Production 360 Issue V3.1 January-February 2026

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

V3.1 • JANUARY-FEBRUARY 2026

Convergence continues

Why broadcast and AV technologies are moving ever-closer

ISE Stand 4P700

PRODUCTION360.MEDIA WELCOME

JANUARY-FEBRUARY 2026 | 3

Welcome to Production 360º

Welcome to the first issue

of 2026. This feature-rich

issue provides a wealth of

fascinating, thought-provoking and

insightful content. The organisations

featured are confident and planning

for the future, and we extend our

sincere thanks to all contributors

for their time.

The uncertainty of 2025 was

profound, and many professionals would agree that 2026

will be equally challenging.

Across the globe, industries are adapting to changing

environments. Long-term planning is, by itself, no longer

a viable strategy. Rapid change makes setting goals in an

ever-evolving landscape difficult and may not always align

with business needs. Agile businesses with healthy cash

flow, innovation, resilience and a strong workforce will

ultimately be those who are most successful. Regrettably,

many will fare less well this year, often due to no

fault of their own.

The buzz surrounding ISE 2026 suggests the industry has

found innovative and unique ways to survive and thrive.

Partnerships, collaborations and acquisitions, combined

with a strong workforce, make this one of the most

prominent sectors.

Consequently, there is a palpable sense of optimism and

resilience. While the future remains unpredictable and

challenging, it appears that we are all prepared to endure.

I am unable to attend ISE this year, but we encourage you

to visit www.production360.media and our LinkedIn

page as we cover all the news the fastest-growing platform

with the most content.

We hope you enjoy this issue as the team has invested

significant effort in its creation.

We wish you a successful and enjoyable show.

Thank you.

Chris Cope, Publisher

Production 360º

PRODUCTION360.MEDIA JANUARY-FEBRUARY 2026 | 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.

© 2026 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 Production360º

Publisher Chris Cope introduces the

latest edition.

6 Uncertain Times

David Davies places the latest edition

of the ISE Show in the context of a

hugely turbulent global outlook, and

considers how AV companies are working

to stay on track.

8 ISE’s Mike Blackman:

‘Alongside AI, cybersecurity

has become a huge topic’

The managing director of Integrated

Systems Events discusses the current

sense of ‘confident and momentum’ in the

industry, key technological themes at this

year’s ISE Show, and some of the notable

sessions awaiting conference delegates.

14 Rise: turning commitment to

gender diversity into action

The global advocacy organisation

supporting women across broadcast and

media technology discusses its progress

to date — and its next steps.

16 The return of OnAir

The second edition of OnAir, the world’s

largest student-led broadcast coordinated

by Media Talent Manifesto, will significantly

expand its scale and ambition.

18 Vizrt’s Andy Baillie: ‘We’re

focusing on being able to work

even closer with customers’

The VP enterprise of Vizrt discusse

innovation in enterprise industries, the

evolution of managed services, and

what he’s looking forward to at this

year’s ISE Show.

22 Panasonic’s Guilhem Krier:

‘AI tools are no longer just

about experimentation’

The head of new business and market

development (EMEA) for broadcast &

pro AV at Panasonic Connect Europe

discusses the rise of AI and the increasing

importance of robotics and PTZbased

workflows.

26 PPDS’ Ron Cottaar: ‘Our

prospects are extremely positive’

Director of global marketing Ron Cottaar

discusses recent business changes,

collaborations with customers to develop

bespoke solutions, and the importance

of the ISE Show.

30 Manifold Technologies’ Aleksei

Shevchenko: ‘We believe our

offering matches exactly the

direction the market is heading’

The CEO of the cloud-based production

software specialist discusses the

continued rise of IP and, in particular,

the use of FPGA-accelerated hardware

and cloud-based solutions to achieve

wider deployment.

36 Marshall Electronics’ Greg Boren:

‘ISE has become a cornerstone of

our annual strategy’

The product marketing engineer of the

pro video and audio technology company

discusses its AI-driven tracking camera

technologies and his enduring interest

in seeking how the industry approaches

solving significant challenges.

38 EM Acoustics’ Mike Wheeler:

‘The ISE Show has become a

thematic marker for us’

The operations director of the

independent British manufacturer of highend

professional loudspeakers discusses

the importance of ISE and the company’s

new CS subwoofers.

42 Dot Group’s Lee Otterway:

‘Measurement is becoming

the foundation of

sustainable production’

The commercial director of Dot Group

explains why 2026 is set to be a significant

year for the sustainability, with various

frameworks and regulations compelling

organisations to be more accurate

and consistent in measuring their

environmental impact.

46 Unleashing post productivity

through high-speed networking

Post houses are now dealing with everlarger

files as well as increasingly demand

timescales — leading to a need for new

solutions, says Tuxera market development

manager Duncan Beattie.

48 How AI will quietly reshape

production in 2026

Used thoughtfully, AI can herald new ways

to adapt — but it’s unwise to approach it

as a silver bullet, suggests Starting Pixel

founder Rob Chandler.

52 Why AV convergence is forcing

media tech to rethink its future

Ben Swanton, founder and CEO of

808 Talent, explores the ways in which

convergence, new verticals and faster

decision-making are redefining

growth in 2026.

6 | JANUARY-FEBRUARY 2026 COMMENT

PRODUCTION360.MEDIA

Uncertain Times

Despite a period of profound global uncertainty that’s unlikely to

end any time soon, David Davies finds that many AV companies

are taking steps to maintain a confident course into the future.

It was with some relief that,

reading through the set of Q&As

organised for this ISE Showthemed

issue, I noticed a distinct

sense of optimism about the business

and its prospects for the mediumto-longer

term future. Because if one

was only to form a prediction based

on the global outlook and recent

economic forecasts, it would be very

easy to assume a more downbeat

position.

Certainly, on the face of it, the

worldwide situation has rarely

looked so grim in the last 80 years

as it does right now. It’s a cliche —

but a cliche because it’s true — that

the markets do not react well to

uncertainty, and the fluctuations

in many territories over recent

months are evident for all to see.

On a political level, the rise of

authoritarianism in many regions

should be deeply concerning for

everyone who values democracy.

Needless to say, authoritarianism is

hardly conducive to prosperity and

the development of new businesses.

If ever there was a robust reminder

that history inclines towards the

cyclical, with successive generations

apparently destined to repeat the

same mistakes as their forebears,

then we’ve undoubtedly seen it

again and again over the past ten

years. In which context, it can

sometimes be very difficult to

maintain even the ‘baseline’ level of

optimism that we all require to keep

going day after day.

If ever there was a robust reminder that

history inclines towards the cyclical, with successive

generations apparently destined to repeat the same

mistakes as their forebears, then we’ve undoubtedly

seen it again and again over the past ten years

So the fact that so many

companies in the AV and broadcast

spaces — which, as this issue

underlines, are increasingly

converged — appear to be doing

so well is a cause for genuine

celebration. It’s also possible to

identify a few common themes

in terms of how they are charting

positive courses into the future.

Partnership: more and more,

AV companies are acknowledging

that — for specific technologies and

applications — they can’t necessarily

do it all on their own. Achieving the

necessary R&D around AI tools is an

obvious example.

Flexible R&D: as they get to

grips with new developments in

AI, robotics, networking and more,

companies are increasingly aware

that their R&D operations have to

be flexible and perpetually receptive

to new developments. The fact that

this year’s ISE is once again host to

an extraordinary number of new

innovations suggests that many

are achieving precisely this level of

flexibility in their R&D operations.

Convergence: this term crops

up many times in this issue, and

for good reason — technologically

and in application terms, AV

and broadcast are getting evercloser

together. With this comes

numerous new opportunities, as

a visit to the ISE showfloor will

doubtless confirm.

With the global outlook seemingly

unlikely to improve any time soon,

it’s to the credit — and future

prosperity — of the AV industry

that so many stakeholders have

taken steps not only to weather the

storms, but actually to continue to

grow and innovate.

Visit us at

ISE 2026!

Booth 5.K800

THE IP-READY BROADCAST SOLUTION

EASY-IP combines the software intelligence of manifold CLOUD

with the live performance capabilities of arkona BLADE//runner

& COTS compute in a unified solution for video and audio routing,

multiviewing and processing. Making broadcast production

Smaller, Smarter, Simpler.

EASY-IP FEATURES

3RD PARTY BROADCAST

CONTROL SYSTEM

DIRECTLY ATTACHED

CONTROL PANELS

UNIFIED CONTROL

High Density SDI/IO

16K x 12K Audio Router

Video Delay and FS

Audio Delay and SRC

Clip Player/Grabber

Downstream Keying

Video Mixing

Audio Mixing + DSP

Color Correction

HDR-SDR Conversion

JPEG XS

Multiviewer

Up/Down/Cross Conversion

HTML5 Graphics Insertion

Live Performance. Cloud Intelligence. manifoldtech.tv

8 | JANUARY-FEBRUARY 2026 ISE

PRODUCTION360.MEDIA

ISE’s Mike Blackman:

‘Alongside AI,

cybersecurity has

become a huge topic’

The managing director of Integrated

Systems Events discusses the current

sense of ‘confident and momentum’

in the industry, key technological

themes at this year’s ISE Show,

and some of the notable sessions

awaiting conference delegates.

PRODUCTION360.MEDIA ISE


With the world undergoing a period of

profound instability, how would you assess the

mood of the industry going into ISE 2026?

It’s certainly an interesting period. There’s no

escaping the fact that we’re living through a

period of uncertainty and the industry is very

aware of that, but what’s genuinely encouraging

is that, going into ISE 2026, the energy feels

electric, and there’s a lot of enthusiasm from

exhibitors and attendees. There’s a real sense

of confidence and momentum, even if it’s

tempered by realism.

Rather than pulling back, people are engaging

more thoughtfully. Companies are being very

deliberate about where they invest their time and

resources, and that’s driving more focused and

meaningful innovation. The conversations I’m

having are less about short-term trends and more

about efficiency and long-term value. There’s also

a growing sense of maturity across the industry as

we understand the challenges in front of us, but

we’re also clear about the opportunities and the

role our technologies and collaboration can play

in helping organisations and audiences navigate

what comes next.

AI was a key theme last year, and surely

will be again this time. But what do you

think will be the other key technological

themes at ISE 2026?

