers the broadcast quality, operational simplicity and workflow familiarity teams relied on, while adding modern platform support and the scalability to match today’s productions. At NAB 2026, we’re looking forward to demonstrating not only the latest StudioEdge models, but also new workflow enhancements that make it even easier to introduce and manage Zoom callers in live productions.”

Designed for broadcasters and professional production teams, StudioEdge enables broadcast-quality, discrete audio and video remote contributions from leading video conferencing platforms, including Zoom, Microsoft Teams and QuickLink StudioCall, supporting reliable remote guest integration across a wide range of live production environments.

QuickLink will also demonstrate brand-new workflow enhancements for StudioEdge at the 2026 NAB Show, including improvements to the way Zoom callers are introduced and managed within StudioEdge. These enhancements are designed to streamline producer control, improve the efficiency of call handling and further simplify live remote guest workflows in fast-paced production environments.

Quicklink noted that with Skype reaching end of life in 2025, and Skype TX subsequently being deprecated in March 2026, many production teams have been left without a supported remote guest contribution solution that fits established broadcast workflows.

StudioEdge was designed specifically to address this gap, providing a modern, fully supported alternative that preserves the optional model familiar to Skype TX, while expanding platform capability and reliability. This enables organizations to transition away from the legacy Skype TX infrastructure while maintaining the workflows their teams already know and trust.

QuickLink’s award-winning StudioEdge is built on QuickLink’s industry-leading remote contribution expertise and integrates directly into professional production environments. Utilizing built-in QuickLink StudioCall technology, StudioEdge supports real-time interviews, panel discussions and group conversations with remote guests worldwide, while providing discrete SDI, HDMI, NDI and ST 2110 inputs/outputs for flexible routing and clean integration into live production pipelines. A browser-based remote-control interface enables producers to manage callers, enhance video and audio quality with AI-technology and provide guidance to remote guests from virtually any location.

For more information about QuickLink StudioEdge™ or other award-winning video production solutions, please visit the QuickLink website. For more information, visit https://www.quicklink.tv/.

MELVILLE, N.Y.—Chyron has launched a new edition of its AXIS Maps map-graphic creation solution for broadcasters.

The latest generation of AXIS Maps features 3D map visuals, enhanced customization options, extensive data layer support, pre-defined settings for admins to ensure consistency across all users, and an intuitive new interface that accelerates the creation of map graphics.

First shown in September during IBC 2025, the new edition of AXIS Maps featured a new powerful set of easy-to-use features. Having completed final testing, Chyron has officially released it. The release also includes an integration with AWS Cognito to enhance security and simplify login across the entire AXIS platform, allowing Single Sign-On (SSO) authentication via major identity providers (like Google, Microsoft or Okta), Chyron said.

The new edition of AXIS Maps is part of Chyron’s AXIS ecosystem, a cloud-based platform that helps journalists, producers and designers easily find, manage, request and create the visuals—from maps and news graphics to charts and financial data.

“The new AXIS Maps was designed to provide broadcasters with a solution that enhances their existing newsroom workflow with powerful yet easy-to-use tools, and we’re proud to say we ended up with a solution that enables studio-quality map visuals creation with just a few clicks,” said Peter Matis, product manager of AXIS. “We’re fortunate to work with customers who are deeply engaged and willing to share their insights. They are the impetus for every new feature and enhancement included in the evolution of AXIS Maps.”

Users of the new AXIS Maps can enrich their graphics with immersive 3D buildings and terrain elevation data layers, alongside other new data layers that help provide context, such as bridges, tunnels, parks and airports. They can also import custom data for specific analysis, it said

There are new graphic tools designed to make it easy to highlight areas of interest within a map, such as custom routes, 3D polygons or border coloration at national, regional, district, city or local levels, it said.

Ease-of-use has been a key focus. Map visuals creation now may take only seconds, depending on the level of detail the story requires, and can be performed by any user regardless of their skill set. The release also gives broadcasters tools to maintain visual consistency across productions by standardizing the language in which countries and city names are displayed, along with how custom graphic elements, such as Street and Area labels, are showcased.

More information is available on the company’s website.

If you’re running a modern media business, your technology stack probably looks like a patchwork quilt: one vendor for encoding, another for your player, a cloud studio for channels, a separate SSAI platform, and yet another system for analytics. Individually, each component might be “best of breed,” but together they create drag, integration overhead, and constant manual work.

The next wave of media companies won’t win by adding more tools. Their advantage will come from adopting an AI-First platform that understands the entire workflow—ingest, editing, playout, apps, and monetization—and uses AI as the connective tissue across every step. This is the challenge Akta was built to address.

From Disconnected Parts to an AI-First Control Plane

Today’s video stacks are assembled from disconnected parts: a dedicated encoder and packager, a separate player SDK, a QoE-focused analytics platform, and stand-alone systems for scene or content analysis. This creates isolated pockets of intelligence but no central, unified brain.

An AI-First platform like Akta takes the intelligence buried inside individual tools and extends it across your entire operation. End-to-end by design, Akta brings together live streaming and events, VOD libraries and cloud editing, FAST and linear channels, SSAI and rights/DRM/entitlements, and OTT/CTV app delivery in a single SaaS platform with a common data and metadata model. Instead of juggling vendors, you operate one integrated system.

Akta is architected as AI-First, with agents embedded throughout. These agents detect scenes and key moments, automatically cut highlight clips and alternate versions, enrich assets with contextual metadata, assemble schedules and lineups with advanced logic, and determine optimal ad opportunities and break structures in real time.

Critically, Akta moves you from “insights” to “automatic actions.” Traditional analytics can flag problems like viewer drop-off, but humans still have to log into multiple systems to fix them. With Akta, the platform that detects the issue can also edit, repackage, reschedule, and remonetize the content—often automatically—creating a control plane for your business.

Programmers Need AI-Driven Operations

Akta gives programmers a broader, AI-First model for managing channels, apps, live, and VOD in one environment. Channels sit alongside live events, OTT services, CTV/mobile apps, and deep VOD catalogs, all governed by the same AI.

Instead of basic automation, Akta’s AI Scheduling Agents understand content at the scene level, not just the asset level. They assemble channels based on editorial rules, audience behavior, and rights windows; place ad breaks at contextually appropriate, non-intrusive moments; and automatically curate special blocks from your library.

The same intelligence powers multiple experiences. The AI that programs channels also suggests homepages and rails in your apps, builds highlight playlists for live events, and surfaces the right content to the right audiences in both linear and VOD environments. You get a programmable AI brain that applies business rules consistently across platforms.

Monetization Beyond a Single Surface

Akta treats monetization as a unified discipline. One engine and one understanding apply to FAST and linear channels, live events and sports, and VOD libraries and clips, so you can harmonize strategies instead of building separate playbooks.

AI is also pushed further upstream. Akta optimizes not just at the moment of ad insertion but earlier, by detecting narrative breaks and emotional beats for better ad placement, creating alternate edits and highlight packages tailored to specific monetization needs, and identifying segments suited for sponsorships, branded content, or premium formats.

Because Akta treats broadcast, OTT apps, and FAST channels as different views on the same content and data fabric, metadata, identity, rights, entitlements, and decisions are shared. Learning from one domain (for example, VOD completion rates) can immediately inform how you package and monetize live replays or FAST channels.

The Real Business Advantage: Efficiency and Focus

The value of an AI-First platform is primarily operational. Multi-point solutions force teams to copy data between systems, manually build playlists and ad pods, repeat edits for different surfaces, and spend time on integration instead of storytelling and strategy.

Akta flips that equation. AI agents automate repetitive work like clip cutting, rough editing, and initial scheduling, so teams can focus on creative review and business decisions. A single platform becomes the source of truth for content, rights, performance, and value. Launching a new themed channel, campaign, or monetization model becomes a configuration change, not a multi-month project. Consolidating multiple vendors into one AI-centric platform reduces integration burden, contract sprawl, and maintenance costs.

Akta is built for a media landscape where AI is the operating system for your entire video business. By moving beyond a patchwork of point solutions, Akta delivers a unified, AI-First control plane and a step-change in operational efficiency—freeing teams to focus on what matters most: creativity, audience growth, and revenue.

About Akta

Akta is the award-winning, AI-first digital video platform for broadcasters and media companies, powering TV Everywhere and OTT for live and on-demand. Its turnkey workflow streamlines video from ingest to playback and monetization, tuned to perform at extreme scale for marquee events like the Super Bowl and World Cup. Beyond SVOD, Akta’s server-side ad insertion delivers premium, targeted advertising across every device, making it a leading choice for AVOD and FAST channels. Trusted by brands including CBS Stations, Nexstar, Fox TV Stations, Discovery Latam, and TelevisaUnivision, Akta unifies quality, reach, and revenue in one platform.

HACKENSACK, N.J.—LiveU has announced that the national public broadcaster Czech Television has completed one of the largest LiveU live production deployments for live sports and news coverage in the region. The project, designed and implemented with LiveU's partner Smart Informatics, equips 10 Outside Broadcast (OB) vans with LiveU’s bonded IP technology, enabling Czech TV to achieve flexible, cost-effective, and future-proof live production workflows.

Until now, Czech TV relied heavily on satellite and landlines to power its OB fleet. This project introduces LiveU's LU810 fixed encoders and servers into the vans, ensuring reliable bi-directional IP connectivity for live contribution and return feeds.

LiveU said that the deployment is unique in Europe because of its inter-van interconnectivity at scale, allowing OB vans not only to connect to central facilities but also to interchange live feeds with each other across different locations.

With the OB vans serving as mobile studios, multiple channels can be sent instantly to the master control room (MCR), and signals sent back as a video return. The setup is used for both the production of lower tier sports games and news stories around bigger international events.

“This project represents a major step forward for Czech Television, underscoring our commitment to innovation,” explained Antonin Svach, head of OB department, Czech TV. “Leveraging LiveU’s IP contribution technology, we can modernize our fleet – no longer bound by the limitations of costly satellite and [the availability of] landlines. We can provide live coverage for any sport, at every level – whether it’s football, ice hockey, or a triathlon, our OB vans can now connect anywhere, instantly, and exchange feeds between each other and with our master control room in Prague."

"LiveU has been a trusted global newsgathering partner for years with their portable field units; this deployment shows the confidence we have in the reliability of their solutions for live sports as well", Svach continued.

"With the deployment of bonded IP connectivity, Czech TV has achieved a new level of production agility, transforming its OB fleet into a fully connected, mobile studio ecosystem capable of going live remotely from anywhere” added Dariusz Grudzień, regional sales director, LiveU. “This project demonstrates both the trust Czech TV has placed in LiveU and the flexibility of our technology to integrate into traditional OB workflows. It's truly unique in terms of size and scale for our region.”

Smart Informatics, the local systems partner, supported Czech TV in designing, integrating, and delivering the complex workflow. “From the proof-of-concept in 2023 to today’s full rollout, we worked side by side with Czech TV to create a future-ready solution,” said Tomas Vesely, Smart Informatics. “The reliability and flexibility of LiveU's technology ensures Czech TV and other customers can adapt to any production scenario.”

“Moving slowly away from a satellite and landlines-only models was essential for us,” concluded Antonin Svach, Czech TV. “his new hybrid setup, delivered with Smart Informatics, makes our OB fleet future ready. With bonded IP connectivity at the heart of our workflow, we can adapt to any production requirement, from small competitions to national broadcasts.”

NEW YORK—Vimeo said it rolled out new AI-powered features and creative tools that it said will make professional video production faster, smarter and more rewarding.

The new features, unveiled Oct. 23 at the company’s second annual REFRAME user conference here, also give creators and teams new ways to collaborate, search and monetize their work while maintaining full control of their content.

During the user conference, Vimeo also presented a slate of customer and creator discussions.

"Vimeo REFRAME is where the future of video creation comes to life," Vimeo CEO Philip Moyer said. “From helping creators cross genres with groundbreaking films like ’Red Clay‘ to unveiling future agentic video features that will transform how the next generation of video professionals will work, REFRAME is where creators, enterprises, and innovators come to share their creative process and push the boundaries of video.”

The new features, which will help make content discoverable at scale, streamline creative workflows, and prepare creators for the next generation of immersive formats include:

• Next-Generation AI Intelligence: Vimeo’s AI breakthrough transforms passive video libraries into interactive knowledge bases, making every frame searchable and actionable. Moving beyond traditional video hosting, Vimeo plans to enable agentic video—where LLMs and AI agents can directly access, understand, and act upon video content across any platform or workflow:
• Ask Your Library: Now in beta, this feature extends beyond single videos to search entire libraries using natural language. It understands both keywords and semantic context to deliver precise answers from your complete video collection.
• Vimeo MCP (Model Context Protocol): Now in beta, connect video libraries directly to LLMs and AI agents for custom workflows beyond the Vimeo platform.
• Answer Engine Optimization: Auto-generate rich metadata, titles, and chapters to enhance discoverability across search platforms and answer engines.
• Reimagined Creator Tools: Purpose-built for how video professionals actually work, these tools eliminate friction from creation to distribution:
• All-new Vimeo Review: Currently in a closed beta with a wide release planned for November, the new Vimeo Review gives creators everything they need to manage video feedback with clients and teams—right inside Vimeo. With time-stamped commenting, customizable review pages, and native Adobe Premiere Pro integration, it’s a complete review solution built into the platform where creators already host, manage, and share.
• Enhanced Vimeo Streaming: New customization templates and advanced analytics powered by NPAW give creators enterprise-grade insights plus new monetization options through ads and sponsorships. NPAW is trusted by platforms like Hulu and Pluto TV.
• Immersive Format Support: Users can now host VR180 content, with Apple Immersive Video and Apple Projected Media Profile support coming in Q4, enabling creators to capture in Blackmagic cameras, edit in Final Cut Pro, and distribute directly via Vimeo.

Learn more at https://www.vimeo.com.

MURRIETA, Calif.—The Sports Fishing Championship (SFC) has deployed DigitalGlue’s creative.space storage platform to streamline video production by centralizing media management and post-production editing with unified workflows that accelerate content delivery and simplify collaboration.

SFC, the premier competitive saltwater fishing series, faces unique challenges when producing live tournaments. Boats can stay offshore for days capturing terabytes of footage in unpredictable weather, often forcing workflows to fall back on record-and-ingest methods.

Before creative.space, SFC’s editors and producers juggled hard drives, cloud services and multiple MAM systems. This created duplicate files, inconsistent access and wasted time. With creative.space, the entire media pipeline is consolidated into a single platform, giving teams one reliable source to use.

The creative.space libraries and tagging system enables editors to search footage instantly by angler, sponsor, location or species.

“When producers request a piece on a specific angler, I can pull up not just their catches and B-roll but also every interview sound bite in seconds. What used to take hours of scrubbing through footage now takes minutes, and that’s what convinced the post team, who were understandably cautious about switching workflows mid-season,” said SFC workflow architect and post coordinator Meghan Linn.

This new and improved workflow has proven invaluable during live broadcasts that require editors to cut growing files on the fly for social clips, highlight reels and sponsor packages. “The pressure is constant in live sports, and fishing is no exception. With creative.space, everything stays in one place, whether media is streaming in from Starlink and Haivision or uploaded once crews return to shore. The ability to search, log, and cut growing files in real time has been a game-changer for hitting deadlines,” said director and producer Ryan Tyler, who oversees live broadcasts for SFC.

Even with slow hotel or marina internet connections across the Gulf and Atlantic divisions, collaboration has improved. Editors can log into creative.space, browse, download what they need and work locally. “Everyone’s finding it intuitive and easy to use. I don’t have to spend time training people. They just get it,” said Linn.

More information is available on the company’s website.

NEW YORK—QuickLink has announced the release of StudioPro Version 4, which the company is calling the most significant upgrade yet to its flagship video production platform.

The provider of multi-camera video productions and remote contribution solutions said that it will be showing major enhancements to the platform at the NAB Show New York at Booth 148 on October 22 to 23.

