AV-Medientechnik News

Kokusai Denki continues 17-year legacy with Mississippi State University

Mississippi State University (MSU) is extending a nearly two-decade camera technology relationship with Kokusai Denki as its University Television Center modernizes live studio and field production workflows. The center has purchased four SK-UHD7000-S2 cameras since 2024 and plans to add two more as funding allows, creating a six-camera complement split evenly between its studio and portable electronic field production systems.

The new cameras join two Kokusai Denki SK-HD1000 studio cameras that remain in full operation seventeen years after their 2009 installation. The University Television Center is replacing those systems gradually as production technology advances.

The University Television Center manages MSU’s non-athletic broadcast television assets as part of the Division of Strategic Communications. Its 10-person professional staff produces live commencements and convocations, multi-camera outdoor concerts, parades, university events, interview programs and corporate-style meeting productions. Content is delivered through MSTV, a non-commercial cable channel available in more than twenty Mississippi cities, and a free 24-hour MSTV streaming app for mobile devices, Roku, Apple TV and other connected platforms.

“Our production requirements can change considerably from one project to the next”, says David Garraway, Director, University Television Center and Associate Director, Office of Public Affairs at Mississippi State University. “We may move from a concert or Christmas parade to a graduation, brand launch or annual meeting. The SK-UHD7000-S2 cameras give us the 1080p acquisition for streaming and video board productions, along with a software-upgradeable path to 4K as our infrastructure evolves.”

MSU purchased its first two SK-UHD7000-S2 cameras in summer 2024, followed by a third in spring 2025 and a fourth in Spring 2026. Three are assigned to a portable flypack, while one is currently installed alongside the SK-HD1000 cameras in the studio. The center operates its field cameras in 1080p and recently licensed the studio SK-UHD7000-S2 for 4K to test UHD workflows, identify infrastructure gaps and plan future upgrades before making a broader transition.

That phased strategy allows MSU to modernize production without making an immediate, facility-wide 4K investment. The SK-UHD7000-S2 is designed as a full-featured 1080p production camera and can be field-upgraded to native 4K/UHD operation through a software license. Its imaging architecture also helps the newer camera integrate visually with MSU’s existing systems, enabling operators to align the cameras for mixed-generation productions.

The University Television Center is also using the SK-UHD7000-S2’s SDI and Ethernet trunking capabilities to simplify field deployments. In one recent production, the team positioned a compact box camera next to an SK-UHD7000-S2 for a locked-off wide shot. By combining SDI and Ethernet trunking with accessory power from the SK-UHD7000-S2, MSU returned video, powered the secondary camera and maintained remote camera control over a single SMPTE fiber camera chain.

“That configuration gave us two camera positions with control from the remote control panel while requiring only one primary fiber run”, says Garraway. “It is a practical example of how we use the available camera functions to reduce the amount of infrastructure we need to deploy in the field.”

MSU’s field production model supports both self-contained and distributed workflows. The flypack houses its production switcher and camera control units in portable rolling racks that can operate in a ballroom support space or inside a Ford Transit production vehicle. For larger campus events, MSU uses its extensive single-mode fiber network to locate camera heads and control units at the venue while production personnel work from the Television Center control room up to 2.5 miles away. Ethernet connectivity between Kokusai Denki remote control panels and camera control units enables centralized shading and control, while SDI signals travel back to the studio.

“The ability to control the cameras over Ethernet has become an important part of our venue-to-control-room workflow”, notes Garraway. “We can place the cameras and CCUs where the event is taking place, use the university fiber network for transport, and operate from our established control room across campus.”

The continued operation of MSU’s SK-HD1000 cameras provides a long-term benchmark for the center’s capital planning. The cameras have maintained consistent studio performance since their installation, and similar models used by MSU Athletics remain active in field production.

“Seventeen years later, the SK-HD1000 cameras are still part of our daily studio operation”, Garraway concludes. “Our migration plan is based on the progress of production technology and our future workflow requirements. As funding permits, we will add two more SK-UHD7000-S2 cameras and ultimately operate three in the studio and three in our field production systems.”

(Photos: Kokusai Denki)

www.kokusaidenki.us

Infiled MVmk2 realisiert über 1.000 Quadratmeter LED-Fläche für neues digitales Werbenetzwerk in der Dubai Mall

Emaar Properties hat in der Dubai Mall ein neues Digital-Out-of-Home-Werbenetzwerk (DOOH) auf Basis der LED-Display-Serie MVmk2 von Infiled realisiert. Insgesamt wurden rund 1.100 Quadratmeter LED-Fläche auf etwa fünfzig Indoor- und Outdoor-Standorte verteilt.

Das gemeinsam mit dem in Dubai ansässigen Systemintegrator Blue Rhine Industries umgesetzte und im Juli 2026 abgeschlossene Projekt schafft für eine der meistbesuchten Shopping-Destinationen der Welt eine skalierbare digitale Werbeinfrastruktur auf Basis einer einheitlichen Display-Plattform.

