Production 360 Issue V2.2 March-April 2025

YOUR MAGAZINE FOR SPORT, NEWS, FILM & TV AND EVENTS

V2.2 • MARCH-APRIL 2025

Viva Las Vegas

AI, 5G, cloud and immersive audio at NAB 2025

NAB Booth #N2147

PRODUCTION360.MEDIA WELCOME

MARCH-APRIL 2025 | 3

Welcome to Production 360º

Once again, let me wish you a

very warm welcome to issue 4

of Production360°. This issue is

dedicated to all things NAB as it represents

another opportunity for companies to

showcase their products and services.

This is our biggest issue so far and proof

that the little guy can still have a place in

a congested, competitive and sometimes

conservative industry.

So before I go on, a huge thank you to Grass Valley’s

Adam Marshall, TVU Network’s Paul Shen, Avid’s Craig

Wilson, Riedel’s Jan Eveleens, Bridge Technologies’

Simen Frostad, Editshare’s Lee Griffin, AIMS’ Andrew

Starks, IABM’s Saleha Williams, SMPTE’s Maja

Davidovic, and for yet another piece of superb content,

Ben Swanton at 808 Talent. And to top it off there is a

fantastic insight from our own David Davies. I also want

to thank our designer, Dean Cook, who has yet again

produced a brilliant-looking product.

Being cynical for a moment, I do wonder how much still

needs to be demonstrated after ISE, IBC and a host of other

events. The optimist in me would say that the shows are all

different and do different things. The cynic who questions

everything wonders what new influencers and purchasers

the vendors will see that their own sales teams, additional

marketing methods and previous outreaches haven’t?

Talking to many vendors in my pursuit of gaining

commercial branding within this publication I came across

an alarming stat on more than one occasion. Some small

to mid-size organisations now spend close to 80% of their

marketing budget on the ‘big 3’. That’s a worry and we

should all be concerned as I am quite sure that visitors may

also be spending 80% of their travel and show attendance

budgets in a comparable way, too.

Never underestimating the power of face-to-face events

and networking, my concern is that if this trajectory

carries on in what are uncertain times for every business

in almost every industry, is there a point where it all

becomes a bit much? After all, there is only so much

money in any market.

It’s tough out there for the smaller organisations such as

us, with some fighting for their survival across the entire

supply chain. The pressure to keep the wheels moving, do

business and actually turn a profit is intense. There will

be more and more difficult choices in the next couple of

years, for sure. And even the huge profit-making machines

will feel the effects. In the meantime, we all keep fighting

as best we can.

I wish every vendor and visitor a fantastic show. Please

enjoy this issue, it’s still free, accessible to all and able to be

read on any device. With all of your continued support we

can do so much more.

Chris Cope, Publisher

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PRODUCTION360.MEDIA MARCH-APRIL 2025 | 5

CONTENTS

Publisher

Chris Cope

chris@production360.media

Contributing Writer

David Davies

daviddaviesjournalist@gmail.com

Production

Dean Cook

deancook@magazineproduction.com

Production 360 Media Ltd,

6 The Forum, Minerva Business Park,

Peterborough, PE2 6FT.

Tel: +44 (0)20 3289 8015

Website: www.production360.media

Production 360 is published six times

a year by Production 360 Media Ltd.

© 2025 Production 360 Media Ltd

The views expressed in Production 360

are not necessarily those of the editorial or

publishing team.

@production360

/production360

3 Welcome to Issue 4

Publisher Chris Cope welcomes readers to the fourth issue of

Production360, which is focused on the latest innovations set to

greet attendees at the NAB Show 2025.

6 Uncertainty: the only certainty?

Contributing writer David Davies looks at an NAB Show taking

place in the context of profound geopolitical instability —

perhaps without parallel in the last 50 years — that is making

market predictions increasingly hard to deliver.

8 Production360 News

Ahead of the latest edition of the NAB Show, Production360

provides the latest product and company news from leading

vendors and service providers.

18 Grass Valley’s Adam Marshall: ‘GVMU is the

North Star on everything we do’

The Chief Product Officer of Grass Valley, Adam Marshall,

discusses recent company milestones, plans for NAB 2025, and

the ongoing changes in the broadcasting landscape.

22 TVU Networks’ Paul Shen: ‘The changing

landscape presents significant opportunity’

The CEO of TVU Networks, Paul Shen, reflects on evolving

attitudes towards cloud-based live production, the latest

developments that will be showcased at NAB, and the

company’s 20th anniversary celebrations.

26 Avid’s Craig Wilson: ‘What’s not changing

is consumption’

Product evangelist, video and media at Avid, Craig Wilson,

discusses the company’s recent acquisition of Wolftech, the

latest developments related to MediaCentral, and why it’s clear

that the ‘AI honeymoon’ is now over.

30 Riedel’s Jan Eveleens: ‘We’re excited about the

wealth of products we are bringing’

The newly appointed CEO of Riedel’s Product Division talks

Production360 through the company’s impressive array of new

launches at NAB, and shares his thoughts on virtualisation, 5G

and machine learning.

32 Bridge Technologies’ Simen Frostad:

‘Monitoring should be a holistic process’

Chairman of Bridge Technologies, Simen Frostad, reflects

on the company’s 20th birthday, its philosophy of endto-end

monitoring, the latest product launches, and the

transformative effect of AI.

38 EditShare’s Lee Griffin: ‘Broadcast production

is experiencing a dynamic transformation’

The VP product & marketing at EditShare, Lee Griffin, reflects

on an eventful 12 months for new launches, the ongoing quest

to make workflows ‘faster and smoother’, and the role of AI in

content production and monetisation.

42 AIMS’ Andrew Starks: ‘The use cases

remain the same’

The director of product marketing for Macnica and board

member & marketing work group chair at AIMS reflects on

the Alliance’s plans for NAB, convergence between broadcast

and pro AV, and the role of standardisation in verifying

content as AI evolves.

46 IABM’s Saleha Williams: ‘There needs to be

clarity on the value we bring’

Saleha Williams, who became CEO of IABM last December,

reflects on her first NAB in charge of the organisation, her

mission to deliver ‘transformational change’, and the evolving

role of trade shows.

50 SMPTE’s Maja Davidovic: ‘Everyone’s

interested in how AI will change workflows’

Director of education at the Society of Motion Picture and

Television Engineers (SMPTE) outlines the organisation’s plans

for NAB 2025, the ongoing demand for ST 2110 training, and the

need for a practical approach to AI.

54 Talent, tech and transformation

As the global media and entertainment technology industry

prepares for this year’s NAB Show, it’s a timely moment to

reflect on some of the recruitment trends currently shaping the

market, says 808 Talent founder and CEO Ben Swanton.

6 | MARCH-APRIL 2025 COMMENT

PRODUCTION360.MEDIA

Uncertainty: the only certainty?

Contributing writer David Davies looks at an NAB Show taking place in the context of profound geopolitical instability —

arguably without parallel in the last 50 years — and wonders if media soon be impacted by a wave of censorship

What a difference a year makes — or

at least it certainly seems so. Both in

the industry and beyond, it has been

a 12-month period characterised by remarkable

change and uncertainty. Within the industry,

the rise of Artificial Intelligence and Machine

Learning have led to unprecedented debate

regarding the reach of automation and the impact

it is likely to have on production workflows and

employment requirements.

Beyond broadcast and media, there have been

questions — previously unthinkable in my own

(46-year) lifetime — over whether democracy

itself is now under threat. The second Trump

administration in the US has, in just a few months,

repeatedly sought to question the integrity of

media outlets and assume control over esteemed

cultural institutions such as the Kennedy Centre.

Comprising a opera house, lecture theatre,

opera house and more, the facility has long been

regarded as a mainstay of America’s cultural and

cultural life — and, moreover, one that very much

sang to its own tune.

But that independence of thought can no

longer be taken for granted. As the Guardian

noted in late February: “Performers are cancelling

shows, donors are questioning their support, and

audience members are threatening to boycott. It

Scenes from NAB Show 2024

is the biggest crisis in the 54-year history of the

Kennedy Center, the crown jewel of performing

arts in the nation’s capital.”

In short, cultural organisations are now under

a level of partisan scrutiny that is without parallel

since senator Joseph McCarthy and his affiliates

were involved in the thoroughly-discredited

House Committee on Un-American Activities,

Photo courtesy of NAB

which was an investigative committee of the US

House of Representatives established in 1938

to investigate alleged disloyalty and subversive

activities on the part of private citizens and

public employees. Although ostensibly focused on

those with perceived sympathies for communism

and left-leaning parties in general, it ultimately

served as a ‘witch-hunt’ for anyone who wasn’t

PRODUCTION360.MEDIAMARCH-APRIL COMMENT

2025 | 7

Joseph McCarthy

Photo credit: United Press Library of congress

United States Capitol

on the hard-right — resulting, in many cases, in

the decades-long blacklisting of creative people

who did not agree with McCarthy and his allies.

Subsequent to its final dissolution in the mid

1970s, the Committee was regarded as a singular

low-point in the history of America and its oftstated

commitment to freedom of thought.

But now, in 2025, it is really not so hard to

believe that there yet might be a ‘reboot’ of the

House of Un-American Activities. Barely a day

goes by without Trump denouncing media outlets

that don’t align with his opinions (The Atlantic

being a recent example), or seeking to reduce

the capabilities of organisations that he deems

to be ‘anti-Trump’ — the Voice of America, the

broadcaster established during WW2 to help

counter Nazi propaganda being a prime example.

More than at any time since 1945, there is a sense

that alternative viewpoints will not be tolerated

by the present government.

Whilst no one could — or should — expect

the annual schedule of trade shows to fully

reflect the current peril, it does seem reasonable

for them to at least acknowledge that this is

taking place. The self-determining nature of

the media outlets that technology providers

serve is under threat, and that needs to be

recognised at every level. To be more explicit,

there is every chance now that their solutions

might be used in the service of deliberate

misinformation, eventually leading to disorder,

conflict, and the Orwellian condemnation

of ‘wrong-think’.

In short, the context in which media companies

operate is changing rapidly. It may no longer

be enough to stand on the sidelines and plead

neutrality, especially when people’s Visas can

be revoked for no reason and they can be taken

into custody for unspecified periods. It’s by no

means clear yet, but this might yet prove to be a

‘1933 moment’ and the freedoms that so many

US citizens — and allies — have relied upon for a

half-century could be taken away,

So it may well be that we are now approaching

a time in which broadcast stakeholders cannot

simply sit by and watch things play out. They

may need to stake a claim in favour of media

freedom and liberty of expression. For now,

though, it is evident that the only certainty is

uncertainty itself.

The opinions expressed here are those of

the contributing writer and do not necessarily

reflect those of any other organisations

mentioned in this issue.

8 | MARCH-APRIL 2025 NEWS

PRODUCTION360.MEDIA

Vubiquity streamlines content

management and monetisation

at the 2025 NAB Show

Vubiquity, an Amdocs company in technologyled

media services, will debut its latest

product innovations for maximised content

monetisation opportunities at the 2025 NAB Show

on booth W3750 at the Las Vegas Convention

Center from April 6-9. These innovations include

the introduction of Catalog Intelligence, an

industry-first AI-powered solution designed to

transform how media organisations manage

and monetise their content libraries, and

key updates to MetaVU and AssetVU, the

company’s comprehensive Metadata and Asset

management solutions.

These latest innovations empower media and

entertainment companies to overcome critical

bottlenecks in their operations, such as siloed

data, manual reconciliation, and inefficiencies in

global content readiness. By addressing these

pain points, Catalog Intelligence and MetaVU

enable faster, smarter, and more scalable

monetisation strategies for content owners,

distributors, and platforms.

CATALOG INTELLIGENCE:

REDEFINING CONTENT

READINESS AND MONETISATION

Catalog Intelligence streamlines content

preparation for global distribution by leveraging

AI-powered natural language processing (NLP) to

eliminate fragmented workflows and manual tasks.