The improvements are designed to give producers greater flexibility, precision and creative control, StudioPro Version 4 introduces a range of groundbreaking enhancements alongside an ongoing series of performance updates.

“These updates underscore our commitment to continuous innovation,” says Richard Rees, CEO of QuickLink. “StudioPro Version 4 represents a major leap forward for our customers, and with each incremental release, we’re ensuring they always have the most powerful tools at their fingertips.”

At the heart of this release is a complete reimagining of the production workflow, Quicklink reported.

Version 4 brings further cutting-edge AI technology into QuickLink’s solutions with the addition of the QuickLink AI Helper, a brand-new tool that offers real-time, conversational support directly from the StudioPro interface. Operators can ask workflow or operational questions, and get intelligent, machine-learnt answers, at an instant.

In addition, a brand-new integrated Media Player (DDR) allows producers to seamlessly load, manage and play back pre-recorded content without the need for external hardware. The ISO Recorder has been reimagined and redesigned to capture any input, from individual cameras to full composited scenes, within an intuitive, streamlined interface, it said.

Producers can now also take advantage of professional-grade Color Scopes, including Waveform, Vectorscope, and Histogram tools, built directly into the StudioPro interface for precise image monitoring and correction.

In addition, the new System Stats Panel provides real-time insights into CPU usage, memory performance, rendering times and other critical metrics, giving operators confidence even under the most demanding conditions.

With full support for NDI 6, StudioPro Version 4 ensures seamless IP-based interoperability with improved video quality, reduced latency and faster source discovery across networks.

The company said that since the platform's release, QuickLink has continued to refine StudioPro through continuous updates, including enhanced video synchronization and improved input management, as well as expanded NDI support. Most recently, the Version 4 update adds AI-Help functionality, advanced monitoring capabilities, broadened hardware support and delivers further performance optimization to meet the needs of high-demand productions.

The updated StudioPro solution will be on display at NAB Show New York at the Jacob Javits Center, Oct. 22-23 at Booth 148 along with the company’s StudioEdge solution. For more information about QuickLink’s StudioPro Version 4 and its updates, please visit the QuickLink website, or contact the QuickLink support team at https://www.quicklink.tv/contact-support/

LONDON—Vizrt has introduced Viz Arena 6, the newest version of its all-in-one live augmented reality (AR) graphics and virtual advertising sports solution. The new version includes AI-powered features that reduce calibration headaches and radically simplify keying and masking in ways that greatly speed up AR sports production, the company reported.

More specifically, the new AI-driven features make it easier for operators to integrate AR graphics into live broadcasts, lowering the barrier to entry for creating stunning AR sports graphics. With AI calibration, AR graphics and virtual ads stay perfectly locked to the field, no matter how the camera moves. It also gets graphics to air 10 times faster without losing any precision. The Sports Intelligent Keyer uses ambient learning to intelligently separate foreground from background, with minimal manual input required, the company said.

The system is designed to efficiently produce higher quality graphics in less time. It provides users with a a reliable system that eases time-consuming and complex tasks in ways that allow producers to expand quality productions without scaling costs or complexity, Vizrt said.

That has already drawn praise from some early users. “We were blown away by the AI calibration and AI keyer, they really transformed our fast-paced MotoGP workflow. We were supposed to be beta testing, but Viz Arena 6 was so stable and consistent, that we decided to take it straight to air,” says Sergi Sendra, senior director, media content, technical and production departments at Dorna Sports.

By lowering the barriers to AR graphics, the benefit is not just in creating and inserting striking data-driven visualization; it also helps the bottom line, Vizrt stressed.

With virtual ads, productions can easily add tailored, sponsor-specific advertising to any live sport event. This flexibility expands creative possibilities and helps deliver greater value for commercial partners, the company reported.

“With this release, we’re expanding on the real purpose of AI in production technology: making the process more effective and accessible. Want better creativity and efficiency? AI-powered calibration and keying speed up the process. In sports, the action never slows, and productions need technology that can keep up,” says Edouard Griveaud, Senior Product Manager, Sports and AI, at Vizrt.

More information on the product’s features and its ability to save time can be found at https://www.vizrt.com/products/viz-arena/.

MONTREAL—Haivision Systems Inc. has announced that it will slowcase its latest tech advances in live video contribution at IBC2025 from September 12-15 at Hall 2, Stand B32 in Amsterdam.

During the show, Haivision will be showing a comprehensive ecosystem of mobile video transmitters, video encoders, receivers, and cloud management solutions that are used by broadcasters worldwide to capture live sports, news, and events. From on-premise studio setups to fully remote, in-the-field live production workflows, the company said it's technologies provide a flexible and reliable foundation for users that deliver high-quality broadcasts in any environment.

More specifically, Haivision will present a complete range of solutions designed to streamline and improve live broadcast workflows. The company described these as follows:

• Haivision Pro transmitters and the newly announced Haivision Falkon X2 compact mobile transmitter that delivers ultra-low latency, broadcast-quality video in 4K UHD and HD over bonded 5G, 4G, and IP networks.
• The company will also be showing the latest updates to the Makito X4, its flagship high-performance video encoders and decoders for studio productions that deliver ultra-low latency, pristine-quality video in 4K UHD and HD.
• In terms of distributing video to on-prem and cloud production workflows visitors can explore the Haivision StreamHub and Haivision SRT Gateway, two powerful solutions for IP video reception, decoding, routing, and protocol conversion across on-prem and cloud workflows.
• Haivision Hub 360, the cloud-based master control solution that provides centralized management and monitoring of live video contribution devices and workflows.
• Attendees can also see how production teams can use bonded cellular and private 5G networks to power mobile live video contribution in high-pressure broadcast environments. Demonstrations will showcase how Haivision Pro, Falkon X2, and the MoJoPro smartphone camera app are helping broadcasters power the world’s biggest sporting events and deliver news stories the world watches.
• Haivision is also demonstrating its participation in the IBC Accelerator project “Conquering the Air (Waves): Private 5G from Land to Sea to Sky,” working alongside leading broadcasters and technology partners to explore how private 5G networks can transform remote production workflows.

Join Haivision at IBC2025 in Hall 2, Stand B32; meetings can be booked at https://www.haivision.com/events/ibc2025/.

DEQING, Zhejiang—Absen and Versatile have launched what they are billing as world’s largest monolithic LED virtual production stage. Jointly developed by Absen and Versatile, this groundbreaking stage features a 270-degree curved LED screen with a diameter of 50 meters and a height of 12 meters. The total floor area of the stage reaches 5,000 square meters, with the LED display covering approximately 1,700 square meters – equivalent to four standard basketball courts.

The stage was unveiled at the grand opening of the Versatile AI Virtual Film Base and the AI Virtual Film Technology Launch Event in Deqing, China.

Powered by LED virtual production technology, the two companies reported that the recreation of complex, large-scale, and costly scenes in film and television can now be achieved through a combination of virtual environments and minimal physical sets. Scene changes can be completed within minutes, and when paired with immersive 8K LED walls and realistic lighting, the shooting experience becomes highly authentic. This significantly enhances both production efficiency and visual immersion, offering industrialized support for content creation that traditional on-location shoots simply cannot match, they said.

Absen’s LED virtual production solutions have been widely adopted in major markets including the United States, China, the United Kingdom, France, Russia, and Canada.

With thousands of installations across the U.S., Absen has provided LED technologies for sporting venues used by the NBA, MLS, and NBC; casino installations for MGM Grand and Caesars Palace; premier events including the Ultra Music Festival, Comic-Con, and the Emmys; and digital signage in the heart of NYC’s Times Square.

Founded in 1993 and headquartered Hangzhou, Zhejiang Versatile Media Ltd. has established branches in Deqing, Beijing, and Vancouver. It operates the world’s first AI-powered virtual production base in Deqing and currently employs nearly 400 professionals.

The new screen is the latest example of the two companies working together in the area of virtual production.

During the implementation of this landmark project, the two technical teams worked in close coordination, from early-stage planning and tackling key technical challenges to on-site installation and calibration. Focusing on fine pixel pitch, high resolution, and precision display, Absen provided LED displays and a comprehensive solution that includes core display technologies, expert engineering execution, color management, and full-process technical support.

More information is available at https://www.usabsen.com/

Local newscasts don’t exist in a vacuum. News directors and station management constantly evaluate what’s working, what isn’t and perhaps most importantly, what’s working for the competition.

Many are starting to take note of competitors that have introduced striking camera movements into their news programming—something that more closely resembles what viewers see at the movies, not traditionally on their TV screens.

A good case in point is ABC News’ “Good Morning America,” the morning news staple that’s using more cameras and cuts than ever as well as cinematic camera movement to create drama—even when stories seem run of the mill and not particularly dramatic—and engage viewers more deeply in stories.

Many local news directors have noticed what GMA is doing and are getting serious about adopting similar techniques with the help of next-generation camera robotics from MRMC to help replace the typical lean-back news viewing experience with one that pull viewers into their stories..

Midwestern Mid-Market Station
One mid-sized station group recently deployed three MRMC robotic systems with lift, pan and tilt capability, including one in a studio some 60 miles from the station under centralized remote control to make the most efficient use of station personnel.

The units, which almost always are moving, enable the broadcaster to integrate a wide range of shots into its productions, including those typically associated with studio camera robotics as well as a more dynamic wide shot that emulates one from a traditional jib that is much slower and drifts.

The never-ending stream of shots from this robotic unit as the camera slowly ping-pongs up and down to capture video from different elevations and angles is frequently switched into news programming to hold the attention of viewers. A long-time producer of the show estimates the addition of this setup has enabled 40% to 50% more cuts to heighten viewer engagement than were typically used in the same show 15 years ago.

Large-Market East Coast Station
One large-market station on the East Coast has deployed an MRMC StudioBot XL robotic arm in its news studio to replace a Steadicam rig and operator with a fully automated alternative that can reliably and repeatedly capture interesting moving shots designed to attract and hold the attention of news viewers.

The broadcaster now relies on the robotic arm to integrate camera movements around physical objects, news anchors and reporters and virtual objects into its newscasts, effectively bringing camera movement to its production that were only available in top tier productions a few years ago.

Knowing the camera moves it wanted, the station pre-programmed the StudioBot XL to automate desired movements when launched by an operator who also attends to other duties. At present, the station is at work on integrating the robotic arm into its MOS-driven news automation system and control.

The news studio where the StudioBot is deployed is three studios in one. As multiple StudioBot robotic arms are deployed, the station will have the ability to do so-called “down-the-line” shots from different studios and make it look to viewers as if the talent in the shots are in the same studio.

Large-Market Southwest Station
Attracting attention and engaging viewers doesn’t simply have to be confined to newscasts. A large-market station in the Southwest has deployed an MRMC StudioBot to do double duty. During newscasts, the StudioBot XL robotic arm is used to add striking camera movements to stories to drive viewer engagement.

When sweeps occur, the station pairs the same robotic arm with a high-frame-rate camera to create high-speed whip pans around anchors and other presenters that are used in interstitials and promos.

The station has setup two software profiles for StudioBot XL—one a broadcast profile for everyday work and the other for the high-speed moves—making it fast and easy to modify operation of the robotic arm to match the task at hand.

Cashing in on Robotics
Another call letter station has deployed MRMC robotics and motion control to drive production and commercial revenue. By integrating cinematic camera moves into its production services portfolio, the station is now able to offer local and regional advertisers production techniques typically associated with national spots.

The station has combined its StudioBot robotic arm with an LED stage, making it possible for clients to unleash their creativity. Not only does this mean more billable hours for production services, but it also has given the station a powerful way to incentivize clients to book commercial time and drive higher revenue.

Regardless of a station’s size, local newsrooms face a similar challenge. How can they hold onto existing viewers and encourage those who have left to return?

Adding cinematic camera movement into the mix of shots making up a newscast can set a station apart from its competitors and give viewers a new way to experience the news. MRMC is helping many stations to realize these goals with the addition of the company’s next-generation robotic pedestals, arms and lift systems.

Each delivers the repeatability, workflow integration and performance stations can rely upon to achieve the dramatic visual flair they require to capture the audience without disrupting ongoing operations.

With the help of these next-gen camera robotics and the fluid motion control they deliver, call letter stations are attracting audience, building viewer loyalty and opening up new opportunities to enhance their standing in the highly competitive news marketplace and grow commercial revenue.

MRMC Broadcast is a leading provider of camera robotics systems built on intelligent automation for virtual production and remote acquisition. As the industry shifts toward more agile workflows, MRMC Broadcast continues to deliver solutions aligned with emerging trends to enable greater flexibility, scalability, and creative freedom across studios, live productions, and hybrid environments. Learn more here.

Local television news has a serious problem. Average audience size is declining, which threatens ad revenue of news-producing stations and ultimately their long-term prospects.

The decline has occurred across dayparts. Pew Research Center’s Local TV News Fact Sheet, released in September 2023, shows falling audience numbers for local morning, evening and late night local news. For instance, the average number of TVs tuning into the local evening news of ABC, CBS, NBC and Fox affiliates in 2016 was 4.1 million. In 2022 it was 3 million.

Local stations must find a method to transform typical lean-back news viewing in a way that allows viewers to experience stories as they unfold.

Doing so will stem the viewership slide, bring back former viewers and attract new ones, especially a young demographic that grew up immersed in their Xbox and PlayStation games. With more news viewers, stations will then more easily be able to stave off digital competitors and preserve ad revenue.

Look Alikes
TV newscasts tend to look alike from station to station. Local stations frequently rely on the same, or very similar, camera placements and moves. While there may be slight differences in the number and types of cameras used, shot composition varies little among competitors. For viewers at home, this makes it difficult to distinguish one newscast from the next and offers little reason for them to change the channel.

Over the years, broadcast consultants have made small fortunes on their recommendations about how to set their clients apart from the competition—whether that’s branding, promotions or even a new news set.

News directors, too, take their best shots at setting themselves apart from local competitors with tools like investigative and hyperlocal reporting, the latest weather radar and traffic and tower cameras. The problem is, given enough time and budget, all of the stations in the market adopt similar measures, perpetuating the look alike problem.

A New Approach
There is another way to stand out from the crowd and attract a bigger audience, however. Integrating striking cinematic camera movements with new and advanced broadcast workflows for the right stories can distinguish the look of a station’s newscasts from its competitors.

For example, a medical reporter or guest doctor reporting on a condition like myocarditis might be captured walking around an animated AR representation of a human heart pointing out abnormalities as the camera follows. Similarly, a reporter in studio reporting on a jet crash could walk behind an AR 3-D model of the plane’s engine with the camera following as she points out where investigators are looking for clues for the cause of the accident. These cinematic camera moves, the functional equivalent of shots captured with a Steadicam rig, simply cannot be achieved with traditional studio camera robotic pedestals.

Used appropriately to engage viewers more deeply in a story and give them the feeling of experiencing news rather than simply leaning back and watching, these types of cinematic camera moves are an effective way to stand out from the competition and give viewers a reason to tune in.

They offer a couple of other advantages from an editorial perspective, as well. Not only can cinematic camera movement help journalists tell better stories, but they also offer greater creative freedom, which means that even if a competitor adopts a similar strategy, the creative differences in the ways they are used will still create a noticeable visual difference.

Winning Against Digital Competitors
It would be a mistake to think the other stations in town are the sole competitive concern of news directors and station managers. The Pew Research News Platform Fact Sheet reveals a far from rosy picture for broadcasters in the contest for eyeballs. Pew found in the summer of 2024 that 58% of U.S. adults preferred digital devices while only 32% favored TV for getting their news.

Cinematic camera moves, however, offer broadcasters an advantage over digital competitors simply because of the typical size of a TV screen compared to those on smartphones and tablets. With so much more real estate, television is the perfect medium for dramatic camera movement, giving broadcasters a leg up against digital platforms when it comes to engaging audiences more fully and enabling them to experience—not simply consume—the news.

Beyond Typical Robotics
Robotic pedestals and jibs are nothing new to local newscasts. Local stations have deployed them for years to automate camera movement, reduce expenses and ensure consistent performance.

