MUNICH, Germany—Rohde & Schwarz has unveiled the TM1 air-cooled UHF transmitter at IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The transmitter offers high system availability, enhanced energy efficiency and native support for NextGen TV broadcasting standards. It was specifically developed to help operators reduce energy consumption while enabling a simple migration path for existing TMU9 installations.

The TM1 expands the company’s UHF transmitter portfolio and covers power levels from 600 watts to 6.5 kilowatts. The transmitter supports ATSC 3.0 and 5G Broadcast natively. This enables network operators to implement new business models, such as mobile TV, targeted datacasting or interactive formats.

Advanced automation features ensure maximum efficiency in daily operations, Rohde & Schwarz said. For instance, R&S Auto-Doherty optimizes real-time performance for every operating point. Developed according to Secure by Design principles, TM1 transmitters help operators meet cybersecurity requirements, enabling secure and stable operation of critical broadcast infrastructure.

Rohde & Schwarz is offering a TM1 renewal option. Broadcast network operators can upgrade existing equipment from the previous generation to match the full functionality and performance of a modern TM1 in a cost-efficient manner.

The effort required to upgrade existing transmitters is significantly lower than a new system deployment. By extending the operational lifespan of current equipment, operators drastically reduce the time, space and capital expenditure typically needed for network modernization, Rohde & Schwarz said.

“The R&S TM1 is a future-proof solution that combines uncompromising RF performance with high sustainability,” Rohde & Schwarz Product Manager Maurice Uhlmann said. “Through TM1 renewal and native support for 5G Broadcast and ATSC 3.0, we help network operators immediately reduce their operating costs and carbon footprint, while simultaneously establishing the technological foundation for tomorrow's revenue streams.”

See Rohde & Schwarz at IBC stand 8.B70.

More information is available on the company’s website.

HEBDEN BRIDGE, England—Calrec Audio will introduce the Type RT range of broadcast consoles at IBC2026, held Sept. 11–14 at the RAI Amsterdam Convention Cent4er. The compact, self-contained units condense all essential broadcast features into models featuring 6, 12, or 18 motorized faders, the company said.

The launch is part of the wider IP ecosystem Calrec will exhibit The new console is built around Calrec’s established Argo consoles, which allow broadcasters to build productions their own way, sizing their investment to the project, the company said.

Type RT relies on proven Calrec technology and is suitable for such applications as stadiums and sports venues, radio stations, local TV/podcast studios, corporate events and houses of worship, the company said. Type RT combines the best of Calrec’s Argo and Type R platforms in a ready-to-use, self-contained console, it said.

Built-in features include DSP, control processing, comprehensive I/O, monitoring and integrated USB audio connectivity. Created as an accessible entry point into the Calrec IP ecosystem, Type RT is well-suited for new users who want the confidence of proven broadcast audio performance in a straightforward, all-in-one unit, Calrec said.

Built for fast deployment, Type RT is a compact, fanless tabletop console that ensures silent operation, delivering professional live broadcast performance in environments where space, time and budget matter, according to Calrec.

Dedicated information and metering displays beneath each fader give clear, instant visual feedback. The user-configurable control and monitoring panel features up to 138 assignable buttons, 24 rotary encoders with dedicated displays, three ancillary displays and a four-inch TFT screen with user-configurable meters, putting critical controls and status information where needed.

Calrec's Medium Capacity Card delivers native SMPTE ST 2110 AoIP connectivity with full support for existing Calrec AoIP boxes. Dante is available via an optional card, and MADI via a software license.

Type RT combines optional True Control 2.0 for remote production and ImPulseV virtualized DSP in an ultra-compact form factor. Calrec Assist, the browser-based control interface, is included as standard.

Large and small soft panels from the existing Type R line are fully supported, with one soft panel per six-fader section as standard.

Every model shares the same capability, I/O and licensing options, so users can choose the surface size that suits their needs and budget rather than compromising on performance.

The company will also unveil Apex M6 at IBC. Apex M6 is a compact, cost-effective 1U modular I/O platform for audio interfacing, routing, bridging and network edge connectivity.

Designed to expand and extend connectivity across broadcast audio infrastructures, Apex M6 supports ST 2110-30, AES67, Dante, MADI, SDI, Waves SoundGrid AES3 digital formats and analog workflows.

The platform can be deployed independently of Calrec consoles, making it a good solution for broadcasters transitioning to IP, expanding existing networks or integrating mixed-format environments, the company said.

Apex M6 works with Calrec's full range of consoles while opening opportunities in standalone conversion, virtualized workflows and multivendor environments. Its 512-512 channel internal router allows any input to be sent directly to any output without patching signals back through the network, while NMOS-native operation ensures interoperability across multi-vendor ST 2110 ecosystems.

The company will also preview a series of Argo and ImPulseV software enhancements at the convention that reinforce its commitment to the EBU Dynamic Media Facility project and give broadcasters more freedom in shaping infrastructure around their priorities.

See Calrec at IBC2026 stand 8.C47

More information is available on the company’s website.

AMSTERDAM—Atomos is launching two new HDR monitors for the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam.

The Shinobi 7 II seven-inch 2800nit HDR monitor features professional exposure, focus and framing tools, plus advanced USB-C camera control. Designed for filmmakers, photographers and content creators, Shinobi 7 II delivers a larger viewing experience than traditional 5-inch monitors, while remaining lightweight, portable and easy to integrate into any production workflow.

Filmmakers can adjust key camera settings including aperture, shutter speed or angle, ISO and white balance directly from the monitor, while compatible cameras also support touch-to-focus and shutter release for photography workflows.

Support for Log, HLG and PQ signals allows real-time monitoring of more than 10 stops of dynamic range, while built-in 3D LUT support enables real-time preview of the final look.

Shinobi 7 II incorporates Atomos' suite of professional monitoring tools for exposure, focus and framing, including EL Zone, false color, waveform, vectorscope, focus peaking, zebras, RGB parade, anamorphic de-squeeze, multiview analysis, frame guides and grid markers.

The monitor also supports on-device calibration using compatible calibration probes (sold separately), eliminating the need for a separate computer, and ensuring consistently accurate color.

Connectivity includes HDMI input and output supporting signals up to 4Kp30, alongside USB-C for camera control, power delivery and display calibration. Shinobi 7 II can be powered via USB-C PD, Sony NP-F batteries or an optional DC battery eliminator, while custom LUTs and firmware updates can be loaded via the integrated SD card slot.

Shinobi 7 II will be available in September 2026 from authorized Atomos resellers and the Atomos online store, with a suggested retail price of USD $499 / €499 (excluding local taxes).

The Shogun AV-19M is a new 19-inch, rackmount 4K HDR monitor designed for live production, broadcast, studio and on-set monitoring. It supports both IP-based and traditional video monitoring in a single, space-efficient display. Its hybrid connectivity provides the flexibility to monitor sources across NDI, 12G-SDI, and HDMI workflows.

Its large 4K HDR DCI-P3 touchscreen provides a detailed, color-accurate view of video content, making it ideal for production galleries, control rooms, OB vehicles, video villages, and portable flypack systems.

Integrated NDI HX3 support enables Shogun AV-19M to receive high-quality, low-latency video over Ethernet. Users can view a single NDI source full-screen or monitor up to four NDI sources simultaneously in a quad-view layout, providing a clear overview of video feeds carried across the network.

Alongside its IP capabilities, Shogun AV-19M features 12G-SDI and HDMI input and output for monitoring conventional video signals. This hybrid connectivity provides the flexibility to monitor SDI or HDMI video full-screen, complementing its dedicated IP monitoring capabilities.

A comprehensive suite of monitoring and image-analysis tools helps users assess every shot with confidence. These include EL Zone exposure-referenced false color, focus peaking, waveform monitoring and other familiar Atomos tools. User-definable function buttons provide fast access to frequently used features, allowing the monitor to be configured for different production roles and workflows.

For location production and mobile setups, there is an optional custom flypack, available separately.

Shogun AV-19M will be available in October 2026 from authorized Atomos resellers and the Atomos online store, with a suggested retail price of USD $1,899 / €1,899 (excluding local taxes).

Atomos will be in Stand 7.B19

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

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

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

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

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

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

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

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

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

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

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

MONTREAL—Grass Valley has announced AVORA, a new standalone, all-in-one live production solution that provides tools needed to create and deliver sophisticated live shows together in one streamlined system.

Launching at IBC2026, AVORA gives production teams a complete environment to prepare, produce and deliver live content, from switching and graphics to audio, remote guests, content, replay and delivery. Instead of building a production around multiple separate tools, AVORA brings everything together around the show.

AVORA is designed to make professional live production easier to create, operate and repeat, the company said.

Production resources can be prepared, saved, duplicated and recalled as a complete show, making it easy to move between recurring events, formats and productions without rebuilding the workflow each time. Teams can configure the production around the needs of each show and adapt it as those needs change.

“AVORA answers a very clear market need,” said Jonathan Lyth, product director for live applications at Grass Valley. “Production teams increasingly need professional capability, operational simplicity and the flexibility to scale around the show. AVORA brings the whole live production together in one system, giving teams a simpler way to create, operate and repeat sophisticated live productions.”

AVORA supports both visual, shot-based production and more traditional program/preset operation, allowing operators to work in the way that best suits the production. Its web-based user experience also enables multiple production roles to work with the same AVORA system from their own browser interfaces where required.

Remote guests can join productions through private invitation links, with low-latency connectivity, mix-minus and talkback built directly into the workflow. Content, graphics and prompting are integrated too, while replay, recording, monitoring, playout and delivery extend AVORA beyond production switching into a complete live production environment.

AVORA is built on the founding principles and technology of GV AMPP, while operating as a standalone Grass Valley solution. It brings Grass Valley’s software-defined production experience into a self-contained all-in-one system, giving teams the flexibility to configure their production without the complexity of assembling and operating multiple independent tools.

AVORA is designed for a wide range of live productions, including sports, live events, venues, education, corporate and enterprise media, regional production and other repeatable workflows. The same system can be configured for different productions, formats and operating models.

For existing AMPP customers, AVORA also provides an additional option for productions where a standalone, all-in-one system is the right operational fit.

Grass Valley explained that AVORA complements Grass Valley’s wider live production portfolio. K-Frame continues to serve dedicated hardware switching environments, while Maverik X and AMPP address software-defined production at enterprise scale. AVORA adds a standalone all-in-one model for productions where integrated capability, flexibility and simplicity are the priority.

AVORA will be showcased at IBC2026 on the Grass Valley booth, stand 9.A01, and in the IBC Future Tech Zone, stand 14.C49, ahead of commercial availability later this year.

AWS Elemental has announced that it will be showing four new capabilities that bring AI, personalization, and intelligent monetization to the live video workflow during IBC2026 in Amsterdam Sept. 11-14.

The new capabilities were created in response to the fact that live video audiences now expect content-aware streams, per-viewer personalization, and monetization opportunities that respond to what's happening on screen. But deployments of these features had been difficult in the past because each has historically required its own vendor, its own pipeline, and its own operational overhead and deployments.

The new features on display during IBC2026 are:

1. AWS Elemental MediaPackage Dynamic Multiview – Viewers choose their own multi-camera layout from a single set of encoded sources, delivered to any device over standard HTTP Live Streaming (HLS) or Dynamic Adaptive Streaming over HTTP (DASH), without per-layout encoding costs
2. AWS Elemental Inference Contextual Metadata – AI-generated metadata extracted from live video in real time, powering personalized video experiences and contextual ad decisioning
3. AWS Elemental MediaTailor Yield Optimization – Automated backfill of unfilled ad inventory using Amazon Publisher Services (APS) demand, giving streaming TV publishers incremental revenue with zero setup cost
4. AWS Elemental MediaTailor Low-Latency Ad Insertion – Extends personalized ad insertion of MediaTailor to low-latency streams using Apple's HLS interstitials, so publishers no longer have to choose between fast delivery and ad revenue

In terms of the MediaPackage Dynamic Multiview offering the company noted that multi-feed viewing has become a necessity across live content: multiple camera angles for a single sporting event, simultaneous games on one screen, or curated linear bundles combining different content types like news, sports, or entertainment into a single view.

But existing approaches force trade-offs. Tiled encoding limits reach to High Efficiency Video Coding (HEVC)-capable devices. Client-side compositing demands custom SDKs per device. Server-side compositing requires pre-encoding every layout combination, each costing as much as a new channel. Large operators using server-side compositing vendors spend $2M–$12M per year on infrastructure alone, and most streaming platforms can't justify the investment at any price.

MediaPackage Dynamic Multiview stitches multi-camera and multi-feed layouts on demand from encoded sources, delivered as a single adaptive bitrate stream through HLS or DASH. Sources encode one time through AWS Elemental MediaLive. AWS Elemental MediaPackage assembles layouts in the compressed domain with no re-encoding. The output reaches more than 95% of consumer devices with a single digital rights management (DRM) key and requires no SDK, per-device builds, or new vendors.