An upcoming module for Vubiquity’s Media

Suite AI, this platform unifies data sources,

provides actionable insights, and offers a chatbased

interface for faster decision-making,

reduced manual effort, and accelerated time

to market. By automating readiness tasks,

Catalog Intelligence saves teams countless

hours, enabling them to focus on marketing

their content while shortening the timeline from

Asset assessment to market availability. Media

companies gain a competitive edge, optimise

content value, unlock new revenue streams, and

achieve greater efficiency and profitability with

accurate and streamlined deployments.

Key features and benefits include:

• Natural Language Search: Easily search content

libraries using plain language, like “Show kids

TV series with Brazilian Portuguese subs or

dubs,” for instant, accurate results. No more

spreadsheets or database digging.

• Unified Data View: Combines scattered data

(Metadata, Assets, subtitles) into one centralised

system, giving teams a clear, consistent

overview for better decisions.

• Asset Readiness Checks: Automatically detects

missing subtitles, artwork, or edits and triggers

workflows to fix issues quickly, reducing delays.

• Actionable Recommendations: Provides clear

insights to guide decisions, like prioritising

international content or meeting regional

compliance needs.

• One-Click Automation: Quickly resolve gaps by

ordering translations or starting quality checks

with a single click, saving time and effort.

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PRODUCTION360.MEDIA

FOR-A America delivers its largest

commercial XR Wall to date

Curved, 13’x32’ Alfalite LED Wall Serves

as Dynamic Backdrop at New ST 2110

Walmart TV Studio

FOR-A America announces its largest

commercial XR wall installation thus far — a

curved 13’x32’ wall of 162 Alfalite Modularpix

Pro LED panels at the TV studio in Walmart’s

extensive, new home office in Bentonville, AR.

The wall serves as a dynamic backdrop at WMTV

(Walmart TV) — a 200,000 square-foot facility

— where internal and external company video

communications are produced.

Due to the brightness and colourimetry of

its Modularpix Pro panels, WMTV’s videowall is

XR capable for seamless integration of digital

elements with the physical world. The curved

wall will display virtual environments or changing

scenes in real-time, allowing presenters and

cameras to interact seamlessly with the digital

content projected onto it. The 1.5mm pixel pitch

Alfalite panels feature advanced Brompton

Technology LED video processing, ensuring

optimal accuracy and colour reproduction.

The production facility is fully SMPTE ST 2110

compliant, enabling the transport of video, audio,

and metadata over IP for a more flexible and

efficient media workflow.

“Re-imagining workflows is an important part

of choosing the right partner for Walmart,” said

Dave Magnia, Chief Engineer AV/Broadcast

Engineering. “Walmart has enjoyed a long

relationship with FOR-A America for that very

reason. Our FOR-A rep, Adam Daniul, has provided insightful

advice towards solutions that maximise creativity while saving

operating costs. The Alfalite wall is one such solution that we are

proud to have as part of the creative toolkit in our new studio on

the new campus.”

The Alfalite Modularpix Pro LED panel series is designed

for demanding fixed installs in entertainment, corporate,

and retail environments. These

panels are available in five pixel

pitches: 1.5mm, 1.9mm, 2.6mm,

2.9HBmm, and 3.9HBmm.

“Walmart has always valued our

partnership, not just as a vendor,” said

Adam Daniul, Vice President of Sales

at FOR-A America. “We’re proud to

provide a solution that meets their

needs perfectly. Alfalite’s unmatched

resolution, seamless integration, and

durability made it the clear choice

for their XR studio. This collaboration

highlights Walmart’s commitment

to innovation, and we look

forward to supporting their future

advancements in studio production

and immersive technology.”

FOR-A America is the exclusive U.S.

partner of the Spanish LED display

manufacturer, integrating Alfalite

panels with FOR-A video switchers,

signal processors, camera tracking,

routers, and XR systems as part of

a live video production ecosystem.

Alfalite customers in the U.S.

include live event specialist White

Tie Productions and The Church at

Rock Creek in Little Rock, and Geyer

Springs FBC, AR. FOR-A represents

Alfalite in Latin America, Europe, the

Middle East and Africa, and Asia.

FOR-A will also showcase a

variety of Alfalite LED panels in

Booth #N707 during the NAB

Show this April.

PRODUCTION360.MEDIA NEWS


Studio Technologies to

display ST 2110 Supporting

Announcer’s Consoles at

NAB 2025

An extensive set of user features and

configurable resources make the

Model 5536, Model 5534 and Model

5532 ideal for use in demanding

broadcast and related applications

Studio Technologies, manufacturer

of high-quality audio, video, and

fiber-optic solutions, will unveil

three new announcer consoles that

feature ST 2110 support at NAB 2025

(Booth N2672). The new announcer

consoles each offer advanced

features but differ in the number of

talkback sender (output) channels,

with the six-talkback-channel

Model 5536, four-talkback-channel

Model 5534 and two-talkbackchannel

Model 5532.

Each provides a combination of

high-performance analogue and

digital audio capabilities with an

extensive set of user features and

configurable resources, making

them ideal for broadcast, sports,

eSports, live event, and streaming

applications. Requiring only minimal

connections for deployment, the

new line provides one on-air talent

with all the resources they need to

support a wide range of scenarios.

The units support the SMPTE® ST

2110 suite of standards to implement

audio-over-Ethernet networking

connectivity. For enhanced

network reliability, redundant

stream performance following

the ST 2022-7 standard is also

supported. Housed in a compact,

rugged, steel enclosure, the units

are intended for tabletop use,

small enough for use “court-side”

or in a crowded booth, yet flexible

enough for numerous remote

production workflows.

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PRODUCTION360.MEDIA

Sky’s Gabby Redfern to receive

The Women in Technology

Leadership Award at NAB 2025

The TVNewsCheck Women in Technology

Awards returns to the Main Stage at NAB

this year, honouring trailblazing women in

media and entertainment technology. This

year’s Women in Technology Leadership

Award will be presented to Gabby Redfern,

Group Content Services Director at

Sky, during the 14th annual ceremony

on Tuesday, April 8, at 5 p.m. PT on the

West Hall Main Stage at the Las Vegas

Convention Center.

Redfern has built a career transforming

content operations at Sky, BBC Studios,

Discovery, and Turner. She has successfully

led teams through major transitions,

implementing strategies that modernise

workflows. As EVP of Global Operations

at the BBC, she oversaw the shift of

outsourced operations back in-house,

optimising workflows while managing

organisational change. At Turner, she

spearheaded the move to file-based

workflows across the EMEA operations

and established a multichannel broadcast

center. Now at Sky, she is working

alongside engineering peers to integrate

AI technology that enhance localisation

and content fulfillment. Known for her

leadership, Redfern excels at guiding

large teams and organisations, fostering

collaboration, and inspiring her teams to

push beyond their perceived limits.

The Women in Technology Awards,

launched in 2009, continue to honor

industry pioneers, long before

diversity and inclusion became

mainstream conversation.

The 2025 Women in Technology Awards

Presentation Ceremony and Reception will

take place on Tuesday, April 8, at 5 p.m. PT at

the Las Vegas Convention Center. Register

here for free to attend and celebrate these

exceptional leaders.

The Women in Technology Awards is all

about celebrating the incredible women

driving innovation in media and tech, and

sponsors help make this event even more

special. It’s a great opportunity to show

support for diversity and innovation while

connecting with industry leaders.

Atalanta BC Partners

with Deltatre for

Digital Transformation

Atalanta BC, the

reigning UEFA Europa

League champions,

has partnered with

Deltatre, the global

leader in digital

products for sports

clubs, leagues, and

federations, to underpin its digital assets with a newly launched

website and mobile apps for iOS and Android.

Powered by Deltatre’s FORGE product, the new digital

ecosystem centralises content management within a single

CMS, enabling seamless publishing across all platforms in both

English and Italian — enhancing engagement with Atalanta’s

growing global fan base.

Atalanta supporters are now closer to the action than ever,

with real-time access to news, match updates, team and

player stats, exclusive content, ticketing, interactive quizzes,

polls, and more.

The project was delivered ahead of the new season,

underscoring Deltatre’s expertise in executing highperformance

digital transformations at speed. The partnership

ensures Atalanta has a best-in-class platform that will continue

to evolve alongside the club’s ambitions.

“Atalanta’s ambition to modernise its digital presence aligns

perfectly with our commitment to future-proofing the digital

destinations of the world’s leading football clubs,” said Peter

Bellamy, Chief Revenue Officer at Deltatre. “Together, we’ve built

a platform that enhances engagement while enabling seamless

evolution in step with the club’s future growth trajectory.”

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networks, production studios, master

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vehicles and venues. It enables production

teams to continuously survey all layers of

media transportation on an IP network, and

facilitates quick rectification of potential

problems, helping to maximise the Quality of

Service (QoS).


PRODUCTION360.MEDIA

Rise announces the launch of the

Rise Bursary — empowering the next

generation of women in media technology

Rise, the award-winning advocacy group for

gender diversity in the broadcast and media

technology sector, is pleased to announce the

launch of its Rise Bursary. This new UK based

initiative is designed to help aspiring young

women pursue higher education in broadcast and

media technology. By offering financial assistance

and networking opportunities, the Rise Bursary

aims to reduce barriers to entry and strengthen

innovation, diversity, and leadership in the industry.

The Rise Bursary is available to UK-based female

students aged 17 and over who meet specific

eligibility criteria. Beyond financial support, this

bursary is rooted in empowerment through

education, opening doors to opportunity and

creating lasting impact. Recipients not only

receive financial assistance but also benefit from

structured career development, including access

to coaching and regular check-ins with Rise. This

ensures talented students gain the education

and guidance they need to build meaningful and

successful careers in the industry.

A core component of the Bursary is the “Tile

of Opportunity” sponsorship, an interactive

mosaic displayed on the Rise website.

With this unique digital sponsorship, each

tile purchased by a sponsor directly supports

the bursary, symbolising collective support

and providing organisations with a way

to display and share their commitment to

diversity and fostering the next generation of

industry professionals.

Nicki Fisher, Chair of Rise, commented: “We

continue to hear concerns across the industry

about the declining number of young people

entering and graduating in technical and

operational media subjects. With this new

bursary, we aim to ease the financial burden

of higher education while providing ongoing

support through the Rise community. This is just

the beginning — we are committed to working

with multiple education providers and sponsors

to expand these opportunities across the

UK and beyond.”

Applications will close on 16th June. Interested

students can apply online via the Rise Website,

where more details about eligibility are available.

www.risewib.com/rise-bursary

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PRODUCTION360.MEDIA

Mediagenix scheduling automation integrates Spideo

recommendations, accelerating channel creation

Mediagenix recently announced the integration

of Spideo’s state-of-the-art recommendation

capabilities into its market-leading Scheduling

Automation solution. Mediagenix acquired Spideo

in 2024 and this integration aims to revolutionise

channel creation for broadcasters, sports media

companies and cable networks by enabling

faster, smarter, and more efficient scheduling

processes, all while maximising content utilisation

and monetisation.

“We are very excited to help our customers drive

even more operational efficiency through our new

automated scheduling solution,” said Emmanuel

Müller, Chief Product Officer, Mediagenix.

“The integration of Spideo’s recommendation

capabilities is a game-changer for how content is

scheduled, managed, and monetised, ensuring our

customers stay ahead in a competitive industry.”

MAXIMISING MONETISATION

OPPORTUNITIES AND OPERATIONAL

EFFICIENCY

As competition increases and cost-efficiency

becomes more critical, the demand for faster

channel launches with fewer staff and reduced

manual effort continues to grow. Mediagenix’s

new Scheduling Automation capabilities meet this

need by offering the flexibility to create multiple

schedules from a single catalogue while ensuring

optimal use of rights windows. By intelligently

integrating rights data, these capabilities identify

and recommend available content, minimising

missed opportunities and streamlining the

scheduling process.