Mit einer Fläche von mehr als einer Million Quadratmetern entspricht die Größe der Dubai Mall etwa 200 Fußballfeldern. Der Komplex umfasst über 1.200 Einzelhandelsgeschäfte sowie Hunderte Gastronomiebetriebe. Hinzu kommen unter anderem das Dubai Aquarium, eine olympische Eislaufbahn und ein Kinokomplex. Ein digitales Display-Netzwerk dieser Größenordnung muss entsprechend unterschiedlichste Umgebungs- und Installationsbedingungen abdecken.

Eine der zentralen Entscheidungen des Projekts war daher die Wahl der geeigneten Display-Serie. Die MVmk2-Serie von Infiled wurde ursprünglich für Outdoor-Anwendungen, insbesondere Urban-Media-Installationen, Verkehrsknotenpunkte und Außenwerbung entwickelt. Die Entscheidung für den Einsatz dieses Outdoor-Systems innerhalb der Dubai Mall war eine Konsequenz der besonderen Lichtverhältnisse. Denn große Bereiche der Mall werden durch weitläufige Oberlichter und großflächige Glasfassaden mit natürlichem Tageslicht versorgt. Displays in unmittelbarer Nähe dieser Flächen sind dadurch Umgebungslichtbedingungen ausgesetzt, die eher einer Außenanwendung als einer kontrollierten Indoor-Umgebung entsprechen.

Da konventionelle Indoor-LED-Displays unter diesen Bedingungen deutlich an Kontrast und Ablesbarkeit verlieren könnten, wurde die MVmk2-Serie ausgewählt, um mit einer Helligkeit von 4.500 Nits sowie hohem Kontrast eine gute Lesbarkeit der Inhalte auch bei starkem Tageslichteinfall sicherzustellen. Eine Refresh-Rate von 3.840 Hz sorgt zudem für eine saubere Kameradarstellung - ein wichtiger Faktor an einem der meistfotografierten Orte der Region.

„Bei der Unterscheidung zwischen Indoor und Outdoor denken viele zunächst an den Wetterschutz. In einem Gebäude wie der Dubai Mall geht es jedoch ebenso um Farbwiedergabe und Helligkeit“, erklärt Hatem Malhas, Sales Manager DOOH - Middle East bei Infiled. „Aus technischer Sicht war der Einsatz einer Outdoor-Serie hier die naheliegende Lösung. Gleichzeitig gewährleistet dies eine konsistente Darstellung im gesamten Netzwerk - unabhängig davon, ob sich ein Display in einem lichtdurchfluteten Atrium oder im Außenbereich befindet.“

Neben den Lichtverhältnissen stellte insbesondere die Verteilung des Netzwerks eine Herausforderung dar. Rund fünfzig Display-Positionen bedeuteten nahezu ebenso viele unterschiedliche Einbausituationen. Abmessungen, Montagehöhe, Zugänglichkeit, statische und bauliche Integration, Betrachtungsabstand und Blickwinkel sowie die jeweilige Architektur unterschieden sich von Standort zu Standort. Daher wurde jede Position vor Beginn der Installation individuell analysiert. Dabei wurden technische, bauliche und betriebliche Faktoren berücksichtigt. Die jeweiligen kundenspezifischen Unterkonstruktionen und Montagelösungen wurden anschließend auf Basis dieser Standortanalysen entwickelt.

Eine weitere Rahmenbedingung ergab sich aus dem laufenden Betrieb der Dubai Mall. Da die Mall durchgehend geöffnet ist, mussten die Installationsarbeiten an rund fünfzig Standorten so koordiniert werden, dass der tägliche Betrieb möglichst wenig beeinträchtigt wurde. Zugangszeiten, Logistik und Montageabläufe richteten sich deshalb nach den betrieblichen Vorgaben des Standorts.

Die realisierten Display-Formate unterscheiden sich erheblich in ihrer Größe. Zu den größeren Installationen gehören ein 20 x 5 Meter großes Display, ein weiteres mit 20 x 4 Metern sowie zwei Displays mit jeweils 4 x 6 Metern. Sämtliche Installationen basieren auf MVmk2-Modulen mit einem Pixelpitch von 3,9 mm und sind für den kontinuierlichen 24/7-Betrieb ausgelegt. Die Inhalte des gesamten Netzwerks werden zentral über eine Content-Management-Plattform gesteuert.

Durch Front- und Rear-Service lassen sich Module der MVmk2-Serie werkzeuglos entriegeln und austauschen. Gegenüber der vorherigen MV-Generation wurde der Energieverbrauch um sechzehn Prozent reduziert - bei einer Gesamtfläche von rund 1.100 Quadratmetern im 24/7-Betrieb ein relevanter Faktor für die laufenden Betriebskosten.

(Foto: Infiled)

www.infiled.com

MeyerPro delivers turnkey production for Acumatica Summit with ROE Visual Graphite GP 2.6

MeyerPro, a Pacific Northwest event production company with more than thirty years of live event experience, delivered audio, video, broadcast, and LED production for the Acumatica Summit 2026, held January 25-28 at the Seattle Convention Center’s Summit Building. The event’s main stage displays were built entirely with ROE Visual Graphite GP 2.6 LED panels.

The Acumatica Summit is the company’s annual flagship gathering, drawing thousands of customers, partners, and developers from across its global cloud ERP community for several days of sessions, showcases, and networking. It opens with the keynote, the one session the entire audience attends together, and that stage is what MeyerPro was brought on to build.