"AWS Elemental MediaPackage Multiview lets us deliver multiple synchronized camera angles within a single stream, putting our subscribers in control of how they experience live sports. The server-side composition approach scales this premium experience to over 100 million viewers without multiplying origin complexity or CDN costs, giving us a true differentiator in India's competitive OTT landscape" explained Akash Saxena, CTO (JioHotstar).

By compositing in the compressed domain rather than re-encoding per layout, MediaPackage Dynamic Multiview provides up to 97% cost savings compared to solutions that require a separate video stream for every viewing combination.

In terms of the Elemental Inference Contextual Metadata offering, the company explained that personalizing video experiences requires understanding what's happening on screen. Whether that means surfacing the right highlight clip, recommending related content, or matching an ad creative to the moment, it starts with metadata. Until now, generating that understanding at broadcast scale required either manual tagging or bespoke machine learning (ML) infrastructure.

Elemental Inference Contextual Metadata uses AI to generate rich, scene-level metadata extracted from live video in real time. Computer vision models run in parallel with encoding to identify objects, actions, brands, on-screen text, and sentiment from real video content. The metadata is emitted through a standard API, aligned to the Interactive Advertising Bureau (IAB) content taxonomy and the Global Alliance for Responsible Media (GARM) brand suitability categories. As displayed in the following flow diagram, this powers downstream workflows including automated highlight clipping, content discovery, contextual ad decisioning through Elemental MediaTailor, and content moderation, all without custom ML infrastructure.

In terms of Elemental MediaTailor Yield Optimization, this feature fills available ad slots from Amazon Ads inventory during ad insertion, turning dead air and slate video into monetized impressions. It delivers incremental revenue with no cost to enable and no additional infrastructure. Because the ads are inserted server side (stitched directly into the stream before it reaches the viewer), they play seamlessly on every device, can't be blocked, and transition without buffering. At launch, MediaTailor Yield Optimization is available to APS streaming TV publishers.

"Our team set out to monetize low-latency streaming without giving up the latency itself, which had not been done on our platform before. Through DSPORTS's coverage of the FIFA World Cup 2026, we held six seconds glass-to-glass with ads running across every match, built on AWS Elemental MediaTailor and Amazon CloudFront," explained Claudio Rodrigues da Silva, head of IT (Streamco)

The capability is built for large-scale live events like professional league championships, with low latency and fast response times. It remains brand safe by filtering demand by category to avoid competitive conflicts within the same break. For example, if a sports drink brand is running a direct-sold spot, MediaTailor Yield Optimization won’t fill an adjacent slot with a competing beverage advertiser. Publishers set their own price floors and category rules throughout.

In terms of monetizing low-latency streams with MediaTailor Low-Latency Ad Insertion, the company noted that AWS Elemental MediaTailor already delivers personalized, server-side ad insertion at scale.

MediaTailor Low-Latency Ad Insertion now extends that capability to low-latency streams, using HLS interstitials, a server-guided ad insertion (SGAI) approach. As audiences increasingly expect streams to keep pace with social (a goal scored, a breaking headline, a viral moment), publishers can no longer afford latency that lets the timeline spoil the moment before their stream delivers it.

AWS also stressed that these four capabilities share a design philosophy: intelligence layered inside the video pipeline, not bolted on after.

They all run within the same AWS Elemental services that power millions of live streams globally, with the same 99.9% service level agreements (SLAs), the same operational model, and no new vendors to onboard.

The value compounds across the stack. AWS Elemental Inference generates metadata that enriches yield decisions, MediaPackage Dynamic Multiview delivers personalized viewing and ad experiences at scale, and MediaTailor low-latency insertion help to avoid impressions being left behind regardless of how fast the stream moves.

Visit AWS at IBC 2026 in Amsterdam (September 12–15) to see live demonstrations.

LOS ANGELES—Tiger Commercial & Industrial (C&I) has announced that it will offer more than 500 lots of high-quality audiovisual and broadcast-production equipment from a national broadcasting studio in Eden Prairie, Minnesota.

The timed online auction features more than 500 lots of diverse equipment and gear with an original at-cost value of approximately $1.5 million.

Bidding opens on Tues., Sept. 15, at 10 a.m. (CT) and closes on Tues., Sept. 22, at 10 a.m. (CT) at SoldTiger.com.

“Tiger is pleased to have been selected to auction a complete studio broadcast facility,” said Jonathan Holiday, senior director of Tiger C&I, a division of Tiger Group. “All the gear and support equipment is in excellent condition and was manufactured by premier brands in the industry. This is a perfect opportunity to purchase from the sale and immediately put equipment to use in active productions.”

The auction features broadcast cameras, lenses, lighting, LED-wall technology, audio and video equipment, complete control rooms, camera-support systems, jib cranes and studio infrastructure from leading manufacturers, including Sony, Fujinon, Absen, Chroma-Q, Kino-Flo, ETC and Vinten. “The scale and depth of available equipment is a strong draw for TV stations, production companies, corporate media departments, rental houses and other buyers looking to expand capacity well below new-equipment cost,” Holiday said.

Highlights of the sale include:

• Professional Sony broadcast cameras and Fujinon lens packages
• Camera-support systems and pan-tilt heads
• Studio and field-production accessories
• Jib cranes and camera-movement systems
• Complete broadcast control-room equipment
• Large-format Absen LED video wall with controllers
• Video-processing and routing equipment
• Broadcast-monitoring and production systems
• Extensive inventory of studio and location lighting
• LED soft lights and space lights
• Fresnels, fluorescent fixtures and soft lights
• Professional theatrical and broadcast lighting equipment
• Pipe grids and chain hoists
• Pallet racking and storage systems
• Standing sets and studio-support assets
• Office and facility equipment, including Konica copiers

Inspection is available by appointment on Mon., Sept. 21, from 10 a.m. to 4 p.m. (CT) in Eden Prairie, Minnesota.

To arrange an inspection or obtain additional information, email support@soldtiger.com or call (805) 497-4999.

Asset photos, descriptions, bidding and additional information are available here.

WASHINGTON—A coalition of 12 communications industry, broadband, and public safety organizations has sent a letter to Senate Committee on Commerce, Science, and Transportation Chairman Ted Cruz and Ranking Member Maria Cantwell urging the Committee to favorably report the nomination of Danielle Thumann Severs to serve as a Commissioner on the Federal Communications Commission (FCC) so the full Senate can move swiftly to confirm her.

“We write in strong support of the nomination of Danielle Thumann Severs to serve as a Commissioner for the Federal Communications Commission and respectfully urge the Senate Committee on Commerce, Science, and Transportation to report her nomination favorably so the full Senate can move swiftly to confirm her,” whote the coalition, which is being led by NATE: The Communications Infrastructure Contractors Association. “Few nominees bring both a command of the Commission’s institutional record and firsthand knowledge of what it takes to permit, build, and maintain a network.”

In addition to NATE, the letter was signed by America’s Communications Association, the Connected Digital Infrastructure Association, the Fiber Broadband Association, INCOMPAS (The Competitive Communications and AI Infrastructure Association), NATE Wireless Industry Network (WIN), NCTA – The Internet & Television Association, NTCA: The Rural Broadband Association, the Power & Communication Contractors Association, the Safer Buildings Coalition, the Wireless Infrastructure Association, and WTA – Advocates for Rural Broadband.

The letter highlights three areas of Thumann Severs’ record: bridging the digital divide and expanding connectivity, delivering for consumers, and empowering American workers.

She “has worked directly with tower and fiber builders—many of them small, family-owned firms—on the permitting, siting, and infrastructure policies that determine whether crews have steady work and whether infrastructure actually gets built,” and that she has supported the Commission’s push “to ensure that skilled, vetted, properly classified American crews build and maintain these networks, and that these workers are fairly compensated in line with the demands and hazards of the job,” the letter said.

The groups signing the letter also credited her record of building consensus, describing her as “a leading architect of the durable, bipartisan work that makes for smart and lasting communications policy” whose “focus on substance and results is what has earned her the trust of civil society, consumer groups, government officials, and companies across the communications landscape.”

“The breadth of this coalition says something,” said NATE President & CEO Todd Schlekeway. “Contractors, fiber and wireless builders, rural broadband providers, cable, and public safety advocates do not agree on everything, but we agree on this. Danielle is ready on day one, and we urge Chairman Cruz, Ranking Member Cantwell, and the members of the Committee to report her nomination favorably and encourage the full Senate to confirm her promptly.”

Thumann Severs has served two tours in the FCC Chairman’s office, first as a Legal Advisor beginning in 2021 and now as Senior Counsel, with a policy portfolio spanning the Wireline Competition Bureau, the Public Safety and Homeland Security Bureau, and the Consumer and Governmental Affairs Bureau.

Between those tours she led state and local government relations for a nationwide communications infrastructure provider, and before entering public service she practiced communications law at Wilkinson Barker Knauer.

She earned her bachelor’s degree from the University of Virginia and her J.D. cum laude from the Catholic University of America’s Columbus School of Law. Earlier this year, NATE presented her with the Association’s 2026 Regulatory Champion of the Year Award.

The full text of the coalition letter is available here.

As the country marks the 25th anniversary of the 9/11 terrorist attacks, TV Tech has compiled highlights of our coverage.

Taken together these stories recall both the engineers who were tragically killed in the attack, as well as the many people who played a key role in restoring the broadcast communications infrastructures that were destroyed by the collapse of the World Trade Center on Sept. 11, 2001.

Below you will find remembrances of the six engineers who died in the attack that we published on the 10th anniversary of 9/11, as well as two detailed features by TV Tech columnists Frank Beacham and Doug Lung that were written on the 20th anniversary of the tragedy.

In between, you will find our year-by-year coverage of the process of restoring the critical broadcast infrastructure destroyed in the attacks and the technical challenges that came along with those rebuilding efforts.

That makes this a story not only of people and technology but also expertise. Some of our most important coverage has been written for TV Tech by Doug Lung who was deeply involved in the rebuilding effort as part of his work at NBCUniversal. Many of the other articles draw on the expertise of the broadcast engineers who read our publication.

We have highlighted that expertise by listing the authors. Most of the articles were originally commissioned by TV Tech but a few were reposted from our sister publications Radio World and B&C on the TVTechnoloy.com website. We have left unedited the original opening sentences of each article.

Taken together that makes this coverage more than a remembrance of a tragic event. It is also a story of the innovation and engineering skills that make it possible, then and now, for broadcasters to deliver crucial news and information to the public.

Published October 16, 2001

9/11: What Worked, What Didn't

By Frank Beacham

The big technology test came on the morning of Sept. 11. Terrorists had attacked the World Trade Center and the Pentagon. Thousands of people were missing. Americans wanted to communicate.

Published September 3, 2002

Rebuilding NYC TV Transmission After 9/11

By Doug Lung

This month I'll look at some of the challenges New York City broadcasters face restoring TV coverage to what existed Sept. 10, 2001. As promised last month, I also will outline some of the reasons DTV to analog (and vice versa) interference in some cases is likely to be greater than what was previously predicted.

Published September 3, 2002

One Year Later: New York City

By Frank Beacham

Last Sept. 11, over-the-air television in the nation's largest broadcast market was devastated. A year later - in the most ambitious rebuilding effort in the history of broadcasting - progress comes painfully slow in a process so unprecedented that it's certain to rewrite the textbooks on television engineering.

Published January 1, 2003

WNET Rebuilding after 9/11

By Don Keller

Thirteen/WNET is New York City's PBS station. It serves a coverage area containing more than 18 million people. Thirteen's studios and offices are located on Manhattan's West Side. And, until Sept. 11, 2001, its transmitters and antennas were located on Tower One of the World Trade Center (WTC). It will take years for the station to fully recover from the disaster, and an estimated $16.5 million to even come close to restoring its pre-9/11 level of service. In the recovery process, the two most important and immediate issues the station faces are securing the money to rebuild its transmission facilities and finding a suitable place for them.

Published July 1, 2004

RTNDA to Conduct Mock Crisis Drills for Media, Public Agency Response

More than two years after 9/11, many newsrooms still don't have a crisis plan to follow in the event of another terrorist attack, and many communities have emergency plans that overlook the crucial role of the media in responding to a disaster. So says the Radio-TV News Director's Association, which is planning to produce workshops to cast a light on the problem.

Published January 18, 2005

DTV Returns to Empire

By Mary C. Gruszka

The Empire State Building once again became a hub of New York television transmission activity with the recent installation of a six-channel Dielectric UHF combiner for DTV in CBS's space on the 85th floor. This, along with the 8-bay broadband UHF omnidirectional antenna that the network had already installed on the northwest corner of the mast and had been using, is allowing full-power DTV broadcasts for five other New York City stations for the first time since 9/11.