FAST AND LINEAR SCHEDULING — UP

TO 80% FASTER

Mediagenix’s Scheduling Automation platform

now leverages Spideo’s advanced content

recommendation to generate a ‘Smart Content

Pool’ matching the channel’s editorial direction

and target audience. This Smart Content Pool

feeds the award-winning Scheduling Artist, which

allows users to spectacularly accelerate FAST and

linear channel creation. Scheduling Artist is now

also further enriched with Continuity Artist, which

seamlessly translates a long-term plan into a

fully finalised playlist including secondary events,

media readiness verification, promo management,

and compliance tracking. Automated schedule

adjustments ensure a seamless workflow, saving

time and reducing errors significantly.

In this way, the Mediagenix Scheduling

Automation solution allows users to create

engaging schedules in just a few clicks without

having to compromise on any of the criteria that

define a premium broadcast channel.

Other key enhancements that optimise

monetisation and efficiencies include:

• Faster Channel Launches with Fewer Resources:

A leading media brand achieved remarkable

success with the new Mediagenix integration,

launching 40 channels in just three days with a

team of only two.

• Maximised Monetisation Opportunities:

Automate multiple schedules from a single

catalog to maximise rights exploitation across

platforms during defined rights windows.

• Eliminate Errors in Versioning and

Synchronisation: Through an intuitive humanin-the-loop

(HITL) tool chain, it seamlessly links

content, rights, and media locations, reducing

errors and streamlining the scheduling process.

• Custom Metadata to Meet Every Platform’s

Needs: A fully customisable metadata schema

ensures accuracy and consistency across OTT

platforms, future-proofing operations as VOD

collections evolve.

• Automated Financial Tracking: From

amortisations to run counts, Mediagenix

provides unparalleled automation for financial

reporting and reconciliations, giving finance

teams greater transparency and control.

These features empower operators to exploit

untapped content quickly, publish validated

schedules with minimal data errors, and scale their

businesses to meet growing audience demand.

PRODUCTION360.MEDIA NEWS


Marshall announces RCP Plus controller at NAB 2025

Marshall Electronics will debut its

newest camera controller, the RCP

Plus, at NAB 2025 (Booth N2649).

This state-of-the-art controller is

designed to enhance production

capabilities and streamline workflow

for professionals in the broadcast

and AV industries. This advanced

controller empowers users to

seamlessly mix and match Serial

and IP camera control, allowing for

customised configurations where

both types can be easily programmed

to adjacent buttons. Customers

will not have to switch modes;

the communication type remains

completely transparent, enhancing

overall user capability.

“We are excited to debut this

innovative controller at NAB 2025,”

says Robert Ramos, West Coast

Regional Sales Manager, Marshall

Electronics. “The RCP Plus represents

a significant enhancement to our

camera equipment lineup, offering

advanced features and improved

functionality that will elevate the

user experience.”

The Marshall RCP Plus features an

Ethernet connection that supports

Visca-over-IP, along with the ability

to control via traditional RS485.

Additionally, the device includes

Power over Ethernet (PoE) capability,

which eliminates the need for a

traditional wall-mounted power

supply, streamlining setup and

reducing clutter.

LEADER BRINGS CLARITY TO

NDI® TROUBLESHOOTING

Test & measurement innovator Leader

Instruments Corporation has unveiled

a new tool for comprehensive

NDI® signal troubleshooting

and monitoring. The software

application will be equally valuable

to broadcasters and production

companies, systems integrators

verifying network topographies,

and device manufacturers who

need a quick and simple way to

check NDI streams.

NDI Checker is a software

application, running in a browser

on a standard Windows PC. Simply

connect this to a signal network and

NDI Checker can display a full list of

NDI signals in the implementation,

give clear access to all the technical

parameters of any individual signal,

provide a confidence monitor and

create an event log.

On one screen, operators can

instantly confirm video format,

bitrate and received frames. Up to

100,000 events can be captured

by the event log, displayed on the

monitor and available for export as a

CSV file for further analysis.

“NDI has become a very popular

production format, and we are

pleased to unveil this addition to

our family of reliable and practical

tools,” said Moriharu Ide, President,

Leader Instruments Corporation.

“On one screen an engineer can keep

track of every signal in a workflow,

have a clear overview of the network

performance, build an event log

to track performance, and be able

to watch any signal at any time,

all in real time.

“IP connectivity is set to transform

the way content is produced, but

it brings a new and different set of

challenges to maintain signal quality

and reliability,” Ide said. “This meets

the real requirements of network

engineers and operators, with the

characteristic Leader practicality.

Users know they can trust the Leader

brand for accuracy, alongside the

simplicity in operation.”

The NDI Checker signal monitoring

application will be demonstrated at

NAB2025, on booth N331 in the north

hall. This will also see the results of

the coming together of the Leader

and PHABRIX development teams,

including a significant new family

of video analysis and test signal

generation instruments under the

LeaderPhabrix brand. Visitors will be

able to see and try equipment for

test, measurement and monitoring

of all signal types: SDI, IP and hybrid,

up to 4k resolution and beyond.

*NDI is registered as a trademark by Vizrt NDI AB

18 | MARCH-APRIL 2025 GRASS VALLEY

PRODUCTION360.MEDIA

Grass Valley’s Adam

Marshall: ‘GVMU is

the North Star on

everything we do’

The Chief Product Officer of Grass Valley, Adam Marshall,

discusses recent company milestones, plans for NAB 2025,

and the ongoing changes in the broadcasting landscape.

PRODUCTION360.MEDIA GRASS VALLEY


If you had to pick out a couple of significant

milestones for Grass Valley since the last NMB,

what would that be?

I think the biggest one from a company perspective

is that we fantastically achieved over 25% year-onyear

growth as a company in 2024, as well as 300%

year-on-year growth of the [GV AMPP platform].

We’ve also had some very key projects that have

gone live. DMC in Hilversum is a key example,

where they have deployed and are on-air with the

world’s first fully software produced end-to-end

media production chain, all on-prem. They’re

running AMPP with nine control rooms, full

asset management, editing, voiceover, replay,

multi-views, [and so on], and that’s all running on

servers on-prem with AMPP software.

At the end of the day, Grass Valley still has

a split of around 50-50 between hardware and

software, so we’re still innovating to deliver

hardware solutions. But a project like DMC is

showing people the power of what can be done

because they’ve gone from countless hardware

devices to just 20 Dell servers running the entire

production chain.

We’ve got fantastic cases where we can describe the pros and

cons of different workflows and different architectures

[More generally] we now have customers running

so many variations of deployment. We’ve got fantastic

cases where we can describe the pros and cons of

different workflows and different architectures. With

DMC, though, you can see that it’s there for the 24x7

and 100% uptime kind of solutions.

20 | MARCH-APRIL 2025 GRASS VALLEY

PRODUCTION360.MEDIA

questions] with key workflows which are going to be

distributed around the booth, showing you the full end-toend

gamut of what can be done with those hardware and

software systems, and kind of blending or blowing the lines

between two spaces.

Will you have an overarching theme for your presence at NAB 2025?

Our strategy and our key message is about the Grass Valley Media Universe and how

it’s truly leading the media revolution in supporting our partners to revolutionise how

they produce content and deploy systems. The GV Media Universe is the North Star on

everything we do and everything we show; combining our hardware solutions from

our cameras to our switches to our IP infrastructure to our multi-viewers and everything

between, plus the benefits and the best-of-breed solutions we have in AMPP for software.

There are over 300 native applications and more than 100 Alliance partners providing

a full end-to-end solution there, with AMPP effectively being the glue bridging those

two worlds together, allowing you to run combined hardware and software ecosystems

as one solution. That’s exactly what the NAB booth is going to be about and we’ve

got some great announcements at the show, and the key thing we’re going to be

demonstrating as you look around the booth is the core workflows of how you produce

news and/or sports and fast turnaround content.

How do you do tier one or cloud based live production in the field? How you can

control, configure and orchestrate your IP solutions? How you can do single-person

production at scale with top tier quality production content? [We will address these

What can you tell us about the new products that will

be shown at NAB?

The LDX 180 is a super 35 system camera, so it’s a filmic look,

shallow depth of field camera based on the LDX 100 camera

series, which actually over-performed by 170% of our bookings

target last year. [The new] camera integrates with the rest of

the platform. Historically, you would need a traditional system

camera or compact camera for your main action shots, and

then you’d need to have a different solution, typically a more

‘prosumerised’ solution for those short depth of field filmic

shots that you need in scenes.

The LDX 180 by being a system camera and also a compact

camera allows you to have a common or shared look and feel

from an aesthetic perspective beyond the channel depth of

feel, but also a common shared shading platform. So your

shading operator will be running the audience cameras

no matter what they’re doing; they don’t have to switch to

another system to shade the shadow one effectively.

On our switcher side, we’ll be showcasing the brand new

K-Frame VXP, which is our mid-size production butcher

from the K-Frame platform that upgrades our V-series to

a full native IP, native UHD offering. Then on our software

switches we’ve got the brand new Sport Producer X and Event

Producer X, which are effectively tier one switcher solutions

and run in a browser, [meaning they are] geared specifically

towards single person production. They include the Maverik

software switcher and replay from live type clip players

and graphics all in a gesture-based HTML5 user interface,

allowing you to run the production from an iPad to touch

screen. You can attach tactile surfaces if you want to as well.

PRODUCTION360.MEDIA GRASS VALLEY


The general perception is that the main industry trade

shows have come back strongly since the pandemic. What

is the significance of NAB to Grass Valley these days?

NAB has always been a leading event that we partake in,

particularly because it generally has high attendance. It’s also

the time [in the year] that most customers go along in order to

find out the latest announcements from the vendors.

Interestingly, we don’t typically have NAB as our only

launch event. We launch at NAB and IBC because of the

pace of change, the pace of improvements and the pace of

new releases that we’re able to achieve with the solutions

we’ve got in place.

Other shows are also very important. For example, we were

at ISE this year and that was fantastic. It’s become a really

significant event for us.

There is a great deal of uncertainty in both public and

private sector broadcasting at the moment. How is that

affecting the confidence of broadcasters to make new

investments I technology?

We’ve seen for the last four or five years the decline of the

traditional revenue for linear platforms. I think that’s what

you’re referring to, and the continued shifts where our

customers and worldwide media providers are trying to find

new ways of generating new revenue effectively. Many of them

have shifted to the approach of moving to streaming platforms

or engaging on streaming platforms for subscriber growth.

On the other hand, we’re also seeing that linear ad revenue

isn’t declining to such a degree anymore. Then, in addition,

I think that the biggest challenge for most media provider

today is going to be the social platforms as the new content

distribution offerings.

To sum it all up, though, the challenge does still remain

the same, [which is] generating more content at the lowest

possible cost, and also thinking about how to rise above the

noise and finding ways to tell compelling stories in creative

We launch at NAB and IBC because of the pace of

change, the pace of improvements…

ways that engage your audiences. [In our case] the agility of the AMPP systems allows you

to try things out and only pay for what you use when you’re using it. Being able to focus

on the creativity, try out new things, and if something doesn’t work try something else —

that’s a [real strength].

Finally, what can you tell us about the GV Forum event taking place on 5 April?

It’s a leadership briefing enabled and led by our GVx Leadership Council, which is a diverse

group of industry experts that provide unfiltered insights and actionable strategies,

ensuring that discussions are grounded in real-world challenges. [GVx] will run that event

all day and people can register on our website for attendance to that, [although] have a

significant registration list now so we’ll have to see how we can get everyone in.

It’s going to be a fantastic event, I think, and one that builds on developments at the

previous editions of NAB and IBC.

