TM Broadcast International #140, April 2025

EDITORIAL

Trade shows play a key role in this industry, and April and May are particularly intense in that regard. The crown jewel, without a doubt, is the NAB Show—one of the leading global events in the market. While the event continues to play a central role across the industry, with many companies aligning their most important announcements of the year with its dates, recent editions have shown a downward trend in terms of both attendance and exhibitor numbers.

The performance of this edition—with almost 20% fewer exhibitors—may have been influenced by the global climate of uncertainty caused by the new U.S. trade policy, but that has not been the decisive factor. Companies plan these kinds of events months in advance due to the logistical demands involved, and in many cases, they confirm their participation at the end of the previous edition.

It’s worth noting, in any case, that 53% of attendees were first-timers—a figure that reflects the show’s ongoing vitality. This influx of new professionals played a key role in shaping the event’s themes, with specific areas dedicated to emerging players in the industry.

Editor in chief

Javier de Martín editor@tmbroadcast.com

Creative Direction

Mercedes González mercedes.gonzalez@tmbroadcast.com

Chief Editor

Daniel Esparza press@tmbroadcast.com

Looking ahead, NAB’s goal is to bring together the entire audiovisual market—not just traditional broadcast—according to the organization. This also includes all verticals where high-quality video production is essential, from banking to healthcare.

This vision aligns with one of the major trends reshaping the industry: thematic convergence. Just as shows like ISE—traditionally focused on the integration market—are now looking to expand into broadcast, events like NAB are also broadening their scope.

In this issue, we review the key figures and takeaways from the latest edition of NAB, and we turn our attention as well to CABSAT (Dubai) and MPTS (London), two more regionally focused trade shows scheduled for May, which may gain relevance in the coming years as the industry navigates a less globalized world.

This issue also includes interviews with executives from TV2, the Danish public broadcaster, and from U.S.-based NBCUniversal, one of the world’s leading media and entertainment conglomerates. All of this reaffirms TM BROADCAST’s leadership as a media outlet with a truly global outlook.

Key account manager

Patricia Pérez ppt@tmbroadcast.com

Administration

Laura de Diego administration@tmbroadcast.com

Published in Spain ISSN: 2659-5966

TM Broadcast International #140 April 2025

TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43

TV 2 Denmark:

How its news department is adapting for the future

By Daniel Esparza

We interview Morten Brandstrup, Head of Newstechnology at the Danish public broadcaster, to analyze its new strategy, which revolves around two key concepts: “story-centric” and “online-first”.

NBCUniversal:

Its vision on the challenges, trends, and future of OTT

Amy Geary, Senior Vice President of Content Distribution, shares her vision of the streaming industry and provides key insights into the company’s strategy—one of the leading media and entertainment conglomerates globally.

Barça rides the FAST wave

We explore the business strategy behind this new channel and its improvement plans with Albert Grau, Deputy Director of Barça Productions.

TRADE SHOW SPECIAL

NAB Show 2025: Striving to encompass the entire media industry amid global uncertainty

MPTS takes over the Grand Hall at Olympia London

CABSAT 2025: Tracking the momentum of MENA’s media boom

By Daniel Esparza and Bárbara Ausín

TECHNOLOGY

ROE: Driving LED innovation in a fast-changing industry

We speak with Olaf Sperwer, responsible for Business Development in Virtual Production at ROE Visual, to explore his market vision, the company’s strategic goals, and the latest innovations in this technology.

TM BROADCAST BREAKFAST

Audiovisual production in sports competitions: present and future

TM BROADCAST SPAIN organized a working breakfast to analyze, alongside a diverse group of high-level professionals, some of the most pressing issues in the sector: remote production, artificial intelligence, cloud, cybersecurity, production hubs, and virtual studios were among the key topics discussed.

Blackmagic Design announces its new digital film camera PYXIS 12K

Blackmagic Design has announced Blackmagic PYXIS 12K, a new digital film camera that features a 12K RGBW sensor in the PYXIS camera design. This new model features the same sensor as URSA Cine 12K LF with 16 stops of dynamic range along with dual CFexpress media recorders, 10G Ethernet and Blackmagic Cloud global sync, all in a customizable body. Blackmagic PYXIS 12K is available in three models, with customers able to choose between L-Mount, PL or Locking EF lens mounts, as the company has claimed in a statement.

It will be available in July from Blackmagic Design resellers worldwide for US$4,995.

The Blackmagic PYXIS 12K is being demonstrated on the Blackmagic Design NAB 2025 booth #SL216.

In addition to the multiple 1/4″ and 3/8″ thread mounts on the top and bottom of the body, it has a range of side plates that tries to extend the ability to mount accessories such as handles, microphones or even SSDs.

The models feature a full frame sensor with a native resolution of 6048 x 4032 or a massive 12288 x 8040. Whether users are shooting in bright light or in almost no light at all, the sensor is designed to provide low noise images in all lighting conditions. Plus, it lets customers shoot up to 112 fps on the PYXIS 12K.

Using the full area of the sensor gives customers an open gate 3:2 image which also lets them reframe their shots in post production. The large sensor also lets customers work in 6:5 anamorphic without cropping, also they can use the classic Super 35 sized window on the sensor to create an instant ‘close up’ version of their shot that fits with open gate footage.

Customers can choose between three different models. The L-Mount model works with the latest full frame lenses from Leica, Panasonic and Sigma but can also accommodate lens adapters, allowing customers to use a wide variety of new and vintage lenses. The EF model

lets customers use high quality photographic lenses they already owns from DSLR or Blackmagic Pocket Cinema Cameras. Or the PL model lets customers work with professional cinema lenses from Zeiss, ARRI, Cooke and more without needing an adapter.

Blackmagic PYXIS models can shoot in all standard resolutions and frame rates from HD up to DCI 4K, 6K, 8K and 12K.

Blackmagic PYXIS 12K features a multi scale sensor with that lets customers shoot in 12K, 8K or 4K at the full sensor size. Shoot up to 40 fps at 12288 x 8040 3:2 open gate or 60 fps at 12288 x 5112

2.4:1 and 112 fps at 4096 x 2160 4K. With the 6K model, customers can shoot up to 36 fps at 6048 x 4032 3:2 open gate or 60 fps at 4096 x 2160 4K DCI.

The built in LCD on Blackmagic PYXIS is a 4″ high resolution HDR touchscreen designed for monitoring and reviewing shots on set. Its HD resolution means customers can frame and focus their shots without needing to carry around a bulky external monitor.

Blackmagic PYXIS Monitor is a versatile 5″ HDR touchscreen monitor with full camera control that can be mounted almost anywhere. It provides the same controls and overlays as PYXIS’ built in LCD. Plus, the bright 1500 nit display and removable sunshade tries to ensure visibility, even in sunlight. 

Sennheiser announces its new stereo shotgun microphone

Sennheiser has launched the MKH 8018, a compact stereo shotgun microphone designed for broadcasting and filming applications. It completes the company’s MKH 8000 range of RF condenser microphones, as the company has claimed in a statement.

Lookig forward to providing flexibility to the audio engineer, the MKH 8018 features three switchable stereo modes: MS stereo, wide XY stereo and narrow XY stereo. The MS mode allows the engineer to adjust the spatial imaging steplessly on the mixing desk, while the XY modes are premixed in the MKH 8018, with settings fine-tuned in many tests.

“The MKH 8018 is a high-class shotgun model that rounds off our MKH portfolio at the top end”, says Kai Lange, senior product manager for the MKH series. “It has extremely low self-noise and truly excellent

sound, very clear and pure due to the mic’s great off-axis rejection. Moisture resistance, minimal non-linar distortion, and a balanced audio signal at the transformerless, fully floating output are further benefits of the RF condenser technology, which Sennheiser has been perfecting for more than 60 years”.

To try to make the MKH 8018 as easy to handle as possible, the Sennheiser engineers have given it an aluminium housing to have less weight on a camera or boom pole. Also, the microphone is non-modular with a fixed XLR-5M output and integrated -10 dB pad against overdriving, filters for tailoring the frequency response, and an additional switchable –3 dB low-cut filter at 70 Hz.

As it has been designed for broadcasting and filming applications, the wide frequency response of the MKH mics has been limited to 40 – 20,000 Hz. This has

the intention to avoid any overloading of the mixing console with unhearable distortion below 40 Hz and above 20 kHz, where ultrasonic camera lens measurement systems are active.