AI will absolutely be heavily featured again, but

the way it’s being discussed will evolve since

we’ve moved past the hype phase and into a much

more practical one. At ISE 2026, AI is more about

real-world application, things like automating

complex workflows, improving monitoring and

diagnostics, or enhancing content creation and live

production processes.

Alongside AI, cybersecurity has become a

huge topic. As AV, broadcast and IT continue to

converge, the risks are no longer theoretical. For

live production, broadcast environments and

large venues, system security is now as critical as

system performance. That’s why it’s such a strong

focus for us this year.

Another major theme is convergence itself,

particularly between broadcast and AV. IP-based

infrastructures, cloud-enabled production,

remote collaboration and hybrid workflows are

now firmly part of the mainstream. It’s changing

how live events are produced, how content is

distributed, and how teams work together.

All of this ties directly into ISE’s megatrends

for 2026, which are AI, Cybersecurity, Robotics,

Smart Spaces, Sustainability, and TradeScape.

Sustainability, in particular, is influencing

everything from equipment design to how shows

are produced and toured.


PRODUCTION360.MEDIA

323 exhibitors are new to

ISE in 2026, underlining the

show’s ability to attract fresh

voices and emerging technologies

of the most dynamic areas on the show floor,

Innovation Park offers a strong indication of

where future innovation, growth, and disruption

are likely to come from.

What are your observations about the

exhibitor list this year, with reference to new or

returning exhibitors?

The exhibitor list for ISE 2026 clearly tells the

story of where the industry stands today. With

more than 1,740 exhibitors confirmed, the show

continues to be built on a strong foundation of

long-standing partners who invest in ISE year

after year. Companies such as Sony, Panasonic,

Samsung, LG, Barco, Christie, Epson, Shure,

Sennheiser, Harman and Crestron have been

part of ISE’s journey for many years, and their

continued presence, often with significant stands

and major product launches, reflects the value

they see in both the event and the market it serves.

At the same time, the exhibitor mix highlights

the industry’s momentum and capacity for

renewal. 323 exhibitors are new to ISE in 2026,

underlining the show’s ability to attract fresh

voices and emerging technologies. A focal point

of this growth is Innovation Park, which will

feature 130 exhibitors and provides startups and

scale-ups with a dedicated platform to showcase

new ideas to a global audience. Consistently one

Turning to the conference programme, if you

had to highlight a couple of notable sessions

what would they be — and why?

One standout for me is the new CyberSecurity

Summit, taking place Thursday 5th February at the

show. This is an area that has moved very quickly

from being a specialist concern to something

everyone needs to understand. As systems become

more connected and IP-based, particularly in

broadcast and live event environments, security is

fundamental. This summit is about awareness and

best practice, not fear-mongering.

The Broadcast AV Summit, also on the Thursday,

is another key one. It really gets to the heart

of how broadcast and AV are coming together

technologically and culturally. It brings together

broadcasters, integrators and production

professionals to talk about real challenges and

real solutions.

PRODUCTION360.MEDIA ISE


Enabling Sustainable, Scalable

Growth

And of course, the Live Events

Stage, located in Hall 6 in the

Lighting & Staging Tech Zone,

continues to grow in importance and

is grounded in real experience. These

free sessions are led by people who

are out there delivering complex live

productions every day, sharing what

works, what doesn’t, and what’s

coming next in lighting, staging,

audio and content delivery.

Are there any new elements or

features at this year’s show you

would like to draw attention to?

We’re particularly excited about the

launch of Spark this year. Spark is a

four-day creative industries event

at ISE, powered by Samsung, and

it’s been designed very deliberately

to address a real challenge we see

across the sector.

We talk a lot about how connected

our industry is through technology,

but in practice it can still feel

quite fragmented, with creativity,

content, technology and delivery

often sitting in separate silos. Spark

was created to tackle what we call

the Connection Paradox — an

industry that’s never been more

technologically connected yet not

always connected in a human or

collaborative sense. Spark brings

those worlds together: creative

professionals, technologists and

M&A

Strategy

Trusted advisors to business leaders

of startups and scale-ups in the

Broadcast & Sports Media Industry

since 2014

advisory@808talent.com

www.808talent.com

Coaching &

Consulting

Recruitment

& Search


PRODUCTION360.MEDIA

decision-makers in one shared environment,

where ideas and innovation can genuinely move

forward together.

Spark stands out because it is co-created with

industry leaders. Led by Samsung and supported

by a strong roster of partners, including Lab of

Tomorrow, 3Cat, and Mo-Sys, the programme

unites recognised industry figures and creative

voices in a dynamic series of talks and discussions.

The carefully curated content features keynote

sessions from Victor Martí, director and head

of production at Netflix Spain & Portugal; Alex

Boateng, co-founder of 0207 Def Jam; and Jordan

Schwarzenberger, CEO of Arcade, alongside

contributions from established technology

partners. Combining inspiration with practical

application, Spark offers a unique blend of insight,

creativity, and real-world relevance, making it an

event not to be missed.

Alongside Spark, we’ve continued to refine

how the show itself is structured through our

Technology Zones, which have made a real

difference to the visitor experience. If you’re

coming from a broadcast or live production

background, you can head straight to the

Broadcast AV Zone in Hall 4, or spend time in

the Lighting and Staging Zones in Halls 6 and

8.1. Given the scale of ISE today, this kind of

clarity is essential as it helps people spend their

time more effectively and engage more deeply

with the technologies and conversations that

matter most to them.

Finally, which technology or solutions area

are you looking forward to finding out more

about at ISE 2026?

For me, it’s the continued evolution of broadcastgrade

technology into live events and experiential

environments. We’re seeing tools and workflows

that were once confined to broadcast studios

being used on tours, festivals and largescale

productions, and that’s opening new

creative possibilities.

I’m also very interested in how intelligence is

being built into systems, whether that’s through

AI, analytics or automation, to make production

environments more reliable and ultimately more

creative. ISE 2026 is really where you really see the

future taking shape.

Trusted Test & Measurement solutions

Whether in live production, post, or

engineering, Leader stands behind

every signal, so you can stay

confidently ahead of the action.

www.leaderphabrix.com

14 | JANUARY-FEBRUARY 2026 RISE

PRODUCTION360.MEDIA

Rise: turning commitment to

gender diversity into action

The global advocacy organisation supporting women across broadcast and media

technology discusses its progress to date — and its next steps.

Across broadcast and media technology,

the conversation around gender diversity

has moved well beyond awareness. What

the industry now faces is a far more practical

challenge: how to turn good intentions into

sustained, meaningful change. For Rise, the global

advocacy organisation supporting women across

broadcast and media technology, that shift from

conversation to action has been central to its

growth, impact and direction.

Founded with a clear mission to foster gender

diversity and empower women at every stage of

their career, Rise has developed into a truly global

community supported by structured programmes,

regional leadership, and a full annual calendar

of events and initiatives. Its long-term vision is

ambitious but clear: an wwwequitable future

where Rise is no longer needed. Until that point

is reached, the organisation remains focused on

practical support, long-term career pathways, and

creating space for women to thrive in an industry

where representation, particularly in technical

roles, remains low.

Community sits at the heart of everything

Rise does. Through regional councils across the

United Kingdom, Europe, North America, APAC,

ANZ, India and the Middle East, Rise has built

networks that reflect local needs while remaining

connected to a shared global purpose. These

Community sits at the

heart of everything Rise does

councils help ensure that Rise remains inclusive,

accessible and relevant, creating opportunities

for participation regardless of geography, job role

or career stage.

Since its launch, Rise has supported nearly

600 women through its mentoring programme

alone. Designed to provide structured

PRODUCTION360.MEDIA RISE


guidance, peer support, and access to industry

insight, mentoring continues to be one of the

organisation’s most impactful initiatives. In

response to growing demand, Rise has expanded

its career development opportunities and offers

a dedicated C-suite programme. They will later

be introducing a leadership programme, creating

clearer pathways for women progressing into

senior leadership. Together, these programmes

reflect a commitment to supporting women

throughout their careers — not just at entry or

mid-career level.

Rise has also become a visible and trusted

presence across the industry. Through workshops,

panels, networking events, and community spaces

at major trade shows, Rise provides environments

where women can engage confidently and visibly

with the sector. Its annual awards programme

has become a standout moment in the broadcast

calendar, bringing together more than 400

attendees to celebrate talent, advocacy and

progress while reinforcing the importance of

recognition and visibility.

Despite the progress made, the work is far

from complete. Industry data continues to show

that women remain underrepresented across

broadcast and media technology, particularly

in engineering and technical disciplines. Rise is

open about this reality and clear that continued

investment, partnership and collaboration are

essential if meaningful change is to be achieved.

Looking ahead to 2026, expansion remains a

key focus. Rise will extend into Canada, building

on its existing global footprint and responding

to demand from local communities. This growth

will sit alongside an annual programme of

Rise has helped start

conversations, build networks,

and create opportunities that did

not previously exist

events, initiatives and development opportunities

designed to create a clearer journey for

women, from first opportunity through to

leadership and advocacy.

Crucially, Rise recognises that impact

at this scale cannot happen in isolation. A

wide range of partnership and sponsorship

opportunities underpin the organisation’s ability

to deliver its work, providing vital support for

programmes, events and resources that directly

benefit the community.

Deborah Cross, operations director at Rise,

explains: “The lack of diversity across broadcast

and media technology is something we are deeply

committed to changing - not with words, but with

action. In 2026, Rise will expand its programmes,

events and initiatives, reach new territories and

create an even clearer journey for women at every

stage of their career, from first opportunity to

leadership and beyond. Everything we do is driven

by community, collaboration and impact, and we

invite everyone who believes in a more equitable

industry to get involved and help us build the

future together.”

Rise has helped start conversations, build

Deborah Cross

networks, and create opportunities that did

not previously exist. It has supported careers,

strengthened confidence, and fostered

communities that extend well beyond formal

programmes. With continued collaboration and

support, and much needed investment, Rise is

focused on doing even more.

Anyone interested in learning more about Rise

or exploring ways to get involved is welcome to

contact operations director Deborah Cross for

an informal conversation about partnership

and collaboration.

16 | JANUARY-FEBRUARY 2026 ON AIR

PRODUCTION360.MEDIA

The return of On Air

The second edition of OnAir, the world’s

largest student-led broadcast, will

significantly expand its scale and ambition.