22 | MARCH-APRIL 2025 TVU NETWORKS

PRODUCTION360.MEDIA

TVU Networks’ Paul Shen:

‘The changing landscape

presents significant opportunity’

The CEO of TVU Networks, Paul Shen, reflects on evolving attitudes towards cloudbased

live production, the latest developments that will be showcased at NAB, and the

company’s 20th anniversary celebrations.

PRODUCTION360.MEDIA TVU NETWORKS


If you had to pick a few milestones for TVU

Networks since the last NAB, what would

they be — and why?

At last year’s NAB, we introduced TVU MediaHub,

a unique cloud-based routing platform that

supports any media format — ‘Anything In,

Anything Out.’ It set new standards for scalability

with a simple drag-and-drop user experience.

MediaHub earned six industry awards, including

NAB Product of the Year and IBC Best of Show. It

also played a vital role in two major award-winning

productions: France Télévisions’ IBC Innovation

Award-winning Summer Games coverage and

BBC’s Broadcast Tech Innovation Award-winning

election coverage. To cap the year, TVU MediaHub

supported the routing of the Burj Khalifa New

Year’s Eve fireworks to hundreds of millions of

viewers worldwide.

Beyond the awards, the summer of 2024 marked

a real turning point for the industry’s mindset

toward cloud-based live production. Following

the Torch Relay’s success, we welcomed over 100

media organisations at France Télévisions eager to

understand the setup behind this groundbreaking

workflow. This moment felt like a true shift in

mentality, as broadcasters began to embrace the

potential of cloud for large-scale live events.

What are your overriding observations

about the current outlook for broadcast and

media production?

The broadcast industry faces budget pressures,

growing competition, and a shift in content

creation dynamics as advanced production tools

become increasingly accessible to independent

creators. Today, live streamers and digital-first

With cloud-based solutions and AI-driven tools, broadcasters

can now deliver highly personalised content at reduced costs

platforms can sometimes attract larger audiences

than traditional linear channels.

However, this changing landscape presents

significant opportunity: over 90% of global

sports remain underproduced. With cloud-based

solutions and AI-driven tools, broadcasters

can now deliver highly personalised content at

reduced costs. For example, France Télévisions’

extensive live coverage of the Torch Relay for

the Paris Games — a project once deemed

impossible — achieved exceptional viewership

(3.2 million unique viewers in France) and

engagement while cutting costs by 90% compared

to traditional methods.

24 | MARCH-APRIL 2025 TVU NETWORKS

PRODUCTION360.MEDIA

TVU Networks with the IBC Innovation Award

Ultimately, technology is just a tool — it’s the bold,

creative thinking from our customers that shape our roadmap

The future belongs to those who embrace flexible, cloud-powered workflows and

maximise the potential of available technologies — including AI — to enable scalable

content creation and distribution.

Do you have an overarching theme in mind for this year’s NAB?

This year, TVU Networks celebrates 20 years of driving live media innovation. We’ve

consistently led industry transformation, from pioneering cloud workflows in 2013 and

introducing AI in 2018, to achieving the world’s first 5G live transmission in 2019 together

with SBS and KT in South Korea. At NAB, we’ll unveil our next major innovation — a

solution that will redefine media workflows by giving users greater visibility and control

over costs, enabling risk-free experimentation with new content productions. Our platform

now hosts over 300 microservices, allowing content creators to produce and scale without

the limitations of traditional infrastructure.

Can you briefly outline the main TVU Networks

developments you will be showcasing at NAB, in terms of

new products, features and updates?

Our focus is on enhancing our media platform universality,

completeness, and cost-efficiency:

New Integrations: Partnerships with IRL Toolkit

(streaming) and InSync (cloud-based frame rate conversion).

Expanded Microservices: New tools for media analysis,

SCTE-based ad management, AI colour correction, dragand-drop

scan conversion, enhanced intercom, and

JPEG-XS support.

TVU One 4th Generation: Our award-winning live

transmitter is getting a significant upgrade with the

latest 5G technology.

Enhanced Disaster Recovery Solutions: Building on our

successful deployment during France Télévisions’ Paris

Games coverage, our updated solution now offers improved

monitoring, proactive detection, and automated failover

capabilities to ensure seamless continuity across the

media supply chain.

TVU Search AI-based ingest platform improvements:

Enhanced GPT-based search to simplify content discovery for

faster content production.

Total Cloud Transparency: At IBC, we introduced our NOC

to eliminate the “black box” perception of cloud workflows,

giving users real-time visibility and control. Now, we’re

adding enhanced monitoring tools and budget controls to

keep cloud costs predictable — ensuring savings stay even

greater than traditional workflows.

More generally, what are you most looking forward to

at this year’s NAB in terms of finding out about new

technologies and industry trends?

At TVU Networks, our media platform’s growth — from 80

to over 300 microservices in five years — has been driven by

customer feedback and real-world challenges.

PRODUCTION360.MEDIA TVU NETWORKS


NAB is always an opportunity to connect

with industry partners, whose expertise helps

us expand our platform’s capabilities, to keep

it the most versatile for live content producers.

We’re eager to discuss new AI applications that

empower creators to produce faster, smarter and

more personalised content.

Ultimately, technology is just a tool — it’s the

bold, creative thinking from our customers that

shape our roadmap. We look forward to the

conversations at NAB that will continue pushing

the boundaries of live production.

Few would argue that AI has tended to

dominate industry headlines since the last

NAB. What kind of impact do you think

it will have over the next few years, and

in what ways do you expect to apply AI to

your own solutions?

AI is already transforming media production.

Our clients have achieved major efficiency gains

using our AI tools, from live clipping via face

recognition to automated brand mentions reports

in sports broadcasts. In 2025, we’ll expand these

capabilities with AI colour correction, GPTenhanced

search and more. The biggest AI-driven

opportunity lies in enabling more customised,

personalised live content tailored to individual

viewer preferences.

Finally, please give us a few hints about what

we should expect from TVU Networks in

the rest of 2025?

Cloud is no longer just for secondary content —

it’s now powering full-scale, complex productions.

Together with France Télévisions, we proved

Cloud is no longer just for secondary content — it’s now

powering full-scale, complex productions

this with the 100% cloud-based Torch Relay

production. We achieved the same with the

BBC’s UK Election coverage and many RedBull

events. The shift to cloud is accelerating, offering

significant cost and environmental benefits.

This year, we’ll continue empowering

broadcasters to take control of their cloud

workflows, providing greater transparency in

costs and performance. Plus, we’ll unveil a major

new solution later this year — one that fills a

critical gap in the media landscape.

Finally, 2025 is a year of celebration for TVU: 20

years. Over the past two decades, we’ve partnered

with bold broadcasters willing to challenge

the status quo. We’re committed to continuing

this journey with our customers, driving

innovation that unlocks new possibilities in live

media production.

26 | MARCH-APRIL 2025 AVID

PRODUCTION360.MEDIA

Avid’s Craig Wilson: ‘What’s

not changing is consumption’

Product Evangelist, Video and Media at Avid, Craig Wilson, discusses the company’s recent

acquisition of Wolftech, the latest developments related to MediaCentral, and why it’s clear

that the ‘AI honeymoon’ is now over.

PRODUCTION360.MEDIA AVID


News is such a crucial

market for us and there is

undoubtedly a trend toward

story-centric news production

If you had to pick a few milestones for

Avid since the last NAB, what would


The biggest milestone is our acquisition of

Wolftech. News is such a crucial market for us

and there is undoubtedly a trend toward storycentric

news production. News organisations

need to deliver stories to so many different

platforms today that it makes sense to work in

a way where the story is at the heart and is then

distributed to numerous channels. Newsrooms

need to work in the most efficient way, and we

believe that the fantastic story-centric capabilities

of Wolftech News, allied with our end-to-end

media production workflows with MediaCentral,

provides a compelling solution. You can capture

an idea at the start of the process in Wolftech

News, then follow that through to delivery with

MediaCentral. Our teams have been working really

hard to deliver this combination, and we are going

to show the first fruits of that at NAB.

We have added more AI capabilities in our

products, which are very focused on customer

use cases. Avid Ada is our framework for these

solutions, now in Media Composer with new

transcription tools, Avid Ada Transcribe in

MediaCentral, and we will show a tech preview of

speech-to-text in Pro Tools.

We have had strong releases for Pro Tools,

Avid | Stream IO and Media Composer since we

were last in Las Vegas, so we look forward to

showcasing those as well.



media production?

There are a lot of challenges out there! From

digital disruption, for example from the creator

economy, to macroeconomic and geopolitical

forces, there are different things in play. Customers

want us to deliver solutions valuable to them

and help them produce more great shows or tell

great stories. Key for us is delivering on that and

helping them work in the most efficient ways

possible. This could mean helping them take

advantage of automation or using AI to perform

time-consuming manual tasks or by enriching the

workflows they use when working with our tools.

What is not changing is consumption. Audiences

are hungry for great shows, songs that inspire

them, movies which move them and news stories

that keep them informed about the world. We need

to ensure customers continue to benefit from the

developments we are bringing forward and how

our innovation can help them achieve their goals.

28 | MARCH-APRIL 2025 AVID

PRODUCTION360.MEDIA

Do you have an overarching theme in mind for

this year’s NAB?

We are a creative company at heart, and we want

to continue to inspire the industry with our

solutions. We want to make sure that everyone

who comes to our booth goes away feeling

inspired to create their greatest work with our

tools and solutions.

Driving Progress in a Changing World: Avid

is evolving to better serve our customers with

strategic investments in content distribution,

efficient workflows and seamless collaboration.

Our recent acquisition of Wolftech News

highlights our commitment to delivering real,

impactful solutions to help you thrive in today’s

dynamic environment.

Shaping the Future with a Strong Legacy:

Avid has shaped key moments in the industry,

and our legacy is the foundation for our

forward-thinking vision. We’re not just meeting

expectations; we’re aiming higher to help you be

more efficient, creative, and reach new heights.

Investing in Next-Gen Creators: Avid is

dedicated to empowering tomorrow’s creators

by investing in education and skill development.

Through various programmes, we’re providing the

tools and opportunities aspiring talent needs to

succeed in the future of media and entertainment.

Can you briefly outline the main Avid

developments you will be showcasing at NAB in

terms of new products, features and updates?

Avid is all about delivering solutions, driven by

our great products. In news, it will be the amazing

collaborative possibilities with MediaCentral

and Wolftech News. This promises to be a real

innovation hotspot, marrying the ability to plan,

collaborate, book resources, write stories, edit

videos and publish — all through one web-based

application. This is what we call a ‘single pane of

glass’ experience, where users can do amazing

work without having to switch between multiple

applications. Wolftech News also has a fabulous

mobile app, Wolftech Go, which brings the power

of the solution to the teams in the field.

While we believe the combination of

MediaCentral and Wolftech News provides the

greatest creative platform, Wolftech News is

very open. It can integrate with any other MAM

or newsroom system out there to deliver highly

sophisticated workflows.

News and sports related, we will also be

showing our ingest and playout solution, Avid |

Stream IO, which is helping customers migrating

from SDI to IP-based ingest and playout. Avid |

Stream IO supports both, so it’s a great way to

bridge the gap between the two. Since last NAB

it has had a ton of updates, adding SMPTE 2110

support for uncompressed video over IP, and it has

a new look remote console for operations, being

shown at the show for the first time.

Remote production continues to grow, so we

will demonstrate new remote workflows in the

cloud with Media Composer and Avid NEXIS

shared storage. That really is one to watch out

for. From a solutions perspective, the workflows

between Media Composer and Pro Tools continue

to deliver more efficiency between picture

and sound teams.