The MKH 8018 impresses with its homogeneous sound image, and can output MS stereo for processing in the studio or on a mixer, or – via an internal matrix – XY stereo in a wide or narrow mode without the need for an external mixer. In XY-w, the mic is designed to emphasize the side signal to a greater extent, thus capturing more ambience. In XY-n, the focus is more on the mid signal, giving the sound engineer more directionality. Additionally, is delivered complete with an MZQ 100 microphone clip, MZW 8018 foam windshield and a threaded plastic transport tube. The MZR 8000 camera adapter wraps around the microphone body to try to ensure a secure fit with other mic clips and on cameras. 

Vizrt and Blinx offer the first real-time XR integration for TikTok Live

Vizrt has partnered with Dubai-based blinx Media to launch an industry first TikTok Live livestream with extended reality (XR) graphics. This livestream, hosted by various media personalities and regional influencers, is the first instance of content being created in a virtual studio, with audiences utilizing TikTok’s gifting capabilities to transform the virtual set in real-time, as Vizrt has claimed in a statement.

For instance, a user gifting a virtual “Galaxy” will see the studio transformed into a galactic

animation, with their name dynamically displayed in 3D within the scene.

These graphics are rendered in Unreal Engine with the XR experience powered and controlled by Vizrt’s Viz Engine 5. This includes Video I/O, the handling of tracking data from cameras, and the calculation of the video wall projection.

“With TikTok driving $400M in user gifting in the U.S. alone last year, this collaboration with blinx showcases the potential of real-time XR experiences to revolutionize industries like live

media production, influencer-led initiatives, and branded digital engagement”, shares Chris Black, Chief Marketing Officer, Vizrt.

“More content creators are looking to monetize live streams, and this technology demonstrates how greater levels of monetization can be achieved without the hard sell – instead driving transactions with deeply immersive entertainment opportunities for audiences”, adds Black. 

EVS deals with Al Jazeera to modernize live news content management

EVS has announced an agreement with Al Jazeera Media Network to deliver its content management solution, MediaCeption, with the objective of streamlining and enhancing news production workflows across five bureaus: Doha, London, Washington D.C., New York, and Sarajevo, as the company has claimed in a statement.

MediaCeption will provide Al Jazeera with a unified workflow designed to try to efficiently manage and edit live and nearlive news content. Each bureau will have the capability to ingest multiple live feeds, browse, edit, and share news packages from a centralized storage system, and seamlessly playout news as events unfold. The comprehensive solution from EVS includes XS-VIA servers, the new media asset platform VIA MAP, and the high-performance storage system XStore. The intention of the solution

is to enable faster content turnaround, reliable and stress-free operations, multi-site collaboration, and certified integration with tools from technology partners, including Avid Media Composer, Media Central, and Viz Mosart.

Commenting on the partnership, Ahmad Al Fahad, Executive Director of Technology & Network Operations at Al Jazeera Media Network, states: “We are pleased to work with EVS to bring MediaCeption into our news production ecosystem. EVS’s proven track record of delivering fast and reliable solutions, combined with their global technical support presence, gives us the confidence to meet the challenges of modern news delivery. The deployment of MediaCeption will not only enhance our operational efficiency but also bolster our ability to deliver high-quality, timely content to our viewers around the world”.

Serge Van Herck, CEO of EVS, adds: “We are honored to have been selected by Al Jazeera as their trusted partner for this transformative project. Al Jazeera is a longstanding and valued customer, and we are excited to deliver a solution that aligns perfectly with the demands of today’s fast-paced news production environment. This partnership highlights our commitment to innovation, reliability, and customer success, and we look forward to supporting Al Jazeera as they continue to set the standard in global news broadcasting”.

The solution is scheduled for installation in Q2, with Al Jazeera set to go on air with the new system in Q3 2025.

EVS is demonstrating the latest MediaCeption features at NAB Show in Las Vegas (April 6-9), at its booth #3316 in the South Lower hall. 

Quite Brilliant, Twickenham Film Studios and Samsung partner to launch virtual production facility

Samsung Electronics has announced a new partnership with Twickenham Film Studios (TFS) and Virtual Production (VP) experts Quite Brilliant (QB) that will see Samsung’s VP technology housed at Twickenham, as the company has claimed in a statement. This new project is also part of Quite Brilliant’s plans for 2025, which were briefly outlined by Russ Shaw, Head of Virtual Production, in a recent interview with TM Broadcast.

The partnership will see all the parties working closely together with the objective of pushing Virtual Production as a creative, cost-effective and more sustainable production process. The installation of the new facility is to be completed by the end of June 2025. Additionally, Samsung will also have a base at the historic studios in Twickenham,

The LED screen will be housed at Twickenham’s historic Stage 3. It features a 24 x 4.5 metre back wall, a 105 sq metre LED ceiling and additional LED mobile totem walls along with a permanent turntable and motion control crane.

The LED wall itself boasts Samsung’s IVC 2.1 pixel pitch technology and ARRI colour calibration management system. It is designed to create virtual content that can then be integrated with real-time visual effects technology.

Deborah Honig, Vice President, Chief Customer Officer at Samsung Electronics, says: “As one of the world’s leaders in picture quality and screen technology, we are excited about the possibilities of how this could transform Virtual Production”.

“This technology opens the door to limitless potential for filmmakers, producers and content creators from various industries by amplifying digital effects, while making virtual content creation easier, faster and more cost effective. Alongside our ambitious partners at Twickenham Film Studios and Quite Brilliant we are excited to usher in a new era of excellence within this area”.

“Having taken over Twickenham Film Studios in 2012, this new venture marks the next phase of our multi-year strategy to invest in Twickenham’s future. Samsung is our ideal partner. They see the value of our world-class award-winning team and appreciate our approach in balancing investment in technology with investment

in our people. This is why we are a preferred facility for so many of the world’s greatest filmmakers”, explains Sunny Vohra, owner of TFS.

“Twickenham Film Studios has been my home for the last 5 years, and I love being based here. Their talented team are always committed to delivering the very best. This great partnership with Samsung reinforces Twickenham’s position for the future as a vital part of the British Film Industry”, continues Kenneth Branagh.

“With five years and more than 200 VP projects under our belt, we have designed the stage, in partnership with Samsung to meet the needs of producers and directors. This is designed by filmmakers for filmmakers. The stage will service all projects from features and television to advertising and social content. This is a bold statement about Twickenham’s commitment to the future of the UK film, television and media industry”, adds Quite Brilliant’s Managing Director, Chris Chaundler. 

Rakuten TV and TCL expand FAST channels offering across Europe

Rakuten TV is partnering with TCL with the objective of bringing more than 50 FAST (Free AdSupported Streaming TV) channels across multiple genres, to TCL Channel. The channels will include Rakuten TV’s owned and operated (O&O) channels and selected third-party channels from renewed brands, as the companies have claimed in a statement.

This collaboration looks forward to leveraging Rakuten TV’s ‘Enterprise Services’ technology, transforming for the first time the streaming platform also into a

technical integrator that enables FAST channel distribution for connected TVs (CTVs).

TCL users across Europe will soon have access to free entertainment, ranging from Hollywood and European movies, kids’ content, documentaries, TV series, lifestyle and reality shows.

Rakuten TV will provide a mix of its own channels across the UK, France, Spain, Germany, Italy, and Poland, including Rakuten TV Top Movies, Rakuten TV Drama, Rakuten TV Action, and Rakuten TV Romance, among many others.

The platform will act as a technical integrator within the context of the partnership, by enabling the delivery of content without the need for third-party intervention.

Grass Valley appoints Jon Wilson as its new CEO

Grass Valley has announced the appointment of Jon Wilson as its new Chief Executive Officer (CEO). Wilson, the company’s former President and Chief Operating Officer, has the objective to try to lead Grass Valley into its next phase of growth as part of a strategic plan that has been in place since he was brought into the company in late 2023 by its owner and Executive Chairman, Louis Hernandez Jr., as Grass Valley has claimed in a statement.

In his role as Executive Chairman, Hernandez Jr. will continue his tasks while supporting Jon and the leadership team in achieving

their growth objectives. “This is a transition that was planned from the moment I brought Jon into the business, and marks a pivotal moment in Grass Valley’s evolving growth story”, explains Louis Hernandez Jr. “Jon and I have been working very closely in preparation for this day alongside an incredibly strong leadership team, to whom

I’m thankful for their hard work and dedication that has positioned the business to transition to this exciting next phase. The team continues to have my full support and as Black Dragon Capital intends to remain a 100% owner of the business, I look forward to helping the team achieve their ambitious growth plans”. 

