The ATSC in July approved Broadcast-to-Everything (B2X) as a candidate standard and announced the approval with great fanfare earlier in October.

The work’s overarching goal was to advance ATSC’s vision of enabling broadcast and mobile technologies to work more closely together, according the committee’s announcement. It also extends the reach of broadcast so unicast networks can leverage the one-to-many strength of broadcasting.

TV Tech reached out to Madeleine Noland, ATSC president, to put this development into context for broadcasters.

In this interview, Noland discusses B2X, the thinking behind its development, who will likely use it, the parallel development of bridge technology that will bring some B2X use cases to broadcasting and how B2X is intended to address the future.

(An edited transcript.)

TV Tech: Earlier in the month, ATSC announced its membership’s approval of Broadcast-to-Everything (B2X) as a candidate standard. How are the ATSC 3.0 suite of standards and B2X related?

Madeleine Noland: There are a couple of things that are part of B2X. One is pure standalone B2X, and that is its own thing that would be running in different spectrum and doesn’t ride alongside of ATSC 3.0.

It’s a different physical layer, and it enables many new use cases that are pretty exciting. At the same time, there is something that the group is working on called bridge technology, which is a way that an existing ATSC 3.0 broadcaster can implement a wide variety of the use cases that B2X can offer.

TVT: Such as?

MN: B2X enables you to do a couple of things you can't do as easily with ATSC 3. Although the bridge technology is going to get you some of the way, one of the things about B2X is that its unique physical layer design is perfect for very low-power devices.

Imagine you've got a sensor out in the middle of a cornfield that has no power other than solar, or it's battery-operated and nobody wants to get on a tractor and go out there and change the battery.

There are aspects of B2X that could be particularly useful in certain verticals for certain use cases that you might not want to use ATSC 3.0 for.

Then there are other use cases where you could really use either technology. It sort of depends on what you have deployed already, what your larger business model picture is all about.

Take, for example, if you wanted to do broadcast traffic offload of a unicast network. That’s a pretty good example. There are some things that you could do with B2X that you can't do with 3.0, but there are a lot of things you can do with the bridge technology that you can do with 3.0.

One of the things that they’re bringing to bear as part of this work is they are working on a broadcast core network, which will apply to 3.0 or B2X and will be closely integrated with 3GPP technologies. The concept behind that is that if you’re a mobile network operator and you want to take advantage of the opportunity to move some broadcast traffic off your network, this makes it much more seamless. It uses 3GPP-defined interfaces between core networks and between radio access networks.

TVT: So will ATSC 3.0 broadcasters take advantage of the standard’s bootstrap to tuck B2X into their existing NextGen TV transmissions?

MN: My guess is that they will use their ATSC 3.0 transmissions, and they will use the bridge technology to take advantage of some of the new verticals that they would be able to access, but that they wouldn’t necessarily change what they’re doing.

It's possible they would interleave ATSC 3 with B2X using the evolutionary frame capability, but my guess is that there’s some overhead to doing that. Are the advantages of B2X within an ATSC 3 transport or physical airframe structure strong enough that you would deal with some of the overhead that is necessary to interweave two standards together?

I don't know what the answer to that question is. My guess is that in the U.S. for the foreseeable future, they would look to the bridge technology, which is coming.

TVT: So who will be the users of B2X? Wireless network operators? Broadcasters around the world?

MN: One of the things that B2X has is it works in 5-, 10-, 15- and 20-MHz bandwidths, as well as 6, 7 and 8 [MHz], which is traditional broadcast. It can absolutely operate in any number of the frequency bands, including traditional television broadcasts, but also going up into the frequency bands that mobile network operators use.

Whether they will ultimately use it or not is certainly going to be a market decision. But it will become available to them to use for broadcast and multicast use cases. I could see that as a possible outcome.

I could also see broadcasters allocating different spectrum for this. For example, say that some consolidation takes place in the United States if the ownership cap rules ultimately are changed, and that there’s a possibility that broadcasters are going to be working together. They could say, "Well, we want to work with B2X in some of our spectrum, and we want to work with ATSC 3 in some other of our spectrum.” I think that in the U.S., though, that would require a regulatory change as well. I think that would be a little bit further down the pike if it were to come.

But then you start looking at other countries where they're thinking about what do they want to do with their digital strategy. What do they want to do with mobile offerings? What do they want to do with broadcast networking reaching rural areas? I think that some of these greenfield areas might be earlier fruit for the B2X technology.

TVT: What is driving an organization called the Advanced Television Systems Committee to develop a standard that may or may not be used by TV broadcasters?

MN: I think what's driving this is almost a philosophical understanding that when you look to the future, it's a network of networks. There's not any one network that is perfect for all use cases.

What you really need is the ability for the networks to operate together according to the data session and the need. When you start a standard that's needed right now, you are too late.

So, we think about B2X as really preparing broadcasters—and frankly, network operators—for this future of converged service. The idea behind B2X is to prepare us for that time, which is already here in many ways, and make us as close to 3GPP standards as we can be, and that's really the genesis behind B2X.

It's very much a future-thinking standard, and the goal is to have the standard complete and ready for testing and for exploration and implementation, with the understanding that as the world changes, we're going to be looking more to interchangeable networks that can be shifted seamlessly within devices and seamlessly on the transmit side.

I also think that ATSC for a number of years has been recognizing that broadcast infrastructure is way more than TV and, as you know, we have rebranded ourselves to take the word “television” specifically out of the name of the organization on the market-facing side of things.

We're working very hard to make people think about their broadcast infrastructure in new ways.

WASHINGTON—A key university working on the development of the ATSC 3.0 standard successfully demonstrated advancements in interference cancellation and signal reception capabilities during a July IEEE event in Brazil.

Mackenzie Presbyterian University demonstrated the advancements during the 2026 IEEE International Symposium on Broadband Multimedia Systems and Broadcasting (BMSB) in João Pessoa, Brazil.

The university conducted system integration and lab verification using hardware, software and algorithms developed or contributed by members of ATSC Implementation Team 5 - Tower Network (IT-5), including the University of the Basque Country (Spain), Shanghai Jiao Tong University (China), the Electronics and Telecommunications Research Institute (ETRI, Korea) and Western University (Canada).

The demonstration employed an Inter-Tower Communication Network (ITCN) and Geographically Segmented Localcasting (GSL) to improve spectrum efficiency by allowing signals from local stations to overlap geographically. It demonstrated how advanced signal processing techniques can facilitate the reception and decoding of lower-power signals in challenging co-channel interference environments.

For the demo, the desired signal was received at a power level 37 decibels below the stronger signal. Successful decoding under these conditions provides evidence of the potential for advanced interference cancellation techniques to support more flexible broadcast network architectures.

Ultimately, these capabilities could help broadcasters improve spectrum utilization, support localized content delivery and explore new network configurations as ATSC 3.0 deployments evolve.

“This demonstration is an important example of how ATSC 3.0 continues to evolve beyond traditional television broadcasting,” ATSC President Madeleine Noland said. “The ability to manage complex signal environments and make more efficient use of spectrum opens exciting possibilities for broadcasters.”

Brazil’s TV 3.0 has catalyzed ATSC members, in particular IT-5 members, to advance Localcasting technologies to improve spectrum efficiency and enable geographically targeted content delivery.

Responding to Brazil's needs, IT-5 members collaborated internationally to develop and demonstrate innovative interference-cancellation and signal-reception capabilities, highlighting the value of global technical cooperation.

These advancements provide a backdrop to the IEEE Broadcast Technology Forum, which opens Oct. 27 at NAB headquarters. The two-day gathering offers broadcasters engineers, technology developers and industry leaders a forum to explore the innovations shaping the future of broadcasting.

More information is available on the IEEE website.

McLEAN, Va.—Tegna has hired veteran station executive Mellynda Hartel to lead its operations in Florida as president and general manager of WLTV-WJXX Jacksonville and WTSP Tampa.

The 30-year industry veteran comes from Fox Television Stations, where she was senior vice president and general manager of KTVU San Francisco and KICU San Jose, Calif. (branded on-air as Fox 2 Plus).

Prior to leading Fox’s Bay Area stations, she held executive and sales leadership positions at stations in San Francisco, Phoenix, Boston and Washington.

“Mellynda is a highly respected leader in our industry, known for her strategic vision, ability to develop strong teams and track record of driving growth and innovation,” said Joan Barrett, group general manager for Tegna’s Northeast and Southeast regions. “She brings a combination of experience, creativity and a passion for local media that will help us strengthen our connection with Florida communities, grow audiences and create new opportunities for our advertising partners.”

WLTV, Jacksonville’s NBC affiliate, and WJXX, the CBS station in that market, operate under the First Coast News brand. WTSP, the CBS affiliate in Tampa, is branded on-air as 10 Tampa Bay.

“First Coast News and WTSP are among Tegna’s strongest stations, with newsrooms that have earned the trust of their communities,” Hartel said. “I’m eager to help them build on that legacy by creating new opportunities for our viewers to access trusted content and new solutions for our business partners.”

Hartel, a graduate of Bryant University, resides in St. Petersburg, Fla.

BURBANK, Calif.—Matthews Studio Equipment has introduced the 33 Sliding Leg C-Stand with Grip Head and 40-inch Arm.

The new stand combines Matthews’ recognized support with a compact size that travels easily and delivers the strength and serviceability crews have come to expect.

The C-Stand fits in the trunk or hatchback of a small car, making it a practical choice for crews transporting equipment without a production vehicle. On set, its sliding leg allows adjustable leveling on stairs, curbs and uneven ground, while the nesting base lets crews position stands close together for lighting and diffusion.

Two risers extend to a maximum height of 110 inches (279.4 centimeters) and a minimum height of 46.3 inches (118 cm). The stand supports up to 22 pounds (10 kilograms) and weighs 11 pounds (5 kg) or 15 pounds (6.8 kg) with the included grip head and 40-inch arm. Its footprint measures 27.5 inches (70 cm) with a folded base of 21 inches (54 cm).

Matthews’ V-shaped brakes provide three points of contact for a solid, secure hold. Knurled, undercut baby pins on the riser and grip arm help secure attached equipment. Only available when purchasing a new C-Stand system, the arm now features a knurled Baby Pin with ¼ inch-20 tap for added mounting flexibility. The included grip head features serrated plates and mounting holes for positive locking. The system also is compatible with all ⅝-inch Baby Pins and receivers.

Built to stay in service, every component of the 33 C-Stand can be repaired or replaced in the field. When properly maintained, Matthews said, its C-Stands are designed to serve crews for decades.

The 33 Sliding Leg C-Stand with Grip Head & Arm is available individually or in two-packs, in chrome or black powder coat.

More information is available on the company’s website.

ATLANTA—Gray Media has tapped Jennifer Rieffer as general manager of WBTV Charlotte, N.C., the station group’s CBS affiliate in the No. 21 U.S. DMA.

Rieffer had been vice president and general manager of WXIX Cincinnati, the market’s Gray-owned Fox affiliate, which she joined in 2021. During her tenure there, the station became the flagship station of the Cincinnati Bengals and the over-the-air TV partner of the Cincinnati Reds.

Rieffer began her broadcast career in Lexington, Ky., spending 24 years at Fox affiliate WDKY. She then became general manager of Sinclair-owned Fox station WSMH in Flint, Mich., and also oversaw Sinclair’s joint sales agreements with Flint’s NBC affiliate, WEYI, and The CW affiliate, WBSF. She graduated from Morehead State University.

Atlanta-based Gray Media owns 117 TV stations in 78 U.S. television markets.

With the college football season well underway, the constant need to improve the fan experience has never been greater.

That’s easy to understand when considering the fan’s perspective. The ease of lounging in front of a 4K screen in an easy chair while enjoying some inexpensive eats—and the overall time and money saved—has created stiff competition for athletic programs that need to fill expensive seats in massive stadiums.

So what’s one way for the athletic programs to battle back? By providing multi­faceted—and sometimes mind-blowing—film and video upgrades.

Brandon Meier has had a front-row seat for this progression. He started his career at the University of Nebraska as many dream of doing—as a student production assistant from 1996 to 2002. Over that span, he worked in the university athletic department’s HuskerVision unit.

Back In the Day
HuskerVision was created in 1994 to operate two large Mitsubishi CRT screens and produce video content for the Cornhuskers back when Nebraska’s Memorial Stadium had 3,000 square feet of broadcast facilities.

Today, Meier is the deputy athletic director of external affairs and oversees all creative and content for Nebraska athletics. This included the recent installation of a new Daktronics 117-foot-by-33-foot screen, and 25,000 square feet of production facilities following a move into the football team’s former offices. That shift involved a $13 million upgrade in broadcast facilities, including a $6.5 million investment in equipment and infrastructure.

The facility now houses the eight full-time HuskerVision staff who handle in-game video and other broadcast duties from three control rooms. They control the SMPTE 2110 broadcast deployment with an IP data center-level infrastructure, 12 4K Grass Valley Group HDR cameras and three EVS servers with 2 terabytes of IP switching capacity. Nebraska was the first university to install Lawo/VSM routing and IP management infrastructure, Meier said.

The new HuskerVision production facility (read more about it in SCN) also includes 34 operator stations, a new rack room with 40 racks and a centralized UPS backup with Liebert air conditioning units to keep the operation cool.

Much of its non-event content is shot in a 2,600-square-foot studio with a 24-foot green-screen cyclorama, full AES 67 IP audio integration with Lawo I/O frames for trucks to grab video feeds and a Riedel intercom. Beck TV was the project integrator.

While the group uses all three control rooms at peak times, it’s the master control room that serves Nebraska’s eight other athletic venues around campus. Meier said Mark Jacobson from Chicago-based Stadia Video Group “did an amazing job as our consultant and provided great value for our overall investment. He also worked hand-in-hand with Brock Raum, a former HuskerVision production assistant, who was the senior engineer for Beck TV overseeing the equipment integration.”

The Kickoff
But since it’s football season, Meier has enjoyed the new production capabilities on game day. “Higher-quality replays, better clarity of camera images and larger lenses help engage the fans to interact with our show,” he said, although the main improvement is “better, more reliable workflow.”

“We can be ready to go in a moment from one venue to another,” he said. “We may have volleyball at 3 p.m., then football at 6 p.m. In the spring. It’s not uncommon for us to have three events at once.”

Meier said that while much of HuskerVision’s equipment “was end-of-life, so it was time” for the update, there’s an additional benefit. “This helps us prepare our students for top industry positions and it gives them experience with state-of-the-art broadcast gear,” he said.

For more information, check out “Cornhuskers Coverage Conversion” on TV Tech sister brand SCN.

How Vast Is It?
The big new attraction at the University of Illinois’ Gies Memorial Stadium is a $30 million Daktronics video board above the south end zone, measuring 17,300 square feet (250 feet by 69 feet, which would rank fifth in the NFL). It’s “the largest in all of college athletics,” said Derryl Myles, senior associate athletic director for Fighting Illini Production and Technology.

The board is so vast that it is about 6,700 square feet larger than the board at Auburn University’s Jordan-Hare Stadium, which ranks second in the Football Bowl Subdivision. On its back are two more video displays to greet the Fighting Illini faithful as they arrive for the game, with each measuring 29.5 feet by 52.5 feet.

But that’s just the first upgrade in the overhaul of the video and broadcast operation, which also includes a 12.5-foot-by-180-foot “super ribbon” under the north end zone, with east and west ribbons of 4 feet by 427 feet.

New broadcast infrastructure is used to create and distribute content for the screens and elsewhere within the U of I’s network. It starts with content capture via six in-stadium Grass Valley LDX 150s, plus two Bolin PTZ cams mounted on the goalposts.

Images are distributed from the new control room, which is located not in the stadium but in the nearby Bielfeldt Athletics Administration Building. It features an IP infrastructure, which works off of an Evertz Magnum router; NETGEAR and Cisco switchers, using SMPTE 2110 with SDI baseband support; one Ross Carbonite switcher, with two XPressions with four channels each; and two Evertz Dreamcatchers for replays.

Showing the Money
The university is making best use of the old equipment, as it now serves as a second control room for streaming service B1G+ (Big Ten+) for “overlapping smaller events” held in the basketball arena, State Farm Center, Myles said. It includes four Sony 300 Triax HD cameras, a Ross Carbonite switcher with one channel of Xpression and the Mira Abacus for replay.

To connect the new network, Illinois has 144 strands of fiber emanating from Bielfeldt, 72 of which are dedicated to Memorial Stadium and 72 to State Farm Arena. The old auxiliary fiber still connects Huff Hall, home to smaller sports such as gymnastics, wrestling and volleyball.