We will showcase new workflows enabled by the

Panel SDK in Media Composer, which opens it up

to many partner solutions. Avid is empowering

customers to streamline workflows and enhance

collaboration with new solutions. By integrating

custom and third-party applications directly into

Media Composer, users can tailor their editing

experience to meet specific needs, boosting

efficiency. The deepening integration between

Media Composer and Pro Tools allows really

flexible editing and sound mixing with precise

control, ensuring smooth collaboration across

teams. AI-powered tools like PhraseFind and

ScriptSync accelerate editing speed by improving

speech-to-text functionality. Avid Huddle enables

remote teams to collaborate, reviewing and

commenting on content as if they are in the

same room, while also making it easier to work

on shared files and projects without disrupting

existing workflows. These innovations solve

key challenges in the creative process, offering

flexibility, speed and seamless collaboration for

teams, no matter where they are.

More generally, what are you most looking

forward to at this year’s NAB in terms of

finding out about new technologies and

industry trends?

Other than catching up with friends and

colleagues (one of the best things about NAB), the

show offers an opportunity to get a feel for how

the industry is doing. You can almost split it into

three parts — our own booth with meetings and

demonstrations, what you hear from customers,

and what you see from competitors. And you need

to be on top of all of them! AI has been dominant

the past couple of years, so it will be interesting to

see how many ‘real’ solutions have been delivered

and are bringing true benefits to customers.

PRODUCTION360.MEDIA AVID


We spend the whole year looking at new technologies

and identifying trends

Efficiency is something we hear from our

customers a lot, so it is trying to seek out nuggets

of information about how they want to achieve

this and the technologies, workflows and solutions

they see as delivering the greatest value to their

users. We spend the whole year looking at new

technologies and identifying trends, so it is not just

something we do at the show, though with so many

industry experts in one place it is a great time to

pick people’s brains. You are always trying to listen

for whispers about some new idea that is perhaps

being showcased by a small startup and whether

that could be the next big thing. Sometimes it is

not all about the big boys and girls in the business!






your own solutions?

I have mentioned AI in some of my other answers,

and what is clear now is that the “AI honeymoon,”

if I can call it that, is over. What was a blaze of

possibilities a couple of years ago — where it

seemed that anything and everything could be

solved by AI — I think there has been a cold,

hard reality check over the past twelve months.

Customers want to see proof points now. How is

this making my job easier? How is

this saving me money? How is this

making me money?

What we are focused on delivering

is use cases, real world examples of

where AI and automation can make

a difference. I include automation

here, because that is an important

part of the equation. For example,

in our MediaCentral products I

mentioned Avid Ada earlier, but

that is complemented by the

MediaCentral Rules engine which

enables the automation of tasks.

A simple example is automatic

transcription whenever a new feed is

ingested into the system, rather than

it being manually triggered. It may

seem small but that can speed up

the process of getting stories to air

and enhances the metadata making

material easier to find, again saving

time. This is the kind of efficiency

our customers seek.

For our own solutions, we would

see more practical use cases being

delivered around translation

and summarisation, and story

versioning, but also developing

into more semantic technologies. For example, as someone is

writing a story, the system analyses what they have written and

automatically suggests related footage. We are also looking at

technologies for automated shot-listing or feed clipping, before

getting the footage into the hands of a craft editor to finish.

All of our AI solutions are based around two things — they

are developed in a responsible way, and they are there to help

the end user, whether that is a journalist writing a story or an

editor crafting a show. The final decision about what goes on

the timeline in the edit bay or out on air in the news show is

very much done by people.

The end game with AI is still unknown, not just in the media

industry but more widely in society. It is not going away, that

is for sure. Those who will succeed will be those who can take

advantage of it best.

Finally, please give us a few hints about what we should

expect from Avid in the rest of 2025?

More innovation, more solutions to drive value for our

customers. The pace of innovation is going to continue to pick

up. The acquisition of Wolftech highlighted that we want to

deliver great solutions, faster, so expect to see us moving quickly

to deliver for our customers.

30 | MARCH-APRIL 2025 RIEDEL

PRODUCTION360.MEDIA

Riedel’s Jan Eveleens: ‘We’re

excited about the wealth of

products we are bringing’

The newly appointed

CEO of Riedel’s Product

Division talks to

Production360 through

the company’s impressive

array of new launches at NAB,

and also shares his thoughts

on virtualisation, 5G and

machine learning.

PRODUCTION360.MEDIA RIEDEL


Although you have been working for Riedel

since 2018, this is your first NAB as CEO of the

Product Division. In what ways do you think

the show will be different for you this time?

I’ve been to the show many times before, so from

that perspective it might not be very different,

although [on the other hand] I will be part of more

meetings with key clients. I’m guessing there

will be a lot of things that will suddenly be on my

schedule, but that’s fine — it’s pretty exciting to be

going along [in this new role].

Riedel’s NAB press release indicates an array of

new products and updates — can you talk us

through some of the main ones?

There are advancements in some of our existing

products, for example there are new features in the

SimplyLive production suite. We will also show the

new StageLink family of Smart Edge device, which

is an important announcement for us, and we also

have our new Virtual SmartPanel software solution

on display. That one is a significant development

for us because it’s on the way to [a position] where

we are heading longer-term. In addition, we have a

private 5G solution, Easy5G, and the Smart Audio

and Mixing Engine (SAME) audio processing

software suite. So we’re excited about the wealth of

new things that we are bringing to the show.

I wanted to ask about StageLink, in particular;

what is the USP of those devices and what do

you regard as being the target applications?

One of the first elements to mention is that it’s an

addition to our [existing] offering, so these models

go very well with our intercom products like

Bolero, and then of course if [there is a need for]

[SAME] is really about audio processing, it’s a software-based

solution, and it runs on a server

some physical I/O somewhere, either microphones

or outputs; for instance, if you have a software

processing system then you need I/O. So it’s that

kind of area where customers require a converter

box from network to audio or the other way

around. And then there is a real strength point in

the fact [these devices] are so usable and easy to

integrate. They’re very versatile and compact.

Can you also provide some background to the

Smart Audio and Mixing Engine (SAME)?

This is somewhat of a new activity for us. Of course

we have been in audio for a long time, but more

on the intercom side. [SAME] is really about audio

processing, it’s a software-based solution, and it

runs on a server. Which means it’s very flexible

and can be utilised [in a variety of settings]. This

32 | MARCH-APRIL 2025 RIEDEL

PRODUCTION360.MEDIA

I think that creates an

opportunity for different setups

of 5G, where there are also

private networks that can be

used at events

Reidel’s Virtual Smart Panel

could include environments where you have a

lot of signals and need some processing before

you use it in the rest of your workflow, and so

one area where I can see [the potential] is live

production. Although I see applications in postproduction

as well.

I wanted to ask more about Easy5G. How do you

see it fitting into the emerging landscape for

5G solutions for broadcasting and media? And

how do you see the demand for 5G developing

in more general terms?

I think that when 5G came to the market, the

promise was, let’s say, very large in terms of what it

could provide, and for applications in production.

In the meantime, use of public networks for

that has been tempered a bit because all sorts of

limitations [have become apparent] and there

are also priorities that the [telco] operators set

— rightfully so. One of the key questions here is

whether they will enable the large amounts of

bandwidth [needed in environments] where there

are also a lot of spectators accessing these services.

So I think that creates an opportunity for

different setups of 5G, where there are also private

networks that can be used at events and other

areas where you need a lot of data. Of course it

can coexist, but this solution is really focused on

high-throughput data; environments where you

need high-speed data and other networks will

perhaps not be able to provide the throughput

[that is needed].

That was always in the idea of 5G technology, of

course. But I think Easy5G, as the name suggests,

is the first solution that makes it really easy to set

up 5G cell or multiple cells, whereas most of the

PRODUCTION360.MEDIA RIEDEL


other systems out there require a lot of specific

knowledge and time to set up. And then if you

have smaller organisations or events where you

don’t have much time, Easy5G has solved that

dilemma as within a few hours you can have it

up and running.

We will also be showing our RefCam. Live

solution, which is a small referee camera system

that can sit on the 5G network.

AI is hugely prominent in the industry’s

new product announcements ahead of this

show. Can you let us know where Riedel is at

regarding AI innovations?

We are definitely looking at applications, [although

I would] perhaps refer to ‘machine learning’ [ML],

which I know is a less-used term, but I think a lot

of the things currently being introduced by all sorts

of vendors are more ML than ‘true’ AI. [There are]

companies using it is as a marketing term and

that’s not something we are comfortable with. So

it’s something we are looking at very carefully and

thinking about the applications that make sense to

the market and our customers.

What are the things you are most

looking forward to finding out more

about at NAB 2025?

Well, of course, AI/ML is one thing we’ll certainly

be looking out for. I would also mention 5G and

the applications that are emerging there, as

well as specialisation of functionality and [the

various developments] taking place with regard to

software cloud-based solutions, including where

they make sense and where they don’t [in terms

of applications].

Riedel Team at IBC in 2024

So those are the three topics on the product

technology side, but there is also another side

and the question there is ‘what are our customers

thinking about the future?’ The current climate in

various parts of the world means that things are

perhaps less clear and stable than they were in the

past, so that’s another really important think to

find out more about directly from our customers.

Finally, can you give us a sense of Riedel’s

priorities for the rest of the year, beyond NAB?

The transition to, let’s say, virtualising products

or technologies is a long-term trend, and you will

see more of those innovations from us, and they

will also be cloud-ready. But doesn’t mean mean

we will push customers to use that; we really want

… virtualising products or

technologies is a long-term trend,

and you will see more of those

innovations from us…

to give customers a real choice. And of course we

will continue to do cool hardware, too! We’ve been

very successful there for so long, and some of the

latest innovations [as previously discussed] will be

presented at NAB.

34 | MARCH-APRIL 2025 BRIDGE TECHNOLOGIES

PRODUCTION360.MEDIA

Bridge Technologies’ Simen Frostad:

‘Monitoring should be a holistic process’

The chairman of Bridge Technologies,

Simen Frostad, reflects on the company’s

20th birthday, its philosophy of end-to-end

monitoring, the latest product launches,

and the transformative effect of AI.

PRODUCTION360.MEDIA BRIDGE TECHNOLOGIES


… the transition to an

IP-dominant broadcast paradigm

is in full swing

If you had to select a few milestones for Bridge

Technologies since the last NAB show, what

would they be — and why?

One of the most obvious ones to mention is the

fact that we celebrated our 20th birthday this year.

The longevity of a company is more than a mere

opportunity for celebration — though we certainly

did celebrate — it’s a testament to that company’s

experience, knowledge, tenacity, reliability and

dependability, and most importantly, the validity

of their initial vision. For us, twenty years ago, that

was a broadcast future based on IP, and at the time

it was met with some incredulity.

But our efforts to not only evangelise on that

future but actively bring it about are what have

led to the position of the market now, in which the

transition to an IP-dominant broadcast paradigm is

in full swing. And, crucially, it leads to our position

within it — as leading IP experts developing

ground-breaking monitoring and production tools.

Do you have an overarching theme or emphasis

for your participation in this year’s NAB show?

At Bridge Technologies, we continue to emphasise

the idea that monitoring should be a holistic, endto-end

process — built in, not bolted on. While our

suite of products may seem to divide conceptually

— with the VB440 leveraging monitoring data

as a real-time production tool, and the VB330,

VB220, and VB120 ranges focusing on broadcast

distribution — our core philosophy remains the

same: effective monitoring is the foundation of a

reliable, high-performance broadcast chain.

That said, we’re also highlighting distinct

themes for each product range. With the VB440,

we’re showing how live production no longer

requires racks of function-specific equipment

taking up space in OB vans or studios. A full

production staff can all access the data they

need, creative and technical — real-time video

and audio previews, scopes, waveforms, graphs

and metric readouts — from anywhere in the

world through a single browser-based screen.

The reduced equipment cost, truck weight,

cabling, employee movement, and environmental

impact are transformational for live and

distributed production.