MeyerPro’s relationship with the Summit began in 2019, when the company was brought on for video broadcast support alone. Each year since, its scope has grown as the Acumatica team returned with more of the show to hand over. Today MeyerPro operates as a full turnkey solution provider for the event, owning audio, video, broadcast, and LED end to end.

For 2026, MeyerPro was handed a stage design built around two expansive side displays, each measuring approximately 66 feet wide by 18 feet high. Together with the curved center display, the build totaled 648 full Graphite GP 2.6 panels and 110 half panels, 758 panels in total, spanning the three main stage screens and two iMag screens.

At the center sits the design’s signature element: a faceted curving column set to a 3-degree curve, which required a custom-fabricated curved pipe structure to carry. The column was offset downstage, creating a clean path for speakers to enter and exit at center. From the moment the first truck arrived on site to the start of rehearsals, the entire build took two days. That included rigging the custom column structure, mapping and aligning a wall of this scale, and handing off a display ready to be trusted on camera.

(Photos: MeyerPro/ROE Visual)

www.meyerproinc.com

www.roevisual.com

BBC Sport and Media City studios invest in ROE Visual

BBC Sport has announced a major infrastructure upgrade at its Media City hub service studio in Salford, investing in ROE Visual’s Ruby RB1.5 wall panels and Black Marble BM2 LED flooring. The acquisition marks an expansion of a long-term collaborative pipeline that includes graphics specialist AE Live, Megapixel, and ROE Visual.

The transition from traditional green-screen environments to advanced LED-powered Extended Reality (XR) volumes reflects a broader, permanent shift in the broadcast sector. Following their technical execution during UEFA Euro 2024 and the full-LED XR environment deployed for the FIFA World Cup 2026 coverage, BBC Sport and Media City are cementing this technology as the foundation for programming, including “Match of the Day”.

The decision to invest in the Ruby RB1.5 (1.5 mm pixel pitch) and the Black Marble BM2 floor panels directly answers the physical and creative shifts occurring in studio design. Modern studio trends favor smaller physical footprints, but they still need to deliver that big, immersive “wow factor”. Surrounding a compact set with an intricate VR/XR environment allows production teams to deliver a vast, dynamic space out of a limited area.

In a smaller studio, cameras must inevitably operate close to the backdrop. To avoid visible pixelation or screen structure when captured at close range, there is a sweet spot where the 1.5 mm pitch of the Ruby series eliminates this barrier, providing a smooth, “video-like” environment. Presenters can stand directly against the screen while maintaining visual integrity on camera.

To create an immersive look and feel in the studio, the investment extends to the studio floor where ROE Visual Black Marble BM2 LED panels are integrated. “Moving into a smaller studio space meant we needed a more creative approach to how we use LED”, explains John Murphy, BBC Sport Design Director. “For this permanent installation, the BM2 panels have been customized with a bespoke surface finish - a first for the glossy BM2 - developed in close collaboration with the ROE Visual team. By combining an XR technology backbone with set extension and fast metadata exchange, we can create a much larger visual environment from a more compact footprint.”

Olaf Sperwer, Director Broadcast & Virtual Production at ROE Visual, says: “As AI-generated content becomes part of broadcast, the demands on processing and image quality are higher than ever. By choosing the Ruby RB1.5F alongside the Black Marble BM2, BBC Sport and Media City are addressing the core challenges of modern studio environments. For the first time, the glossy BM2 has been deployed with a bespoke surface finish - a unique configuration developed at the specific request of John Murphy”.

“The design intent was to harness natural reflections from the floor surface to enrich the overall studio set design, particularly when paired with darker visual content”, Sperwer adds. “This approach enhances depth and atmosphere within the XR environment, elevating the LED floor from a display surface to an active aesthetic element in the visual storytelling.”

(Photos: ROE Visual)

www.roevisual.com

Brompton equips Garden Studios’ expanded virtual production stage

Garden Studios, a London virtual production facility, has expanded its long-standing partnership with Brompton Technology as part of a significant investment in a new virtual production stage.

Since opening the UK’s first permanently installed VP volume in 2021, the studio has continued to run its original wall on Brompton Tessera S8 LED video processors, and has now added Brompton’s flagship Tessera SX40, paired with Tessera XD 10G data distribution units, to power a new, larger stage purpose-built for driving and simulated travel work.

The new stage is centred on a 24 m x 5 m ground stacked curved LED wall from ROE Visual and a 10 m by 5 m high-resolution LED ceiling from Absen, mounted on a custom rig developed with Cirrolite that allows the volume to move freely within, above or around the stage, and doubling as a front wall for 360-degree shooting. The ceiling can travel up to twenty metres front-to-back and switch from a fully enclosed setup to a rain-ready configuration in under a minute, removing the need to reposition vehicles between shots to line up reflections.

“Since opening our first volume in 2021, our LED wall has more than doubled in size, and we now have one of the highest-resolution LED ceilings in Europe, enabling crisp, in-focus windscreen reflections with no visible pixelation”, says Rich Phillips, CTO at Garden Studios.

