Most broadcast facilities are mid-transition from SDI to IP, running both at once. Here you'll find coverage of SMPTE ST 2110, remote and cloud production, bonded cellular contribution, camera-to-cloud workflows, and the switchers and gear keeping live shows on air.
Fujifilm has released the FUJINON GF19-35mmT3.5 PZ OIS WR, an ultra-wide cinema power zoom lens for its GFX large format camera system. The motorized lens is designed to integrate with the GFX ETERNA 55 for documentary and professional cinema production workflows.
Sony Semiconductor Solutions has initiated sample shipments of the IMX949-AQB, a 12.69MP Pregius S global shutter CMOS sensor. The sensor, which features a 28.1mm diagonal, supports high-speed acquisition up to 811.5 FPS, offering significant performance potential for high-speed industrial, sports, and VFX-related imaging workflows.
DMC Production and Calrec have implemented a software-defined remote production workflow using Grass Valley’s AMPP platform. The architecture leverages Calrec’s virtualized DSP and True Control 2.0 to manage high-camera count live events over 100 Mbit/s internet connections.
FilmLight has launched fl-enhance, a new GitHub repository providing scripts, shaders, and API tools to help developers integrate Baselight and Daylight workflows with programmatic languages like Python, Java, and NodeJS. The tools include utilities for LUT wrapping, ACES EXR transcoding, and specialized color transformations to assist post-production pipeline automation.
FIFA is centralizing its 2026 World Cup remote production operations at a 500,000-square-foot International Broadcast Center in Dallas to handle VAR, camera shading, and feed distribution. The facility leverages a centralized infrastructure model to process feeds from 16 global venues and deliver content to over 200 media partners.
Vadzo Imaging has launched the Bolt-821CRS, a compact, 4K HDR MIPI camera module designed for synchronized multi-camera arrays on NVIDIA Jetson Orin AGX platforms. The solution targets sports broadcasting and AI-driven player tracking by offering hardware-level frame timing synchronization for up to eight cameras.
ITV Sport deployed a complex remote-production studio in Brooklyn for the 2026 World Cup, integrating physical set elements with Unreal Engine-based virtual production. The project utilized a multi-vendor technical stack, including Stype for camera tracking and AE Live for graphics integration, to maintain a high-quality broadcast workflow back to the UK.
AVIXA reports the broadcast AV market is projected to reach $43 billion by 2025, driven by corporate enterprises building permanent in-house production studios. This shift requires technology integrators to align broadcast-grade production workflows—including IP-based signal chains and NDI/ST 2110 standards—with existing enterprise IT infrastructure.
Appear is providing its X5 hardware platform to Rede Legislativa to facilitate contribution workflows for Brazil's ongoing TV 3.0 (DTV+) trials. The deployment utilizes HEVC compression and SRT transport over the public internet to demonstrate cost-effective, IP-based broadcast contribution alternatives.
Mediaproxy has appointed Heartland Video Systems (HVS) as its exclusive systems integration partner for the US broadcast market. The partnership focuses on deploying Mediaproxy's compliance and multiviewing platforms to support broadcasters during the transition from ATSC 1.0 to ATSC 3.0 standards.
A Caretta Research report indicates that North American broadcast staff spend 75% of their time on technical tasks due to fragmented media asset management and linear-centric workflows. The report suggests that adopting software orchestration layers can unify production interfaces and automate the distribution of multi-platform content.
BBC Sport is employing a hybrid remote production model for the FIFA World Cup 2026, utilizing flypacks and ENG crews provided by Gravity Media and Timeline TV to manage complex multi-national logistics. The production strategy relies on a mix of on-site technical infrastructure and centralized IBC operations in Dallas to deliver broadcast content across diverse platforms.
PlayBox Technology CEO Maya Ash discusses the company's 22-year history in broadcast playout and the launch of Celebro, a new platform aimed at consolidating playout, MAM, and scheduling into a single architecture. The company plans to integrate AI-driven predictive failure prevention and automated compliance features into its workflow solutions.
Jamie Hindhaugh, CEO of Gravity Media, discusses the company's shift toward ST-2110 remote production and the consolidation of facilities. The company is standardizing on 1080p HDR to support both linear and streaming workflows while managing the rising industry demand for cost-effective remote production.
AI semiconductor startup Tensordyne has emerged from stealth with a new inference chip architecture that utilizes logarithmic math instead of traditional multipliers. The technology aims to improve power efficiency and performance density, enabling 72-chip AI inference pods to serve large models with significantly lower latency and power consumption than industry-standard hardware.
HP has introduced the Z4 G6i workstation, a high-performance hardware system powered by Intel Xeon 678X processors and Nvidia RTX Pro 6000 Blackwell GPUs. The system is designed for enterprise-level video editing and AI workflows, featuring ISV certifications for major creative applications and proprietary GPU resource-pooling technology.