The Media Talent Manifesto

(MTM) has announced the

return of On Air, the world’s

largest student-led broadcast,

which will take place on 22 October

2026. Building on the success of

its inaugural year, On Air 2026

will significantly expand its scale

and ambition, bringing together

students, educators and industry

partners from around the world

for a landmark multi-channel

global broadcast.

First delivered in October 2025,

MTM’s On Air connected students

across six continents in a continuous

24-hour livestream. The project

involved more than 1,000 students,

staff and industry volunteers globally

and demonstrated the impact of

giving emerging talent real-world

responsibility using professionalgrade

workflows and technologies.

For 2026, On Air returns as a larger,

more ambitious edition, introducing

multiple dedicated channels

spanning culture, news, sport,

film and children’s content. This

expanded format will allow greater

participation from universities

and schools worldwide, enabling

real-time collaboration between

student teams operating across

different countries and time zones.

Students will work across the full

media technology supply chain,

supported by industry professionals

and partners, gaining experience

that mirrors the realities of modern

global broadcasting.

Carrie Wootten, founder of MTM,

said: “The response to On Air in its

first year exceeded all expectations.

What really stood out was the

confidence and professionalism

the students showed when given

responsibility and trust. For 2026,

we’re taking everything we learned

and scaling it up. By expanding the

broadcast into multiple channels, we

can involve more institutions, more

students and more industry partners,

while continuing to showcase what

the next generation of media talent is

capable of on a global stage.”

Industry partners supporting

…MTM’s On Air connected students across

six continents in a continuous 24-hour livestream

MTM’s global student broadcast

include new joiners for 2026 BBC,

Disguise, Into Film, Selby Stars,

Selby Netball, Wheelchair Football

Association and Zixi alongside

existing partners Aski-Da Taldea,

Amazon Web Services (AWS),

Clear-Com, CNN, Deluxe, IABM,

IBC, InSync, IPLocker, Levira,

OOONA, Platform Communications,

Provys, SMPTE, Tanooki, Techex

and Vizrt. SVG Europe has also

been confirmed as the headline

partner for On Air Sport, working

with MTM to support and inspire

new talent entering the sports

broadcast industry.

On Air 2026 will broadcast live

globally on 22–23 October 2026,

with content available on demand

following the event.

To find out more, including how

to get involved, visit: http://

mediatalentmanifesto.com/on-air

18 | JANUARY-FEBRUARY 2026 VIZRT

PRODUCTION360.MEDIA

Vizrt’s Andy Baillie: ‘We’re

focusing on being able to work

even closer with customers’

The VP enterprise of Vizrt

discusse innovation in

enterprise industries, the

evolution of managed services,

and what he’s looking forward

to at this year’s ISE Show.

PRODUCTION360.MEDIA VIZRT


A significant focus of our

presence at ISE is Vizrt’s

investment in enterprise

Relentlessly positive. We see a market that

is evolving quickly, and through both

the dedication of the Vizrt team over

the years and the right market conditions we’re

now innovating and investing in enterprise

industries. So we feel very bullish about the

prospects for growth, and for the solutions we’re

bringing to this space.

What is the significance of the ISE Show to you?

We get to meet people — that’s the most important

thing. Obviously, there’s a lot of communication

through the year, but actually meeting people face

to face, being able to share ideas, talk about those

innovations, and understand what’s important

to our customers and their priorities is a really

important part of ISE.

What are the main themes or aspects of your

appearance at ISE 2026?

A significant focus of our presence at ISE is

Vizrt’s investment in enterprise, and that’s largely

in response to our customers who have asked

us to work directly with them to step up the

production for their corporate communications

with hands-on demonstrations of our newest

solutions. We’re focusing on being able to work

even closer with customers and understand

how they want to boost the way they engage

their audiences.

Can you tell us a little about the new products

or upgrades you will be highlighting?

A lot of significant investments are done through

partnerships. We’re seeing how Vizrt tools can

bring a new range of possibilities for professionals

using everyday devices and platforms. Zoom is

trusted by millions of people daily, and by adding a

layer of augmented reality or data-driven graphics

we’re upgrading the audience experience through

stunning visual elements.

There is a significant demand in the enterprise

market for enhancing the way audiences —

be they internal or external — interact with

corporate communications. We’re addressing

this demand in a significant way at ISE, and we’re

very excited about the reaction from people at the

show to these new solutions.

20 | JANUARY-FEBRUARY 2026 VIZRT

PRODUCTION360.MEDIA

The show offers the

possibility to interact with people

in a really impactful way

leading that demand across enterprise firsthand is

really important.

How important are the networking

opportunities offered by ISE and the other

primary annual trade shows?

The show offers the possibility to interact with

people in a really impactful way. We get to know

what’s important to them and talk about strategy

and execution. More often than not, it’s actually

an opportunity to further understand the people

who are responsible for those strategies and that

execution. We can see how they’re implementing

transformative technologies that are changing

the way they communicate, but we can also show

them in real-time what Vizrt tools can do to

achieve the outcomes they can deliver, as well as

how we support them with those changes.

What are you personally looking forward to

finding out more about at this year’s ISE?

Well, this is my first time going to ISE. I’m very

much looking forward to learning a bit more about

the way that the broadcast AV markets work —

particularly, with relevance to the enterprise and

corporate markets. Stepping into this new role at

Vizrt, I’ve seen how my colleagues are passionate

and focused on delivering the outcomes our

customers envision, but meeting people who are

Finally, can you please offer a few hints

as to what we can expect from you in

the rest of 2026?

More investment: in people, in solutions, in

partnerships. We have an incredibly strong

offering when it comes to the way we can work

with our corporate customers. Our Managed

Services [operation], for instance, is key to bringing

in fast and high-quality results for corporate

communications ambitions.

What we hear from the corporate space is that

there are the usual demands, or usual pressures,

from the boards and execs, which are to do more

with less and reduce the overhead of managing

corporate communications. With that in mind, we

have Managed Services that plans and executes

the proactive management of that comms with

broadcast-grade results, which corporations

and organisations can trust Vizrt to deliver.

Enterprises have the security that Vizrt supports

their productions with state-of-the-art hardware

and software technologies, as well as the best

experts working today.

PRODUCTION360.MEDIA VIZRT


Broadcast-quality production meets corporate content

How Veidekke, a leading Scandinavian construction and

engineering firm, transformed its corporate video production to

engage viewers meaningfully

In this increasingly hybrid world,

corporations of all sizes face the

amounting pressure of doing

more with less, while finding a

way to keep employees engaged.

Live production technology has

evolved to meet those needs,

and now organisations can count

on simplified, accessible and

reliable tools that expand its

communications possibilities.

With these tools, a key possibility

becomes nurturing an external

audience. Through digital platforms,

various businesses can utilise the

same technology adopted for

corporate communications to

create content, widen its brand

awareness, and become thought

leaders in the spaces they operate.

Veidekke, one of Scandinavia’s

premier construction and civil

engineering firms, built a reputation

as a leader in innovation and

excellence. With the growing

importance of elevating corporate

communications to engage

internal and external audiences,

Veidekke aimed to redefine its

in-house media production,

with the objective of achieving

higher professionalism and

broadcast-standard quality in its

corporate content.

The stakes were high: the

company needed a production

environment that supported an

extensive variety of content types,

including training sessions, panel

debates, annual reports and live

events. They sought to centralise

video and audio control across

multiple locations into a single

headquarters-based control room,

maximising efficiencies while

enhancing creative capabilities.

To meet these ambitious goals,

Veidekke turned to Mediability,

a trusted partner and one of

the region’s most experienced

broadcast technology experts.

With over a decade of supporting

clients in Scandinavia, Mediability

brought deep expertise and a

keen understanding of modern

production challenges. Their

TriCaster Vizion

longstanding collaboration made

them the ideal choice to guide

Veidekke’s transition to a more

advanced, integrated workflow

featuring the TriCaster Vizion.

According to partner Mediability’s

CEO, Nils Olav Sundsteigen,

“TriCaster Vizion was the obvious

choice” — a robust, flexible and

scalable switcher capable of

supporting diverse production

types, with ultimate reliability

and the ability to future-proof

content production.

While seamlessly integrating

live feeds and creating interactive

content are some of the standout

features of the TriCaster, its latest

integration with Zoom takes

remote collaboration to the next

level. This capability isn’t limited to

Zoom alone — the TriCaster Vizion

seamlessly connects with platforms

like Microsoft Teams, Slack,

Messenger, WhatsApp, Discord

and more, ensuring Veidekke

can bring in contributors from

virtually anywhere.

The outcome is lifting Veidekke’s

professionalism in all the

productions they plan to do —

not just using visual elements

like HTML5 graphics that stay on

brand, but also with the green

screen that further immerse their

viewers. Now, Veidekke counts on

a scalable, efficient environment

to consistently deliver engaging

experiences that resonate

with any audience.

22 | JANUARY-FEBRUARY 2026 PANASONIC

PRODUCTION360.MEDIA

Panasonic’s Guilhem

Krier: ‘AI tools are

no longer just about

experimentation’

The head of new business and market

development (EMEA) for broadcast

& pro AV at Panasonic Connect

Europe discusses the rise of AI and

the increasing importance of robotics

and PTZ-based workflows.

PRODUCTION360.MEDIA PANASONIC


Firstly, what are your overriding feelings about

the prospects for your company in 2026?

The outlook for 2026 is very positive. The migration

towards IP-based workflows will continue to

intensify, and this is something we are seeing very

clearly across all our key markets. Particularly

in the past year, we have seen strong adoption of

flexible IP solutions such as our AK-UCX100 studio

camera, reflecting the direction in which the

industry is heading.

Customers are increasingly looking for systems

that can support a wide range of protocols and

workflows, and the UCX100 does exactly that.

It supports ST 2110, NDI, SRT, Dante, as well as

parallel baseband and IP operations. This level of

flexibility is still unique on the market.

At the same time, the use of AI to assist

operators and production crews will continue

to grow. AI-based tools are no longer just about

experimentation; they are becoming essential in

real-world production environments. Automation,

robotics and PTZ-based workflows are playing

a bigger role than ever, allowing productions to

create more dynamic and engaging pictures while

working with smaller teams and tighter budgets.

This combination of IP, AI and automation gives

us a very strong foundation going into 2026.

What is the significance of ISE to you

and have the reasons for its importance

evolved over time?

ISE has become increasingly important for

Panasonic over the past few years. It speaks to

decision-makers in two of our most important and

fastest-growing markets: live events and rental.