Ateliere appoints David Bortis as its new interim CEO

Ateliere Creative Technologies has announced that Dan Goman has stepped down as CEO and David Bortis, Ateliere’s SVP of Operations, will assume the role of interim CEO effective immediately, as the company has claimed in a statement.

Bortis has been with Ateliere for a decade and its tasks have the objective of scaling the company’s

global business operations. Bortis will work closely with Ateliere’s leadership team to continue executing Ateliere’s strategic vision. Goman, as founder and shareholder, will be available in an advisory capacity to support the transition.

“I take immense pride in the company we’ve built from scratch and the groundbreaking technology Ateliere has delivered”, shares Goman.

“By addressing critical industry challenges, especially sustainability and ROI, Ateliere is paving the way for the future of media technology. With an incredibly talented leadership

team at the helm, I’m confident the company will continue to drive further innovation, growth, and success in the years to come”.

“I’m honored to work alongside Ateliere’s extraordinary leadership team as we shape the company’s next chapter together”, comments Bortis.

“By focusing closely on our customers’ needs, we’re creating a future with meaningful and lasting impact. We will continue to provide the innovative and sustainable M&E solutions that our customers have come to expect”. 

TV 2 Denmark:

How its news department is adapting for the future

We interview Morten Brandstrup, Head of Newstechnology at the Danish public broadcaster, to analyze its new strategy, which revolves around two key concepts: “story-centric” and “online-first”

Text: Daniel Esparza

The era when media outlets were confined exclusively to their traditional sectors—press, television, radio—is long gone, and convergences in this regard have only strengthened in recent years, driven by new technological advancements.

Inspired by this purpose, TV 2’s news department took a Copernican turn in its workflow by adopting a new, story-centric approach. To achieve this, the Danish public broadcaster implemented the Wolftech News tool, which has allowed them to build an integrated system that promotes collaboration between the different teams involved in news production, optimizes resource management, and ultimately adds additional value to the final content received by users through various platforms.

It’s important to note that TV 2 Denmark, beyond being a traditional broadcaster, is also the most visited news website in Denmark. It also has a staff of 650 employees, reflecting its production capacity.

“Given the wide variety of content we produce, it was essential to implement a story-centric tool to ensure better coordination, prioritization, and platformagnostic storytelling across all our different outputs,” says Morten Brandstrup, Head of Newstechnology at TV 2, who spoke to TM BROADCAST a few days after attending Haivision’s webinar on the state of technology adoption in the broadcast industry.

“Integrating a story-centric approach was a necessity. We needed to operate as a cross-media outlet while continuing with podcasts and various other content formats”

With this system now fully integrated into their workflows, we take the opportunity to learn more about the execution keys of this project and its final balance. “We prioritized

giving our online colleagues a successful platform first, then integrating our broadcast colleagues into the same system,” he notes. As for the outcome, Morten Brandstrup is decisive: “It has been a huge success—far greater than we anticipated.”

Additionally, TV 2’s news department has carried out several notable projects in the graphics area, in line

with the aforementioned strategy of prioritizing online, which Brandstrup also shares with us in this interview. “We are gradually adopting HTML-based graphics as our standard,” he reveals.

TV 2’s ongoing transition to an SMPTE 2110 production model, its high expectations regarding 5G networks, and the evolution of the broadcast industry toward a software-based

infrastructure are some other trends mentioned during the conversation.

Below is the full interview.

I’d like to focus on the audiovisual infrastructure at TV 2 Denmark. What have been the recent developments in your news department from a technological perspective?

The latest implementation we’ve made is definitely our story-centric workflow. For that, we chose to go with Wolftech. We have now integrated the Wolftech platform across the entire news operation.

As I’m talking about the news department at TV 2, it’s important to note that TV 2 is a commercial national broadcaster. We are solely

funded by commercial ads and subscriptions, but we are owned by the government. In this sense, we operate as a public service broadcaster, but in a commercial model. The news operation makes up about half of our internal staff. Internally, we produce sports events and news, while other content is acquired from independent production companies. The news department itself covers the prime-time news bulletin on our main channel, and we also run a successful 24-hour news channel, which we launched back in 2006. Additionally, we have a large department

dedicated to documentarystyle productions, creating around 30 to 40 documentaries per year. These have a significant impact on society here.

We also have an output called Echo, which was formulated five years ago as a test to reach younger audiences between 20 and 30 years old, particularly females, who at that time had little connection to TV 2. We rebranded a channel as Echo, using it to target this audience. From a news perspective, we deliver content to them via social media, including TikTok and Instagram. The news department oversees all of this.

We are the leading and largest news website in Denmark, which entails a substantial production effort. Our department has around 650 staff in total, with a few hundred dedicated to the day-to-day newsroom operations.

“We focus more on an online-first process, using less advanced graphics for the news show. While virtual graphics may look impressive, spending one or two days creating a 20-second scene isn’t practical for online content”

TV 2 Newsroom

Considering this, integrating a story-centric approach was a necessity. We needed to operate as a cross-media outlet while continuing with podcasts and various other content formats. Given the wide variety of content we produce, it was essential to implement a story-centric tool to ensure better coordination, prioritization, and platform-agnostic storytelling across all our different outputs.

How innovative would you say this tool is?

We are not the first to adopt this approach, I must admit. In fact, we were somewhat late in fully integrating the tool. It has been a long journey—my first PowerPoint presentation on this topic dates back to 2015, and our first workshop launch was in 2017. We’ve spent several years preparing for this transition.

That said, it has been a huge success—far greater than we anticipated. Moving 600 staff members onto a shared news platform turned out to be less complicated than expected.

I believe our key approach was crucial. Typically, we make decisions as a broadcast operation. However, in this case, we prioritized giving our online colleagues a successful platform first, then integrating our broadcast colleagues into the same system.

“Moving 600 staff members onto a shared news platform turned out to be less complicated than expected”

This approach turned everything upside down. Traditionally, newsroom systems revolve around the running order—the rundown used in broadcasting. But for non-linear output, a different tool is necessary. More than a third of the content we produce never even touches a rundown. So, treating the running order as the primary tool in the newsroom is a mistake; it should be seen as just a publishing tool for linear output.

What’s your current technological landscape regarding the transition from SDI to IP on the production side?

On the live production side, we are in the middle of a project to transition our in-house production platform to 2110. We’ve spent over half a year developing an embedded operation within the Danish Parliament, staffed by more than 20 people. There, we have an NDI island connected to the main broadcast center as part of a 2110 operation. We are gradually transitioning our studios and galleries to the IP world.

In which resolution are you currently broadcasting?

We are currently broadcasting in HD, and we don’t have any plans to go beyond that resolution. The reason is simple: we don’t see a viable business case for improving resolution, as viewers wouldn’t be willing to pay more for higher quality.

Another topic I’d like to discuss is graphics, a key element in news production. How do you approach this area, and what role do immersive technologies or augmented reality play in your productions?

This is an area where we’ve undergone significant transformation. We used to produce graphics using templates, with dedicated graphics staff working on them daily. However, we’ve changed our approach. Our graphic designers now primarily work with Adobe, creating graphics that are suitable for both TV and online platforms, following an online-first strategy.

We need to be able to reuse graphic elements across all platforms. This has significantly increased the value of our digital products, which were previously deprioritized. Now, we have a completely different set of priorities for our main linear broadcast output. As a result, we reuse more two-dimensional graphics for prime-time shows while reducing our use of virtual or immersive graphics.

We focus more on an online-first process, using less advanced graphics for the news show. While virtual graphics may look impressive in the studio for prime-time news, spending one or two days creating a 20-second scene isn’t practical for online content.

About IP:

“On the live production side, we are in the middle of a project to transition our in-house production platform to 2110”

On the other hand, we have recently started using a virtual studio for some of our magazine-style programs, which we produce for both live and on-demand viewing. This format is also used on our news channel. These programs have transitioned from traditional sets to virtual studios, proving to be highly effective and offering greater flexibility in content production.

Additionally, we are gradually adopting HTML-based graphics as our standard. We have been actively working on this, participating in the IBC Accelerator program from the start. Last year, we collaborated with the BBC on a project aimed at standardizing HTML graphics for live production. We have also taken the lead in this work alongside the EBU. Currently, there’s a working group focused on HTML graphics for live production, and we strongly believe in this format due to its flexibility across different outputs. HTML graphics are key to this transition.