For the VB330 and our distribution probes, the

focus is on the fact that while IP is the future,

many broadcasters are still operating in hybrid

or legacy environments due to financial or

geographical constraints. Bridge Technologies

ensures that no matter the infrastructure —

terrestrial, cable, satellite, or IP — our probes

provide complete visibility across all standards,

formats and network configurations from a single,

intuitive and visualised access point.

Can you outline the primary new

solutions, features or updates you will be

presenting at NAB 2025?

We’ll be showcasing a range of advancements

across both production and distribution

We’ll be showcasing a

range of advancements across

both production and

distribution monitoring

monitoring. A key highlight is the latest v6.5

release for our VB330, VB220, VB120 and Nomad

probe range, introducing enhanced recording

capabilities, deeper multicast ABR analysis,

strengthened OTT security, and improved probe

management — reinforcing our commitment to

seamless, end-to-end monitoring.

In the field of OTT particularly, we’re unveiling

our QTT Application, a powerful reference

monitoring system for encrypted HLS/DASH

OTT streams. By emulating real-user playback,

the QTT application provides broadcasters

with unprecedented visibility into DRMprotected

streaming services, enabling proactive

issue detection and verification of CDN and

platform performance.

On the production side, we’re introducing

our new AV Sync functionality, which provides

an innovative, content-driven approach to

synchronising audio and video in an ST 2110

environment, ensuring frame-perfect alignment

with real-time visual feedback. It marks a

pretty significant innovation when it comes to

AV sync for global broadcasts, so we’re quite

excited to share it.

36 | MARCH-APRIL 2025 BRIDGE TECHNOLOGIES

PRODUCTION360.MEDIA

We’ll be showcasing a

range of advancements across

both production and

distribution monitoring

AI has evidently been a major industry talking

point since the last NAB. What is your view

on how this is developing in a broadcast

& media context?

There can be no denying the transformational

power of AI for many aspects of the broadcast

and media landscape, from content creation and

automation to predictive analytics and network

optimisation. And it may have a role to play in

refining and optimising workflows and assisting

with anomaly detection, pattern recognition

and predictive maintenance. However, accuracy,

transparency, and reliability remain critical

in live production and broadcast operations

— qualities that Bridge has always prioritised

in its solutions. Rather than chasing AI for its

own sake, we have kept our focus on delivering

robust, intuitive monitoring tools that put

clear, actionable data in the hands of engineers

and creatives.

More generally, what are the technologies

and trends you are looking forward to

finding out more about at NAB 2025?

The joy of NAB 2025 is most often about what

you didn’t expect to discover! We generally have

our ear to the ground when it comes to IP-based

advancements in the industry, and indeed

many of the key players in this area are already

Bridge collaborators. In fact, that’s generally

what we’re most interested in seeing at NAB

— a gradual industry move from competition

to collaboration. We’ve long recognised that

the advancements we make as an individual

company won’t impact general broadcast quality

unless they are used to drive industry knowledge

and progress as a whole. As a result, we most

look forward to meeting companies at NAB

who are there to share knowledge, ideas and

vision, rather than simply showcase guarded,

proprietary products that are isolationist in

their mindset.

Oh, and sports production. We’re always

excited to see what’s happening in the field of

sports production. But that’s only half about

the technology…

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38 | MARCH-APRIL 2025 EDITSHARE

PRODUCTION360.MEDIA

EditShare’s Lee Griffin:

‘Broadcast production is

experiencing a dynamic

transformation’

The VP product &

marketing at EditShare,

Lee Griffin, reflects on

an eventful 12 months

for new launches, the

ongoing quest to make

workflows ‘faster and smoother’,

and the role of AI in various

aspects of content production

and monetisation.

PRODUCTION360.MEDIA EDITSHARE


If you had to pick a few milestones for

EditShare since the last NAB, what would


Since NAB 2024, EditShare has hit some exciting

milestones, continuing our commitment to

making media workflows faster, smoother, and

more powerful, all built on our award-winning

media-engineered file system, EFS.

At the heart of our latest innovations is the

Ultimate Series, a new lineup of high-performance

shared storage nodes designed to meet the

growing demands of media professionals. This

series delivers more speed and performance for

production and post-production workflows, all

at a lower cost, while leveraging the power and

efficiency of EFS.

The lineup includes: EFS Ultimate 210, a

compact but powerful option for smaller teams

needing fast, reliable storage; EFS Ultimate 310 is

ideal for growing post-production teams, offering

scalable performance and seamless collaboration;

EFS Ultimate 410 is the bedrock of missioncritical

environments in broadcast and playout,

ensuring 99.9% uptime; EFS Ultimate NL provides

cost-effective nearline storage without sacrificing

speed; and EFS Ultimate Field is a portable,

high-speed NVMe solution designed for remote

onset production.

We’ve also introduced key advancements to

the EFS tech stack, including a major update

to the underlying OS, bringing even greater

performance, security and stability to our

entire ecosystem.

Another exciting development is our direct

NVMe storage integration with Lasergraphics’

advanced film scanning technology, powered by

EFS. This allows high-resolution film scans from

2K to 8K and beyond to be ingested, stored and

accessed at unprecedented speeds. At NAB, we’ll

40 | MARCH-APRIL 2025 EDITSHARE

PRODUCTION360.MEDIA

recipient to have an account, and Camera to

Cloud technology in partnership with Atomos to

streamline faster review workflows. We’ve also

added side-by-side version comparison, a new

pricing model, and many other enhancements.

MediaSilo continues to evolve, making

collaboration easier and more powerful than ever.

To top it off, MediaSilo and the entire EditShare

organisation is now SOC2 certified for 2025,

reinforcing our commitment to security and

protecting user content.

be showcasing 5K DPX 30fps ingest, all while

simultaneously editing 8K 12 DPX scans in Resolve

with plenty of headroom left over.

By leveraging EditShare’s high-bandwidth NVMe

architecture and the power of EFS, studios and

archives can process and preserve legacy film

materials more efficiently while integrating them

into modern digital workflows. This eliminates

bottlenecks in film scanning, making highquality,

uncompressed files instantly available

for restoration, colour grading, and long-term

storage. With EFS at the core, EditShare continues

to push the boundaries of performance and

efficiency, giving media professionals the tools

they need to work faster and smarter. We can’t

wait to show you what’s next at NAB 2025.

[There have also been] advancements in

MediaSilo’s security and collaboration features.

We’ve introduced higher resolution proxy

reviews for a sharper viewing experience,

bulk downloads that let users share entire

deliverables packages without requiring the



media production?

The broadcast and media production industry

is experiencing a dynamic transformation

characterised by several key trends:

Embrace of AI and Automation: Artificial

intelligence is driving many parts of the

production environment, such as AI-driven tools

that are automating repetitive tasks, allowing

creative professionals to focus on storytelling

and innovation.

Shift to Cloud and Hybrid Workflows: The

industry is increasingly adopting cloud and hybrid

workflows to enhance collaboration, scalability,

and remote accessibility. This shift enables teams

to work more flexibly and efficiently, regardless of

geographic location.

Focus on Security and Content Protection:

With the rise of digital content distribution,

safeguarding intellectual property has become

paramount. Implementing robust security

measures is essential to protect assets from

unauthorised access and piracy.

PRODUCTION360.MEDIA EDITSHARE


The industry is increasingly adopting cloud and

hybrid workflows to enhance collaboration, scalability, and

remote accessibility

Do you have an overarching theme in mind for

this year’s NAB?

At NAB 2025, EditShare’s theme centres on

‘Empowering Creative Workflows Through

Intelligent Innovation’. We aim to showcase

how our latest solutions integrate advanced

technologies, such as AI and ultra highperformance

storage, to streamline media

workflows, enhance collaboration all whilst

ensuring content security. We will showcase some

bandwidth throughputs just a few years ago were

deemed impossible to achieve

Can you briefly outline the main EditShare

developments you will be showcasing at NAB, in

terms of new products, features and updates?

We are excited to present several groundbreaking

developments at NAB 2025:

Next-Generation Media Storage Solutions:

We’re looking forward to showcasing the entire

new Ultimate Series range at NAB, including some

brand new introductions to the family for 2025.

These solutions are designed to support a variety

of production environments, from boutique postproduction

studios to major broadcast networks.

Workflow Automation: Our latest

enhancements to FLOW, our asset management

platform, will enable facilities to keep

production on track and make sure everything

is done the right way every time by deploying

our latest Automation engines features. We

made it massively scalable to run 1000’s of

automation jobs.

The Power of AI: We are demonstrating some

incredible breakthrough technology in terms of

AI, enabling users to find people, logos or text

quicker than ever before.

More generally, what are you most looking

forward to at this year’s NAB in terms of

finding out about new technologies and

industry trends?

We look forward to exploring several emerging

technologies and trends at this year’s NAB. We are

eager to explore advancements in AI applications,

particularly in enhancing content creation,

distribution, and monetisation. Additionally,

we anticipate discovering evolving cloud-based

solutions that improve scalability, security,

and cost-effectiveness for media workflows.

Innovations in remote collaboration tools will also

be a key focus, as they enable teamwork across

distributed production environments, driving

greater efficiency and flexibility.






your own solutions?

AI is set to play a bigger role in media, making

content more personalised by analysing viewer

preferences and behaviours. It will also streamline

workflows by automatically tagging and organising

media, making content easier to find and manage.

As AI continues to evolve, it will help media

companies predict trends and make smarter

decisions, shaping the future of content creation

and distribution.

At EditShare, we are integrating AI

into our solutions to make content more

discoverable. By embedding AI into our asset

management system, we will make it easier

than ever before to find a person, a logo or

even a spoken word.

Finally, please give us a few hints about

what we should expect from EditShare in

the rest of 2025?

As we move through 2025, EditShare is focused

on developing new technology that delivers

better speed and performance to media

professionals. We’re always looking for ways to

offer more powerful solutions at a better value,

giving teams access to more technology for less.

By continually improving how people work and

collaborate, we’re committed to making media

production faster and more efficient for everyone.

Stay tuned for more incredible technology, there’s

so much more to come.

42 | MARCH-APRIL 2025 AIMS AT NAB

PRODUCTION360.MEDIA

AIMS’ Andrew Starks:

‘The use cases remain the same’

The director of product marketing for Macnica

and board member & marketing work group chair

at AIMS reflects on the Alliance’s plans for NAB,

the ongoing convergence between broadcast

and pro AV, and the role of standardisation in

verifying content as AI evolves.

PRODUCTION360.MEDIA AIMS AT NAB


The IPMX standard and specification were a

big focus for AIMS at ISE, so is that going to

continue into NAB?

Yes, IPMX will be featured at NAB, [including

with regard to] the trend of recognising that

technologies built for the broadcast market have

enormous application in pro AV as well. [So

we’re talking about convergence], which is really

interesting in terms of taking away the differences

in the various platforms. If you think about the pro

AV world, it started with things like DisplayPort

and HDMI as being the baseband technologies and

things evolved from there, and there’s been lots of

competing technologies for AV over IP.

In the broadcast world, there’s a much stronger

emphasis on standards, and so we had the SDI

world and then the migration to SMPTE ST 2110.

And now we’re all sitting on the same network,

it’s easy to see how we should get the band

back together, and now that those foundational

barriers aren’t really there anymore it makes a lot

of sense to bring the technologies closer together.

With IPMX a big part of the project is to identify

and close those gaps that allow ST 2110 to be used

in pro AV [more easily].

How do you assess the broader changes

occurring in broadcast and pro AV at present?

It’s fair to say that both broadcast and pro AV are

changing rapidly. I know I am not the first to observe

this, but I think both industries can do really well

by remembering that even as our foundational

technologies underneath this change and that

causes tremendous amounts of disruption, what

remains the same is the use cases and problems that

we’re solving. So we’re dealing with content, very low

…new applications are emerging even now, as well as

increased needs for solving different problems and meeting

different opportunities

latencies and very high data-bit rates, as well as the

[overall] experience and interactivity.

