TV Tech 516 - Dec 2025

M U R KY ROA DM A P FOR 3.0? • CLOU D SECU RIT Y • 2026 A D OU T LOOK G N TI 8 IC p.

ED 26 PR 20

www.tvtech.com | December 2025

equipment guide editing & graphics/ media asset management

2025 IN REVIEW

A Challenging Year for TV Streaming and live dominate while AI expands its influence

contents

December 2025 volume 43, issue 12

10

12

10

Broadcasters Mark Momentous Year of Challenges Amid Viewing Fragmentation Easing ownership rules, NextGen TV’s impact and AI’s impact highlight busy period

By Gary Arlen

12

17

Increasingly Software-Centric Switchers Occupy Hybrid Space Moving to IP is just the first step

By Phil Rhodes

How to Fortify Your Cloud Security Plan

equipment guide

Stay protected with a unified approach to visibility, resilience and real-time response

By Karl Paulsen

19

2026 Local TV Ad Forecasts Offer Growth and Uncertainties Political spending will spike next year, but stations will struggle to reverse a longstanding shift away from local TV

By George Winslow

15

19

FCC Plots a Murky Roadmap For the NextGen TV Transition

Proposed rules would give broadcasters flexibility, but a lack of direction for devices, rights management and MVPDs risks slowing adoption

By Doug Lung

21

Content Provenance: Audience Trust Is at Stake

Rise of GenAI and deepfakes exposes broadcasters to credibility issues, regulatory risks

By John Footen

user reports editing & graphics/ media asset management

6

in the news

23

eye on tech

26 Credit: Kent Nishimura/Bloomberg via Getty Images; Mada_cris/Getty Images; MGM Television

15

• Avid • Florical • Grass Valley • Blackmagic Design • Telestream • Imagine Communications

34

people

26 @tvtech.bsky.social | www.tvtech.com | December 2025

3

Vol. 43 No. 12 | December 2025 FOLLOW US

www.tvtech.com

Credit: Pakhnyushchyy/Getty Images

x.com/tvtechnology

Uncertainties and Certainties in the 2026 Local TV Business After spending the last month talking to analysts about the 2026 ad market, I was struck by the economic wild cards that could upend their generally rosy projections. Who knows what will happen with tariffs? Interest rates? Inflation? Consumer confidence? The economy?

Worst of all, it’s not just a question of economic uncertainty. As one analyst put it, companies face the certainty that bad economic policies will have consequences.

The same might be said for the investments, particularly in technology, that station groups need to make to put their businesses on a more sustainable path. In the recent Q3 2025 earnings calls, much of the talk revolved around a big bump in political advertising in 2026 and the opportunities that deregulation will open for industry-wide consolidation.

Both will help. Consolidation will obviously help station groups reduce costs, strengthen their ad sales and increase their clout in retransmissionconsent negotiations. But dealmaking and deregulation aren’t going to reverse the decades-long shift of ad dollars and consumer spending towards digital and streaming.

Let’s make the unlikely assumption that the entire broadcast industry is consolidated into one big station group that gobbles up all the local TV ad revenue, about $14.5 billion in 2025, according to BIA Advisory Services. That would amount to only 1.1%, barely a rounding error, of the $1,313 billion of revenue Meta, Alphabet and Amazon will see in 2025, according to Marketscanner and S&P Global Market Intelligence.

Consolidation, in short, isn’t going to give broadcasters the kind of market clout they need to compete with Big Tech. Nor does it change their reliance on stagnant or declining business models.

S&P Market Intelligence projects that local TV advertising will grow only about 1.5% a year between 2025 and 2030, and the prospects for retransmission revenue from the rapidly imploding pay TV industry aren’t much better.

To reverse these trends, broadcasters have been investing in technologies and programming that will strengthen and change their current business models. In Q3 earnings calls, several CEOs noted that investments in streaming, local sports rights, original programming and efforts to offer advertisers cross-platform buys produced better-than-expected core advertising results.

Broadcasters have also widely rolled out NextGen TV/ATSC 3.0, which will open up a host of new business opportunities, and the Federal Communications Commission is moving to make it easier for stations to make the transition to the new broadcast standard. But regulators seem unwilling to mandate 3.0 tuners or provide a firm transition date, which means that broadcasters will need to make some hefty investments to drive consumer adoption and reap the benefits of NextGen TV. That raises what may be the biggest uncertainty for broadcasters’ future. Will they spend their money on dealmaking, racking up big debts that could make it hard to invest in new technologies and business models? That approach had catastrophic consequences for the radio industry in the 1990s and early 2000s. Or will they find a way to balance dealmaking with tech investments?

How they address that uncertainty is certain to have a big impact on their future.

George Winslow Senior Content Producer george.winslow@futurenet.com

4

December 2025 | www.tvtech.com |

@tvtech.bsky.social

CONTENT Content Director Tom Butts, tom.butts@futurenet.com Content Manager Michael Demenchuk, michael.demenchuk@futurenet Senior Content Producer George Winslow, george.winslow@futurenet.com Contributors: Gary Arlen, James Careless, Fred Dawson, Kevin Hilton, Phil Rhodes Production Managers: Heather Tatrow, Nicole Schilling Art Directors: Cliff Newman, Steven Mumby ADVERTISING SALES Managing Vice President of Sales, B2B Tech Adam Goldstein, adam.goldstein@futurenet.com Publisher, TV Tech/TVBEurope Joe Palombo, joseph.palombo@futurenet.com SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.tvtechnology.com and click on About Us, email futureplc@computerfulfillment.com, call 888-266-5828, or write P.O. Box 8692, Lowell, MA 01853.

LICENSING/REPRINTS/PERMISSIONS TV Technology is available for licensing. Contact the Licensing team to discuss partnership opportunities. Head of Print Licensing Rachel Shaw licensing@futurenet.com MANAGEMENT SVP, MD, B2B Amanda Darman-Allen VP, Global Head of Content, B2B Carmel King MD, Content, Broadcast Tech Paul McLane VP, Head of US Sales, B2B Tom Sikes VP, Global Head of Strategy & Ops, B2B Allison Markert VP, Product & Marketing, B2B Andrew Buchholz Head of Production US & UK Mark Constance Head of Design, B2B Nicole Cobban

FUTURE US, INC. 130 West 42nd Street, 7th Floor, New York, NY 10036

All contents © 2025 Future US, Inc. or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein.

If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents,subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.

Please Recycle. We are committed to only using magazine paper which is derived from responsibly managed, certified forestry and chlorine-free manufacture. The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and socioeconomic standards.

TV Technology (ISSN: 0887-1701) is published monthly by Future US, Inc., 130 West 42nd Street, 7th Floor, New York, NY 10036-8002. Phone: 978-667-0352. Periodicals postage paid at New York, NY and additional mailing offices. POSTMASTER: Send address changes to TV Technology, P.O. Box 848, Lowell, MA 01853.

in the news

Ex-FCC Chairs Petition Agency to Stop Threatening ‘Broadcasters’ Free Speech’ Jimmy Kimmel regarding the assassination In response to recent controversial efforts by of conservative activist Charlie Kirk. the Federal Communications Commission The news distortion policy also provided to investigate broadcasters for airing biased the basis earlier this year for threats against news coverage, a group of seven former CBS News during the lengthy FCC review commissioners and chairs, plus additional of the Paramount-Skydance merger. senior-level former staff, last month submitSkydance won approval for the merger ted a sternly worded petition to the agency after it agreed to end Paramount’s DEI efforts, slamming its attempts “to mold the speech of paid $16 million to settle a libel suit filed private broadcasters to the FCC’s own

by Trump and promised to name an view of what is correct.” ombudsman to ensure unbiased The petition asks the agency coverage at CBS News. to rescind the news distortion “As the Supreme Court policy, which has “significantly has made clear, the governchilled and otherwise altered ment has no legitimate role the content of broadcasters’ in un-biasing or balancing speech, undermining First the media,” said Fowler, the Amendment values.”

Former FCC Chair FCC chair from 1981-87 under The petition is in response to Tom Wheeler Republican President Ronald several highly controversial inReagan. “The news distortion policy vestigations by the FCC into allegaallows the government to threaten censortions of “biased” news coverage from ABC, ship of speech it doesn’t like; it cannot stand.”

CBS and NBC by President Donald Trump “The Commission should focus on ensurand assertions by FCC Chair Brendan Carr ing that all Americans are connected and that the regulator has the power to punish have access to information and ideas—not broadcasters and potentially even remove imposing on broadcasters its vision of what broadcast licenses from stations violating presentation of the news is correct,” add“public interest” and “news distortion” rules. ed Wheeler, who served as chair under The petitioners are a bipartisan group Democratic President Barack Obama from of former FCC chairs, commissioners, and 2013-17 and also joined in the petition. “The other senior leaders who served the agency news distortion policy is being used by the between 1981 and 2017: Andrew C. Barrett, current FCC leadership as a tool of speech Rachelle B. Chong, Ervin S. Duggan, Mark coercion and that abuse will not stop until S. Fowler, Dennis R. Patrick, Alfred C. Sikes, the agency repeals it.”

Thomas E. Wheeler, Christopher J. Wright, “The FCC has no business policing free Kathryn C. Brown, Jerald N. Fritz and Peter speech,” said Conor Gaffney, counsel at ProPitsch. The petitions were represented by tect Democracy, a not-for-profit that works Protect Democracy, TechFreedom, Andrew to combat authoritarian threats. “It is not for Jay Schwartzman and Gigi Sohn. the federal government to decide what is That controversy became particularly ‘biased’ any more than it is for the governheated after Carr used the policy to accuse ment to decide what is ‘news.’ The Supreme ABC and Disney of news distortion and Court has ruled time and again that policing threaten ABC affiliates’ licenses for airing speech is not the government’s job.” controversial comments by late-night host

Credit: Amazon; JohnStaleyPhoto.com; Samba TV

Prime Video Deploys Location-Based Interactive Ads In a rollout that will further heighten the competition between streaming services and local broadcasters, Prime Video is deploying location-based interactive video ads in the U.S. The location-based interactive ads allow advertisers to tailor their national TV commercials with location-specific content, such as local pricing, nearest dealership information, or local agent details.

6

December 2025 | www.tvtech.com |

This feature also allows advertisers to transform a single TV commercial into thousands of variants based on ZIP codes or tens of variations based on states without creating multiple creative assets. Advertisers can customize both messaging and clickthrough URLs for their ads through the Amazon DSP Video template.

@tvtech.bsky.social

Samba TV Study Finds On-Demand Slightly More Popular Than Linear Television viewers are spending more time watching streaming content than linear TV, but sports continues to be a bright spot for broadcasters, according to the findings of a Samba TV market report.

The report, “The State of Streaming U.S. Market Q4 2025,” finds viewers spend 60% of their time watching streaming content, while 40% is spent viewing linear television.

It notes that the split “serves as the foundational metric for content production and media buying strategies.”

“We have officially crossed the chasm where no one single platform within streaming or linear commands a dominant share of the audience,” the report says.

However, there are several segments where streaming appears to have the upper hand. When it comes to shows available on both linear and streaming, the report finds 67% of viewership of those shows is via streaming. Further, programming that premieres on linear TV and is available 24 hours later on demand is mostly streamed, according to the report.

Linear television remains strong when it comes to sports and other major cultural events. NFL playoff games and the Super Bowl dominated linear viewing, accounting for the top five broadcasts. Excluding sports, top linear programs included “The 96th Academy Awards,” the inauguration of President Donald Trump and “60 Minutes,” the report says.

The solution will be particularly important in attracting national ad dollars and national advertisers that invest in TV advertising but struggle to effectively communicate their local value proposition, Amazon said. The solution enhances creative efficiency and delivers a more relevant viewing experience for Prime Video’s audience, bridging the gap between national campaigns and local relevance, the company said.

in the news EBU Taps LiveU for News Coverage

OPINION

Credit: Getty Images; LiveU

My Top 10 Industry Predictions For Next Year

of cloud and their own private Time again for a look into the storage. future as to what we can expect No. 6: “Hybrid” will be the in 2026. Of course, I am not a word to watch in 2026, whether it clairvoyant, and you may agree refers to media storage, producor disagree with my list. But I tion or distribution. hope my predictions—based on No. 7: Media Exchange Layer my perspective from covering the (MXL) will continue to garner inindustry—give you something to dustry attention and support for think about: its development, as broadcasters No. 1: U.S. broadcasters mudand other media creators look dle through another year of Phil Kurz to one day leverage softwareincremental steps towards a 3.0 defined media workflows that future. With no date certain for streamline operations and address interop1.0 shut-off and the freedom to make the erability issues. switch whenever they think best, the tiptoe No. 8: Stations and station groups will towards NextGen TV will continue. begin to get their arms around the best that No. 2: The Digital Rights Management the “creator economy” has to offer, especially (DRM) faceoff between the ATSC 3.0 when paired with the content they already Security Authority, some viewers and some create, leading to a variety of benefits for CE companies over 3.0 content broadcasters—perhaps most importantly, will be resolved—most likely leaving all occupying more mindshare among younger sides a bit disappointed but for different members of the public. reasons.