However, there’s so much more the right camera robotics can do, particularly in terms of creating the cinematic camera movement needed to transform local newscasts. For instance, combining a robotic arm with a robotic pedestal can create the freedom in camera movement typically found in movies but rarely on TV news.

For years, local broadcasters have thanked viewers for allowing them into their homes. Using robotic arms to capture cinematic motion, those broadcasters can now give viewers experiences with their anchors, reporters and stories that more closely resemble the ones they have with invited guests.

MRMC Broadcast is a leading provider of camera robotics systems built on intelligent automation for virtual production and remote acquisition. As the industry shifts toward more agile workflows, MRMC Broadcast continues to deliver solutions aligned with emerging trends to enable greater flexibility, scalability, and creative freedom across studios, live productions, and hybrid environments. Learn more here.

Consumers today expect broadcast content to be available whenever, and wherever they want. Broadcasters are under increasing pressure to create and disseminate content in real-time and on-demand across an ever-growing number of platforms and formats. If they don’t, their competitors will.

In this environment, downtime is not an option, and reliable broadcast operations are a must. This article will explore the impact of broadcast outages and the resulting downtime and explain what to look for in a technology partner to prevent it. 

Key challenges facing media companies today

The broadcast industry faces a litany of challenges today that impact both business viability and production quality. Mounting consumer expectations and an increasingly complex broadcasting landscape continuously put pressure on broadcasters to be everywhere, all the time. 

Some factors at play include: 

Increased audience demand for instantaneous and continuous coverage

Consumer habits have shifted dramatically over the past three decades thanks to the rise in handheld mobile devices, streaming platforms, and near-universal access to WiFi or network connections. In this landscape, consumers expect instant access to live and on-demand content across multiple platforms. 

This expectation for real-time and packaged content amplifies the pressures on media companies to maintain flawless operations and uptime, while also producing high-quality and engaging content for a growing list of platforms and devices. 

Increasingly complex production demands 

Because of this evolving—and accelerating—consumer landscape, production workflows have also become more complex. Production techniques have had to evolve to keep pace with what consumers expect from certain platforms, meaning the technology that’s used to create that content also needs to evolve. 

To create more engaging and dynamic content, broadcasters may expand their production stack to include more dynamic camera shots and moves, AR graphics, and other interactive visual elements. Production workflows may also pivot from on-premises to cloud or hybrid environments. As this complexity ramps up, more possible points of failure emerge.

Steep competition and budget constraints

This increased demand comes against a backdrop of steeper competition and budget constraints in the broadcasting industry—particularly in news production. 

In this environment, organizations have to make the most out of the revenue they have. They must be intelligent to boost the quality of their content, the efficiency of their workflows, and their ability to disseminate across multiple channels in real-time and on-demand. This is on top of the need to work remotely in an increasingly dispersed talent environment. 

Downtime is not an option. It’s a high-pressure, high-paced world with significant consumer demands and an ever-deepening competitive market that includes content creators from outside of traditional broadcasting channels. 

The consequences of operational failure in broadcasting

The impact of technology downtime is felt in virtually every business, in every sector. Society has become deeply dependent on our technology infrastructure, making even the smallest outage a major inconvenience. 

Broadcasters, however, face even heavier pressures to remain operational at all times. When other platforms go down, broadcasters are expected to be the source of real-time information. If they’re down, too, the impact on the company’s reputation can be severe.

Here are four consequences of significant operational failures in broadcasting:

• Loss of audience trust and engagement. When downtime or technical failures occur, audiences lose confidence in the broadcaster’s ability to deliver consistent, high-quality content. In a crowded media landscape, viewers are quick to switch to competitors, leading to a loss in both immediate and future viewership. This can mean a reduction in live viewership and decreased loyalty over time, weakening the broadcaster’s position in the market.  
• Financial and contractual ramifications. Live broadcasts, especially high-profile events, are tied directly to advertising revenue. For instance, the cost of a 30-second ad during the NFL’s Sunday Night Football in the 2023/2024 season was around $882,000. A single broadcast failure during such a high-stakes event can lead to massive financial losses, and even expose the broadcaster to legal complications and strained relationships with current and future advertisers.  
• Missed opportunities for exclusive coverage. When broadcasters experience downtime during live events or breaking news, they miss out on delivering exclusive, real-time coverage. This can result in lost opportunities for major scoops or key moments that attract high viewership, especially for news organizations. Competitors with more reliable systems may capitalize on these moments, gaining a reputation and audience advantage, leaving the original broadcaster with diminished viewership and industry relevance. 
• Increased operational costs. Frequent technical issues lead to downtime and raise the overall cost of operations. Emergency repairs, replacement of faulty equipment, and constant troubleshooting demand additional financial resources, which exponentially raise the cost of downtime. Moreover, downtime increases the need for overtime work or hiring additional technical staff to manage crises, further inflating operational budgets.  

The above is a list of worst-case scenarios. Operational failure, however, can come in much smaller packages, like accidentally putting up the wrong camera shot or consistent lag time in a specific production workflow. These minor operational failures can add to significant time loss and headaches for engineering and production teams. While less dramatic, they’re still costly in the long run. 

Downtime is seriously costly on a variety of different fronts. Over time, these costs accumulate, making it harder for companies to maintain profitability while still investing in future technological innovations. Unfortunately, while the cost of downtime is severe, there is no shortage of factors that might cause it. 

Internal and external factors threatening media operations

Broadcasters face a variety of internal and external factors that increase complexity and introduce new points of potential failure. These factors—and potential failure points—must be identified and actively controlled to avoid costly downtime. 

Internal factors include: 

• Managing broadcast gear and IT systems in the cloud or on-premises. Balancing on-premises and cloud systems can lead to inefficiencies and disruptions if not managed properly. This is an example of how accelerating consumer demands can lead to a rapid, and potentially uncontrolled, adoption of complex broadcasting infrastructure that can introduce complexity and failure points.  
• Maintaining performance with leaner teams. At the same time as this growing technological complexity, broadcasters are facing budget constraints that often require them to shrink and decentralize their production teams. Smaller, remote teams face increased pressure to produce content faster, and on increasingly complex infrastructures. Without streamlined tools and proper training, companies risk broadcast delays, diminished performance and content quality, and errors that may lead to downtime. 
• Skills gaps when adopting new technologies. As media production increasingly relies on advanced technologies, a lack of skilled personnel can lead to inefficiencies and missed opportunities. 

At the same time, companies face a variety of external factors, including: 

• Technological disruptions and cybersecurity threats. Events like the July 2024 CrowdStrike outage, which impacted thousands of businesses globally and caused mass downtime for dozens of broadcasters, demonstrate the severe risks of unplanned system failures. The incident caused a global ripple effect, with financial damages estimated to exceed $10 billion​. Without proper security and redundancy measures in place to mitigate against future events, media companies face similar risks of financial and reputational harm due to system outages or cyber-attacks. 
• Competitor pressure to innovate. Consumer demand and platform variety fuel innovations in content delivery, with major broadcasters leading the charge. Major, widely adopted innovations create a new standard in content consumption, which ramps up expectations for smaller broadcasters to follow suit. Failing to keep up with technological advancements can result in losing market share and relevance, making it harder to attract and retain audiences. 
• Supply chain and equipment shortages. Delays in sourcing critical equipment can stall production and lead to missed deadlines, especially in live events where timing is essential. This was made especially apparent during the pandemic when major supply chain issues crippled the global economy. In this environment, cloud and hybrid deployments became a necessity, forcing many companies—and broadcasters—to rapidly pivot their tech stacks.  

While companies can, and do, take steps to mitigate the challenges listed above, the reality is that growing complexity and diversified threats to infrastructure stability introduce a variety of potential failure points. The best way to prevent them is to partner with a trustworthy broadcast technology partner that understands the importance of uptime, and has built their products and services around the promise of reliability. 

What to look for in a trustworthy broadcast technology partner

To ensure reliability in critical broadcast operations, you need a partner with a proven track record of delivering consistent performance under pressure. 

Systems must be designed for uptime with rigorous failover strategies that keep broadcasts running smoothly even when issues arise. The ability to handle live, high-stakes events without failure is non-negotiable.

Your technology partner must provide reliable systems and adapt to the constantly changing broadcasting landscape. Innovation is key, but it must be balanced with stability. 

Partners who embrace cutting-edge advancements like cloud integration and IP workflows without sacrificing reliability are the ones who will help you future-proof your operations. The ability to evolve while maintaining performance is critical in an industry where staying ahead is essential for survival.

More information about the need for a reliable technology partner is available in this video.

To help you find that perfect broadcast technology partner, look for: 

• A history of reliable performance. Choose partners with a proven track record of consistent uptime, backed by case studies and testimonials from similar broadcasters. This provides confidence that they can handle demanding conditions without downtime. 
• Round-the-clock support. Ensure your partner offers 24/7 customer service with dedicated teams ready to troubleshoot. Quick response times prevent small issues from escalating into costly failures. 
• Industry-specific knowledge. A strong technology partner should understand the unique challenges of broadcasting and offer customized solutions tailored to your specific workflows, whether for live news or sports. 
• Robustness and redundancy. Broadcast systems must be built with robust and rugged systems to withstand demanding broadcast environments and resource usage. Integrated workflows and automation also help minimize human error. 
• Active security protection. Modern broadcast technology is vulnerable to a broad range of security threats that can compromise systems and data. Look for providers that prioritize hardware and network security as part of their offering, and actively push out updates to their products to ensure ongoing protection.  
• Training and support. A trustworthy partner prioritizes training to ensure teams are prepared to handle unexpected issues in real time, helping keep broadcasts seamless even in high-pressure situations. Training and support experts don’t just know the products, but also deeply understand the industry and the challenges that engineers and operators face. This allows them to support both technical issues, and offer guidance on how to solve wider workflow problems.  

Trust is built on reliability. In the world of broadcasting, you need partners who are as dependable as the systems they provide. Choosing a partner with proven reliability, comprehensive support, and the ability to adapt to your needs ensures that your broadcasts remain smooth, high-quality, and on the air, no matter the stakes.

The Ins & Outs of Today’s Signal Transport

As the Media & Entertainment (M&E) industry stands at the crossroads of technological transformation, the choices you make today will define your operational success in the future.

Whether you’re planning to build or upgrade new facilities, our comprehensive whitepaper, “The Ins & Outs of Today’s Signal Transport,” provides the essential insights you need to make the best decision for your organization today and tomorrow.

Learn how the right transport tech can lead to significant workflow improvements from industry experts who advised the world’s largest companies.

TORONTO—The North American Spectrum Alliance has submitted two filings to the Federal Communications Commission (FCC) addressing the Upper C-band proceeding and the “Delete, Delete, Delete” proceeding (GN Docket No. 25-133) that urge the agency to preserve valuable spectrum needed for media production and distribution across the United States.

The group was founded in January of 2025 with anchor members that include Sennheiser, FOX Sports, the NFL, MLB, CP Communications, Wisycom, PSSI, ATSC and others. It aims to provide a strong, unified voice for protecting spectrum required for content creation and distribution.

The group strongly opposes further reallocation of broadcast-related spectrum in the United States, which has eroded significantly over the years.

In its Upper C-band filing (GN Docket No. 25-59), the North American Spectrum Alliance argued that the remaining 3.98- 4.2 GHz of C-band spectrum must be retained for incumbent users, as it is irreplaceable for the high-quality, reliable media distribution North Americans have come to expect for live sports events, news and entertainment programming.

The group reminded the FCC that broadcasters and related incumbents have already lost 60% of the C-band during the 2021 auction and noted that further reallocation would cause significant interference, degrade service and result in untenable costs on both large networks and small businesses alike. The Alliance requests that, if an Upper C-band reallocation proceeds, all incumbents be fully reimbursed for replacement services and associated costs.

In the Alliance’s second filing, submitted in response to the “Delete, Delete, Delete” public notice, it urged the FCC to take a more modernized approach to wireless microphone usage, including temporary authorities. The Alliance characterized the current Special Temporary Authorization (STA) system as “outdated, unnecessarily burdensome and unpredictable,” especially as live productions increasingly rely on spectrum that is being reallocated and diminished.

The North American Spectrum Alliance suggests that specific low-power guard bands, such as 616-617 MHz and 805-806 MHz, be permanently open for licensed wireless microphone usage free of STA requirements. Additionally, it suggests removing the 50-device minimum for Part 74 licenses due to declining TV White Space devices and the dynamic needs of event producers.

More information about the North American Spectrum Alliance is available on its website.

PITTSBURGH—NEP Group has announced that award-winning TFC broadcast orchestration platform, which is used in NEP facilities supporting the biggest productions around the world, is now available as a service to be used in any broadcast facility across the industry.

TFC serves as an all-in-one platform tying together hardware and software from multiple vendors into one interface, simplifying control, automating tasks and standardizing workflows.

“Today, TFC is integrated across our NEP facilities worldwide, including our broadcast compounds and NEP Production Hubs. It’s become a solution our customers trust and depend on to deliver the biggest events to their audiences. We’ve learned so much over the years, and now we’re very excited to take this next step in the technology’s evolution by making TFC available as a scalable service partnership,” said Soames Treffry, President, NEP Australia, New Zealand and Japan.

"TFC can now be used by any broadcaster, rightsholder, league, federation, or sports and entertainment producer,” Treffry added. “The platform is also technology agnostic, giving customers the power of choice when it comes to choosing multiple vendors to support a particular show, and the service is always backed by our 24/7 global engineering support.

The TFC platform was originally built by NEP engineers to solve their own challenges around simplifying IP in a broadcast environment, and over the past few years it has become the company’s trusted IP 2110 management system. The platform’s proven track record includes supporting some of the industry’s biggest events and premier broadcasters including the Super Bowl, the PGA TOUR, The Masters Tournament, 2024’s global sporting event in Paris, Seven Network Australia, the World Cup and many other major productions across the Americas, Europe, Asia and Australia.

NEP stressed that TFC is an all-in-one platform, offering key functions that solve challenges and create opportunities for engineering and production teams, including: broadcast control, software- defined networking (SDN), real-time monitoring, and unmatched 24/7, 365 global tech support.

As a broadcast control platform, TFC ties together multi-vendor hardware and software, simplifying what is commonly a complex IP 2110 management process requiring deep IP expertise. TFC simplifies this workflow by providing a user-friendly, intuitive touch-screen experience for any operator.

As a purpose-built SDN, TFC is designed exclusively for broadcast environments, with no extra configuration required, and with real-time monitoring and alerts, engineering teams are able to stay ahead of challenges with the platform providing instant alerts and updates on network health, uptime, latency and device status.

More specifically, NEP noted that its TFC platform is for customers experiencing challenges managing IP, those who don’t have in-house network engineering expertise, or customers migrating from traditional baseband environments to using IP, software and cloud production. TFC’s security layer is also a key component and therefore a solution for any highly visible media platform or critical project.

“TFC has completely changed the way engineering and production teams are able to manage many different layers of hardware and software on a major show site or in a production facility,” said Michael Raimondo, vice president of broadcast technology for the PGA TOUR. “The platform takes something very complex in our industry and simplifies it for our operators, allowing our producers and creators to focus on their number one goal of delivering amazing content to our viewers and fans,”

With its scalability, TFC can support any major sporting event, rightsholder, sports league or federation, entertainment production, news facility, national broadcaster or major television producer or streamer, and it is available today as a licensed software solution, NEP reported.

TFC is part of NEP Group’s full range of global media services, which includes industry-leading mobile units, specialty capture solutions, equipment rentals, connectivity, studios and more. Visit nepgroup.com to learn more about NEP’s global production ecosystem.

PARIS—BeNarative, an innovative video production platform, has announced a technical and commercial partnership with Haivision, a major provider of live video contribution solutions that will see Havision’s technologies integrated into the BeNarative mobile production solution.

While BeNarative users already had access to the only control room that can be operated from a cell phone or tablet, the integration will help BeNarative provide additional security and features.