Myles said the update was made for this football season for simple reasons: It was time and the athletic department had the money.

“Our infrastructure was about 12 years old when longtime fan and university donor Larry Gies generously contributed $100 million to university athletics, [which is] the biggest of many of Gies’s gifts to the university that he loves,” he said. The updates also include Wi-Fi
upgrades at more than 100 access points throughout the stadium through a partnership with MSB Engineering.

“The cool thing about it is that we’re now more flexible in what we can do in and out of the stadium, with various user interfaces,” Myles said.

So while accessing a philanthropic contribution is a long process, “We’ve moved forward since it was approved in January,” said Myles, who now has a new task at hand. “We’re still in the trial and error stage with our new Daktronics boards, but we’re making progress every day.”

Coming Attractions
You could say the technical updates at The Ohio State University, another Big Ten stalwart, are two-fold. Some of the work is complete and more is underway, slated for completion before the 2027 football season.

The obvious upgrade is the new north videoboard, standing out in the closed end of Ohio Stadium. The 44-foot-by-17-foot board from Daktronics is complemented by new 4.5-by-450-foot LED ribbon boards mounted on the fascia of the upper deck, along the east and west sidelines.

The coming attraction is rising on the southern end of the property: A new $3.8 million, 21,500-square-foot (total area) TV compound benchmarked for the ever-varying number of large and small trucks on hand to cover a given day’s competition.

“We’re relocating the site from the general-use parking lot to one near the Huntington Club entrance, which is 450 feet south of the stadium,” Executive Associate Athletic Director Mike Penner said.

The new building will house an Evertz ENX Router, Evertz 5800MSC sync generator and Evertz 3406 SDI transport; Sencore AFN-1000 IP encoders and a Sencore MRD 80100 decoder; Dante audio ML-32D, ML-16D and MM-2D-X transports by Tascam; and a Phabrix QXL SDI analyzer.

Part of the impetus for the new compound is to accommodate more production vehicles. That’s been spurred by the growing number of marquee TV matchups held in Ohio Stadium, as the footprint for Big Ten and potential College Football Playoff games “can require that a given facility accommodate more trucks, generators, satellite uplinks and main connections,” Penner said.

“It’s a better space for the networks to set up,” he said. “It’s covered from the elements and will be unified with our broadcast in-house production for TV, cable, audio/visual transit and digital video signage.”

Wait ’Til Next Year
But that isn’t all that is on the horizon.

Back in the bowl, coming in 2027 is a new 157-foot-by-45-foot video board, as well as a 157-by-10-foot LED ribbon board that will be complemented by a new audio system with Fulcrum speakers and Powersoft amps installed by C.V. Lloyde Audiovisual. This time, the updates will all be in the south end zone.

There is also an LED control room in the press box. Game-day video content is captured via 12 Sony professional-grade PTZ, production and cine cameras, with Ross routing, graphics and switchers.

About 500 feet of fiber connects the TV compound to a hub inside the Ohio Stadium, with several hundred more connecting the main nerve center in the Schottenstein Center around a campus that supports more than three dozen teams.

The arena, which lies across the Olentangy River from Ohio Stadium (but still within the campus footprint), contains a Grass Valley main switcher and tech from Ross Video for routing and graphics, Dreamcatcher for Replay and Sony Cinecameras for PTZ and production.

Into A Higher Gear
When the University of Washington agreed to join the Big Ten two years ago, the move came with various mandates for upgrades in and around the campus, including a big change in avenues for the creation and distribution of sports content.

That led to an extra improvement that wasn’t expected, but more on that later. First, it called for the building of four new control rooms, not inside Husky Stadium but in Alaska Airlines Arena, which connects to several venues around the campus.

Just how these four SMPTE 2110-based control rooms inside the arena “are broken down and used varies greatly,” Deputy Athletic Director Kurt Svoboda said of an operation which incorporates more than 20 Grass Valley and Sony cameras.

In the case of Huskies football, games involve three scoreboards from Daktronics. This includes the east main video board, which is 31.2 feet by 108 feet, plus two wing boards that measure 18 feet by 31 feet each, alongside three rows of ribbon boards.

New gear in master control includes two GVG K-Frame SXP switchers, six Ross XPressions for graphics and six Evertz Dreamcatchers. Anthony James Partners was the system integrator, with major university partners GVG and CTI.

The university has also added a 1,000-square-foot video and photography studio with seven LED columns that can be configured into a single 10-foot-by-27-foot background, “which is big for a small room,” said Svoboda, also noting the separate Pro Cyc wall.

“That space is where we can host a sports talk show, students’ athletic promos, interstitial content,” Svoboda said, noting the versatility offered by the new setup. “We have a 2,300-square-foot event space with another LED wall that measures almost 7 feet by 12 feet, between the control rooms and photo/video room.

“So we can host a premium event for professional industry groups where guests can watch the games unfold in the arena before them,” he said.

Getting Schooled
The above illustrates what often happens when a university athletic department changes conferences. “When we were in the Pac-12 we didn’t need these spaces, since the conference handled all of the game broadcasts,” Svoboda said.

“However, when we joined the Big Ten, we had to upgrade our infrastructure so we could provide content to the Big Ten Network,” he said. “That was an extra challenge at the time, because we never had athletic employees in the content creation space, nor did the university have a major for it—nor do we to this day.”

That said, the university has “grown a great deal” in just two years. “In 2024, we had no student workers and we needed hands,” Svoboda said. “Since then, we’ve gained 50 students who are working with us. Some got full-time jobs in the industry when they graduated with unrelated degrees, but still offered actual working experience.”

Today, the approach at UW is still evolving.

“We now have a four-credit class in sports video production because the university has recognized its importance to what we do to the point that our production personnel now serve the entire university for its video production needs,” he said. “So we’re very proud of that.”

Audio-Technica is expanding its U.S. operations with the acquisition of a new facility in Hollywood, California. Located in the heart of the Hollywood Media District, the company says the property will establish a significant new West Coast presence for Audio-Technica and provide direct access to one of the world’s most influential entertainment and content creation communities.

The 8,966-square-foot, two-story facility is currently occupied with an existing tenant but will eventually support Audio-Technica’s expanding activities in the region, including sales and marketing offices, product development, customer engagement and product demonstration capabilities. The property also includes existing studio and production spaces that complement Audio-Technica’s professional audio expertise and close relationship with the entertainment industry.

The investment builds on Audio-Technica’s establishment of TECHNICA HOUSE New York, its SoHo marketing salon designed as a shared space for collaboration, inspiration and connection. With the addition of the Hollywood facility, Audio-Technica is extending this commitment to direct engagement by establishing a significant presence within another of the country’s most important creative communities, the company said.

“Hollywood has played an extraordinary role in shaping the way the world experiences sound and entertainment, making it a natural location for the next stage of Audio-Technica’s growth in the United States,” said Manabu Aoki, CEO of Audio-Technica U.S. “Building on what we established with TECHNICA HOUSE New York, this investment gives us another opportunity to be closer to the professionals and creators who use our products every day. By creating spaces where our teams can listen, collaborate and exchange ideas directly with the industry, we can deepen those relationships and bring valuable insights into the development of future Audio-Technica products and solutions.”

The Hollywood expansion complements Audio-Technica’s established U.S. operations and represents a long-term investment in key focus categories, including professional audio, system solutions, broadcast, production and content creation.

If you handle network security duties for your radio or TV station or work with someone in IT, you know this past week was bumpy.

After news of a critical PHP security flaw started to trickle out Wednesday, administrators began pulling affected websites and web infrastructure offline to protect their networks. An estimated 70% of all websites run on some form of the PHP programming language.

Software engineer Jeff Geerling knows open-source software such as PHP better than just about anyone. Radio World asked him to put the flaw, PHP2Shell, in perspective.

“More than half the internet, at least in terms of public services, runs on PHP,” Geerling told Radio World. “And millions of routers, device backends and embedded tools also use PHP, though many of those are protected by not exposing that interface over the public internet.”

This was a big deal. And speaking at its AI Tour event in Germany, Microsoft CEO Satya Nadella said of the PHP vulnerability: “I’ve not seen anything like this in a long, long time.”

Making matters worse, it was not the only security headache triggered this week.

An eMudhra intermediate certificate compromise could allow attackers to forge certificates and bypass web encryption, particularly on devices that are updated infrequently.

“This vulnerability was so bad, and the reason for its existence so embarrassing, the company involved already abandoned that part of their business,” Geerling said.

Meanwhile, Node.js, the widely used JavaScript application runtime, patched 10 separate security issues this week and urged administrators to update immediately.

The aftermath leaves a whole lot of cleanup.

“The next few weeks and months will be stressful as everyone tries to update firmware and backend systems on networks that remain wide open if someone breaches the LAN (local area network),” Geerling predicted.

Not Just a Dinosaur
If you worked with websites even in the 1990s, you probably remember PHP. It’s still around.

Many in software development would consider it a “dinosaur language,” but it remains prominent as a server-side scripting tool. PHP is found in WordPress and that content management system is relied on by an estimated 40% of websites.

The core issue that was revealed publicly this past week centers on what’s known as an out-of-memory buffer corruption. If triggered at the right moment, an unauthorized user can execute code with application-level privileges, leaving the target machine, typically a web server, compromised.

According to reporting from CNN, this particular PHP vulnerability was uncovered in 2004 when security researcher Stefan Esser sent a warning about the flaw. It went ignored, according to CNN, because of just how arduous it would have been for humans to formulate a patch.

But that’s where AI enters the story.

And teams at OpenAI and two cybersecurity firms uncovered the vulnerabilities over the summer using AI-based discovery tools. The PHP Foundation, which maintains the open-source language, had been actively coordinating a security patch. According to the foundation’s blog, however, technical details leaked on social media on Tuesday, forcing the project to issue an early warning.

Because a software distributor published elements of the patch before the coordinated release, potential attackers could access the fix while users were still waiting for updates.

“This disregarded weeks of work by many parties toward a coordinated disclosure,” the PHP foundation wrote.

As a result, a few companies noticed attempts against their infrastructure before the public release, Geerling told Radio World. Modern AI-assisted tools — the other side of AI in this story — were likely able to find ways to exploit the flaw just based on rumors and bug reports, Geerling suggested.

No successful intrusions from the flaw have been confirmed, according to TechBrew, but exploit attempts jumped from thousands prior to the disclosure to millions by Wednesday night, according to data from Cloudflare.

Can our defenses keep up?

What could be running in your station’s plant that incorporates PHP?

Virtually any device featuring a browser-based management portal, including audio processors, codecs and transmitters, relies on an internal web server. As a result, PHP code may sit inside that hardware.

And here’s Geerling’s primary takeaway for technology managers: Be vigilant.

“Make sure any device you run is at minimum protected by your corporate firewall,” Geerling said. “No internal devices, especially critical airchain equipment, should be accessible on the public internet.”

Geerling advises engineers to subscribe to vendor security mailing lists and software update feeds. Where automated notifications are unavailable, stations should maintain an inventory checklist of any equipment running a web interface or remote-access portal, routinely checking manufacturer websites for firmware updates.

As Radio World is reporting separately, manufacturers are moving to patch their products as the vulnerability is actively targeted.

But a public-facing platform is even more of a target. That could mean your station’s own website, or it could be an online scheduling tool your station developed on its own that your staff uses.

If those tools rely on any form of PHP, it’s time to take them offline for some emergency maintenance if you haven’t already. The PHP Foundation released patches for multiple PHP versions you can install here.

AI helped uncover this security flaw, but as Geerling pointed out, the widespread availability of AI tools also means attackers can condense what once took months of exploit development into a matter of days.

“A year or two ago, attackers were shooting the equivalent of digital arrows at our services,” Geerling said. “Today, I’d say we’re dealing with cruise-missile capabilities. The question is whether our defenses can keep up.”

Limiting exposure remains the best defensive measure.

“The best option is always to remove access where unnecessary,” Geerling said. “If you have a tower site exposed to the internet that is accessible without a VPN, you can bet automated scanners already have it on their list of potential targets.”

FBI Guidance
To put in perspective the severity of last week’s threat, the FBI urged organizations to take immediate protective measures.

If an immediate update is not feasible, the FBI recommends taking affected systems offline until mitigations can be applied:

• Update PHP installations: Immediately deploy official patches following guidance on php.net. Inventory all environments running PHP, prioritizing internet-facing systems and third-party vendor products.
• Monitor web traffic: Watch web servers for unusual behavior, including PHP processes unexpectedly executing commands or initiating outbound file downloads. Implement endpoint and process-monitoring tools to spot unauthorized execution.
• Isolate and report intrusions: If indicators of compromise appear, isolate affected machines from the network immediately, preserve all web server and PHP access logs and report the incident to a local FBI field office or through the Internet Crime Complaint Center.

A representative of a group focused on boosting TV and film production in the United States is urging Congress to take action on proposed legislation that would provide incentives to the industry.

In an op-ed published in The Hill, James Babbin, a film and audio producer, actor and member of the Coalition for American Production, voiced support for legislation proposed last month that would provide tax incentives for studios and other media production companies to boost media production in the U.S.

According to its sponsors, the bipartisan Motion Picture, Television, and Entertainment Revitalization Act could bring hundreds of thousands of production jobs back to the U.S. by establishing a 20% tax credit on labor expenses for American workers on qualifying film and television productions, with bonus credits worth up to 30% for productions that hire in rural or federal disaster areas, work across multiple states, or bring work home from overseas.

Noting that the U.S. film and television annually brings in approximately $9 billion more from overseas than the U.S., Babbin cited industry statistics that showed that the amount of such production is decreasing domestically, with 45% of U.S. films and scripted TV shows being produced outside the U.S., compared to one-third three years ago.

“That is not just a scene change,” Babbin wrote, “it is skilled work, artistry and investment leaving the U.S.”

States have been aggressive going after media production, with Babbin citing Georgia, Kentucky, Oklahoma, Utah and Pennsylvania leading the way among the nearly 40 states that currently offer film incentives.

But that’s not enough, he added.

“A state is not a country. States can influence where projects land; they cannot alone ensure those projects stay in the U.S,” he wrote. “Even strong state programs can be outbid when other countries offer more competitive packages. Sixty-five countries offer national production incentives. Some, like Canada, Australia and Japan, combine them with regional programs, giving them an even greater advantage.

“A federal incentive won’t diminish competition among states; it will strengthen their ability to compete globally while rewarding those that innovate most,” he added.

Babbin also called for transparency, supporting a test that would verify that the act is producing the economic benefits touted in the act.

In the end, Babbin said such legislation is needed because “the industry won’t stand still.”

“Global competition, changing audience habits, and new technologies are rewriting the script,” he concluded. “Disruption isn’t necessarily a threat; it can be an opportunity if America strengthens the infrastructure that generations have built and prepares for the next act.”

The bill is led by Representatives Laura Friedman, Nathaniel Moran (TX-01), Linda Sánchez (CA-38) (CA-30), Brian Jack (GA-03), David Kustoff (TN-08), Judy Chu (CA-28), Mike Carey (OH-15), and Tom Suozzi (NY-03) in the House. In the Senate, the bill is led by Senators Tim Scott (SC) and Adam Schiff (CA).

A one-pager on the bill is available here. Full text is available here.

WASHINGTON—Warning of federal overreach ahead of the midterms, FCC Commissioner Anna Gomez has called on National Association of Broadcasters President and CEO Curtis LeGeyt to alert radio and TV stations to threats surrounding election poll coverage.

Gomez, the lone Democrat on the three-person commission, did not mince words about her level of concern. (To read her letter to LeGeyt, click here.)

“This administration is running a coordinated, government-wide effort to reshape the media into its sanctioned messenger, and the Federal Communications Commission has become one of its most active instruments,” Gomez wrote to LeGeyt.

As a result, Gomez chose to write to NAB, explaining that the association has the nationwide scope to warn radio and TV stations about what she perceives as a grave threat heading into the midterm elections.

‘Fake Polls’ Warning
On Wednesday, Federal Communications Chair Brendan Carr took to social media to warn broadcasters about reporting on what he deemed “fake” polling data.

“During this election season, there has been a significant surge in entirely fake polls and suppression polls designed to do nothing more than interfere with the regular functioning of the electoral process and alter the normal patterns of voter turnout and enthusiasm,” Carr said in a post on X.

Carr, a Republican, wrote that the FCC takes such issues seriously and that broadcasters are prohibited by the terms of their licenses from engaging in “news distortion” or promoting “broadcast hoaxes.”