It’s also crucial for playing in the corporate market

and system integration space. We’re seeing strong

demand for IP-based, flexible and software-driven

solutions in these areas.

ISE allows us to meet a very wide array of

customers, from AV professionals and system

integrators to rental companies and end users

— all in one place. Over time, ISE has evolved

from a product-centric event to focus much

more on workflows and real-world use cases.

This shift perfectly aligns with Panasonic’s

value proposition.



Due to significant development in its software and

hardware, we’re focusing heavily on our KAIROS

portfolio at ISE 2026. It’s at the heart of our IP and

software-defined production strategy; ISE is the

perfect place to demonstrate how KAIROS can be

used in different environments, from AV-centric

installations to broadcast-style productions.

We will also be showing our studio and PTZ

cameras, and AI-based software systems — such

24 | JANUARY-FEBRUARY 2026 PANASONIC

PRODUCTION360.MEDIA

work with Panasonic CCUs when needed make

it extremely flexible. When used alongside our

flagship PTZ cameras — such as the UE160 — it

delivers smooth colour matching across different

camera types. This will be demonstrated through

an elaborate live setup using custom resolutions,

LED walls and multiple display surfaces.

as auto-framing and auto-tracking software.

Overall, our ISE priorities are demonstrating

IP-based workflows, system flexibility and

intelligent automation — helping customers do

more with less.



Our IP/IT-based live video processing platform,

KAIROS, has emerged as a unique solution in the

broadcast and ProAV market. It can cover both the

broadcast and presentation switcher worlds within

a single platform. Its latest software developments

deliver significant enhancements such as non-16:9

resolutions over IP, HTML5 stream support, and

extended compatibility with third-party control

panels such as Skaarhoj.

On the hardware side, the new HDMI I/O

boards supporting up to HDMI 2.1 are a major

step forward. Designed to work seamlessly with

the KAIROS Core 200 and 2000 mainframes, they

deliver increased versatility in live production,

without the need for external conversion. This

simplifies system integration and is particularly

important for AV professionals working in mixed

HDMI and SDI environments.

We will also be highlighting the AK-UCX100

studio camera, which has already seen strong

adoption in the market. Its CCU-less operation,

direct connectivity to KAIROS, and ability to


opportunities offered by ISE and other major

annual trade shows?

Just like any major industry event, ISE plays an

important role when it comes to networking. Like

most companies, we have two types of customers:

those we talk to and visit on a regular basis, and

those with whom we do more limited business

and don’t get the opportunity to see as often

as we would like.

For the latter, large trade shows such as ISE are

extremely valuable. They give us the chance to

meet customers face-to-face at least once a year

to exchange ideas, discuss upcoming projects and

generally maintain strong relationships.

Beyond customers, ISE is also a golden

opportunity for meeting partners, system

integrators and other players in the ecosystem,

which is essential in an IP-based and standardsdriven

industry.



I’m particularly interested in seeing how IPMX

is developing and whether it continues to gain

momentum. As IP and SMPTE ST 2110 specialists,

IPMX is a very hot topic for us — especially with

system integrators who are working across both

PRODUCTION360.MEDIA PANASONIC


AV and broadcast environments.

ISE presents an invaluable opportunity to

see how these technologies are being adopted

in practice, to better understand customer

expectations, and to gauge how standards and

interoperability are evolving across the industry.


as to what we can expect from you for

the rest of 2026?

This will be similar to our core priorities at ISE. AI

and automation will continue to be a major focus

for us, particularly through AI-assisted tools such

as auto-tracking, auto-framing and keyless green

screen mixing. These help streamline operations,

reduce setup time, and make it possible for small

teams to deliver professional-quality results. This

is especially important in AV environments, fixed

installations and corporate productions where

time and people power are limited.

In parallel, software-defined production

will continue to grow. As workflows shift from

dedicated hardware to software-based solutions,

production systems increasingly run over IP

networks or in the cloud. Platforms like KAIROS

bring switching, mixing, graphics, routing and

monitoring together into a single environment,

making it possible to produce broadcast-quality

content from almost anywhere.

Beyond products, we are also continuing

to expand our approach with services and

solutions that support flexibility, sustainability

and long-term value. From large-sensor robotic

camera solutions to PTZ refurbishment and

customisation services, our goal is to give

customers smart, adaptable tools that help

them stay creative and efficient — even as

the industry faces ongoing economic and

operational challenges.

Keeping your

finger on the

evolution

of production

MISSED A RECENT ISSUE?

READ IT HERE, READ IT NOW CLICK TO READ ISSUE V2.4

CLICK TO READ ISSUE V2.5

26 | JANUARY-FEBRUARY 2026 PPDS

PRODUCTION360.MEDIA

PPDS’ Ron Cottaar:

‘Our prospects are

extremely positive’

Director of global

marketing Ron Cottaar

discusses recent business

changes, collaborations

with customers to develop

bespoke solutions,

and the importance

of the ISE Show.

PRODUCTION360.MEDIA PPDS




PPDS is a company that has undergone significant

positive changes in recent years. Having

expanded our global presence, we have tangibly

extended the value and services available to

customers and partners.

We began our journey as the global provider

of Philips Professional Displays, offering digital

signage, videowalls, interactive displays and

professional TVs for businesses in a wide range

of settings. Along the way, we have added to that

list of technologies with advanced LED, as well as

being the first major manufacturer to bring ePaper

displays to the market. And, we have reinvented

ourselves as a provider of ‘Total Solutions.’ This

means that our offerings have been extended

to include a vast portfolio of complementary

hardware and software solutions.

This strategy allows us to bring more value to

new and existing customers by offering a near

complete wraparound service to support their

visual display needs and ambitions, including

audio, content management, and more.

As a result, new doors continue to open

across a broadening range of verticals, with our

solutions now found in almost every environment.

We’re also attracting the attention of specific

organisations, working with us exclusively to

develop bespoke solutions. This includes Oracle

Red Bull Racing, the F1 giant for whom we are an

exclusive digital display supplier.

With our open approach to business, together

with our total solutions strategy, our prospects are

extremely positive and we are well-positioned for

further growth and value in 2026.

What is the significance of the ISE Show to

you, and have the reasons for its importance

evolved over time?

ISE remains one of the biggest and most important

dates in the annual show calendar for PPDS, and

the 2026 edition will be no exception. With the

show being held in February, it provides the perfect

kick off to the new year and offers the industry’s

biggest stage for us to communicate some of the

key messages that will help shape the business

over the coming months and years.

As always, some of the biggest headlines

to come from PPDS during ISE are the

announcements of new products and solutions,

with visitors to our stand becoming among the

first in the world to see and experience them in

person. This is always an incredibly proud and

exciting moment for us, as what they’re seeing is

often the result of many months of research and

development. This provides unquantifiable value,

not only for exposure and awareness but also in

terms of instant feedback. We pride ourselves on

being flexible and listening to our customers, and

this year’s feedback could very well inspire future

updates, additions or tweaks to our designs for a

better customer experience. It may sound clichéd

to say that ‘the customer is always right,’ but this

is a central value for us at PPDS. Some of our

best choices over the years have genuinely come

from listening.


PRODUCTION360.MEDIA

The new AI models

have been designed to

support businesses today

and into the future




For me, you cannot put a price on the value of

personal interaction. That’s arguably the one

thing I look forward to and enjoy the most about

shows like ISE.

The lockdowns at the start of this decade

showcased the power and possibilities of

visual technology, with businesses around

the world rapidly accelerating their adoption

of remote working capabilities. However,

I believe that being forced to go without

personal interaction at shows like ISE and

InfoComm during that time ignited a strong

hunger across the industry to come together

again. The growing attendance at ISE strongly

illustrates this point.

For our customers and partners to all come

together with us in the flesh, many of whom have

travelled across the world for the event, is often

only possible at shows like ISE. There’s almost an

expectation now that, if you’re a member of the

AV world, at whatever level, you will move heaven

and earth to be at ISE.

Catching up with colleagues, meeting new

people, discussing business opportunities, and

experiencing new products hands on are all things

that you simply can’t replicate on the same level

digitally. At least not yet.



We like to better our ambitions for ISE every year,

so ISE 2026 — where we will exhibit on booth

3N500 — will be our biggest and busiest show to

date, with megatrends including sustainability and

the power of AI in AV taking center stage.

As with previous years, the booth will

showcase the latest solutions including those

for specific market verticals, including retail,

education, corporate, control rooms, hospitality,

transportation, public venues, stadia, and more.

However, there will be a twist.

At ISE 2025, we wowed visitors with AI infused

paintings by masters like Rembrandt, transforming

our stand into a spectacular art gallery where

paintings come to life right before the eyes. This

year, we’re going a step further, debuting a ‘Picture

This’ theme. For this, we are using AI to show how,

with Philips Professional Displays, there is no limit

to the creativity around integrations. And we will

put visitors, quite literally, in the picture. I think

we’re going to see a lot of fun selfies and social

media engagement around this one!

PRODUCTION360.MEDIA PPDS


Philips Tableaux, Beeld en Geluid Museum

Continuing our commitment to a more

sustainable AV industry, we will be sponsoring

and supporting the ISE Sustainability Hackathon

for the second year running, tying in the challenge

with our partnership with FC Barcelona.

Meanwhile, on the stand, the latest examples of

our strategy in developing better energy efficiency

and more environmentally conscious features

into our displays will continue to be a prominent

fixture. These include our multi award winning

‘zero power’ Philips Tableaux ePaper displays,

and our Philips Signage EcoDesign line, which

recently became the first digital display to be

awarded EPEAT Climate+ Gold certification.

These and many more.

For sports fans, the Philips booth will also

have a focus around our partnerships with FC

Barcelona and Oracle Red Bull Racing, with

several incentives for those visiting the booth.



Visitors to the Philips booth will become the

first to experience a host of portfolio debuts, with

an exciting range of eye catching new form factors,

ultraslim designs and breakthrough features.

These will include the latest Philips Stretch

3150 signage display and, in keeping with the

theme, PPDS’ first AI ready Philips Signage models.

The new AI models have been designed to support

businesses today and into the future with the

processing power required for their AI needs.

AI is no longer just a marketing buzzword.

Adoption is growing, and businesses around the

world are increasingly exploring opportunities

and ways AI can benefit their day to day

operations and ambitions. Signage can play a

crucial role in achieving those goals and we can’t

wait for people to see and experience this new

AI ready range.