“This partnership with Haivision marks a milestone for BeNarative,” says Jean-Marc Denoual, CEO of BeNarative. “It enables us to offer professionals even more powerful capture and broadcast solutions, while remaining true to our mission: to make video production accessible, agile and qualitative.”

As a result of the integration, BeNarative users benefit from a state-of-the-art cloud control unit capable of aggregating video streams from multiple sources, including the MoJoPro professional camera application and Haivision video encoders. This approach guarantees unprecedented flexibility for the capture, production and distribution of broadcast-quality content, while simplifying the entire video production workflow, the companies said.

“Haivision is delighted to partner with BeNarative to bring our expertise in high-performance contribution to an innovative mobile video production solution,” adds Jean-Marc Racine, chief product officer at Haivision. “Together, we are opening up new opportunities for capturing and distributing professional content.”

More specifically, the integration enables newsrooms, TV channels, sports clubs, event organizers and corporations to optimize their video production, reducing costs while increasing agility. The partnership between BeNarative and Haivision paves the way for easier multi-camera capture, secure, high-performance live broadcasting and outstanding image quality, even in complex network environments.

The two companies reported that the integration includes:

• Compatibility with SST (Safe Stream Transport Live Contribution over Bonded Networks), guaranteeing reliable, secure transmission of video streams.
• Greater flexibility for capturing and broadcasting video from any location, with broadcast-standard quality.
• Simplified production workflows for media and corporate clients wishing to produce live or recorded content.
• Multistream and reach the audiences, wherever they are.
• These options are in addition to BeNarative’s existing features, including:
• Multisource video production, including desktop, mobile, shared screen gaming, DSLR, Drone, and RTMP/SRT Push/Pull
• Production templates suited for everything from commentary, to interviews, to multicam shots.
• An easy to navigate control room that makes any broadcast a breeze.
• Multi-broadcast capabilities, allowing users to go live on every popular platform or a personalized RTMP server.

The offer is now available on the BeNarative platform in two packages. The first is an annual subscription called BeSafe, comprising a license fee including access to four Haivision feeds and a production fee invoiced by the hour at $50/hour.

The second is an event-based formula to meet one-off production needs requiring secure transmissions.

To book a one-on-one meeting with BeNarative at the 2025 NAB Show, please email BeNarative@hopscotch.us.

It wasn’t all that long ago that most TV newsrooms relied on a person in the feed room to manage recording all of the incoming raw footage, news packages and other content transmitted to stations so reporters and editors could create stories and producers could build newscasts.

Someone in that room knew which satellite or microwave feed would be arriving at what time via which router output so that news content could be recorded on a designated tape machine. Tapes then were shuffled to the journalists and producers who needed them to write and edit stories. Eventually, those stories made air on the 6 or 11 o’clock news, and the cycle began once again.

But those halcyon days of TV news are long gone. Today’s newsroom is far more than a “television newsroom.” In many instances, it’s the hub of a 24/7 news operation that creates and distributes newscasts and stories 10 or more hours a day on air across multiple channels and around the clock via websites and social media.

With this transformation has come increasing complexity in managing incoming feeds. Not only has the number of feeds skyrocketed, but also the variety of signal formats used. While SDI feeds abound, many additional formats, codecs and signal types are in play as well, making transcoding to a house format essential.

At the same time, newsrooms have transformed old workflows to meet the challenge of 24/7 news operations, looking to achieve greater efficiencies and enhance productivity. Many have replaced the “feed room dude” of old with a workflow that enables anybody with permission in the newsroom to grab a feed, begin working with it and share that feed with multiple people.

Recognizing these evolving workflow requirements, Ross Video designed its Media I/O specifically to support modern newsrooms. The solution enables newsrooms to unify all of their ingest and playout channels in the same control interface.

Those in the newsroom can access feeds via Media I/O’s web UI from their laptops and workstations. In essence, Media I/O brings the feed room directly into the newsroom and places it on the desks of journalists who can ingest footage, play it out in real-time in any format and incorporate desired clips into their stories.

Reporters and others in the newsroom can control ingest and playout from their preferred web browser and access ingested assets, eliminating unnecessary, repetitive recordings of the same content by different people.

Media I/O supports most broadcast file formats, such as ProRes, XDCAM, DNxHD, AVC-Intra, XAVC, DVCPRO HD, HEVC and H.264, including growing files, as well as software-driven IP workflows like SMPTE ST 2110, NDI and SRT. Media IP works natively with baseband and network sources, such as SDI, HLS, MPEG DASH and RTSP.

The system also offers a visual schedular with a calendar-based timeline to enable users to manage and visualize upcoming recordings. Media I/O can be deployed on premises, cloud hosted as a virtualized system or as a hybrid to meet the individual preferences of media organizations.

These are only a few of the many features that make the Ross Video Media I/O a key enabler for modern newsroom workflows. Many others are in the works. For example, expect to see at the 2025 NAB Show a new feature for Media I/O’s web UI that allows users to open an asset in a web browser and view it as a proxy video, not simply as a thumbnail as in previous versions.

Media I/O enables newsrooms to allow anyone they want to be their own feed dudes, giving them access to and control over the signal sources they need to create news content more efficiently. With Media I/O, the feed dude is dead. Long live the feed dudes!

See Ross Video and the Media I/O at the 2025 NAB Show in booth SL206.

Click here to learn more about the Ross Video Media I/O.

FORT WORTH, Texas—Trilogy Studios has launched its state-of-the-art 100,000-square-foot Flex Space, a fully equipped warehouse that the company said is designed to adapt to any production's needs.

Targeted to TV, film and commercial productions, the Flex Space facility allows creators to utilize 15,000 square feet or the entire facility and transform the space into anything a production requires—sound stages, storage, production offices or set fabrication, Trilogy said.

The Flex Space is conveniently located adjacent to Trilogy Studios' LED volume stages in the area.

“At Trilogy Studios, we know production needs vary, and we're here to deliver unmatched versatility and convenience to filmmakers,” Trilogy Studios Director Joe Worth said. “With this new Flex Space, we're making it easier than ever for productions to scale up or down without the hassle of securing multiple locations.”

The Flex Space is equipped with power, water, HVAC and restrooms. Conference rooms and offices are readily available, providing ample workspace for production teams. A secure space is also available for storing sets while filming on Trilogy’s cutting-edge LED volume walls—the biggest in Texas.

Additional space is available for trailers, production offices, hair and makeup, and wardrobe.

For more information, click here.

KALAMAZOO, Mich.—Michigan’s Kalamazoo College has deployed a variety of Blackmagic Design gear, including cameras, switchers and recorders for campuswide production.

The deployment includes a full TV production studio in the college library, three mobile streaming kits for athletics, lectures and concerts and three performance venues and campus chapel—all outfitted with Blackmagic Design production gear, the company said.

“Kalamazoo College sees media production and media literacy as vital tools for educating students for a rapidly evolving future, and most of our media department staff comes from real-world broadcast backgrounds,” Jaakan Page-Wood, media producer and studio instructor for Information Services at Kalamazoo College, said.

The college’s Upjohn Library Commons is home to a studio used for TV production class, class projects, video presentations, marketing and internal video content. It’s outfitted with four Blackmagic Studio Camera 4K Pros, each with Blackmagic Focus Demands and Blackmagic Zoom Demands, that record to four HyperDeck Studio HD Plus broadcast decks. The signals are then fed into an ATEM 2 M/E production switcher complete with ATEM 2 M/E broadcast panel. Two HyperDeck Studio 4K Pros are also used. One feeds the switcher for selectable video content and the other is used for recording from the switcher, the company said.

“The Studio Camera’s large display is great for teaching because it’s so dominant that it really focuses the students on what their camera is looking at, and I can see what they are doing from a distance in the control room,” Page-Wood said. “The zoom and focus controllers work well with them, and the integrated tally light is a huge help when teaching the students when they are on standby or when their camera is hot.”

The college also has five SmartScope Duo 4Ks to give the technical director a clear view of all four cameras, he said, adding that the director also can see the cameras, a program feed and a selectable aux monitor. “A SmartView 4K is used for program and preview, and a Web Presenter 4K handles streaming,” said Page-Wood.

Page-Wood also created the college’s mobile streaming kit, which is used during graduations, assemblies and student performances on the central campus quadrangle. The kit includes an ATEM switcher and panel, HyperDecks, ATEM Camera Converters, ATEM Studio Converter and Mini Converters Optical Fiber 12G, he said.

“We use this kit, along with a bunch of tactical fiber cables, to turn our outdoor spaces into a multicamera recording space,” Page-Wood said. “We usually have six cameras going, and we use the comms on the camera converters to talk back and forth.”

The college’s two small mobile streaming kits each feature an ATEM Mini Pro live production switcher. One is used in the Anderson Athletic Center and athletic fields to stream more than 100 sporting events a year. The second is used for lectures and student performances, as well as a backup for athletics, the company said.

“Athletics has a variety of spaces where permanently installed equipment isn’t feasible, so we move this kit around to different sports and stream from wherever need be,” Page-Wood said. “Our natatorium has a networked camera that feeds into the fixed production studio, so we often stream swimming events from the library via the web presenter.”

To assist in the production of theatrical and artistic performances, the college has deployed five additional ATEM Mini Pros across the campus, including in the Dalton Theater, Recital Hall, Dewing 103, the Nelda K. Balch Playhouse and Stetson Chapel.

More information is available on the Blackmagic Design website.

LAS VEGAS—Among the many AI-themed announcements made at the AWS re:Invent conference, Amazon introduced Amazon Nova, a new generation of foundation models (FMs) that includes Amazon Nova Reel, which generates studio-quality videos.

The launch highlights Amazon’s increasingly aggressive push to compete with artificial intelligence video solutions from the likes of OpenAI and Grok.

The new Amazon Nova models will be available in Amazon Bedrock, and include Amazon Nova Micro (a very fast, text-to-text model); Amazon Nova Lite, Pro and Premier (multimodal models that can process text, images and videos to generate text); Amazon Nova Canvas (which generates studio-quality images); and Amazon Nova Reel (which generates studio-quality videos).

“Inside Amazon, we have about 1,000 generative AI applications in motion, and we’ve had a bird’s-eye view of what application builders are still grappling with,” Rohit Prasad, senior vice president of Amazon Artificial General Intelligence, said. “Our new Amazon Nova models are intended to help with these challenges for internal and external builders, and provide compelling intelligence and content generation while also delivering meaningful progress on latency, cost-effectiveness, customization, Retrieval Augmented Generation (RAG) and agentic capabilities.”

The company is billing Amazon Nova Reel as a state-of-the-art video generation model that allows customers to easily create high-quality video from text and images.

Amazon Nova Reel currently generates 6-second videos and will support the generation of videos of up to 2 minutes long in the coming months.

Nova Reel is designed for content creation in advertising, marketing or training, Amazon said. Customers can use natural language prompts to control visual style and pacing, including camera motion, rotation and zooming.

In announcing the product, Amazon said it outperforms comparable models in quality and consistency, according to side-by-side human evaluations conducted by a third party that preferred Amazon Nova Reel-generated videos over those generated by Runway’s Gen-3 Alpha. Like Amazon Nova Canvas, Amazon Nova Reel comes with built-in controls to support safety and responsible AI use, including watermarking and content moderation.

Amazon also announced that a number of companies are already using Nova Reel. They include:

• Dentsu Digital, a digital marketing company, is integrating Amazon Nova Reel into its creative process, enabling its team to improve and accelerate the development of its campaigns from briefing to concept development to creative video content generation. Amazon Nova Reel reduces the overall time it takes to generate new assets from weeks to days.
• Musixmatch is the world's largest lyrics platform with over 80 million users and a database of more than 11 million unique lyrics. Musixmatch is including Amazon Nova Reel in Musixmatch Pro, which helps creators distribute lyrics across all the major digital streaming services and social networks. Emerging artists can use Amazon Nova Reel to produce high-quality music videos using their songs’ context as inputs, and customize them with natural language prompts.
• 123RF, a stock photography and video portal with a library of over 200 million images and videos, is using Amazon Nova Canvas and Amazon Nova Reel to simplify the design process with smarter, faster and easier-to-use tools for visual media creators. Amazon Nova’s leading price-performance, speed, cross-language reasoning and content moderation at scale helps deliver these new capabilities to customers and creators around the world, Amazon said.

PARIS—Dalet has announced that it is expanding its Competitive Upgrade Program to include legacy news systems.

Launched in 2023, the Dalet program provides financial incentives, expert workflow consultation, migration and training services to help customers modernize their media operations and significantly reduce total cost of ownership (TCO). Under the expanded program, organizations with legacy news systems can migrate to Dalet’s story-centric workflow solution featuring advanced automation and AI capabilities.

“In today’s climate of austerity and efficiency, continuing to spend on outdated newsroom systems isn't sustainable. However, simply replacing a legacy system is not enough to drive progress,” Dalet Chief Revenue Officer Tara Bryant said. “News organizations need a partner with deep industry expertise and cutting-edge technology to achieve the best financial and operational outcomes. That partner is Dalet.”

The expansion of the popular upgrade program coincides with Caretta Research’s upcoming report “The Future of Newsroom Workflows,” prepared in partnership with Dalet. The report found 45% of news operations experience significant challenges with legacy systems. Specifically, outdated tools and fragmented workflows limit access to content from the field and require users to jump between multiple systems to complete tasks.

Dalet described the key benefits of the Dalet Competitive Upgrade Program as follows:

• Complimentary news workflow consultation for an operational audit and insights into story-centric news production, collaboration and remote operations.
• Financial incentives for transitioning from legacy solutions to Dalet, along with the resulting operational cost savings.
• Seamless transition for your data and workflows by tapping into Dalet’s expertise in managing hundreds of successful customer migrations.
• A year of free training through the Dalet Learning Hub, supporting change management and adoption.

More information is available here.

AMSTERDAM—Atomos is promoting a 40% discount on Dropbox Business or Business Plus plans with the purchase of any new Atomos monitor or monitor-recorder until Nov. 30 at the ongoing IBC 2024.

“Camera to cloud has been a game-changer for video production,” said Atomos CEO Jeromy Young. “We're delighted to be working with Dropbox to bring even greater productivity to our customers on such a ubiquitous platform.”

Atomos is highlighting a free firmware update for any connected Ninja or Shogun at IBC 2024 that makes it possible to send footage directly to Dropbox.

“We are excited by the partnership with Atomos to bring cloud-based video workflows from the camera directly to Dropbox. It makes it so much easier to shoot, share, edit, review and deliver,” said Andy Wilson, senior director of new business solutions at Dropbox

Dropbox offers a toolset that enables production companies to manage content, accounts and teams on a secure, scalable platform, Atomos said.

The Dropbox Business Plan starts at 9TB for a team of three or more, allowing file transfers up to 100GB at a time. The Business Plus plan starts at 15TB for a team of three or more, allowing file transfers up to 250GB at a time. The offer only applies to new Dropbox accounts globally and can be redeemed by registering at my.atomos.com, the company said.

Atomos is offering its Ninja Ultra for $719 excluding sales tax and its Shogun Ultra for $1,107 excluding taxes for a limited time.

The Dropbox plans only require an internet connection, so this offer is being extended to purchases of all Atomos monitors and monitor-recorders, irrespective of whether they are cloud-enabled or not. Atomos said.

See Atomos at IBC 2024 Stand 11.D25.

More information is available on the company’s website.

SAN FRANCISCO and SHENZHEN, China—AI-powered camera control technology specialist Iris has partnered with optical and video technology innovator Telecam Technology (Telycam) to integrate the former’s embedded software into the latter’s cameras to enable users to control their devices via the cloud.

The integration allows Telycam cameras to be fully managed from anywhere in the world in real time without any additional hardware. Users can seamlessly control camera movement, adjust settings and deploy AI-driven capabilities, such as auto-tracking, from a single cloud-based interface. 

By combining Iris' cloud control technology with Telycam's cameras, the companies are providing a solution for professionals in education, corporate environments, broadcasting and live events. The integration offers users greater accessibility and ease of use.