But citing the FCC’s own legal standards, Gomez argued that enforcing the news distortion policy requires proof that a licensee intentionally fabricated or distorted news coverage of a major event. Courts, according to Gomez, have consistently distinguished between deliberate deception and simple inaccuracies, journalistic errors or editorial differences of opinion.

She also argued that the broadcast hoax rule carries a strict threshold, applying only when a station knowingly airs false reports concerning a crime or catastrophe that inflict immediate and substantial public harm.

“Absent that level of clear evidence, the commission has no authority to act,” Gomez wrote.

Tempered Response
Gomez felt the letter to LeGeyt was needed in part because many NAB member stations lack the legal resources to contest federal inquiries independently ahead of upcoming midterm elections.

While she expressed gratitude for NAB’s pushback against the commission’s early license-renewal inquiries, Gomez feels the overall response from NAB and other lobbyists have not yet matched the scale of the regulatory threats.

She asserted that NAB members need to hear such messaging directly from LeGeyt as the association’s leading voice.

“An industry confronting a coordinated effort to turn licensing authority into leverage over election-year coverage needs more than a couple of tempered statements,” Gomez wrote.

In a statement following the letter, LeGeyt said that NAB will continue working with Gomez and other policymakers to protect the rights of broadcasters “and strengthen local stations’ ability to deliver trusted news and information to the communities they serve.”

“We appreciate Commissioner Gomez’s recognition of the value of local broadcasters and her commitment to the First Amendment principles that underpin a free press,” LeGeyt said.

Gomez added that she would welcome the opportunity to work directly with NAB to ensure its membership receives accurate information on what the law requires.

Gomez added that she would welcome the opportunity to work directly with NAB to ensure its membership receives accurate information on what the law requires.

Equal Time and Ad Rates
In additional examples in her letter, Gomez argued the commission is twisting the equal opportunities rule into a weapon. Section 315 of the Communications Act requires a broadcaster to offer equal time to a candidate’s opponents.

However, Gomez pointed to Congress’ built-in exemption for bona fide news interview programs, which has been cited on several occasions, including in a 2006 FCC ruling denying a Democratic gubernatorial candidate equal time after his Republican opponent, then-Gov. Arnold Schwarzenegger, appeared on “The Tonight Show with Jay Leno.”

Gomez also referenced filings by ABC’s parent company, The Walt Disney Co., alleging the Media Bureau revised that guidance to manufacture legal vulnerability over reporting the administration disliked.

In addition, she argued that FCC staff unilaterally extended the lowest unit charge, a statutory discount reserved for federal candidates.

The Media Bureau issued a public notice regarding changes to the lowest unit charge on March 30. Following a challenge filed by four Democratic congressional candidates, the Supreme Court issued a stay on Sept. 4.

“Almost overnight, that same discount became available to joint fundraising committees and coordinated party advertising campaigns for the first time,” Gomez explained.

Gomez believes the move results in a fire sale on ad inventory that could otherwise help stations grow revenue during a competitive political season heading into the midterms.

This story initially ran in Radio World, sister brand to TV Tech.

SAN ANTONIO, Texas—The San Antonio Spurs have named Sinclair as the team’s local over-the-air television partner for the 2026-27 NBA season.

Throughout the season, 22 Spurs games will air on CW SA, San Antonio’s The CW affiliate, which airs over a digital subchannel of WOAI-TV (Channel 4.2) and Deerfield Media-owned KMYS, which is operated by Sinclair under a joint sales and services agreement.

“The Spurs are an important part of the fabric of South Texas, and we’re proud to partner with the team to bring more games to fans across the region,” said Rob Weisbord, chief operating officer and president of local media at Sinclair, said. “Live local sports are a natural fit for broadcast television, and this partnership reflects our commitment to making compelling content that enriches local lives.”

Local fans can catch Spurs games on CW SA with a digital antenna or via participating cable, satellite or online live-TV providers where available. Secondary markets across South Texas will have access to the over-the-air games on select local channels. Fans also can visit the Spurs website or text WATCH to 210-444-5940 to find where games are available in their area.

The deal with Sinclair follows an earlier pact with subscription streaming service DAZN to air local Spurs telecasts. Last season, Spurs games aired mainly on FanDuel Sports Network Southwest, which ceased operations in September.

“Our fans are incredibly passionate and supportive and should have as many ways as possible to watch and connect with the Spurs,” said Frank Miceli, chief commercial officer of Spurs Sports & Entertainment. “We’re excited to make this over-the-air option available, giving more fans a convenient way to watch the team, share in the Spurs spirit and stay connected throughout the season. This partnership with Sinclair helps us create more opportunities for viewers across our market to experience Spurs basketball.”

MILWAUKEE—When the Milwaukee Brewers and Tampa Bay Rays take the field tonight at American Family Field for Game 1 of the 2026 World Series, they won’t be he only ones trying to deliver a championship performance.

Fox Sports has added new technology and production features to its series coverage aimed at continuing its streak of award-winning postseason coverage.

(Game 1 of the 2026 World Series begins at 8 p.m. ET on Fox and Fox Deportes. The broadcaster is streaming coverage on Fox One, FoxSports.com, the Fox Sports App and live streaming packages such as Hulu + Live TV and YouTube TV.)

New to its production tech lineup are three 4K Nucleus cameras, as well as expanded augmented reality (AR) in conjunction with Major League Baseball to track pitches and swings from either side of the field. The broadcaster will take 18 feeds from MLB, Statcast and other AR sources for its coverage.

It will again rely on multiple high-speed cameras—11 of which are 6x, 8x or higher—to capture slow-motion coverage of the game. A pair of drones will contribute aerial views. Fox Sports will also present an UmpCam AR Strike Zone as well as use three Dirt Cams, Base Cams and eight Proton POV cams.

Its camera complement also includes 27 Sony 5500-series cameras—16 hard cameras, six handhelds, including one RF, as well as five studio cameras, three of which are buildups, a jib and one RF handheld. Fox Sports will also employ eight robotic heads, two RF MoVI rig/Sony FX6s and one RF Steadicam.

For audio, Fox Sports will deploy about 70 game-side mics and studio mics. They include 24 boundary mics, 10 in-ground mics and nine parabolic mics. Three RF base mic sets, 13 effects laves, four shotguns as well as four reporter kits, four player mics and one RF umpire mic round out field coverage. In the studio, seven wireless lavs, seven wireless stick mics and eight wireless IFBs will be used.

Joe Davis will take on play-by-play duties while Hall of Fame starting pitcher John Smoltz will do color commentary. Fox Sports MLB reporters Ken Rosenthal and Tom Verducci will contribute to the broadcaster’s pre-game show.

José Pablo Coello, Gabriel Medina, Diego Venegas and Rodrigo Arana will lead the FOX Deportes broadcast. Mayra Gomez and Steffy Aradillas will also contribute to the broadcast.

There's several periods in sports when major events happen all at once. It usually happens twice a year—in early June, when Major League Baseball, the French Open, Belmont Stakes, Stanley Cup, NBA Finals—and periodically one of golf's major championships—all take place simultaneously.

The other period occurs in late October when all of the major sports leagues in the U.S. are playing at the same time.

That happens again this year when on Monday, Oct. 26, the NFL, MLB, NBA and NHL will all have games scheduled, marking the "Sports Equinox," a rare day when all four major U.S. leagues are in action at the same time.

With games airing across networks and apps, DirecTV is observing the specialy day by offering its viewers a curated Multiview featuring four games, one from each league, on a single screen for customers whose packages include the participating networks.

Also, DIRECTV Sports Central will help fans find live and upcoming games across sports and supported apps, follow their favorite teams, check schedules and scores, and get team alerts and game-time notifications.

DirecTV is promoting anticipation for the Sports Equinox through Meta Reels Trending Ads, TikTok Pulse and Super Like, Snapchat Reminder Ads, a Reddit Category Takeover, and a free-to-play DraftKings contest. Fans can predict outcomes across the four leagues for a chance to win up to $5,000. The campaign also extends to CTV and digital video inventory with a :15 and :30 spot.

NEW YORK—NAB announced yesterday that SMPTE will be moving its annual SMPTE Summit to NAB Show New York starting in 2027. The two events, which are held in October and November—and on opposite coasts, respectively—will now take place in Manhattan.

The SMPTE Summit will take place Sept. 28-30, with the NAB Show New York occurring Sept. 29-30. The SMPTE Summit has traditionally been held over four days with the 2026 SMPTE Summit taking place Nov. 16-19 in Pasadena; the 2027 event is being cut back one day. Both will take place at the Javits Center.

This marks the first time SMPTE has held its summit on the east coast since 2005.

“We’re excited to bring the SMPTE Summit back to New York alongside NAB Show,” said Sally-Ann D’Amato, Executive Director of SMPTE. “This is a natural fit for our organizations and a tremendous opportunity for the industry. Together, we can connect the people developing the standards and technologies of tomorrow with those putting them to work today.”

SMPTE has been a regular participant at NAB Show New York, holding its SMPTE Bootcamp: Precision Timing for ST 2110 event during both days of this year's gathering.

The announcement was made at the conclusion of NAB Show New York, which ended Thursday at the Javits Center. The show featured two days of sessions and exhibit floor demos focused on media and entertainment transformation, the impact of artificial intelligence on production costs and the changing economics and opportunities of live sports.

NAB reported initial attendance of just over 6,700 attendees, compared to 11,500 at the 2025 event (NAB says further details will be shared in the coming weeks).

About 57% attended for the first time, with participants from 72 countries. Some 250 exhibitors and sponsors showcased the latest tools and technologies driving the media and entertainment industry forward.

Educational programming included 101 sessions with 156 speakers.

“From new business models to next-gen tools, industry leaders shared how they’re using emerging technology to move their businesses forward.” said Karen Chupka, executive vice president, Global Connections and Events at the National Association of Broadcasters (NAB). “That’s part of the value of bringing the people into the same room who finance content, produce it and develop the technology. They don’t all approach these questions in the same way.”

Innovation was on full display across the show floor, where advances in AI, streaming and production technology sparked lively discussions and hands-on exploration. The energy reflected an industry eager to embrace new possibilities and turn emerging technologies into creative and business opportunities.

Who Owns the Content — and Who Profits?
During “The Great Media Reshuffling,” moderated by CNBC’s Alex Sherman, Apollo Global Management partner Aaron Sobel predicted that AI could significantly improve the economics of filmmaking.

“If you think about the cost that can come out of the system, AI can reduce a budget for a movie 5, 10, 15, 20% — not today, in a few years,” Sobel said. “It’s going to make movies much more profitable and make them faster, and it’s going to allow you to test them and develop them faster.”

Thursday’s creator-focused sessions, “From Following to Franchise” and “When Everyone Can Create, What Wins?,” explored how creators can build sustainable businesses and distinguish their content as production tools become more accessible. During the former, Christine Cotter, managing director and head of social innovation at 360i/dentsu, urged advertisers to treat influencers as creative partners.

“Influencers are brands. They’re not just people that you brief. They’re not a vendor. They’re not a tactic,” she said.

What Sports Are Worth — to Networks and Fans
Sports commentator Clay Travis urged broadcasters to experiment with new approaches to building audiences rather than expecting immediate results during “Game On: The Power of Sports on Broadcast.”

“I think you have to be experimental. I’m a data guy, but I’ll try a lot of things,” Travis told NAB President and CEO Curtis LeGeyt. “Scale comes with time, but it also comes with experiment.”

LeGeyt emphasized that major sports rights also help local broadcasters finance news and other community programming.

New York Islanders co-owner Jon Ledecky, speaking with Stathletes co-founder Meghan Chayka, discussed efforts to attract new audiences and promote individual NHL players. He cited an unexpected source of growing interest in hockey.

“‘Heated Rivalry’ has increased across the [National Hockey League] women’s attendance at hockey games 45 percent,” Ledecky said, referring to the popular TV drama.

When New Technology Meets Live Production
Maria Stefanopoulos of ABC News’ “Good Morning America” emphasized that even as technology advances, experienced producers must still be able to improvise when things go wrong during live broadcasts.

“A plan on paper means nothing when it’s 6:58 and the plan doesn’t work,” Stefanopoulos said.

At “Leading Without Boundaries,” Sandi Stambaugh, senior vice president of revenue operations at TD SYNNEX, stressed that organizations must address inefficient processes before implementing AI, warning that technology alone cannot solve underlying operational problem

NEW YORK—Hearst Television said Stanley Herriott, the station group’s vice president of finance, will retire at year-end after eight years on the job.

Herriot, who joined Hearst TV in 2019, led financial planning and analysis and managed the group’s regional finance, corporate finance, billing and recievables and credit and collections teams. The company owns and/or operates 35 TV stations and two radio stations in 27 markets in 39 states, reaching more than 22 million U.S. TV homes.

“Stan has played an integral role in the successful alignment of finance with operations in support and advancement of our business,” Hearst Television Chief Financial Officer John Drain said. “He has brought broad industry knowledge and steady counsel to this work and has been a valued partner to me and to our stations. I am grateful to Stan for his leadership, counsel, partnership, and his many contributions to Hearst Television.”

Prior to Hearst, Herriott was with Spanish-language media company Univision Communications for 14 years in finance, shared services and internal audit leadership roles. Before that, he was an audit manager for Arthur Andersen.

“Stan has brought his authentic self to his role with us,” Hearst Television President Michael J. Hayes said. “He’s a good broadcaster, and a good person. In addition to his financial acumen, he has helped us build our team and attracted next-generation talent to our organization.”

Herriott is a director of the Media Financial Management Association and executive sponsor of Hearst Television employee resource group Umoja. A certified public accountant, he graduated from Montclair State University in New Jersey and the Hearst Management Institute, Hearst’s executive leadership program.

“It has been a privilege to conclude my media career with Hearst Television, the premier local broadcast company with the most talented media professionals in the business,” Herriott said.

NANJING, China—SWIT has unveiled the MINO-A series of compact Gold Mount batteries designed for compact cinema and broadcast rigs, field monitors, wireless video systems and mobile production.

The MINO-A210 offers 210Wh capacity, more than 200W/16A of continuous output and charging at up to 100 watts via Gold Mount or D-Tap. The MINO-A series also includes the MINO-A140 140Wh batteries, one of the smallest Gold Mount batteries in its capacity class. Both provide USB-C PD, D-TAP and USB-A connections to power cameras, production accessories and portable devices.

The MINO-A210 measures 4.13 × 3.13 × 3.22 inches (105 × 79.6 × 81.8 millimeters) and weighs 2.33 pounds (1,056 grams). Its compact size, capacity and current delivery make the MONO-A210 suitable for power-hungry camera rigs requiring longer runtime without moving to a conventional Gold Mount battery, SWIT Said.

For lighter rigs, the MINO-A140 provides 140Wh capacity and more than 150W / 12A continuous output. It measures 4.13 × 3.13 × 2.50 inches (105 × 79.6 × 63.5 mm) and weighs 1.65 pounds (747 g).The two models give operators a choice between the smaller 140Wh battery and the additional runtime and output of the 210Wh version while retaining the compact MINO form factor.

The MINO-A210 supports charging at up to 100W/6A through Gold Mount or D-Tap, with a full charge taking about three hours. The MINO-A140 supports up to 50W/3A charging and takes about 3.5 hours to fully charge. Both can also be charged through USB-C PD at up to 48W. Charging the MINO-A210 by USB-C takes about five hours.

Both MINO-A batteries provide 65W USB-C PD output for laptops, tablets and other USB-C equipment. D-Tap provides up to 120W output for cameras and production accessories and also serves as a charging input. A USB-A 5V/2A/10W output is available for lower-power devices.

The batteries support startup at temperatures down to -20 degrees C (-4 degrees F) and are designed to withstand drops of up to 3.9 feet (1.2 m).The MINO-A Series is also compatible with Anton/Bauer Gold Mount chargers.

The SWIT MINO-A140 and MINO-A210 are now available.

More information on the MINO-A210 and MINO-A140 is available on the company’s website.

NEW YORK—CBC/Radio-Canada has chosen Dalet for its modernization of news operations across the country.

The public-service broadcaster will deploy Dalet Pyramid across its organization to anchor the newsroom project. It will help CBC/Radio-Canada transform how it creates and delivers news ranging from hyperlocal stories to global events, Dalet said.

By embracing Dalet’s story-centric model, CBC/Radio-Canada will better serve its Canadian audience seeking content tailored to their interests on their preferred platform, Dalet said.

“Outdated tools and fragmented workflows limit access to content from the field and require users to jump between multiple systems to complete tasks. Dalet solutions aim to bring operational value to newsrooms and transform business models, ensuring sustainability and integrity,” Dalet CEO Brian Doheny said. “Beyond the technology, we understand that organizations like CBC/Radio-Canada are seeking a partner who can support them through a transformative journey that will shape their future, and we are honored to be that choice.”