The ceiling’s four degrees of movement, and the need to drive it at 10-bit, 50 Hz, called for substantial bandwidth. “SX40 processors paired with XD data distribution units over TAC fibre were the obvious choice, providing the flexibility, bandwidth and reliability needed for such a dynamic system”, Phillips explains.

For Patrick Goodden, Technical Sales Manager (UK & Ireland) at Brompton Technology, who has worked closely with Garden Studios since its first volume opened, the story is as much about longevity as it is about new hardware. “They’ve taken the S8s processors bought five years ago and are using them for the main wall in a brand-new studio, meaning they only had to invest in a new SX40 for the ceiling”, he says.

“The reason they needed an SX40 for the ceiling is because it’s on a moving track, going from horizontal to vertical”, he furthers. “With S8s, cabling runs directly out the back of the processor, so you’d need to run a thick loom of cables to the wall. With the SX40, they can run one or two fibre cables and split out, which makes it far easier to manage a moving ceiling. On our side, they work seamlessly together; you get the exact same colour output, and the sync works the same.”

The relationship between Brompton and Garden Studios has also seen the Brompton team support their events and open days, assist with testing, and contribute to the studio’s virtual production training courses. Over the past five years, Garden Studios has delivered more than 150 productions across its virtual production stages, with many television clients choosing the facility for driving scenes.

“Driving Process is a big part of our work, and we’ve delivered HETV projects spanning all the major streamers”, says Phillips. “Most recently our work has included ‘Twenty Twenty Six’ and ‘The Capture’ for the BBC; ‘Goodbye June’ and ‘Man vs Baby’ for Netflix and films like ‘The Roses’. These relationships continue with a broad selection of projects set to release throughout 2026 and into 2027.”

Colour accuracy and frame-rate flexibility remain central to the setup. Garden’s HETV clients often shoot at 23.98 fps, while commercial productions typically work at 25 fps or 50 fps, and Brompton’s patented ShutterSync feature helps eliminate artefacts across shutter angles such as 172.8 degrees.

“How LED looks on camera is one of the most challenging things in virtual production, especially with the shutter speeds and frame rates film productions like to use”, says Goodden. “ShutterSync lets you input your camera’s shutter settings into the processor, so its refresh completes within the exact window when the shutter opens and closes.”

Dark Magic and Extended Bit Depth optimise the panels for low-brightness operation without visible banding, while PureTone calibration keeps colour accurate even in the dim areas typical of a VP volume. Full 3D LUT support, with a 17-cube LUT covering 4,913 colours, integrates directly with Pomfort Livegrade, allowing DITs and DPs to grade the LED wall using tools they already know.

“We also make extensive use of Brompton’s API, which powers a number of custom tools that streamline on-set workflows”, notes Phillips. “For example, we can switch instantly to a chroma green card at the press of a button, or freeze the LED wall so cinematographers can maintain lighting setups while content is being reloaded.” Free Tessera software updates mean Garden’s original S8 processors continue to benefit from Brompton’s latest features alongside the new SX40 units.

For Brompton, the expansion is a marker of a wider trend. “When there’s VP, there’s always a demand for the high end”, Goodden concludes. “Studios like Garden, especially with their new pop-up experience, are making virtual production more approachable on a smaller scale, and we’re now seeing it used not just in big Hollywood films, but in smaller-scale TV dramas, comedies and adverts, too.”

(Photos: Jasmin Shah)

www.bromptontech.com

Pro TV stattet neuen Ü-Wagen mit Live-Production-Technologien von Sony aus

Der rumänische Broadcaster Pro TV, Teil des Netzwerks CME Media and Entertainment, hat einen weiteren Schritt zum Ausbau seiner Live-Produktionskapazitäten unternommen und sich für ein komplettes Paket an Sony-Produkten zur Ausstattung seines nächsten Ü-Wagens entschieden.

Der neue Ü-Wagen, der im Laufe des Jahres 2026 auf die Straße kommen soll, wird mit bis zu zwanzig nativen UHD-Kameras der HDC-Serie und zwanzig Kamerakontrolleinheiten HDCU-3500 ausgestattet sein. Unterstützt wird der Kamera-Workflow durch die HDR Production Converter Unit HDRC-4000, die vollständig in das Kontrollnetzwerk integriert ist, um nahtlose HDR-Workflows und eine konsistente Bildqualität über die gesamte Produktionskette hinweg zu ermöglichen.

Zwei Network Adapter Units CNA-2 sorgen für die Integration von Equipment und Systemen von Drittanbietern und ermöglichen größere Flexibilität in Betrieb und Management des Ü-Wagens. Auch der Live-Production-Mischer MLS-X1 soll eine Schlüsselrolle spielen - mit einer flexiblen und skalierbaren Architektur, die eine hohe Zahl an Ressourcen verarbeiten kann, wenn sich die Produktionsanforderungen weiterentwickeln.

Für Bildkontrolle und Mastering wird der Ü-Wagen mit Monitoren der Sony-Serien PVM-X und LMD ausgestattet, die Quellen-Monitoring und Mastering im gesamten Produktionsworkflow unterstützen. „Nach der kürzlich erfolgten Auslieferung des OB7 durch den Fahrzeugbauer wird Pro TV die Systemintegration im eigenen Haus durchführen“, so Bogdan Andreescu, Technical Director bei Pro TV.