No. 9: The funding nightmare public No. 3: Agentic AI makes its presence broadcasting is living through will have a bit felt in the broadcast back office. Workof a silver lining for the rest of the industry, flow efficiency has been the mantra of as displaced technical workers and engineers TV production, news and distribution for will create a talent pool commercial broaddecades. With the help of agentic AI, many casters can tap to help address their engiback-office processes will be more fully neering aging crisis. automated.

No. 10: The Department of TransportaNo. 4: 5G Broadcast proponents in the tion-funded Broadcast Positioning System U.S. broadcast industry will continue to (BPS) will demonstrate the strength of the make their case but won’t find the success solution as a relatively affordable backup for they seek.

GPS—especially when it comes to precise No. 5: Re-evaluation of the role public timing—and will turn heads among those recloud plays in media workflows will continsponsible for national security. ue. Some media organizations will decide to That’s a wrap. Here’s wishing everyone a repatriate their valuable content from the great 2026! public cloud in favor of using a combination

8

December 2025 | www.tvtech.com |

@tvtech.bsky.social

​​ The European Broadcasting Union (EBU) has awarded LiveU a five-year contract to deliver 24/7 live news content through its Eurovision News Exchange.

The exchange project is the next step in an ongoing transition from a previously satellite-only system towards IP-based contribution and hybrid distribution. The Eurovision News Exchange will rely on LiveU Matrix for delivery of its members’ live signals throughout Europe and beyond, LiveU said.

“The project marks a decisive step for the broadcasting industry, as major public service media embrace cloudbased IP workflows for faster, more sustainable and cost-efficient live news delivery,” said Emilio San Pedro, EBU’s head of Eurovision News Exchange. “LiveU’s Matrix platform enables us to connect Europe’s leading broadcasters better than ever and ensure seamless, future-proof live news delivery for audiences everywhere.”

The project connects all members with LiveU technology, extending to more than 60 public service newsrooms in Europe and globally, the company said.

The project includes a phased rollout—currently in its pilot phase with 15 members—of LiveU Ingest for cloud recording and shared content workflows across both primary and backup channels.

looking back

Broadcasters Mark Momentous Year of Challenges Amid Viewing Fragmentation Easing ownership rules, NextGen TV progress and AI’s impact highlight busy period

By Gary Arlen

Three issues dominate television’s outlook as this tumultuous year concludes: The fate of NextGen TV (even as the FCC tries to boost its implementation), ownership and consolidation at all levels and the significance of broadcasting itself in a video landscape that is now fragmented by streaming media usage.

While 2025 fomented an array of technology, business and regulatory highlights, many of these controversial developments will grow in importance in the years ahead. Most notably, artificial intelligence tools are exploding into production and operations. At the same time, IP-based video production is transforming production workflows.

Collectively, the year’s progress has set the stage for more near-term industry upheavals—especially given the turbulent political environment.

Credit: Nielsen

MIXED MESSAGE ON NEXTGEN TV? The Federal Communications Commission’s notice of proposed rulemaking in late October calling for “less regulation” of NextGen TV sent a mixed message. It would not require broadcasters to simulcast ATSC 1.0 and 3.0 signals and would not mandate 3.0 tuners in new TV sets. Nor would it set an end date for the current ATSC 1.0 transmission. Nonetheless, the agency’s official statement curiously contends that its plan “will accelerate the nation’s ongoing transition” to ATSC 3.0. (See Doug Lung’s coverage, p. 19.)

FCC Chair Brendan Carr has characterized 3.0 as “the future of broadcasting,” offering “new ways” to deliver services such as interactive programming, enhanced video and audio formats and other data services through its internet protocol-based transmission system.

“Television is moving to an IP-based format that supports features and functionalities that will allow broadcasters to compete more effectively with digital platforms, both on content and economics,” Commissioner Anna Gomez added, acknowledging the “very complicated questions” of this transition. “First and foremost is the issue of timing.”

10

December 2025 | www.tvtech.com |

Although FAST, SVOD and other online video formats have been growing rapidly since the pandemic, May 2025 marked the first time that their combined share of total television usage surpassed the collective viewing of broadcast and cable.

Throughout the year, ATSC 3.0 hurtled on a roller coaster of developments. On the international front, Brazil declared its broadcasters will use the physical layer of the ATSC 3.0 standard as its “DTV+ television format of the future.” Commercial service is targeted for the FIFA World Cup next year; meanwhile, stations in Rio de Janeiro and São Paulo are running experimental transmissions, with a station in Brasilia expected to launch soon.

Globo TV plans to offer enhanced capabilities, such as 4K and 8K content.

Among other NextGen projects during the year: the Run3TV applications platform got a boost when NBCUniversal became an investor in the ATSC 3.0 Framework Authority (A3FA), which supports the technology for local services.

SATISFYING THE URGE TO MERGE An ongoing consolidation effort is bubbling among station owners as well as technology providers. Beyond the marquee deals—such as the prolonged saga of Skydance (which climaxed with its takeover of Paramount Global, including CBS and cable networks)—there is the proposed alliance of Sinclair Broadcast Group with Tegna, which would potentially

@tvtech.bsky.social

create the nation’s largest station group.

Meanwhile, Tegna was in talks with Nexstar Media Group about joining forces. And Sinclair was also flirting with Gray Media.

Adding to the merger fantasy and frenzy was the FCC’s signaling that it may review its national ownership cap, which now limits the reach of a station group to 39% of U.S. TV homes. Separately, the 8th U.S. Court of Appeals ruled in July to vacate the “Top-Four Prohibition” in July. That restriction prevented a single entity from owning more than one of the four most-watched television stations in a local market. Many analysts expect that lifting the regulation will generate local-market juggling, which could be used to blend station newsrooms and ad-sales groups.

Thanks to the relaxation of regulations on the audience reach of broadcasters, media companies and their technology and content suppliers are entering a new age of consolidation.

STREAMING CONQUERS CABLE Although FAST (free ad-supported streaming TV), SVOD (subscription videoon-demand) and other online video formats have been growing rapidly since the pandemic,

targeting and other personalized May 2025 marked the first time features are also likely—and their combined share of total will inevitably face challenges television usage surpassed the from privacy advocates. collective viewing of broadcast AI is also finding its way into and cable, according to Nielsen’s TV displays. For example, at monthly report “The Gauge.”

CES, Samsung demonstrated Nielsen’s analysis showed a voice remote control that 44.8% of viewing was via streamcreates personalized responses, ing platforms (notably YouTube including custom picture setand Netflix), while 20.1% was on tings. Another Samsung feature broadcast channels and 24.1% is an AI button on its remotes on cable channels. (“Other” acthat can offer the ability to live counted for the remaining 10.1% translate from a show’s native of viewers’ attention.) audio language into subtitles The online migration came for another language. Can as program networks acceler(L to R) FCC Commissioner Anna Gomez, Chair Brendan Carr and Commissioner synth­esized real-time dubbing ate their online presence. Fox Olivia Trusty at the September meeting, where they voted to seek public input on be far behind?

One debuted as a streaming changes to broadcast station ownership rules. service that includes all of Fox’s cable channels; Disney expanded its Now the comparable hype involves artificial DEFUNDING PUBLIC BROADCASTING ESPN cable brand to an online app; and CNN intelligence, which is weaving its way into Although many of 2025’s media tech issues (via its parent Warner Bros. Discovery) introcountless aspects of our lives. had a political component, perhaps none was duced a similar standalone app.

AI is seeping into media creation and deas transformative as the federal rescission When the dust settles, some analysts conlivery, from creative workflow and production package that eliminated more than $1 billion tend that venerable networks such as MTV to home displays. Skeptics are already voicing from public media funding and wiped the could be shuttered under Paramount’s new concern that it is reshaping news production, 58-year-old Corporation for Public BroadcastSkydance ownership. trust and ethics, deriding the AI onslaught as ing out of existence.

“Free services have been a major driver of “virtual saturation” and predicting “AI fatigue” Since CPB was a significant funding source streaming’s overall success,” according to among customers and providers. for the Public Broadcasting Service and member Nielsen’s analysis. But the shifting environYet, as Jeff Zellmer, executive vice presistations, the impact was quick and vast. Many ment—and viewers’ dismay about increasing dent of digital operations for Fox TV Stations, local and regional public broadcasters almost costs for multiple streaming services—is likely told TV Tech earlier this year, “AI represents a immediately announced plans to cut their staffs to alter the lineup in the years ahead. massive shift in culture and technology.” He by up to 40%, and some said they will slash budand other station and group officials cited the gets, including purchase of PBS programming. range of tasks AI can enhance or generate, “Without federal funding, local stations AI EVERYWHERE ranging from real-time, multilanguage transare eliminating or reducing local programs, Two decades ago, toward the end of the inlations to workflow management. including local history programs, community ternet/web bubble, a cheeky prediction from Among the capabilities are hybrid-genevent coverage, agricultural programming and Silicon Valley proclaimed “IP on Everything,” erated content creation, such as automated local public affairs programming, among othsuggesting internet protocol was integral to sports highlight reels, that could devise video ers,” Kate Riley, president and CEO of America’s the emerging Internet of Things and other packages within seconds after live action. Ad Public Television Stations, said in October. services that would all become connected.

A few stations will go dark in June 2026.

WPSU-TV at Pennsylvania State University Samsung has added an AI button to its remotes sought to transfer its operating assets to that offers the ability WHYY, a Philadelphia public media organito live translate from zation; but the Penn State Board of Trustees a show’s native audio rejected that plan. language into subtitles for another language.

New Jersey PBS, that state’s only public TV channel, will also go dark in June. It plans to continue producing a nightly news program on digital platforms via a broader operations deal with WNET-TV in New York City.

Public broadcasters vowed to tap other funding streams, especially corporate sponsorships, individual donations and member station fees. ● Gary Arlen has covered and analyzed new media and telecommunications developments from Washington since the Nixon administration. @tvtech.bsky.social | www.tvtech.com | December 2025

11

Credit: Kent Nishimura/Bloomberg via Getty Images; Samsung

looking back

ad forecast TV advertising is expected to jump in 2026, starting with the 2026 Milano Cortina Winter Olympics in February.

2026 Local TV Ad Forecasts Offer Growth and Uncertainties

Political spending will spike next year, but stations will struggle to reverse a longstanding shift away from local TV

Credit: Tiziana Fabi/AFP via Getty Images

By George Winslow

In most years, a graph of annual local TV ad spending is about as predictable as an electrocardiogram of a reasonably healthy patient in a doctor’s office. Revenue spikes upwards on even-numbered years as a pulse of political advertising pumps into the system and declines in odd-numbered years between the regular cycles of midterm and presidential elections.

Not surprisingly, analysts and top station executives predict a similar pattern for 2026, which will see a burst of spending around the midterm elections, the Winter Olympics and the FIFA World Cup. BIA Advisory Services, for example, predicts the $14.51 billion in local TV over-the-air (OTA) ad revenue in 2025 will grow 25.5% to $18.18 billion next year.

12

December 2025 | www.tvtech.com |

knows what will happen with inflation and inSmoothing out the spikes of political adterest rates? Who knows about employment… vertising, S&P Global Market Intelligence’s and consumer confidence and AI spending, Kagan Research predicts a cumulative annual which has been a key driver of the economy?” growth rate of 1.48% between 2025 and 2030 “The economy is really a big wildcard,” for TV station ad revenue. added Brian Wieser, principal at Madison and Even so, most analysts readily admit that Wall and a financial analyst of the prognosis for a healthy ad the global advertising, technolmarket over the next year or ogy and marketing services sectwo is particularly uncertain. tors. “Unless you believe that While the rollout of NextGen everything economists have TV and industry-wide consolisaid in the last 100, 200 years is dation could boost revenue sevwrong, there are real risks. And eral years down the road, they it’s not just uncertainty. It’s the are unlikely to have a major certainty that bad economic impact on the 2026 ad market, policies have consequences.” which could easily be derailed by a variety of economic issues.

“Who knows what will hapPOLITICAL UNCERTAINTY pen with tariffs?” Rick Ducey, Even political advertising, Rick Ducey, managing managing director of BIA Adviwhich has been reliably breaking director, BIA Advisory sory Services, explained. “Who records year after year for deServices

@tvtech.bsky.social

ad forecast An even bigger worry is the longer-term shift of ad dollars from linear TV and local TV to digital and streaming.

“Advertisers want to make sure that they’re reaching folks no matter where they are, and they want a very cohesive plan,” Ronna Steber, senior managing vice president at Gray CORE CONCERNS Media, said. “So, we’ve worked Excluding political from the really hard to be able to offer 20206 numbers, “we actually them complete plans, linear, have a year-over-year decline digital, social” while deploying [in core OTA TV ad revenue] better measurement and anabecause dollars are shifting to lytics to “make sure that those CTV and digital,” noted Senan ad campaigns are delivering on Mele, vice president of forecastall the analytics that the advering and data analysis at BIA. tisers want.”

This decline would actually be Senan Mele, vice president “While digital spend is going worse, he added, without the of forecasting and data analysis, BIA up and spending is shifting beneficial impact of the Olymaway from linear media like pics and other special events in radio and TV, some of that shift now goes 2026 like the World Cup. back in their pockets because they’re selling “Agencies and advertisers want to be able different inventory,” Ducey added. Efforts by to report the ROI on ad investments and it’s local broadcasters to acquire more sports and easier to do that with a digital platform comboost original programming have helped their pared to TV over the air,” he concluded. ad sales, he added.