I’d also like to hear your thoughts on key technological trends and how you are implementing them in your workflows. First, what is the current state of 5G adoption in the broadcast industry and within your company?

In Denmark, we have a strong 5G infrastructure. It’s a small, flat country, making it relatively easy to establish this type of network commercially.

millimeter waves for certain parts of the production. We leverage this technology for alternative camera angles and additional production elements.

We are actively engaged in international forums like IBC, EBU, PSME, and other 5G groups. The broadcast industry is relatively small, which makes it difficult to present a strong business case to commercial telecom providers for specialized services.

However, what is really interesting is that 5G networks provide low latency and high-quality video streaming for uplinks, which is essential for applications like police body cams, security systems, facial recognition, drones, and other professional use cases. In many of these scenarios, it’s about having a sensor that needs to upload data in real time so that someone can monitor and react accordingly.

This is where 5G becomes a truly valuable technology. As broadcasters and media professionals, we may be a small industry, but we have extensive expertise in transmitting video from point A to point B, which many other sectors could benefit from.

We may not be adopting 5G as quickly as some would expect, but on the other hand, it’s also about building the right business cases. The key here is that, as an

TV 2 5G remote studio

industry, we should engage with other sectors to ensure we get the right services and help them understand that what we do is valuable—and that they, too, can benefit from our expertise.

What about the impact of AI in the industry? Are you implementing it in your workflows?

We use AI mainly for text-related tasks such as speech-to-text transcription. That is the

extent of our AI integration in news operations at the moment. I look forward to seeing AI more integrated into live production. AI could help streamline operations in galleries, especially as we move to IP and network-based workflows. AI assistance in areas like routing, network control, and live production recommendations would be incredibly valuable.

Lastly, what is your level of confidence

About 5G:

“The broadcast industry is relatively small, which makes it difficult to present a strong business case to commercial telecom providers for specialized services”

“We should engage with other sectors to ensure we get the right services and help them understand that what we do is valuable—and that they, too, can benefit from our expertise”

and adoption of cloud technologies compared to on-premise systems?

For me, it doesn’t matter much whether the servers are in the cloud or on-premises. What really matters is that production is software-defined. The physical location—whether in the cloud, on-premises, or in our own VM—is not a big deal for us. What’s more important is transitioning to software-defined production, and that’s what’s truly interesting.

I’m sure it’s a big challenge, but it’s also something we are looking forward to because there is huge potential for better integration and a more user-friendly UI for those producing content. Additionally, the wider adoption of API-driven, data-driven workflows can greatly enhance efficiency.

So, do you believe the broadcast industry is shifting toward a software-based infrastructure?

Yes, I believe this will be the biggest transformation in the industry.

NBCUniversal:

Its vision on the challenges, trends, and future of OTT

Amy Geary, Senior Vice President of Content Distribution, shares her vision of the streaming industry and provides key insights into the company’s strategy—one of the leading media and entertainment conglomerates globally

The rise of streaming has permanently transformed the foundations of the traditional television industry. Since then, broadcasters have been refining their strategies and operational models to adapt to this new landscape. VOD, OTT, FAST, and DTC are just some of the acronyms that reflect the ongoing evolution of this ever-changing market.

“One of the biggest challenges today is content discoverability – it is very difficult for customers to find what they want to watch”

Content distribution via the Internet has been one of the major driving forces behind change in the sector, presenting both challenges and new opportunities for broadcasters in their relationship with audiences. These topics will be at the center of StreamTV Show 2025, which will bring together industry professionals from June 11 to 13 at the Gaylord Rockies Resort (Denver, Colorado). Among the experts on the event’s advisory board is Amy Geary, Senior Vice President of Content Distribution at NBCUniversal, with whom we explore the key challenges, trends, and future of the market.

Monetization, advertising, and data

From a business perspective, the sustainability of OTT services is built on three fundamental pillars: monetization, advertising, and data analytics. On the technological front, artificial intelligence is playing a crucial role in personalizing both content discovery and targeted advertising. In this regard, Amy Geary highlights one of the sector’s main challenges: “The paradox of choice means that we have more content than ever before, but it is not always well-organized or easy to navigate. Platforms are grappling with the need to strike a balance between profitability, growth, and content discoverability.”

Another key challenge is the rise in subscription prices and the growing “consumer fatigue” associated with it, a phenomenon that threatens subscriber retention. The industry must find a balance between profitability and perceived value for users.

Amy Geary, Senior Vice President of Content Distribution at NBCUniversal

Photos by: Peacock

As Geary explains: “There is some price fatigue as streaming services raise prices, though it’s necessary to support the cost of high value content.”

Peacock: NBCUniversal’s bet on streaming

As one of the leading players in the U.S. entertainment and media industry, NBCUniversal has strengthened its streaming strategy through Peacock, its main OTT platform. Peacock combines a subscription-based model (SVOD) with a free, ad-supported content

About FAST services: “It’s a smart way to extend the reach of existing digital inventory and create meaningful opportunities for advertising partners”

offering (FAST, Free AdSupported Streaming TV), allowing it to compete in both market segments.

The company’s goal is to reinforce its presence in both the broadcast and streaming ecosystems, maximizing its reach and diversifying its revenue streams: “While change is a constant in this industry, we are optimistic that high value content with excellent production value appeals to a huge audience,

and we want to reach viewers wherever they are.”

Regarding FAST channels, the NBCUniversal executive emphasizes their strategic advantages: “FAST offers significant opportunities for incremental revenue, particularly through desirable library content. It’s a smart way to extend the reach of existing digital inventory and create meaningful opportunities for advertising partners.”

Peacock TV

Below, we present the full interview with Amy Geary.

First, I’d like to focus on the StreamTV Show. What would you say are the main highlights of this event?

The StreamTV Show is a dynamic, streaming television focused market that brings together industry leaders who prioritize the future of our business. One of the event’s key strengths is its curated content streams with tracks

tailored to hot topics in streaming and focused on relevant themes including monetization, advertising, and data. The panels are a major draw and especially impactful, featuring top programmers, distributors, and technology leaders to discuss the future of the industry. In addition to the informative content, the industry attendance is always incredible – I personally love running into friends and colleagues in the hallways and at social gatherings.

“Bundling and strategic partnerships are key trends that we’ll continue to see evolve”

What are your expectations for this year’s edition? Could you share a projected attendance figure? We’re currently anticipating an attendance of 1,500-2,000 industry professionals and expect interesting conversations on monetization strategies, consumer engagement, and the impact of AI and personalization on content discovery and advertising. This year the event has moved to The Gaylord Rockies Resort to accommodate larger attendance at a newly renovated luxury resort.

Peacock-recommended

Focusing on the streaming sector, how do you view its evolution in recent years, and what role would you say this vertical currently plays within the broadcast industry?

Our goal at NBCU is to maintain the widest distribution possible to reach as many viewers as we can – and we find that both broadcast + streaming strategies are reaching different audiences helping us achieve that goal.

For example, the Paris Olympics offered multiple ways to watch across NBC and Peacock for every type of fan. As a result, we saw record ratings performance. Across 17 days, Prime+Paris Prime coverage drew an average audience of 26.7 million viewers on linear, while NBCUniversal’s streaming of the Olympics, led by Peacock, surpassed all prior Olympics combined by 40% with 20+ billion minutes streamed.

While change is a constant in this industry, we are optimistic that high value

content with excellent production value appeals to a huge audience, and we want to reach viewers wherever they are.

What are the main challenges OTT platforms are currently facing in today’s market?

One of the biggest challenges today is content discoverability – it is very difficult for customers to find what they want to watch. The paradox of choice means that we have more content than ever before, but it is not always well-organized or easy to navigate. Platforms are grappling with the need to strike a balance between profitability, growth, and content discoverability. Rising costs and consumer fatigue are also significant headwinds challenging the industry.

Along these lines, what can you tell us about FAST services? How significant are they today, and how do you see their evolution moving forward?

FAST offers significant opportunities for incremental revenue, particularly through desirable library content. It’s a smart way to extend the reach of existing digital inventory and create meaningful opportunities for advertising partners.

NBCUniversal boasts an unmatched FAST portfolio, featuring a wide range of content across national news, movies, reality TV, true crime, local news, sports talk, and Spanish-language programming. This diverse offering allows us to reach a broad and varied audience.