Dalet Pyramid will give the broadcaster greater visibility into content, story planning, collaboration and distribution. Its web-based user experience will enable staff to access content and work from any of CBC/Radio-Canada location or in the field. This includes capturing and ingesting media into the Dalet content repository using Dalet Brio, editing video and audio using the Dalet Cut multimedia editor and orchestrating delivery with assets and stories available immediately throughout the network, the company said.

With Dalet Pyramid, CBC/Radio-Canada journalists across Canada will be able to collaborate on news creation. Thousands of users will be able to access the same platform simultaneously, regardless of location or department, enabling teams to create and deliver high-quality news content more easily, Dalet said.

CBC/Radio-Canada produces local newscasts airing in English and French on 27 TV stations and 88 radio stations. It also distributes news via the CBC News and Radio-Canada Info apps as well as its audio and video streaming apps, including CBC Listen, Radio-Canada OHdio, CBC Gem and ICI TOU.TV, its free streaming channels and websites as well as social media platforms.

“This installation represents more than a modernization of an operation. It’s a blueprint for every multiplatform news organization seeking to transform how they work,” Dalet Senior Vice President of Growth Frédéric Roux said. “The economics and demands of newsrooms have shifted dramatically over the past five years. They must reinvent how they produce, deliver and monetize content—with speed, efficiency and agility at the core of the operation. Dalet Pyramid delivers a unified, intuitive experience, built on a flexible, cloud-native architecture that scales effortlessly across on-premises, cloud, and hybrid environments.”

More information is available on the company’s website.

JACKSONVILLE, Fla.—Cox Media Group Jacksonville and University of North Florida Athletics have inked a multiyear deal making Action Sports Jax TV the exclusive local broadcast home of University of North Florida (UNF) athletics in Northeast Florida.

Under the agreement, Action Sports Jax TV will air live UNF Ospreys sports events each season, free over the air via multicast on WJAX-TV (Channel 47.2) and on Xfinity Channels 216 and 1188 HD.

As part of the deal, the weekly “Talon Talk” show covering Ospreys athletics will air on Action Sports Jax TV. The show features interviews with coaches and student-athletes, game previews and discussions of UNF’s 19 NCAA Division I programs.

“UNF is part of the fabric of this community, and Osprey fans deserve to see their teams on free, local television,” Omesh Somaru, vice president and general manager of Cox Media Group Jacksonville, said. “Adding UNF Athletics and ‘Talon Talk’ to Action Sports Jax TV gives fans more ways to follow the Ospreys and gives local businesses a direct connection to one of Jacksonville’s most passionate hometown audiences.”

North Florida joins a growing Action Sports Jax TV lineup that also includes the Jacksonville Jaguars (preseason games and ancillary programming), Orlando Magic and Tampa Bay Lightning.

“We are excited to partner with Action Sports Jax TV to bring UNF Athletics to more fans across Northeast Florida,” University of North Florida vice president of Intercollegiate Athletics Nick Morrow said. “By bringing UNF games and ‘Talon Talk’ to free local television, we are expanding access for Osprey fans while increasing the visibility of our programs and the university.”

The broadcast schedule, including specific games and “Talon Talk” air times, will be announced before the first telecast.

More information is available on the university’s website.

NEW YORK—Local TV advertising platform Locality has tapped Saul Stetson as head of product.

A 20-year industry veteran with experience across ad technology, data and identity, he was most recently head of product for Commerce Grid, Criteo’s supply-side platform, where he led product strategy for programmatic supply access, audience-driven inventory packaging and monetization.

He’ll oversee product strategy and development across Locality’s broadcast and streaming portfolio, the company said.

“Saul brings deep experience building products across identity, data and advertising technology, and he'll play an important role in making those capabilities even more accessible and valuable to advertisers,” said Locality CEO Michael Collins, to whom Stetson will report.

Prior to Criteo, Stetson led product for Tapad’s identity platform (now part of Experian), developing solutions to connect audiences across devices and media environments.

Locality operates in all 210 U.S. designated market areas (DMAs), combining its proprietary Audience Engine data platform with identity capabilities, direct access to premium broadcast and streaming TV inventory and hands-on expertise in local campaign execution, the company said.

“The biggest opportunity in local TV is making audience data easier for advertisers to act on,” Stetson said. “Locality has the technology, media relationships and market expertise to make that possible, and I’m excited to build products that take advertisers from understanding their audiences to reaching them.”

In advance of its plans to spin-off its NBCUniversal division next year, Comcast said this week that it plans to restructure its business, expecting a restructuring charge exceeding $1 billion in Q4.

“We expect to have a significant charge in the fourth quarter related mostly to our transformation efforts, and I would quantify that at over $1 billion,” CFO Jason Armstrong told analysts during the company’s Q3 2026 earning call.

The cuts are expected to occur within a couple weeks and focus mainly on cable-TV, broadband and ​wireless businesses rather than NBCUniversal, according to Reuters.

Earlier this year, Comcast spun off its cable properties into a new company, Versant. That was followed by an announcement in June that it would split into two independent publicly traded companies via a tax-free spinoff of NBCUniversal and Sky by the middle of 2027.

Armstrong said he wants to get started on restructuring pronto so Comcast is “strengthening our competitive position.”

But he cautioned analysts against characterizing the cuts as a “cost-cutting exercise,” but rather giving Comcast “the ability to simplify in order to move faster, to be more nimble in decision-making, and I think really create capacity, to invest for growth.”

In its latest Q3 report, Comcast saw a 2.7% dip in its connectivity and platforms business to $19.66 billion, due to losses in its internet and cable TV subscriptions. NBCU revenues rose 6.5% to $10.54 billion, fueled by successes at the box office and sports ad revenues from Telemundo’s FIFA World Cup coverage.

Bridge Technologies has announced it has joined the MXL initiative, with its tools now accessible via Grass Valley’s AMPP operating system.

Developed in collaboration with the EBU, the Linux Foundation, NABA and others, the Media eXchange Layer (MXL) provides a vendor-neutral open-source layer for IP-native, software-defined media production. Aiming to enable access to a wide range of production tools, AMPP provides an open, cloud-native operating system and virtualized media production platform using MXL as a transport layer for low-latency interoperability.

Leveraging MXL, Bridge has containerized a number of components from its suite of production tools, repackaging and delivering intuitive video and audio monitoring scopes. Independent of hardware, these scopes combine with MXL to minimise reliance on constant network read/write cycles, cutting latency, network overhead and infrastructure costs and driving smarter workflows.

Users are able to deploy audio and video scope features as needed and monitor on-demand fluctuations such-as during major global sporting events.

Matt Yates, director of strategic alliances at Grass Valley, said, “Bridge Technologies’ work with MXL is a good example of how an open approach can bring third-party applications into software-based media workflows. With AMPP OS now MXL-native, Bridge’s containerized monitoring tools can be accessed within the AMPP environment, giving users greater flexibility in how and when they deploy these capabilities. It also demonstrates the value of bringing technology partners together around a common approach to media exchange.”

Chairman and co-founder of Bridge Technologies, Simen Frostad, said, “The software we create has always been capable of far more—it just needed the right architecture to unlock that potential at scale without introducing configuration complexities. MXL and containerization provide exactly that: a flexible, efficient way to run our best-in-class scopes across larger, more dynamic production environments, without the overhead of dedicated hardware deployments.

“And we’re particularly proud that this is being done through open standards and shared innovation. That’s always been central to how Bridge operates—we’ve never believed in locking others out to secure our own position. We’ve always held that industry progress enables individual success, not the other way around. The MXL project is a natural expression of that philosophy: building better tools and sharing them with the entire industry.”

Traditional sports production followed a one-to-many model, with teams focused on creating one strong program feed before delivering it to rights holders and distribution partners for downstream customization. That model is being reshaped by the new realities of modern streaming—and by audiences who now engage with sports across more platforms and formats than ever before.

The same game can now appear on television, streaming services, FAST channels and social platforms at once. Some viewers want the familiar main broadcast, while others prefer local language commentary, real time statistics, alternate camera angles or creator led coverage. Meeting those different requirements places more pressure on production teams to create several outputs from one event.

Data and metadata are central to managing this change because structured information allows production teams to prepare and distribute different experiences from the same video.

Starting With the Viewer
Sports workflows have traditionally been designed from the camera lens forward, beginning with event acquisition and the main programme before addressing distribution further down the chain. That approach becomes harder to sustain when one production must serve several platforms, markets and viewing preferences.

Future workflows will increasingly begin with a clearer understanding of how, when and where audiences watch content. That information can help rights holders decide which experiences to create and where they are likely to provide meaningful value.

It is now common for an event to support three to five versions, so these requirements need to be considered from the beginning. The main pictures and editorial direction can remain consistent, while commentary, graphics, advertising and presentation are adapted for each destination.

Connecting Data Across the Workflow
Metadata has long supported content discovery, although its role now extends into production and distribution. Sports data, graphics information, SCTE triggers and other in band or out of band signals can support live clipping, replay selection, rights management, advertising, highlights and content versioning.

When this information travels with the video, production systems can prepare different outputs from the same source. One version might carry regional graphics and local commentary, while another includes additional statistics or a different advertising profile. Modular assets and reusable templates can apply these changes without rebuilding the full workflow.

This depends on infrastructure that can move video, metadata and control signals reliably from acquisition through production, customization and delivery. Bringing these stages into a shared IP environment reduces handoffs between disconnected systems and complex multivendor chains, while giving teams clearer visibility into signal health and metadata across the workflow. That makes it easier to manage different versions of an event and identify problems before they affect delivery.

The FCC’s July 2026 vote approving rules for the auction of Upper C-Band spectrum is accelerating this transition, with regional sports networks and large national networks now moving large scale distribution workflows from satellite to IP. While satellite will remain part of many hybrid and backup strategies, IP provides a more flexible foundation for carrying video, metadata and control signals across broadcast and digital services.

Using Automation to Manage Live Operations
Production teams are being asked to create additional feeds and digital coverage while budgets and staffing levels rarely increase at the same pace. Automation can reduce repeated work by using metadata to select audio, apply graphics, manage frame accurate routing, follow commercial rules and prepare the required platform format. Approved, templated configurations can then be reused across a season instead of being recreated for every event. This makes versioning faster and helps teams apply requirements consistently.

Operational control remains essential because every output needs the correct video, audio, graphics and ad signaling throughout the event. Teams must be able to see what audiences are receiving and intervene quickly when coverage moves away from the plan. Organizations can choose software based tools operated by their own teams, managed services or a combination of both. In each model, automation should handle predictable work while editorial decisions remain with experienced operators.

Using Audience Data to Guide Decisions
Audience data can help rights holders decide where customization is worth the investment. An organization can introduce an experience for a particular platform, review how viewers respond and determine whether it provides enough engagement or commercial value to support further development.

Total viewing time remains useful, although rights holders also need to understand how audiences move between services and which experiences support loyalty or revenue. Access to meaningful performance information should therefore be considered when distribution partnerships and rights agreements are developed.

'Immersive, high-quality production and strong editorial judgment will continue to define the quality of live sports coverage. But richer metadata and interconnected IP workflows are giving broadcasters a practical way to adapt that production, assess each version and respond as audience habits change.

IBC has issued a call for submissions to its Accelerator Media Innovation Programme for the 2027 show.

The program connects media and entertainment Champions (buyers of technology), including broadcasters, studios, streaming platforms, content owners and rightsholders, with tech Participants, including established industry vendors, start-ups and academic partners, to accelerate innovation and generate valuable insights.

Organizations from across the global media and entertainment industry are now invited to propose projects that address real-world business and technology needs.

“Each year, the Accelerator Program demonstrates what can be achieved when organizations work together to tackle challenges that matter to the industry,” said Mark Smith, lead, IBC Accelerator Media Innovation Programme. “We’re looking for fresh ideas that push the boundaries of innovation and have the potential to deliver real industry impact. This year, we’re evolving our approach at the outset of the process to help project teams hit the ground running.”

The new approach will see IBC choose nine Accelerator projects that will be showcased at the annual Kickstart Day on Thursday, March 18 at the BBC Radio Theatre in London.

The deadline for submissions is Friday, Dec. 11. Details on the process, submission guidelines and entry form are available at https://show.ibc.org/2027-accelerator-innovation-programme.

Projects at IBC2026 showcased areas including agentic AI and intelligent production workflows, next-generation streaming and connectivity, immersive live experiences, content accessibility, and new approaches to media infrastructure and interoperability.

“The Accelerator program is so unique and such a great place to drive new ideas and concepts to see if they have potential in the real world of production,” said Tim Guilder, head of production technology, ITV Studios. “It’s an opportunity outside of ‘business as usual’ to accelerate conversations among industry peers and vendors that drive radical new use cases and architectures and put them to the test in the field in a really creative, collaborative environment.”

“Google’s partnership with the Accelerator programme provides a unique year-round framework for collaborative innovation,” added Anshul Kapoor, director of global media and entertainment for Google Cloud. “The program is critical for driving digital and AI transformation within the media & entertainment ecosystem by bringing together multi organization project-based approach. For Google it allows us to work directly with major broadcasters and media companies to address complex industry challenges, from experimental pilots to production scale execution.”

HUNTSVILLE, Ala.—Gray Media, Triple B Media and the Southwestern Athletic Conference will collaborate on simulcasting SWAC athletic events over the air as well as via the recently announced SWAC TV FAST channel.

Gray Media owns television stations in multiple local markets with SWAC institutions, including Huntsville, Ala. (WAFF, WAAY), Montgomery, Ala. (WSFA, WCOV and WIYC) and Jackson, Miss. (WLBT). Each will air sports from their respective SWAC universities. Games include football, basketball, soccer and other men’s and women’s sports.

An article on the WAFF website announcing the deal quoted Joshua Pila, Gray vice president of content acquisition, about the collaboration and the importance of sports to the station group.

“This collaboration shows Gray’s continued focus on free local sports for local viewers,” Pila said.

ALAMEDA, Calif.—Clear-Com is debuting the Mentrix panel, featuring a touch-screen interface to give operators fast, flexible access to communications functions while maximizing workspace at NAB Show New York, which opened today at Javits Center in Manhattan.

Built for productions across multiple industries, including broadcast, racing, theater, outside broadcast (OB) trucks and live events, Mentrix brings together tactile control and touch screen flexibility in a compact form factor.

The panel features 16 keysets, combining eight physical lever keys with either eight or 16 rotary keys, alongside touch controls. Its hybrid interface helps operators respond quickly to changing communications needs while adapting controls and layouts as roles, shows and production workflows evolve.

“Mentrix represents an important step forward in how we think about the communications panel experience,” Dave MacKinnon, vice president of product management at Clear-Com, said. “We wanted to develop a solution that gives operators the flexibility to adapt to changing production demands while maintaining the speed and reliability they expect from Clear-Com. Mentrix introduces a new approach to control that complements our existing portfolio and opens up new possibilities for modern production environments.”

Mentrix supports Power over Ethernet (PoE), eliminating the need for a separate power supply and helping simplify installation while reducing cable clutter. Standard VESA compatibility provides additional installation flexibility, allowing the panel to be mounted on compatible monitor arms, walls and custom workstations. Its compact design helps free up desk space without sacrificing access to essential controls.

“With Mentrix, we set out to balance the immediacy of physical controls with the flexibility of a touch screen in a compact, thoughtfully designed panel,” said Frank Linton, product manager for Mentrix at Clear-Com. “Features such as PoE and VESA mounting make it easier to integrate into a wide range of workspaces, while its adaptable interface helps operators keep pace with changing roles and workflows. The goal is to give users the controls they need, where they need them.”

Beyond traditional keypanel functionality, Mentrix supports widgets and visual tools that can expand the operator experience without requiring an additional display. Integrated USB connectivity and a dynamic display further support flexible, space-conscious workflows, while rotary controls provide familiar tactile operation.

Designed for modern IP-based production environments, Mentrix Flex supports Audio over IP (AoIP) for integration into networked intercom workflows.

See Clear-Com at NAB Show New York Booth 739.

More information is available on the company’s website.

The chairman of the FCC on Wednesday took to social media to warn broadcasters about reporting on what he termed as “fake” polling data.

Carr echoed President Trump who labels anything he disagrees with as “fake,” which in this case seems to refer to polls showing widespread disapproval of his policies. The latest poll from Reuters/Ipsos shows the president at 31% approval while the latest Washington Post–ABC News–Ipsos poll has Trump at 33% approval.

Carr accused broadcasters of emphasizing polls that show Trump in an unfavorable light.