Reversing that trend is a major priority for “We want to make sure that we bring in broadcasters, both with better measurement unique content to the viewers, and that’s really tools and revamped cross-platform sales helping us,” Gray’s Steber said, pointing to strategies.

Credit: istockphoto

cades, is potentially more volatile than ever.

Ducey noted that the Supreme Court’s upcoming decision in the National Republican Senatorial Committee v. Federal Election Commission case, challenging existing spending limits, could increase or tamp down political advertising. Likewise, efforts to gerrymander congressional districts in Texas, California and other states could also have a major impact on spending.

“In terms of political advertising, we are anticipating about $3.8 billion next year, up about 10% from the last midterms,” Justin Nielson, head of Kagan Research at S&P Global Market Intelligence, said. “That is not as high as it was in 2024 but relative to the midterms, very healthy.”

BIA is predicting a slightly higher $4.2 billion local OTA TV political ad spend.

Tariffs are another wildcard. “Tariffs have had an impact in terms of consumer spending, but not to the point where it’s made a huge difference in terms of the advertising marketplace,” Nielson said. “Advertising has still been coming in pretty heavily,” and some industries like auto are seeing a spending rebound.

XXPic Captionxxxx @tvtech.bsky.social | www.tvtech.com | December 2025

13

ad forecast

Ronna Steber, senior managing vice president, Gray Media

efforts like the programming produced by its InvestigateTV unit and the content available on its Local News Now 24/7 free streaming channel. “People are hungry for content that’s unique.”

NO SIMPLE CURES Analysts, however, had mixed reactions to broadcasters’ hopes that the rollout of ATSC 3.0, broadcast ownership deregulation and a wave of M&A activity will have much of an impact on 2026 ad revenue.

Most noted that ATSC 3.0’s impact is several years away, given the limited penetration of sets, and were skeptical that deregulation and the creation of larger station groups would immediately strengthen their ad business.

“It certainly won’t help them compete with bigger platforms,” Wieser said. “Marketers are shifting away from television because of what digital platforms can offer…The reality is that with less fragmentation you may even have less diversity in the business model, which is a surefire way to amplify the current trends [of ad market share losses]. Size isn’t what’s causing budgets to shift.”

Mele at BIA agreed that consolidation in itself won’t reverse shifts towards CTV but added that it “could help with ad revenue at a station level in specific markets because… there will be fewer sellers.”

Even so, analysts at BIA and other firms highlighted some positive trends.

“The two big highlights for me in terms of positive impact to the ad market have been local sports rights in certain markets and their increasing ability to offer a full suite of linear, digital and social packages to advertisers,” Nielson said. “Being able to offer [a unified, one-stop] advertising business model and investing in local programming is producing an encouraging ROI.” ●

14

December 2025 | www.tvtech.com |

Station groups believe that original content like Gray Media’s Local News Now 24/7 free streaming channel is helping keep ad dollars local.

Five Things to Watch Next year’s generally bright local TV ad forecast includes some notable risks broadcasters will be watching closely: 1. Economic Uncertainty: A bust in AI spending, higher inflation, tariffs, job cuts, interest rates, declining consumer confidence and even foreign wars are among the many factors that could derail already sluggish economic growth.

2. Political Ad Boom: Broadcasters are betting heavily on a big haul from political ads, but an upcoming Supreme Court case, redistricting efforts that could produce less competitive races and the shift to CTV could reduce growth.

3. Regulatory Hopes and Realities: FCC ownership-rule changes could lead to a

wave of swaps and mergers that could strengthen ad sales efforts in specific markets, but a Trump administration proposal to limit pharmaceutical ads could devastate a lucrative category.

4. Bellwether Industries: Beyond the political sector, analysts believe quick-service restaurants (QSRs in ad parlance), auto, legal services and pharma could be strong categories in 2026.

5. Shift to Digital Media: Even with the political advertising boom, the longer-term shift to digital media might reduce core advertising in 2026 and beyond unless stations adopt new business models and strategies.

George Winslow

LOCAL TV ADVERTISING TRENDS

Total TV OTA $ Millions)

2022

$15,597

$4,296

$19,893

2023

$15,577

$219

$15,796

2024

$14,879

$4,605

$19,484

2025

$14,256

$255

$14,511

2026

$ 13,976

$4,203

$18,179

SOURCE: BIA Advisory Services

@tvtech.bsky.social

TV OTA Core ($ Millions) TV OTA Political ($ Millions)

production switchers

Increasingly Software-Centric Switchers Occupy Hybrid Space Moving to IP and the cloud is just the first step

By Phil Rhodes

Many industries have seen big-ticket hardware turn into software. Switchers, though, demand a combination of real-time performance and sheer bandwidth that has only recently become achievable in software, and has taken a while to begin affecting the high end.

Greg Huttie, vice president of production switchers for Grass Valley, said the company’s designs have long relied on both silicon and code. “Every production switcher we’ve ever put out has software involved in it one way or the other,” Huttie said. “Across the board, I’ve got hardware engineers and software engineers. The world is becoming hybrid.”

Grass Valley demoed its K-Frame XP at IBC in September.

LEVEL OF TRUST That world, though, interfaces with working practices which change slowly.

“When you talk to a vision mixer or technical director, they’re basically piano players,” Huttie said. “They have a tactile feel.

I sat in director’s chairs for many years, and there’s a trust level—even though I’m calling something, my technical director is in my head, lingering on shots he needs to linger on but also knowing the rhythm of the show I’m putting out. They don’t look at the keys.”

That kind of experience, Huttie continued, is increasingly in demand on shows at every scale.

“There is a growing trend where you place yourself further downmarket—not in finished features or functions, but as a smaller piece of that Grass Valley hardware,” he added. “We just delivered 48x24 in a K-Frame XP and won awards at IBC and NAB. We saw that a lot of folks want the power of a production switcher, but they wanted to reduce headcount…going for that single seat.”

Increasingly, software-defined implementations more easily fulfill the demand for a wider range of options, as Huttie explained by reference to Grass Valley’s cloud-integrated Event Producer X with its Maverik X switcher.

“I think a better place for that single seat isn’t really for sports but events, news,

corporate,” Huttie said. “Event Producer X couples things together and makes it less burdensome on body count, though we’re not advocating that you reduce your body count.”

A CONNECTED WORLD Software-definition has implications which reach further than feature set or scalability, according to Deon LeCointe, director of networked solutions at Sony.

“Everything we build now has to have some connectivity involved,” he said. “They have to be not only hardware for on-prem, they have to be software for cloud, SDI and IP.” Even the comparatively recent move toward IP, though, faces unexpected pressures. “The prevailing logic is that if you’re building a new facility, or renovating, you have to take a hard look at implementing IP,” LeCointe said.

“Three years ago, I would have said that the question still comes to mind.”

That idea, though, might no longer quite be universal. “When the pandemic

happened, REMI became required for dayto-day operations, and it accelerated the conversation around IP tech moving toward cloud tech,” LeCointe said. “People were saying, ‘Can we skip IP and go to the cloud?’”

The answer, he said, was often no, not least because of the media industry’s uneasy relationship with metered-data exit fees.

“Cost was a pretty big roadblock,” he said.

“Then, the challenge of not having all your live production elements in the cloud—replay, graphics switcher elements, video shading— that just hadn’t gotten there yet.”

Given the interaction of so many complex technological considerations, LeCointe emphasized, Sony has kept things flexible.

“We opt for more of a customer choice philosophy,” he said. “M2L-X is our softwarebased switching platform, which can be deployed on the public cloud or on a COTS [commercial off-the-shelf] server. We’re not trying to delve into the minefield about where customers want to deploy.”

@tvtech.bsky.social | www.tvtech.com | december 2025

15

production switchers BACK TO PREM

Credit: Ross Video, Sony

A combined interest in quick, flexible scalability and cloud as a choice rather than a requirement, then, seems like the mood of the moment, according to Satoshi Kanemura, president and chief operating officer of For-A America.

“Everyone likes a 100-input big switcher, and that’s driven mostly by the technical director’s opinion,” Kanemura said. “Nowadays, what they’ve found is that sort of big event is once or twice in a year, but most operations need 20 to 30 inputs with 2 ME.” Doing that the old way takes effort, Kanemura said. “When they increase or reduce the system, adding hardware, rewiring, recabling… they have to manage such a change,” he said.

“So, software-defined is becoming a very big buzzword. One or two years ago, many people jumped into the cloud: ‘Cloud’s going to solve everything, it’s easy to increase or decrease the operation.’ What they found was that…even if they shrink the application, still using the cloud, that charge is coming every month.

“Now they’re coming back to the on-premise solutions,” Kanemura continued. “People who can’t afford a big switcher with 100 inputs can go toward software-defined. For-A Impulse can do anything a customer wants—switcher, multiview, frame sync or you can put only multiview into the server and that can be shared into the three rooms. Then, the next day, you can change it to all HDR-SDR conversion parts.”

For-A’s market position in Japan has granted it a unique position with regard to AI and the vexed issue of training data. “Now [that] cable revenue is down, most broadcasters are looking for new revenue from streaming,” Kanemura said. “They do the production in a 16:9 format, then want to trim down to 9:16 for cellphones. You can crop using AI to track the main player into the center of that 9:16… it’s that kind of AI engine.”

Making that happen has allowed For-A to leverage its relationship with NTV. “Their engineers and For-A’s got together to collaborate to build the AI,” Kanemura said. “To make a good AI, you have to give more and more data, but most AI in the market is not specified to the broadcast market; it’s more generic data they put in. [But] NTV has 70 years of archives—that AI knows how to cut, zoom, and understands the sort of scene. It’s a more broadcast-friendly AI engine.”

Demos of Carbonite Code were a popular destination at the Ross booths at NAB Show and IBC this year.

expect. Les O’Reilly, director, switcher product management at Ross Video, described how the company has accommodated that change within an existing product line.

“The Carbonite family has shipped over 12,000 switchers,” O’Reilly said. “Carbonite as an operator user base was massive… and Carbonite Code launched at NAB 2024. It’s a Carbonite switcher, but instead of on an FPGA [field-programmable gate array], it’s running it on a GPU [graphics processing unit], a software-based switcher that can do some things that are different, but it still operates like a Carbonite.”

The bounds of the underlying hardware are necessarily imposed in a rather different way than the input and bus counts of a conventional switcher—though Ross’s experience in graphics has influence here.

“You have processing headroom you will run into in a software switcher,” O’Reilly explained. “In our XPression world, we have a software 3D renderer, all done in the GPU, which has a load meter. It’s showing you

‘KEYS TO THE KINGDOM’ With or without AI, running a switcher on a workstation or server raises issues around the sort of real-time responsiveness that users

16

December 2025 | www.tvtech.com |

Deion LeCointe, Director of Networked Solutions, Sony

@tvtech.bsky.social

that you’re still rendering faster than your frame rate.”

Implementing that in a switcher running on COTS hardware, O’Reilly continued, gives users an easily-understood performance metric. “If you’re at 90%, you’re rendering 10% faster than real time,” he said. “If I see 103%, 104%, it’s telling me I’m not rendering 60 frames per second any more, I’m rendering 57. We give them the keys to the kingdom, let them build their shows and figure out what they can and cannot do.”

O’Reilly’s approach to AI’s role in the future of production switchers is pragmatic.

“I want our industry to introduce practical uses, otherwise the joke is that when a company does its keynote, the Discord group takes a drink every time they mention AI,” O’Reilly joked.

Ross’s approach leans toward making the switcher a directable part of the show itself.

“We have a speech analysis tool that allows you to direct your show while talking,” O’Reilly said. “We had it on the floor—you could come up and direct it—ready one, take one, put one on the left split, two on the right—and since then we’ve refined and applied that to other products.”

Despite all this advancement, O’Reilly cautioned, the exigencies of live television have maintained the demand for traditional hardware. However, making changes acceptable to highly experienced users is, as always, a consideration.

“FPGAs keep getting bigger, badder and faster,” he said. “We’re constantly adding features and functionality, and we have to get the operator and the user to come along on the journey. So, yes, we absolutely can’t stay locked in the past, but we have to bridge to the future.” ●

cloudspotter’s journal

How to Fortify Your Cloud Security Plan Stay protected with a unified approach to visibility, resilience and real-time response

T

that ranges from a platform of hreat protection is a managed services to the specific serious part of any software stack required to run organization’s network, serverless functions. storage or active workNoting that, a serverless platspace—especially if you’re investform is a cloud-based service ed in the cloud. While the basics that automatically manages the are somewhat easy to follow or underlying infrastructure, allowprescribe, the real-time monitoring developers to deploy and run ing and any aggressive corrective code without provisioning, scalactions can be challenging for ing or maintaining servers and the individual(s) whose tasks in EXPERTISE otherwise is a cloud-computing the organization include both IT KARL PAULSEN execution model that allocates administration and security, plus machine resources on an as-used basis. cloud-services management.