“Another notable trend is genre or interest-based packaging. We’ve worked with our partners to increase the longevity of the traditional linear ecosystem by prioritizing consumer choice”

Moreover, FAST serves as an excellent testing ground for both content and talent. For instance, Tom Llamas, who will soon anchor NBC Nightly News, previously anchored NBC News Now, our successful FAST channel. NBC News Now has garnered a distinct audience and is known for its straightforward news coverage, which sets it apart in the marketplace. Distributing content through FAST channels has been a great asset, benefiting the brand, talent and monetization strategies.

What other noteworthy trends do you identify in the streaming sector?

Bundling and strategic partnerships are key trends that we’ll continue to see evolve. At NBCU, we’ve seen firsthand the benefits of having strategic partners that drive increased sampling and lifestyle bundles that attract subscribers who might not otherwise sign up for our service.

Another notable trend is genre or interest-based packaging. We’ve worked

with our partners to increase the longevity of the traditional linear ecosystem by prioritizing consumer choice with these smaller, more flexible packages.

“I think strong content will always be in demand, and I believe most customers are indifferent to where they receive the content as long as it’s easy and accessible”

Olympics Hub on Peacock

Overall, how do you envision the future of streaming?

I think strong content will always be in demand, and I believe most customers are indifferent to where they receive the content as long as it’s easy and accessible. That could mean there is some price fatigue as streaming services raise prices, though it’s necessary to support the cost of high value content. I think product innovation will continue to be important, like Peacock’s Olympics Gold Zone. At NBCU we are most focused on doing what we do best – offering premium content and focusing on big live experiences.

Peacock TV

“We’re currently evaluating the possibility of embedding live content into the FAST channel. We already offer live streams on Barça One and are considering extending this to Top Barça”

Grau, Deputy Director of Barça Productions, explains to TM BROADCAST, the differentiating factors are user convenience and maximizing reach.

“What’s interesting about FAST is that it tackles the decision fatigue that’s increasingly affecting viewers,” he explains. “It used to take 10 minutes to choose a program—now it’s 20. We take longer and longer to decide, and often end up watching whatever’s familiar. FAST cuts through that. You just tune in and start watching.”

In this interview, Albert Grau shares the strategic insights behind the launch of Top

Barça, its technological underpinnings, and plans for future development.

What led you to launch the FAST platform Top

Barça?

We realized it was a different way to do television, to consume content, and to reach our audience—and we found that very appealing. We’ve been committed to OTT services for several years now, and at the same time, we’ve been exploring the opportunities that the FAST model opens up.

It’s worth mentioning that our current OTT platform doesn’t yet reach 100% of our potential audience—it’s

not global. For now, it’s limited to certain countries, though our goal is to expand. That’s where another key reason for launching Top Barça comes in: we now have the opportunity to use this FAST platform to reach countries that our OTT hasn’t yet covered.

Our aim is to reach fans, members, supporters— anyone connected to Barça, no matter where they are in the world. Barça is, after all, a global brand, and we need to be everywhere. So, that’s essentially the reason: to reach a larger audience, to approach television in a new way, and of course, to generate economic return.

to access the content. So in our case, being free isn’t what sets it apart. The key factors here are convenience and reach.

I’d also like to emphasize that the OTT platform and the FAST channel are not mutually exclusive. There are regions where we offer both, and we’re not limiting the FAST channel to areas where we don’t yet have the OTT. Both models coexist and complement each other. Right now, FAST is reaching places the OTT doesn’t yet cover, but in the future, our goal is to be present everywhere with both formats.

What’s interesting about FAST is how it addresses the growing issue of decision fatigue among users. It used to take 10 minutes on average to choose a show— now it takes 20. We’re taking longer and longer to decide, and often we just end up watching something familiar, thinking: “I’d rather stick with what I know, because I know it works.” FAST cuts through that. You tune in and just keep watching—it removes that dilemma entirely.

Is your business model based on distributing the channel across multiple platforms, like you’ve done with Rakuten, to reach the widest possible audience?

When we talk about the business model, for FAST to make sense, it has to be scalable. This model relies heavily on the number of users and the reach it can achieve. Partnering with platforms is the natural path to achieve that scale.

The model is based on programmatic advertising revenue—essentially, we sell the ads that run on the channel. As you mentioned, the goal is to reach as many members, fans, and supporters of Barça as possible, wherever they are. One of the strategic objectives of the FAST model is precisely to reach audiences that Barça One isn’t currently covering. Our strategy is to monetize that ad inventory through programmatic. We usually manage this internally— we’re the ones doing the selling.

“We now have the opportunity to expand with this FAST platform and reach countries we haven’t accessed through the OTT”

From this perspective, what are the advantages of a FAST model over a traditional OTT service?

The most obvious difference is usually that one is free and the other paid—but that doesn’t apply in our case. What I can say is that with FAST, programmatic advertising can be managed more directly through an ad server. On the OTT side, we have greater control over the advertising inventory and how users interact with the platform. That allows us to better understand user behavior and develop strategies to improve their experience. It means we can go beyond just programmatic—we can also negotiate global brand partnerships and place them strategically within the platform.

And how do you approach advertising from a technical standpoint?

Well, we have our sponsors, and our goal is to give them first access to this space so they know their brand can have an impact here, depending on what they’re looking for and which market they want to reach. Whatever ad space they don’t use, we sell programmatically through an ad server.

Have you implemented any AI developments, such as for subtitling?

Yes, we’ve experimented with AI for subtitling. But to be honest, we’re still struggling to get the level of quality we want—we aim for accuracy without major errors. In day-to-day operations, we still end up reviewing everything manually, which makes it hard to justify the time and cost savings. We do plan to use it more in the future, though. And compared to when we launched the OTT, the tools we’re testing

now have improved. The AI itself needs time to learn, and we’ll gradually integrate it into both subtitling and programming.

Subtitling is especially interesting because our content includes a wide range of accents, beyond just different languages. And AI tools aren’t yet that precise in recognizing those accents. For example, Latin American Spanish isn’t interpreted the same as Spanish from Spain, and the same goes for English. Plus, one of our documentaries might feature people speaking Catalan, English, Spanish—each with their own accent. That’s one of the big challenges in using AI tools for subtitling. In panel discussions or match commentary, you also have overlapping voices, which adds another layer of complexity. We use these tools, but there always needs to be a person checking that the output is correct.

How do you address cybersecurity? What strategy do you follow?

Security is directly overseen and managed by the club’s cybersecurity team—this includes everything related to the OTT, payment systems, piracy, and more.

“The OTT and FAST platforms are not mutually exclusive. Both models coexist and complement each other”

Have you implemented any noteworthy technological innovations?

We’re working with Amagi to develop the channel. They’ve positioned themselves at the forefront of all the new technologies tied to the FAST model. What they do is make each of these technologies available to us, and we evaluate and decide whether to implement them. We receive updates about everything that’s happening in the space via email and stay right on the cutting edge. But as I mentioned, we’ve only been doing this for five months, so we’re still taking the first steps.

Can you share anything about future plans? Are there any improvements to the platform in the works?

As I said, our main goal is to keep expanding and reach more regions. We’re also looking into the possibility of adding live content to the FAST channel. What we’re noticing is that free content is much more appealing when it’s live—it draws significantly more attention. We already offer live broadcasts on Barça One, and now we’re considering bringing them to Top Barça as well, because we believe that would greatly increase content reach.

That’s probably the main innovation we have in

mind. Beyond that, we’ll keep adapting the platform based on its performance— for instance, localizing specific content for specific audiences. So any changes we make will depend on what local FAST channels demand. Right now, we’re still in the process of analyzing those results and adjusting accordingly.

There are countless ways to innovate—the key is to understand how the audience responds to the channel and what kind of revenue it generates. For example, globally there are tools being implemented that allow viewers to buy a product just by clicking on an ad. But of course, these features require a development investment, and we need to have

the financial backing to implement them.

Is

there anything you’d like to add to wrap up?

Just to highlight the experience we’ve built over the years through launching a TV channel and an OTT platform. While the FAST space is new to us, we’re learning what the user finds most valuable. Above all, we want to offer quality, engaging content.

Ultimately, our goal is to ensure that every member, fan, or follower of Barça—or of sports in general— anywhere in the world has access to an exclusive, official channel from the club. And the FAST model helps us get there.