"During this election season, there has been a significant surge in entirely Fake Polls and Suppression Polls designed to do nothing more than interfere with the regular functioning of the electoral process and alter the normal patterns of voter turnout and enthusiasm," Carr said in a Twitter post. “Many journalists and broadcasters have been amplifying or airing these Polls without regard to basic journalistic ethics and without informing the public that those Polls lack a scientific, accurate, or even real basis."

Adding that “the FCC takes these issues seriously,” Carr said that “broadcasters are prohibited by the terms of their federal licenses from engaging in News Distortion or promoting Broadcast Hoaxes. It is important that broadcasters comply with their public interest obligations. After all, the country benefits greatly when Americans can trust and rely on the media to report the news fairly and accurately."

The chairman urged broadcasters to add context to their reports if they want to avoid trouble with the FCC.

“Broadcasters are advised to avoid engaging in News Distortions or running Broadcast Hoaxes by airing Polls that would violate their regulatory obligations,” he said. “If broadcasters believe they should provide their viewers with additional context and information about Polls they have covered, they can now take those actions consistent with FCC regulations."

FCC Commissioner Anna Gomez responded by acknowledging that “pollsters who intentionally mislead the public should answer for it,” but added that “broadcasters who report publicly available polling data should never be punished when a poll is wrong.”

“FCC rules on news distortion or hoaxes do not apply to a station that reports this data in good faith,” she added.

On Wednesday, a bipartisan group of high-ranking former FCC officials released a statement condemning Carr's threats. Many of the signatories previously petitioned the FCC to rescind the news distortion policy, warning that it violates the First Amendment and chills press freedom. Signers include Reagan FCC Chair Mark Fowler, Obama FCC Chair Tom Wheeler, and Clinton-appointed FCC Commissioner Gloria Tristani:

"FCC Chair Brendan Carr’s threat against broadcasters over their reporting on political polls is yet another truly outrageous attempt to censor and control the information available to Americans as they prepare to vote.  

"We have watched with growing alarm as Chair Carr has unleashed a campaign of intimidation and retaliation against journalists to chill speech the administration dislikes. Carr is now seizing on reports about fabricated political polling as an excuse to once again try to scare broadcasters into self-censorship. 

"Good-faith reporting on public polls — even ones that turn out to be made up — is not a violation of the FCC’s news distortion or hoax rules. And the FCC has zero authority to dictate editorial decisions. 

"Carr’s threats to misuse the news distortion policy are dangerous and unconstitutional. A group of us urged the FCC to rescind the policy to prevent exactly this kind of abuse.

"The intimidation we are now seeing from Brendan Carr is part of an accelerating White House strategy to tilt the electoral playing field in the President’s favor and deny election results that don’t go his way. Making news outlets think twice before reporting on public polling is part of that effort. When its preferred candidates lose, the administration wants to be able to say that the results make no sense. Airing polls that show the electorate tilting away from the President’s party makes that harder.

"So make no mistake: this is a direct attack on free and fair elections, which is especially concerning in the days and weeks when Americans are heading to the polls."

This article was updated on Oct. 22 to add the bipartisan statement.

NEW YORK—The Broadcasters Foundation of America (BFOA) is expanding its charitable assistance to help more radio and television professionals facing financial hardship.

The Foundation has introduced Hardship Grants for broadcasters on unpaid or reduced-pay leave and those confronting extraordinary expenses related to family care, housing emergencies, relocation, or theft.

The new grant program was unanimously approved by the BFOA Board of Directors at its most recent meeting and is already accepting applications from those in need of assistance.

“This expands our ability to reach broadcasters who are struggling to meet their expenses because of extraordinary circumstances,” said Scott Herman, Chair of the Broadcasters Foundation of America. “I was delighted that the Board unanimously approved this initiative. We are up and running and ready to help more members of our broadcasting community when they need it most.”

Hardship Grants represent the third category of assistance offered by the BFOA, which has supported broadcasters facing financial distress for decades. The BFOA also provides Monthly Grants to broadcasters dealing with prolonged illnesses and Emergency Grants to those affected by disasters, including floods and hurricanes.

“Our mission is to help broadcasters in need, and that commitment continues to guide everything we do,” said Tim McCarthy, President of the Broadcasters Foundation of America. “By expanding our grant programs, we can respond to a broader range of circumstances and provide critical assistance to more people in our industry when they need a helping hand.”

For more information, radio and television professionals who currently or previously worked in broadcasting may visit www.broadcastersfoundation.org, or contact 212-373-8250 or info@thebfoa.org.

PLANO, Texas—An increasing number of U.S. internet households are watching live events or sports through an on-demand streaming service, according to a new report from Parks Associates.

In its new report, The New Live TV Model: Skinny Bundles, Sports, News, the research firm says that 39% are doing so, illustrating the growing role of streaming services in delivering live programming. The expanding mix of options to watch video is changing how consumers find and watch sports, news, and events, as live video viewing is no longer synonymous with pay TV, Parks adds.

The report also found that 25% surveyed watch live video through free ad-supported television (FAST) services and 21% report they don't watch live video at all.

"Consumers value live content but struggle to find and access it," said Michael Goodman, Director, Entertainment Research, Parks Associates. "The challenge for providers is making live content accessible. Sports is a good example, with programming now distributed across multiple services and platforms."

Consumer interest in live sports is growing alongside broad-appeal entertainment. According to Parks Associates consumer research, comedy (60%), drama (56%), and news (50%) are the most popular content categories, while 48% report watching live sports. Subscription VOD (SVOD) services continue to add sports, news, and live events while FAST services build engagement through curated linear channels.

"Competition for viewers is increasingly about more than the content itself," Goodman said. "Providers need to deliver an experience that makes it easy for consumers to find, access, and move between live and on-demand programming."

AUSTIN, Texas—BeckTV, Beam Dynamics, and Providius have announced a collaboration that connects broadcast system design, asset intelligence, and live network assurance. By linking BeckTV’s BeckFlow system documentation, Beam’s Asset Intelligence platform, and Providius’ network assurance, the collaboration gives broadcasters, production organizations, and system integrators a clearer view of their technology infrastructure, from how equipment is deployed and connected to how it is performing in the live environment.

Broadcast organizations have traditionally kept system documentation, equipment records, and live monitoring data in separate applications. Engineering drawings document equipment relationships and signal paths; asset platforms hold ownership and lifecycle information; and monitoring tools show what is happening in the live environment. Connecting those sources gives engineering and operations teams a more complete view of each asset:

• BeckFlow shows signal routing, device connectivity and technical system relationships.
• Beam provides asset, manufacturer, firmware, warranty, licensing, purchasing, and lifecycle information.
• Providius shows the live performance of the network, devices, and services across IP-based broadcast networks.

For example, when Providius identifies a service issue, users can quickly trace the alert to the equipment involved. BeckFlow shows where the device sits and what depends on it, while Beam provides the operational and lifecycle information needed to investigate, maintain, or replace it.

“Each platform understands a different part of the same asset,” said David Kaszycki, CEO and Co-Founder of Beam Dynamics. “Providius shows what is happening, BeckFlow shows where the device sits and how it connects, and Beam provides the operational, financial, and lifecycle context. Connecting those views gives teams the information they need without requiring them to piece the story together across multiple systems.”

The collaboration also supports planned maintenance and longer-term infrastructure management. Before taking equipment offline, teams can review its connections and dependencies, confirm its support and licensing status, and better understand the potential effect on services.

“Our ultimate goal is to answer a fundamental question: Is the network we are operating the network we intended to build?” said Jamie Horner, Senior Vice President, Corporate Strategy at Providius. “BeckFlow establishes the design intent, NVRT provides visibility into the actual operating environment, and Beam completes the picture with physical asset locations, software and firmware versions, and inventory change history. Bringing these perspectives together enables operators to validate the deployed environment against its intended design, identify discrepancies, and determine whether changes are accurately reflected in the system of record.”

The collaboration also extends the value of BeckFlow documentation beyond system design and delivery. Its centralized view of facility infrastructure remains connected to equipment records and operational information throughout the life of the system.

“Understanding how everything connects is fundamental to supporting complex broadcast infrastructure,” said Matt Weiss, Managing Partner and VP of Business Development at BeckTV. “By connecting BeckFlow with Beam and Providius, the system view remains tied to the equipment and its operational status throughout the life of the facility.”

The companies demonstrated the connected approach at IBC2026, with BeckFlow, Beam, and Providius working together across system design, asset intelligence, and live network monitoring.

DALLAS—Mentoring and Inspiring Women in Radio (NIW) and the National Association of Broadcasters Leadership Foundation (NABLF) are reminding women pursuing broadcast technical careers that applications for the 2026 LAUNCH Mentorship Program close on Friday, Oct. 30.

Established in 2023, LAUNCH pairs a rising woman professional with an experienced engineering leader for one-on-one mentorship, technical guidance and professional development. It offers exposure to key areas of broadcast technology, such as Federal Communications Commission compliance, RF systems, automation, IP-based broadcast systems, streaming and digital audio.

To apply for the program, click here.

This year, eligibility for the program was expanded to include women who work for broadcast technology partners and vendors. The yearlong program is sponsored by radio software and workflow-automation company Mr. Master.

LAUNCH is designed to help women strengthen their skills, build professional relationships and prepare for future leadership opportunities as they pursue technical certification, advance their engineering careers or expand opportunities in broadcast operations, MIW and NABLF said. Selected mentees will also be able to attend the 2027 NAB Show in Las Vegas.

For more information, visit the MIW website.

The NBA tipped off its 2026-2027 season in a big way on Tuesday with a trio of marquee games broadcast live on NBC and its Peacock streaming service.

The day started in mid-afternoon with a matchup between the Boston Celtics and Detroit Pistons, which was won by Detroit, 121-113.

Then it was on to Madison Square Garden with the most anticipated matchup between NBC champs New York Knicks and Philadelphia 76ers. The Sixers spoiled the Knicks season debut with a 106-100 victory. The nightcap saw the San Antonio Spurs host the Oklahoma City Thunder with the Thunder winning 116-104.

Although the NBA traditionally starts their season on Tuesdays in late October, this was the first time a network had ever broadcast three NBA Tip-Off games. The new season marks the second year of the NBA's 11-year, $77 billion deal with Disney, NBC and Amazon Prime. NBC approached the network with the idea, according to NBC Sports Executive Vice President Justin Byczek.

“We kind of challenged the NBA,” he told USA TODAY Sports. “We think opening day should be expanded, and we’d love to be the network that gets behind it, and over the course of the next decade, let’s try to understand where opening day can get to.”

Some fans in certain markets reported that their local affilliates preempted the games in favor of regular local programming, according to Awful Announcing. Viewers in Memphis and Nashville, Tenn.; Columbus, Ohio; Omaha, Neb.; and Madison, Wis.; among others, tweeted that they could not access the games on their local stations. Viewers in areas that could not access the games on their local stations could watch on one of station's auxiliary channels (aka diginets) or on Peacock.

An NBC spokesperson told Awful Announcing the vast majority of local stations did indeed carry the games live.

“Broadcast stations serving 99% of U.S. households aired the game either on NBC or an alternate local station,” the spokesperson said. “It was also available on Peacock.”

When the Federal Emergency Management Agency triggers a nationwide test of the Emergency Alert System at 2:20 p.m. Eastern Time on Nov. 17, broadcasters should be ready.

That means being able to receive the alert message and retransmit it at once, FEMA officials say.

It will be the first nationwide in three years.

In a webinar previewing the test, FEMA stressed that broadcasters should verify their monitoring sources, CAP connectivity, filters, software, audio levels and immediate NPT relays settings ahead of time.

FEMA, in coordination with the FCC, will originate the test through the Integrated Public Alert and Warning System (IPAWS), using the event code for a Nationwide Test of the EAS (NPT). It says the Common Alerting Protocol message will be delivered in both English and Spanish.

FEMA outlined the “test logistics and mechanics” of the nationwide test and provided best practices to help broadcasters.

The webinar was hosted by Al Kenyon, IPAWS customer support branch chief, and Jeff Hugabonne, chair of the Connecticut SECC.

The goal of the test, Kenyon said, is to “validate” the nationwide alerting infrastructure while ensuring that the public understands exactly what they are hearing and seeing.

“The nationwide test is a proxy, if you will, for an EAN, and it functions as an overall system-wide proof of performance, and that’s representative of how successful an EAN would be in messaging the public. So needless to say, a nationwide message, were one to be initiated, is extremely urgent for the public to receive rapidly,” he said.

Hugabonne said the most effective measure of readiness for broadcasters can be found in a station’s equipment logs in the form of other tests.

“Those readiness indicators include your weekly cap tests, over-the-air monitoring assignments, equipment logs, recorded audio-all of that provides a clear picture of whether your station is prepared,” Hugabonne said. “Are you receiving those?”

He continued: “That weekly CAP test is especially important for this next nationwide test coming up. If you’re consistently receiving it, your CAP connection is likely healthy. Missing CAP tests? You’re definitely going to want to investigate those.”

He said occasional misses might indicate intermittent connectivity or configuration issues. “You can use the RWT and RMT as a kind of early warning system to find out how to correct any issues.”

However, a successful log entry can create a bit of false confidence for broadcasters, Hugabonne continued. “Your log may show that it has received an event, but the alert could be noisy, distorted, low and level, or otherwise unusable. So the best practice is to listen to those recorded MP3s,” he recommended.

“Take a few minutes during your log review and check for hum, check for distortion, static, weak signal. If levels are too high, too low, treat those as issues that need to be fixed. A logged event isn’t the finish line. A good intelligible alert is,” he said during the webinar.

These readiness principles apply regardless of the make and model of your EAS equipment, Hugabonne said. “Verify that the unit is current, connected, correctly filtered and actively monitoring sources and configured for immediate NPT relay.”

The presentation noted that differences in CAP polling times might cause a broadcast station to receive the alert over the air rather than from FEMA’s CAP feed. “There are polling intervals from when alerts are posted and when your device pulls it down. That’s not a flaw,” Kenyon said. “It’s just the way it works. It’s that redundant capability kicking in.”

One of the strengths of EAS is that it was designed to function in both normal and degraded operating conditions, Kenyon said. This keeps in place a broadcast-based backup pathway that doesn’t depend on internet connectivity.

“If connectivity to IPAWS is disrupted during an outage, a cyber incident, power disruption or equipment issue, EAS can fail back to the signed over-the-air monitoring sources,” he said.

Kenyon reminded broadcasters they must also comply with the FCC’s EAS Test Reporting System or ETRS. EAS participants must submit their annual ETRS Form One for this year no later than Oct. 30. Forms Two and Three will be available in the system on Nov. 17, at the time of the initiation of the 2026 nationwide test.

ETRS Form Two will then be due within 48 hours.

“Form Three requires additional post-test information —some qualitative information and any comments you might have about the test quality and challenges you might have experienced,” Kenyon said. “The FCC reviews those answers. We review those answers, and we use that to try and improve the system going forward, so fill out those questions.”

ETRS Form Three with post-test data must be submitted within 45 days, on or before Jan. 4, 2027.

The presenters said that live monitoring of the nationwide test would be a “good idea” but acknowledged that it might be a challenge where resources are limited.

“If possible, have a station engineer or designated operator available to monitor the test in real time. That’ll allow you to answer the questions that that come in on FCC ETRS Form Three regarding the qualitative and quantitative aspects of carrying the test, you’ll be able to observe it firsthand and be able to properly answer those questions,” Kenyon said.

The November test is EAS only, meaning it has no Wireless Emergency Alert component. It should last about a minute, according to FEMA officials. It will state clearly that it is a test and that no action is required by the public.

Should a major incident require postponement of the November test, the backup date is Dec. 3, 2027.

This article originally appeared on TV Tech sister brand Radio World.

ATLANTA—The Weather Company has launched Weather Story Assist, its AI-power storytelling co-pilot which turns a single trusted forecast into distinctive, localized stories for linear TV, streaming, web, social and mobile platforms

Offered on the company’s Max Cloud platform, Weather Story Assist streamlines preparation and asset discovery, allowing stations to produce higher-quality, differentiated content and expand their digital reach without increasing headcount. Local meteorologists retain complete editorial authority over every story, graphic and script created.

"Weather Story Assist lets a station's weather team stand out on every screen, not just the six o'clock news," said Steve Ward, senior vice president and general manager, enterprise media at The Weather Company. "By eliminating manual search and prep work, we’re helping station groups deliver richer local storytelling and expand their digital presence, all while keeping the experts who know their local markets best in complete control."