And that’s not all. With the indoor and outdoor

portfolio of Philips LED continuing to grow and

evolve, we will also be unveiling a new, highly

intuitive online solution, designed to support

businesses, architects, and integrators, making it

even easier to sort, select and specify Philips LED.


PRODUCTION360.MEDIA

ISE offers an incredible

journey of discovery



ISE offers an incredible journey of discovery. As

someone who lives and breathes in this industry

daily, I still get a huge level of satisfaction walking

around the show floor, chatting with peers, and

learning about some of the latest technologies and

innovations emerging from the wider world of AV.

Also, there’s something special about the

unknown. There have been numerous occasions in

my career where I have met people by chance, both

on and even off the show floor, where a completely

unplanned conversation has resulted in new

business. That’s exciting because you never know

what opportunities are around the corner. The next

person who walks over to your stand could become

a partner for one of the most creative and exciting

projects of the year. You just never know, so it’s

important to seize every opportunity.

I’m a firm believer that if you can’t find the

solution at ISE then it probably hasn’t been invented

yet — and therein lies a massive opportunity.



the rest of 2026?

ISE is a fantastic launchpad, and we also have lots

of things happening throughout the rest of 2026,

which we’re not quite ready to announce just yet.

It’s fair to say we will continue to develop more

solutions to support even more markets and —

perhaps more crucially — a greater number of

price points, which will allow even more customers

to seize the opportunity available through our

displays and Total Solutions ecosystem.

Sustainability remains a key pillar of our

business, and we will continue to develop and

deliver even more energy efficient solutions across

our portfolio. We are relentless when it comes to

helping customers to improve their sustainability

credentials, to reduce the cost of ownership, and

to cut down on electronic waste.

Hold on tight — it’s going to be a busy year!

Riverside TV Studios

“Creating a state of the art facility was a complex

exercise to finance so we were delighted to work with

Adamantean and their creative, collaborative and

competitive approach. They have become a valued

partner to Riverside TV Studios.”

William Burdett-Coutts

Managing Director

Riverside TV Studios and The University of Chichester:

two major new studio installation projects Adamantean

is enormously proud to have financed.

Specialist Equipment

Finance Solutions

To find out more contact us:

020 3858 0161

contact@adamantean.net

www.adamantean.net

Adamantean Limited is authorised and regulated for credit broking by the Financial Conduct Authority – reference number 774119

University of Chichester

“The University of Chichester’s Engineering and Digital

Technology Park has been a ground-breaking development

for the disadvantaged West Sussex coastal region; the

contribution of Adamantean was critical to the successful

completion of this challenging project. Their diligence and

creativity have been greatly appreciated.”

Professor Jane Longmore

Vice Chancellor

32 | JANUARY-FEBRUARY 2026 MANIFOLD TECHNOLOGIES

PRODUCTION360.MEDIA

Manifold Technologies’

Aleksei Shevchenko:

‘Innovation remains

central to our DNA’

The CEO of the cloud-based production

software specialist discusses the

continued rise of IP and, in particular,

the use of FPGA-accelerated hardware

and cloud-based solutions to achieve

wider deployment.

PRODUCTION360.MEDIA MANIFOLD TECHNOLOGIES




We occupy an interesting position at manifold,

because whilst technically we have only been present

in the market since 2023, in reality our operational

background stems from a much more established

base — with most of our team having more than

twenty years of experience in Tier-1 broadcast

equipment development. Manifold CLOUD, our

solution for live broadcast production, was designed

for FPGA-acceleration cards from multiple vendors,

including the AT300 from our technology partner

arkona, who themselves have been supplying core

technology to major OEMs for decades.

Thus, whilst manifold CLOUD can leverage

FPGA-acceleration setups from a number of

manufacturers, we work in tight step with arkona

to deliver integrated solutions that leverage the

most potential from each other’s technology —

our combined EASY-IP offering being the most

obvious example. And that puts us in a wonderful

position for 2026: we have the light step, forwardlooking

innovation and energy of a start-up, but

the grounded experience, expertise, knowledge

and delivery that comes from working so closely

with an operation as established as arkona.

And from a technology perspective, we are

excited about 2026: we believe our offering

matches exactly the direction the market is

heading; namely, towards flexible, softwaredefined

media processing that fits cleanly into

modern IP, cloud and hybrid workflows — not

just in broadcast, but in enterprise and esports

environments too. Customers consistently want

integrated solutions rather than siloed products,

and in conjunction with arkona we offer exactly

that: a unified architecture that spans FPGAaccelerated

processing and advanced softwarebased

encoding, control and orchestration.

What is the significance of the ISE Show to you,

and has its importance evolved over time?

Historically, our centre of gravity was very much

traditional broadcast, which made shows like

IBC our primary focal point. Those events remain

extremely important, but they no longer represent

the full scope of where IP-based production

is heading. Increasingly, as media permeates

evermore diverse operational contexts — esports,

enterprise, IT-driven production environments

and even houses of worship — the benefits of IP,

namely its scalability, flexibility and deterministic

performance, are being embraced well beyond

conventional broadcast. ISE has increasingly

become the place where those broader

conversations happen.

What are the main themes of your


The central theme for us is really a focus on how

evolving approaches to IP — particularly using

FPGA accelerated hardware and cloud-based

solutions — can make IP production accessible

to anyone in a way that is scalable, flexible and

cost-effective. It represents a clear shift in how

production infrastructure is conceived and

deployed, focusing on a move away from fixed,

location-bound facilities towards; specifically, one

of software-defined services rather than static

hardware chains. These kind of infrastructureas-code

architectures are massively beneficial,

not only in broadcast — where we see massive

adoption by Tier 1 broadcasters — but for smaller

operators in other industries where there is a need

to keep capital investment lean and operational

costs agile, whilst still benefitting from the highest

levels of production quality.

For ISE particularly, we’ll be focusing on how

our advanced software processing, orchestration

and workflow management integrate seamlessly

into diverse production environments. Case

studies are perhaps the best way for us to

demonstrate that, and will be a focus on our booth

(5K800). One example will include an enterprise

deployment that incorporated more than 250

input sources across 54 UHD outputs, alongside

64 simultaneous up, down and cross-conversion

services, whilst another will focus on an esports

systems where demanding HTML5 graphics and

real-time monitoring were deployed in the context

of a major global tournament.

Both examples provide real proof that this

architecture scales reliably under demanding

operational conditions, from compact setups to

globally distributed systems.

34 | JANUARY-FEBRUARY 2026 MANIFOLD TECHNOLOGIES

PRODUCTION360.MEDIA

Can you tell us about the new products or

upgrades you’ll be highlighting?

In short, manifold CLOUD is a live production

software that runs on FPGA programmable

acceleration cards (PAC) from multiple

manufacturers, including our partner arkona.

At its core, it’s a service-oriented software that

utilises an on-demand configurable pool of

shared resources allocated within a private cloud

environment. These PAC hardware resources are

pooled together in clusters — something akin to

‘Virtual Private Clouds’. By using this method for

the deployment of resources, we’re able to deliver

unparalleled scalability, automatic provisioning

and inherent resiliency while supporting large, live

uncompressed workflows. And most impressively,

we can do this with subframe latency and 90% less

power consumption than competing CPU/GPUbased

solutions.

For ISE we also have some new developments

— not least of which is support for the new

generation of 400GigE accelerator cards,

providing two to three times the compute

of the previous 100GigE generation PACs —

which translates to fewer servers and thus

more cost-effective operations. On a practical

level, not every customer will need this kind of

massive compute density, but what it highlights

is the incredible responsivity of a hardwareabstracted

solution like manifold CLOUD:

it isn’t bound to a single card, port speed or

network iteration — it can adapt and adopt

as technological standards evolve, without

changing the operational model for users.


opportunities offered by ISE and other

major trade shows?

Crucial. There is something irreplaceable

about real social contact — even in the modern

world of online video conferencing and virtual

product demos. ISE provides for that. What’s

also important for us at trade shows is the

ability to attend in conjunction with our

technology partner, arkona. They aren’t simply a

technology partner, they are active and ongoing

collaborators who are a strategically integrated

part of our own development roadmap. Trade

shows give us the chance to show the market,

together, the importance of our shared vision and

ongoing relationship.

What are you personally most interested in

exploring at ISE 2026?

When manifold CLOUD was developed we made

the decision to move to hardware virtualisation

as well as a shared memory architecture. It

is therefore natural that the emerging Media

Exchange Layer (MXL) is an area of close interest

to us, as it aims to formalise many of the concepts

that our system is already designed around. While

the MXL specification is still in development, we

are actively following its progress and ensuring

that our own architecture is aligned for easy future

integration with MXL-based solutions once the

interface is finalised.

As a result, keeping our ear to the ground in

terms of developing industry rhetoric in the area is

really important. As media and ProAV workflows

continue to converge, fundamental questions

around interoperability, accountability and largescale

deployment, particularly in environments

built on COTS hardware combining FPGA

accelerators, GPUs and high-capacity NICs. For

instance, how comfortable will vendors be with

sharing a common technical layer when issues

arise? Where does responsibility sit when systems

become more interconnected? ISE provides a

valuable forum to explore those questions openly

and to understand how the industry is thinking

about collaboration going forward.

Finally, what can we expect from manifold for

the rest of 2026?

Innovation remains central to our DNA, and our

focus will be on expanding our software platforms

and deepening our integration with arkona,

creating a flexible, scalable IP ecosystem. Together,

our goal is to shape not just products, but the

way modern live production infrastructure is

designed and deployed.

Widen your picture and

elevate your brand with

all-year-round exposure

Reach a highly engaged audience of industry professionals with

our specialised digital magazine. Maximise your brand visibility and

connect with potential global clients and partners in the TV and film

production world. Our publication offers unparalleled reach and

credibility, ensuring your message resonates with decision-makers.

It starts by emailing chris@production360.media

36 | JANUARY-FEBRUARY 2026 MARSHALL ELECTRONICS

PRODUCTION360.MEDIA

Marshall Electronics’ Greg Boren:

‘ISE has become a cornerstone

of our annual strategy’

The product marketing

engineer of the pro video

and audio technology

company discusses its AI-driven

tracking camera technologies and

his enduring interest in seeking

how the industry approaches

solving significant challenges.