TradeShowSpecial

Trade shows play a central role in this industry, and the months of April and May are particularly intense in this regard. The crown jewel, without a doubt, is the NAB Show—an event that brings together the global industry under one roof and serves as the perfect occasion for companies to launch new products, announce appointments, or showcase their most cutting-edge projects.

post-NAB pre-MPTS pre-CABSAT

By Daniel Esparza and Bárbara Ausín

Still recovering from the buzz of the last edition, held April 6–9 in Las Vegas, we take a look in this issue at the most relevant figures and trends from the show. Helping us in this task is Karen Chupka, EVP of Global Connections and Events at NAB. However, we cannot ignore the current geopolitical context, shaped by the new tariff policies of the Trump Administration in the United States, which point to a less globalized world increasingly divided into regional blocks. In this scenario, regional events could gain importance in the future at the expense of more global forums.

For this reason, we also want to turn our attention to two upcoming trade shows of a more local scope taking place this May. On one hand, the Media Production & Technology Show (MPTS)—the UK’s leading event for the media and entertainment industry—will gather the sector on May 14–15 at Olympia Grand Hall in London. On the other, CABSAT will bring together top professionals from the MEASA region (Middle East, Africa, and South Asia) from May 13–15 at the Dubai World Trade Center. In both cases, we highlight key insights with the help of the events’ leading organizers.

NAB Show 2025:

Striving to encompass the entire media industry amid global uncertainty

This edition wrapped up with 55,000 visitors from 160 countries. Despite a drop in attendance, the show continues to unite every corner of the industry and uphold its influence across the secto r

After five days of sharing industry insights and unveiling tools and technologies for the media and entertainment sector, the 2025 NAB Show has concluded, maintaining its position as one of the leading destinations for professionals in the evolving landscape of content creation, broadcasting, and technology.

This edition wrapped up with 55,000 attendees from 160 countries. Although 53% of participants were first-time registrants, the event has seen a decline in professional attendance for the third consecutive year. After recovering in 2023 from the pandemic-era editions and reaching 65,000 attendees, the number dropped to

61,000 in 2024. This year, the show also lost around 200 exhibitors: 1,050 companies showcased their technological solutions, compared to around 1,300 in 2024.

Although 53% of participants were first-time registrants, the event has seen a decline in professional attendance for the third consecutive year

Karen

Chupka,

EVP of Global Connections and Events at NAB,

acknowledges that the decline could be attributed to global uncertainty,

as she explained to TM BROADCAST a few days before the show opened (New U.S. tariffs had been implemented just prior to the event): “Our international registration is in line with what we’ve seen in previous years and delegations are still coming. We have seen a slight drop in the number of international exhibitors, mostly due to uncertainty about the global climate. But we still have over 1,050 companies exhibiting this year, including more than 400 international ones.”

Despite the decline, there’s no doubt that the show continues to bring together every part of the industry and maintain its influence across the sector. This year, it welcomed 44 international

delegations, up from 35 last year. Karen Chupka elaborates on how NAB differentiates itself from other global media industry events: “First, we’re global — around 26 to 27% of our attendees come from outside the United States. Second, we cover the entire spectrum of storytelling. Whether it’s through social media, television, or cinema, you’ll find the tools and technologies you need at NAB Show. That’s really what sets us apart from other shows.”

NAB 2025 aimed to define the future of the evolving media and entertainment landscape. To shape this edition around its objectives and the constantly emerging technological trends, the show focused on five key themes: “AI technologies, streaming technologies and OTT, cloud virtualization, the impact of the creator economy, and the influx of new people into the industry. And then, of course, the business of sports — how sports are really driving a lot of growth in content development and viewership,” Chupka adds.

To address the interests of attendees and tackle these topics, the exhibition featured several dedicated zones. Two were focused on conferences, which hosted more than 550 sessions and over 1,000 speakers.

Chupka provides further detail on the new additions: “We launched two new tracks this year for NAB Show. One focuses on the business of entertainment — exploring new companies and individuals entering the market, making deals, and finding innovative ways to create content. The second is centered around sports, exploring opportunities for content creation, business development, and trends in sports viewership.”

On the exhibit floor, highlights included a Sports Hub showcasing technologies related to sports — “from production and distribution to fan engagement tools that enhance the viewer experience”; the expansion of PropelME, which hosted 22 startups this year, “about 80% of them focused on AI technologies”; and the

Premier Park, featuring first-time exhibitors — “completely new companies that have never been at NAB Show before,” Chupka notes. To further enhance the attendee experience, the show floor also incorporated immersive technologies, such as an F1 simulator presented by AWS.

The focus on these specific areas reflects current industry dynamics. “They also allow us to welcome new audiences to the show, which is very important. In fact, about 50% of our current registrations are from first-time attendees — people who have never been to the show before. So having areas where these newcomers can explore technologies and experience trends in action was really key for us.”

“We have seen a slight drop in the number of international exhibitors, mostly due to uncertainty about the global climate”

In the same vein, Chupka identified the main trends shaping the sector and the importance of tailoring the show’s themes accordingly: “There are obviously many different services people are using to view content, and we’re seeing consumers watching in a variety of ways. Sometimes they’re streaming on mobile devices, other times on larger screens. It’s not just about how the technology is evolving, but also about how it creates opportunities for companies to offer more content and provide more personalized viewing experiences.” To explore the technical side of streaming in more depth, this edition included a three-day Streaming Summit.

Another major topic at NAB Show was the shift to cloud-based technology and virtual production, with many companies showcasing how businesses are transitioning to software-based infrastructures. “People want to learn more about these areas and the

opportunities they offer. Cloud solutions also help control production costs. You don’t necessarily have to travel to 10 different locations to shoot your content anymore.”

The Future of NAB Show

With the five-day event concluded and its novelties presented through conferences and exhibitors, NAB Show is already looking ahead to its future evolution, aiming to remain a key platform for industries to share their stories in more sophisticated ways. “I think it’s clear that everyone is using media to tell their stories now. Whether you’re in fashion, banking, finance, or even healthcare, you’re likely producing some kind of high-quality video content to help build your brand. That’s how NAB Show is evolving — by providing the tools and technologies that support this kind of production.”

Chupka also points out that this gradual shift extends beyond the traditional

broadcast industry — and it's not a new phenomenon. Just as trade shows like ISE, traditionally focused on the integration market, are now looking to grow into the broadcast space, events like NAB are also broadening their scope — pointing towards a thematic convergence across the industry.

“Whether

you’re in fashion, banking, finance, or even healthcare,

you’re

likely producing some kind of high-quality video content to help build your brand. That’s how NAB Show is evolving — by providing the tools and technologies that support this kind of production”

“We’re seeing more content creators coming to the show because they want to grow their business and expand their impact.” Reflecting this shift,

MPTS takes over the Grand Hall at Olympia London

The UK’s largest event expands its presence with a new level of exhibition in the iconic venue and unveils a range of new features

With the unceasing emerging novelties in the media production and broadcast industry, the MPTS returns to Olympia London on 14-15 May with an expanded line-up of content, networking opportunities and exhibitors unveiled for 2025. Once again, this edition will be showcasing the possibility to push the boundaries of what's possible when creativity and innovation come together, consolidating as the UK's premier event for the media and entertainment industry.

In 2024, MPTS brought more than 300 exhibitors and 12,000 attendees from 52 countries. This year, the expectations are similar. Thanks to its rapid growth since the show first launched in 2016, the two-day show continues to bring new features, topics and speakers under one roof. However, for the first time, this edition will take place over two levels within the Grand Hall, where visitors will be able to utilise the show floor more for networking opportunities, “work from anywhere” zones and a new café. This expansion to the gallery level along with the unveiling of the new logo and branding mark the beginning of the event’s new era.

“The event continues to grow and evolve every year, with a 40% increase in attendees in two years and new theatres/content being introduced”

push boundaries, with the launch of the AI Media Zone, an additional café and networking area, the Blackmagic Design Seminar Theatre, the Rise Academy Careers Fair PLUS brand new AI Training in partnership with FMC Training.

The AI Media Zone will be a hub for exploring the transformative power of artificial intelligence in media and production. Featuring interactive demonstrations and expert-led discussions, this space will highlight AI-driven workflows, automation, and the future of content creation.