Published December 6, 2005

9/11 Panel Doles Out Failing Grade on 'Spectrum Delay'

By TV Tech Staff

Getting letter grades like on a school report card, the federal government received several 'F's and other poor grades this week from a bipartisan group that had comprised the former Sept. 11 Commission, which was originally charged with investigating the government's response to the events of Sept. 11, 2001.

Published February 20, 2008

9/11 Recovery Continues

By TV Tech Staff

The collapse of the World Trade Center crippled New York City TV broadcasters. Today, these stations have restored on-air signals, but have not fully regained their pre-9/11 coverage. They continue to deal with the fallout from that horrific event.

Published September 6, 2011

A Decade Later, the Loss Is Still Deep

By John Merli

Bill Steckman was working on Tuesday morning, Sept. 11, 2001, shortly before 9 o'clock. But unlike thousands of others in the North Tower of the World Trade Center, the WNBC-TV transmitter engineer was not just reporting to work. Instead, he had already finished his regular overnight shift and remained at his post a bit longer to help install some new digital equipment.

Published September 7, 2011

A Decade Later

By Tom Butts

As this issue was going to press, the NewBay offices in northern Virginia experienced the East Coast's most powerful earthquake in more than 65 years. As we rushed from our offices, still wondering what was happening, I remembered what it was like the last time I experienced this kind of fear and trepidation on such a beautiful, sunny day. That, of course, was 10 years ago on 9/11. Of course, nothing that has happened since compares to what took place back then.

Published March 23, 2016

RFS Antennas to be Added to One WTC

By Michael Balderston

According to Radio Frequency Systems, the Durst Organization has placed an order for RFS antennas as part of an installation of a terrestrial broadcasting system at One World Trade Center. These RFS PEP antennas feature Variable Polarization Technology, which will reportedly enable broadcasters to set customized polarization ratios, independent of other broadcasters.

Published September 26, 2016

First TV Broadcast Antennas Go Up at One World Trade Center

By Tom Butts

The Durst Organization has begun installing the first of several UHF antennas atop the spire of One World Trade Center as plans to move transmission facilities from the nearby Empire State Building—home to New York-area TV broadcasters since 9/11—get underway. The first panels of a 40-foot RFS PEP-40 UHF antenna are currently being installed at approximately 40 feet below the tip of the One WTC spire, which stands at 1,776 feet above lower Manhattan. That antenna will be joined by an RFS 662-16D CP VHF antenna immediately below, along with another UHF, the RFS PEP-96 antenna below that. The first broadcasters to use the antennas will be CBS, WNBC, Telemundo’s WNJU and PBS, according to John Lyons, director of broadcast communication for Durst, which co-developed 1 WTC with the Port Authority of New York and New Jersey, who added that transmission facilities should be ready in time for full operations by next May.

Published May 4, 2017

NAB Show: Durst Brings Broadcasting to One World Trade Center

By Michael Balderston

Fifteen and a half years after the events of Sept. 11 and four and a half years since the Durst Broadcast Organization took up the endeavor, broadcasting is on the eve of returning to lower Manhattan. The broadcast site on top of One World Trade Center will begin broadcasting in May.

Published May 9, 2017

ION Media to Broadcast From One World Trade Center

By Deborah D. McAdams

ION Media announced that it would commence broadcasting from One World Trade Center in New York. The announcement was made in cooperation with The Durst Organization and The Port Authority of New York and New Jersey, which co-developed and co-manage the property.

Published June 26, 2017

WNJU New York Brings Broadcasting Back to World Trade Center

By Diana Marszalek, B&C

On Friday morning, Telemundo-owned WNJU became the first New York TV station to resume transmitting its over-the-air signal from the site of the World Trade Centers. Twelve linear feet in size, Telemundo 47’s transmitter is powered by 66kW of state-of-the-air technology, providing WNJU full coverage of the New York market, the station said. Sister station WNBC, NBC’s New York flagship, will also relocate its transmission technology to One World Trade Center later this year, NBC said.

Published July 17, 2017

1WTC Launches OTA Broadcasts

By Doug Lung

On June 23, 2017, WNJU Telemundo 47 officially began broadcasting from One World Trade Center (1WTC) in New York, becoming the first station to return to this site since Sept. 11, 2001. Other New York City stations will be joining WNJU there soon—WCBS, WNBC, WPXN and WNET—sharing the UHF and VHF panel antennas mounted on the spire.

Published October 3, 2017

AES New York Hosting One WTC Broadcasting Operations Event

By Michael Balderston

2017 marks a big year for One World Trade Center, as television transmission will be returning to the building. To recognize the event, AES New York has announced it will host an exclusive event that will look at the broadcast operations of One WTC.

Published February 1, 2018

Details Emerge About 1WTC Transmitter Lineup

By Phil Kurz

Five TV broadcasters locating at One World Trade Center in downtown Manhattan have selected the Rohde & Schwarz THU9evo digital transmitter to serve over-the-air viewers in New York City and a sixth will partner to channel share with a sister station using the transmitter, the company announced today.

Published August 2, 2019

NYC OTA Viewers Need to Rescan for New Channels

By Tom Butts

With the channel repack entering its final year, Durst Broadcasting—which manages the broadcast antenna facility atop One World Trade Center—announced this week that it had successfully completed phase four of the repack. The organization urged New York City residents to rescan their TV sets in order to receive the channels in their new spots on the spectrum band.

Published August 26, 2019

Phase 4 and More: Surviving the Repack

By Doug Lung

I was on the 90th floor of One World Trade Center in New York with the transmitters on Aug. 1 when many stations in Hartford, Conn., New York, Philadelphia and Washington D.C. transitioned to their new channels. The switch took place at 1 p.m., in the middle of the day and not at the 11:59 p.m. Aug. 2 deadline. Boston changed channels at 1:05 p.m. the next day.

Published December 2, 2019

John Lyons Dies; Helped Shape New York’s RF Skyline

By Paul McLane

John Lyons has died. He suffered cardiac arrest at home Friday, according to his family. He was 71. Lyons was assistant vice president and director of Broadcast Communications at The Durst Organization. He was responsible for the communications infrastructure of Durst’s multimillion-square-foot commercial portfolio and played a major role in helping broadcasters return to the air in New York City after the Sept. 11, 2001, terror attack on the World Trade Center. Among his many accomplishments was leading the design and implementation of the redesigned master antenna at 4 Times Square and the new broadcast transmission facility at One World Trade Center. In 2006 Lyons received the Radio World Excellence in Engineering Award; in 2017 he was honored with the NAB Television Engineering Achievement Award.

Published September 8, 2021

20 Years Broadcasters Will Never Forget By Frank Beacham

When the massive antenna mast atop the north tower of the trade center crumbled into rubble on Sept. 11, 2001—20 years ago—the on-air signals of most major New York City broadcasters went with it. The disaster was pure chaos, and six broadcast engineers lost their lives that historic day. It has taken most of the past 20 years since to get signals back on the air from the World Trade Center site.

Published September 8, 2021

Restoring Over-the-Air TV in New York City After 9/11

By Doug Lung

In our second of two features on the impact of 9/11, we look at the engineers and tech teams that helped restore broadcast signals and their eventual move to One World Trade Center.

Published April 20, 2022

One World Trade Center Ready for NextGen TV

By Tom Butts

In advance of the expected launch of NextGen TV in the U.S.’s largest market, Radio Frequency Systems (RFS), announced today that it has expanded the existing RFS antenna and combiner infrastructure atop One World Trade Center to deliver ATSC 3.0 to 7.45 million households across the New York City area.

[Editor's note: Because our coverage is focused on broadcast technology, our 9/11 stories have focused on New York City, where the collapse of the World Trade Center destroyed the broadcast transmitters of local TV and radio stations and had a profound impact the major broadcast networks headquartered in NYC. In addition to the 2,753 people who died in the collapse of the twin towers and the many others who were sickened and killed by the toxic smoke and waste produced by the disaster, 184 people were killed in the attack on the Pentagon and another 44 killed in the crash of United Airlines Flight 93 that had been taken over by terrorists.]

NEW YORK—Late night talk-show host Jimmy Kimmel has announced that he will be streaming his Sept. 10 interview with James Talarico, the Democratic candidate for the U.S. Senate in Texas, on YouTube rather than showing it on TV because of potential regulatory issues.

Federal Communications Commission Chair Brendan Carr has previously threatened ABC affiliate station licenses over comments made by Kimmel.

The FCC has also issued guidance that network late night programming and talk-shows are subject to political equal time rules and launched investigations into both ABC’s “The View” talk show and the broadcast licenses of ABC-owned stations, which have been required to go through an early renewal process.

“Tomorrow night, I'll be interviewing James Talarico tomorrow under unusual circumstances,” Kimmel said in his opening monologue on Sept. 9, adding that the interview would appear on YouTube rather than TV..

“You know, for a lot of years, for the whole 20-plus years of our show, in fact, I've been interviewing Americans who are running for office with no problem at all, just like Letterman did, Leno did, Arsenio, et cetera, et cetera,” he added. “I've interviewed a lot of political candidates, from Hillary Clinton to Ted Cruz, to Donald Trump himself. I interviewed Donald Trump when he was running for president in 2015, and at that time, when he was the one sitting next to me, he seemed to have no problem with the idea of talk show hosts interviewing candidates. In fact, he was very eager to come back for another interview, which he did just before he became the nominee in 2016.”

But “[s]omething has changed now that he's president,” Kimmel said. “His FCC is threatened me, threatened our show, threatened our network, ABC, our affiliates, our local stations based on simple traditional editorial decisions, guest bookings…[S]o out of consideration for our local stations, especially our ABC affiliates in Texas, who would have to deal with this nonsense, my interview tomorrow with James Talarico will not air on television. It will be posted on YouTube instead. It will not be on TV.”

“So if you want to learn about a candidate for the Senate tomorrow, you will have to go to the Jimmy Kimmel YouTube channel, where you will see it in its entirety,” he concluded. “And thank goodness we have that, because in the America we live in right now, that is the best that we can do.”

In response, FCC Commissioner Anna M. Gomez once again condemned the FCC’s attempt to enforce political equal times rules on talk shows and late night programming as an example of “just how far this Administration’s campaign of censorship and control has gone. This is now the second time in a matter of months that a late-night host has disclosed they had to bury an interview because of FCC intimidation, and there is no way to know how many other editorial decisions across the country have quietly been shaped by this same pressure.”

“No host, local affiliate, or network should have to weigh federal retaliation before booking a guest for a newsworthy interview,” she added. “Any attempt to pressure broadcasters into self-censorship undermines both press freedom and the public’s right to hear from candidates in their communities seeking public office.”

Gomez also repeated her longstanding arguments that “[t]he FCC has no lawful authority to threaten broadcast licenses over guest bookings or editorial decisions. Unlike other broadcasters who have quietly capitulated, Disney’s ABC has continued to fight this unlawful coercion in court, and episodes like this one only strengthen that case…I urge broadcasters everywhere to keep resisting this pressure, and I hope courts will soon make clear that the FCC has no place dictating editorial choices or what viewers are allowed to see.”

SHENZHEB, China—Converter box manufacturer EKT will showcase its new Linux-based ATSC 3.0 set-top box during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The new Linux-based ATSC 3.0 converter box is a second-generation product and represents a move away from the Android operating system, to reduce memory costs. EKT specializes in Linux, which uses less than half the memory of a similar set-top box running on the Android platform.

"It's exciting to see EKT, a partner in Pearl TV's converter box program, showcase this box at IBC," said Anne Schelle, managing director of Pearl TV. "As TV stations transition to ATSC 3.0, viewers want the option to convert the TVs they already own at a low consumer price, and that's exactly what this box is designed to deliver.”

The core ATSC 3.0 software stack is a joint development with DTVKit and will also support legacy ATSC 1.0. The platform is based on the collaborative DTVKit ecosystem with the core software stack available royalty-free to members, helping to accelerate deployment while reducing development costs.

"This is a great example of the DTVKit model in action," said Jason Nash, technical director of DTVKit. "EKT started with our royalty-free ATSC 3.0 stack and focused their engineering effort on building a better product, not reinventing the basics. The result is a cost-effective, Linux-based receiver that's fully standards-compliant and ready for deployment."

Designed for the U.S. consumer market as broadcasters transition to ATSC 3.0, the box lets viewers keep their existing television sets when their local stations move to the new standard, while supporting 4K content with HDR10 and HDR10+ for an improved viewing experience.

“I am very grateful to our partners DTVKit and Pearl TV in helping us to bring a cost-effective Linux ATSC 3.0 set-top box to the US consumer” said EKT CEO Richard Smith.

See EKT at IBC2026 stand 1.D15 and DTVKit at stand 1.B25., of group stated.

More information is available on the company’s website.