"We are thrilled to partner with Telycam to bring Iris to thousands of cameras and customers around the world," said Iris CEO Noah Johnson. "Our goal has always been to simplify and enhance the video production process, and this collaboration with Telycam enables us to do just that. Together, we're delivering a powerful tool that will revolutionize how users interact with their cameras."

The partnership not only enhances the capabilities of the companies' products but also paves the way for future advancements in cloud-based video management.

"Integrating Iris into our portfolio has allowed us to provide a superior, intelligent solution with an unmatched user experience," said Telycam's co-founder and head of sales and marketing Jenny Liu. "We are excited about the immense value this partnership will bring to our customers, setting a new industry standard."

More information is available on the Telycam and Iris websites.

CUPERTINO, Calif.—TVU Networks has announced a Software as a Service (SaaS) platform designed to provide visibility and operational control across cloud, on-premise and hybrid environments, giving media organizations a complete understanding of every stage of their production workflows.

The company’s SaaS platform offers a fully integrated virtual Network Operations Center (NOC) that is included at no additional charge for all TVU SaaS subscribers. The NOC gives broadcasters real-time visibility into their entire media pipeline—from contribution to final playout. It extends beyond traditional cloud offerings by providing deep operational control across diverse infrastructure setups on the cloud, on-prem or in a hybrid environment, the company said.

“Cloud solutions often come with limited transparency, but our platform breaks that mold by integrating a virtual NOC that gives broadcasters complete operational control,” said TVU Networks CEO Paul Shen. “It’s about ensuring data integrity and workflow reliability while enabling users to respond to issues in real-time. This isn’t just about adopting the cloud—it’s about transforming media operations with full trust and control.”

TVU’s platform also offers UDX for Up/Down/Cross-Conversion, browser-based video scopes and manual or AI-powered color correction for any IP source. The platform’s support for NDI, SRT, SMPTE ST 2110, SDI, MPTS and other standards ensures seamless integration into any media production environment, the company said.

The company is charging $98 per month for access to all TVU SaaS platform features. Additional charges apply only when specific microservices are used during active production, offering a cost-effective approach for media and entertainment enterprises to experiment and innovate, it said.

Major broadcasters, such as France Télévisions, which used the company’s field acquisition and SaaS platform for its Paris Olympics Torch Relay coverage, have achieved up to 92% in cost savings, the company said.  

“TVU is removing the barriers to cloud adoption by making it simpler, more transparent, and vastly more cost-effective. Our customers gain total control over their media pipelines, which is vital in today’s fast-paced production landscape,” said Shen.

More information is available on the company’s website.

NEW DELHI and LONDON—Planetcast Media Services will demonstrate its new end-to-end, single-window media management and delivery offering at IBC 2024, Sept. 13-16, at the RAI Amsterdam Convention Center.

The event will witness the public EMEA debut of Planetcast’s cloud-first NexC architecture. NexC empowers media companies to overcome the complexity challenge of today’s distribution landscape, enabling frictionless movement of content assets across each stage of post-production, content management, distribution and monetization.

“We are showcasing NexC’s capability to solve the complexity challenge faced by media companies today as they deal with even more formats, markets, devices, and distribution points than ever,” said Sanjay Duda, CEO of Planetcast Media Services. “Media organizations find it increasingly cumbersome and costly to navigate the various stages of post-production, content delivery and monetization. Our in-house development team of over 250 professionals are meticulously building and upgrading NexC to offer a seamless integration of media asset management, cloud playout, over-the-top (OTT), and IP distribution.

As a comprehensive, cloud-based service suite, NexC offers a Platform as a Service (PaaS) proposition. It integrates content supply chain management with upstream services like post production and content prep as well as downstream services like cloud playout, digital delivery, FAST and OTT into a single system, streamlining operations and enabling clients to meet the complexity challenge of today’s media industry.

By integrating content supply chain management, content preparation, metadata enrichment, tagging, subtitling, dubbing, editing, playout, OTT platforms and FAST channels into a single, cohesive system, NexC stands out as a comprehensive solution for media companies.

The platform's architecture is built on several core components, each accessible through Planetcast’s unified customer user interface (UI) and dashboard:

• Contido – content supply chain orchestration and media asset management.
• Content preparation and localization services – a full suite of core technical post-production services from quality control, technical and compliance checks to subtitling, dubbing, editing and re-scoring
• RECASTER – a dynamic and robust IP transport solution.
• Scheduling, playout and distribution through Cloud BATS scheduler, Cloud.X playout and RECASTER digital delivery platforms
• MediaHQ – a white-labelled OTT solution for non-linear content distribution.
• FAST channel services – provided by Planetcast across the U.S., Europe, Latin America and Asia, in tandem with established ad-tech partners in U.S. Europe and Asia.

See Planetcast Media Services at IBC 2024 in Booth 5.H59

More information is available on the company’s website.

LONDON—Mo-Sys Engineering will showcase MoViewer, a cost-effective and fully autonomous system that integrates with existing studio infrastructure to transform virtual production for multi-camera projects during IBC 2024, Sept. 13-16, at the RAI Amsterdam Convention Center.

Delivering an AI-assisted, real-time, perspective accurate preview of all cameras to directors, MoViewer is compatible with all LED screen manufacturers and processors. The product brings a traditional on-set workflow into LED virtual production without technology constraints. It eliminates the need for expensive per-camera render nodes and returns full creative choice of shutter speeds and exposure, empowering teams to express their vision without restrictive technical limitations, the company said.

The company also will showcase a new, customer-led addition to its robotics lineup with a miniature remote head designed for rapid and precise operation of smaller payloads. The team will invite audience participation with MoCaptury, a suit- and marker-free motion capture technology. The system offers precise, reliable tracking and user-friendly operation in an all-inclusive package that provides high-performance hardware, intuitive software and dedicated mounting accessories, the company said.

A series of Mo-Mentum panel talks will focus on complete solutions. Guest speakers will share their experience and uncover the details behind collaborations and client success journeys, it said.

Visitors also will be able to participate in hands-on workshops showcasing Mo-Sys's latest technologies, including real-time virtual production with green screen and LED using StarTracker Max and VP Pro software in Unreal Engine.See Mo-Sys Engineering at IBC 2024 Stand 7.B45.

More information is available on the company’s website.

EMERYVILLE, Calif.—Kate Sims and Joe Marchitto have joined Advanced Systems Group—the former as vice president of strategic accounts and the latter as chief technology officer of strategic accounts, ASG said today.

“With Kate and Joe at the helm of our key accounts in Southern California, we’re excited to bring their experience and ability to some of our most important clients,” said ASG president Dave Van Hoy. “They have both deep technical and business acumen. I’m thrilled they’re bringing their formidable talents to ASG.”

Sims has worked in IT consulting and media technology services for more than 20 years. Most recently she was vice president of business development for a Los Angeles-based systems integration firm. 

“Over the years, Joe and I have helped leading media enterprises make seamless transitions to cutting-edge MAM systems and optimized storage infrastructures,” said Sims. “It’s incredibly rewarding to see our efforts keep clients ahead in the evolving media production landscape and leave them thrilled with the results.”

In her new role, Sims will oversee relationships between ASG technology partners and clients while spearheading the company’s growth across Southern California. 

As CTO of strategic accounts, Marchitto will work in partnership with Sims to build an enterprise clientele in the Los Angeles area. He will contribute his technical knowledge to the design and sales of systems to new and existing customers, the company said.

Prior to joining ASG, Marchitto was the chief information officer of a systems design firm where he led three engineering teams focused on systems integration, cloud and media asset management deployments. 

“I’m very familiar with the quality of people and work that ASG is known for,” said Marchitto. “I’m looking forward to the new projects and challenges that will surely expand my skill set. This position feels more like a coming home than starting a new job.”

Sims and Marchitto can be reached via email.

More information is available on the company’s website.

PARAMUS, N.J.—Sony Electronics has begun shipping its M2L-X live production switcher for remote and in-house video production, the company said today.

Featuring hybrid processing and operations for on-premises and cloud production, the M2L-X offers 24 inputs and a built-in clip player. It allows producers working remotely to orchestrate live video switching, audio mixing, graphics and captions from virtually anywhere over a network, the company said.

As a key component of Sony’s Networked Live portfolio, which enables production resources

to be optimally connected, used and shared from any location, the switcher can be deployed on public clouds. A future software update will allow it to be deployed on COTS hardware or a private cloud. It also handles various streaming formats and can produce in SDR (8-bit) and HDR (10-bit), Sony said.

The switcher can be used in conjunction with many of the company’s live production solutions to leverage shared resources and foster remote and distributed production. It expands Sony’s established M2 Live cloud-based switcher system and can be operated using Sony’s ICP-X series control panel or an Elgato Stream Deck, the company said.

The M2L-X also can be used with Sony’s MLS-X1 scalable production switcher to create a hybrid processing stack, enabling further flexibility for live productions. The M2L-X supports several third-party controllers and applications as well, it said.

More information is available on the company’s website.

BURLINGTON, Mass.—Avid has introduced Media Composer 2024.6 of its video editing software, offering a new Transcript Tool for PhraseFind, enhanced compatibility with Avid’s Pro Tools audio production software and expanded availability of Avid Huddle, the company’s cloud service for real-time collaborative editing sessions.

The latest version enhances Avid PhraseFind with the Avid Ada AI. The new Transcript Tool allows editors to work more efficiently by letting them jump to specific moments in a clip based on spoken phrases, editing directly from selections in the transcript into the timeline, the company said. 

Media Composer 2024.6 also improves integration with Pro Tools, adding support for sub-frame automation for volume and pan, improving compatibility with Pro Tools and providing editors with more creative control. Pro Tools also can now export Media Composer-compatible session files that preserve essential metadata, it said. 

The release makes Avid Huddle available for all versions of Media Composer and Avid | Edit On Demand. Editors can stream the audio/video output of Media Composer directly to collaborators connected via Microsoft Teams, allowing for real-time reviews, time-stamped annotations and discussion. Time-based text comments can be imported back into Media Composer as markers to streamline content revisions, the company said.

More information is available on the company’s website.

MADISON, Wisc.—Vegas Creative Software has announced a major new upgrade to its flagship Vegas Pro video/audio editing, color grading, effects, and cloud-integrated content management and acquisition tools, Vegas Pro 22. 

Vegas Pro 22 introduces several carefully chosen AI features designed to handle labor-intensive tasks and free users to fully express their creativity, giving "AI" a new meaning: Assistance with Intention.

In the new version, Vegas Creative Software said that it has taken a measured and intentional approach to integrating AI capabilities into its workflow. This ensures that all AI features are designed to assist artists and content creators and to ease tedium in their workflows while providing them complete control and creative freedom in their work. Vegas Creative Software calls this approach Assistance with Intention.

Vegas Pro 22 also introduces a number of new features and capabilities that bring sophisticated video and audio editing tools to creators of all skill levels. Key new features introduced in Vegas Pro 22 include:

• AI Text-Based Editing: Users can create a transcript and edit it—for example, delete a section of text or cut and paste text—and Vegas Pro automatically edits the project timeline to match those edits. This workflow can greatly speed up the editing process for dialogue-based projects, such as interviews.
• AI Dehaze: This plug-in analyzes video for hazy elements, such as smoke, fog and smog and removes those elements in order to create a more crisp, clearer image. .
• AI Sharpen: The AI Sharpen tool analyzes the edges of objects in a video and enhances them to give the image a crisper, clearer look.
• AI Smoothen: This feature automatically softens small details in a video while preserving sharp edges. This can result in a cleaner, more stylized look where fine details are smoothed out, but edges remain clear. Users can choose to give their video a subtly softer appearance or increase the range to create more of a special effect.
• AI Auto Reframe: Automatically reframes video when the delivery size of the final render does not match the original aspect ratio. For example, if a standard widescreen video needs to be delivered in a square format for Instagram or other channels, this tool shifts focus to the most important object in the video and keeps it centered in the new frame size while it crops other material out.
• Multicam Audio Sync: Synchronizing multicam events in Vegas Pro based on the audio from the clips the events hold has never been this accurate. In Vegas Pro 22, users can now select multiple events and quickly synchronize them with options optimized for the type of audio contained in the clips.
• Beat Detection: Beat Detection analyzes an audio file (or audio in a video file) and identifies unusual energy in the low-mid and low-end of the audio frequency range. This type of energy often corresponds to a significant “hit point” in the video where an edit might make sense. Embedded markers serve as snap objects for easy identification and editing in sync with these hit points.
• Tempo Detection: The Tempo Detection tool analyzes a piece of music (or the music in a video file) to determine the tempo of the piece and automatically sets the project properties to match the detected tempo. Users can easily set the timeline ruler to measures and beats and use the grid as orientation and snap points for seamless edits in time with the music.
• Set Project Tempo: These new menu options make it easy to set the project’s tempo. Users can easily open the project audio properties and enter the desired tempo. The timeline ruler set to Measures and Beats accurately reflects the tempo, and users can edit precisely on measures and beats of the music.
• Timeline Selection Improvements: Timeline selection techniques have been refined to make selecting events even easier. An intuitive left-click on an empty timeline space now enables users to start a selection rectangle and select desired events.
• New Welcome Screen: Through the Welcome Screen, users have quick access to new-project setup, previous projects, and materials to help them get the most out of Vegas Pro as quickly as possible.
• Explorer Window Redesign: The Explorer window has been reimagined and newly designed to provide a more efficient user experience. It’s now easier to navigate to your media files, preview them, and organize your view as well as to access media details.

Vegas Pro 22 is available in two options. 

Vegas Pro Ideally suited for pros, content creators, aspiring editors, novices and even consumer/enthusiasts who want the pure Vegas editing experience, Vegas Pro includes: Vegas Pro 22; 10GB of cloud storage (20GB available with subscription plan); Cloud-based Text-to-Speech and Speech-to-Text capabilities; Vegas Content: 300 royalty-free HD video and/or audio clip downloads (600 royalty-free HD video and/or audio clip downloads with subscription plan). 

Regular Pricing is $19.99 USD/mo (monthly payments); $95.88 USD/year (one-time payment per year); $199.00 USD for a new perpetual license. 

Vegas Pro Suite is designed for aspiring and professional content creators like filmmakers, social media influencers, YouTubers, and others, Vegas Pro Suite includes: Vegas Pro 22; Mocha Vegas; SOUND FORGE Pro; ACID Pro; 50GB of cloud storage (100GB available with subscription plan); Vegas Content: 500 royalty-free HD and 4K video and/or audio clip downloads (unlimited royalty-free HD and 4K video and/or audio clip downloads with subscription plan); Speech-to-Text and cloud-based Text-to-Speech capabilities. 

Regular Pricing is $24.99 USD/mo (monthly payments); $119.88 USD/year (one-time payment per year); $249.00 USD for a new perpetual license. 

For a complete list of new features or to purchase Vegas Pro 22, please visit here.

ALAMEDA, Calif.—Clear-Com has announced that it worked with Video Progetti to deliver an advanced intercom solution for Radiotelevisione Italiana (RAI), Italy’s state broadcaster. 

The innovative deployment was designed to enhance RAI’s production capabilities across its extensive network of production centers and regional stations, making it one of the most sophisticated intercom setups in Europe, the companies reported. 

RAI, the Italian state broadcaster, operates four major production centers in Milan, Naples, Rome, and Turin, along with 23 regional stations. As the fifth-largest media company in Europe, RAI manages 14 TV channels and 23 regional feeds, providing a comprehensive broadcasting service to the nation. 

RAI required an intercom solution that could handle the complexity of its productions, from major live events to small studios. The solution needed to provide a centralized management mechanism, integrating each sub-system into a single multi-studio environment. Additionally, the intercom terminals had to offer robust and reliable wireless operation, Clear-Com reported. 