Weather Story Assist streamlines newsroom workflows and improves content quality by:

• Grounding the Story in Minutes: Surfaces historical content, record data and compelling story angles behind the forecast – each clearly traced to its source – so meteorologists can build narratives quickly instead of starting from scratch.
• Intelligent Asset Search and Suggest: Comb through a station group's secure Max Cloud library to make automatic recommendations of relevant scenes, graphics, archived video and local angles in the station's distinct brand and editorial voice.

The Weather Company also announced three capabilities coming soon to Weather Story Assist, including three-tiered personalization, cross-market content sharing and automated vertical and platform adaptation.

Weather Story Assist is built around strict meteorologist-in-the-loop principles and helps to ensure no content is published or aired without explicit approval from a meteorologist. Every suggested storyline and media asset clearly traces back to its original source, providing transparency and trust.

Operating entirely within a station group’s secure, private Max Cloud environment, Weather Story Assist learns exclusively from that group's proprietary content, brand guidelines and usage patterns to ensure custom intelligence without sharing data or training across external platforms or customers.

More information is available on the company’s website.

MELBOURNE, Fla.—USSI Global, a broadcast systems integrator, has elevated Ted Corte to chief technology officer.

Korte has been with USSI Global since 2021, most recently running its engineering organization as vice president of engineering and technology. He joined the company as vice president of program management and Innovation Lab, where he managed broadcast infrastructure initiatives related to the first Federal Communications Commission C-band transition.

In his new role, Korte will oversee new technology, engineering and technical management teams across the USSI business, advancing the company’s system-level engineering capabilities, evaluating emerging technologies and developing solutions that address evolving customer requirements across all three business units, the company said.

“Ted has played an instrumental role in transforming how USSI Global approaches technology, engineering and customer engagement,” said USSI President and CEO Anthony Morelli, to whom Korte will report. “He has helped us move beyond simply implementing systems to becoming a trusted technical adviser that customers and technology partners turn to for answers, ideas and innovative solutions. His promotion to CTO recognizes the leadership he has already demonstrated while positioning us to expand those capabilities across every part of our business.”

In his prior role, Korte led the development of USSI Global's Media Transport Solutions Lab, a vendor-agnostic testing and engineering environment that helps broadcasters and media organizations evaluate emerging distribution technologies and architectures. The lab allows USSI customers to assess the performance, resiliency and operational requirements of satellite, terrestrial IP, cloud and alternative connectivity solutions before committing to large-scale deployments, USSI said.

He has also played a key role in the company’s initiatives to help its customers navigate the C-band transition, USSI Global said.

Korte has been a leading technical voice in USSI Global’s C-band initiatives, it said, helping customers navigate the first transition while positioning the company to support complex hybrid and next-gen transport architectures.

“We have built an environment where we can experiment with new technologies, understand how different systems work together and translate those discoveries into practical solutions,” Korte said. “The Media Transport Solutions Lab is a great example of that philosophy. It has helped us establish credibility as a technical partner while opening doors to new customer relationships and business opportunities.”

Korte said he hopes to extend that approach across USSI Global's broader service portfolio, including digital signage, retail technology and electronics repair.

Prior to USSI Global, Korte spent nearly 22 years with Harris Corp. in engineering leadership roles across broadcast automation, servers and transmission equipment. Later on, he was chief operating officer and chief technology officer of Qligent, a provider of broadcast and OTT monitoring and analytics solutions. Immediately prior to USSI, he returned to L3Harris to work on research and development initiatives involving satellite technologies, low-Earth-orbit ground stations and global networking systems.

Korte will share his satellite expertise tomorrow on a NAB Show New York panel titled “Broadcasters’ Road to C-Band Replacement.” For information on that panel session, click here.

NEW YORK—Pearl TV has secured new pricing from patent owners, technology licensors as well as testing and security providers necessary to one day making affordable accessible NextGen TV converters available to consumers.

The broadcast business group made up of seven of the nation’s largest station groups made the announcement on the eve of NAB Show New York, which opens Oct. 21 in Manhattan at the Javits Center.

“A successful transition to NextGen TV requires more than advanced broadcast technology. It requires affordable products that enable all consumers to continue enjoying free over-the-air television,” said Anne Schelle, managing director of Pearl TV. “Our work with technology licensors, manufacturers, testing organizations and the consumer technology industry is focused on reducing costs for consumers and establishing a clear market path for NextGen TV converter boxes to advance the ATSC 1.0 to ATSC 3.0 transition.”Affordable converter boxes will enable all consumers to access this content without buying a new television.

Pearl TV’s Converter Box Program brings together organizations from across the broadcast ecosystem to support the development of affordable devices. Participating patent owners through the Advanced Broadcast licensing platform, along with Dolby and Advanced HDR by Technicolor, are supporting the initiative through licensing arrangements tailored to qualifying converter boxes. Discussions are also continuing with additional intellectual property licensors and component manufacturers.

Testing provider Resillion and the ATSC 3.0 Security Authority have also established special pricing for the program, lowering the cost of both certifying and securing qualifying products.

“This is what industry collaboration looks like. Patent owners, technology licensors, testing and security providers, and manufacturers are all contributing to a shared goal of making affordable NextGen TV converter boxes a reality,” said Schelle.

“Together, we’re making meaningful progress toward affordable devices that connect to existing televisions through an HDMI connection, so that consumers can receive NextGen TV without needing to buy a new TV set. Millions of these receivers will be needed to complete the transition, and this collaboration is helping lay the groundwork,” she said.

Pearl is working with several manufacturers developing low-cost ATSC 3.0 converter boxes, with new products expected to be unveiled in early 2027. The group is also working with the Consumer Technology Association to help consumers easily identify qualifying products at retail.

“As the transition continues apace,” Schelle added, “consumers and broadcasters alike can have confidence in converter boxes using the famous NextGen TV logo and meeting its testing requirements.”

Converter Box Program specifications now require qualifying converter boxes to support ATSC 3.0 Advanced Emergency Alerting recommended User Interface requirements that aim to ensure a consistent user experience in the delivery of richer, more accessible, geo-targeted emergency information delivered in the over-the-air broadcast signal.

“The emergency information experience supported by the Converter Box Program is built on a user interface and user experience framework developed by Sinclair and ONE Media through the NAB NextGen TV News Technology Lab, an NAB initiative supported by a grant from the John S. and James L. Knight Foundation,” said Mark Aitken, president of ONE Media and senior vice president of Advanced Technology for Sinclair Broadcast Group.

“The framework sets a common standard for how NextGen TV emergency information looks and behaves, so viewers get the same clear, predictable experience on any channel, any device, and any screen. It was shaped by input from about 300 emergency managers and focuses on what people need most under stress -- what is happening, where, how urgent it is, and what to do,” he said.

More than 600 NextGen TV services (or channels) are currently on-the-air from broadcasters throughout the U.S. Broadcasters are sharing transmission facilities to maintain both ATSC 1.0 and ATSC 3.0 services during the transition period, ensuring continued access to free over-the-air television.

“As the industry prepares for an eventual transition involving more than 1,600 commercial television stations, affordable consumer equipment, improved broadcast services and a clear transition timeline will be essential,” Schelle said.

There was a time when preserving an audiovisual recording meant protecting a physical object. Film reels, magnetic audio tapes, U-matic, Betacam, VHS, Digital Betacam and other professional formats demanded careful handling, controlled environments and, above all, working playback machines.

Digitization changed that relationship. Instead of repeatedly handling an ageing original, archivists could capture its content as digital files, create preservation masters and produce access copies without returning to the carrier. Yet early digital preservation created another dependency: storage media, especially Linear Tape-Open (LTO).

For many institutions LTO became the dependable workhorse: comparatively inexpensive, removable, offline and suitable for large audiovisual collections. But every new generation brought higher capacity, changing drives and a continuing obligation to migrate data before hardware and interfaces disappeared.

LTO is Evolving, Not Disappearing
LTO-7, introduced in 2015, stores 6 TB natively. Current LTO-10 technology has moved to 30 TB and 40 TB native cartridge specifications. The increase is dramatic, but capacity alone does not solve preservation. Backward compatibility is limited, and a current-generation drive cannot simply read every older tape.

That distinction matters. An LTO-7 cartridge is not automatically useless because it is old; if the media is sound and a compatible drive and software remain available, the data may still be recoverable. The preservation risk lies in the shrinking ecosystem around the carrier and the absence of a planned migration path.

The Scanner Has Become a Preservation Workstation
Modern film digitization is no longer merely a telecine transfer. High-end sprocketless scanners can handle fragile material, capture at high resolution and create multiple outputs from one carefully controlled scan. The British Film Institute has described using a Lasergraphics Director 65 capable of handling gauges from 8mm to 70mm and scanning up to 13.5K, while its normal preservation workflow commonly uses 4K with lower-resolution access derivatives.

Professional systems now include Lasergraphics ScanStation and Director platforms, ARRI ARRISCAN, DFT POLAR HQ, Blackmagic Cintel and specialized systems such as Sondor. Choice depends on gauge, shrinkage, perforation damage, sound format, required resolution, throughput and the archival significance of the material.

The key advance is not simply resolution. A contemporary workflow can connect capture, image processing, metadata, quality control and storage so that the preservation master enters a managed repository immediately after validation.

Videotape: The Disappearing-Machine Problem
Videotape remains more difficult. U-matic, one-inch Type C, Betacam, Digital Betacam, VHS and other legacy formats still require appropriate playback equipment. No cloud service can recover a signal from a cassette if the correct machine, heads, time-base correction and engineering knowledge no longer exist.

The urgency therefore lies at the ingest stage. Once the signal has been captured correctly, software can take over much of the repetitive work. FFmpeg supports processing and transformation; MediaInfo identifies technical properties; MediaConch can test files against defined policies; QCTools assists audiovisual signal analysis; vrecord supports preservation-oriented capture; and embARC assists embedded archival metadata.

Automation is valuable, but it is not a substitute for an experienced eye and ear. A technically valid file may still contain a bad transfer, missing programme content, colour errors, audio distortion or incorrect field handling.

Audio: Capture Faithfully, Then Manage Digitally
Audio preservation has followed the same transition. Analog recordings are captured into high-quality digital files, while born-digital recordings should normally retain their original characteristics unless a documented preservation reason requires transformation. IASA guidance supports professional high-resolution capture, with 24-bit resolution and appropriate sampling rates such as 96 kHz for suitable analogue transfers.

Broadcast Wave Format remains useful because it can carry professional audio together with structured metadata. As with video, the objective is to create a trustworthy preservation master once, document it properly and avoid needless re-digitization of the original carrier.

The Real Revolution is Behind the Scanner
The most consequential change is taking place after digitization. Earlier workflows often ended with delivery on hard disks or LTO cartridges. Modern repositories can ingest the preservation master directly into networked or object-based storage and automatically apply integrity, retention, replication and access policies.

Amazon S3 provides archival storage classes, object locking and replication options. Microsoft Azure offers archive tiers and immutable-storage controls. Google Cloud Storage provides lifecycle management, versioning and retention-lock mechanisms. Institutional object stores can provide similar functions without placing the entire collection in a public cloud.

This changes the archivist's daily task. Instead of manually preparing a separate cartridge for each group of digitized files, the institution can define preservation policy and allow software to create and monitor the required copies.

Does Every Digitized Footage Item Still Need a Separate Backup?
Not in the old operational sense. A professionally designed repository can automate replication, checksum creation, integrity checking, retention and disaster-recovery copies. The technician need not manually create and catalogue an additional tape every time a new asset is digitised.

But this does not mean that one stored copy is enough; replication and backup are not identical. A configuration error, malicious deletion, ransomware event or compromised administrator account can affect multiple online copies. A preservation system therefore needs independently recoverable copies, separation of failure domains, controlled permissions and tested recovery procedures.

The modern objective is not "no backup," it is "no unnecessary manual backup." The preservation copy still exists; increasingly, the infrastructure creates, verifies and protects it automatically.

AI Enters the Archive
Artificial intelligence adds another layer. Speech recognition can create transcripts; computer vision can assist scene and object discovery; automated systems can propose keywords, detect shot changes and make large uncatalogued collections searchable. AI-assisted tools can also support restoration tasks such as stabilisation, noise reduction and defect detection.

The archival rule, however, should remain strict: an AI-enhanced or restored version is a derivative, not a silent replacement for the preservation master. Provenance — what was captured, what was changed, by whom, using which process and when — becomes more important as synthetic and generative tools become commonplace.

The Economics Have Changed Too
Traditional preservation budgets were easy to visualize: cartridges, tape drives, shelves, vaults and migration cycles. Contemporary costs are less visible. They include storage capacity, data transfer, retrieval, cybersecurity, software, vendor dependence, staff expertise and the ability to export an entire collection if the service provider changes.

Cloud storage can remove some local hardware burdens, but it is not automatically cheaper for petabyte-scale audiovisual masters. A hybrid model — fast local storage for active work, managed object storage for preservation, and an offline or otherwise isolated recovery copy — may remain the most sensible architecture for many institutions.

What Digitization Service Providers Must Now Offer
The commercial model is consequently changing. A service provider should no longer be judged only by how many hours of film, video or audio it can transfer. Professional competence increasingly covers the whole preservation chain: carrier assessment, calibrated capture, preservation-format selection, metadata, checksums, automated and human QC, secure transfer, repository integration and migration planning.

Contracts should clearly identify who owns the files, who holds the preservation copies, who verifies successful delivery, how long the contractor retains temporary copies, what security controls apply, and what happens after the retention period. A digitization contractor should not become the permanent custodian merely because its server contains the last surviving copy.

This also changes the question of separately charging for LTO backups. If a client already operates a properly managed repository with independent, tested recovery copies, an additional contractor-created LTO set may be redundant. If that tape is the only genuinely independent recovery copy, removing it would be poor preservation practice. The answer lies in architecture and risk, not fashion.

Storage Capacity is Not Image Quality
A larger tape, faster server or more expensive cloud account cannot improve a bad digitisation. Preservation quality begins at capture. Film condition, scanner optics, transport stability, resolution, colour management, audio alignment, signal correction, file format and quality control determine what survives.

The same principle applies to file formats. FFV1, DPX, TIFF sequences, WAV/BWF and professional video containers each have legitimate uses, but none is universally correct. Institutions should select formats according to source characteristics, preservation policy, interoperability and long-term sustainability rather than following a fashionable specification.

Conclusion: Honor The Old, Redesign the New
The pioneers of audiovisual preservation worked in an era when saving a recording often meant saving its physical carrier. Their discipline preserved films, broadcasts and sound recordings that would otherwise have vanished. LTO then provided an important bridge into large-scale digital preservation.

The next stage is not a rejection of those technologies. It is a change in where the intelligence resides. Scanners are better, storage is distributed, integrity checking can be automated, and AI can assist discovery and quality control. The archivist's responsibility moves upward — from handling every copy manually to designing and supervising the rules by which copies are created, protected, verified, accessed and migrated.

For archivists and digitization service providers, the guiding principle should therefore be simple: digitise once, preserve intelligently, verify continuously and migrate whenever necessary. The golden age taught us the value of the original. The digital age must ensure that convenience never makes us forget it.

• FIAF — Film Scanners Forum and technical resources: fiafnet.org
• IASA — Guidelines for the Preservation of Video Recordings (TC-06) and digital audio principles: iasa-web.org
• FADGI — Digitization software and audiovisual guidance: digitizationguidelines.gov
• Library of Congress — Recommended Formats Statement and digital preservation guidance: loc.gov
• LTO Program — technology roadmap, specifications and compatibility: lto.org
• Amazon Web Services — S3 archival storage, Object Lock and replication: aws.amazon.com
• Microsoft Azure — Blob archive tiers and immutable storage: azure.microsoft.com / learn.microsoft.com
• Google Cloud — Cloud Storage lifecycle and retention controls: cloud.google.com
• British Film Institute — contemporary film scanning and preservation workflow: bfi.org.uk

BENGALURU, India—Amagi this week announced a strategic partnership with Sistemas de Video Comunicación S.A. (SVC) to expand access to its cloud-based media technology across Argentina, Uruguay, Paraguay, and Bolivia.

Through this partnership, media and entertainment companies in the region will gain local access to Amagi’s solutions for cloud modernization, content distribution, streaming, and monetization, combined with SVC’s strong regional presence, market expertise, and local technical support.

“This partnership reflects how we think about growth in Latin America: hand-selecting partners who understand their markets as well as we understand our technology,” said Ronaldo Dias, Director of Sales, Amagi Latin America. “SVC gives Amagi the local reach and support broadcasters, content providers, and distributors in the region need to simplify operations, unify distribution, and maximize reach, engagement, and revenue.”