Sony will feature its latest technology for news, cinema, immersive and live production, including its R-Series broadcast system cameras, SRG-AS10 and SRG-XS10 auto-framing PTZ cameras and its latest networked live and software-defined broadcast innovations, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Other tech developments on display will be:

• The new DP7 and DP5 controllers, FX5 Cinema Line camera and current development of the RIALTO 65 image sensor block expanding VENICE 2 to 65mm format.
• Cinematic Live's color-matched Cinema Line and HDC cameras showcasing a broad portfolio for cinematic live production.
• The fourth generation DWX series digital wireless microphone system, DWT-B40 and DWR-R40Q.
• Spatial content production solutions, OCELLUS camera-tracking system V2.0 and XYN
• HawkREPLAY delivering rapid turnaround to air with enhanced zoom and hold keyframe and HawkNEST improving fast 9:16 social exports for quicker content delivery.

Sony will also present several use cases in specific applications, including cinematic live, AR and IP broadcast studio, immersive production, AI-powered streaming studio and podcasting.

For news, Sony will feature an expanded range of data transmitters, including its previously announced collaboration with LiveU and additional demonstrations with Dejero and TVU Networks, designed to enhance transmission efficiency from the field. It will also show its latest version of a camcorder with remote-control capabilities to broaden its range of applications.

Sony's live production solutions will demonstrate how broadcasters, production teams and content creators can deliver higher-value productions with greater flexibility and operational efficiency. Next-generation system cameras will be on display, including the newly launched R-series, and the latest AI PTZ auto-framing cameras, including the BRC-AM7 for broadcast.

The BRC-AM7 demo will highlight version 3.1 firmware featuring improved tracking performance in Ball Sports (Basketball) mode, enabling smoother shooting and camera operations.

The company will also showcase the evolution of virtual and spatial content production with its latest camera tracking system OCELLUS with Crystal LED VERONA. CAPRI will be on display separately. Based on customer feedback, the upcoming OCELLUS FW V2.0 supports lens calibration and automatic offset measurement functionality to measure the positional relationship between the camera and tracking sensor. Sony’s XYN Spatial Capture solution enables real-world spaces to be captured and transformed into high-quality 3DCG assets.

Sony continues to expand its Digital Imaging and Cinema Line portfolio, with the latest Cinema Line Camera FX5 and RIALTO 65 image sensor block making show debuts. Designed to enhance creative flexibility, the FX5 features a newly developed fully stacked CMOS image sensor, while new DP7 and DP5 monitors deliver accurate color reproduction and remote camera control.

Company representatives will also lead two sessions in the Showcase Theater in Hall 3, including: "A Software Revolution: The Future of Broadcast,” Sept. 12, 4-4:20 p.m., and "The New Frontier: Redefining Multi-Camera Virtual Production,” Sept. 11, 5:15-5:35 p.m.

See Sony at IBC 2026 stand 13.A10.

More information is available on the company’s website.

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

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

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

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

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

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

See Dolby Laboratories at IBC stand 5.F86.

More information is available on the company’s website.

CHATSWORTH Calif. and DALLAS—Fabric Data and TMT Insights today announced that the two companies are combining to create Fabric Insights, uniting authoritative data, purpose-built software, intelligent automation, and deep transformation expertise under one company. Fabric Insights creates a new foundation for intelligent orchestration, connecting the systems, people, and intelligence that power modern business to optimize value, improve operations, and accelerate growth, the company said.

“We’ve spent years watching the industry add more systems and more technology in an effort to make increasingly complex operations simpler,” said Rob Delf, CEO of Fabric Data, who will serve as CEO of Fabric Insights. “What’s become clear is that the answer isn’t another system, it’s better orchestration across all of them. Fabric brings the authoritative data, business logic, and foundational platforms that operations rely on. TMT brings the orchestration layer and a team with deep expertise transforming how work actually gets done. Bringing those capabilities together creates something uniquely suited to where we see the market going.”

Fabric Insights unites four core capabilities that create the framework for intelligent orchestration:

• Foundation: Xytech (X2) and Origin (Studio, Nexus, and Insights) — as the authoritative systems of record and trusted operational data that power client operations.
• Orchestration: Polaris and Focus provide a unifying experience that connects people, processes, and technology, surfacing actionable insights from upstream deal-making through downstream execution.
• Transformation: Deep domain expertise, working with clients to redesign processes, manage complex implementations, integrate technologies, and guide organizational change — ensuring technologies are not just deployed, but adopted and embedded in how teams actually work.
• Intelligence: AI and agent-ready APIs and MCP endpoints enable intelligent automation and exception-based processing, while maintaining human-in-the-loop governance and operational oversight.

The combined company will be led by an executive team drawn from both organizations. Rob Delf, CEO of Fabric Data, will serve as CEO of Fabric Insights. Andy Shenkler, CEO and Co-Founder of TMT Insights, will serve as President, with responsibility for Product, Technology and Operations. Hannah Barnhardt, COO and Co-Founder of TMT Insights, will serve as Chief Marketing and Engagement Officer; and Kira Baca Chief Strategy and Growth Officer, will continue in her role overseeing the newly combined customer sales and success teams.

Fabric Insights will be owned by the shareholders of both companies, including TMT Insights’ founders and Banneker Partners, whose continued investment underscores its conviction in the market and the company’s long-term growth opportunity.

“It’s not just a matter of bringing a set of bespoke products together but rather ensuring that their capabilities make it possible to access sets of functionalities across a unified single pane of glass.” said Shenkler. “Going forward that pane of glass is consumed through elegant user experiences and agents alike. The convergence of powerful product capabilities and our professional services give our clients maximum adaptability and the flexibility to move fast, not just the promise of it.”

CINCINNATI—The E.W. Scripps Company has announced a new Local Media leadership structure. The company said the changes are part of a wider effort to transform its business and operations to reflect consumer media habits and the way audiences watch, discover and rely on news.

The announcement regarding the regional leadership structure of Local Media division follows other notable recent changes at Scripps’ stations, including expanded 24/7 streaming news and the use of technology, including AI and automation, to modernize technical production workflows for both streaming and linear news.

“Local television is changing, and the way we operate local stations has to change with it,” Scripps President and CEO Adam Symson said. “Through this transformation, we are rethinking outdated operating models built for a different era while creating a more technology-forward media company to sustain local journalism and bring more consistency, scale and support across our markets.”

Under the new structure, Scripps’ Local Media will be organized into 11 regions, each led by a regional general manager responsible for between two and four markets in most regions. Every Scripps market will continue to have a local news operation led by the station’s news director, allowing news decisions to remain with the journalists and newsroom leaders closest to the communities they serve.

As part of the Local Media leadership structure changes, 27 roles across Scripps’ local market and sales leadership are being eliminated.

“This regional structure aligns leadership to the two areas where focused local execution matters most: journalism and revenue. Both are essential to sustaining our mission,” Symson said. “The decisions we are making through this transformation are about building an operating model that will support our commitment to strong local journalism well into the future. Scripps is transforming from a collection of individual stations into a more integrated local media company, with strong news and sales leaders in our markets supported by scale, technology and regional leadership.”

The regional general managers will report to Anita Helt and Joe Poss, vice presidents of Local Media, and Lyn Plantinga, senior vice president of Local Media. The regional general managers and their markets include:

• Teresa Morgan, Southeast region: Nashville, Tampa
• Kathleen Choal, Colorado region: Colorado Springs, Denver, Grand Junction
• Whitney Grover, Midwest region: Kansas City, Omaha, Tulsa
• Justin Hartley, Montana region: Billings, Bozeman, Butte, Great Falls, Helena, Missoula
• Mike Murri, Great Lakes region: Detroit, Grand Rapids, Green Bay, Milwaukee
• Stephen Hayes, Mid-Atlantic region: Baltimore, Lexington, Norfolk, Richmond
• Merri Hanson, Mountain West region: Boise, Las Vegas, Salt Lake City, Twin Falls
• Bill Siegel, Florida region: Miami, Tallahassee, West Palm Beach
• John Cook, Southwest region: Corpus Christi, Phoenix, Tucson, Waco
• Lisa Moore, California region: Bakersfield, San Diego, San Luis Obispo
• An additional regional general manager will be appointed to lead the Northeast region, which includes Scripps’ Buffalo, Cincinnati and Cleveland markets.

PARAMUS, N.J.—Sony Electronics has announced the DWT-B40 bodypack transmitter and the DWR-R40Q rack-mount receiver, the latest additions to the DWX Digital Wireless Microphone Series.

With this generation of the DWX Series, channel setup and pairing can be performed through straightforward operations, making the products suitable not only for professional production environments but also for a broader range of applications, such as large and small scale studio operations and a variety of live events.

The new series achieves enhanced transmission reliability through improved RF stability and audio transmission over long distances. The DWT-B40 newly incorporates an in-transmitter audio recording function powered by Sony's technology that enables distortion-free backup recording within the transmitter itself.

This series delivers professional-grade high performance at a competitive price, making it well-suited for a broader range of production applications. In terms of transmission reliability, enhanced interference resistance and low-noise RF output waveforms ensure consistent and stable operation even in challenging RF environments.

The DWT-B40 supports a maximum transmission power of 50mW, based on region, enabling stable long-distance audio transmission without the need for an external power source, and can be used at high transmission output in environments that demand long-range transmission.

The DWT-B40 offers flexible audio transmission options tailored to diverse production needs — from settings that deliver quality sound with low latency, to modes optimized for maximum transmission reliability in demanding broadcast and sports environments.

The DWR-R40Q employs high-performance RF technology in its receiving circuitry, significantly improving transmission stability and delivering reliable performance even in RF-congested environments. In addition, its four-antenna diversity mode further enhances transmission stability.

The series enables frequency configuration and pairing for four channels with just a few simple button operations. This intuitive workflow makes the products easy to operate for any user, allowing operations to begin almost instantly.

The DWT-B40 now supports power supply via lithium-ion batteries (sold separately) and USB, offering greater flexibility and convenience in securing power on location. Condenser microphones can be connected directly to the transmitter, with a +48V phantom power supply also available.

The DWR-R40Q supports four-channel true diversity reception in a 1U form factor, contributing to efficient use of rack space. It also supports a Dante audio network with an expanded set of four output ports, providing flexible output options that accommodate diverse user workflows while delivering more stable IP connectivity and retaining analog XLR connections to support conventional operations.

The two new DWT-B40 and DWR-R40Q are expected to be available in March 2027.

More information is available at the company’s website.

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

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

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

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

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

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

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

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

IRVINE, Calif.—Teradek has launched the Bolt 7 with a unified wireless video and data system, which the company is calling “the most significant update” to the product series since its introduction in 2013.

“The original Bolt replaced long SDI cable runs with a wireless zero-delay video system crews could trust,” said Colin McDonald, product manager at Teradek. “Bolt 7 takes the next step with an all-new 900MHz RF pipeline that works in tandem with your zero-delay video signal and acts as a wireless Ethernet or USB cable replacement, enabling wireless camera control, color management, telemetry and more without a Wi-Fi network.”

The Bolt 7 lineup includes 750, 1500 and MAX TX and RX models, each with an integrated 900MHz radio that runs in parallel with zero-delay 4K video signal, simplifying Ethernet workflows by eliminating the need for Wi-Fi or additional on-camera hardware. The new Bolt 7 Series features a 20% smaller TX as compared to the Bolt 6 XT models and a new color OLED display for faster pairing, control and diagnostics.

For cine workflows, Bolt 7 sends camera control and zero-delay video over a single connection. Bolt 7 TX connects directly to the camera, eliminating the need to set up or manage a dedicated Wi-Fi network on set. Because Bolt 7 uses dedicated RF pathways outside standard Wi-Fi frequencies, productions can reduce interference and simplify their wireless environment.

Camera control can be sent directly to a remote SmallHD monitor (with optional camera control license), CTRL.5, laptop or iPad using supported manufacturer or third-party camera control apps. Beyond camera control, Bolt 7’s dual video-and-data pipeline opens the door to wireless color management, audio communication and other workflows previously dependent on wired connections or additional hardware.

For live production, Bolt 7 unifies camera telemetry, video shading and zero-delay wireless video into one connection, reducing the complexity of multi-device setups. Crews can send zero-delay video to a switcher while delivering telemetry data to a Sony or Cyanview RCP in an OB truck or control room without managing separate systems.

Bolt 7 preserves the zero-delay performance required in professional live environments. Bolt 7 TX features a USB-C port that supports single-cable, zero-delay video and communication for iPhone camera workflows and DP-Alt Mode (DisplayPort Alternate Mode) for compatible cameras and monitors.

Bolt 7 introduces one new transmitter and two new receivers to the Bolt product family. Each comes with 900MHz radio, a color OLED display with a simplified interface, optional single-cable pairing and new battery plate that cradles for faster battery plate swaps. Automated RF management in PageOS and the Bolt App streamlines TX and RX pairing to ensure reliable performance even in the most challenging RF conditions.