[Nonetheless] we are seeing a move from

baseband to IP, and a shift away from proprietary

ecosystems to a more open standard path

that’s going to mean changes and disruptions

to particular applications and the particular

workflows that we’re working with.

But of course, new applications are emerging

even now, as well as increased needs for

solving different problems and meeting

different opportunities.

44 | MARCH-APRIL 2025 AIMS AT NAB

PRODUCTION360.MEDIA

What’s the latest news with regard to the

product ecosystem and testing around IPMX?

What you’ve been seeing are more ‘IPMX ready’

products, which is our informal name for them as

we’re building the standard little by little. When

you building an open standard it takes a really

long time! What’s unique about IPMX is that it’s

built on something [ST 2110] that’s already proven

and out in the field. A lot of what is IPMX was

already fleshed-out and solid, so the [ focus is] on

expanding into HDCP support and defining things

really, really well. We also wanted to to be very

‘plug and play’, so that when you pick up one IPMX

product and another IPMX product you know

those two things will exchange content. You can

take a lot of things for granted and know you’ll be

within the range of interoperability.

But because we’re dealing with such diverse

use cases, we’ve put more structure and a more

testing in to the IPMX ecosystem. All of that stuff

has to be done along with the development of the

standards. It’s something we’re working on now

and we will showing at NAB.

What you’ll find at NAB are some of those ‘early

adopter’ IPMX products, which from stability and

usability standpoints are robust and ready to be

used. But they aren’t officially IPMX products with

the logo on them [yet] because we want to have

established testing processes and ensure everything

is in place. We’re not quite there yet, but [at NAB]

we’ll be sharing the roadmap that will give people a

good idea as to when we expect to get there.

I will add that we’ve already had a few major

testing events, and are having another one just

What you’ll find at NAB

are some of those ‘early adopter’

IPMX products…

before NAB, which is going to [revolve around]

the first version of our test plan that we’ve

developed for core IPMX interoperability and also

for two different profiles: compressed JPEG XS

and uncompressed video. [Beyond that] we plan

to have our first certification test, which should

mean that in Q3 we’ll be able to put a label on the

very first IPMX products.

PRODUCTION360.MEDIA AIMS AT NAB


What can you tell us about AIMS-related

presentations and conference sessions at NAB?

We have a whole series of talks [as part of the IP

Showcase] on the Tech Chat stage in the West

Hall. In terms of IPMX, we’ll have a session on

the control plane, one of the roadmap that I am

doing, and one that is going to be a really good

introduction to IPMX. I know there will be a lot

of people who will know it’s [based on] ST 2110,

but in this session we’ll able to give a beginner-tointermediate

level introduction that explains the

[other capabilities] that IPMX brings.

In your capacity as a visitor to the show, what

are you personally most looking forward to

finding out more about?

I would say that it’s continuing to see cloud

deployments and the use of cloud technologies

mature. It might not be simple for a while yet,

but [the main question I would ask] is how do

you make it economical, scalable and reliable for

engineers to deploy systems that are agnostic

of being in the cloud or just compute platforms.

[Ultimately there is a need] to have systems that

we can deploy from software or software-defined

systems, and that’ll be interesting to see.

With regard to AI, I would identify two aspects

that are really interesting to me. One is how, as

both a consumer and contributor, how do you

integrate [AI]? What are the integration points

or what are the things that we as an industry

need to be thinking about as we integrate with

AI, in terms of data formats, latency and all of the

different things that play into AI in its own unique

way. We deal with those issues all the time and

[so] what kinds of technologies and standards

do we need to be thinking about as AI goes from

this brand new thing to something that we’re

ready to think about in terms of standard ways

to integrate it.

The second thing — and every time somebody

brings up AI I want to beat on the drum about it

because I think it’s something that everybody can

understand — is that there’s going to be a keen

interest in knowing the provenance of content

now, especially given that it’s going to become

more and more difficult to discern between

human generated content, AI-assisted generated

content and stuff that’s being generated real-time

by AI. What it comes down to is trust — markets

require trust, and our market is no different.

…here’s going to be a keen

interest in knowing the

provenance of content now…

It’s in the standards area where we can be

thinking about having reliable, interoperable

ways of reporting what it is, what version it is,

and so on. We want to get to a point where those

mechanisms are as friction-free and interoperable

as we can possibly make them.

46 | MARCH-APRIL 2025 IABM

PRODUCTION360.MEDIA

IABM’s Saleha Williams:

‘There needs to be clarity

on the value we bring’

Saleha Williams, who became CEO of IABM

last December, reflects on her first NAB in

charge of the organisation, her mission to

deliver ‘transformational change’, and the

evolving role of trade shows.

PRODUCTION360.MEDIA IABM


The industry is changing

and IABM needs to change and be

more modern

You’ve come into the IABM role with huge

experience on multiple sides of the industry

— commercial as well as creative and

related technological advancements. Is it the

opportunity to combine those afforded by the

IABM that initially drew you to the job?

First of all, I was very honoured to be asked. I’ve

known IABM all of my career, which is more than

35 years at this point, and in that time I’ve been

a producer and conference presenter for IABM,

and have been interviewed on IABM TV at various

trade shows. So I’ve always known, and had huge

respect for, the organisation.

My second reaction was that unless you’re

looking at major transformation, you don’t need

somebody like me. I’ve said this a number of

times; I am a transformational leader who looks

at future technology and future business models,

as well as how to drive change and innovations

within organisations. And the resounding answer

from the board members who were managing

the interview process is ‘that’s what exactly we

want’. The industry is changing and IABM needs

to change and be more modern. I think it’s true

to say that IABM’s position in the industry has

become somewhat diluted, a little confused, and

there needs to be clarity on the value that IABM

brings to its members because it’s there.

From that respect, it could be said that

my skillsets and background fitted those

requirements as opposed to what drew me

initially, because unless there was a whole

transformational element I knew I wouldn’t be the

right person to do it.

So the IABM was very cognisant of there being a

need for a bit of a reset?

Completely. The conversations have been

incredibly honest and refreshing. [There is

an awareness] that the times are changing

enormously, and that affects what our members

need, how we deliver that, and how we widen

it in terms of digital engagement and our scope

beyond the trade shows. Obviously those are very

important and it’s vital that members can network,

connect and meet up with each other. But since

Covid it has been more financially challenging for

companies to send their teams to all the shows

around the world, so that requires us to think

about being more agile as an organisation to

ensure we deliver value to our members.

I know you’ve spent quite bit of time in the

first few months as CEO talking to members

and getting a sense of their concerns and

priorities. Can you give us a bit of a flavour of

those conversations?

One of the biggest concerns that members

have is about the business transformation

side, [including] how they transform and move

forward as organisations. So that means looking

at everything from new revenue models to how

they engage with media buyers and what does

that look like in today’s environment. We’re in an

everchanging and incredibly complex business,

so what our members need is support, guidance,

research, insights, and the ability to connect with

other people within the ecosystem.

[Above all] it’s about how we can help

companies do business and support them with

information in a way that works in the current

economic climate.

What can you tell us about IABM’s NAB

plans this year?

We’ve really expanded our presence and how we’re

showing up at NAB this year. So we’re continuing

to have our IABM members’ lounge, [but] we’ve

listened to members and to NAB, and we’ve

put together a whole programme of thoughtleadership

talks and content with IABM TV

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PRODUCTION360.MEDIA

that is aligned to the key issues our member are

concerned about.

A series of talk and interviews will take place

on the new IABM Impact Stage in the lounge.

There are sessions about new revenue models,

sustainability, and the democratisation of media.

We’re also covering our GEP (Global Engaged

Partner) programme, which is where we look at

the relationship between media and vendors, and

how to develop that.

We’ve brought in Purminder Gandhu, who

was one of the producers on [BBC Radio 4 news

programme] Today and also ran the BBC Edge

programme, which helped bring together a whole

network of technologists and people that wanted

to network and collaborate. Purminder has 30

years’ in producing and presenting for the BBC, so

she’s going to run the IABM Impact Stage for us.

We also have more regional-specific meet-ups,

including an Asia-Pacific group meeting and a

panel session to discuss what’s happening in that

region. In addition, we have the whole business

intelligence unit on-site so that members can talk

to the experts and get their insights.

So we’re not losing anything; in fact, we’re

adding a lot more [to our NAB presence] that

is in response to the comments of both our

members and NAB.

Do you think that the role of trade shows

has changed fundamentally since the

pandemic period?

I think that maybe they’ve become more about

networking. I remember that back in the day

you might launch your new product or service

at NAB, and then by IBC you would have a beta

Our neutral and

independent stance allows us

to provide the crucial insights,

research, and intelligence

version on the showfloor for people to see. But of

course product life cycles have since accelerated

massively, and although people still want to see

new products I think it’s not so much about the

launches now and more about innovation, R&D,

collaboration and understanding where the

opportunities are. People still really want to get

together and you can see that with how successful

IBC was last September. I was also at ISE in

Barcelona in February, and it was crazy busy!

Going forward, there has to be understanding

with regard to travel costs and sustainability

issues, [which means] increased stickiness

between trade shows and more engagement —

something that we are doing anyway as IABM.

What are the particular broadcast and media

trends you are keen to find out more about

yourself at this NAB?

Obviously AI, and again it’s with the business

transformation piece in mind, so thinking about

how that comes together with the technology

viewpoint to enable organisations — whoever

they are — to be able to really drive forward. We’re

seeing so much news across the industry about

redundancies and cutbacks, and IABM is no

exception as organisation [in facing challenges]. As

a CEO I have to think about financial sustainability

and how we manage that.

So a big part of [approaching AI] is how

we navigate it, where the innovations and

new thinking are around things like buying

models and the wider ecosystem, and how the

industry collaborates to drive storytelling and

programme-making that continue to allow the

industry to flourish.

Finally, there’s no getting away from the

fact that we’re living in deeply unsettling

and uncertain times. Does that mean there

is also a role for the IABM to provide insight

in a broader geopolitical context?

Our IABM industry geotracker survey just

launched for 2025 focuses on regional

mediatech trends and opportunities as well

as at the bigger picture. It’s absolutely crucial

for the whole industry — not just IABM

members — to be able to think regionally

because of the geo-political impact, which

is huge and leading to such profound buying

changes. So IABM’s mission continues — to

deliver value to our members by connecting,

supporting, and informing them across physical,

digital, regional, and global platforms. Our

neutral and independent stance allows us to

provide the crucial insights, research, and

intelligence necessary for members to make

better business and technology decisions, and

my job is to ensure we keep doing this in the

most effective and innovative way possible,

especially given the current economic.

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50 | MARCH-APRIL 2025 SMPTE

PRODUCTION360.MEDIA

SMPTE’s Maja Davidovic:

‘Everyone’s interested in how

AI will change workflows’

The director of education at the Society of Motion

Picture and Television Engineers (SMPTE) outlines

the organisation’s plans for NAB 2025, the ongoing

demand for ST 2110 training, and the need for a

practical approach to AI.

PRODUCTION360.MEDIA SMPTE


…with everyone so

interested in AI and how it’s

going to change workflows in

various parts of the industry,

we’re going to talk about case

studies and use cases

Can you outline the scope of your role as

director of education for SMPTE?

I’m leading a team of people who are working

on professional development programmes and

that includes both virtual courses and webinars.

We do technical webcasts, and then in terms

of virtual courses we have various courses that

are either SMPTE standards-related or just

technology-related.

We also do conference production and

programming for NAB in April, for IBC in

Amsterdam in September, and for SMPTE’s

annual technical conference, which is in October

every year in Los Angeles. We also do some other

smaller conferences and our sections and student

chapters have their own programmes which the

SMPTE education team is not directly involved

with, but does support as needed.

Other than professional development

and conferences, publications is another

branch of what we do, which includes the

SMPTE Motion Imaging Journal that has been

published since 1916.