Examples of serverless applications include That is, it can or will become overwhelming chatbots, task schedulers and Internet of to control without some secondary support things (IoT) applications. or a built-in solution integrated by the cloud Typically, in the serverless environment, provider. Simply expecting an ISP to handle any server management, configuration, scalthis is not a good answer. ing and billing activities are abstracted from the end user—i.e., the complex, underlying VISIBILITY RESILIENCE details are hidden and simplified, so the user AND RAPID RESPONSE need only interact with a higher-level, easiBeing prepared is essential in the current er-to-understand interface. cloud environment. Fig. 1 gives some of the suggestions for this preparedness from a Reactive, Proactive and Adaptive perspective.

SET UP A UNIFIED PLATFORM Breaches in security can and likely will One core solution to ensure adequate sebecome unmanageable without appropriate curity precautions is to establish a unified planning and active, real-time monitoring platform that spans across development, opalongside aggressive enforcement of IT policies and practices.

In computer programming, a runtime system or runtime environment is a subsystem that exists in the computer where a program is created, as well as in the computers where the program is intended to be run.

A cloud runtime is the environment where cloud applications and services execute—including the operating system—language support and other necessary software. Furthermore, it is a commercial term (such as Google’s Cloud Run) Fig. 1: Simplified components in preparing for cybersecurity defense.

erations and (real-time) runtime to provide continuous visibility, protection, simple and continuous detection and proactive response.

Some of the groundwork for building a modern cloud-security program is provided in the following, as outlined by a familiar cloud-support trendsetter who specializes in providing cybersecurity in an era of change and movement toward the cloud, regardless of business model.

One option is to take a proactive approach to cybersecurity (Fig. 2), which is critical to reducing risks and being prepared to address or prevent breaches. Examples follow:

CONTAINER RUNTIME SECURITY AND MODELING One part of understanding and preparing for cloud security involves some of the actual code-centric and application development, such as understanding Container Runtime Security, a key aspect of Kubernetes (as an opensource container orchestration platform, with cloud computing services) and security. This prospect focuses on safeguarding containers (e.g., Docker) during their execution.

When active, operational containers are most vulnerable to malicious activity since traditional security tools weren’t designed to monitor running containers. Runtime security is the only way to secure cloud-native applications at scale and in today’s environments, the use of AI and machine learning will necessitate runtime automating the processes for modeling of a healthy activity built against a model.

“Modeling” is the process of creating a representation of normal, safe behavior—for applications and services, especially when running in a cloud-native environment. Such a representation serves as a baseline to identify and detect deviations or anomalies that might indicate security threats.

When the system has an established model, and then uses continuous monitoring and lets software make comparisons of the runtime activities of applications and services against the established model, teams can then identify and respond to unauthorized actions, privilege escalations and other potential incidents. Major cloud-service providers offer managed Kubernetes

@tvtech.bsky.social | www.tvtech.com | December 2025

17

cloudspotter’s journal tions of each workgroup then isolate (silo) the interdependency of each job function or task.

In the current age of cloud, one where all of your teams’ efforts are likely focused on innovation, it is BUILD A STRATEGY FOR crucial to leverage a soluRISK PRIORITIZATION tion (team, outside party or Most security teams vendor) that can manage lack the time, experience every stage of cloud detecor context to effectively tion and response for you. handle and react to a delTo maximize the inuge of security alerts that vestments in a security could come from various Fig. 2: Steps and practices for ensuring a proactive approach to cloud security. solution, those teams security tools or practices. (internal or external) must have the expertise a tool set that correlates threat intelligence, As DevOps and engineering teams rely more to leverage activities fully. If you don’t already business impact and data sensitivity to provide on cloud technologies to achieve faster develhave those teams in place (and properly strucan accurate representation of active risk.This opment cycle times, they may often prioritize tured), then look for a solution provider that approach can then help in enabling alignment development deadlines over security issues. can function as a partner and who you can rely between DevOps and security teams as to While they fundamentally understand the on to guard your cloud assets 24 hours a day, which security issues to prioritize and when. needs and values of security, they often don’t 365 days a year. ● Avoid centralizing into one workstream deem it highly important or may end up wastthat is sandwiched between DevOps, engiing their time and resources remediating vulneering (implementation/operations) and nerabilities that seem impactful but don’t presKarl Paulsen, CPBE and SMPTE Fellow, security teams. Avoid manifesting risks and ent an active risk in production. The organizais a retired CTO. He can be reached at mitigate the risk of a breach, since the function’s administration should consider utilizing karl@ivideoserver.tv or at TV Tech. services that simplify infrastructure management, allowing organizations to build and run modern applications on a hybrid or multicloud environment.

18

December 2025 | www.tvtech.com |

@tvtech.bsky.social

rf technology

FCC Plots a Murky Roadmap For the NextGen TV Transition

I

broadcasters in an ATSC 1.0 shutn late October, the FCC voted down. With this in mind, I’ll look to give U.S. broadcasters more at some of the main topics in the freedom in determining how to 5FNPRM. The National Associamanage the transition to ATSC tion of Broadcasters’ transition 3.0 and the shutdown of ATSC 1.0 proposal has been widely covered, services. Since broadcasters have so I don’t plan to focus on it here. a strong incentive not to disenfranchise existing viewers, this makes sense.

SIMULCAST CHANGES/ The proposed rules (the Fifth MPEG-4 Further Notice of Proposed The proposed rules would EXPERTISE Rulemaking or “5FNPRM”) are eliminate the requirement for a DOUG LUNG not clear on what steps, if any, the station transitioning to ATSC 3.0 FCC will require from other partners, such as to simulcast its programming on an ATSC receiver manufacturers, to expedite the tran1.0 guest station. However, if a station volsition. It also raises questions about the curuntarily chooses to simulcast, then the ATSC rent use of content protection (digital rights 1.0 signal must cover the ATSC 3.0 station’s management) and whether that complies community of license and be located in the with broadcast requirements in the Commusame DMA. nications Act. All “substantially similar” language has While the proposed rules offer positive been deleted, which implies the ATSC 1.0 steps towards a transition to ATSC 3.0, they simulcast on the guest station could be in also highlight the challenges and risks to standard definition even if the ATSC 3.0

content is in high definition or better. This would allow more ATSC 1.0 guest stations on a single ATSC 1.0 host.

The proposed rules in the 5FNPRM add MPEG-4 video encoding as outlined in ATSC standard A/72 Part 1, but for multicast streams only. As I wrote in my September 2024 column, “Revisiting MPEG-4 for ATSC 1.0 Lighthouse Stations,” converting an HD stream from MPEG-2 to MPEG-4 and adding an MPEG-2 simulcast in SD makes more efficient use of spectrum in some cases and would allow reception on older devices, which may not support better than SD resolution in any event.

Without the “substantially” similar rule, as we approach ATSC 1.0 shutdown, I suspect most stations will be happy with only an MPEG-2 simulcast of their HD stream. A better option to preserve quality would be to allow use of MPEG-4 on the primary as well as multicast streams. That would allow more HD content on the remaining ATSC 1.0 host stations.

@tvtech.bsky.social | www.tvtech.com | December 2025

19

Credit: Mada_cris/Getty Images

Proposed rules would give broadcasters flexibility, but a lack of direction for devices, rights management and MVPDs risks slowing adoption

rf technology RECEIVER MANDATES The proposed rules do not include any new rules for receive devices. The text of the order raises questions concerning ATSC 3.0 tuner requirements, including benefits and costs of adding an ATSC 3.0 tuner to TV receivers and allowing only an ATSC 3.0 tuner, no ATSC 1.0 tuner.

The Consumer Technology Association contends the marketplace is working and an ATSC 3.0 tuner mandate is unnecessary. NAB argues that manufacturers do not want to include ATSC 3.0 tuners until there is more consumer demand, and most consumers will not demand ATSC 3.0 until broadcasters “offer something they cannot get without it.”

Until viewers have ATSC 3.0 receivers, broadcasters will have difficulty stopping or even reducing ATSC 1.0 services, thus limiting their ability to offer new and improved ATSC 3.0 services.

The FCC asked for public input on the timing of a tuner mandate if a mandate is adopted; warning labels on TV receivers that do not have ATSC 3.0 tuners; and NAB’s proposal to “make broadcast services available to a consumer in the same or fewer steps needed to access any other video content on the same device.” The CTA said the FCC does not have authority to mandate user interfaces and micromanaging them would be “bad policy.”

CONTENT PROTECTION The FCC noted consumer complaints about the impact of digital rights management on reception of ATSC 3.0 signals.

“As this DRM encryption program has been deployed and stations have begun to encrypt 3.0 signals that previously aired without encryption, however, many viewers have been unable to watch certain 3.0 signals on equipment they purchased specifically for that purpose,” the commission said in its notice. “This has led to thousands of consumer comments in this docket opposing the use of encryption on free OTA broadcast signals, many filed by early adopters of ATSC 3.0 technology even before the Commission’s most recent Public Notice.”

The proposed rules do not include any mention of DRM, but the text asks for comments on several aspects of DRM. These include the costs and requirements of incorporating DRM and whether those factors are deterring market entry. The commission asks whether decryption keys/capabilities and related licenses are available on reasonable and nondiscriminatory (RAND) terms.

The concept of DRM itself is questioned by consumer groups and others, alleging “that

20

December 2025 | www.tvtech.com |

in practice “[t]he use of DRM, private device certification and internet return-path dependencies renders ATSC 3.0 transmissions legally and functionally distinct from traditional broadcasting.”

The FCC notes that the Communications Act defines “broadcasting” as “the dissemination of radio communications intended to be received by the public, directly or by the intermediary of relay stations.” One of the three criteria the FCC has used to determine a lack of this intent is “the programming is encrypted in a way that “makes it unusable by the public” and that is not “enjoyable without the aid of decoders.” The commission asks whether current ATSC 3.0 encryption administered by A3SA and implemented by broadcasters constitutes “broadcasting” within the meaning of the Communications Act.

While the proposed rules offer positive steps towards a transition to ATSC 3.0, they also highlight the challenges and risks to broadcasters in an ATSC 1.0 shutdown.

In my reading of the commission’s full text on DRM, I have the impression the commission may not be opposed to DRM itself as much as the way the current encryption is handled. At this stage in the ATSC 3.0 transition, if the FCC decides the current A3SA implementation is not legal broadcasting, is it possible to change to another content protection scheme without breaking existing ATSC 3.0 receivers?

If content protection is not allowed, what impact will that have on the availability of popular content on free ATSC 3.0 channels?

ATSC 3.0 offers the option of having some content protected and other programming in the clear. One possibility is the FCC would require at least one program stream to be unencrypted with more valuable content, such as live sports, ending up transmitted on a different, encrypted program stream.

TRANSITIONING MVPDS The 5FNPRM devotes several pages to how a transition to NextGen TV will impact

@tvtech.bsky.social

MVPDs (distributors of broadcast content via cable, internet, satellite or other means to viewers). The Advanced Television Systems Committee (ATSC) created Recommended Practice A/370 “Conversion of ATSC 3.0 Services for Redistribution,” which describes how to convert ATSC 3.0 signals to an ATSC 1.0-compatible transport stream. The 5FNPRM raises questions about the costs of this conversion and the impact on small cable companies. A suggested alternative is for the broadcaster to provide an ATSC 1.0-compatible feed directly to the MVPD, but is this practical in all cases? ATSC 3.0 provides services, such as multilanguage audio and higher data rates, that are not compatible with many cable TV systems.

For more details, refer to the 5FNPRM. In my opinion, depending on the timing, many of the questions it raises may become moot as MVPDs move away from transport-based distribution to IP distribution, where, given sufficient bandwidth, transport of IP based ATSC 3.0 programming will be much easier.

TRANSITION RISKS Transitioning to new standards is risky.

Look how long it took to complete the analog shutdown after DTV broadcasting started.

During that transition, broadcasters had a second channel, receivers were required to include DTV tuners and were widely available in all sizes before analog was shut down, and low-cost converter boxes were widely available with NTIA-mandated performance.

So far, none of those conditions apply to the ATSC 3.0 transition.

How can broadcasters accelerate the transition? The FCC’s proposed simulcast rules appear to allow one ATSC 1.0 host to carry a dozen or more channels in MPEG-2 SD. The loss of quality might encourage people to invest in an ATSC 3.0 receiver, if they are widely available, or they may simply move most viewing to streaming services or the omnipresent FAST channels.

For technically-challenged viewers, adding a set-top box could be difficult. What is the best way to get ATSC 3.0 capability into the homes of ATSC 1.0 viewers? Given the advantages ATSC 3.0 provides, would it make sense for broadcasters to fund a receiver or simple settop box option for consumers that need it? It may be necessary to set up a Geek Squad-like service to aid viewers having trouble with the conversion. Is that even possible? ● Comments welcome! Email me at dlung@transmitter.com.

media matrix

Content Provenance: Audience Trust Is at Stake Rise of GenAI and deepfakes exposes broadcasters to credibility issues, regulatory risks

THE CURRENT ECOSYSTEM

t this point you don’t WHAT IS CONTENT PROVENANCE have to imagine this IN BROADCASTING? scenario anymore: A breaking news segment Content provenance in broadairs live, showing dramatic footcasting refers to the systematic age from a city center. documentation and verification of Within minutes, the clip is a media asset’s origin or creation shared across social platforms, context, and subsequent edits picked up by online outlets and or transformations throughout debated by millions, including key its lifecycle. While simple labelEXPERTISE on-air talent. Hours later, doubts ing might indicate where a clip JOHN FOOTEN emerge as to whether the footage was sourced or who produced it, was real or manipulated. Where did it provenance goes further. It creates a come from? Suddenly, the broadcaster is thrust tamper-evident chain of custody, often using into a crisis, facing not only public skepticism cryptographic methods like blockchain, that can but potential regulatory scrutiny. The talent is be traced and audited at any point. embarrassed; the viewers lose trust.