Bolt 7 TX is available in 750, 1500 and MAX models. Boasting a 20% smaller footprint than the Bolt 6 XT, it is Teradek’s most compact 12G-SDI transmitter to date. Bolt 7 RX is available in 750 and 1500 models. Bolt 7 RX MAX enables encoding to an SD card. When paired with a Link AX or other Wi-Fi router via Ethernet, productions can receive zero-delay video while also sending a low-latency feed to iPads on set through the Teradek TV app.

Bolt 7 TX and RX units support up to 4K60 10-bit 4:2:2 HDR video over 12G-SDI and are fully compatible across Bolt 4K (5GHz) and Bolt 6 (5GHz and 6GHz) wireless ecosystems. The new 900MHz wireless data functionality is available exclusively between Bolt 7 units.

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

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

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

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

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

LONDON—NDI is collaborating with NVIDIA to develop AI-powered workflows that enable broadcasters to create and distribute multilingual content in real-time, the company said.

By combining NDI-native media connectivity with NVIDIA AI technologies, including NVIDIA NIM microservices, the companies are making content immediately accessible to audiences in their preferred language, from live events and breaking news to sports, entertainment and corporate communications.

NDI and NVIDIA are working to enable multiple language experiences to be generated from a common media stream. For broadcasters, this means the same source content can be adapted for different audiences without replicating production operations for every language.

During internal testing of a workflow of 10 languages, the new method was able to achieve the same results with eight times less video carried.

"Broadcasters have spent decades trading audience reach against distribution cost," said Miguel Coutinho, head of NDI. "Together, NDI and NVIDIA are enabling a fundamentally different model, where a single media workflow can support multiple language experiences. This has the potential to significantly reduce bandwidth and distribution costs while making multilingual content accessible to far larger audiences."

The workflows support real-time translation, lip-synced dubbing and regional language adaptation, with the potential to support localized advertising as well. They are designed to fit into existing broadcast and media production environments, so organizations can add AI-powered localization without having to rebuild their current operations.

The solution is currently being tested. Proof-of-concept demonstrations at IBC 2026, Sept. 11-14, in the RAI Amsterdam Convention Center, can be scheduled in advance by contacting NVIDIA or NDI representatives.

See NDI at IBC 2026 stand 10.A41 and NVIDIA at stand 14.FT26 (in the Future Tech Zone.)

More information is available on the NVIDIA and NDI websites.

NEW YORK—Media software technology provider Dalet has promoted Brian Doheny to chief executive officer.

Doheny had led the company in April as president and chief revenue officer, leading the company’s go-to-market and customer experience organizations. As CEO, he will lead Dalet’s global strategy and operations.

Dalet provides enterprise media asset management systems, newsroom computer systems and content supply-chain orchestration platforms to broadcasters, studios and enterprise content owners.

“Since joining Dalet, I have had the opportunity to spend time with our customers, partners, and teams around the world, and one thing is very clear: the pace of change in our industry is only accelerating, and Dalet is uniquely positioned to lead the way,” Doheny said. “Our opportunity is not simply to respond to that change. It is to anticipate it. We need to understand the challenges our customers face today, anticipate the ones they’ll face in the future, and how Dalet will help address them with speed and confidence.”

Doheny, a 30-year technology industry veteran, was chief revenue officer at risk management software provider Veriforce before joining Dalet. He also held senior leadership posts at TIBCO and Hewlett Packard Enterprise, among other companies.

“Brian has brought strong strategic focus and operational discipline to Dalet, while keeping customer value at the center of the company’s strategy,” said Will Brennan, managing partner of Dalet owner Long Path Partners. “His appointment as CEO reflects our confidence in his ability to lead Dalet through its next phase and ensure we continue to innovate around the evolving needs of our customers and the broader media industry.”

MUNICH– ARRI has unveiled SMPTE ST 2110 support for the ALEXA 35 Live multicam system, opening the system to fully IP-based broadcast studios, stadiums, high-end flypacks, and remote productions and will exhibit the development as well as its other enhancements for live entertainment workflows during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Delivered through Software Update Package (SUP) 1.5.0 for the Live Production System LPS-1, the new support brings ALEXA 35 Live directly into modern ST 2110 infrastructures through a permanent software license.

By combining ARRI’s cinematic image quality with open IP standards and proven live-production reliability, the update strengthens ALEXA 35 Live as a platform for the next generation of high-end media and entertainment workflows.

The ST 2110 implementation enables independent routing and control of uncompressed video, multichannel audio, and time-sensitive metadata over a 25GbE full-duplex connection. It can simultaneously transport two uncompressed UHD camera feeds alongside multiple HD or UHD return-video and return-AUX channels. Multiple HD streams also support HFR slow-motion acquisition over IP.

For resilient live production, the implementation includes seamless SMPTE ST 2022-7 redundancy. With two third-party SFP28 25GbE fiber-optic transceiver modules installed at the rear of the LPS-1, the unit maintains dual active network paths for automatic, glitch-free failover. Recommended transceiver modules are listed in the LPS-1 SUP 1.5.0 user manual.

Proven in demanding live-production environments

The LPS-1 ST 2110 architecture is designed for interoperability with broadcast ecosystems, including Riedel Communications infrastructure and SimplyLive production environments. Comprehensive AMWA NMOS support (IS-04, IS-05, IS-08, IS-09, BCP-003-01 and BCP-003-03) and Precision Time Protocol (PTP) enable automated discovery, connection management, audio-channel mapping, synchronization and secure operation across the media network.

Supported standards and protocols include:

• SMPTE ST 2110-10: System timing and synchronization (PTP)
• SMPTE ST 2110-20: Uncompressed active video transport
• SMPTE ST 2110-21: Traffic shaping and packet timing
• SMPTE ST 2110-30: PCM audio transport (AES67 compatible)
• SMPTE ST 2110-40: Ancillary data transport (captions, VITC, timecode)
• SMPTE ST 2022-7: Seamless protection switching (hitless redundancy)
• AMWA NMOS Suite: IS-04 discovery and registration, IS-05 connection management, IS-08 audio channel mapping, IS-09 system parameters, BCP-003-01 secure communication and BCP-003-03 authorization.

LPS-1 SUP 1.5.0 can be downloaded from the ARRI website. The LPS-1 ST 2110 license is available from the ARRI License Shop. It is priced at $8,735 (U.S.) or €7,500.

More information is available on the company’s website.

See ARRI at IBC2026 stand 10.A24.

WASHINGTON—FCC Chairman Brendan Carr announced on Wednesday that the commission will vote later this month on two items that would open up additional spectrum for “next-generation connectivity.”

In a satellite spectrum abundance order, the commission will vote on unlocking more than 1,000 MHz of spectrum in the 12 GHz and 42 GHz bands for a range of connectivity services, including even faster satellite broadband. Second, the commission will seek comment on a proposal to modernize the FCC’s rules for ultra-wideband technology (UWB)—unlicensed offerings that power a range of IoT, consumer, and other cutting-edge devices.

"Unlicensed device manufacturers are increasingly finding that UWB’s high data rates, precise location capabilities, and ability to coexist with other services across multiple spectrum bands make it the right technology for today’s needs," the FCC said. "Today’s NPRM addresses the technology advancements and explosion in innovative use cases since the commission’s landmark 2002 decision to authorize the first unlicensed UWB operations."

Carr said the FCC's proposal "will push more commercial spectrum into the marketplace than ever before. By unlocking these bands, the FCC will give a big boost to American innovation and promote economic growth across a wide range of industries."

“In the spectrum abundance decision, we will ensure that consumers continue to benefit from competitive, high-speed Internet delivered from next-gen satellites,” Carr added. “And in our UWB proposal, the commission will propose to modernize our existing rules to unlock even more opportunities for unlicensed devices across a wide swath of spectrum. This spectrum is so seamlessly woven into our everyday lives, from keeping us safe in our cars to tracking our package deliveries that most people don’t even realize its critical role. The proposal circulated today represents the Commission’s first comprehensive modernization of these rules since their adoption in 2002 and works to further refine and reshape our rules to meet today’s needs.”

The announcement comes amid a slew of initiatives to auction off more publicly held radio spectrum since the FCC's auction authority was restored a year ago.

DENVER—At IBC2026 (Sept. 11-14, RAI Amsterdam, Stand #1.B73), Imagine Communications has announced that it will be demonstrating the latest advances to its XVR high-density media server, which has already been successfully deployed for production, playout, and news operations across the industry.

New capabilities include real-time graphics and master control switching — delivering a true integrated playout chain.

"We're proud of the success XVR has achieved in the marketplace, building on the industry’s transition to IP-based workflows, including ST 2110 and the cloud,” said Darren Gallipeau, senior product director at Imagine Communications. “With the addition of real-time graphics, newsroom connectivity, and next-gen AI and MXL capabilities, XVR becomes a full-fledged integrated channel engine. Whether deployed on-premises or in the cloud, it is the fastest path to launching a new channel or refreshing an existing one."

During the show, Imagine will also demonstrate Media Exchange Layer (MXL) interoperability and AI-augmented playout operations, further establishing XVR as a full-featured integrated channel engine designed from the ground up for high-frequency, fast-turnaround broadcast workflows.

Building on more than 30 years of playout innovation, XVR is equally suited to on-prem and cloud-based deployments and natively supports legacy and modern media and interface formats from SDI to MXL. This high-density media server integrates cleanly into modern plants through open APIs and native HTML5 interfaces.

In addition, as part of the Imagine Aviator ecosystem, XVR deployment, content, and playlist workflows are available through Model Context Protocol (MCP), so that agentic AI systems can launch and monitor channels and manage content — enabling media organizations to further modernize operational profiles.

At IBC, Imagine will demonstrate how the latest XVR capabilities empower a full suite of channel-origination workflows using the same core engine. Those include:

• Real-Time Graphics: Building on Imagine's tradition of high-quality dynamic rendered graphics, new XVR releases add comprehensive graphics functionality, providing a flexible platform for channel branding, lower thirds, tickers and data-driven graphics. The native graphics engine allows designers to create complex scenes driven by live external data sources, all rendered and composited in real time within the XVR channel. HTML5 graphic planes extend this capability to operations that incorporate HTML5 graphic workflows, and both approaches are available simultaneously within the XVR engine.
• Newsroom Integration: The latest XVR releases also integrate with Newsroom Computer Systems (NRCS) via industry-standard MOS and VDCP protocols, making it a natural fit for news environments. Clips can be pulled into edit while still being ingested; finished media is available for playout as the editor signs off. Coupled with Imagine's Aviator Orchestrator™ and Aviator Automation™ platforms, XVR delivers a tightly integrated solution for news, sports production, and channel origination environments.
• Assured Ingest: A new, dual-layer protection capability in XVR safeguards live recordings against downstream storage issues. If connectivity to external storage is interrupted, XVR buffers the incoming content internally and reassembles a seamless recording upon restoration, ensuring a breaking news feed, live event, or sports moment is never lost to infrastructure issues outside the playout engine.
• AI-Augmented Playout Management: Imagine will demonstrate how XVR integration with its Aviator orchestration ecosystem and MCP-enabled agentic technologies allows operators to use AI to streamline routine operational processes while maintaining human oversight of workflow decisions. Operators can use conversational AI tools to schedule bulk updates, real-time operational queries, and intelligent gap-fill from the content pool — all through a governed MCP service layer that enforces guardrails between the AI and playout automation.
• JT-DMF MXL Interoperability: Imagine and Appear will showcase a joint technology demonstration of the JT-DMF MXL protocol in action — connecting the Appear VX software platform as a live-input contribution directly to multiple XVR integrated playout engines via the MXL protocol. The cloud-based demo illustrates how MXL enables media applications from different vendors to interoperate within a common computing environment, allowing broadcasters to rapidly build workflows in an orchestrated environment.

“Showcasing the JT-DMF MXL as an interface on the XVR engine in an interop with an industry partner is a critical link in the development and deployment of Dynamic Media Facilities (DMF),” said John Mailhot, senior vice president, product management, at Imagine Communications. “Imagine has been building toward this vision for more than a decade, and our Aviator ecosystem and XVR engines are built around the principles DMF is designed to standardize.”

Imagine will demonstrate XVR alongside its full playout portfolio and AI-enabled technologies at its IBC2026 stand (1.B73). More information is available at https://imaginecommunications.com/event/ibc2026/.

BURLINGTON, Mass.—Avid has announced a major expansion of its award-winning Avid Content Core with new features that will enable media organizations to look beyond managing content to understand how it is produced, what it costs, and where resources deliver the greatest value.

At IBC2026 (RAI Amsterdam, September 11–14, Booth 7.B59), Avid will demonstrate Content Core’s new Insights, native asset management, agentic orchestration and its capabilities for deeper cloud integration. Those capabilities allow the platform to connect media wherever it resides, unlock new business insight, and power governed AI workflows across news and post production.