Video Progetti proposed and deployed a full Clear-Com system based on the Eclipse HX Digital Matrix and FreeSpeak II wireless system. Each of the five galleries (control rooms) has its own Eclipse matrix, interconnected in a peer-to-peer fashion via IP using RAI’s standard IT network. This forms a seamless integrated system with a sixth matrix, referred to as "POOL," managing all shared resources like wireless beltpacks and studio panels independently from each gallery. These functionalities are embedded into the Eclipse matrix, eliminating the need for additional middleware or orchestration. The wireless FreeSpeak system can be shared across all galleries and studios as required, Clear-Com explained. 

"Clear-Com's solutions have proven to be transformative for the team’s production capabilities," said Francesco Struzzi, sales director Video Progetti. "The integration and flexibility of the Eclipse HX Digital Matrix and FreeSpeak II wireless system have significantly enhanced our ability to manage complex productions seamlessly across multiple locations." 

In addition, the use of the 1.9GHz frequency allows for a robust and interference-free radio system. Clear-Com's optimized DECT technology ensures interference-free wireless communication between transceivers and belt-packs. The ease of use of the solution is further enhanced through the HCI API, which allows for control from third-party automation systems, making system reconfiguration quick and easy. The Clear-Com solution includes configuration software (EHX) with a client-server topology, allowing multi-user access with varying levels of permissions. EHX also provides telemetry data on RF signal statuses, battery levels, and alerts to ensure maximum reliability, Clear-Com said. 

Dynam-ECTM software offers an additional operational management layer with a customizable graphical interface and drag-and-drop functionality. 

The deployment of Clear-Com’s products supports mid-large scale studio facilities, allowing for maximum scalability, flexibility, and coexistence of the same solution across different studios and galleries. For remote production of sports events and major OB productions, the compatibility of standardized radio frequencies abroad and the ability to interconnect with other systems showcase Clear-Com's long-standing tradition of openness and versatility, the companies reported. 

SWANSEA, U.K.—QuickLink will show its QuickLink StudioPro 4K video production platform at IBC 2024, Sept. 13-16, at the RAI Amsterdam Convention Center.

“Our 21 years of experience developing high-end broadcast-quality solutions are built into QuickLink StudioPro, which is aimed at simplifying multi-camera live video production,” said QuickLink CEO Richard Rees. “We have seen incredible adoption of StudioPro with those who prefer easy-to-use integrated solutions whilst maintaining high-quality standards. For those making the move to the cloud, StudioPro Cloud provides anywhere-access to video production utilizing the power of the cloud, offering a fully flexible solution.” 

With one frame of delay, the ultra-low latency production solution ensures flawless synchronization between stage speakers and large projected screens or video walls for live presentations, the company said.

StudioPro is much like a video-based Microsoft PowerPoint. Each scene is like a slide, allowing users to add multiple layers, effortlessly switching between scenes to create productions, it said.

Using built-in QuickLink StudioCall technology, remote guests are seamlessly integrated with Teams, Zoom, and Skype calls, other camera feeds, audio sources, images, videos and graphics. Designed for both large-scale and intimate productions, StudioPro ensures content remains on-brand and unforgettable to audiences, broadcasting to multiple physical, digital and social destinations, supporting multi-aspect ratio output at the same time, it said.

QuickLink StudioPro also supports ASIO audio devices over IP and offers advanced audio mixing capabilities, allowing for precise tuning of audio. The platform's AI-driven advanced noise reduction, echo cancellation and Studio Audio features ensure crystal audio quality, it said.

See QuickLink at IBC Show Stand 7.A55.

More information is available on the company’s website. 

CLEVELAND—Telos Alliance has announced the Infinity Virtual Commentator Panel, a new addition to the Telos Infinity VIP Virtual Intercom Platform. Infinity VCP is a unique extension to the VIP product family that enables remote contributors to access a commentary or announcer station from anywhere in the world through the VIP intercom platform. 

Built-in features include the ability to mute the on-air microphone feed when using comms or speaking “off air”, and create a custom monitor mix of IFB, program, mix-minus, and aux sources - each with individual gain controls - all available while still using dedicated VIP intercom keys, the company reported. 

“Virtual Commentator Panel is a new form of VIP panel with a dedicated and familiar feature set that any voice artist, commentator, or TV or radio reporter will instantly recognize and understand,” said Martin Dyster, Telos Alliance vice president of business development and Infinity product director. “Infinity VIP was designed to be used for traditional communications, but our customers recognized and valued the platform's unique potential for remote on-air contribution; VCP delivers that functionality with a combination of intercom and dedicated contributor-specific features.” 

Like other Infinity VIP panels, the Virtual Commentator Panel is accessible from any computer, tablet, or smartphone using an HTML5 browser, or on iPhone and Android smartphones via the VIP App. For situations where a traditional hardware controller is preferred, VCP seamlessly integrates with the popular Elgato Stream Deck + through a dedicated Stream Deck plug-in, the company explained. 

VCP requires the recently released V3.0 Infinity VIP software to enable it as an optional licensed feature. It is available immediately in four, eight, and 12-button configurations through Telos Alliance’s worldwide network of Telos Infinity channel partners.

To learn more about Infinity VIP, visit https://telosalliance.com/vip. 

BURLINGTON, Mass.—German public broadcaster ZDF is migrating its existing asset management systems onto Avid’s MediaCentral | Cloud UX software platform, the company said.

The transition extends the broadcaster’s long relationship with Avid. It provides ZDF with a complete toolset to manage news and program workflows and opens up the possibility of encompassing workflows ranging from ingest to publication., the company said. 

The deal with ZDF supports the broadcaster’s complex multi-site configuration. One core media asset system is being located at its headquarters in Mainz and two supporting systems in Berlin and Düsseldorf.  

Avid’s MediaCentral | Cloud UX provides ZDF’s production teams with robust remote collaboration enabling them to use the platform’s feature set, which are regularly updated, within a current on-premise model, Avid said.

“Our editorial teams have enthusiastically embraced the new possibilities with Avid MediaCentral | Cloud UX in their daily work. This new agreement with our long-term trusted partner Avid future-proofs our production tech, allowing us to accelerate our news and program production workflows,” said ZDF project manager Antje Lang.

More information is available on the company’s website.  

Since launching a major marketing branding campaign on Super Bowl Sunday this year, the local streaming service Zeam has spent the first half of 2024 working to spur the development of more hyperlocal content by deploying new technologies that aim to make it easier and more profitable for local broadcasters to offer new streaming content. 

Those efforts include the launch of the Zeam360 mobile production studio, the construction of a new studio in New York City’s Times Square set to open this summer, the creation of a small branded content studio in Marion Ohio, and a partnership to launch “Fast Lane TV, by Ryan Philly” with hyperlocal content from racetracks around the country. 

Taken together, this flurry of activity, makes Zeam a compelling case study in how newer technologies for production and advertising could make hyperlocal streaming more accessible and profitable for local stations. 

“The idea is to innovate and lead by example and to show our broadcast partners everything that can be done in the whole space by getting their viewers more content,” explained Jack Perry, the founder and CEO of Zeam Media whose local OTT platform Zeam currently reaches audiences in over 165 DMS and features 227 over-the-air stations providing 274 total streams. Zeam is backed by Gray Television, CBS, News Press & Gazette, Hearst and Morgan Murphy.

The centerpiece of that effort to “innovate and lead by example” is the Zeam360 mobile studio. Zeam360 bowed with a barnstorming tour in early 2024, stopping at nearly 30 local broadcast stations en route to the Super Bowl as part of the company’s strategy of helping local broadcast stations learn about the possibilities of OTT while also creating compelling hyperlocal content for viewers.

The technology used in the van illustrates how the cost of production gear has both improved and plummeted in cost, making hyperlocal production an appealing opportunity for local broadcasters, Perry says. Excluding the cost of the van and customizing it, the gear for hyperlocal production can be acquired for under 15K. 

Hyperlocal production has been “viewed as hard,” Perry admits. “But it’s really the 'unknown part’ that is hard. If you have the right technology, and the technology is getting simpler…we’re out there to show it makes a lot of sense.” 

“It can be outfitted inexpensively,” he added, particularly at stations that have decommissioned trucks. “That’s the most expensive part and we’ve heard from a number of stations that we have these old decommissioned trucks. Maybe we ought to outfit it like Zeam 360.’”

The Zeam360 mobile production studio is built around “the exact same van that Amazon Prime uses, [the Dodge Ram] Promaster,” Perry said. 

It is customized with four captain’s seats and a podcast table for a podcast studio in the back. It is equipped with solar power.

The setup has six or seven cameras, Perry said. The primary cameras are AIDA Imaging HD-NDI-CUBE cameras (https://aidaimaging.com/hd-ndi-cube/). It uses a vMix production system, which handles live video switching, video playback, audio mixing and graphics. (https://www.vmix.com/) For microphones, they are using the RODE Wireless GO II system. (https://rode.com/en/microphones/wireless/wirelessgoii)

Zeam360 is completely IP-based for video distribution. Internally, they use NDI which makes for simple plug and play for adding/removing cameras and other devices both inside and outside of the Zeam360. 

They also utilize iPhones to shoot remotely and bring the video back to the Zeam360 via SRT. The output of the Zeam360 is an SRT stream directly into the Zeam MediaMogul cloud, with connectivity for the Zeam360 from Starlink.

Taken together, the audio, video and streaming tech (video switching, audio mixing, graphics, cameras, network equipment, etc.) used to equip the van is under $15K, the company said. 

An early example of how the setup can help a local station bump up its local content production can be found at KVVU, the Gray Television owned Fox affiliate in Las Vegas. It was one of the nearly 30 stations visited by Zeam360 prior to its big Super Bowl Marketing campaign of regional Super Bowl ads featuring John Stamos. 

Kristin Bernal, senior executive producer of news specials and entertainment, at the station said that “we worked with the Zeam team and Zeam360 when they were in Las Vegas for the Super Bowl. The idea was to take a look outside as they traveled around the Las Vegas strip and Allegiant Stadium. We incorporated them into our lifestyle show for the week and also took their live elements into our newscasts. We incorporate live looks and interviews into our shows daily, so content from Zeam 360 was a great, natural addition to our Super Bowl coverage. We promoted what the Zeam Van was and how viewers benefit from the technology. We used their livestream when live on air, which was made possible via their Starlink Internet service.”

“What is nice about Zeam360 is that we didn’t have to worry much about the technology behind it – the van comes equipped with everything we need to capture the content we want,” she explained. “All we needed to do was take what was produced from the van and drop it into our own programming as we saw fit…We thought Zeam 360 gave us another tool in the toolbox to cover a big moment in the community like the Super Bowl. I think people are interested in fresh, unique content that shows what is happening around them and Zeam360 provided us a different way to do that.”

Since then, Perry recalls traveling and live streaming with Zeam360 on Route 66 on the way to the 2024 NAB Show.  “The Arizona Supreme Court had just overturned an abortion ruling and there was a protest as we were pulling into Flagstaff,” he said. “I grabbed a gimbal and an iPhone and linked the iPhone back to Zeam360 and streamed it live…I think the Zeam360 van can inspire more activities like that, whether it’s a protest or a little league game. We’re trying to show how simple it is to get your viewers something to watch.” 

Such efforts are particularly notable given hype surrounding hyperlocal news in the 2000s and the subsequent financial difficulties that hyperlocal news sites faced in the 2010s, when a number of high profile operations like The Patch were either shut down or significantly scaled back. 

Since then, however, hyperlocal news has seen something of a revival, with a revamped version of The Patch under new owners now turning a modest profit. 

In addition to the lowered costs of production and streamlined workflows, Zeam is also betting that its economies of scale for digital and streaming advertising can make hyperlocal content a profitable idea for local stations that stream local content and news on Zeam. 

“We have our own ad serving technology called AdSync,” Perry explained, “that is bolted onto the traffic systems at hundreds of mobile station websites…and all the station apps and websites that are part of our network. It is pulling all those available into a network of avails…The rebranding of the company [from Syncbak to Zeam Media in May 2024] was driven specifically by the nation of demonstrating to the advertising world that this is one bucket of ad avails with billions of avails.” 

In addition to pooling all the avails so advertisers can easily target audiences, the Zeam platform also makes it easier for small producers to connect with advertisers. “Our ad technology today is offering over 6 billion impressions, up from zero only a few years ago,” Perry said. “Even if you are a little podcaster, you can benefit from joining that network of advertising avails.”

To build on those efforts, Zeam is constructing a studio in Times Square, which will both boost its content production and act as a billboard for the service in an area of New York City that sees some 55,000 people walk by each day. The studio is expected to go live this summer. 

Zeam is also operating a branded content studio in Marion, Ohio. “It’s showing our broadcast partners that branded content is a big part of the future,” Perry said. “Micro audiences are not a bad thing if you’re not spending a lot to create the content and if it doesn’t cost you a lot to equip your studio.”

More recently, Zeam added new channels from Tegna and streams from stations owned by Hubbard Broadcasting, which is now offering hyperlocal news from KAAL-TV (Rochester, Minn.), WHEC-TV (Rochester, N.Y.), WDIO-TV (Duluth, Minn.), KOB-TV (Albuquerque, N.M.), KSTP-TV (Minneapolis, Minn.), and WNYT-TV (Albany, N.Y.) to viewers national via Zeam’s platform.

In June it also launched a partnership with Ryan Phinny that featured the creation of a dedicated Ryan Phinny channel on Zeam, called “Fast Lane TV, by Ryan Phinny,” and the production of local content using Zeam’s mobile production unit. The Zeam360 van will also be on-site at various Phinny races, capturing and livestreaming pre-and-post race content that will be featured on the channel. 

Perry believes that these ongoing examples of low-cost hyperlocal programming will help overcome the reluctance of some station groups to stream their local news. 

Nexstar, for example, has been vocal about the impact that streaming might have on its lucrative retransmission consent revenues and responded to those worries in 2023 by restricting the amount of local news content it is streaming.  

Perry responds by saying there are ways to offer and create hyperlocal content that won’t hurt the value of local newscasts in retransmission negotiations.  

“I say let's get your viewers something else to watch,” he said. “Let's cover your communities more deeply. We launched a UGC [user generated content] utility called Zeam Up to let viewers provide content to stations. If you are worried about retrans, produce other things. On Zeam you can build an out of market audience and you can start thinking about all the types of content that won’t…compete [with your feed] on the cable companies. That content won’t cause the cable company to say `we're not gonna pay returns anymore because you're putting your product out there.’ It’s a matter of giving them something else to watch.”

WUPPERTAL, Germany—Riedel Communications has announced that Art'istic Production, a French-based video production and live broadcasting services company, has chosen the Simplylive Production Suite. 

The solutions was chosen for its ability to streamline the company's live production processes, enabling production teams to deliver high-quality content with greater efficiency and flexibility.

"Partnering with Riedel and integrating their Simplylive Production Suite into our workflow has been transformative for Art'istic Production," said Arthur Brousmiche, CEO of Art'istic Production. "The ease of use and flexibility of this system have been game-changing for our team. We're now able to deliver superior-quality content more efficiently with a leaner team, resulting in significant time and cost savings."

Recently, Art'istic Production put the Simplylive Production Suite to the test in a French women's volleyball league match. The software-driven live production platform, which offers a range of features designed to simplify and streamline live production workflows, has proved to be an invaluable tool in capturing the action and delivering a seamless broadcast, the companies reported. 

The system's ability to add high-quality slow motion and graphics from a single user station has been particularly noteworthy for Art'istic Production. The Simplylive Production Suite allows just one user to manage multiple cameras, insert graphics, mix audio, and edit highlights in real time, all from a single touchscreen interface. And because of the platform's modular design, Art'istic Production can easily scale it up or down depending on the size and complexity of the event, Riedel said. 

Art'istic Production has used the Simplylive Production Suite in many other capacities, enhancing its ability to cover live events with unprecedented agility and creativity. The suite's all-in-one capabilities have allowed the company to deploy a flyaway control room setup that is both lightweight and powerful, enabling coverage across various locations in France. This setup includes the use of an external audio mixer, with presets that assist the director in producing the appropriate audio mix for live events, interviews, and clips, it said. 