The technical foundation of provenance This isn’t a hypothetical. This is a growing includes: daily reality in today’s media landscape. While • Metadata Embedding: Attaching detailed, we have dramatically increased the speed and standardized metadata about content origin, reach of content distribution, we have also production, and edits directly to media files. amplified risks of hurting our credibility.

• Cryptographic Signing: Using digital sigAccording to an October Gallup poll, public natures to ensure that provenance informaconfidence in mass media has dropped to tion cannot be altered without detection. near-record lows, with only 32% of Americans • Verification Infrastructure: Systems that expressing “a great deal” or “quite a lot” of allow recipients—whether internal teams, trust in news reporting. This erosion of trust syndication partners or even viewers—to is clearly a reputational issue. It directly imvalidate provenance claims. This can be a pacts audience loyalty and ultimately, advercomplex analysis or as simple as a warning tising revenue. in a player app when provenance cannot be In this column, I explore the urgency of conconfirmed. tent provenance, define its core concepts in • Lifecycle Tracking: Recording every transbroadcast terms, review current standards and formation, edit or redistribution, maintainindustry momentum and make the case for ing an immutable audit trail. urgent adoption.

The Coalition for Content Provenance and December 2025 | www.tvtech.com |

@tvtech.bsky.social

C2PA has emerged as a leading standard for embedding provenance information in digital media. C2PA’s framework allows for interoperable metadata and cryptographic signatures, making it possible for broadcasters, platforms and creators to verify the authenticity and history of content across systems.

The standard is open and extensible, supporting a range of media types and workflows and even different industries beyond media.

Media industry adoption is accelerating, with several major broadcast organizations piloting provenance-enabled workflows in news and other content production. These initiatives often demonstrate clear potential benefits such as faster verification of user-generated content and enhanced viewer transparency.

Academic research is also contributing, with universities and consortia developing algorithms for media integrity verification and studying the impact of provenance on audience trust. Complementary efforts include the rights management standards and emerging watermarking technologies, which can work alongside provenance standards to further secure the broadcast value chain.

Broadcast operations are complex, built on decades of legacy technology and workflows.

Integrating provenance requires compatibility with existing asset management systems, editing suites, and distribution pipelines. Many broadcasters rely on proprietary technologies and custom automation, making interoperability a significant challenge. Transitioning to provenance-enabled workflows often involves both technical upgrades and workflow change, which can slow adoption.

Editorial teams operate under tight deadlines and adding provenance checks can be perceived as a bottleneck. Provenance systems must be as frictionless as possible, automating metadata capture and verification without impeding creativity or speed. Infrastructure costs such as servers and storage are another concern, especially for smaller broadcasters. However, cloudbased solutions and open standards are helping to lower the barriers. “Provenance as a Service” will certainly arise at some point.

Effective provenance requires robust governance: clear policies on what data is captured, who can edit or verify, and how disputes are re-

@tvtech.bsky.social | www.tvtech.com | August 2025

21

Credit: Getty Images

A

Authenticity website (C2PA.org) provides more specific technical details. Provenance is especially important for video, where deepfakes and synthetic media can be nearly indistinguishable from authentic footage. By enabling traceability, broadcasters can defend against misinformation and build trust with audiences.

media matrix solved. Broadcasters must balance transparency with confidentiality, especially when handling sensitive or proprietary material. Regulatory requirements are evolving, with new laws in the EU, U.S. and elsewhere beginning to mandate traceability for certain types of content.

In an era of media skepticism, provenance offers a powerful tool for rebuilding trust. Viewers are more likely to engage with and share content that is demonstrably authentic. Provenance-enabled broadcasts can display “verified origin” badges or offer interactive traceability features, strengthening audience confidence.

Regulators are increasingly scrutinizing broadcasters’ ability to verify the authenticity of news and public affairs content. Provenance systems can automate compliance reporting, reduce the risk of inadvertent misinformation and protect organizations from costly litigation.

Content provenance potentially opens the door to new business models. Distribution partners and advertisers may pay a premium for verifiable, tamper-proof media. Beyond compliance, provenance helps broadcasters manage strategic risks. In the event of a content dispute or crisis, having an immutable record of origin and edits provides legal and

22

August 2025 | www.tvtech.com |

reputational protection. It also enables rapid response to misinformation, helping broadcasters get ahead of the narrative.

A PROVENANCE-ENABLED FUTURE I argue that the future is one where every piece of broadcast content is accompanied by a verifiable, machine-readable provenance record. Newsrooms collaborate across borders, sharing clips with rapid assurance of authenticity. Audiences can check the origin and edit history easily, while regulators and advertisers have confidence in the integrity of your content.

Provenance-native pipelines will be built on interoperable standards like C2PA, integrated into asset management systems and distribution platforms. Automation can handle the heavy lifting, capturing and signing metadata at every step without slowing down production.

Here is how to get started: • Assess Current Workflows: Map out existing content creation, editing, and distribution processes to identify the best integration points for provenance.

• P ilot Provenance Solutions: Start with targeted pilots in high-risk areas, such as

@tvtech.bsky.social

breaking news or user-generated content.

• E ngage with Standards: Participate in industry groups like C2PA, contribute feedback, and help ensure interoperability with partners.

• I nvest in Training: Educate editorial and technical staff on the value and operation of provenance systems.

• E stablish Governance Policies: Define roles, responsibilities and escalation procedures for provenance verification and disputes.

• M onitor Regulatory Trends: Stay ahead of evolving compliance requirements. This is an area of rapid change.

Content provenance is no longer theoretical. As technologies like Generative AI rapidly improve, it’s necessary to counterbalance the risks in this fast-moving media environment.

By investing in provenance today, broadcasters can secure their reputations and build lasting trust with audiences. The technology and standards are here and the time to act is now. ● John Footen is a managing director who leads Deloitte Consulting LLP’s media technology and operations practice. He can be reached via TV Tech.

eye on tech | products and services

Quickplay AI Studio

Kokusai Denki Z-HD6500-S1

AI Studio assists broadcasters and streamers in transforming their content libraries into short-form assets by leveraging generative AI to find and extract key moments from these massive archives, automating short-form workflows. The new offering enables users to deliver a steady feed of clips that engage audiences across owned and social platforms, such as TikTok, YouTube and Meta.

AI Studio eliminates bottlenecks, such as manual clipping and disjointed operations, by orchestrating end-to-end content workflows, enabling operators to deliver dynamic, immersive experiences while maximizing library value. The solution turns trending topics into action for marketing teams, streamlining promo and content workflows that attract new subscribers, lift retention and guide viewers to owned-and-operated platforms. www.quickplay.com

The Z-HD6500-S1 UHD/HD production system—Kokusai Denki’s third 4K model—borrows design elements from the company’s Z-HD6500 multiformat HD camera, and has been reinvented as a full-featured native 4K camera. It includes the same ⅔-inch UHD-native sensors as Kokusai Denki’s high-end SK-UHD7000, ensuring uniform image quality across different production environments. Its RGB three-chip technology, with 8.3 million effective pixels per sensor, results in sharp, vibrant images.

The Z-HD6500-S1 incorporates native 4K global shutter technology to eliminate artifacts such as banding and flickering, optimizing performance within houses of worship, event centers and broadcast studios utilizing LED lighting and displays. www.kosukaidenki.us

Link Electronics/Aberdeen Translation & Captioning Service

NECF MediaXBook

Link Electronics has partnered with Aberdeen

MediaXBook is an AI-powered market-

Broadcast Services to provide a real-time,

place designed to put idle operations

dual-stream translation and captioning ser-

centers, inactive cloud time and other

vice. Using advanced Automatic Speech Recognition (ASR), Automated

underutilized production capacity to

Machine Translation (AMT) and AI, the low-latency service is fast and

work at generating revenue. With an

efficient. Aberdeen measures contextual accuracy, not simply word-

addressable market exceeding $500 billion in global media and cre-

for-word transcription. Drawing on years of testing and refinement with

ator production, NECF’s platform introduces what it is calling the first

human editors, Aberdeen’s ASR delivers greater than 98% contextual

AI-driven trading desk for media capacity.

accuracy. A wide range of languages are available.

MediaXBook automatically identifies and matches unused resourc-

The service is carried over IP for ease and economy. In addition to

es across the globe—from temporary satellite capacity to specialized

embedding captions and translations, the cloud-based service can si-

production talent—with companies that need them, enabling cost re-

multaneously send out real-time translations with authentic voice dubs

duction and unlocking entirely new revenue streams for content owners

and captions to personal devices for in-person audiences.

and distributors.

www.linkelectronics.com/product/aberdeen

www.necfglobal.com

Yealink SmartVision 80 for NDI

Slapshot AI Camera Tracking Tool

Yealink has joined the NDI ecosystem

Slapshot’s professional-grade AI camera tracking tool is designed to deliver precise camera solves and dimensionally accurate point clouds in a fraction of the time taken by traditional methods. Built specifically for VFX artists working in 2D compositing, this new tool offers precise camera tracking that’s fast, simple to use and production-ready.

The tool makes high-quality camera tracks accessible for all types of creators, regardless of expertise in 3D workflows. It excels at the kinds of shots that make up the bulk of real-world compositing work: background replacements, screen comps, sky swaps and cleanups where precision matters, but speed is everything. www.slapshot.ai

with the availability of its SmartVision 80 premium intelligent PTZ cameras— its first product to receive NDI certification. The company is among the top certified partners of Microsoft and Zoom, with products and solutions for Microsoft Teams and Zoom rooms.

SmartVision 80 combines AI-driven video features with premium PTZ performance to deliver seamless, intelligent meeting experiences.

With NDI certification, the camera integrates effortlessly into broadcast, streaming and production workflows.

www.yealink.com/en/product-detail/smartvision80

@tvtech.bsky.social | www.tvtech.com | December 2025

24

eye on tech | products and services

Sony Camera Authenticity Solution

Shotoku Swoop Cranes

Sony Electronics has unveiled what it calls “the industry’s first camera authenticity solution compatible with video (C2PA standard-compliant).” Through initiatives and verification experiments, Sony said it has validated the authenticity of video content in collaboration with the Research & Development Department of BBC, the U.K.’s public broadcaster.

In addition, the company works closely with the C2PA (The Coalition for Content Provenance and Authenticity).

Sony said its camera-authenticity solution verification site enables verification of still images and videos, confirming that content was captured by a Sony camera rather than AI-generated. The system can also detect 3D depth information in video content, enabling highly accurate verification that videos are of actual, existing subjects. In addition, a trim function that allows for extraction and verification of only necessary portions while maintaining signatures enables rapid authenticity verification, even for large-capacity video files. www.pro.sony/ue_US/home

Swoop is designed to replace manually operated cranes and jibs, which typically require one or even two dedicated operators and cannot be tightly integrated into robotic camera systems.

The range launches with two sizes: Swoop 140 and Swoop 220, representing a boom arm reach of 140 centimeters (4 feet, 7 inches) and 220 centimeters (7 feet, 3 inches). Both versions enable production directors to create and precisely repeat sweeping shots with confidence and ease.

Swoop also offers two base options to match production needs and budgets. The SmartPed robotic base (Swoop SP) provides complete freedom of movement across the studio floor with remotely controlled X/Y positioning. Alternatively, a manual base delivers a cost-effective solution for situations where manual relocating of the base between shots or shows is all that’s required. www.shotoku.co.uk

Dream Chip Technologies Atom Two Rainproof

Chyron PAINT 10.2

The Atom Two Rainproof is a self-contained POV camera measuring 1.165x1.165x1.338 inches (29.6x29.6x34 mm) and weighing 1.94 ounces (55 grams), including lens and stereo microphone.

The camera has an integral 4.5-mm lens providing a 90-degree field of view, making it well-suited for many POV camera applications, from body-worn referee cameras and goal mounts to the masts of racing yachts and minidrones.

The environmental protection built into the Atom Two Rainproof protects it against anything the weather can throw at it, all the while delivering a stunning output. Image quality is assured thanks to its global shutter, eliminating the very visible distortions and artifacts produced by rolling shutter cameras. The Atom Two is the smallest camera with a global shutter on the market today, the company said. www.atom-camera.com

PAINT 10.2, the latest update for Chyron’s telestration platform, adds support for SMPTE ST 2110 IP workflows, expanding branding automation and refining telestration tools to enable maximum efficiency in fast-paced sports production. The latest features fuel the company’s evolution of PAINT to become a unified solution for illustrated replay, tactical breakdowns and live broadcast graphics.