“Amagi brings a level of innovation and flexibility that’s unique in this market,” said Mariano Simonetta, CEO, at SVC. “Paired with our regional expertise, that means broadcasters, content providers, and distributors get best-in-class technology without losing local support.”

Amagi says the partnership marks a continued investment in Latin America through expanded local presence and strong local partnerships. For SVC, it expands the portfolio of next-generation technologies available to its customers as the industry shifts toward cloud-based, flexible, and more efficient operating models.

Amagi and SVC officially presented this partnership at The CAPER Show 2026, which took place October 7-9, 2026, in Buenos Aires, Argentina, where both companies met with customers and partners to help shape the next stage of their technology transformation.

WOODSTOCK, Ill.—Other World Computing has announced the general availability launch of OWC Dock Ejector 2.1 software that adds one-click safe ejection for connected data volumes, for Mac and PC. In addition, on Mac, OWC Dock Ejector 2.1 now provides seamless high-power USB port enablement.

While OWC docks are fully functional without OWC Dock Ejector, the v2.1 software adds another layer of convenience, data protection, and capability. With OWC Dock Ejector 2.1, users can:

• Safely eject all detected connected data volumes with a single click on Mac or PC, protecting against data corruption or loss before disconnecting from a dock.
• Safely eject SoftRAID, AppleRAID, and other connected non-raid volumes, including camera cards, without having to locate and eject each volume individually.
• Reduce the risk associated with improperly unmounting volumes, particularly ExFAT and FAT32 media commonly used with camera cards and in cross-platform creative workflows.
• On Mac, automatically enable supported OWC dock USB ports for higher-power operation recognized by macOS, allowing compatible devices to access the additional power they require without changing macOS security settings.
• Support devices such as Apple SuperDrive and mobile devices that may require macOS to recognize a USB port as high-power enabled for proper operation or faster charging.

“OWC Dock Ejector takes something that can be a tedious manual process and turns it into one-click assurance for your data,” said Larry O’Connor, Founder and CEO, Other World Computing (OWC). “Whether you’re on a Mac or PC, it detects and safely ejects connected data volumes so you can disconnect your dock without worrying that you missed a drive. That’s especially important for creators working with camera media and ExFAT or FAT32 volumes, where an improper disconnect can result in data loss or corruption. OWC docks stand on their own – OWC Dock Ejector simply makes the experience safer, easier, and better.”

“On the Mac, OWC Dock Ejector goes even further by enabling macOS to recognize the higher-power capability already built into supported OWC dock USB ports, so devices that require additional power can operate or fast charge as intended,” O’Connor continued. “It does that without requiring users to dig into messy security settings. Bringing together one-click drive safety and high-power port enablement in a free, integrated software experience is another OWC difference – adding even more capability, convenience, and value to an OWC dock.”

For further information and/or to download OWC Dock Ejector 2.1, please visit: OWC.com/solutions/dock-ejector and/or the Apple App Store here: https://download.owc.com/dockejector/mac/appstore.

DALLAS—PrimeTime Lighting Systems has introduced the Duo Stream plug-and-play lighting system designed to make professional-level studio lighting simpler and more accessible for a wide range of video production environments.

Duo Stream brings the professional lighting technology to podcasters, content creators, corporate video studios, schools and universities as well as small- to midsized production facilities. It combines professional lighting performance with simplified installation and connectivity, helping users achieve a polished, broadcast-quality look without the complexity traditionally associated with professional studio lighting infrastructure.

“Small to midsized studios no longer need a complicated lighting installation to achieve professional results,” said Glen Harn, president of PrimeTime Lighting Systems. “With Duo Stream, we’re making it easier for smaller studios, content creators and educational facilities and corporate studios to step up to professional lighting. They get professional-quality lighting in a simplified system that’s designed to make installation easier, reduce cabling complexity and deliver the performance they need.”

Designed with ease of use in mind, Duo Stream features a streamlined cabling approach that allows compatible fixtures to be daisy-chained for power and data control through a single cable connection between fixtures. Depending on the system configuration, users can connect up to 28 lights.

The Duo Stream system delivers professional-grade light output, high CRI and TLCI color performance and a 60- to 80-degree beam angle. It is designed to deliver quality illumination for on-camera talent while helping studios make effective use of their lighting equipment.

Duo Stream is made in America and reflects PrimeTime Lighting Systems’ commitment to American manufacturing and professional-grade products built for demanding production environments.

More information is available on the company’s website.

SOUTHWICK, Mass.—Kokusai Denki Electric America will highlight its latest innovations in professional broadcast imaging and production control during NAB Show New York, Oct. 21-22, at Javits Center in Manhattan.

The company will feature solutions that deliver premium 4K picture quality, flexible camera operation and efficient production workflows, including its flagship 4K broadcast camera, versatile 4K box camera, advanced RU-2500JY remote control panel and new VF-EL20HP broadcast camera viewfinder.

The company’s SK-UHD7000, a professional 4K UHD camera system engineered for demanding broadcast and live production environments, incorporates three 2/3-inch CMOS image sensors with native 4K resolution, capturing detailed 3840x2160 UHD images with outstanding color reproduction, sensitivity and low-noise performance.

The camera’s global shutter technology minimizes unwanted artifacts, such as flickering and banding, associated with LED lighting and large-format displays. an SK-UHD7000-S2 configuration offers a flexible entry point to 4K through an optional license upgrade with instant activation.

The company will also demonstrate its DK-H700 multiformat box camera, a compact solution that combines broadcast-quality imaging with flexible deployment options. Designed for applications where camera size, positioning and operational versatility are essential, the DK-H700 is particularly well-suited for sports venues, live event production, broadcast studios and specialized point-of-view camera installations. It incorporates 2/3-inch CMOS imaging technology, advanced digital signal processing and HDR support to deliver sharp, detailed images with lifelike color fidelity, excellent sensitivity and low noise.

The DK-H700 can operate as a standalone production solution or complement the SK-UHD7000 in larger multicamera environments.

The company will also demonstrate the RU-2500JY remote control panel in combination with the SK-UHD7000. Designed to maximize operational control within limited production space, the RU-2500JY features a 3.2-inch (82 mm) width that allows side-by-side installation of five units in a standard 19-inch rack.

The panel integrates a 3.5-inch color touchscreen, illuminated controls, precision joystick and dedicated camera shading functions that give operators intuitive access to essential picture adjustments during live production. Advanced HDR and SDR controls, color matrix adjustments and scene file recall support consistent image quality across multicamera productions.

With support for both serial connectivity and IP-based control via Power over Ethernet (PoE), the RU-2500JY accommodates established broadcast infrastructures as well as evolving REMI and decentralized production workflows. Its USB interface also enables operators to store and recall camera configurations, simplifying setup and maintaining consistency across multiple production environments.

Kokusai Denki will also make the global debut of its new VF-EL20HP broadcast camera viewfinder at the show.

The VF-EL20HP combines a 0.7-inch Full HD OLED eyepiece with a 3.5-inch Full HD flip-out LCD monitor, allowing camera operators to transition between traditional eyepiece viewing and flexible off-axis monitoring without additional external displays. The OLED provides exceptional contrast, deep black levels and precise focus representation, while the high-brightness LCD supports alternative camera positions and collaborative viewing during live production.

Integrated waveform monitoring, vector scope, and histogram tools give operators immediate access to critical picture and signal information directly from the viewfinder.

Kokusai Denki will be in booth 430.

NHK has announced its Super Hi-Vision cameras have been deployed aboard the Martian Moons eXploration (MMX) spacecraft, which launched from the Tanegashima Space Center this morning.

Jointly developed with the Japanese Aerospace Exploration Agency (JAXA), the 8K and 4K ultra-high definition cameras will document the entire mission, capturing footage of the spacecraft’s journey to the Martian system, its approach to the planet and the descent and landing on the moon of Phobos.

Designed to withstand the rigors of space travel, the two cameras have passed environmental testing in accordance with JAXA’s standards, said NHK.

Their imagery will be combined with flight data and other information to produce vivid, immersive footage of the flight.

Commenting on the launch of the H3 rocket, NHK’s president said, “The cameras we have developed have now begun their long journey to the Mars system. We hope people will look forward to the images of Mars and Phobos captured by the cameras. NHK will continue to work closely with JAXA to turn the 8K and 4K images sent back from the Mars system into video footage and share it widely with audiences.”

NEW YORK—Station group Hearst Television has hired Chris Plourde as vice president, strategy and distribution.

Plourde comes to Hearst after 20 years at Tegna, most recently as vice president, financial planning and analysis. He will report to John Robertson, senior vice president of strategy and distribution, assisting him in areas including strategic partnerships in distribution and technology, Hearst said.

“Finding a leader with Chris’s depth of experience is a rare and exceptional opportunity,” Hearst Television President Michael J. Hayes said. “His arrival further strengthens what is, without question, the finest strategy and distribution team in the local television business, and positions us to lead Hearst Television boldly into its next generation.”

While with Tegna, Plourde specialized in distribution strategy, corporate development, financial planning and complex commercial negotiations including the successful completion of many distribution agreements, Hearst said. His work has included constructing financial models supporting distribution revenue, negotiation strategy and new business ventures, according to the company. He has also led financial strategy and analysis supporting network affiliation negotiations and strategic partnerships, among other activities, Hearst said.

“Chris brings an extraordinarily distinctive and wide-ranging breadth of experience, and we are fortunate to welcome him to the team,” Robertson said. “His insight and perspective will be invaluable as we continue to build on our momentum and he will be instrumental in helping drive our relationships with networks and MVPDs, including our advanced advertising partnerships.”

A graduate of Northeastern University who earned his MBA at George Mason University, Plourde joined Tegna in 2006.

LAS VEGAS—PSSI Global Services, which provides transmission services for live events, has promoted Tracy Michaels to vice president of engineering.

Michaels, a 20-year PSSI veteran, will continue to represent the company in the field at high-profile events but will dedicate much of his time to designing major infrastructure upgrades across its SNG fleet and at PSSI International Teleport. He’ll also work closely to integrate on-site networking services from the recently acquired Beagle Networks into PSSI’s suite of transmission and managed service offerings.

He’ll also lead PSSI’s push into SMPTE 2110 transmission, with the design and launch of a new dual-antenna, IP-centric transmission vehicle in the first quarter of next year, the company said.

“We are quite excited to elevate Tracy into this role as we work closely with our customers to navigate a sea change in broadcast signal delivery,” PSSI CEO Derek Blount said. “The breadth and depth of his experience in the field, his commitment to learning and his unwavering work ethic have earned Tracy the respect of his colleagues throughout the industry. But what we’re most excited about is Tracy’s ability to anticipate the needs of our customers as we develop and implement unique technology solutions to unique transmission scenarios.”

Michaels will report to PSSI executive vice president and chief technology officer Brian Nelles.

“My work is cut out for me in this new role,” Michaels said. “The live event industry is undergoing a transformative period in how solutions are delivered, and I want to ensure we are prepared to support our customers at the highest level. We want to lead the way while also listening, understanding and responding to the complexities of live contribution and distribution.”

Nelles noted that PSSI is known for its expertise in Appear technology, with both executives recently representing the company at an Appear-hosted panel in Norway.

“PSSI is recognized as the foremost field expert in Appear technology, and Tracy has spearheaded this work as an Appear ‘power user,’” Nelles said. “His innate ability to develop and execute robust engineering solutions in volatile live scenarios makes him a valuable leader in PSSI’s efforts to level up our entire team's technical know-how and remain at the cutting edge of the live event industry.”

LONDON—Despite recent turmoil in traditional regional sports networks (RSNs), the value of Major League Baseball’s (MLB) regional broadcast rights at $1.6bn in 2026, accounts for 43% of the league’s total $3.7bn broadcast rights revenue, according to a new report from Ampere Analysis.

The contribution remains substantial despite the disruption to regional sports networks (RSNs), which traditionally broadcast teams’ games to local audiences outside national television packages, the researcher said.

Rooted in linear cable, regional sports networks (RSNs) have come under increasing pressure from cord-cutting, as US households move away from traditional pay TV towards streaming. Over the past four years, 13 of MLB’s 30 teams have lost their regional sports network partner, including 12 following the bankruptcies of Diamond Sports and Main Street Sports Group.

Ampere estimates that US pay TV households will fall from 96 million in 2016 to 65 million by the end of 2026, while streaming households will increase from 57 million to 112 million over the same period.

MLB.tv has taken on responsibility for broadcasting local games for affected teams which has contributed to the robustness of the regional rights income. In the 2026 season, it holds regional broadcast rights for 14 of the league’s 30 teams. Most of the remaining teams have more lucrative regional television arrangements with the ones in the larger, more populous markets having a bigger pool of fans and potential regional sports network customers.

Ampere estimates that the Los Angeles Dodgers and New York Yankees alone account for 23% of total MLB regional rights fees and that in total, the 14 teams partnered with MLB.tv currently account for roughly 30% of all regional non-advertising TV revenue. These teams previously had more lucrative agreements with their regional broadcast partners, with MLB.tv currently providing an interim solution.

With labor talks threatening an all-out "strike" for the 2027 MLB season, Ampere adds that greater revenue sharing between teams may be introduced following the expiry of the collective bargaining agreement between MLB and the MLB Players Association at the end of this year. This could reduce the television revenue gap between teams in smaller and larger markets.

In the upcoming negotiations, MLB wants to centralize local broadcast rights at its next media rights cycle in 2028. This could allow the rights to be sold collectively to a streaming platform, potentially on a national basis, Ampere said.

In terms of the overall U.S. market, Ampere expects US pay TV households to decline further to 58 million by 2031, while streaming households will reach 120 million. A consolidated package of local MLB rights would offer a substantial volume of games to broadcasters interested in one of the ‘big four’ US sports leagues.

When I saw that Apple was having a new product reveal centered on my beat, home and video products, rather than another big whizz-bang event on phones, tablets and Macs, my reaction was “Finally! AT LAST!” It reminded me of Etta James’s great 1960 rendition of the 1941 classic by Mack Gordon of the same name.

At Last, indeed. Those of us in the video streaming and home technology worlds have long been waiting for new versions of the Apple TV 4K streaming box and Apple’s HomePod products. While streamers such as Roku, Fire TV, Google TV and others have brought out new products while the Amazon and Google Home product universes have seen multiple new products and upgrades.

Yes, Apple has dutifully upgraded their TV OS and fixed some bugs in the products but that only goes so far as new software and stream presentation features eventually require newer, more powerful platforms. The current Apple home products were just getting too long in the tooth with the last Apple TV 4K almost four years old, the HomePod Gen2 dates back to 2023 and the HomePod mini to 2024.

Now, finally, AT LAST. Was it worth the wait? Where does the new Apple HomeView fit into the picture and what are the benefits of the new Apple TV 4K and HomePods? Are they worth the update and what does the new hardware foretell for the future?

NOT THE SAME AS IT EVER WAS
Let’s start with the most anxiously awaited product, the new Apple TV 4K Gen 4. One the hardware side it has a new Apple A19 chip that is said to be 50% faster as a CPU and twice as fast for GPU performance. That gets you through menus faster and with hardware-accelerated ray tracing video performance is improved.

The form factor and dimensions are virtually the same along with the addition of three far-field mics so that you can issue voice commands directly to the unit without having to pick up the remote. The HDR formats are the same although the Dolby Vision profile has been updated to 8.1 and AV1 codec compatibility is added to check and view content using that codec. Wi-FI is updated to 802.11be/Wi-Fi 7 with Bluetooth 6. The new remote is almost that same, but it is also upgraded to Bluetooth 6 and adds “Find My” and Precision Finding for when you lose it under the couch cushions.

Finally, there is only one model, priced at $299 with availability on Nov. 13. Some have noted that this is a $100 increase from the previous model, but with 128GB storage, Gigabit Ethernet and Thread capability as standard the price comparison should really be made to the former model with those features at $249.

For installers, content evaluators and consumers in general, there are some omissions to be noted to somewhat temper the excitement of a long-awaited product. First, the HDMI remains at 2.1, but that is no surprise even though HDMI 2.2 has been finalized chips to support it might not yet be available.

Someone else will be the first out of the gate with that format. Also still missing is 4K/120Hz video, VRR and ALLM. Not dealbreakers but somewhat of a downer for gamers. Somewhat of a shame as the Latency Indication Protocol (LIP) would be nice to have.

On the audio side still missing is DTS:X support. Also, as with earlier models, there is no Dolby Atmos or Dolby True HD passthrough. Instead, the Apple TV 4K decodes it internally to LPCM 5.1 or 7.1 and the height channels are lost. You still get surround sound, but it is channel-, not object- based.