Personally, I’ve been involved in this role for

two years, and before that I was the manager of

professional development programmes at SMPTE

for five years.

At NAB, SMPTE has programmed and

produced the Future of Cinema Conference

for many years. What can you tell us about

the schedule for the 2025 event, which takes

place on April 5?

The Future of Cinema Conference has traditionally

been talking about cinema technologies, but [in

more recent times] we have also been looking at

technologies in immersive venues, live events and

other ‘adjacent’ industries.

This year, with everyone so interested in AI and

how it’s going to change workflows in various

parts of the industry, we’re going to talk about

case studies and use cases. [That will include]

looking at which AI tools have been implemented

in the past year or two for specific cases, and what

are the effects of using these AI tools. [The sort

of questions here include] what changes do they

bring to the industry in term of workflows, and

how will jobs change in relation to the application

of these AI tools?

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PRODUCTION360.MEDIA

organised by our Hollywood members entitled AI-

Driven Live Broadcasting Through the SMPTE Lens,

and one with the title of Making Media Devices Just

Work. There is also a session [on April 7] where

filmmakers will talk about the importance of

colour management and ACES.

So there will be discussion about AI in a few

sessions. We also have the team from Barco

talking about their HDR projection technology,

and they will show some clips done with a

traditional technology and then with HDR

technology applied.

I would also highlight the session involving a

team from Sphere in Las Vegas, which is about

their production use cases and how they’ve

had a camera built specifically to form for the

Sphere. [Note: Subsequent to this interview, it

was announced that the session title is Beyond the

Frame — How Sphere Studios Creates and Delivers

Evolving Content for a Dynamic Screen.]

Aside from the Future of Cinema Conference,

can you tell us about some of the other session

SMPTE is involved with at NAB?

Yes, as usual, we have a number of sessions in

the West Hall, including two on April 6: a session

With so many hot topics in the industry at

present, could you give us a little insight into

how you go about planning the offer that you

bring to a show such as NAB? How do you

approach sifting through the various subject

areas to produce something that is reflective of

people’s interests and concerns?

The society is an organisation run by members,

and everybody who works on the staff has

a counterpart in the volunteer member

community. [With my counterpart] we usually

nominate the chair for the programme —

somebody who’s going to lead this process for

the content side — while staff support them

in organisational matters, making sure that

we collect all the information required, we

contact all the people we need to, and initiate

discussions between members of the panel.

[Subsequently] we meet and talk about the flow

of the event and what makes sense, which leads

to a schedule and conclusions about the content

of each session.

So if you look at a burning issue at this time,

AI concerns people very much in the industry,

and [it was evident to us] that we wanted to

cover it from a practical perspective. That

means not only talking about the dangers, but

also about the opportunities and changes it

will bring. So we’ll look at what happens as

PRODUCTION360.MEDIA SMPTE


…some of the new technologies are moving so fast that you

don’t even get to standardise them before they’ve gone to another level

the industry changes to a more decentralised

system and you have content creators on all of

these different sides, [including] what it means

for us in term of security, interoperability and

the standardisation process. Also, we want

to think about what we need to do to educate

people, and the training opportunities that

are required to make the changes needed for

[continued success].

All of these considerations [ fed into our

thinking about this topic], and the series of

sessions we have developed reflects that.

In terms of the virtual courses SMPTE

provides, can you give us a sense of the range

of those currently offered?

We have courses that have been in our portfolio

for some time, for example those about HDR,

media in the cloud, and the essentials of video

and audio compression. We also have a UHD

imaging system fundamentals course, which

is really about understanding the core science,

and then the most popular one is Understanding

SMPTE ST 2110, which has been delivered many

times in both public and private versions. So

many companies have run their broadcast

teams through that training, including ABC,

BBC and Al Jazeera, as well as [representatives]

from public organisations in Canada and the

US. Even navy and air force teams have gone

through that training.

It’s interesting to note that, eight years

after the first ST 2110 IP standards were

published in 2015, there’s still a big demand for

education about them.

Very much so. We still get questions along the

lines of ‘I need to move to ST 2110, so how do I

go about training my team from nothing?’ It’s

not a new standard, obviously, but in terms of

implementation, [you have a situation] where

a lot of the largest organisations have built new

facilities using ST 2110, but there are probably

many smaller broadcasters and venues who

are still in the process of changing towards IP

investment. It’s likely a huge investment for them,

and not everybody is ready to do that [at the same

time]. There are companies and broadcasters who

have not even started this journey.

SMPTE can actually serve as a platform where

these broadcasters can come together with those

who are more experienced [in IP media] and are

also in the SMPTE standards community. They

can share insights, advice and experiences, and

really provide some information about what to do

and what not to do.

Finally, we’re in the midst of such profound

change in so many areas of the industry that it

must be challenging to know what to prioritise

in terms of education and standards work…

Yes, I agree. It’s a concern that some of the

new technologies are moving so fast that you

don’t even get to standardise them before

they’ve gone to another level. So in terms of

education, we are approaching it from a little bit

of a different perspective, which is to talk about

what people are really doing, [hence the focus]

on case studies.

With something like AI, all we can do at this

time is learn; observe the situation and see

how it moves along. But there is an AI working

group that’s monitoring what’s going on and

seeing if there is going to be some space for

standardisation, or at least recommended

procedures in some places.

54 | MARCH-APRIL 2025 808 TALENT

PRODUCTION360.MEDIA

Talent, tech and

transformation

As the global media and entertainment technology

industry prepares for this year’s NAB Show, it’s a

timely moment to reflect on some of the recruitment

trends currently shaping the market, writes 808 Talent

founder and CEO Ben Swanton.

PRODUCTION360.MEDIA 808 TALENT


With the unique vantage point of running

a global recruitment firm focused

on the broadcast and sports media

technology sectors — alongside an M&A advisory

consultancy — I’ve had the privilege of gaining

first-hand insights from across the ecosystem:

broadcasters, content owners, vendors, service

providers, private equity firms, venture capitalists

and, of course, professionals navigating their

next career move. These insights reveal shifts that

are shaping the landscape as we head into the

industry’s flagship event.

NAB is always a whirlwind of product releases,

mergers and acquisitions, and big announcements

about what the next 12 months will hold. But

beyond the latest tech trends and innovations,

one area that often gets overlooked is the human

element — the recruitment trends that are quietly

shaping the industry.

As we enter 2025, I see two distinct phases: what

I’d call the ‘stagnation phase’ of 2023 and 2024, and

the more optimistic, growth-focused 2025. Here

are some of the trends impacting recruitment and

how they’re influencing the industry as a whole.

1. A WAVE OF OPTIMISM AND

NEW OPPORTUNITIES

The past two years have been challenging. With

the global economic crisis, the ongoing war in

Ukraine, and the Hollywood strikes, 2023 was

marked by limited growth, restructuring, and

reductions in forces. These external factors caused

widespread uncertainty, and many businesses,

particularly in the M&E and wider tech sectors,

found themselves in a holding pattern and this was

felt until the end of 2024.

However, 2025 is seeing a shift and I’ve

noticed a renewed sense of optimism. The

first conversations I had in January were

overwhelmingly positive, with businesses

having completed the restructuring they

needed and now focusing on growth, but

in a sustainable way. There’s a clear pivot

towards innovation, with more businesses

prioritising product development and

customer-centric strategies rather than simply

chasing short-term profits.

After two years of stagnation, there’s also

a palpable shift at the senior level. More

senior professionals are now considering new

opportunities after staying put during the

past period of instability. This is especially

noticeable in key leadership and senior individual

contributor roles, where movement is expected

to increase across the globe as professionals seek

new challenges.

2. THE ONGOING

REORGANISATION TREND

While large-scale reductions in force seem to have

subsided, reorganisation is the new norm. Across

both broadcasters and the vendor ecosystem,

businesses are continuing their transition to new

business models, and with that comes a host of

organisational changes.

One key challenge many vendors are grappling

with is how to structure sales and customer

success teams in the context of SaaS. What

worked in a traditional sales organisation no

longer suffices in a SaaS-driven world, especially

56 | MARCH-APRIL 2025 808 TALENT

PRODUCTION360.MEDIA

when you’re servicing both large media clients

(like Disney or Netflix) and smaller new videofocused

businesses (such as a house of worship).

This ongoing shift is having a direct impact on

talent acquisition strategies across the sector One

of the key debates within the industry right now

is whether to continue hiring from the traditional

media and entertainment technology talent pool

— or to inject new energy by bringing in expertise

from adjacent sectors such as fintech, healthcare,

IT, or broader high-tech industries, where SaaS

experience is often more advanced and abundant.

Layered on top of that is the complexity of

serving a diverse global customer base. Businesses

are grappling with how to stay relevant to longstanding,

legacy clients while also appealing

to new types of customers — all within the

context of very different cultural and commercial

expectations across Europe, the Americas,

and Asia. In markets like these, a one-size-fitsall

sales or customer success strategy rarely

works — and getting it right requires talent that

understands the nuances.

Despite the struggles, the positive spin here

is that there is a clear desire among industry

players to collaborate and share ideas to move

forward, even with competitors. Companies are

recognising the value of discussing challenges

with their ‘frenemies’ to find solutions that benefit

the entire ecosystem.

3. THE GEOPOLITICAL LANDSCAPE AND

ITS IMPACT ON RECRUITMENT

As we know, the global geopolitical situation is

having a far-reaching effect on how businesses

approach recruitment, particularly in Europe and

the US. While I’m not going to dive into politics,

it’s undeniable that the ongoing conflicts and

tensions, especially in Europe, are influencing

hiring decisions and talent movement.

From a recruitment perspective, businesses

looking to scale across borders must take into

account the cultural and political nuances that

impact both candidates and hiring strategies.

Candidates must also be aware of the global

context they’re entering. Whether they’re

Europeans working for US companies or US

professionals working for European businesses,

understanding the broader geopolitical climate is

essential for long-term success.

As such, cultural fit is now more critical

than ever. Ensuring a solid alignment between

candidates and companies is essential, especially

at the senior level. The use of psychometric

testing to better assess personality fit, especially

for roles that require collaboration across different

regions and cultures, is becoming an increasingly

important part of the recruitment process.

4. AI AND AUTOMATION:

TRANSFORMING

RECRUITMENT AND BEYOND

AI is the hot topic, and it’s impossible to write

an article without mentioning it. While GenAI

is not yet having a revolutionary impact on the

media and entertainment technology sector in a

meaningful way, machine learning and automation

are already making strides, particularly in

streamlining workflows and enhancing efficiency.

From a recruitment perspective, however, there

are growing concerns. AI is being used more and

more in recruitment in the early stages of the

hiring process to filter out candidates. While

these tools can save time, they can often result

in qualified candidates being overlooked. There’s

a growing sense of candidate frustration as AI

depersonalises the recruitment process.

This highlights an important lesson: while AI

can be a valuable tool for streamlining certain

processes, it cannot replace the human touch.

The personalised service that recruiters (internal

or external) provide is essential for ensuring that

candidates and companies make the best possible

decisions for long-term success. This trend in

recruitment is a mirror image of what is taking

place in the industry; while AI will no doubt be a

key topic, the emphasis on human connection will

remain paramount.

5. NAB 2025: ONE OF THE BEST

NETWORKING OPPORTUNITIES

Finally, as we prepare for NAB 2025, it’s clear that,

despite all the technological advancements in our

industry, the importance of in-person networking

cannot be overstated. NAB, like IBC, continues to

be one of the best opportunities for professionals

to connect, share ideas and build relationships.

As the adage goes ‘people buy from people’, and

this year’s NAB will surely be a hub of activity,

showcasing the latest technological innovations

but also providing that all-important personal

connection that drives business success.

As we head into NAB, I’m excited to see how the

trends I’ve mentioned play out and how they’ll

continue to shape the industry over the coming

months. There’s optimism in the air, and despite

the challenges, it’s an exciting time to be part

of the community.


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