Advantech has launched new industrial edge computing platforms powered by the Qualcomm Dragonwing IQ-9075 processor, aimed at real-time computer vision and high-bandwidth video processing. These systems support up to 100 TOPS of AI performance and can manage concurrent data streams from 16 cameras for applications like intelligent surveillance and automation.
French production studio Altitude101 used the Blackmagic URSA Cine Immersive camera and Blackmagic's post-production suite to create content for Apple Immersive Video. The project provided technical insights into camera placement, pacing, and immersive post-production required for the Apple Vision Pro ecosystem.
T-Mobile is deploying private 5G infrastructure, including network slicing and localized camera hardware, to support the MLB Automated Ball-Strike (ABS) challenge system and live remote production for All-Star Week in Philadelphia. The initiative highlights the application of 5G Advanced Network Solutions (ANS) for mission-critical professional sports broadcast operations and streaming.
The Chicago Cubs have completed a multi-phase technical renovation at Wrigley Field, upgrading eight LED displays and transitioning the facility's control room to 1080p. The upgrade leverages technology from Ross Video and Evertz and includes an SDR-based workflow optimized for frequent daytime games.
The Miami Heat completed a $50 million renovation of the Kaseya Center, transitioning the facility to an IP-based control room environment. This project will be featured at the upcoming 2026 SVG Venues & Teams Summit with technical panels involving representatives from Imagine Communications and Alpha.
Cirrus Aircraft has launched a new Apple Vision Pro application, 'Let’s Go Fly!', featuring immersive 8K 90 fps spatial video. The content was produced using Blackmagic URSA Cine Immersive cameras and DaVinci Resolve Studio by Cirrus in collaboration with Rogue Labs and XBrand.
Blackmagic Design has announced the UltraStudio Express 3G series, a new line of portable, USB4-powered capture and playback devices. The units support 3G-SDI and HDMI workflows up to 1080p60 for broadcast monitoring and live streaming applications.
Blackmagic Design has launched two new professional capture cards, the DeckLink 8K Pro and DeckLink 4K Extreme 12G, designed for high-resolution Thunderbolt 3 workflows. These cards support up to 8K resolution, 12-bit RGB 4:4:4 color processing, and high-channel-count audio for professional production and post-production environments.
Samsung has officially moved its PM1763 enterprise PCIe 6.0 SSD into mass production. Optimized for AI and high-performance computing, the drive features 16TB of capacity and sequential read speeds reaching 28,400 MB/s to address data-loading bottlenecks in GPU-intensive server environments.
Mediapro Argentina successfully utilized wTVision's hybrid graphics workflow to manage 14 simultaneous match broadcasts for the CONMEBOL Libertadores and Sudamericana. The project leveraged a combination of local infrastructure in Buenos Aires and Miami alongside AWS cloud-based graphics engines to scale production during a high-demand matchday.
Shure has released Action Isolator, an AI-trained DSP software for live sports production. The tool enables broadcast engineers to isolate specific game-defining sounds and reduce ambient noise across eight Dante channels with 24ms latency.
ORF used 24 ARRI Alexa 35 Live cameras and Riedel’s DIVA+ IP-based infrastructure to produce the 2026 Eurovision Song Contest. The deployment highlighted a transition toward cinematic-quality live production workflows using integrated IP communication and signal distribution for a global event.
FOX Sports implemented a high-resiliency, isolated network architecture for the FIFA World Cup, connecting multiple broadcast facilities and remote production sites. The infrastructure leverages redundant fiber transport from Telstra, Lumen, and Zayo, protected by SMPTE ST 2022-7 seamless switching to maintain broadcast continuity during circuit failures.
Telemundo Deportes and Peacock have selected creative agency GameDay Creative to develop a comprehensive graphics package and real-time virtual set for the 2026 FIFA World Cup. The project utilizes a sophisticated production pipeline including Unreal Engine, After Effects, and various 3D modeling tools to deliver assets across linear broadcast and streaming platforms.
Sony Pictures Television and MGM+ utilized a complex dual-delivery pipeline to produce the series 'Spider-Noir' in both black-and-white and full-color versions. The production involved 12 VFX vendors and 3,200 shots, requiring significant integration between virtual production tools, data management, and color grading workflows.
IMAX has disclosed that the film The Odyssey, shot using its proprietary Keighley 65mm camera system, contains 14K to 16K of resolution per color channel in its 15/70 film frames. The company is using this technical data to emphasize the potential capacity of analog large-format capture over modern digital sensor standards.