Launched at IBC2025, Avid Content Core is the industry’s first true cloud-native production platform that unifies asset identity, ingest, storage, metadata, orchestration, and rights information into a single intelligence layer.

It embeds enterprise-grade agentic intelligence directly into industry-trusted production workflows rather than treating AI as a standalone technology. By connecting people, media, and experience across the Avid portfolio, Content Core enables organizations to balance growing content demands with reduced budgets, automate routine processes, improve decision-making, modernize without disruption, and achieve a clearer understanding of the value of their assets.

“Avid has spent decades inside the real workflows of professional media, and that experience shapes how we think about AI," said Wellford Dillard, CEO at Avid. "We're not simply bolting on AI tools; we're connecting content with production and workflow context across cloud, hybrid, and on-premises environments so teams can find, prepare, and act on their media right inside the systems they already trust. Enterprise controls, human judgment, and editorial oversight aren't friction to engineer around - they're the foundation everything else has to work within. That's what intelligent innovation means at Avid: solutions that understand how media actually gets made, without asking anyone to rip out what already works.”

More specifically, the new capabilities being launched at IBC2026 advance Avid’s vision for Content Core as a data-driven foundation spanning the full content lifecycle.

By building context around the content, the people and resources involved in creating it, and the value it delivers, Avid is paving the way for media organizations to gain a clearer picture of their content's value. This approach brings together three areas that have traditionally remained separate: managing and understanding media, orchestrating production, and turning operational data into actionable business insights, the company explained.

One of the first demonstrations of this vision is Insights, a new capability designed to give media leaders visibility into production activity and associated costs.

Insights marks the first step in Avid's broader vision to connect production costs to business outcomes. Avid will demonstrate the first application of Insights at IBC2026, showing how organizations can use production data along with their own ERP data to forecast staffing and equipment requirements, identify underused resources, and allocate costs more accurately. This gives decision-makers a clearer understanding of what content costs to produce, how resources are being deployed, and where investment can deliver the greatest value.

By giving content a consistent identity and context as it moves from assignment through production and delivery, Avid Content Core provides the foundation for bringing together staff time, production activity, storage and technology costs and, over time, connecting them with what content earns. Avid will extend this further through integration with enterprise systems and data services, giving media companies a more complete view of production cost and return.

Avid is also expanding Content Core with native asset management capabilities that go beyond traditional MAM architectures.

Organizations will be able to index, search, manage, and work with content across their own storage and cloud environments without wholesale migration or consolidating entire media libraries into a single repository. Content Core can therefore build a common understanding of media while allowing organizations to retain control of where assets live.

This extends the original Content Core proposition of treating media and its associated production information as interconnected data rather than isolated files. The result is a richer layer of context that can include intent, assignments, versions, approvals, lineage and delivery state – information that can be used not only to find media but also to inform automation, decision-making, and future AI-driven processes.

During the show, Avid will also introduce Avid Assist, its new governed orchestration layer for agentic media production. Assist provides a framework for organizations to build and deploy agents that can automate real production steps while operating within enterprise controls, permissions, and approved AI environments. Rather than sending production work to disconnected AI tools, Assist is designed to allow automation to operate within the context of Avid workflows and systems.

The platform is LLM-agnostic, enabling customers to choose the technologies appropriate to their organization while maintaining governance over how automation accesses content and production information. Avid will demonstrate early Assist-powered experiences at IBC, with further applications planned across news and post production.

In addition, Avid is broadening its cloud strategy through closer collaboration with Amazon Web Services (AWS), Google Cloud, and Microsoft to provide organizations with an end-to-end cloud production environment while retaining choice over the creative tools their teams use.

Teams can access the same Content Core-managed media through Media Composer’s new browser-based editing capability, enabling workflows to extend seamlessly from search and selection through editing, high-resolution conform, and social publishing.

Avid Content Core Site Engine deploys within a customer's own AWS, Google Cloud, or Microsoft Azure environment, ensuring content stays under the organization's existing security, governance, and residency controls.

These developments extend the initial Content Core offerings, allowing users to go beyond finding content to understanding how content is used, what it costs to produce, and what value it creates – giving creative, operational, and business teams a shared foundation for making better-informed decisions. Platform-specific capabilities include:

• Avid Content Core, built on AWS, provides a scalable and unified foundation for media intelligence, metadata, and workflow automation across the media supply chain. New support for media stored in Amazon S3 and Amazon Bedrock allows organizations to accelerate content discovery, automate processes, and unlock greater value from their content.
• Content Core is built with Google’s Gemini models in Gemini Enterprise to deliver advanced video understanding and context-aware search. This allows customers to keep their media files in their cloud tenant while retaining advanced video understanding and search capabilities. Additionally, BigQuery powers Avid’s intelligent production analytics and operational intelligence.
• Microsoft Azure now supports Content Core deployments within customers’ own Azure environments. Microsoft Azure indexes and streams media directly from Azure Blob and Avid NEXIS Cloud.

Avid Content Core is fully available for customers to deploy today. Avid will demonstrate all new Content Core capabilities for the first time at IBC2026. To schedule a meeting or demonstration, visit www.avid.com/ibc.

During an interview on Sunday Sept. 6 with Fox News, Federal Communications Commission Chair Brendan Carr blasted broadcasters for taking “billions of dollars in taxpayer…subsidized distribution” while ignoring their public interest obligations and providing “partisan” news coverage.

Carr made the comments in response to social media posts in late August by President Trump who lashed out at “FAKE POLLS USED BY OUR CROOKED MEDIA” and by Trump’s complaints about the way `Meet the Press’ moderator Kristen Welker covered some primary results. In August 30 comments Trump said Welker should face “rebuke or punishment” from the FCC.

In response to a question about Welker, Carr lauded Trump’s understanding of the FCC’s authority and U.S. communications law by saying the “one thing that President Trump gets fundamentally is that broadcast TV is completely different than other forms of distribution, including cable” in that they are governed by public interest rules.

“So many broadcasters right now want to break the deal that they cut with the American people,” Carr continued. “They get billions of dollars in taxpayer, effectively subsidized distribution, and what they're supposed to do in exchange is operate in the public interest, not some sort of narrow partisan interest. I think President Trump is over the target, and we're looking at a lot of actions.”

“For instance,” he added, “there's a lot of interest right now in fake polls that are out there, and so the FCC may put guidance out soon to remind broadcasters about their obligations with respect to not airing fake polls, particularly if they're done to suppress people heading into the fall.”

How the FCC would regulate the coverage of polls or even determine which ones are funded by political action committees or political parties that have clear partisan objectives is open to question.

Carr also did not address whether the FCC would expand its regulation of news coverage to include conservative talk radio, something he has avoided doing in the past, or if he would continue to limit the FCC's guidance and regulatory threats to TV stations and networks.

The FCC’s lone Democrat Commissioner Anna Gomez blasted the idea in a post on X.

“News coverage of a poll that doesn't favor a political party is not a license to meddle in an election through intimidation,” she noted. “Broadcasters should take note. Do not let a sad and desperate attempt to punish accurate reporting become an excuse for censorship.”

“Polls can be wrong,” she added. “That's no surprise to anyone who has followed politics over the last decade. The FCC faces a very high bar to prove news distortion, and it requires clear evidence of an intentional effort to mislead the public. Without it, this is all political theater.”

SIEGEN, Germany—Guntermann & Drunck (G&D) and VuWall, both Panoptec companies, will introduce vsNEO, a new KVM-over-IP platform designed to simplify the deployment and operation of control rooms and broadcast environments, during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Built around the principle of simplicity, vsNEO creates a standalone KVM network that operates independently from the corporate LAN and eliminates the need for complex network configuration. The vsNEO-center controller provides network intelligence for every installation, including built-in DHCP, allowing connected devices to establish a dedicated, isolated KVM environment with minimal IT involvement. AES-256 encryption provides an additional layer of protection for KVM traffic.

At the heart of the platform is vsNEO-link, a universal transceiver that can operate as a transmitter, receiver, video wall node or multi-PIP KVM mosaic station using the same hardware device. This flexible architecture reduces the number of device types integrators need to specify, stock, deploy and support, simplifying both project design and long-term system management.

Designed for installations of up to 96 endpoints, vsNEO is well-suited for OB vans, esports studios, corporate control rooms and other environments requiring reliability and operator ergonomics without the infrastructure complexity of a large enterprise KVM deployment.

The simplified architecture extends to the hardware itself. At 4.13 inches (105mm) wide, three vsNEO-link transceivers fit side by side in a single rack unit, maximizing rack density in space-constrained environments. Because the same device can serve multiple roles within the system, integrators can also reduce hardware variation across a project.

Operators interact with vsNEO through a streamlined dark-mode OSD featuring live source thumbnails and intuitive source selection. The control ecosystem supports different workstation and room-control requirements through multiple interfaces, including G&D CommandDeck and CommandKeyboard, VuWall ControlVu for touch-based room control and CommandKeyboard-Advanced for advanced operator positions.

To further simplify system planning, a dedicated online configurator allows integrators and customers to design a vsNEO system based on their required number of endpoints and components. The tool automatically generates a bill of materials and system topology diagram in PDF format to support project planning with a certified partner.

See G&D and VuWall at IBC2026 stand 8.B63.

More information is available on the G&D and VuWall websites.

SAN JOSE, Calif.—Adobe will highlight new AI-based tools to enhance video editing, effects and audio processing during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The company will unveil a new generative media tool that enables Adobe Premiere editors to select a video or audio as well as a video and audio gap in their timelines, describe what is needed and generate clips that fit the context of the edit.

Similarly, the AI Assistant in After Effects, now in public beta, allows motion designers to describe what they want in their on words and carry out the steps required from reorganizing projects with thousands of layers to creating motion effects and expressions without writing code.

New AI audio tools help editors clean up recordings by separating sound sources, adjusting reverb, removing unwanted elements like unlicensed music and splitting overlapping dialog into independent tracks for separate mixing and editing.

The intuitive new Generative Media Tool in Premiere generates context-aware, editable video and audio clips. Editors may choose from Adobe Firefly, Google Veo, Kling, Runway and Luma model to create with.

Among the tools available in the Premiere task bar are Generate Video, Generate Sound Effects, and Generate Soundscape and Generate Music, both of which are in beta.

New AI audio tools in Premiere enable editors to clean up noisy recordings, bad takes and overlapping dialog. The tools include Enhance Audio, offering noise reduction and independent control over dialog, sound effects and other audio characteristics of an individual clip; Separate Crosstalk to split speakers into their own tracks; Dynamic Audio Ducking to balance dialog and music automatically; as well as other sound tool improvements.

Adobe is also leveraging AI to address workflow challenges in After Effects. AI Assistant, available in beta for After Effects, offers newer users a more intuitive way to work in the program and gives experienced users a way to execute once tedious, multi-step operations more quickly.

AI Assistant enables users to describe what they want in plain language and reorganizes large projects without requiring code to be written.

See Adobe at IBC2026 stands 13.D501 and 7.B35.

More information is available on the company’s website.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MONTREAL—Grass Valley today announced a new multi-year framework agreement with RAI (Radiotelevisione Italiana), Italy’s national public broadcaster, for the supply of LDX 150 camera systems. The agreement marks the start of one of the largest camera refresh programs in RAI's recent history, with the first camera systems already deployed to refresh RAI’s outside broadcast fleet, according to Grass.

Grass Valley already has a longstanding relationship with RAI, which will progressively deploy LDX 150 camera systems over the coming years. RAI says it selected the LDX 150 camera system for its unique native IP connectivity, renowned simple and intuitive control and operation and its pristine HDR image performance.

The LDX 150 provides a camera platform that supports RAI’s current production requirements while enabling the company’s continued transition toward more flexible IP-based workflows, they said.

“As we continue to modernize our production infrastructure, we were looking for a camera platform that would support both our current operational needs and our future ambitions,” said Riccardo Rombaldoni, Dirigente Responsabile – Ingegneria di Realizzazione e Gestione Contenuti at RAI. “The LDX 150 combines excellent image quality with native IP connectivity, HDR acquisition and intuitive operation, giving our production teams the flexibility to support a wide variety of production environments while building on the trusted relationship we have established with Grass Valley over many years.”

The first phase of the deployment has been completed, with the initial LDX 150 camera systems fully operational within RAI’s outside broadcast fleet. Grass Valley’s long-time partner and systems integrator Video Progetti led the overall system integration, while Domo supported the project as the integration partner for the wireless camera components of the deployment.

SYDNEY—Sony has launched the RM-DP7 and RM-DP5 external controllers that integrate camera control and monitoring designed for use with Sony’s Cinema Line range of cameras for video production.

The new controllers are compatible with the Sony FX5, FX3, FX2 and FX30. By enabling users to check and adjust settings even when positioned away from the camera, the products help streamline shooting for solo operators and small production teams.