New ST 2110 support enables the ingest and output of uncompressed video over IP. This capability future-proofs PAINT and integrates it into modern broadcast infrastructures. PAINT, which supports both SDI and ST 2110 environments, gives broadcasters the flexibility needed to operate across traditional and next-generation workflows. www.chyron.com/paint-10-2-sports-telestration

IHSE Draco XStreme Extender Series

TVU Networks TVU MediaMesh

The Draco XStreme series is a new line of KVM extender products based on a new hardware platform and represents a fundamental shift in design, combining cutting-edge performance with maximum flexibility and long-term sustainability, according to IHSE. XStreme supports video resolutions from full HD up to 8K and is engineered for seamless integration with both proprietary and future IP-based transmission technologies. At the heart of this platform lies the JPEG XS codec, co-developed with the Fraunhofer Institute for Integrated Circuits. The first of its kind in KVM, the Draco XStreme series enables visually lossless video with no frame drops, up to 16 bits of deep color, HDR support, less than 1 ms. per frame of video transmission latency and frame rates of up to 480 fps all on JPEG XS, a widely accepted codec standard in AV and broadcasting. www.ihse.com/us/

24

December 2025 | www.tvtech.com |

@tvtech.bsky.social

TVU Networks has launched TVU MediaMesh, designed for cloud-based live production. Traditional live production, whether on-site or remote, has long been constrained by fixed infrastructure, dedicated equipment and rigid routing, limiting both scale and flexibility. Currently only about 1% of live productions have fully migrated to the cloud due to the complexities of connecting sources, routing signals and integrating multiple applications. TVU MediaMesh addresses these challenges by introducing global shared memory for live video, simplifying connectivity and drastically reducing configuration time.

As the foundation that powers TVU’s software-as-a-service applications for the world’s largest live events from routing and AI indexing to production and playout, MediaMesh now opens its APIs, enabling customers and partners to build, innovate and shape the future of live production. TVU MediaMesh is available now, including on the AWS Marketplace, enabling customers to deploy instantly. www.tvunetworks.com

eye on tech | products and services

Bitmovin Bitmovin Observability

Fujifilm Fujinon FLA30x7.8 Zoom Lens

Bitmovin Observability is a new stand-alone video data solution that delivers real-time insights into video playback. The solution enables video providers to easily instrument video playback, provide proactive viewer support and gain new visibility across both content and advertising playback.

Originally a feature within Bitmovin Analytics, Bitmovin Observability has now been launched as a solution in its own right. Unlike generalpurpose observability platforms, it provides observability tailored for video playback. With its deep session-level insights, advanced error debugging, incidents screen with alerts and award winning monetization telemetry, the platform has been designed specifically for real-time monitoring, making it ideal for enterprise streaming services alongside high-profile events such as sports. www.bitmovin.com

Fujifilm’s Fujinon FLA30x7.8 is a portable zoom lens for ⅔-inch sensor broadcast cameras. It boasts a highest-in-class 30x zoom, covering the focal range from 7.8 mm to 234 mm and its compact (190-mm), lightweight (1.7-kilogram) design enables high mobility and versatility for production. When receiving auto focus commands from the camera, the lens shows minimal focus breathing and operates quietly, made possible by the rear-focus mechanism design. LA30x7.8 also features a newly developed drive unit with high-resolution, 16-bit encoders designed for extremely accurate position detection and control in virtual and remote production, helping to streamline production operations.

A newly developed drive unit for the LA30x7.8 features high-resolution, 16-bit encoders for extremely accurate position detection of zoom, focus and iris in virtual and remote production, which contributes to the streamlining of production operations. www.fujifilm.com/us/en

Camera Corps Underwater Camera System

Atomos Ninja TX GO

Camera Corps, part of the Videndum group, has launched a new underwater camera system. Developed to cover aquatic sports in demanding conditions, the camera can be submerged up to 19.68 feet (6 meters).

It joins a suite of specialized cameras, broadcast robotics and motion-control systems engineered to meet the demands of live production across sports and entertainment. The suite now features UHD resolution and 18x zoom across both tracking and PTZ models, offering enhanced clarity and precision for professional aquatic sports and other challenging broadcast scenarios. Notably, the new head has also been engineered with acoustic sensitivity in mind.

Underwater noise can be a genuine issue, and this unit operates quietly to avoid distracting athletes or interfering with the competition environment. www.cameracorps.co.uk

The Ninja TX GO is a new HDMI monitor-recorder that combines a brighter screen, advanced monitoring tools, professional codecs, camera control and cloud connectivity and is built for HDMIbased cameras. With its 5-inch, 1,500-nit HDR touchscreen, Ninja TX GO offers a monitoring experience superior to built-in camera displays, Atomos said. It features professional tools such as EL Zone, waveform, vectorscope and focus peaking, giving content creators complete on-set control over framing, exposure and color accuracy.

Ninja TX GO records directly to CFexpress Type B or external USB-C SSD storage and supports Apple ProRes, ProRes RAW, Avid DNx and H.265/H.264 formats, providing flexibility across post­ production workflows. With RAW-capable HDMI inputs, it can record up to 6Kp30 RAW. www.atomos.com

Interra Systems ORION Integration With BATON

Wohler iVAM2-MPEG SRT Support

Interra Systems has added ORION stream recording support and seamless integration with BATON Media Player, a combination that lets broadcast engineers and operations teams perform frame-by-frame debugging of monitored streams with ease and precision. Integration of ORION with BMP lets users move seamlessly from real-time monitoring in ORION to frame-accurate playback and deep inspection in BMP, speeding up analysis of the causes of errors and quality anomalies.

The new recording feature allows users of ORION, the company’s real-time monitoring platform, to capture segments of monitored streams, particularly around error events. Each recording includes a buffer of 5 to 6 seconds before the error occurs and continues until the issue is resolved or for a user-defined duration. Recordings can also be triggered manually, scheduled or initiated during ad transitions, offering flexible options for capturing critical stream data. www.interrasystems.com

Wohler has added three Secure Reliable Transport (SRT) connections to its new iVAM2MPEG monitor. The enhancements include CALLER and LISTENER modes, monitoring of encrypted SRT streams, and the ability to select STREAM-ID for multistream endpoints. The advanced MPEG stream analyzer is now also directly available via the front panel, in addition to the web interface.

Support for CALLER and LISTENER modes now enables operators to initiate or accept SRT connections according to workflow. The unit can also monitor encrypted SRT streams, giving customers confidence when observing secured contribution and distribution feeds.

For workflows that carry multiple SRT streams over a single IP/port, operators can now select and monitor the desired stream using its STREAM-ID, reducing setup friction and simplifying multi-program confidence monitoring. www.wohler.com/software-downloads @tvtech.bsky.social | www.tvtech.com | December 2025

25

equipment guide | editing & graphics/media asset management

Producers of NBC’s ‘The Voice’ Rely on Avid From Start to Finish USER REPORT Robert M. Malachowski Jr., ACE BFE Supervising Editor for “The Voice”

LOS ANGELES—I’m the super­ vising editor for NBC’s “The Voice,” which is produced by MGM Television and recorded on the Universal Studios lot. I was the first editor hired on the show 15 years ago, and I’ve been on every episode since—that’s 700 episodes and nearly 1,100 hours of broadcast programming over the last 15 years.

We use Avid as our editing solution. The major advantage of using Avid is we start and finish everything in Avid. From offline to final online to color, every­ thing is done inside of that.

Right now, we have about 35 editors, including about eight to 10 assistant editors. I think an­ other dozen producers and story producers are also all accessing the media, all able to see every­ thing, and they’re all remote.

And I don’t mean we have some in Burbank and some in L.A. We have people in North Carolina; we have people in Virginia.

We’ve had people in Maine and Japan; we’ve had people all over the world working on our show.

inside of Avid, including color, final online and output of the master.

We use a lot of image stabi­ lization. Those save our show because it’s a huge concert, and those cameras jiggle, and there’s nothing worse than seeing your artist or your coach jiggling around. I’d say easily between 600 to 900 stabilizations will be done in a two-hour episode.

We also use the “Animatte” effect in Media Composer for multiple reasons. We don’t like to break the fourth wall by showing camera people running through the audience, so we use that to duplicate audience members to hide cameras. We want viewers to be engaged in the performance, and if you see some guy running across the stage with a camera, that kind of pulls you out of it. Avid gives us the proper tools to maintain our illusion, to maintain the mo­

ment, without having to go to an external program.

CREATING A UNIFORM FEEL Every episode of “The Voice” is a challenge because of the nature of the show. In an average twohour episode, we introduce 13 to 15 new “characters,” if you will.

Each story needs to have a life of its own, but we have to have some type of uniform feel to the show so when you turn it on, you recognize “The Voice” for what it is.

Our editors are constantly striving to give enough individ­ uality to each of the story pods to showcase each artist indi­ vidually, as well as maintain a high level of editorial status and make sure that editors are also as creative as possible, but without going completely astray.

We know our audience has faith in what we do and what we say about our show is real.

When the first note comes out of an artist on stage—with the coaches’ backs to them in their chairs—that is the first time coaches hear them or see them when they turn. The audience sees our artists in their stories beforehand, but the coaches don’t get any of that informa­ tion. It is legitimate; that’s the first note that the coaches ever hear. ● Robert M. Malachowski Jr., ACE BFE, is an Emmy Award-winning editor and longtime, active member of the Television Academy, American Cinema Editors and British Film Editors who has worked within the production/ postproduction field for the past 35-plus years. He can be reached at RobertM.TheVoice@gmail. com.

More information is available at www.avid.com.

Credit: MGM Television

A UNIFIED SOLUTION Having one, unified program that handles all of that has been absolutely beneficial and the cornerstone of our being on the air. I don’t think there’s any oth­ er production that hits the Avid hardware and software nearly as hard as we do.

I’m on Media Composer with the Symphony option and so are two of my online editors. The reason for that is we start and finish everything on “The Voice”

26

We start and finish everything on “The Voice” inside of Avid solutions, including color, final online and output of the master.

December 2025 | www.tvtech.com |

@tvtech.bsky.social

equipment guide | editing & graphics/media asset management

Florical’s Asset Management, Ingest Builds Reliability at Hearst Television Jim Lange Content Distribution Center Manager Hearst Television

ORLANDO, Fla.—I started my first TV job in 1985 in the Orlando market at WESH-TV, loading 2-inch carts into an ACR25 for commercial playout and news playback on ¾-inch tape. At the same time, Florical Systems released its first prod­ uct, TimeShifter. Since then, I moved on to Betacart, live shot acquisition and master control while Florical stepped up the technology with ShowTimer and AirBoss.

Forty years later, we’re both still here—my employer, Hearst Television, which acquired WESH in 1998, operates 35 stations na­ tionwide. Every day, we manage the flow of syndicated shows, network feeds, commercials and promos that need to reach the air without fail.

My current role is to make sure that content is prepared, validat­ ed and delivered to our stations in a way that is both reliable and efficient. Ingest and media asset management sit at the center of this process, and over the past two years, we’ve transformed how we handle them with Florical.

group-wide consistency in how files are received, cataloged and validated.

Earlier this year, we completed the next phase of that transi­ tion, moving our stations onto Florical’s AirBoss automation for playout. Having the ingest and asset-management tools already in place made that transition much smoother, because the content feeding automation was already standardized and pre­ dictable.

Stephanie Sobiech, our con­ tent coordinator, is on the front line every day, handling program and promo distribution and working directly with incoming feeds from Pathfire, PitchBlue, Extreme Reach, OTSM and our networks. With Florical, she no longer has to manually track whether a file is complete or in the right format; the system validates incoming content auto­ matically and flags any problems before they reach the air chain.

That has freed her to focus on

THE DEPLOYMENT We began rolling out Florical’s ingest and asset management module in 2024 with the goal of creating a stronger foundation for how content enters our eco­ system—whether that content is coming in from distributors, agencies or internal production teams. By putting ingest and asset management in place first, we were able to establish

higher-level coordination in­ stead of chasing technical errors.

Commercials and syndicated programming represent another critical part of our workflow, and Florical has helped us bring real efficiency to that process. At Hearst, we operate on a “touchonce, distribute-to-many” model.

A single program or commer­ cial may need to be delivered to 25 stations, and Florical’s workflows allow us to handle that with economies of scale.

The content is ingested and val­ idated once, then mapped and distributed to all the stations that need it. Our dedicated com­ mercial preparation and approv­ al team depends on these work­ flows every day to ensure spots and shows are delivered consis­ tently group-wide. Instead of re­ peating the same steps, they can focus on confirming the content is correct and ready, knowing the distribution piece is handled efficiently.

The benefits extend to house­

keeping, as well. Because the system manages distribution centrally, we can avoid dupli­ cation and unnecessary storage at the station level. At the same time, archived content remains accessible through AWS, so if a station needs to pull material back, it can be retrieved quickly without adding complexity to the local workflow.

ERROR REDUCTION Since completing the rollout, the biggest change I’ve seen is consistency across the group.

Whether it’s Stephanie manag­ ing syndicated feeds, the com­ mercial team approving spots or operators checking final play­ lists, everyone is working under the same ingest and distribution standards. We’ve reduced manual errors, shortened turnaround times and freed people to spend more energy on coordination and quality control rather than on chasing missing files.