The companies also reported that the Simplylive Production Suite's intuitive user interface allowed Art'istic Production's staff to adapt to the new system quickly, significantly reducing the training period and enabling a faster transition to live production. The installation process is notably swift; the entire system can be operational within an hour, and dismantling takes only half that time. This efficiency not only speeds up workflows but also translates into substantial cost savings, as fewer personnel are needed on-site for setup and operation.

"This partnership with Art'istic Production highlights the potential for our technology to revolutionize live event broadcasting," said François Sarbinowski, sales specialist live production at Riedel. "We look forward to continuing our collaboration with their team and to seeing how they use the Simplylive Production Suite in their future projects."

Further information about Riedel and the company's products is available at www.riedel.net. 

BURLINGTON, Mass.—Avid has launched Avid Huddle, an SaaS solution that gives post-production teams the ability to collaborate and accelerate content review and approvals.

Editors using Media Composer | Ultimate, Media Composer | Enterprise or Avid | Edit On Demand in a hybrid environment can now easily share high-quality media during a live Microsoft Teams meeting. Remote reviewers can collectively view, discuss and comment in real time from anywhere as if they were working in the same room, the company said.

“Collaborating to review video content during post-production is challenging when the creative team is distributed across multiple locations," said Tanya O'Connor, Avid vice president of market solutions. "Avid Huddle helps teams jump this barrier and truly embrace distributed working. 

"Finally, remote over-the-shoulder content review with any production stakeholder is achieved simply by using one of the world’s most widely available collaboration apps.” 

Editors can launch a Teams meeting safely from Avid Huddle without leaving Media Composer. This enables Teams participants to review content with full confidence that it is secure and protected, the company said. 

Avid Huddle allows producers, clients and other reviewers to give immediate feedback to editors by virtually adding time-stamped comments and annotations while discussing content through a live session, it said.  

“With the help of the secure and ubiquitous Microsoft Teams platform, Avid Huddle brings a true paradigm shift to the way TV shows, movies, commercials and other content can now move through review and approval with speed and economy. Most importantly, we’re enabling an exceptional video and audio streaming experience that’s just like looking over the shoulder of an editor at work in Media Composer,” said Simon Crownshaw, director of Microsoft's worldwide media and entertainment strategy.

Avid Huddle will be available as a flexible monthly or annual subscription. It allows users to scale up or down as required and only pay for what editors need when they need it. Only the host needs to have an Avid Huddle subscription. Participants can join sessions through Microsoft Teams, Avid said.

More information is available on the company’s website.

OTTAWA—Ross Video has announced that it will be participating in InfoComm 2024, held from June 12 to 14 at the Las Vegas Convention Center, where it will be showing a variety of innovative video solutions and a collaboration at the AVIXA TV Studio. 

Ross Video, in partnership with AVIXA at Booth W2645, will present the AVIXA TV Studio – a dynamic live corporate studio experience equipped with the latest Ross technology, including a Virtual Set Solution with Voyager Trackless, overlay graphics from XPression, record and playback with Tria Express Duet and the Ultrix Carbonite hyperconverged routing and switching platform. 

At Booth W2145, Ross Video will showcase its comprehensive integrated video solutions for corporate AV environments that expand across vertical markets. Attendees can explore products for any professional audiovisual needs, including:  

• Quorum 2.1 meeting production software with multi-room support 
• Carbonite Code, the new software-based production switcher with NDI I/O  
• Ultrix Hyperconverged with Carbonite blade 
• Media I/O 
• TouchDrive production switcher control panels 
• XPression Tessera and Mosaic for easy management and high-res video image processing on extra-large displays   
• Advanced PTZ cameras, Tria servers, and much more 

The AVIXA TV Studio at Booth W2645 will demonstrate the practical application of virtual production technologies. The studio will produce and livestream seven episodes throughout the show, which will be broadcast to a global audience through major social media channels, including YouTube and LinkedIn. 

The AVIXA booth will also host live demonstrations, video workshops, and a behind-the-scenes look at Ross Video’s virtual solutions so attendees can learn how to apply them to their corporate workspaces. 

For more information about Ross Video’s presence at InfoComm 2024 and to schedule a meeting, please visit: https://www.rossvideo.com/go/events/infocomm-2024/

ALAMEDA, Calif.—Clear-Com has unveiled updates for its Arcadia intercom platform to offer expanded connectivity and device support.

Arcadia now delivers a seamless, highly efficient communication experience and provides a variety of features, such as I.V. Direct Interfacing, which allows effortless interfacing with LQ, Eclipse E-IPA and other Arcadia systems over LAN, WAN or the Internet, the company said.

New HelixNet HXII-DPL Powerline device support expands intercom capabilities with enhanced support for HelixNet devices, allowing for greater flexibility and integration within communication infrastructure, it said.

The increased capacity for FreeSpeak II digital wireless system beltpacks and IP transceivers means that Arcadia now supports a significantly higher number of these devices, accommodating larger teams and more complex communication requirements. Arcadia now also doubles the number of supported HelixNet user stations, the company said.

"Our goal has always been to provide our users with the most advanced and reliable communication solutions. Arcadia represents a significant leap forward in terms of connectivity and capacity, empowering our customers to achieve even greater efficiency and performance in their operations," said Clear-Com president Bob Boster.

The latest release of Arcadia is now available.

More information is available on the company’s website.

Matthews Studio Equipment has introduced Grip Rail, which the company said offers a better way to mount equipment on location, in the studio, or on the fly. 

The multipurpose Grip Rail is a rugged aluminum lightweight telescoping grid pipe system that makes it quicker, easier, and safer to brace and hang cameras, lights, or backdrops, incorporate into a wall spreader, build overhead frames, and much more, the company reported. 

The latest in Matthew's lineup of gear, Grip Rail is the brainchild of Aaron Hammel. As a motorcycle race mechanic/crew chief and owner of Patriot Camera Cars (known for electric camera cars) he has dual expertise as a Local 80 Operator and in the intricacies of mounting technology. When Hammel needed a better rail-style mounting system that would eliminate wasted time and resources cutting pipe to size in the field, he went to his own machine shop and built it. When others requested his innovation, he partnered with the folks he trusted up the street—Matthews Studio Equipment.

Grip Rail is a no-cutting, worthy alternative to imprecise and bulky pipe organs and other rail systems. Designed to work with off-the-shelf grip hardware including popular grid clamps, Matthellinis, and standard pipe fittings, the system can secure up to 60lbs/27.2kg in the horizontal (when properly supported on two ends) and 120lbs/54.4kg in the vertical position, Matthews explained. 

At one end, telescoping Grip Rail offers a 360° rotating Junior Receiver giving the user the ability to directly mount lights and adapters. To adjust the system, two grub screws are loosened to telescope the junior receiver end into the desired position. Each Grip Rail comes complete with a Clamp Reducer, a dynamic accessory for adding clamps or fittings along the skinny section of Grip Rail.   

Grip Rail is available in two pipe diameters: 1-1/4" (42mm) and 1-1/2" (48mm). For easy adjustability, both versions are available in either Small: 2ft-3.5ft/1m or Large: 3.5ft-6ft/2m lengths. For more length, Grip Rails can be coupled together thanks to the new Matthews double-ended Junior Pin. 

More information is available in a video at https://bit.ly/GripRailVideos and at https://bit.ly/GripRail. 

OTTAWA—Ross Video has announced the introduction of Raiden, a data-driven weather graphics software that combines data gathering, processing, and visualization tools to transform how broadcasters create weather and climate content with more immersive real-time weather content.

The first release of Raiden brings weather graphics to the XPression toolbox and seamlessly integrates with existing production workflows through an intuitive web-based tool. That allows meteorologists to collaborate with producers and designers to prepare weather and climate content anywhere, the company reported. 

Tailored for the demands of the modern newsroom environment, Raiden facilitates collaboration across departments. 

The Icelandic National Broadcasting Service (RUV) was the first adopter of the Raiden system in their newsroom. “Raiden has transformed our approach to weather storytelling by removing the limitations of our old system,” said their head of production, Gisli Berg. “Our news and weather teams now collaborate more effectively to produce higher-quality content. And the ability to access and prepare content from anywhere has made the team’s job easier."  

“Raiden is the latest addition to the innovative lineup of Ross Graphics solutions that already includes our XPression Real-Time Motion Graphics system, our PIERO Sports Analysis toolset and our Voyager Unreal-based Engine with the Lucid Control System,” added Boromy Ung, senior director - product management and business development - graphics at Ross Video. “With Raiden, we strengthen an already robust ecosystem of products designed for the newsroom. It’s another example of our commitment to advancing our solutions to empower customers to create the most captivating content and maintain their competitive edge in the broadcasting industry.”

Raiden’s powerful toolset enables meteorologists and content creators to produce captivating weather narratives. The Ross described the most notable features as follows: 

• Powerful data aggregation: Raiden seamlessly acquires, processes, and visualizes preferred weather data from a wide range of sources for the XPression graphics engine. 
• An intuitive story creation tool: A user-friendly web-based Interface enables users to quickly build or update a weather story and rundown from anywhere for live production 
• Integrated graphics system: An XPression Plugin with DataLinq™ enables broadcasters to design and operate news and weather content from a single graphics engine. 

To learn more about Raiden, visit www.rossvideo.com/raiden. 

Sony has announced new details about how the National Hot Rod Association (NHRA) is using Sony’s Ci Media Cloud platform to streamline its workflows and speed up their production processes. 

Sony and NHRA reported that the NHRA's content teams regularly ingest hours of weekly race footage, securely share and remotely edit files with teams nationwide and then deliver final assets to multiple platforms, partners, and networks – all under tight deadline pressures, the companies explained. 

To handle the high volume of content, the NHRA chose Ci for its on-site and cloud-based workflows.

“We want everyone to have the right tools to do their jobs efficiently and get our content out as quickly as possible,” said Rob Hedrick, technical operations manager and senior director of production for the National Hot Rod Association. “Sony Ci is the uniting space where everybody can go to store, edit and share assets, securely and quickly.”

The NHRA team handles all production and distribution for its regular weekly TV programming, including 20 national events as part of the “Mission Foods Drag Racing Series” that airs on Fox Sports, plus an average of eight broadcasts on the FOX broadcast network, as well as shoulder programming, divisional and regional events. The team serves its NHRA TV OTT subscribers, multiple content delivery platforms and social media channels.

Their workload also includes managing content for in-venue experiences, post-production shows like “NHRA in 30” and the “Lucas Oil Sportsmen series” and “Pro Mod” series, as well as ongoing marketing, promotional and archival content and a robust FAST channel where fans can watch content from the inception of the sport in 1951, the NHRA explained. 

The team manages at least three simultaneous productions during every racing event. That translates to about four terabytes of content at each event, with anywhere between eight to 12 hours of video from as many as 50 cameras connected via fiber, wireless or directly to the cloud, and the cameras shooting content exclusively for social media.

Annually, the amount of content created by the NHRA production teams ranges between 600 to 900 hours – and every bit of that content funnels through Ci.

“We’re dealing with multiple days’ worth of multiple hours of event footage,” said Megan Sewell, director of post-production for NHRA. “Ci lets us break it all down and organize it by the different runs, special events or scenics [a track or surrounding area]. We have to produce multiple cut-down versions within 24 hours of an event, and we are able to put those together almost immediately. It's work that we couldn't do without Sony Ci.”

Sewell recalled multiple examples of Ci saving the production team valuable time at high-profile moments. For example, following each year’s final event, NHRA champions are announced and then recognized at an awards ceremony the next day with each champion celebrated with a one- to two-minute video highlight reel.

“Using Ci, we're able to upload Sunday’s files immediately, turn them around to create those videos overnight and have them ready for Monday,” she said.

With audiences on all platforms now accustomed to on-demand content, the Ci platform’s MediaLog app also saved the NHRA social media team at least 90 minutes of work following each event, the companies explained. 

“Timeliness is everything since we're constantly pushing content and updates out to our fans,” said Nykki Schele, senior social media manager at NHRA. “Before Ci, I would have to go to the TV truck with a hard drive to get clips at the end of the night. Now, whether I am in the media room, in the pits, or at the top end of the racetrack, I can access content and get it out to our social channels immediately.”

In addition, Ci makes clipping longer-form pieces into shorter social-friendly files easy and fast, and also helps remote teams and different departments share files seamlessly, the companies reported. 

“We're often creating pieces on the social side that the TV or in-venue teams would like to use,” Schele said. “We can dump everything into Ci, push it out to multiple departments at once, and everyone has access to the same videos, which is super helpful.”

The NHRA also reported that using a cloud-based platform like Ci eliminates the need for NHRA to maintain large on-premises storage pools in its offices, especially with most people working remotely or out of multiple offices. Editors, directors, announcers, and producers are all located in different cities, but everyone is able to view everything, assemble a show, check the timing, make approvals, and then send it to its final destination. 

With such a distributed team, the flexibility in how NHRA can set up separate spaces for different teams in Ci is a significant benefit. The ability to create and assign different Workspaces for various workflows and the ability to quickly share access to footage with remote team members enhances productivity.

“I can easily communicate with my producer in California or a track in Saint Louis asking for video,” Sewell said. “Ci’s cloud-based transferring and storage makes our communication so much better.”

NHRA started using Ci in 2017 and has since continually expanded its use of the platform’s capabilities: uploading, storing, feeding in live streams, logging timecodes of key moments, and delivering; automating its ingest and upload processes; storing a 75-year library of archival footage, sharing between departments; and fully taking advantage of field-to-cloud workflow.

“We quickly realized how important and efficient it is to have a digital asset solution that can be used in a quick and high-functioning capacity,” said Stephen Reintjes, vice president of broadcasting for the NHRA. “We spent the first few years exploring its features and potential, and now there's no turning back for us. It's an ongoing process and to even suggest that we’ve scratched the surface of what Ci can do is an understatement.”

Sony and NHRA's tech teams also reported that when NHRA first started using Ci, the potential storage, time, and cost savings were immediately clear. They evaluated other on-premises storage options that wouldn't have been able to contain half of the content currently stored in Ci -- and would have cost millions more over the long term.

Reintjes noted that Ci’s automated storage management policies allows NHRA to create policies that push content into archive storage and then further down into S3 Glacier-based archive storage based on a pre-determined number of days, months or years.

NHRA’s annual race schedule typically has the same events occurring at the same times of year. The association established a rule that at 400 days races are pushed into archive storage and then at 800 days pushed further into deep archive storage, allowing NHRA to effectively manage its storage costs without having to keep as much content in active storage, the companies said. 

“In every way, Ci is really the heartbeat for the back end of our entire production workflow,” said Hedrick. “Having it as part of our entire process to automate our full production workflow helps us to work more efficiently, deliver content quickly and be better storytellers.”

The power of AI (artificial intelligence) will be central to Avid’s product offerings at the NAB Show between April 13 and 17 in Las Vegas.

For instance, Avid’s Inspiration Station open sessions at booth #SU2014 (which are being offered hourly throughout Sunday, Monday and Tuesday) are showcasing Avid Ada AI-powered tools for accelerating creative workflows. The sessions are also demonstrating how Avid’s alliance partners are extending the capabilities of Avid’s editing tool Media Composer with API-powered workflows. They include ‘lens to first edit' with Haivision, First Mile and Marquis; dailies with Autodesk Flow Capture; lightweight asset management with ioMoVo; ingest and archive with Spectra Logic; VFX with Doom Solutions; and integration with Storage DNA.

Avid is spotlighting the latest changes to its news production solution MediaCentral. According to the company, MediaCentral’s new capabilities include enhanced browser-based editing with audio waveforms, more powerful search tools, Blueprint Builder for workflow planning, enhancements to the Rundown app, plus new AI enhancements powered by Avid Ada. 

Demonstrations will show how Avid Ada uses AI to automate speech-to-text transcription, summarization, and language translation. They’ll also show the many AI-powered tools already in Avid solutions today – such as PhraseFind AI and ScriptSync AI in Avid Media Composer, facial detection and scene recognition in Avid MediaCentral, plus a preview of transcription services and recommendation engines.