Catalan broadcaster 3Cat utilized Leader Electronics' PHABRIX Qx rasterizers and LPX500 monitors to manage UHD/HDR signal monitoring during the live broadcast of Pope Leo XIV's visit to the Sagrada Família. The production marked the European debut of Sony’s Cinema Line cameras in an international live UHD/HDR environment.
The Big 12 Conference has selected BYUtv to serve as the production partner for its 2026 Football Media Days, utilizing a university-control-room model for the first time. This production will be distributed via ESPN networks and internationally on Disney+, leveraging LiveU transmission technology and Sony broadcast hardware.
Syslogic and Ark Vision Systems have partnered to deliver a combined hardware platform integrating GMSL2 machine vision cameras with Nvidia Jetson-powered rugged embedded computers. The turnkey solution is designed to facilitate real-time AI inference and computer vision for autonomous and industrial applications.
Chinese AI startup DeepSeek is reportedly developing in-house custom inference chips to reduce dependency on external suppliers like Nvidia and Huawei. This strategic move aims to optimize commercialization costs and improve control over the computational stack as demand for high-performance AI inference grows.
Industry manufacturers including Sony, ARRI, and Blackmagic Design are shifting toward larger digital cinema sensor formats to overcome the traditional mechanical and physical limitations of 15-perf IMAX film. This trend prioritizes sensor area expansion over mere resolution increases to improve photon collection, dynamic range, and overall production flexibility.
Sony Pictures Television's production team for the Spider-Noir series details a complex dual-delivery pipeline that required managing 3,200 VFX shots across black-and-white and color versions. The workflow utilized automated QC processes on feature-grade servers and extensive early-stage coordination with 12 VFX vendors to ensure tonal consistency for both streaming formats.
Canon has launched the EOS R6 V, a $2,500 full-frame hybrid camera designed for video-first workflows with 7K open gate recording and active cooling. The device features professional-grade video tools such as Canon Log 2, internal 2K proxy recording, and integration with the brand's cinema-line features.
At InfoComm 2026, Audinate showcased Iris, a software-based bridge designed to enable protocol-agnostic, remote PTZ camera control. The tool acts as a browser-based management interface for various hardware brands, including BZB Gear, supporting workflows like remote color correction and white balance.
Endemol Shine Australia is utilizing cloud-based remote production kits to decentralize the post-production workflow for reality programs like MasterChef Australia. By enabling editors in New Zealand to work on content, the studio is addressing domestic labor shortages and managing high-volume production schedules.
LucidLink has launched a new integration with Adobe Frame.io that allows production teams to stream media files from various third-party cloud storage services directly into editing timelines. The solution aims to unify production assets, eliminate manual file migration, and reduce egress costs across the creative workflow.
SIGGRAPH 2026 will feature advancements in neural rendering, virtual production, and automated anatomy simulation for high-end visual effects and animation pipelines. The conference highlights a shift toward integrated rendering modes and cross-industry collaboration between AI research labs and creative studios.
Pomfort has released Livegrade Pro v7.2, introducing native integration with RED DSMC3 cameras, AJA KONA IP25 support for SMPTE ST 2110 workflows, and enhanced multi-channel LUT control for FSI XMP monitors. The update also features expanded Stream Deck workflows for set-based color grading and metadata management.
ORF utilized 24 ARRI Alexa 35 Live cameras and Riedel's DIVA+ infrastructure to deliver cinematic quality for the 2026 Eurovision Song Contest. The production workflow integrated extensive fiber, 60 MediorNet frames, and 190 Bolero wireless beltpacks, managed in partnership with NEP.
Techtel has launched insyght, a monitoring software tool designed to automatically discover and display ST 2110 IP video streams within a web browser. The tool allows users to create customizable multiviewer dashboards with low-latency performance using COTS network hardware.
NETGEAR has introduced the Align Controller (GB406), a hardware appliance designed for professional AV-over-IP network management. The device features integrated PTPv2 Grandmaster timing for SMPTE ST 2110 workflows and serves as a central host for NETGEAR's Engage Controller software.
The Broadcast Bridge details the technical requirements for virtual production LED walls, highlighting critical performance variables such as refresh rates, bit depth, pixel pitch, and multiplexing. The article explains how these factors influence camera-integrated visual effects and color rendering for professional broadcast environments.
Analog Way demonstrates a workflow for configuring cut-and-fill effects at the layer level using the Aquilon video processing unit. The tutorial explains resource allocation trade-offs and how to use the WebRS interface to apply masks and real-time transparency adjustments to live video layers.
Analog Way provides a tutorial on using the 'regions' feature within its Aquilon video processor to manage high-resolution canvases exceeding 40 megapixels. The explanation details how engineers can optimize Video Processing Unit (VPU) resources by assigning specific layers to defined output regions on large-scale LED displays.