PRODUCTION360.MEDIA MARSHALL ELECTRONICS



the prospects for pro AV in 2026?

It appears to us the global economy is firing on

all cylinders and the AV world will be part of this

growth in 2026.



evolved over time?

ISE has become a cornerstone of our annual

strategy. It effectively marks the start of the 2026

sales cycle, giving us an opportunity to showcase

new products and technologies to a global

audience. While ISE was not as critical to Marshall

Electronics five years ago, the smart, timely move

to Barcelona, has reinvigorated the show. Today,

we feel ISE is the premier AV show of the world,

both in scale and influence.



Marshall Electronics’ primary focus for ISE 2026,

where it will be exhibiting on booth 4N900, will

be its AI-driven tracking camera technologies. We

will highlight how intelligent tracking, framing

and automation have evolved to deliver more

natural, accurate and reliable results in realworld

applications. The emphasis is on precision,

ease of use and performance that directly

impact end-users.



One of the key products that Marshall will

showcase is the CV625, a dual-lens, dual- sensor

auto-tracking PTZ/POV camera. This is a

ISE brings together manufacturers, integrators, distributors,

consultants and end users from around the world

significant advancement over single- lens tracking

systems, which rely on monocular data. Now, with

two lenses the AI engine has access to a much

richer data set, allowing it to track subjects more

accurately, frame shots more intelligently and

follow movement with even greater consistency.

The result is a smoother, more reliable tracking

performance in a wider range of environments.

Marshall will also unveil a new, next-generation

CV420-27X UHD camera, which is engineered

for modern environments. It combines highresolution

imaging, powerful zoom and flexible

connectivity in a small, installation-friendly

form factor that’s perfect for corporate AV, live

production, broadcast and streaming applications.




ISE brings together manufacturers, integrators,

distributors, consultants and end users from

around the world. These face-to-face interactions

help us strengthen existing relationships, build

new partnerships and gain direct feedback

from the market. Trade shows, like ISE, remain

invaluable to understanding customers’ needs,

which allows us to align our product development

with real-world requirements.



I am always interested in seeing how

emerging technologies are applied in practical,

scalable ways. This year, I’m particularly

interested in exploring advancements in AI,

automation and intelligence — especially the

ways in which these technologies are being

refined to work reliably in complex, dynamic

environments. It is also valuable to see how

others in the industry solve similar challenges,

and to get a glimpse at where innovation

is heading next.



the rest of 2026?

Moving forward, you can expect to see us

continue to push forward with intelligent

camera solutions that emphasise accuracy,

reliability and user-friendly design. We will

expand on the innovations introduced at

ISE, roll out completely new solutions, and

respond closely to customer feedback as market

needs evolve. Overall, our focus remains on

delivering practical, high-performance AV

solutions that make a real difference in everyday

production workflows.

38 | JANUARY-FEBRUARY 2026 EM ACOUSTICS

PRODUCTION360.MEDIA

EM Acoustics’ Mike Wheeler:

‘The ISE Show has become a

thematic marker for us’

The operations

director of the

independent British

manufacturer of

high-end professional

loudspeakers discusses the

importance of ISE and the

company’s new CS subwoofers.

Jesus Christ Superstar. Photo credit, Pamela Raith Photography

PRODUCTION360.MEDIA EM ACOUSTICS


…we can handle more

output of product than ever

beforeon the stand


the prospects for EM Acoustics in 2026?

We are very positive. Undoubtedly, 2025 saw

some turmoil in the entertainment industry,

but strength and depth in core markets and

successful diversification into other sectors have

ensured EM Acoustics is robust and able to cope

with peaks and troughs throughout the different

markets in which we operate. Now that we see the

entertainment industry gathering balance and

momentum again, the enhanced procedures and

expanded facilities we have put in place over the

last 24 months will really start to come into their

own. Essentially, we can handle more output of

product than ever before. We are going to need

this capacity, not least because we are continuing

to innovate and release genuinely exciting

new equipment.



evolved over time?

It is our biggest show of the year. ISE is clearly

a global focus point for our industry and the

principal vehicle that many manufacturers, us

included, use for launching new products, and that

is what makes the show particularly attractive.

As such, we are seeing more visitors not just from

Europe but from further afield, including the

United States and Canada — markets in which we

are strengthening.

Our first show, many years ago, was an

opportunity to announce ourselves to the

global market as a young but serious operation.

Now we see it as an opportunity to demonstrate

the breadth and depth of our reach and

product line as we continue to strengthen

and grow. It’s also a terrific opportunity to

catch up with our international partners and

distributors. There is simply nothing to replace

that face-to-face human contact and the nuanced

interactions that brings.

Lyric Hammersmith. Set design credit, Paul Wills. Photo credit, Mark Senior



For us, it is about visibility. We continue to grow

our European distribution channels, and being

at ISE is a key part of this. It takes a long time

to build confidence with customers — even as

we approach our 25th anniversary (in 2027), we

are still considered a ‘young’ company, but one

that can be trusted. Repeated involvement in ISE

helps to strengthen and reinforce this confidence.

The show has become a thematic marker for

us; relatively young we may be, but we are also

dedicated, able and robust. As far as the stand

itself is concerned, we continue to ensure that

we display a strong cross-section of products,

representing the breadth of our abilities.

40 | JANUARY-FEBRUARY 2026 EM ACOUSTICS

PRODUCTION360.MEDIA

There will be some

really eye-catching products

on the stand

EM Acoustics at The Forum Tunbridge Wells



We are launching new CS subwoofers — adding

passive cardioid products for the first time to the

EM Acoustics product family. The CS subwoofers

are the result of a huge amount of cumulative

research and engineering, and their conception

speaks to our DNA as an operation, particularly

with regards to crossover design.

Critically, each CS subwoofer only requires

a single amplifier channel. This in itself is not

unprecedented, but the EM Acoustics solution

is unique in that the cardioid performance is

generated by a highly advanced passive crossover

network, rather than relying on bandpass

group delay. Our R&D benchmark was that the

performance of CS should be as good or better

than a 2-channel, actively-driven sub. We have

met and exceeded that benchmark.

In fact, the team were determined from the

outset that they would only proceed with making

the CS subwoofers passive if there would be

absolutely no performance reduction through

the introduction of the passive network. CS

subwoofers achieve quite remarkable levels of

rear rejection and maintain uniform performance

right across their operating envelope. Our

approach makes the CS subwoofers a unique

product in a market where cardioid products are

unsurprisingly becoming increasingly popular.

Alongside this we will be highlighting the ever

successful and award-winning Reference Series,

as well as showcasing our unique flexibility

with regards to customisation and special

finishes. There will be some really eye-catching

products on the stand.




It’s a great opportunity — there are so many people

in one place. Compared to the cost of seeing

all those people individually it makes excellent

financial sense, and it is a highly efficient use of

PRODUCTION360.MEDIA EM ACOUSTICS


Bradford: The Loading Bay

HALO-B at Regent’s Park Open Air Theatre

time. The full core management team is at the

show, meaning that potential customers can be

offered the range of expertise within the company

when enquiries arise. You also never know who

you are going to meet at shows like ISE, and this

adds to the excitement at the event.

Which new technology or solutions area are

you personally looking forward to finding out

more about at this year’s ISE?

Our principal focus is, of course, on our own

offering, and we are constantly busy on the stand.

That said, it is always interesting to see what

the movements and indications are within the

broader industry ecosystem, even if that involves

taking a quick look at some interesting tech when

dashing back to the stand from a food vendor! If

you’re going to see innovative stuff anywhere, it’s

going to be at ISE.

Finally, can you please offer a few hints as to

what we can expect from you in the rest of 2026?

EM Acoustics is renowned for its supple and

free-thinking R&D process. This means we can

achieve startling levels of innovation and respond

to bespoke requests, often in volume, quickly

and successfully. As such, there are concepts and

prototypes in the pipeline constantly, so I think

…there are concepts and

prototypes in the pipeline

constantly…

you can expect to see EM continue to grow in

some more unusual sectors, as well as continuing

to strengthen our position in core areas.

Watch this space!

42 | JANUARY-FEBRUARY 2026 GREEN DOT

PRODUCTION360.MEDIA

Dot Group’s Lee Otterway:

‘Measurement is becoming

the foundation of

sustainable production’

The commercial

director of Dot Group

explains why 2026 is

set to be a significant

year for the

sustainability, with

various frameworks

and regulations compelling

organisations to be more accurate

and consistent in measuring their

environmental impact.

PRODUCTION360.MEDIA GREEN DOT


Firstly, what are your overriding feelings

about the prospects for GreenDot, and the

Dot Group as a whole, in 2026?

2026 feels like a year where sustainability

becomes less about aspiration and far more

about evidence. Over the last few years, many

organisations have made public commitments

around carbon reduction. What is changing

now, particularly across the UK and Europe, is

the expectation that those commitments can be

supported with traceable, auditable data.

Regulation is a major driver. Frameworks

such as the EU’s Corporate Sustainability

Reporting Directive (CSRD), alongside evolving

UK sustainability disclosure requirements, are

pushing organisations to demonstrate not just

intent, but accuracy and consistency in how

environmental impact is measured and reported.

That shift moves sustainability from policy

into operations.

For GreenDot and the wider Dot Group, this

context is important. GreenDot is built around

measurement rather than messaging. It focuses

on understanding what technology is consuming,

under real operating conditions, and making that

information visible in a way that organisations

can trust. As regulatory and procurement pressure

increases, system-level measurement becomes a

necessity rather than an ambition.

A key principle behind GreenDot is scalability

without disruption. Measurement can begin

at a very local level (a single site or system),

but the data model is designed so that those

measurements can later be aggregated into a

broader estate or global view.

This is particularly important for organisations

operating across multiple sites or regions. It

allows teams to maintain local ownership and

understanding of data, while still contributing to a

consistent, organisation-wide picture.

Rather than replacing early measurements as

scope grows, GreenDot preserves them, ensuring

continuity and trust. That approach aligns well

with regulatory expectations, which increasingly

require organisations to explain how high-level

sustainability metrics are derived.



evolved over time?

ISE has always been an important industry

moment, but its role has broadened significantly.

While innovation remains central, there is now

much greater focus on responsibility, efficiency

and lifecycle impact.

AV, broadcast and production environments

are increasingly affected by sustainability

regulation, even when not directly in scope. Many

organisations now find themselves responding to

sustainability requirements from clients, partners

or procurement frameworks that are shaped by

legislation such as CSRD.