With reliable operation through physical buttons, control knob and multi-function dials, wired connectivity, accurate color reproduction and a robust design, the controllers support the diverse needs of video production environments. With select compatible transmitters, the controllers can also support a wireless connection.

Features include:

• Integrated camera control and monitoring in a single device to enhance mobility for small production teams. Equipped with the BIG6 home screen, the controllers allow users to adjust focus when used with compatible autofocus lenses, zoom when used with compatible power zoom lenses, as well as exposure and other key settings from the monitor side even when away from the camera.
• In addition to touch operation, control knob, multi-function dials and assignable buttons provide quick access to frequently used functions on set, supporting fast, intuitive adjustments in compact shooting setups.
• High-quality, accurate color reproduction supporting image capture from shooting through post-production. Featuring Sony’s professional video monitor-grade color calibration technology, each unit is individually calibrated at the factory and continuously compensates for chromaticity color temperature drift during operation, delivering reliable color accuracy in the field.
• A high-brightness Full HD panel with up to 2,000 cd/m² brightness, together with support for six presets and up to 16 LUTs, enables users to view an image as close as possible to the intended final look.
• Flexible support for wired and wireless connections to suit a variety of shooting styles. Support for HDMI input and output enables stable monitoring through a wired connection. The products also support wireless connection with select compatible third-party transmitters, allowing flexible operation according to camera placement and rig configuration. In addition, the RM-DP7 supports 12G-SDI connection and bidirectional conversion between SDI and HDMI connections.
• Robust design and power options for use in video production environments. With a highly rigid aluminum body and a design that takes dust and moisture resistance into consideration, the controllers are built for use in outdoor production environments. Both models support multiple power supply options, including BP-U series battery, USB Power Delivery (PD) and DC input, enabling flexible operation for long-duration shoots and varied equipment configurations.

The RM-DP7 with 7-inch monitor will be available in January for AU$5,699 ($4,117 U.S.), and the RM-DP5 with 5-inch monitor will be available in January for AU$4,399 AUD ($3,105 U.S.)

More information is on the company’s website.

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

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

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

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

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

SAN DIEGO—Sony Electronics has unveiled the SEL814G, its first fisheye zoom G Lens for full-frame Alpha E-mount cameras, and will highlight the new lens during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The 8mm to 14mm zoom range covers circular fisheye at 8mm through diagonal fisheye at 14mm with a constant aperture of f/3.5. Built for landscapes, architecture, sports and video production, the lens pairs a compact, lightweight body with G Lens resolution, fast and precise autofocus and refined operability for stills and movies. In a dual-lens configuration with the VENICE Extension System Mini^, it also supports spatial content production.

The SEL814G brings new creative fisheye perspectives to Sony's E-mount lineup for photographers, cinematographers and content creators.

"Our first fisheye zoom runs circular through diagonal across 8 to 14 millimeters, so you can find your perspective standing right in front of the subject. We held it to G Lens resolution through the whole range to provide an exciting, high-quality creative tool. And at 314 grams, you can carry it all day," said Yang Cheng, vice president of Imaging Solutions at Sony Electronics.

Key features include:

• Fisheye zoom coverage from circular to diagonal fisheye. The 8mm to 14mm range delivers a broad set of fisheye perspectives in one compact lens. At 8mm it shoots circular fisheye with a 180-degree angle of view projected as a circular image on a full-frame sensor. At 14mm it shoots diagonal fisheye across the full frame with an 180-degree diagonal angle of view.
• High-resolution G Lens performance across the zoom range. An optical design with ED (Extra-low Dispersion) glass and aspherical elements suppresses chromatic and other aberrations across the image area, holding high resolution throughout the zoom range. A minimum focusing distance of 0.15m and maximum magnification of 0.22x at the telephoto end enable dramatic close-up fisheye perspectives for stills and movies.
• Compact, lightweight design for high mobility and spatial content production. The lens measures about 63.1mm in maximum diameter and 82.8mm in length. It weighs about .69 pounds (314 grams), giving it mobility for handheld, gimbal and rig-based shooting.
• Autofocus performance and operability for stills and movies. The lens delivers fast, precise autofocus and Linear Response manual focus while suppressing focus breathing with quiet operation for movie production. Controls include a focus mode switch, zoom lock switch and an aperture ring with switchable click stops.

The SEL814G will be available in October for $1,599.99 U.S. and $1,999.99 CAD. Pre-orders for the SEL814G began today at 7 a.m. PDT.

See Sony at IBC 2026 stand 13.A10.

More information is available on the company’s website.

NEW YORK—Hearst Television has promoted John Robertson to senior vice president, strategy & distribution, a new position.

Robertson, who has been the station group’s vice president of distribution since 2021, will continue to report to Nick Radziul, a Hearst Television executive vice president whose oversight includes distribution and government affairs.

Robertson, who has been instrumental in Hearst Television’s recent breakthrough in addressable linear TV advertising technology, will expand his duties to encompass strategic partnerships in distribution and technology. The promotion, effective immediately, follows the recent announcement of the planned year-end retirement of Roger Keating as the company’s chief strategy and business development officer.

“John approaches everything he does through the lens of what’s possible. His readiness to see beyond conventional wisdom has been invaluable in our efforts to advance the industry dialogue and build relationships across the distribution and technology landscapes,” said Michael J. Hayes, president of Hearst Television. “His work for many years alongside key senior executives including Nick and Roger, who forged so many relationships for us and blazed so many industry trails, has positioned John to help us innovate further and ensure that high-quality, journalistically sound, local video news remains a vital part of the nation’s fabric.”

In his prior role as vice president, distribution, Robertson supervised negotiations with digital-first video distributors and platforms; he has been actively involved on merger-and-acquisition projects and strategic initiatives. In these various roles he worked in tandem with Radziul, Keating and John Drain, Hearst Television’s chief financial officer.

In collaboration with Hearst Television’s engineering team, Robertson has also overseen implementation of various applications in Hearst’s testing and rollout of the emerging ATSC 3.0, or “next-gen TV,” standard.

He has served as Hearst’s representative on the board of Pearl TV, the broadcast TV consortium Keating co-founded to advance the ATSC 3.0 rollout, and currently serves on the board of Run3TV, an advanced TV application platform for next-gen TV.

He also serves as a company representative in the Go Addressable consortium advancing targeted TV advertising, and on the board of the Television Music License Committee, a non-profit trade association representing U.S. commercial television stations in negotiations for music-performing rights licenses.

In June 2026, Hearst Television and Viamedia.ai announced the successful testing and launch of the first-ever solution enabling TV station owners and MVPDs to collaborate to deliver addressable advertising via linear broadcast TV streams – an effort Robertson helped spearhead.

While serving as Hearst Television’s senior director of finance from 2018 to 2021, Robertson played a key role on the team handling various aspects of Hearst Television’s distribution agreements and its ATSC 3.0 rollout. He joined the company as manager of finance in 2011. Previously, Robertson, a Certified Public Accountant, was a senior associate at PricewaterhouseCoopers where he consulted various companies including Hearst Television on finance and accounting matters. He holds a bachelor’s degree in accounting from the University of Scranton and a J.D. from Fordham University School of Law and has participated in the Hearst Management Institute, Hearst’s executive leadership development program.

CLEVELAND and HILVERSUM, The Netherlands—Telos Alliance and Pluxbox have formed a new partnership that brings Minnetonka Audio ARC (Audio Realtime Control) technology, directly into Pluxbox CoreOC, its software-based operational platform for broadcast and media workflows.

The integration gives Pluxbox users access to ARC, which provides real-time software-based audio processing, within their existing CoreOC environment, using MXL to connect the applications.

This allows broadcasters and media organizations to add advanced audio processing to software-defined workflows without introducing a separate processing layer or changing the way operators work.

“We’re very pleased to work with Pluxbox to bring ARC into the CoreOC platform,” said Markus Hintz, vice president of Business Development at Telos Alliance. “Integrating ARC with Pluxbox via MXL gives broadcasters access to sophisticated audio processing directly within a modern software-based workflow. It’s a practical example of how interoperability can make it easier to build flexible media facilities without adding unnecessary complexity.”

The ARC integration is the first step in a broader collaboration between companies. Other Telos Alliance capabilities planned for integration with CoreOC include Minnetonka Audio UPMAX upmixing, Omnia Forza audio processing and Telos VX broadcast VoIP.

“Integrating Minnetonka Audio ARC into Pluxbox was straightforward because ARC supports MXL, enabling real-time exchange of uncompressed video, audio and metadata within software-defined broadcast and live production environments,” said Caspar Adriani, chief technology officer at Pluxbox. “For our customers, that means access to advanced audio processing without disrupting the workflows they already know. We’re excited to continue working with Telos Alliance and expand what we can offer through CoreOC.”

Caspar Adriani, CTO, Pluxbox, added: “Integrating Minnetonka Audio ARC into Pluxbox was straightforward because ARC supports MXL, enabling real-time exchange of uncompressed video, audio, and metadata within software-defined broadcast and live production environments. For our customers, that means access to advanced audio processing without disrupting the workflows they already know. We’re excited to continue working with Telos Alliance and expand what we can offer through CoreOC.”

The ARC integration is the first step in a broader collaboration between Telos Alliance and Pluxbox. Additional Telos Alliance capabilities planned for integration with CoreOC include Minnetonka Audio UPMAX upmixing, Omnia Forza audio processing, and Telos VX broadcast VoIP.

CHANGSHA, China and WALTHAM, Mass.—Zixi and professional IP video encoding and decoding solutions provider Kiloview are working together to bring the Zixi protocol to a wider range of live production and contribution workflows.

The first deliverable solution stemming from the partnership sees Kiloview adding native Zixi protocol support to its D350 IP video decoder through a new firmware update that is now available. Kiloview will demonstrate the Zixi-enabled D350 during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The partnership reflects growing demand from broadcasters and media organizations for flexible, interoperable IP infrastructure. Zixi is widely deployed across broadcast contribution workflows where network stability cannot be guaranteed, and the addition of the Zixi protocol to the D350 gives joint customers a direct path to those capabilities without additional hardware or protocol conversion.

For broadcast and media teams, the partnership delivers:

• Reliable video delivery over any network: Zixi's error correction and hitless failover technology ensures stable contribution feeds even over unmanaged or unpredictable connections, from remote venues to cellular and internet links.
• Simplified infrastructure: a single D350 unit now handles multiple protocols, including Zixi, reducing the hardware footprint and operational complexity for contribution and monitoring workflows.
• Seamless fit into broadcast pipelines: joint customers can integrate Zixi-enabled D350 decoders directly into existing broadcast-grade contribution architectures without changes to upstream or downstream systems.
• Broader workflow coverage: from live sports and remote production to news contribution and hybrid IP and broadcast environments, the D350 now supports a wider range of real-world production scenarios.

The Zixi protocol support is available now on the D350 via firmware update and can be applied to existing units. The partnership will extend to further integration and go-to-market activity between the two companies.

See Kiloview at IBC 2026 stand 7.A47 and Zixi at stand 5.A76.

More information is available on the Zixi and Kiloview websites.

MONTREAL and NEW YORK—Haivision has announced that it is integrating Chyron LIVE into its live video contribution ecosystem, simplifying camera-to-cloud live production. Chyron LIVE is Chyron’s cloud-native platform for vision mixing, broadcast-grade graphics, data display, remote commentary, and illustrated replay. The joint solution will be showcased at IBC2026.

The combined solution will allow broadcasters to capture, transport, and contribute high-quality live video from virtually any location into Chyron LIVE, streamlining live production workflows while delivering the performance, reliability, and ease of use required for professional broadcasting.

Built for sports, news, and live event productions, the integrated workflow combines Haivision's live video contribution products, including Haivision mobile video transmitters (Falkon, Pro, and Air) and Makito video encoders and decoders, with Chyron LIVE, powered by Chyron’s PRIME Platform which is developed natively on AWS. The combined solution enables broadcasters to reliably contribute live video over cellular networks, the internet, satellite, and IP networks directly into cloud-based production workflows, according to the companies.

“Broadcasters are increasingly looking for flexible, cloud-native production workflows that simplify live content acquisition,” said Nikole McStanley, senior vice president of product, Chyron. “Together with Haivision, we're enabling customers to bring high-quality live video into Chyron LIVE more efficiently, giving production teams greater flexibility to produce live content from anywhere with ease.”

Visitors to IBC2026 can see the integrated workflow firsthand at Haivision (2.B32) and Chyron (7.A23) .

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

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

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

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

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

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

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

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

Multidyne will be in Stand 11.C12.

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

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

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

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

WOODSTOCK, Ill.—Other World Computing will unveil two new Thunderbolt 5 solutions at the 2026 IBC Show, Sept. 11-14 at the RAI Amsterdam. The new additions include OWC Thunderbolt 5 Dock with Dual HDMI, and the Thunderbolt 5 (USB-C) Cable now available in a 1.5-meter length.