“MPTS and FMC will offer a comprehensive training program that explores the practical applications of AI while addressing the ethical considerations surrounding its use in content creation”

Meanwhile, the Blackmagic Design Seminar Theatre will host live demonstrations and technical sessions. Run by Blackmagic Design, the theatre will cover recent developments in cameras,

post-production, and live broadcasting. Topics will include large-format cinematography with URSA Cine and Blackmagic Cloud for editorial workflows. Additionally, the Rise Academy Careers Fair will provide a crucial platform for aspiring media professionals. Designed to support the next generation of talent, the fair will connect students, graduates, and career changers with leading employers, offering invaluable networking opportunities, CV workshops, and career advice.

And lastly, we are delighted to bring the UK post-production community a chance to delve into enhanced training workshops on how AI is transforming postproduction workflows, from automating tedious editing tasks to enhancing visual storytelling with advanced motion graphics and VFX. Through this partnership, MPTS and FMC will offer a comprehensive training program that explores the practical applications of AI while addressing the ethical considerations surrounding its use in content creation.

“The key to MPTS’ success is a deep understanding of the issues and challenges impacting the industry and those working in it”

MPTS 2025’s expanded gallery level is a testament to the show’s commitment to innovation, education, and industry growth. With these exciting new additions, the event promises to be an unmissable experience for professionals looking to stay ahead in the evolving media landscape.

What do you anticipate will be the key highlights of this year’s show, and what are you personally most looking forward to at MPTS 2025?

As the Event Director one of my personal dreams since the show began was for it to take place in the iconic Grand Hall at Olympia and to watch the show grow within the space every year. The show has grown rapidly since it first took place in the Grand Hall in 2023 and I am thrilled we are already in a

position to take over part of the Gallery Level as well as the Ground Floor. I am excited for all the features that will take place on the Gallery Level and to welcome our wonderful and supportive exhibitors and sponsors, new and returning, to the show. In terms of content there are too many highlights to mention but our behind the scenes Strictly Come Dancing and Eastenders Keynotes will be unmissable and be a great

way to open each day of the show. As a big Ross Kemp fan I am also delighted to welcome him to the stage to explore his transition from actor to award-winning documentary maker. I anticipate all the AI sessions will be packed again this year as the industry is keen to learn more about this rapidly evolving technology and am delighted we are able to offer an insightful and free programme of content around it.

How do you see MPTS continuing to evolve in the future?

The show will continue to evolve and innovate as rapidly as the industry it serves does. It’s hard to say now what the 2026 edition will look like as we develop new features and ideas based on our conversations with the industry to ensure the event stays relevant to its changing needs. What we can say is that, with the

2026 edition being the 10-year anniversary of MPTS, there will be lots to celebrate!

“Our behind the scenes Strictly Come Dancing and Eastenders Keynotes will be unmissable and be a great way to open each day of the show”

CABSAT 2025:

Tracking the momentum of MENA’s media boom

The event takes place from 13 to 15 May 2025 at the Dubai World Trade Centre, aiming to leverage the latest technology and innovation to shape next-gen content. Attendee numbers have surged by 40% since 2020

Rajendra Salgaonkar, Head of Sales at the Dubai World Trade Centre, tells TM Broadcast:

“The 31st edition is set to be our most transformative yet, aligning with our core themes: Creative. Connected. Conscious. We anticipate over 450 exhibitors and more than 18,000 attendees, reinforcing CABSAT’s role as the MENA region’s premier platform. This year, we’re amplifying immersive experiences like interactive hologram showcases, while our Content Congress and CABSAT Conference will dive deep into AI-driven content creation, sustainable media practices, and the USD 500M seasonal drama boom. With 85+ hours of expert-led sessions and curated matchmaking, we’re not just facilitating connections—we’re driving the industry forward.”

To delve further into the 2025 innovations, Salgaonkar adds: “We’re introducing AI-powered matchmaking to connect buyers with exhibitors, including OTT platforms

and satellite providers. Our CABSAT TV livestream will feature real-time polling, allowing attendees to shape sessions as they happen. For tech disruptors, the Startup Pitch competition— held on Day 3 on the Content Congress stage in partnership with TECOM—will spotlight MENA-based innovators, from AI dubbing tools to holographic telepresence, connecting them with investors and proving that CABSAT is where futureready solutions debut.”

“This year, we’re amplifying immersive experiences like interactive hologram showcases, while our Content Congress and CABSAT Conference will dive deep into AI-driven content creation, sustainable media practices, and the USD 500M seasonal drama boom”

The 2025 edition aspires to become a game-changer for the industry, paving the way for new business avenues and innovations shaping the future of content creation, distribution, and consumption worldwide. “From niche to global, CABSAT has mirrored the explosive growth of the media and entertainment sector,” Salgaonkar explains. “Today, it spans expanded zones—including dedicated areas for esports, Arabic content, and virtual production—reflecting the industry’s diversification.

Attendee numbers have surged 40% since 2020, with exhibitors leveraging Dubai’s strategic position to access MENA’s $20B+ media market. The event now integrates AI, AR/VR, and sustainable tech, proving its agility in anticipating streaming and OTT trends—like our new Bullet Time activation, merging gaming tech with broadcast.”

To reflect the technological revolution sweeping the region, CABSAT 2025 will focus on key themes

such as: Global Content Convergence, AI and Media Innovation, The Future of Arabic Content, the Creator Economy and Influencer Marketing, Immersive Experiences through AR/VR and the Metaverse, and Sustainability in Media Production.

To tackle these topics, Salgaonkar highlights three key zones: “The Co-Production Salon—a dedicated meeting space for investing in Arabic content and attracting foreign TV/film projects

in the MEASA region; the Content Congress, where passionate experts explore the forces reshaping the industry and offer insights into the future of streaming and OTT services; and CABSAT Podcast/TV— broadcasting live from the show with in-depth interviews and discussions with industry leaders and changemakers. These align with our pillars: Connectivity (fostering global partnerships), Creativity (showcasing innovation), and Consciousness (driving expert dialogue).”

› A guided tour of Dubai Studio City’s production and post-production facilities, the largest in the MENA region, including boutique studios, a five-metre-deep water tank, green screens, and elephant doors

› The ‘Broadcast Me’ Awards, held on 14 May, celebrating manufacturers, network operators, and resellers for innovative solutions delivering a competitive edge

The full program offers actionable insights for content creators, investors, and tech providers through discussions, panels, chats, and masterclasses.

Salgaonkar spotlights five standout conferences:

› Market Outlook: The Future of Media & Entertainment in MEASA

› News Reimagined: Merging TV’s Authority with Social Media’s Velocity

› Cinema Business Trends: Why MENA’s Box Office Grew 27% YoY—And How to Invest

› Post-Production Masterclass: Featuring Oscar-Winning VFX Studios Working in the UAE

› Safety in Production: A Data-Driven Look at Regional Filming Regulations

In his final thoughts, Rajendra Salgaonkar concludes: “CABSAT 2025

isn’t just an event—it’s a launchpad for what’s next. With 79% of attendees closing deals in 2024, we’re doubling down on ROI-driven initiatives like the Co-Production Salon for Arabic content deals. Join us to connect, innovate, and transform your business in the world’s fastest-growing media market.”

“With 79% of attendees closing deals in 2024, we’re doubling down on ROI-driven initiatives like the Co-Production Salon for Arabic content deals”

ROE: DrivingLEDinnovation inafast-changingindustry

We speak with Olaf Sperwer, responsible for Business Development in Virtual Production at ROE Visual, to explore his market vision, the company’s strategic goals, and the latest innovations in this technology.

LED displays have become a cornerstone of the audiovisual industry. A quick walk through the latest edition of the ISE trade show was enough to grasp the leading role these solutions now play across every vertical of the market—including the broadcast sector, which is rapidly adopting this technology.

“LED screens are increasingly used in newsrooms, talk shows, and sports studios for dynamic backdrops, branded storytelling, and live data visualization. The broadcast becomes reliant on more immersive storytelling, incorporating aspects like real-time data visualisation to remain attractive for a younger

audience,” Olaf Sperwer, responsible for Business Development in Virtual Production at ROE Visual, tells TM BROADCAST. This manufacturer has positioned itself at the forefront of the development and implementation of this technology.

Among the various applications for LED, virtual production deserves special mention. This area is currently experiencing a golden age, with LED displays playing a critical role. In this interview, Olaf Sperwer shares insights into the specific challenges of these installations, as well as his market outlook and ROE’s strategic priorities for the year ahead.

“LED display technology has rapidly improved, with higher pixel density, enhanced contrast ratios, and better color reproduction becoming key factors”

Company evolution & objectives

How has ROE evolved in recent years, and what are its main recent milestones as a company?