Foto (v.l.): Olivier Bovis, Head of Media Solutions, Sony Europe, und Bogdan Andreescu, CTO Pro TV. (Fotocredits: Pro TV/Sony)

www.sony.net

Pixel Sharp brings Bayeux Tapestry to White Cliffs of Dover

When the British Museum wanted to mark the forthcoming return of the Bayeux Tapestry to England with a message of thanks to France, the White Cliffs of Dover offered an appropriate canvas. Nearly 1,000 years after the events depicted in the Tapestry, imagery inspired by the historic work appeared across the cliffs alongside a simple message: “Merci”.

For Pixel Sharp founder and director Jon Sharpe, however, turning that concept into a successful projection involved more than pointing high-brightness projectors towards a large white surface. The project had to be delivered at a remote location with no mains electricity, limited access and a narrow nighttime operating window. The cliffs themselves presented an irregular natural canvas, while fog and an approaching electrical storm added variables that no amount of advance planning could completely remove.

Pixel Sharp became involved after Anthony Pickles, Director of Communications at the British Museum, came across Sharpe’s portfolio and contacted him about the concept. The British Museum had already developed the creative idea. Pixel Sharp’s role was to translate it into something that would work at the scale and distance required by the cliffs.

Over several meetings, Sharpe worked with the Museum’s content team to establish the usable projection area and advise on the practical limitations of treating a natural landmark as a display surface. Unlike a conventional screen, the White Cliffs are neither flat nor consistently white. During parts of the year, areas of chalk can be covered by moss and vegetation, creating variations in colour and contrast across the surface.

That had implications for the content itself. “Projection is light”, says Sharpe. “You have to make sure that the colours are going to give you enough punch.” Some of the darker colours initially considered for the content therefore needed careful handling, while typography had to remain sufficiently large and clear to survive the scale, distance and texture of the projection surface.

Pixel Sharp also advised the content team to prepare alternative arrangements, including versions with imagery and text positioned differently across the available canvas. The objective was not simply to create a design that looked good on a monitor, but one that remained legible and visually coherent once projected onto the cliffs.

The physical location added another layer of complexity. The projection position was on land rather than on a boat, but reaching it required travelling through terrain where transporting large quantities of equipment was impractical. There was also no local mains power available. That meant the entire projection system had to be planned around what could realistically be transported to the site, installed within the available timeframe and powered from portable batteries.

For Sharpe, these considerations are fundamental to equipment selection. “When I choose technology, I’m always thinking about the logistics of installing it and how many people I’m going to need”, he says. A projector may offer impressive performance on paper, but if deploying it requires significantly larger vehicles, lifting equipment or additional crew, the practical cost of a project can increase rapidly.

For the White Cliffs activation, equipment needed to be powerful enough to illuminate the large projection area while remaining manageable for a small production team working in a difficult-to-access location. Four Panasonic RQ35K 4K laser projectors were deployed in two double-stacked pairs, with the overall system operating from portable battery power.

Sharpe and the wider Pixel Sharp network already had extensive experience working with Panasonic projectors on large-scale projection and immersive productions. That familiarity was an important part of the decision. For large-scale mapping applications involving multiple projectors, Sharpe favours 3-Chip DLP technology because of the importance of maintaining consistent colour and image uniformity across the complete projected canvas.

On the cliffs, the Pixel Sharp team had only a limited evening window in which to position the projectors, align and map the imagery, test the system, and capture the final result. The physical design of the projectors mattered as well. “For the power of that projector, three people can pick them up, put them on a desk and move them around”, says Sharpe.

Once on site, the physical installation itself was comparatively familiar territory for Sharpe, who had previously worked on several projections at the White Cliffs. The projectors could be positioned within a couple of hours, with approximately another hour and a half required for mapping.

Nature proved less predictable. A thick bank of fog drifted across the cliffs while the team was preparing the projection. Besides reducing brightness and clarity, the fog temporarily obscured the surface that the team needed to see in order to complete the mapping. Fortunately, conditions eventually improved.

Then another problem appeared - an electrical storm was moving towards the coast. With the Pixel Sharp team operating electrical equipment and large portable batteries in an exposed location, the approaching lightning changed the calculation quickly. The team captured the required imagery before shutting the system down earlier than originally planned.

The completed projection combined imagery inspired by the Bayeux Tapestry with the word “Merci”, creating a highly visible gesture of thanks to France ahead of the historic work’s return to England. Images of the projection subsequently travelled far beyond the cliffs themselves, including being shared by French President Emmanuel Macron.

For Sharpe, projects like the Bayeux Tapestry projection demonstrate something broader about the role of projection technology. Audiences are surrounded by digital imagery every day, much of it encountered through familiar rectangular screens. Projection can break that pattern by placing content directly into a physical environment and allowing the location itself to become part of the message.

“The whole value is that you can take your message and give it context by placing it on a location, or by changing the shape of how it’s viewed”, says Sharpe. “When you present something in a unique way, people are going to remember it.”