With the OWC Thunderbolt 5 Dock with Dual HDMI one connection provides the displays, storage performance, networking, power, and connectivity of an enterprise-class desktop workstation, without the need for a pile of adapters and workarounds. Its key features include:

• Two HDMI 2.1 ports built right in. Any monitor that has HDMI plugs directly into the dock with zero compatibility guesswork;
• Single Thunderbolt 5 connection delivers dual displays, wired networking, storage, card readers, and full laptop charging simultaneously;
• 140W Power Delivery: Keeps MacBook Pros and high-performance Windows laptops fully charged at peak performance while running the entire connected setup;
• Front USB-C port delivers up to 30W of charging;
• Downstream Thunderbolt 5 port runs external SSDs and RAID arrays at full rated speed;
• 2.5GbE delivers the throughput needed for NAS workflows, large file transfers, and secure corporate environments;
• UHS-II SD and microSD slots let photographers and video editors offload footage without a separate card reader;
• Supports dual HDMI displays at up to 4K 240Hz or dual 8K 60Hz with DSC on Thunderbolt 5 hosts. A third display is possible via Thunderbolt or USB-C;
• Compatible with Thunderbolt 5, Thunderbolt 4, USB4, USB-C, and Thunderbolt 3 (Mac) hosts across Mac and Windows environments;
• OWC Innergize Enabled: A complete health, performance, and field update management app when using OWC Atlas SD memory cards with the dock's SD memory card reader;
• Supports both horizontal and vertical desk placement, and
• OWC Dock Ejector unmounts every connected drive in a single click. On macOS, an included driver also enables Apple Super Drive support through the dock.

“Thunderbolt 5 gives you tremendous performance and capability. The real question is what you do with it,” said Larry O’Connor, Founder and CEO, OWC. “With the OWC Thunderbolt 5 Dock with Dual HDMI your laptop is no longer the compromise. One connection gives you the displays, storage performance, networking, power, and connectivity of a serious desktop workstation – without the pile of adapters and workarounds. We didn’t set out to build another Thunderbolt 5 dock. We set out to build the one professionals will measure the others against.”

O’Connor added, “This addition to our dock line-up is a result of customer feedback. Our goal is to continue to ensure our customers always have a choice when it comes to picking the solution(s) that best meet their individual desktop/workflow requirements."

Key features for OWC Thunderbolt 5 (USB-C) Cables, now available in a 1.5-meter length include:

• Since it's 100% USB-C compatible, it connects to current, future as well as older Macs, PCs, iPads, Chromebooks, Surface, and other devices with a Thunderbolt 5, Thunderbolt 4, Thunderbolt 3, USB4, or USB-C port;
• Up to 80Gbps of bidirectional data speed and up to 120Gbps for higher display bandwidth needs;
• Connects to millions of docks, displays, eGPUs, PCIe expansion, external SSDs, RAID storage, and accessories;
• Lab-certified to safely deliver up to 240W to charge the most power-hungry notebook computer;
• Connects to the latest and future Thunderbolt, USB-C, and DisplayPort displays for incredible 4K, 5K, 6K, and up to three 8K displays, and
• Three-Year OWC Limited Warranty.

The OWC Thunderbolt 5 Dock with Dual HDMI will be generally available (GA) in November and priced at $349.99. The Thunderbolt 5 (USB-C) Cable in a 1.5-meter length availability is planned for the middle of October and will be priced at $58.99.

OWC will demo the new additions at Stand 7.A60 during IBC 2026. For more information, visit www.owc.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WASHINGTON—In a Federal Communications Commission filing, America's Public Television Stations (APTS) and PBS have come out strongly in support of the agency’s push to make the emergency alerting system even more effective and efficient.

“In particular, [public television] supports the Commission’s proposal to permit, but not require, EAS Participants to use software-based EAS encoder/decoder technology, instead of dedicated EAS hardware, to process EAS alerts, with rigorous certification and safeguards to assure the continuing strength and integrity of the EAS,” the filing said.

“In addition, PTV supports other FCC proposals to improve the EAS system, including permitting enhanced EAS geotargeting, allowing the voluntary incorporation of standardized threat-identification symbols into EAS alerts, and, if feasible, implementing a universal alert ID for EAS, WEA and NOAA Weather Radio.”

But the joint filing by the two groups also encouraged “the Commission not to require the installation of this software-based EAS technology within a station’s local service area or at its transmitter site.”

It also argued that the FCC should “ensure that EAS Software security updates do not require a costly subscription or impose other hurdles” on the deployment of software-based systems.

More specifically, the filing noted: “[T]he most immediate benefit of the proposed rule change would be giving EAS Participants the flexibility to select the technology that best enables them to streamline their operations and take advantage of certain technological advances. As the Commission has recognized in other proceedings, broadcast technology is changing rapidly, increasingly making possible a model in which much of the signal chain is deployed remotely, distant from either transmission facilities, a production studio, or both. Software-based EAS systems would fit well into this paradigm, as they would be easy to integrate into virtualized system components or to otherwise operate remotely … Elimination of a device-based EAS requirement could enable broadcasters to further benefit from these technological innovations in remote operations and to reinvest conserved resources into serving their local communities."

"Some public television stations, however, may determine that EAS hardware remains the best solution for their operations and they should be able to continue using this hardware based on their local determinations," the filing by APTS and PBS explained.

“The proposed rule change also would allow additional entrants into the market to supply EAS encoder/decoder technology,” PBS and APTS argued. “Additional competition in this space is likely to lower prices as various vendors, new and old, compete for market share. A more competitive market would allow resource-constrained EAS Participants, including public television stations, to incorporate the EAS systems that are most efficient, cost-effective, and appropriate for their broadcast operations.”

“Local public television stations serve as a backbone of EAS, broadcast additional local public safety information, and provide a reliable redundant path for WEAs through PBS WARN,” APTS and PBS concluded. “They continue to innovate in public safety communications, including through the use of datacasting in ATSC 1.0 and 3.0 as well as through partnerships with federal, state and local emergency response agencies, to protect and serve their local communities. Accordingly, as discussed in these Comments, PTV supports efforts to enhance EAS that will help local public television stations best serve the public safety needs of their local communities.”

The full filing is available here.

Other filings on the topic can be accessed here.

Skyline Communications and Bridge Technologies will showcase the latest developments in their technology partnership, highlighting how broadcasters can deploy workflows that detect, decide and automatically act, not simply monitor and alarm, during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The companies will present two complementary innovations: an automated AV synchronization workflow that combines Bridge Technologies VB440 measurement intelligence with DataMiner’s orchestration and automation capabilities, and a new generation of DataMiner apps that enable organizations to create purpose-built applications tailored to their unique operational workflows.

The centerpiece of the demonstration is an AV synchronization workflow built around Bridge Technologies} new VB440 AV synchronization feature, which measures audio and video delay with high precision and exposes that information through open APIs. In remote production environments, AV sync delay is not an exception but an inherent operational reality that teams need to measure, manage and compensate for reliably.

DataMiner receives this AV sync intelligence and uses it to orchestrate the required corrective workflow automatically. Bridge Technologies provides the measurement intelligence. DataMiner provides the orchestration layer that turns that intelligence into action.

Alongside the AV sync workflow, Skyline will also demonstrate a new generation of DataMiner apps. The apps enable organizations to create purpose-built applications rapidly tailored to their unique operational workflows. By leveraging AI-assisted application development, customers can move from concept to production in a fraction of the time traditionally required, while maintaining full flexibility and control over the user experience.

See Skyline Communications at IBC2026 stand 1.B40 and Bridge Technologies at stand 1.A71.

More information is available on the Skyline Communications and Bridge Technologies websites.

AMSTERDAM—Rise Academy, the broadcast and media skills charity dedicated to delivering practical media technology learning experiences, careers resources and work experience opportunities for young people, is welcoming the industry back to this year’s IBC here with the return of Race 4 The Future.

The much-loved annual 4-kilometer charity run/wal, raises funds to support the development of the next generation of media and technology talent. Whether racing for time or strolling with friends, every step taken supports Rise Academy’s work to open doors for underrepresented young people breaking into the industry.

Taking place Saturday, Sept. 12, at 9:30 a.m., the fun run will once again unite attendees of IBC Show in Amsterdam as they compete for a good cause.

Originally launched as the 4K 4Charity Fun Run by AWS Elemental, Rise Academy is honored to continue the race’s legacy with renewed energy and the same mission to create meaningful, positive impact.

This year’s race gain honors the Sam Blackman Medal, named in tribute to AWS Elemental co-founder Sam Blackman. Presented to the participant who best embodies community, inclusion and purpose—not just speed—the medal continues to honor his inspiring commitment to harnessing technology for positive change.

Beyond athletic achievement and awards for the fastest male and female competitors, Race 4 The Future will once again celebrate creativity and camaraderie. Other awards include:

• Best Fancy Dress (expect themed costumes and playful vibes)
• Biggest Team Turnout
• Most Enthusiastic Runner
• Best Team Theme
• Top Social Post (so get tagging!)

This energetic, inclusive gathering is set to once again kick off the IBC weekend with joy, connection and real purpose.

With an affordable entry fee of just 25 pounds, every participant directly supports Rise Academy’s programs dedicated to educating, inspiring and informing underrepresented young people. Proceeds fund vital initiatives, including mentorship, training, work placements and industry exposure, designed to dismantle barriers and amplify diverse talent in media tech.

“Race 4 The Future is about far more than completing 4 km,” Rise Academy Chair Andy Beale said. “It’s about covering the distance between where our industry is today and the truly inclusive future we know it can become. Every step, every laugh, every shared moment brings us closer to a media tech sector where talent from all backgrounds can thrive and find opportunity.”

Businesses and brands are invited to sponsor the event or key elements—including medals, water stations and race bibs—offering meaningful visibility and alignment with Rise Academy's mission.

Rise Academy also invites volunteers to sign up as Race Makers, to help ensure the safe success of the event. Volunteers should email info@rise-academy.live

To register for the fun run, visit its website.

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

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

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

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

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

STOCKHOLM, Sweden—Net Insight has introduced Nimbra 1020G, a compact, ultra-dense addition to the Nimbra Live portfolio that combines IP media processing, switching and controlled interconnection in a modular 1U platform.

The company will demonstrate Nimbra 1020G and Open Live Media at IBC2026, Booth 1.B47, RAI Amsterdam, September 11–14.

Net insight’s Nimbra 1020G combines open standards and APIs with Net Insight’s Trust Boundary technology, enabling broadcasters, production companies and media service providers to extend Broadcast IP without overbuilding infrastructure.

As live production becomes more distributed across venues, partners, facilities and cloud environments, IP workflows increasingly need to extend beyond the media core without bringing core-scale footprint, power and cost with them.

“The value of Trust Boundary is that organizations can exchange live media without sharing network design, investing in complex integrations or adding conversion,” said Larissa Görner-Meeus, CPO of Net Insight. “With Nimbra 1020G, that controlled handoff can now be placed wherever services enter or leave the network.”

Nimbra 1020G addresses this need in a compact 1U modular platform, supporting up to 64 channels of 2110 JPEG XS compression and 600 Gbps of lossless Ethernet switching. This increases service density while reducing rack space, power, external switching requirements and cost per live service. Built around the Nimbra Media Pro App architecture, Nimbra 1020G can adapt across contribution, remote production, facility connectivity, partner interconnect and distribution access.

A key differentiator of Nimbra 1020G is the always-enabled SMPTE RP 2129 Trust Boundary. It creates a secure demarcation between independently operated media networks, allowing organizations to exchange live media services while retaining full control of their own addressing, multicast architecture, security policies and orchestration. To maintain service resilience and interoperability, full media payload and timing is always preserved through each Trust Boundary.

With demarcation from 1G to 100G Ethernet, Trust Boundary combines per-service admission, address adaptation, strict QoS control and real-time flow monitoring. One application handles the full range of media flows, from compressed transport streams to uncompressed 2110 UHD essences. Up to 128 lossless Ethernet switch instances provide guaranteed QoS, fine-grained traffic isolation and workflow aggregation for any broadcaster or service provider workflow.

Nimbra Live Intelligence adds service-level visibility, control and assurance, giving operators real-time insight as live services are added, rerouted or changed. This enables more dynamic, software-driven operations while maintaining operational control.

For existing Nimbra operators, compatibility with Nimbra 1000 modular hardware and the Nimbra Media Pro App family provides a direct expansion path, allowing customers to extend on the infrastructure rather than introduce a separate platform.

Nimbra 1020G adds a new scale point to Nimbra Live, complementing Nimbra 520 for HEVC contribution and Nimbra 1060 for high-capacity media processing. Together with Nimbra Edge and Nimbra Live Intelligence, it extends Net Insight’s Open Live Media architecture across contribution, access, aggregation, controlled interconnect, core and distribution.

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

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

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

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

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

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

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

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