ISE brings together the people who influence

decisions at every stage of the system lifecycle.

That makes it a valuable place to discuss how

sustainability expectations translate into practical

design, integration and operational choices,

rather than remaining abstract policy goals.

44 | JANUARY-FEBRUARY 2026 GREEN DOT

PRODUCTION360.MEDIA

confidence in the data and helps teams

understand how measurement relates to real

operational behaviour.

GreenDot is designed to support that

incremental approach. It allows organisations to

begin with focused, system-level measurement

and expand over time, building toward a

broader estate or global view when they are

ready. The emphasis is on continuity of data,

so early measurements remain meaningful as

scope increases.

Through conversations at ISE, we are

particularly intereste d in understanding

whether sustainability data is influencing dayto-day

decisions, or whether it largely exists as

a reporting exercise. That distinction is crucial,

especially as regulation places greater emphasis

on data credibility.

At this year’s ISE, GreenDot will be gathering

information about how organisations

value and measure carbon footprint and

sustainability. How are you going to go

about this, and what kind of findings are you

keen to obtain?

Our approach at ISE is deliberately conversational.

We want to understand how organisations

are currently measuring sustainability, what

data they rely on, and where confidence or

uncertainty exists.

In many cases, sustainability reporting still

relies on high-level models or assumptions.

While these can satisfy disclosure requirements,

they often struggle to reflect the realities of AV

and production environments, where energy

use varies significantly depending on schedules,

events and operational modes.

Many organisations feel sustainability pressure

but are unsure where to begin. One of the most

important principles in sustainability measurement

is that it does not need to start at full scale. In fact,

attempting to measure everything at once often

creates complexity and uncertainty.

We believe a far more effective approach is

to start with a clearly defined scope. A single

system, a rack, a room or a site, and establish

a reliable baseline. That initial visibility builds

The number of companies signing up to

sustainability schemes or benchmarks has

increased significantly in recent years. How

would you assess the progress made over the

last 2–3 years?

There has been genuine progress in awareness and

engagement. Sustainability is now embedded in

procurement, governance and reporting in a way

that simply wasn’t the case previously.

However, participation does not always

equate to understanding. Many schemes rely

on aggregated or estimated data, which can

obscure what is actually happening at system

level. For industries like AV and production,

where infrastructure is shared and usage

patterns fluctuate, this can limit the usefulness of

reported figures.

PRODUCTION360.MEDIA GREEN DOT


everything at once. A single system, rack or room

is often enough to establish a credible baseline.

Consistency matters more than scale at this

stage. Measuring similar systems in the same

way makes it easier to compare projects, spot

inefficiencies, and build confidence in the data.

Most importantly, sustainability data should

support everyday decisions. If measurement helps

inform design choices or operational behaviour,

it becomes practical progress rather than a

reporting exercise.

Legislation is shifting sustainability from

narrative to evidence. Requirements such as

CSRD place greater emphasis on consistency,

auditability and transparency. This has practical

implications. Organisations need confidence that

their sustainability data reflects real usage at

the level where decisions are made. That makes

measurement an operational concern rather than

a purely reporting one.

As regulatory expectations grow, the ability

to demonstrate how local or system-level data

contributes to an overall organisational view

becomes increasingly important.

The next phase of progress needs to focus on

traceability — understanding how high-level

numbers are built up from real operational data.

What do you think should be the priorities for

AV companies who are perhaps in the fairly

early stages of their sustainability journeys, but

are looking to make rapid progress?

For AV companies early in their sustainability

journey, the priority should be to start measuring

something real, rather than trying to model

Can you tell us about a recent GreenDot

development that reflects this scalable,

measurement-first approach?

A recent area of focus has been improving how

GreenDot handles distributed environments

where organisations are at different stages of

maturity across sites.

We’ve worked to ensure that data collected

locally can be aggregated without losing context,

while still allowing meaningful comparison

across locations. This supports both operational

optimisation at site level and strategic oversight at

an organisational level.

What are you personally most interested in

learning at this year’s ISE?

I’m particularly interested in hearing how

organisations are managing this transition from

local measurement to broader sustainability

oversight. Understanding where teams are

succeeding, as well as where they’re struggling,

provides valuable insight into how sustainability

measurement can be embedded in a way that is

practical, credible and scalable.

46 | JANUARY-FEBRUARY 2026 ATTO TUXERA

PRODUCTION360.MEDIA

This has traditionally been a challenge. The

most widely used communication protocol,

SMB, can be regarded as a bottleneck, limiting

data transfer speeds and thus holding back

productivity. Adding to the challenge is that SMB

was initially conceived by Microsoft for Windows

computers. It has been ported to Linux and

macOS — particularly relevant because so many

popular creative platforms are Apple-native — but

performance has been challenging, both for the

server and for connected clients. There was a clear

need to find a way to accelerate SMB on Mac.

Unleashing post-productivity

through high-speed networking

Post houses are now dealing with ever-larger files as well as increasingly demand

timescales — leading to a need for new solutions, says Tuxera market development

manager Duncan Beattie.

Post houses today are dealing with everbigger

files: 4K and beyond; multiple

camera raw formats; ; complex effects

processing. At the same time, the pressure is on to

deliver the work within tight timescales. The result

is the need for very high data throughputs to

give creative artists and their software platforms

access to their material in real time.

BREAKING 5 GB/S WAS JUSTTHE START

Tuxera Fusion SMB is the response to that challenge.

Unlike open-source SMB options, Fusion was

built as an enterprise-grade solution, designed

to the necessary performance for a professional

workflow. It delivers dramatic performance boosts

on Windows and Linux with RDMA, but more

importantly it provides dedicated optimisation for

macOS. Because it is OS agnostic, it’s ideal for mixed

environments, such as post houses where central

storage is Linux-based, serving Mac workstations.

For a practical solution, the power of Tuxera

Fusion SMB must be combined with equally fast

network hardware. Working with ethernet cards

from ATTO Technology, lightning fast transfer

speeds are already achievable, with the prospect

of continuing remarkable development. Using the

ATTO 100 gigabit ethernet card and Fusion SMB,

installations have achieved 8.6 GB/s throughput

on a Mac. In practical terms, that means users

can work on macOS with complex DPX edits and

effects without limitations or hold-ups. This is

transformational for post house productivity.

PRODUCTION360.MEDIA ATTO TUXERA


Atto 100Gb dual-port Ethernet SmartNIC

with QSFP28 module(s) included. Supporting

macOS, Windows and Linux operating systems

FUSION DELIVERS MAXIMUM

THROUGHPUT WITH ATTO

The close partnership between ATTO and Tuxera

extends beyond simple speed optimisation.

The control layer is also fully integrated,

which is invaluable at set-up or when network

configurations are modified. Previously, ATTO

reported it could take five or even 10 days of

expert engineering time to tune the network

for maximum performance. Now, with ATTO

360 connecting to a Fusion SMB server, it is

click and connect: all settings are automatically

implemented and the network is configured for

maximum throughput within seconds.

Speed capabilities continue to accelerate.

ATTO is looking to higher native speeds of 200

or 300 Gb/s over ethernet, and it is working with

Thunderbolt 5 to deliver practical connectivity

close to theoretical maximums. Using Fusion

SMB in a Linux server also assists in the goal of

eliminating bottlenecks. These plans depend

on close collaboration between ATTO and

Tuxera, developing specialised profiles for

Fusion with profiles for RDMA for Windows and

Linux alongside Multichannel of macOS with

configuration and dependency management.

Importantly, security is also on the roadmap,

and the two are working together to deliver

encrypted data transmission without any drop

in performance.

“Tuxera’s Microsoft-licensed SMB

implementation is completely multi-threaded,

very modern technology for modern workflows,”

says Tom Johnson, product manager at ATTO

Technology. “This partnership really brings the

absolute best possible performance and the most

bleeding-edge throughput to macOS.”

Duncan Beattie, market development manager

at Tuxera, has been working in high-performance

media platforms for 20 years. “Having worked

with ATTO across multiple technology transitions

— from SCSI to Fiber Channel to ethernet — it’s

been remarkable to see how this partnership has

finally solved the Mac performance challenge that

has frustrated the industry for so long.

“When we first saw the results of pairing ATTO’s

hardware with Tuxera Fusion SMB, we knew

we had something transformational for media

workflows. The media industry is well aware of the

significance of delivering nearly 9 GB/s over SMB,

on a single 100 GigE port, to a Mac workstation,

without the need for a license or special software.

The result is a transparent, high-performance

solution where create professionals can focus

entirely on content rather than wrestling with

infrastructure limitations.”

48 | JANUARY-FEBRUARY 2026 STARTING PIXEL

PRODUCTION360.MEDIA

How AI will quietly reshape

production in 2026

Used thoughtfully, AI can herald new ways to adapt — but it’s unwise to

approach it as a silver bullet, suggests Starting Pixel founder Rob Chandler

PRODUCTION360.MEDIA STARTING PIXEL


2026 will continue to see

AI become less about spectacle

and more about momentum…

To date much of the public conversation on

AI has focused on ‘like’-catching feed posts,

whether it’s voice controlled animation,

deep fakes or video shorts created from 2D

images, It’s impressive but under the surface, and

not overly useful for production or post. That

said, the benefits for pre-production are obvious:

automated mood boards, video shot lists, line

producers’ tools to reduce risk, and so on.

But how will it impact what we see on the silver

screen? While the debate over using AI to build

a future Oscar-winning film without the writer

leaving their armchair will continue, where will

it practically help with production? 2026 will

continue to see AI become less about spectacle and

more about momentum: productivity, speed, and

rethinking how work actually gets done.

In our Starting Pixel podcast conversations and

at this year’s Starting Pixel Live, one of the most

notable trends has been how AI is improving

location capture, virtual production and postproduction

workflows. Instead of starting from

scratch or relying on traditional processes, teams

are increasingly using real-world location scans and

moving quickly into shoot-ready environments.

With David C Smith — Capturing Driving Plates and when UE is a Good Idea

Add in AI-assisted lighting, layout planning and

scene setup, and crews can make faster decisions

earlier in the production process, drastically

reducing friction between prep and camera

rolling. And yes, it’s bringing more efficiency to

set, but more importantly, these solutions open

up time and energy that can be used for creativity

and flexibility. Not replacing crew, or camera

capture, but complementing it — making it faster,

and most importantly, more creative with the

resources available.