(Photos: Panasonic)

www.panasonic.com

Euro-TV rüstet Ü-Wagen mit Live-Produktionsmischer MLS-X1 von Sony aus

Das österreichische Live-Produktions-Unternehmen Euro-TV hat seinen Übertragungswagen MPU-3 mit dem Live-Produktionsmischer MLS-X1 von Sony aufgerüstet. Der MLS-X1 ist skalier- und rekonfigurierbar und lässt sich nahtlos in bestehende Rundfunkinfrastrukturen integrieren.

Euro-TV mit Sitz in St. Veit an der Gölsen ist Spezialist für große TV-Produktionen, überwiegend im alpinen Outdoor-Bereich. Dazu zählen Wintersport- und Live-Events, wie etwa die Ski-Weltcup-Rennen am Semmering und in Zauchensee, das Nightrace in Schladming sowie die Vierschanzentournee in Innsbruck. Hinzu kommen Formate wie der Wings for Life World Run in Wien, das Enduro-Motorradrennen Erzbergrodeo und zunehmend auch Live-Übertragungen von Gottesdiensten aus Kirchen in Österreich.

Das Unternehmen verfügt über drei eigene mobile Produktionseinheiten: MPU-1, -2 und -3. Der MPU-3, der größte Ü-Wagen in der Euro-TV-Flotte, wurde einer grundlegenden Modernisierung unterzogen und in diesem Zug mit dem Sony MLS-X1 ausgerüstet. Gleichzeitig wurde auch das Sony-Mischer-Bedienpanel der Serie ICP-X7000 eingebaut. Bereits vorhandenen waren Sony-Live-Kamerazüge der Serien HDC-3500- und HDC-4300.

Der MLS-X1 lässt sich unter anderem via Netzwerk mit der Virtual Shot Box (VSB) fernsteuern. Die Tasten und Funktionen auf der webbasierten Benutzeroberfläche sind in Größe und Position anpassbar und ermöglichen die Zuweisung von zahlreichen Funktionen und damit das Anpassen an die jeweiligen Produktionsanforderungen.

Als Teil des wachsenden Networked-Live-Ökosystems von Sony führt der MLS-X1 die unterschiedlichen Bild-, Ton- und Steuersignale zusammen und ermöglicht zudem die Integration externer Geräte über Southbound-Kommunikationsprotokolle für erweiterte Netzwerk-Messaging-Funktionen. Der interne HDR-I/O-Konverter des MLS-X1 sorgt dafür, dass die Bildregie HDR auf einem Referenzmonitor beurteilt, während gleichzeitig ein SDR-Feed für ältere Ausspielwege oder parallele Distribution bereitsteht.

„Der MLS-X1 erlaubt es uns, Live-Broadcasting von einer zentralen Steuerungsebene aus zu betrachten und sämtliche wichtigen Prozesse bei unseren Übertragungen zu überblicken - auch für Formate und Prozesse von morgen“, sagt René Polder, Technischer Geschäftsführer bei der Euro-TV Outside Broadcast GmbH. „Das macht uns zukunftsfest und gibt uns die Möglichkeit, uns auf das Wesentliche bei Live-Produktionen zu konzentrieren, nämlich das zuverlässige Bereitstellen von Live-Bildern in herausfordernden Umgebungen.“

(Fotos: Euro-TV/Sony)

www.sony.net

Hockey Hall of Fame enhanced with Christie projection technology

Christie projectors are helping tell the story of Canada’s national game at Toronto’s Hockey Hall of Fame. Specified by Audio Video Design and installed by Christie partner Applied Electronics, the projectors light up the screens in the Tim Horton’s Theatre and the TSN Theatre. They augment a previous installation of GS Series projectors in the National Bank World of Hockey Zone.

With the existing projectors in the TSN Theatre and Tim Horton’s Theatre nearing end-of-life, Rodney Joffe, owner, Audio Visual Design, worked closely with Christie to demonstrate how its projectors could be a fit for the Hall. An M 4K15 RGB pure laser projector was selected for the 125-seat TSN Theatre, which screens the family-friendly hockey adventure “Little Big Shot”. Part of the M 4K RGB Series, the compact M 4K15 RGB offers 15,750 lumens and 4K UHD resolution.

In the Tim Horton’s Theatre, a 4K860-iS Inspire Series 8,500-lumen 4K UHD laser projector lights up the screen in this 120-seat space, which displays archival footage, including Stanley Cup championship highlight reels. Three blended GS Series laser projectors enhance the World of Hockey Zone, the largest dedicated exhibit area within the Hall, with over 20,000 lumens of brightness.

Joffe worked closely with Christie to optimize projector placement and settings to ensure seamless integration with the entire AV system. “The support from the Christie team was instrumental in the successful completion of this project”, he notes. 

Mike Dalton, Vice President of the Audio Visual Systems Division at Applied Electronics, adds: “We value the opportunity to collaborate with Christie and Audio Visual Design on a project of this significance. Together, we’ve delivered a projection solution that not only supports the Hall’s mission to engage, educate, and inspire visitors through visual storytelling, but also enhances how visitors engage with the history and excitement of the game.”