Looking forward, the meta­ data foundation we’ve built with Florical puts us in a strong position for the next phase of automation. AI-assisted work­ flows that can reconcile traffic logs, detect anomalies, and even self-correct ingest issues will depend on having robust and consistent metadata. For us, that future starts with the reliability we’ve already gained from Florical’s ingest and assetmanagement tools. ● Jim Lange is content distribution center manager for Hearst Television, overseeing daily programming delivery, distribution and asset management workflows.

He can be reached at JLange@ Hearst.com.

Jim Lange

More information is available at www.florical.com. @tvtech.bsky.social | www.tvtech.com | December 2025

27

Credit: Hearst Television

USER REPORT

equipment guide | editing & graphics/media asset management

BMG Redefines Remote Production Through Cloud-Connected Workflows USER REPORT

Credit: BMG

Todd Mason CEO Broadcast Management Group

means our engineers in D.C. can shade cameras anywhere in the country. It’s an incredibly pow­ erful way to unify our operations and deliver consistent quality across every production.

When people talk about cloud production, they often think of lightweight tools or “good enough” solutions. That’s not what we do; we’re handling Tier 1, broadcast-level productions that demand reliability, redun­ dancy and performance. AMPP gives us that—a virtualized plat­

clients—everything from control rooms and studios to podcast and streaming setups. What ties all of it together is our AMPP-powered private cloud. Whether a client wants a fully local setup, hybrid workflow or completely remote operation, we can spin it up in­ stantly through AMPP. A great example of this in ac­ tion is our work with UBS Finan­ cial. They were consolidating offices in New York and wanted a new studio and control room, but without the overhead of

That’s a massive leap from where they were, relying on por­ table drives to store nearly 30 terabytes of content a year. Now, every asset is searchable, secure and immediately accessible, not just in New York but potential­ ly across UBS’s global offices.

That’s what the future of live production looks like: Instanta­ neous, global and flexible.

WASHINGTON—When I start­ ed Broadcast Management Group, our goal was simple: to make high-end broadcast pro­ duction accessible anywhere, without compromise. Over the THE FUTURE OF LIVE past few years, that vision has We’re applying the same mod­ evolved into something much el for VPM, a PBS affiliate in Vir­ bigger: a fully connected, ginia, by building an entire cloud-enabled production broadcast facility, all Grass ecosystem that supports Valley cameras and AMPP everything from major net­ Asset management. work shows to global cor­ Grass Valley has been an porate communications. At exceptional partner in this the heart of it all is Grass journey. Their technology Valley’s AMPP ecosystem, gives us the backbone to which powers every aspect support enterprise-grade Todd Mason of our operation. operations while scaling Our new network op­ effortlessly for creative erations center, aka the demands. Together, we’re “BMG Cloud Control Cen­ proving that cloud produc­ ter” in Washington, D.C., tion doesn’t mean compro­ represents a complete re­ mise, it means opportunity. thinking of how we deliver With AMPP and Framelight media services. It’s not just X, we can deliver broad­ a facility; it’s our private cast-quality production cloud, where all of our pro­ from anywhere, for anyone, duction, playout and media at any scale. And that’s asset management (MAM) exactly where the future is systems live. Grass Valley’s headed. ● AMPP and Framelight Grass Valley’s AMPP and Framelight X are at the core of our new Network Operations Center, which we call the BMG Cloud Control Center, in Washington, D.C. X are at the core of that Todd Mason is founder infrastructure, providing and CEO of Broadcast maintaining all their own back­ the flexibility, scalability and form that combines the horse­ Management Group (BMG), a end infrastructure. We rebuilt reliability that today’s broadcast power of traditional infrastruc­ leader in cloud-based broadcast their systems from the ground clients demand. ture with the agility of the cloud. and media production. With over up and connected everything It’s the operational heartbeat of 30 years in the industry, he has directly into our NOC. Their our entire company. pioneered such innovations as UNIFIED OPERATIONS editing workstations, playout We run two main business the first private cloud broadcast Inside the NOC, our Grass Val­ channels, and storage all reside lines: live production and man­ facility and the industry’s first ley K-Frame switchers anchor the in D.C., powered by Grass Valley aged broadcast services. On the Cloud Network Operations Center control rooms, and every one of AMPP and Framelight X. Their live side, we package major news, (NOC). He can be reached at our mobile trucks uses Grass Val­ editors log in remotely and can sports and entertainment events tmason@broadcastmgmt.com. ley LDX cameras for live capture. cut files in real time, even while for networks nationwide. On the We’ve also built a centralized shows are on air and more video managed services side, we design, More information is available at video shading room powered is being recorded. build and operate facilities for www.grassvalley.com.

by GV Creative Grading, which

28

December 2025 | www.tvtech.com |

@tvtech.bsky.social

equipment guide | editing & graphics/media asset management buyers briefs Sony Ci Media Cloud Ci streamlines media workflows, with AI-powered metadata logging and metadata extraction including C2PA content authenticity certification, enabling fast search and reliable verification. The platform also offers scalable storage management, native AWS S3 integration, and lifecycle policies to automate bulk archive and restore operations. Real-time collaboration is enabled through the LiveSession feature, offering synchronized playback and annotation for internal and external teams. With robust watermarking, SSO integration and customizable permissions, Ci keeps assets protected while simplifying user management—so users can focus on creating, not troubleshooting.

Newer features include Ci’s LiveSession, which offers two powerful ways to bring the screening-room experience to distributed teams.

Whether users need quick approvals or secure team discussions, Ci’s LiveSession adapts to user needs and workflows. https://cimediacloud.com

Chyron Chyron PRIME

Built on Chyron’s advanced render engine, PRIME is a premier real-time graphics platform that offers fast, frame-accurate performance for live news, sports and entertainment.

Its modular architecture supports 2D/3D graphics, data-driven storytelling, touchscreen interactivity and XR, all within a unified production environment.

Whether integrated into traditional control rooms or hybrid IP workflows, PRIME empowers creative teams to design, animate and deliver compelling visuals with unmatched speed and reliability. PRIME is seamlessly integrated across Chyron’s ecosystem, from CAMIO newsroom workflows to Chyron LIVE and Virtual Placement. https://chyron.com

Dalet Dalet Dalia

Ross Video Carbonite Code

Dalia, an agentic AI built on 30 years of media-engineering expertise, unifies the Dalet ecosystem through a single, natural language-powered dashboard. Users simply ask: “Find all promo videos from the 2025 World Series” or “Generate Spanish highlights for Game 7.” Dalia listens, interprets and executes.

Built on Dalet’s core architecture, Dalia is media-aware and natively integrates with Dalet Flex, Dalet Pyramid, Dalet InStream, Dalet Brio and Dalet Amberfin, automating the full range of workflows. By combining simplicity with enterprise-grade power, Dalia removes the trade-off between ease of use and performance, bridging existing infrastructure with next-gen AI to boost productivity, creativity and ROI. www.dalet.com/products/dalia/#features

Carbonite Code is a software-based production switcher purpose-built for NDI workflows. Designed to meet the evolving demands of a growing community of live production professionals, Carbonite Code combines the production power of Ross Video’s Carbonite range with the efficiency and low latency of NDI video transport technology.

Carbonite Code features advanced CPU and GPU processing power in a software-based system, giving users the ability to leverage low-latency NDI while seamlessly integrating into an expanding ecosystem of devices. It also features three powerful Carbonite MEs, each with six full Keyers; video-signal monitoring using the three standard MultiViewers within Carbonite Code; and RAVE Audio mixer, offering a 48-channel mixer with six Aux Mixes. Carbonite Code is compatible with the full range of TouchDrive control surfaces for more tactile control. www.rossvideo.com

Bitcentral Fusion Hybrid Storage Bitcentral’s Fusion Hybrid Storage (FHS) delivers the performance broadcasters need to move quickly without compromise. By combining the reliability and speed of on-premise infrastructure with the scalability and flexibility of the cloud, FHS ensures large files, spotty connections and tight deadlines never stand in the way of getting stories to air.

Instant access to current projects and on-demand cloud retrieval keeps teams productive, while built-in disaster recovery safeguards valuable archives. FHS lowers costs, accelerates workflows and provides peace of mind that storage won’t be the bottleneck in breaking news. For forward-thinking broadcasters, FHS aligns with today’s pace of news, turning storage into a strategic advantage with speed and flexibility. https://bitcentral.com/fusion @tvtech.bsky.social | www.tvtech.com | December 2025

equipment guide | editing & graphics/media asset management

The Division Pre-Edits Reality TV With Solutions From Blackmagic USER REPORT Aaron Smith, Executive Producer Graveyard Carz” Co-founder, The Division

SPRINGFIELD, Ore.—In 2007, I began filming Mark Warmer restoring an Mopar Muscle Car and the “Graveyard Carz” series began. Shortly thereafter, Warmer and I co-founded production company The Division, focusing on reality television, and today “Graveyard Carz,” a reality show chronicling the restoration of Mopar Muscle Cars that are often deemed beyond repair, is the longest-running series on Motor­ Trend’s linear network.

Over the years we’ve learned a lot, particularly when it comes to streamlining workflows and increasing efficiency. We’re a small crew, handling virtually everything in-house: shooting, editing, mixing, color correction, producing, mastering, delivering and social media. (I even do voi­ ceover for the show.)

some details to iron out, but overall, I’m very pleased with the improvements to our workflow.

While the move to DaVinci Resolve Studio and Blackmagic Cloud was an essential step for­ ward, I thought why not stream­ line further by bringing editing into production (vs. just post) for larger, multicam shoots with an ATEM Television Studio HD8 ISO switcher?

I knew the ATEM ISO model shined when used with DaVinci Resolve for postproduction, so why not direct and capture epi­ sodic shoots in a live production style, with pre-edited segments enhancing efficiency, while maintaining the flexibility to further edit in post?

For these shoots, we record onto the local hard drive, sav­ ing the .DRP file (i.e., a DaVinci Resolve Project file) along with it. This enables us to switch cameras and direct the shoot in a “live” style while maintaining the flexibility to edit afterwards.

The ability to edit with proxies

and then switch to Blackmagic RAW at the push of a button for final grading is unique. This can be a fast and appealing workflow if you don’t mind working with multiple cameras in the sync bin.

PRE-EDITING SEGMENTS Now, we can pre-edit larger segments while making sure we have coverage of the action.

We use headsets to communi­ cate during the shoot, with the ATEM operator informing the crew which camera is being used or how to adjust a shot. While this live directing approach is something we’ve done without a switcher, it’s a terrible waste of resources when it’s so easy to have someone simply push but­ tons and edit the segment live.

It gives the editor a huge leg up when they have a large segment.

Additionally, it’s much more pleasant for a producer to watch something that appears to be edited. It’s also possible to mix cameras in this workflow, and even to process the resulting

.DRP in such a way as to produce a classic multicam clip, if that workflow is more appealing.

As an independent production company, we have leveraged social media for promotion from the very beginning—so using the ATEM for multicam live streams is also exceptionally valuable to us. We’ve used it to live stream on social me­ dia platforms, and I am confident we will continue to do so. ● Aaron Smith is the executive producer of “Graveyard Carz” and co-founder of The Division, an independent production company based in Springfield, Ore. Its flagship reality series, Graveyard Carz, still keeps the lights on and keeps the crew out of the pool hall––albeit not necessarily out of trouble. For more information about The Division, contact asmith@divisiontv. com or visit www.divisiontv.com.

For more information, contact Blackmagic Design at 408-954-0500 or visit www.blackmagicdesign.com.

Credit: The Division

BETTER COLLABORATION Previously, our post workflow was hampered by the fact that any last-minute edits involved changing multiple projects and tracking multiple changes across multiple versions. In moving to DaVinci Resolve Studio, I was most excited by team collabora­ tion via Blackmagic Cloud. My hope was that I could color-cor­ rect while my fellow executive producer, Jeffrey Osborns, could mix—in a proper DAW [digital audio workstation], like DaVinci Resolve’s Fairlight. Even more, I hoped that our talented editor and animator Nick DeAngelo would be able to add b-roll—all simultaneously. We still have

30

Mark Warman, famed restorer of late 1960s/early 1970s Mopar muscle cars and host of the long-running reality TV show “Graveyard Carz,” at his eponymous auto-restoration shop.

December 2025 | www.tvtech.com |

@tvtech.bsky.social

equipment guide | editing & graphics/media asset management

How Sky, MediaMesh Transformed Content Processing Across Europe organization. TV engineers retrained as software engineers, embracing cloud-native develop­ ment and modern DevOps prac­ tices. This transformation has not only accelerated delivery but fostered a culture of continuous improvement and innovation.

USER REPORT Ashley Ross Principal Product Manager Sky Group

LONDON—As Europe’s larg­ est media company, Sky Group delivers premium content at a scale few media companies can match. Operating across multiple markets has meant managing a patchwork of siloed systems, inconsistent tooling, different operational practices and varied compliance requirements, pre­ venting us from fully leveraging economies of scale.

Our challenge required not only a technically innovative approach to future-proof Sky’s content supply chain, but also a long-term strategic solution that would unify operations across the Group.

In short, we needed a radical shift onto a single platform.