ROE Visual has continued to push the boundaries of LED technology, solidifying its position as a market leader in the AV, broadcast, and live events industries. Our evolution has been marked by the development of advanced LED display solutions tailored to the needs of high-end productions.

Key milestones include introducing new LED-based technologies, such as Full Spectrum LED panels, MIP technology, and a range of products tailored to our markets.

We have moved our production to a new factory – updating and enhancing our production- and test lines.

We have also strengthened our global footprint by enhancing our service and support network, ensuring our clients receive the highest expertise and reliability. Adding strongholds in Japan, Dubai, Australia, and the UK to our global offices.

What are your main objectives for this year?

Our main objectives this year focus on innovation, expansion, and sustainability. We aim to introduce new LED solutions that cater to the evolving needs of broadcast, live events,

and fixed installations. Advancing Micro LED (Micro LED in Package) technology remains a priority to offer higher contrast, superior color accuracy, and increased efficiency. Additionally, we are committed to expanding our reach in emerging markets, strengthening relationships with industry partners, and ensuring our production and supply chains remain resilient and sustainable.

Technical

advancements & differentiation

LED screens have become essential in the AV and Broadcast industries and have seen significant improvements in

BBC

recent years. What key technical advancements have you incorporated into your LED solutions in this regard?

ROE Visual continuously integrates the latest advancements in LED technology to meet the increasing demands of the AV and broadcast industries. We have incorporated:

› True Micro LED (MIP) Technology for improved contrast, durability, and efficiency.

› High refresh rate and low latency for seamless camera performance in broadcast and virtual production.

› Advanced HDR capabilities, ensuring superior color accuracy and depth.

› High-performance LED driver ICs, reducing scan lines and improving image quality.

› Improved mechanical design, ensuring quick setup, durability, and modular scalability for different production environments. Resulting in a flawless LED canvas without visible seams.

Overall, what do you think differentiates ROE from other manufacturers?

ROE Visual stands out due to its uncompromising commitment to quality, innovation, and customer support. Our LED solutions are built to meet the rigorous demands of high-profile productions, ensuring reliability in

the most challenging environments. Hereby we focus on:

› Precision engineering; offering industry-leading color uniformity, a wide color gamut, contrast, and reliability.

› Using best-of-class parts for our LED panels translates back into an LED panel with the extra headroom to operate stable and durable – also under rugged circumstances.

› Strong partnerships with top industry players, making ROE Visual the go-to choice for major film studios, broadcasters, and live event companies. Building an eco-sysmtem of suppliers that work together and can ensure the customer of flawless integration.

› Comprehensive support and service, with a global presence to assist clients wherever they operate.

“We have moved our production to a new factory –updating and enhancing our production- and test lines”

transformation, providing optimized LED solutions that enhance the realism and efficiency of virtual production workflows.

What type of clients typically require your solutions for setting up virtual production studios?

Our clients in virtual production range from major film studios and television networks to independent production houses and rental companies specializing in LED-based studio environments. Companies involved in VFX-heavy productions, advertising agencies, and corporate content creators rely on our LED solutions for their virtual production needs.

What specific challenges do these virtual production installations pose from your perspective?

Virtual production installations require precise color calibration, minimal latency, and seamless synchronization with camera systems in order to achieve photorealistic results. Challenges include:

› Managing reflections and unwanted light artifacts, which can affect realism.

› Ensuring accurate color reproduction, especially when shooting with high-end cinema cameras.

› Optimizing LED processing to reduce scan lines and moiré effects.

› Integrating LED panels with real-time rendering engines, such as Unreal Engine, for smooth virtual backgrounds.

› Using AI generated content in 2-2,5D realistic plates

ROE Visual addresses these challenges with high-quality LED panels, dedicated processing solutions, and expert support, ensuring virtual productions achieve the best possible results.

Would you like to add anything else?

ROE Visual remains committed to pushing the boundaries of LED technology for broadcast, live events, and virtual production. As industry demands evolve, we continue to innovate, collaborate, and refine our products to meet the highest standards. Whether it’s through innovative LED solutions, improved processing capabilities, or dedicated support, we strive to empower creators with the best tools available.

We look forward to continuing to shape the future of LED display technology and supporting professionals in achieving their creative vision.

GRAN CANARIA STUDIOS VIRTUAL PRODUCTION STAGE

Roberto Jimeno Jiménez, Operations and Technical Media Manager at TBS

Jaime Herbada, Owner and COO at MoMe Nacho Cañas, Head of Production Operations at DAZN

Xavi Vázquez, Head of Audiovisuals at acb (Spanish Basketball League)

Marc Montañes, Manager of the Master Control Room in Barcelona at Dorna

Laura Martín, Broadcast Operations Manager at Warner Bros. / Discovery / Eurosport

Hugo Izard, Partner at Deloitte

Javier González, Regional Sales Director at Net Insight.

Daniel Esparza, Editor-in-Chief at TM BROADCAST

This working breakfast was sponsored by TBS (Telefónica Broadcast Services) and MoMe, and featured the following speakers: Roberto Jimeno Jiménez, Operations and Technical Media Manager at TBS; Jaime Herbada, Owner and COO at MoMe; Nacho Cañas, Head of Production Operations at DAZN; Xavi Vázquez, Head of Audiovisuals at acb (Spanish Basketball League); Marc Montañés, Manager of the Master Control Room in Barcelona at Dorna; Laura Martín, Broadcast Operations Manager at Warner Bros. / Discovery / Eurosport; Hugo Izard, Partner at Deloitte; and Javier González, Regional Sales Director at Net Insight.

The event was moderated by Daniel Esparza, Editor-in-Chief at TM BROADCAST, and coordinated by Luis Sanz, audiovisual consultant and regular contributor to the magazine. Javier de Martín, President of Daró Media Group, the publisher of the magazine, delivered the opening remarks.

Throughout the two-hour debate, each speaker shared their perspectives and insights on a wide range of current topics and trends in the sector: remote production, artificial intelligence, cloud, cybersecurity, production hubs, graphics, virtual studios...

The first part of the discussion focused on the possibility, with today’s technological tools, of achieving greater cost efficiency without compromising production quality or reliability. According to the participants, there are various paths to reach this goal, but one stood out in particular: remote production.

Roberto Jimeno Jiménez (TBS) clarified that remote, cloud-based, and low-cost production are not the same thing. He stated: “There’s no direct link between remote production and cost efficiency when it comes to a single broadcast. That efficiency is only achieved in models like acb’s, which is based

on a single production hub that allows for resource consolidation.”

There was a broad consensus that the right remote production model depends on the scale of the product. In this regard, remote production also opens new opportunities to broadcast smaller or second-tier events that would otherwise be unfeasible.

Another key trend discussed was artificial intelligence. Here, all the panelists agreed that highlight generation and recap creation are real-world use cases for

AI in sports production, while emphasizing that human oversight remains essential—these tools “don’t work magic.” In contrast, when it comes to subtitling and especially simultaneous translation, the participants noted that current tools are still not entirely accurate.

Cloud technology is another advancement that has enabled the industry to improve efficiency. On this topic, panelists were asked for their views on the transition of the broadcast industry—from its traditionally hardwarebased foundation—

to software-based infrastructures. “The trend is clear: everyone is moving toward software. Traditional hardware is no longer at the center,” said Marc Montañés (Dorna).

Jaime Herbada (MoMe) added that the key lies in finding a balanced approach: “Not everything can be done with software yet. We have to be sensible. We can’t move everything to software if hardware still gives us better efficiency or reliability. It’s about knowing when each one makes sense. You can combine models: use a local OB for part of

the production and do another part remotely or in the cloud. These are completely complementary solutions.”

Javier González (Net Insight) explained: “In our case, we’re working in two directions. On the one hand, we have our own hardware, which can run different software. On the other hand, we’re also developing 100% software-based solutions, with the aim of gradually transitioning toward 2110, TR-07, TR-08-based scenarios and more economically efficient models.”

of innovations in camera deployment or sound capture in their productions. On this topic, Xavi Vázquez (acb) commented: “There’s a fine line between adding value and going overboard. The key is to use these technologies sparingly, at the right moment. It’s not about adding innovation for innovation’s sake. It has to serve the narrative, the emotion, the moment. Otherwise, it loses meaning. Overuse can lead to rejection.”

Note: This article is an excerpt from a more extensive report that will be published in the upcoming issue of the Spanish edition of TM BROADCAST.