(Photo: Christie Digital Systems/Hockey Hall of Fame)

www.christiedigital.com

Absen delivers visuals for TooManyLeftHands & Friends at Copenhagen’s Royal Arena

During a five-hour electronic dance music event, Copenhagen’s Royal Arena was transformed into a high-energy venue featuring Absen’s flagship rental and staging LED technology to create an immersive experience for TooManyLeftHands & Friends’ headline performance.

Anders K and Martin Nick, the Danish DJ and producer duo professionally known as TooManyLeftHands, are renowned for their dynamic house, tech, progressive, and deep electronic music, as well as their immersive live performances.

For the duo’s biggest headline show and the largest DJ set by a Danish artist in the 16,000-capacity venue’s history, they entrusted the help of audio-visual solution expert Profox to deliver a you-only-live-once project on a grand scale to match. The stage concept was devised by Magicbox and Gravity Cph.

Absen’s rental LED screen JP5 Pro was selected to create a 448 sqm backdrop for the acts. With Absen LED at the centre of the visual design, the event delivered high-resolution content that amplified key moments, from DJ close-ups to graphic-LED transitions.

“We were genuinely delighted with the end result”, says Mikkel Rodkjær, CEO of Profox. “The screen delivered the impact, clarity and consistency we needed in this full-scale arena environment. The whole build-up and show day ran exactly as planned.”

(Photos: Absen)

www.absen-europe.com

Proyecfilm debuts Christie 4K RGBH cinema projector at hospital screenings in Madrid

Proyecfilm has added a Christie CP4420m-RGBH 4K hybrid RGB pure laser and phosphor cinema projector to its projector fleet. “Our main interest in this projector is the balance between size, weight, and projection quality”, says Alberto Fuentes of Proyecfilm. “It allows us to deliver 4K laser projection at the level of any commercial cinema, while making transport and installation much easier.”

Proyecfilm debuted the RGBH projector during a series of special hospital screenings in the Madrid region, organized through an Italfarmaco initiative that brings cinema to patients who can’t attend a commercial theatre.

The initiative included screenings of a newly released animated family film at Hospital Universitario Niño Jesús, Hospital Universitario La Paz, and Hospital Universitario Príncipe de Asturias, allowing children and families to enjoy a cinema experience in the hospital at the same time as audiences in theatres. It also included a screening of the French film “Chers Parents” at Hospital Enfermera Isabel Zendal in Madrid for patients with ALS and their families.

To support the screenings, Italfarmaco again turned to Proyecfilm for the technical design, installation, and operation of the temporary cinema spaces. Proyecfilm has worked with Christie projection technology for many years, using it in fixed cinemas, rural venues, outdoor screenings, cultural events, and hospital initiatives across Spain.

(Photos: Christie Digital Systems/Hospital Universitario La Paz)

www.christiedigital.com

Vitec powers matchday innovation at BayArena

Vitec’s IPTV and digital signage solution at BayArena - home of German Bundesliga football team Bayer 04 Leverkusen - has uprated the stadium’s media infrastructure, enabling seamless, low-latency video delivery and future-ready digital signage across one of Germany’s most modern football venues.

The flexible, scalable platform supports a wide range of content sources and legacy hardware, to ensure the desired experiences for fans, VIPs, and staff alike, while laying the groundwork for next-generation fan engagement and operational efficiency.

The club’s technical team, TecArena Plus, identified the need to upgrade their aging video head-end infrastructure. The previous system had reached end-of-life, prompting the search for a solution that could support a wide range of content sources and deliver seamless, low-latency video to hundreds of screens throughout the venue.

TecArena Plus faced several challenges in its search for a new head-end system. The stadium required a platform capable of ingesting and distributing satellite, SDI, HDMI, and IP sources, including live match feeds, broadcaster signals, as well as custom event content. With approximately 600 screens and displays, ranging from concourse video walls to VIP lounge TVs, the solution needed to be flexible and compatible with both legacy and future hardware.

Operational efficiency was also a priority, with the team seeking a system that was intuitive for technical staff and robust enough to support evolving digital signage and fan engagement initiatives. After an evaluation of available technologies, TecArena Plus chose to deploy a suite of Vitec equipment: eight G4512 RF gateways for satellite broadcast distribution, a C1210 chassis, sixteen Diamond OG encoders for SDI live input sources, two OG-X chassis, four Diamond-H encoders for SDI and HDMI live input sources, and a Prism transcoder for IP video sources. The system is supported by a three-year Gold Support package.

An 80x80 SDI video router distributes signals to all encoders and enables seamless switching between live match feeds, broadcaster content, and in-house productions. Content is distributed to approximately 600 screens, including multi-screen walls in concourses, VIP lounges, meeting rooms, and press areas. While legacy media players remain in use, the infrastructure is ready for future upgrades. The system delivers a minimum of HDMI (Full HD) resolution, with the capability to ingest and downscale 4K sources as needed, and potential to upgrade to 4K in future.

Diamond-H encoders provide sub-second latency for live events, improving the experience for VIPs and event guests. The user interface is also more intuitive than the legacy system, streamlining content management for technical staff. The infrastructure is future-ready, supporting advanced digital signage, personalised fan experiences, and scalable upgrades as new technologies emerge.