ONE GROUP, ONE PLATFORM To address this, we built Media­Mesh, a unified cloud plat­ form that centralizes QC, enrich­ ment, conversion, and distribu­ tion at scale. The MediaMesh ar­ chitecture—an API-driven, mod­ ular framework—brings together a curated ecosystem of in-house built microservices and products from leading industry partners, each selected for their ability to solve specific pain points.

For this project, we partnered with several companies, includ­ ing SDVI, whose Rally platform provided the base layer that integrates with new and legacy tooling to retrieve metadata and media from dispersed systems and storage, in order to orches­ trate content through the Group platform.

Telestream’s Qualify serves as

BUSINESS BENEFITS

The Sky Group built a unified cloud platform with MediaMesh to better tie together its operations across the group.

the automated quality control (QC) function at ingest, validat­ ing assets against Sky’s technical standards before proceeding further. Through close collabora­ tion with operations, years of QC data were audited to optimize a system that flags issues early and reduces false positives compared to legacy tools, significantly min­ imizing manual review effort and downstream issues.

AWS ran AI to identify onscreen subtitles and spoken lan­ guage to automatically identify localization requirements to fast-track downstream dubbing and subtitling efforts. This lan­ guage detection has also allowed Sky Italia viewers to filter con­ tent by precise audio language, unlocking new levels of discover­ ability and personalization.

Codemill’s Accurate.Video platform not only plays back content, but provides a collec­ tion of audio controls, the ability to enable/disable subs and dubs for review and can present dif­ ferent time-based markers along a timeline (e.g., segmentation points, QC errors, sections need­ ing localization).

We also deployed TMT In­ sights’ Polaris, which provides

operations with a single platform identity, abstracting them from the multiple backend services, to streamline their operational practices. The Polaris UI provides visibility into metadata, end-toend monitoring, workflow anom­ alies, prioritizes task manage­ ment for steps requiring human intervention, communication threading and launching special­ ized functions such as editing tasks, various exports and ad hoc workflows. These functions help operations meet critical SLAs with confidence, reduce touch­ points, and speed up time to air.

Whether it’s ingesting content from over 300 content partners, enriching it with metadata and access services, or distributing it to platforms like Sky Glass and NOW, MediaMesh ensures every step is automated, observable, and streamlined. And the elastic scalability allocates sufficient system resources to meet the changing business demands.

To deliver a platform as am­ bitious as MediaMesh, we had to rethink not just our technology stack, but our internal capabili­ ties. This meant evolving from a traditional broadcast engineer­ ing mindset to a software-first

By centralizing workflows, we can develop and deploy features once, rather than duplicating ef­ fort across multiple systems, de­ livering consistent benefits across the entire group. This streamlines internal investment and speeds up our time-to-market when de­ livering new features. Today, Me­ diaMesh processes more than 2.7 million assets annually, equating to more than 10 million minutes of content, and manages around $2 billion worth of media across our ecosystem.

As we continue to evolve MediaMesh, we’re exploring new ways to enrich content, stream­ line compliance, and personalize viewer experiences across mar­ kets. The platform’s modular de­ sign ensures we can adapt quick­ ly, whether it’s integrating new services, responding to regulatory changes or supporting future product launches. MediaMesh has laid the foundation for a more agile, scalable and collaborative future at Sky, and we’re excited to build on this momentum to shape next-generation content processing. ● Ashley Ross is a principal product manager at Sky Group, Europe’s largest media company, where he has held leadership roles over his 18-year tenure at the company. He can be reached at Ashley.Ross@sky.uk.

More information is available at www.telestream.net/.

@tvtech.bsky.social | www.tvtech.com | December 2025

31

equipment guide | editing & graphics/media asset management

WFMZ Streamlines Workflow, Upgrades Automation and Graphics USER REPORT Israel Alejandro Master Control Manager WFMZ-TV

ALLENTOWN, Pa.—Owned by Maranatha Broadcasting Co., WFMZ-TV is an independent sta­ tion based in Allentown, Pa., that also operates Maranatha-owned MeTV affiliate WDPN-TV Phila­ delphia. We are a unique opera­ tion, airing more than 10 hours of local news daily, covering the northern tier of the Philadelphia DMA and 12 total subchannels across our stations.

As sponsorships have become more graphics-intensive, we realized that our old automation was showing its limitations.

Managing playout and graphics across multiple facilities and monitored channels also became increasingly inefficient with our existing system. We needed a cohesive platform from a single vendor that could handle auto­ mation and graphics with ease.

Extreme Reach and Pitch Blue.

For years, we segmented shows manually, a slow process of re­ cording and segmenting each program by hand.

That changed with Imagine’s Motion feature, which reads BXF metadata from syndicators to segment programs automatically.

Even when issues arise, we can reingest and resegment within minutes. The improvement in ef­ ficiency and reliability has been tremendous.

Versio Graphics has also transformed how we engage with our viewers. We now use a wide range of on-screen graph­ ics, L-bars, snipes and more in our newscast and sponsored snipes on various channels. Each month, we partner with a local client for an awareness campaign tied to that month’s theme.

For Hispanic Heritage Month, for example, we created edu­ cational snipes with rotating facts about Hispanic history and culture. The system randomized which fact appeared, keeping

content fresh and engaging.

We realized another example of the system’s flexibility when our Reading, Pa., newsroom cele­ brated the 30th anniversary of its “Berks Edition” newscast. Using Versio Graphics, we created a dynamic on-screen bug that ani­ mated from our standard logo to reveal the anniversary emblem.

With the dynamic branding fea­ ture, the automation recognized when the Berks Edition news­ cast was live and automatically switched to the special bug, no reprogramming required.

That same efficiency extends to our weather channel, which runs nearly 300 graphics, all based on a single Adobe After Effects template that lets us quickly swap in client logos and publish updates. The process saves hours of production time and keeps every graphic consis­ tent with our design standards.

Versio Graphics made it easy to maintain, even with the many updates we manage each week.

Earlier this year, the platform

LINKED DEPLOYMENTS Imagine Communications offered exactly that. We adopted the company’s ADC automation and Versio Graphics solutions, deploying the automation across three sites: our main studios in Allentown, a disaster recovery site, and a separate onsite disas­ ter playout server at the MeTV transmitter site in Philadelphia.

With the Imagine solution, we gained a unified workflow that aligned perfectly with how we already created content. The built-in Adobe After Effects inte­ gration was especially valuable.

Once we chose Imagine and went online, the benefits were immediate. Our syndicated con­ tent comes from sources such as

32

played an instrumental role in overhauling our weather chan­ nel, enabling us to replace a complex system of external ma­ chines and contact closures. The system’s new “play from folder” feature lets us integrate video playback directly into the graph­ ics engine, turning what could have been a costly rebuild into a quick, affordable transition.

VERSIO GRAPHICS Choosing Imagine for our operations was absolutely the right move. Versio Graphics and ADC automation have brought reliability, flexibility, and creativ­ ity to everything we do. Viewer feedback has been overwhelm­ ingly positive and Imagine’s support team has been outstand­ ing. Whether troubleshooting or tracking down the source of issues, they’ve always been re­ sponsive and professional, even during late-night calls.

As an independent station preparing to celebrate our 50th anniversary during Thanksgiving week of 2026, we continue to chart our own path, guided by a forward-looking management team that’s always planning for growth. Our infrastructure gives us room to expand, and with Versio Graphics and ADC automation at the core, we’re well-positioned to keep innovat­ ing and delivering high-quality local content. ● Israel Alejandro is the master control op manager for WFMZ-TV and WDPN-TV in Allentown, Pa., and an Emmy Award-nominated technical director and SBE-certified television operator. He can be reached at israela@wfmz.com.

With the deployment of solutions from Imagine Communications, we’ve streamlined workflows and opened up opportunities for new revenue streams

December 2025 | www.tvtech.com |

@tvtech.bsky.social

More information is available at https://imaginecommunications. com/.

equipment guide | editing & graphics/media asset management buyers briefs

Cablecast VIO Smart Asset Manager (SAM) SAM (Smart Asset Manager) has been serving as a virtual assistant for Cablecast video automation workflows since 2022. Included with Cablecast VIO video servers, SAM reduces user effort—and potential user error—for the predictable parts of file management. It copies content from the video server to other locations, such as a NAS, SAN, or the cloud.

Directed by rules-based automation, SAM can automatically move content to archive storage after a specified period of time, retrieve assets from the archives when they are needed again for the program schedule, or backup media files to a designated file store for safekeeping. It can even automatically delete content after a specified period of time, so aging episodes of ongoing syndicated series aren’t taking up valuable storage space. www.cablecast.tv/automation-collection/ cablecast-vio-4

NVerzion NStantReplay EVS VIA MAP EVS’s media-asset platform for next-generation news production, VIA MAP, empowers news production operators, editors and journalists to create and deliver stories faster, smarter and with greater agility. The comprehensive platform combines live production, distribution, archiving and monetization into a single workflow, streamlining the entire news-delivery process.

Built-in AI capabilities such as speech-totext, facial recognition and automated metadata enrichment accelerate editing, search and content management, ensuring speed and accuracy under pressure. As a cloud-native and highly flexible platform, VIA MAP scales easily to meet peak demands during breaking news or major events, providing a reliable foundation for modern, end-to-end news production. https://evs.com/via-map

NStantReplay is a software and hardware-based solution designed to replace costly external systems and clunky workarounds with a streamlined, professional-grade replay experience. From clip capture to slow-motion playback, everything happens inside one fast, intuitive interface engineered specifically for real-time execution. With multicamera input and precision playback, it’s ideal for local coverage, pro broadcasts and fast-paced live events.

Key capabilities include: multicamera support with seamless angle switching; real-time playback, slow motion and highlight-clip stacking; frame-accurate GUI jog/shuttle controls, inclusive hardware panel and optional touchscreen monitor; designed for full production switcher integration or standalone operations; flexible I/O platform supporting four, six or eight camera feeds with two outputs; and integrated SDI video and audio output. www.nverzion.com/nstantreplay

products & services marketplace

@tvtech.bsky.social | www.tvtech.com | December 2025

33

people on the move For possible inclusion, send information to tvtechnology@futurenet.com with People News in the subject line.

JOSH MIELY

PAUL LIDSKY

MIKE NAPODANO

MARK MARTIN

NAB

Diversifed

Operative Media

Sinclair

The National Association of Broadcasters has named Josh Miely vice president of technology, programming and education. In his new role, he will support NAB’s work on educational initiatives and projects alongside John Clark and Sam Matheny in NAB’s technology department. Miely transitions from the NAB Show production team, where he was vice president of content design and development.

He has also served as NAB’s director of radio operations.

Technology solutions provider Diversified has named Paul Lidsky its new CEO, tasked with guiding its next stage of growth, driving market expansion and enhancing service delivery across its global footprint. Lidsky, who had been board chair since 2023, has more than four decades of leadership experience in IT solutions and technology services. Prior to Diversified, Lidsky was CEO of Core BTS; president and CEO of Datalink; and CEO of Calabrio.

Operative Media has named Mike Napadano its new CEO. Napadano has been with ad technology provider Operative since 2019, most recently as chief customer officer. Prior to that, he was chief technology officer of Disney ABC Television Group chief technology officer from 2017 to 2019. A 25-year ad tech veteran, prior to Disney he was senior vice president and CIO for sales, research and analytics at NBCUniversal.

Sinclair has named Mark Martin vice president and general manager of KOKH-KOCB Oklahoma City and KTUL Tulsa. He most recently was director of sales at Nexstar Media Group-owned KFOR-KAUT Oklahoma City.

Previously, Martin had been a GM or sales manager with Sinclair stations in Kansas City, Oklahoma City and Milwaukee, where he was known for his strategic thinking, team-building and ability to lead through change.

ULRICH VOIGT

DANIEL PARSONS

MIKE WRIGHT

G MORGAN

Riedel

E.W. Scripps

Lawo

Globecast

Riedel Communications has hired Ulrich Voigt as director, live production solutions, taking over leadership of its SimplyLive business from Luc Doneux, who will leave Riedel on Jan. 1. Voigt is charged with further integrating the SimplyLive product family into Riedel’s overall live video strategy and driving additional growth. He comes from Vizrt, where he was global head of product management and cloud transformation and a member of its executive management team.

E.W. Scripps has hired Daniel Parsons in the new role of chief information security officer. He wil lead enterprise security strategy, responsible for protecting the integrity, availability and confidentiality of digital content, newsroom systems, intellectual property and consumer data. Parsons had been vice president of cyber defense at NBCUniversal. He has also held cybersecurity roles at U.S. Bank, General Electric and Walmart.

Lawo has tapped Mike Wright as vice president of sales, North America. A veteran strategic sales leader who has held roles at Appear, EditShare, Tektronix/ Telestream and Grass Valley, Wright will be tasked with spearheading Lawo’s commercial strategy in North America, focusing on expanding its market presence, strengthening customer awareness and driving brand awareness across key verticals.

G Morgan has joined Globecast, a provider of broadcast, media and entertainment managed services, as executive vice president of sales, Globecast Americas. He will lead sales strategy and customer engagement across the region.

Most recently with Amazon Web Services, Morgan will focus on expanding the company’s footprint in cloud-based playout, connectivity and IP distribution services while supporting customers in their own digital evolution.

34

December 2025 | www.tvtech.com |

@tvtech.bsky.social

9000