The latest release of Avid’s software-based ingest and playout solution Avid | Stream IO is on display at 2024 NAB Show. Designed for production teams transitioning from SDI to IP and wanting to use cloud and hybrid workflows, Stream IO supports formats from low resolution proxy up to UHD, in two-, four- and eight-channel configurations for ingest and playout. There will also be a demo showing how a journalist editing in the web-based MediaCentral | Cloud UX can write a script, record their voiceover to the timeline, and then ask the AI service to identify relevant footage that matches a selected section of the story.

As well, visitors can see how Avid Pro Tools (audio postproduction market) has added features for dialog, re-recording, ADR, and mixing, with previews of several new features, including:

• ARA integration of essential audio post plugins like iZotope RX, Synchro Arts VocAlign, and Sound Radix Auto Align.
• Dropbox Replay integration with Pro Tools to accelerate review and approval workflows.
• Immersive audio workflows, including live re-renders for Dolby Atmos, using Pro Tools’ internal renderer.
• Dialog workflow enhancements like track markers, and memory locations.
• Saving of Pro Tools sessions as Media Composer-compatible files, complete with sample-accurate volume and pan information, plus markers.
• Drag and drop of Pro Tools sessions directly into Media Composer bins.

In addition to third-party integrations with Media Composer, Avid is highlighting third-party apps available on its MediaCentral news platform including:

• AI-driven transcript and caption creation, and language translations from TRACO and Digital Nirvana.
• Avid | Edit On Demand ‘lens to first edit’ integrations with Sony and Marquis for proxy workflows and high-resolution file transfers.
• X.News which allows users to incorporate social media content into their story creation and rundown. 

COLOGNE, Germany—Workflow specialist and Adobe SI partner MoovIT will be exhibiting for the first time at this year’s 2024 NAB Show, where it will showcase its Helmut4 video project management software, alongside helmut.cloud, its new holistic platform for workflow automation, integration and connection.  

MoovIT’s expertise as a service provider and software development partner for broadcasters, video production and international sports events is already well established in Europe and the decision to exhibit at the 2024 NAB Show reflects its plans to expand its presence in the American market, where it is working with CHESA, the specialist and solution partner for professional media workflows. 

“It is MoovIT's philosophy that all tasks within a video production process can be defined as a combination of workflows, regardless of the type and size of a company. Triggered by any event, good workflows are the basis for organizing teams, tasks and solutions,” says David Merzenich, managing director at MoovIT MSP.

This core principle has been key to the successful development of Helmut4, the project management software, combined with FX, IO, Cosmo and Housekeeper components for efficient management, backup and control of editing projects in professional Adobe video production environments. Helmut4 is successfully established in the European video production industry and considered a game-changer by customers making the switch from Avid to the Adobe landscape, the company said. 

Building on that, MoovIT is now launching helmut.cloud, a platform for workflow design and orchestration. Uniquely, it offers an open architecture that allows customers to integrate any software they use or require into the workflow. With helmut.cloud, the customer can automate, connect, create and even program their own production solutions with no restrictions – securely and tailored to their specific needs.

The company reports that helmut.cloud is designed to enable production teams to organize, design, trigger, execute and monitor all workflows according to their wishes using the Streamdesigner Studio node-based application. 

In addition, the platform provides an event gateway to connect any video software within minutes, including the Helmut4 toolkit to extend them with an out-of-the-box workflow engine. This creates unlimited new possibilities for creative, customized workflow designs for broadcasters, media professionals and many other industries.

MoovIT also said that helmut.cloud is especially powerful when interacting with Adobe products such as Premiere or Frame.io. Using the helmut.cloud platform, the creative power of the Adobe CC product range can be expanded to include extremely powerful workflows in minutes.

High5 is the go-to application in helmut.cloud for connecting and extending modern and legacy apps. It allows users to create apps, define events, and easily build powerful workflow orchestrations using Streamdesigner Studio. High5 also offers a dashboard for monitoring stream executions and allows users to trigger events using incoming webhooks. It also provides the unique flexibility to run streams on any computer, on-premises or in the cloud – for distributing workflows around the world.

"Thanks to the smart implementation of webhooks, plus the combination of automation, integration and programming options, the workload involved in creating workflows drops by 90%. The obvious benefit is cost reduction, and/or more room for useful workflow traffic. This brings customers a big step closer to achieving the goal of effective supply chain management,” explains David Merzenich.

The helmut.cloud solution is offered via a software-as-a-service (SaaS) model and includes comprehensive user management across organizations, teams and users, down to granular role management. 

For more information visit MoovIT and CHESA, partnering with Hiscale and ObviousFuture, at booth #SL3124 during the NAB Show or visit the company’s website www.movit.de. 

Book a Meeting with MoovIT at NAB at https://calendly.com/moovit-general

It’s no secret change is afoot in Media & Entertainment Industry production workflows.  The lineup of single-purpose products that formed the building blocks of an integrated technology solution are being replaced rapidly by COTS computers and networks as well as the cloud. 

In this Q&A with TVTech Contributing Editor Phil Kurz, Matrox Video Product Marketing Manager Angus Mackay discusses this “IT-ification” of the industry and how his company is helping organizations with these changes. Mackay also looks ahead to the 2024 NAB Show, April 13-17, in Las Vegas (Booth SL5073) and discusses what to expect from the company at the annual gathering.

About Matrox Video

Matrox Video is a global leader in video technology. Featuring a complete portfolio of best-in-class hardware, software, APIs, and SDKs, Matrox Video enables OEMs, system integrators, value-added channel partners, and end users to push the boundaries of video innovation. Serving the AV/IT, broadcast, and emerging markets for over 45 years, Matrox Video is synonymous with quality, performance, interoperability, and support. Matrox Video’s legal entity is Matrox Graphics Inc., part of the Matrox Group. More information is available at the company website. 

ALLENDALE, N.J.—Camera robotics provider Telemetrics has announced that it will show new software and hardware improvements that will boost operational capabilities across its entire portfolio of camera control systems during the 2024 NAB Show at Booth #C4420. 

These significant improvements include the addition of new features for the RCCP-2A Robotic Camera Control Panel that help the Telemetrics OmniGlide Robotic Roving Platform work smarter and the TG-4/TG-5 camera trolley and track systems that move more smoothly, accurately, and safely.

“Through a series of software enhancements and tighter system integration, we’re continuing to improve the features and functionality across our entire range of products,” said Michael Cuomo, vice president of Telemetrics. “This will allow studio engineers and designers to create new types of production workflows that suit their specific needs with the most efficient technology the industry has to offer.”

At NAB 2024 the popular RCCP-2A Control Panel will be demonstrated live with new improvements to:

• Studio View – Which enables control panel operators to see a graphical 3D reproduction of the studio environment right on the panel itself, with real-time location of camera pedestals and track systems. New at NAB, the TG-4/TG-5 track system now supports Telemetrics’ exclusive collision detection/avoidance safety features.
• Power View – Which benefits users of the LP-S5 Pan/Tilt Head in tandem with the PS-RM2-48 power supply and the control panel with real-time control and power status of multiple devices.
• Robotic Status – Telemetrics has added real-world values in real -time in order to improve crew operations. This enhanced feature now displays more real-world data of how the robotics equipment is performing at any moment in time.
• Virtual Tracks – A new feature on the LP-S5 Pan/Tilt head that enables AR/VR of curved tracks in a more optimized way. This provides vast improvement in robustness and accuracy of virtual curved track systems (TG-4 and TG-5).

In terms of the company’s reFrame and reFrame Server visitors to the Telemetrics booth will see a series of new software improvements to reFrame Talent tracking software, which can be accessed from both the control panel and the reFrame Server. Among the new features are AI improvements to add more flexibility to subject framing (asymmetric return), incorporating additional movements utilizing Telemetrics Televator®, TG-4/TG-5 track and OmniGlide rover capabilities (X, Y, Z priority), and auto retrigger framing when talent is slightly out of frame for prolong periods.

The Telemetrics reFrame Server extends the automatic camera tracking capabilities flexibility of its artificial intelligence (AI)-assisted reFrame Automatic Shot Correction software to more cameras in a production studio or event space–on site or remotely. This allows multiple cameras on the same network to have talent and object tracking capability.

Other tech advances can be found in the TG-5 Robotic Camera Trolley. Introduced at the NAB Show last year, the new TG-5 robotic camera trolley is now shipping and has already been installed at several broadcast and production facilities in the U.S. and around the world. 

Part of the Telemetrics TeleGlide family of robotic camera dollies, the new TG-5 offers superior performance due to built-in safety sensors, an improved servo drive system, and a more streamlined trolley that can easily be recessed into a production studio or corporate presentation venue floor. 

The company will also introduce native support and control over several new cameras, including the latest models from Blackmagic, Canon, Grass Valley, Hitachi, Ikegami, Panasonic and Sony.

For more information on Telemetrics’ camera robotics and control systems visit www.telemetricsinc.com. 

PARIS—Dalet has announced that during the 2024 NAB Show (booth #W1713), attendees can experience firsthand Dalet’s collaborative, AI-enabled workflows that harness the power of a single, cloud-native technology stack to facilitate production, distribution, archive and monetization for news, sports and entertainment across all channels. 

Dalet said that its flexible, scalable solutions are designed to revolutionize the way broadcasters engage audiences around major sports and events, empower news organizations with the tools and speed to deliver authentic stories as they happen on every viewing platform and enable content owners to reduce time to market and monetize archives through revenue-generating storefronts. 

"Dalet is synonymous with digital media transformation. Our AI-enabled production, distribution and monetization workflows showcased at NAB 2024 give customers trusted, future-proof technology that they can leverage for transformative business opportunities,” states Robin Kirchhoffer, chief marketing officer, Dalet. “Dalet’s unified media workflow platform is designed from the ground up for unprecedented flexibility. Its modern, cloud-native architecture supports technological evolution, enabling us to offer a modular collection of services and expanded workflows that bring real business value and operational efficiencies, empowering our news, broadcast, sports and content customers to thrive today.”

Designed for mission-critical media workflows, Dalet's unified platform for asset management and orchestration maximizes return on investment (ROI) globally through industry-leading automation, full elasticity and AI-enabled applications, the company said. As the company develops new, bespoke technologies, modules and applications for news, sports, OTT, archives and other content workflows, the Dalet platform underpins the expanded ecosystem seamlessly.

Key highlights for newsrooms include: 

• Dalet offers story-centric workflows for unified news operations across television, digital and radio. These solutions optimize collaboration, modernize operations and harmonize resources to solve chaos across newsrooms. The award-winning Dalet Pyramid application is presented alongside the Dalet Cut browser-based editor, and Dalet Media Cortex powerful AI capabilities, which present a revolutionary approach to centralized planning and multiformat news production across a global news organization. The showcase will include a preview of next-generation, browser-based rundown management.
• Co-founder and principal Stephane Guez will explore approaches to “Solving Chaos in the Newsroom” as part of the NAB 2024 conference program on Tuesday, April 16th. 

Key highlights for sports include:

• Sporting organizations such as leagues, federations and major teams can leverage Dalet Flex to streamline their end-to-end workflows from elastic ingest, logging - integrating third-party tools such as loggers and sports data feeds - AI-powered metadata enrichment with Dalet Media Cortex, near-live production with Dalet Cut, distribution and monetization through storefronts like Veritone’s Digital Media Hub. 

Highlights for streamlining advanced M&E content operations include: 

• Dalet Flex empowers media-centric organizations to produce, manage, package, distribute and monetize digital media content and archives effortlessly. The cloud-native solution powers complex end-to-end workflows for content owners of all types and sizes. From production with web-based editor Dalet Cut, integration with creative tools such as Adobe Premiere Pro and Avid Media Composer, complex format processing, advanced packaging and distribution at scale through to monetizing their archives, Dalet Flex increases efficiency and speed-to-market.

Additional product highlights include:

• Practical, integrated AI with Dalet Media Cortex, which provides speech recognition, language translation, automated metadata tagging and more. Visitors to the Dalet booth will be able to discuss real use cases, such as the complexity of multiple language requirements and how incorporating AI can automate translations of captions, graphics, voiceovers and more.
• Elastic Ingest with Dalet InStream, the multi-channel, cloud-native ingest solution that brings a whole new level of efficiency, agility and elasticity to capture large-scale live events.
• Advanced Media Processing with Dalet AmberFin, the leading media processing and transcoding solution that delivers high-quality media conversions for advanced production formats to complex delivery standards with flexible deployments and elastic processing power.

Dalet will also host its exclusive Executive Breakfast on April 15th, at 7:30 a.m. at the Sahara Hotel in Las Vegas. The C-Suite, invite-only event themed “Big Events. Big Changes.” will feature keynotes from top industry leaders and innovators. Spots are limited and filling up fast: click here to register your interest and we will confirm your attendance based on availability.

Dalet customers and partners are also invited to the popular “After Work” happy hours at the Dalet booth W1713 for snacks, drinks, and conversation. Stop by and say hello on Sunday, Monday and Tuesday of the show from 4:30 pm to close.

Attendees can book a meeting here. 

AUSTIN, Texas—Systems integrator BeckTV has announced that it will be showcasing its facility design, engineering, and installation expertise and services, with a particular focus on its work for sports venues and TV stations at the 2024 NAB Show. 

During the show in Las Vegas between April 13-17, BeckTV engineers will be on hand in Booth C4035 to review the newest technology and trends, along with best practices in system design and integration.

In announcing its NAB Show plans, the company said it offers complete space planning, design, engineering, purchasing, and integration services for nearly any budget — all available in a one-stop shop. The company also has extensive in-house metal, composite, and wood fabrication capabilities to create truly customized solutions.

"With the increasing adoption of SMPTE ST 2110 and AES67 and the push for ever-higher resolutions, broadcasting and sports facilities are looking to modernize their infrastructures or build brand-new ones to take advantage of the latest technological advancements," said Matt Weiss, vice president of business development at BeckTV. "I'm happy to say that BeckTV has been behind many of those projects. They are perfect illustrations of our skill and expertise, which will be on full display at NAB. Any broadcast or sports production engineer who's planning to upgrade will really like what they see."

Over the years, BeckTV has implemented innovative technology for nearly every type of installation, including broadcast and network television stations, cable and satellite facilities, network operations centers, sports and mobile trucks, professional and university stadium venues, and houses of worship, the integrator said.

The company's projects run the gamut in terms of size and technology — from sports stadiums and large network builds to the smallest call letter stations, and from classic baseband video systems to sophisticated SMPTE ST 2110 deployments.

In the recent past, BeckTV has been responsible for infrastructure upgrades and/or new builds for prominent sports venues and several broadcast stations. Sports projects include M&T Bank Stadium, home of the NFL's Baltimore Ravens; Lambeau Field, home of the Green Bay Packers; the UFC Apex; Citi Field, home of the Mets; Lower.com Field, home of the Columbus Crew; and Lucas Oil Stadium, home of the Indianapolis Colts. Among its many accomplishments, BeckTV has designed and built the most advanced 4K HDR 2110 deployments in sports and is responsible for the only installed 8K replay systems in NFL venues. 

The company has also worked with major station groups, including Hearst, Tegna, Gray Television, and Griffin Media, completing projects for stations from complete greenfield builds to major system upgrades.

Besides its work with on-site broadcast facilities, BeckTV is also known for its work on outside broadcast (OB) trucks, such as a recently completed flagship OB truck for Ross Production Services. 

As part of its OB work, BeckTV said it can manage an OB truck project and conceptualize and finalize design and documentation of all major broadcast systems, including every individual wire to be installed in the truck. BeckTV can prewire and label all cables at its facility for delivery to the project site. Then, after receiving an empty truck, a BeckTV installation crew can completely integrate all equipment, running the wires, racking the gear, doing all the power and cabling, and performing comprehensive testing to ensure the final system operates as planned. Finally, a BeckTV project engineer and a technician can be on hand to provide event support during the truck's first show, the company said. 

More information about BeckTV is available at www.becktv.com.