Another emerging area is the use of prompts to

help create 3D environments. While still early, this

approach is beginning to show real promise. Rather

than replacing artists or designers, these tools act as

accelerators, helping teams rough out ideas, explore

options, and iterate faster than before. When paired

with existing pipelines, they open up new ways to

visualise worlds and sets that might have previously

been out of reach due to time or budget constraints.

All of this is unfolding against a backdrop of

significant pressure on the traditional media and

entertainment industry. Broadcasters and studios

are navigating the new world of reset budgets,

50 | JANUARY-FEBRUARY 2026 STARTING PIXEL

PRODUCTION360.MEDIA

With Joshua Kerr — YouTube First, Virtual Production, Storytelling and Geekery

shifting audience habits and growing

competition from platforms that

didn’t exist a decade ago. Add to

that the rise of vertical short-form

drama, video podcasting, and an

ever-increasing volume of low-effort

content fighting for attention and it’s

clear that standing still isn’t an option.

In that context, AI isn’t a silver

bullet, but a new lever. Used

thoughtfully, it brings new ways to

adapt. The challenge now is finding

balance: making production more

efficient without flattening the

creative process that makes film and

high-end television worth watching

in the first place. Audiences still

expect craft, emotional impact,

and originality. Meeting those

expectations while working faster and

leaner is where the real test lies.

In 2026, the AI conversation will

mature and many tools that have

been talked about in theory will

start to reach the market in more

stable, proven forms. With that will

come a clearer picture of their true

costs, across financial, operational

and technical resources, rather

than the artificially low barriers

that have masked what it actually

takes to run AI at scale. This next

phase should bring more open and

honest conversations about value

and sustainability, to establish where

these tools genuinely fit and bring

benefit to production.

Integration will also be a major

theme. Rather than standalone

solutions, we’re more likely to see AI

woven deeply into existing workflows:

virtual production stages, location

scanning, digital humans, and gameengine-based

virtual set development.

As these systems start to dovetail

together more fluently, the friction

between departments will ease and

boost usability.

Perhaps the most interesting

shift, though, won’t be technical at

all. As writers, directors, designers

With John Murphy— Making Virtual Feel Invisible on Live TV

and producers gain a clearer

understanding of the full technology

stack, and what it can bring to

production, entirely new formats and

approaches will emerge. This kind of

convergence requires curiosity and

learning, but it also creates space

for fresh ideas that couldn’t exist

before. That is what we have always

championed at Starting Pixel, and will

continue to be our keystone in 2026

and beyond. We will only collectively

progress if we share our thinking,

learning, successes and failures, and

give space for the curious to push

forward with the ‘what if ’ that powers

creative ambition.

NO SIGNAL

IS THIS HAPPENING TO YOUR MARKETING

& PR CAMPAIGNS?

www.pagemelia.com

Let’s change that.

52 | JANUARY-FEBRUARY 2026 808 TALENT

PRODUCTION360.MEDIA

Why AV convergence is forcing

media tech to rethink its future

Ben Swanton, founder and CEO of 808 Talent, explores the ways in which convergence,

new verticals and faster decision-making are redefining growth in 2026.

PRODUCTION360.MEDIA 808 TALENT


If the past two years have taught the media

technology sector anything, it is that resilience

alone is no longer enough. Adaptation —

fast, deliberate and sometimes uncomfortable

— has become the defining leadership

skill of the moment.

As the industry arrives in Barcelona for ISE

2026, there is a growing sense that we are no

longer simply recovering from the challenges of

2023 and 2024, but actively redefining what the

future looks like. Economic headwinds, labour

disruption and geopolitical uncertainty forced

many organisations into defensive positions.

Yet those same pressures have accelerated a

broader rethink of markets, customers and

routes to growth.

ISE now sits at the centre of that rethink.

A CONVERGENCE POINT

Once viewed primarily as an AV-centric event,

ISE has rapidly become a convergence point for

broadcast, media technology, enterprise and live

experiences. For many vendors who historically

focused their attention on IBC or NAB, the show

now represents something far more strategic: a

gateway to new verticals, new buying behaviours

and fresh commercial models.

That shift did not happen overnight, but by

the second half of 2025, it became impossible

to ignore. As we entered 2025, the prevailing

mood across the media technology, broadcast,

and sports production ecosystem was one of

cautious optimism.

The previous two years had been undeniably

tough. The combined impact of macroeconomic

pressure, reduced capital expenditure, and

Adaptation — fast, deliberate and sometimes uncomfortable

— has become the defining leadership skill of the moment

the aftershocks of the 2023 Hollywood strikes

left many organisations operating defensively

throughout 2023 and 2024. Budgets were

scrutinised, hiring slowed, and strategic initiatives

were often postponed rather than progressed.

Yet 2025 began with hope, a sense that the worst

might be behind us. That optimism, however,

was quickly tempered. Geopolitical instability,

renewed discussions around tariffs, and broader

economic uncertainty caused many businesses to

pause once again during the first half of the year.

Decisions were delayed. Investment hesitated.

Pipelines lengthened.

Then something shifted. By the latter half of

2025, momentum returned, not explosively, but

meaningfully. Having attended key industry

events from IBC in September, to NAB New

York in October, to DPP Leaders in November,

and finally the SVG Summit in December, one

consistent theme emerged: cautious optimism

was creeping back in.

Vendors, in particular, shared a similar refrain.

While many acknowledged they might not fully hit

the ambitious targets set at the start of the year,

results were materially better than initially feared.

More importantly, pipelines were rebuilding,

conversations were flowing, and strategic

intent was returning.

This re-emerging confidence has set the tone for

2026, and nowhere is that more evident than at ISE.

BROADENING HORIZONS

One of the most significant outcomes of the past

two challenging years has been a forced, and

ultimately healthy, reassessment at the senior

leadership level.

For decades, many technology vendors

built their businesses around a familiar set of

customers: broadcasters, media networks, studios,

production companies, and post-production

facilities. But the realities of 2023–2025 made it

clear that relying too heavily on a narrow set of

verticals creates vulnerability.

As a result, leadership teams have increasingly

looked outward…

Live events

Corporate and enterprise

Houses of worship

AV systems integrators

Government and defence

Security and public safety

These are no longer ‘adjacent’ markets; they are

strategic priorities. This is precisely why ISE has

become such a critical event for vendors that

historically focused their attention on IBC or NAB.

Over the past year, I’ve seen a noticeable influx of

54 | JANUARY-FEBRUARY 2026 808 TALENT

PRODUCTION360.MEDIA

In too many cases, companies are chasing a “utopian” candidate

who simply doesn’t exist

companies attending ISE for the first time, not as

observers, but with genuine commercial intent.

For many, the show has shifted from a curiosity

to a cornerstone.

ISE represents scale, diversity, and opportunity,

but it also demands a different mindset. Success

in the AV and enterprise ecosystem requires new

routes to market, different buyer personas, and

often a fundamentally different sales motion.

TALENT STRATEGY AS A

GROWTH LEVER

From my vantage point in recruitment and

advisory, this shift in vertical focus has driven

a marked change in the types of conversations

taking place. Increasingly, discussions are not

about simply ‘adding headcount’, they are about

re-architecting go-to-market strategies.

That includes:

• Redesigning sales structures to

reflect new verticals

• Hiring sales leaders with experience beyond

traditional broadcast

• Strengthening pre-sales, solutions

engineering, and customer success functions

• Aligning product, commercial, and delivery

teams more tightly

The organisations moving fastest are those

treating talent as a strategic enabler, not a

downstream consideration.

Looking into 2026, this evolution will continue.

The AV landscape offers enormous opportunity,

but it also introduces uncertainty. The rules are

different. Buying cycles change. Partnerships

matter more. Execution becomes everything. And

it’s clear that speed and decisiveness will separate

the winners from the laggards.

THE COST OF SLOW

DECISION-MAKING

One area where many organisations still struggle

is hiring execution. This time last year, I wrote

about the importance of stakeholder alignment in

interview processes and unfortunately, it remains

a challenge. When hiring senior or strategically

critical roles, scrutiny is both necessary and

sensible. However, many processes have become

overly complex, slow and risk-averse.

In too many cases, companies are chasing a

“utopian” candidate who simply doesn’t exist.

The unintended consequence?

• High-calibre candidates disengage

• Momentum is lost

• Critical initiatives stall

In fast-moving markets, indecision is itself a

decision, and often the wrong one. The most

successful organisations I work with are

those that balance rigour with urgency. They

know what “good” looks like, they trust their

judgement, and they move.

EMBRACING CHANGE

Despite the challenges, I remain bullish about

the road ahead. Yes, our industry is undergoing

significant change. Restructuring, downsizing

and pivots are painful, and for some individuals,

deeply personal. But change has always been

part of the media and technology landscape. We

have continuously evolved: from SD to HD, from

hardware to software, from on-prem to cloud.

This moment is no different. Take AI, for example.

Fear-driven narratives persist, but history tells us

that those who embrace new tools, rather than

resist them, gain the advantage. AI should not be

viewed as a threat to talent, but as an amplifier of it.

The companies that will thrive are those that:

• Use AI to enhance productivity

• Empower their teams with better tools

• Improve the value they deliver to customers

Fear creates paralysis. Adoption creates opportunity.

LOOKING AHEAD

As ISE approaches, it feels like a symbolic marker

for where the industry is heading. The convergence

of broadcast, AV, enterprise and live experiences is

accelerating. New markets are opening. New skill

sets are required. New leaders will emerge.

For organisations willing to be bold, decisive

and open-minded, the opportunity is significant.

Moreover, in an environment defined by

convergence and complexity, progress will come

from clarity, speed and disciplined execution.

Keeping your finger

on the evolution

of production

MISSED A RECENT ISSUE?

READ IT HERE, READ IT NOW



Widen your picture and

elevate your brand with

all-year-round exposure

Reach a highly engaged audience of industry professionals with

our specialised digital magazine. Maximise your brand visibility and

connect with potential global clients and partners in the TV and film

production world. Our publication offers unparalleled reach and

credibility, ensuring your message resonates with decision-makers.

It starts by emailing chris@production360.media

Production 360 Issue V3.1 January-February 2026

Transform your PDFs into Flipbooks and boost your revenue!

Delete template?

Save as template ?