'THE LOVE CHILD' OF AN OLD IMAC WITH AN APPLE WATCH
That’s the new Apple TV 4K, but there were other product introductions that, when this is alL put together, form a refreshed Apple home products suite. Let’s summarize them before seeing where all this takes us.

The “first of its kind for Apple” is the Apple HomeView. Some might call it Apple’s response to the well-established Amazon Echo Show line and similar products it the Google Nest universe, but it is more than that. There is a wall-mounted model and a tabletop version that conjures up a what the love child of an old iMac and an Apple Watch might look like. There is a 7-inch, 1088x1088 Liquid Retina, backlit LCD, touch panel, display with up to 500 nits brightness. The camera is 12MP with Apple’s Center Stage technology.

For audio, in the base of the tabletop model there is a pair of full range drivers in the display’s frame and both a downward firing woofer and dual force-cancelling passive radiators in the base. The wall-mounted version has a pair of full-range drivers but no low frequency driver.

On the hardware side it is powered by the Apple A18 chip, has Wi-Fi 6E, Bluetooth 6.0, Matter and Thread border router support there is a four-mic array for noise suppression and Siri, and USB-C for both power connection and accessories. The camera is 12-megapixels with zoom for chatting if needed.

Both versions list at $299 with availability on Friday, Nov. 13, albeit that the wall-mount model does not include either a mount or power adaptor. There are no VESA mounting holes on the wall-mount version, so you must spend $59.95 for the Standard mount or $129.95 for the AC powered Premium mount that requires installation by an electrician or $179.95 for the PoE Wired version. Both come from Schneider Electric.

At the top-level view, Apple HomeView is the natural integration of the disparate devices in the Apple eco-system into a single device that keeps everyone in the house informed as to what is going on, enables spatial audio listening, video calls via FaceTime, locating family members with Apple devices using Find My, and viewing video content streamed from an iPhone or iPad.

That last item is key, as there are few embedded apps and there is no access to the Apple App store. This isn’t a phone or tablet where you can ask it to play something directly from your favorite streaming service. You do that via AirPlay.

So what is it for? Apple presumably sees this as your home dashboard with face recognition figuring out who is asking what. Yes, you can query it for sports scores, recipes or similar as you can with an Echo or Google device. However, as you will see when the three new products are wrapped together there is much more with the goal of all working together with Siri AI and the inclusion of Matter and Thread in the devices.

The third new Apple product is the HomePod mini 2 with a note that the current, larger, HomePod Gen2 remains in the line $349. As its name implies, the $149 HomePod mini 2 is smaller, but with new features it is quite powerful in a number of ways.

Designed to be both a standalone smart speaker and part of the larger Apple home products system, it, too, is designed to use Apple Intelligence to not only do the obvious music playback, it is part of the Apple home management system taking voice commands for smart home device control, using Sound Recognition to alert you if it hears smoke or carbon monoxide detectors and even sending a notification of that to your iPhone, iPad or Apple Watch.

The hardware side includes significant updates from the original HomePod mini thanks to a Apple S10 chip driving the system, Wi-Fi 6E and Bluetooth 6. The speaker is a single full-range driver, and the mic array has three far-field capsules. They will feed Siri and Siri AI when the latter is available down the road as a software upgrade.

New is the color-morphing Sound Glow surface at the top of the unit with a capacitive touch surface for control. There are now clickable, mechanical buttons. Colors include white, pink, green, blue and midnight.

A UNIFIED HOME SYSTEM
With those three new products joining the lineup along with the HomePod and the Apple Home Collection from LG starting in December with a Video Wired Doorbell, an Outdoor Camera, a Floodlight Camera. A Smart Thermostat and a Temperature Sensor and a smart thermostat that will become available in December and then a Smart Deadbolt lock and Indoor Camera in January, 2027, the goal is a true, unified system with multiple control points.

One key aspect of these devices and some of their earlier and present cousins is the ability of the new Apple TV 4K to work with a combination of four HomePod mini2 or HomePod Gen 2 products create a full immersive home theater surround system. Even better, with mics now embedded in the Apple TV 4K you can not only talk to it without picking up the remote, the mics and the processor do all the configuration for the multi-speaker system.

Position mapping, delay timing, level setting, room sensing and dynamic EQ are all taken care of automatically. Thanks to the power of the A19 chip a phantom center channel is derived and the software distributes the LFE/bass channel across the speakers wothj the heaviest bass routed to full-sized HomePods if they are at the front to keep deep rumble away from the smaller HomePod mini 2 when used as the rear speakers.

One presumes that other smart home products that already work with Apple devices will continue to work with the new models. The key thing to remember is that it doesn’t work the other way around as the Apple-centric LG products will only work with the Apple devices. Yes, HomeView will respond on its own to anyone, but to set it up a compatible iPhone or iPad is required and the Home Collection products require an iPhone for initial NFC pairing. Similarly, certain personal context requests also require a paired Apple Intelligence-enabled iPhone or iPad running the latest software and having Siri AI turned on.

Siri AI is at the heart of all of this, and it is clearly new. Will it have growing pains? We’ll see. What will the daily limits for usage, if any be? We don’t know yet. The fine print on all of this says that in the future there will be a fee for “expanded access” but the “when” and “how much” is still to be determined.

If the family is all-Apple with reasonably recent devices everyone should be happy. If it is a “mixed marriage” with a variety of Apple, Android, Amazon and Google Nest devices things should work, but to what extent is something that we won’t know until everyone gets their hands on them.

Put all together, this is a full-on effort to, at least for Apple families, deliver a complete home system including music and content, scheduling, queries on all subjects, view and control of smart home devices, locks, HVAC and cameras. With the HomeView providing the missing piece of the puzzle with an dedicated Apple display device, Siri SI, Apple Intelligence and a new array of smart home products specially tailored to Apple, as our introductory song says, AT LAST. After all, rest of the first lines are “My love has come along, And my lonely days are over, And life is like a song.”

To be certain, Amazon’s Echo and Echo Show devices, third-party Alexa-compatible devices, Google Next Home products and their first and third-party products have quite a lead in this space for smart home devices and smart speakers. The same goes for the increasingly agentic AI functionality of Alexa and Google as the AI and software OS that drives their ecosystems.

Will the alLure of Apple’s industrial design, new product features, Siri AI combined with their tremendous market penetration for phones and tables push these new products to the top? That will be fun to watch and at the very least the competition will undoubtedly lead to better systems for all.

Michael Heiss is a columnist for TV Tech.

NEW YORK—Fox Advertising says it is adding new partners to its agentic advertising platform, expanding the reach of its platform to live and commercial linear TV.

In June, Fox Advertising announced the industry’s first end-to-end agentic advertising platform, powered by Fox AdStudio, demonstrating that it had built the technology and infrastructure to embed agents across audience planning, media transactions and activation.

Now, Fox Advertising is advancing that foundation with WPP, Omnicom, Horizon Media, Stagwell and Simulmedia executing agentic linear transactions for live campaigns through an evolved agentic infrastructure designed to support broader real-world execution, the company said.

The enhanced infrastructure creates a centralized and secure connection point for partners to interact with Fox AdStudio. A Fox agent routes each partner to its own dedicated, permissioned account, providing direct agent-to-agent connectivity.

The platform now also incorporates an integrated governance engine that monitors agent activity throughout the workflow for compliance and adherence to established protocols. Built-in controls further advance Fox AdStudio’s security-first approach.

The new capabilities also enable a more intelligent linear transaction, according to Fox. When requested inventory is unavailable, the Fox agent can recommend alternative inventory based on the advertiser’s target audience rather than simply removing unavailable inventory from the order. This lays the foundation for more guided agentic transactions over time, with strong guardrails and human oversight remaining essential throughout the process. Fox Advertising and agency teams maintain control over key decisions, the company said.

“From the beginning, our vision for agentic advertising has been to connect the campaign lifecycle and create a more seamless and effective experience for advertisers,” said Jeff Collins, President of Fox Advertising, Marketing and Brand Partnerships. “In June, we demonstrated that we had built the technology and infrastructure to make end-to-end agentic advertising possible. Now, together with our partners, we’re putting those capabilities to work on live campaigns — moving agentic advertising from capability to real-world execution while maintaining the governance and human oversight essential to doing it responsibly.”

GARBSEN, Germany—Proton Camera Innovations says it will demo its new PROTON IS miniature broadcast camera at NAB New York 2026, Oct. 21-22, at Javits Center in Manhattan.

Incorporating image stabilization and an innovative lens/body split structure to provide image clarity in immersive contexts, the PROTON IS was demonstrated as a concept during IBC206 in December. The camera will be available for delivery in Q1 2027.

The PROTON IS brings professional-grade image stabilization to a form factor where conventional stabilization systems, such as gimbals, gyros and mechanical dampers, are simply unable to function.The camera uses a two-part architecture that separates the imaging head—measuring .8 x .8 x .9 inches (20x20x22.5mm) drawing 0.5W—from the processing unit and power supply which measures .9x.9x2.75 inches (23x23x70mm) and draws 2.3W with passive cooling.

Together, these are connected via a flexible cable up to 35 inches (90cm), which allows the sensitive processing components to remain safely hidden away while the tiny imaging head captures footage in the heart of the action.

With 1080p60 footage in 10-bit quality, the PROTON IS incorporates Proton’s VEGA broadcast-grade shading for color accuracy and dynamic range required in professional production. An integrated stereo microphone captures embedded audio, while the low total power draw of 2.8W across a 4.7-24V range enables integration into power-constrained environments. The camera fits any SDI transmitter system, with full remote control available via RS485.

The PROTON IS is well-suited to body-mounted applications, where the stabilization system compensates for the jarring and distracting bobbing motion of the human gait, while retaining the immersive perspective of a POV shot. The split architecture also allows for even weight distribution and moves heat-producing components away from the subject’s forehead.

Proton Camera Innovations will be in Booth 560.

More information is available on the company’s website.

Ahead of NAB Show New York (Oct. 21–22), TV Tech surveyed a group of key exhibitors to find out which tech trends are on their radar and what key products they plan to highlight at the Javits Convention Center, including Glodina Lostanlen, chief revenue officer at Imagine Communications.

TV Tech: What do you expect will be the most significant technology trends this year at NAB Show New York?

Glodina Lostanlen: AI will undoubtedly be one of the biggest themes at NAB Show New York, but the conversation is changing. The question is no longer whether AI has potential, but where it can deliver practical, measurable value in day-to-day media operations. We’re already seeing applications emerge across the media business, from advertising sales, forecasting, and scheduling to playout, control, monitoring, and diagnostics. We’re also seeing increased interest in technologies such as Model Context Protocol (MCP), which provides a structured way for AI systems to interact with applications and operational data. But ultimately, the objective isn’t technology for technology’s sake. Customers are looking for concrete ways they can use AI to make media operations more efficient and easier to manage, so people can focus their expertise on where it creates the most value.

TVT: What’s your key product announcement for the show, and what problem does it solve?

GL: The bigger story for Imagine this year is how we’re bringing practical AI capabilities across our portfolio and into the systems our customers already use to run their businesses. For example, in our widely deployed Magellan Control System, we recently launched Magellan PanelFlex freeform control surfaces and PanelFlex-AI, which uses MCP to provide AI systems with structured access to information from live production environments. We also introduced advances in our XVR media server, demonstrating AI-augmented playout operations and Media Exchange Layer (MXL) interoperability.

In our ad tech portfolio, we’ve had strong market response to the introduction of AI‑assisted scheduling in our Landmark Rights & Scheduling platform. By embedding machine learning (ML) that applies existing business rules at speed and scale, we’re helping customers shorten scheduling cycles and free their teams to focus on higher-value editorial decisions that drive performance.

What ties these developments together is a common customer challenge. Media companies are tasked with managing more channels, platforms, and workflows while controlling costs and protecting core operations. We’re applying AI where it can remove repetitive work, surface useful information faster, and enable our customers to generate real profitability without introducing new sources of risk.

TVT: How does this new solution stand out from what’s available on the market?

GL: One of the questions we hear most often from customers is how much change AI will require. It feels transformative enough to warrant a clean slate, yet most broadcasters already have workflows that successfully deliver content, run channels, and serve audiences.

Our approach starts with the systems customers already trust. These platforms sit at the center of critical revenue and operational workflows and contain years of market, workflow, and operator intelligence. We don’t believe AI replaces that intelligence; we think its greatest value comes from making it more accessible and actionable.

That’s also why openness and governance matter. Imagine has a longstanding commitment to open interfaces and protocols, and we’re extending that philosophy to AI. MCP gives us a way to provide AI systems with structured, governed access to information and capabilities while protecting the underlying systems of record.

TVT: What makes NAB Show New York so essential for your business, and what brings you back each year?

GL: NAB Show New York gives us an opportunity to have focused conversations with customers and partners about the realities they’re facing in their businesses right now. It brings together the people making technology and business decisions with the people solving operational problems every day, which makes it a particularly valuable environment for understanding where the industry is headed.

That exchange works both ways. We can share what we’re developing and where we see the technology going. But just as importantly, we hear directly from customers about their priorities, what’s working, and where they still need better solutions. Those conversations help shape our development priorities and keep our innovation grounded in real-world requirements. That direct connection with customers and partners is what continues to make NAB Show New York such a valuable event for us.

Visit Imagine Communications in NAB Show New York Booth 138.

STOCKHOLM, Sweden—Media technology firm Net Insight has named Mario von Dahn to its executive management team as chief financial officer.

Von Dahn replaces outgoing CFO Cecilia Höjgård Höök, who will leave the company at year-end, and will take his new post no later than April 19, 2027, Net Insight said. Christine Kjellvard will serve as interim CFO until von Dahn officially joins the company, it said.

Von Dahn brings broad executive finance experience across publicly listed and privately held tech companies, most recently as CFO of Eniro Group and Accedo Group.

“His solid financial experience from international tech companies will be a great asset to Net Insight,” CEO Andreas Eriksson said.

Von Dahn said he looks forward to working with Net Insight’s leadership team to “build on the company’s strong foundation and contribute to its continued growth and success.”

ATLANTA—Scripps Sports Network, the free streaming television network launched by The E.W. Scripps Company earlier this year, will premiere a new original series, “Total Replay with the Makeshift Project,” bringing the show’s popular YouTube content to television.

“The Makeshift Project” is the hit YouTube channel and podcast hosted by lifelong best friends Zach Misischia and Brian Conforth. The two have become viral sensations, attracting an audience of more than 6.5 million to their content, which focuses on casual conversations, pop culture, sports trivia and interactive guessing games.

In “Total Replay with the Makeshift Project,” the duo will honor the most memorable and nostalgic personalities, moments and minutiae in sports history, using their signature mix of list-based rankings, challenges, games and competitive debate alongside prominent guests. Each episode is themed by sport, allowing for a deeper dive rather than a surface-level take. This isn’t generic sports show energy; it’s obsessive, encyclopedic and joyfully unhinged fandom on full display.

Throughout the 10-episode first season, Misischia and Conforth will be joined by a range of sports and entertainment personalities, including actor and comedian Kevin Heffernan; filmmaker and writer Jay Chandrasekhar; popular creator John Franklin; Olympic heptathlete Chari Hawkins; sports media personality and podcast host Kazeem “Kaz” Famuyide; sports broadcaster Robin Lundberg; and sports content creator Megan Eugenio.

Scripps Sports Network will present “Total Replay with the Makeshift Project” Wednesday nights at 8/7c starting Oct. 21, with the first two episodes airing back-to-back. The network will air 30-minute episodes, with longer, one-hour versions available on the Scripps Sports YouTube channel the next day.

“Zach and Brian have built a devoted following by bringing an infectious energy, deep sports knowledge and unmistakable sense of fun to every conversation,” said Adam Harman, senior vice president of programming for Scripps. “This new series will tap into the passion that makes sports fandom so special, and we’re thrilled to add this fresh and distinctive series to Scripps Sports Network’s growing lineup of original programming.”

The debut of “Total Replay” follows two other original programming launches for Scripps Sports Network. On Sept. 15, the channel launched “The Originals” with legendary sports broadcaster Suzy Kolber, and “Beyond the Curve” with Olympic champion Sanya Richards-Ross. Both series have been early hits with viewers.

As audiences increasingly migrate to streaming to consume premium sports programming, Scripps launched Scripps Sports Network in March. The 24/7 free streaming channel features a lineup of live sports, encore presentations of fan-favorite sports events and exclusive original programming led by “The Originals,” “Beyond the Curve” and “Total Replay.” Scripps Sports Network is widely available across major streaming platforms and services.