Installation was rapid, with the system operational within three days during the offseason, due to pre-configuration by Vitec Germany. Bayer 04 Leverkusen and TecArena Plus are exploring new ways to leverage the Vitec platform, including advanced digital signage, personalised VIP experiences, and further integration with fan engagement technologies.

(Photos: Bayer Leverkusen 04/Vitec)

www.vitec.com

TVOne Calico Pro anchors City National Bank’s new Financial Center headquarters

When the 2026 FIFA World Cup kicked off this summer, employees at City National Bank’s new Financial Center headquarters gathered in the breakroom, which featured a 32-foot by 9-foot, 0.9 mm pixel pitch direct-view LED video wall, driven by a Calico Pro video processor from TVOne.

The wall is the centerpiece of the recently completed first phase of a building-wide AV deployment by integrator Avology. Working closely with City National Bank, its architects, consultants and trade partners, Avology delivered complete audiovisual integration services - including system engineering, project management, installation, programming, commissioning, testing and end-user training - under the leadership of CEO Jorge Miralles and COO Andrew Menendez.

“The first phase of the project included audiovisual systems deployed across more than thirty conference rooms, huddle spaces and training rooms, all designed to provide a consistent Microsoft Teams Room experience and intuitive presentation capabilities throughout the building”, says Menendez.

The breakroom, though, was conceived as something more: the building’s town square, hosting company-wide meetings, employee communications, live presentations and major events. Driving its DVLED wall is the Calico Pro C7-Pro-2200. “The Calico Pro provides the processing performance required to drive the high-resolution DVLED display while enabling multiple content sources to be displayed simultaneously without compromising latency”, says Miralles.

That processing headroom lets City National Bank switch between a wide range of content on the same canvas: corporate branding, executive presentations, live events, financial dashboards, digital signage, Microsoft Teams meetings, employee communications and live television broadcasts. “Its layout management functionality also provides the flexibility to adapt content configurations in the future without replacing hardware”, notes Miralles.

Following commissioning, Avology trained City National Bank staff on room operation, presentation workflows and general system functionality. “The systems were designed to be intuitive, allowing employees to operate meeting rooms and presentation spaces with minimal training, while AV support personnel retain access to centralized management tools for future configuration requirements”, says Menendez.

As additional phases of the headquarters are completed, Avology will continue deploying AV technologies using the same scalable design philosophy to ensure a consistent experience throughout the building.

(Photos: TVOne)

www.tvone.com

Christie and CES Plus to install latest technology in select Marcus Theatres premium large-format auditoriums

CES Plus and Christie have announced that Christie 4K RGB pure laser projection will be installed in auditoriums across Marcus Theatres, the fourth-largest theatre circuit in the U.S. The technology will enhance twenty UltraScreen and five SuperScreen DLX premium large-format (PLF) auditoriums to combine giant screens with immersive sound and premium amenities.

Under the partnership, CES Plus will serve as the technology partner responsible for project design, equipment procurement, installation, calibration, and ongoing remote service - replacing aging lamp-based projectors with Christie RGB pure laser cinema systems. CES Plus will provide turnkey project management and post-installation support to ensure consistent performance across the Marcus Theatres circuit.

“Marcus Theatres will be the first exhibitor to implement a large-scale rollout of Christie VDR technology in their PLF auditoriums for ultra-high-contrast images, far exceeding industry standards, and including the capability for more than double the typical 3D brightness normally seen in cinemas around the world”, comments Dr. Don Shaw, executive director of Cinema, Christie.

(Photos: Marcus Theatres)

www.christiedigital.com

www.ces.plus

LiveU delivers record-breaking LIQ and cloud service deployment for World Football Championship 2026

LiveU announces it has set historic performance records during the 2026 World Football Championship. Spanning six weeks, sixteen stadiums in three host nations, and 104 matches, the operation represents the largest and most complex broadcast footprint in LiveU’s history. LiveU served as the IP backbone and remote cloud production (REMI) ecosystem for a significant share of non-rights and unilateral coverage across Mexico, the United States, and Canada.

To meet this demand, broadcasters, production houses, football federations, and digital content creators - including independent creators and IRL streamers covering the event on their own channels - as well as public safety institutions, deployed a record 1,700 portable field units. The operation supported 31,000 live transmissions and 17,000 broadcast hours for customers in 45 countries, representing 695 TB of data.

Coverage spanned pre-match briefings, official training sessions, press conferences, in-stadium editorial positions, fan zones, team hotels and IRL creator streams from city centers and public viewing areas. Leading broadcasters also deployed LiveU technology across additional camera positions to capture unilateral feeds for richer multi-angle coverage.

The multi-site broadcast effort was anchored by the company’s LU800 multi-camera field unit and intelligent production unit LU900Q, both powered by the smart routing capabilities of LiveU IQ (LIQ) AI-driven connectivity technology. The combination enabled low-latency, 4K-ready content to be delivered directly to millions of viewers worldwide.

“The sheer scale of this cross-border deployment reflects a joint collaboration with our global customers and partners to push the boundaries of live sports productions”, says Gideon Gilboa, Chief Business Officer and GM Americas at LiveU. “We didn’t just supply equipment; we worked in partnership with our customers in advance to design and refine workflows to meet their operational needs and budgets. By shifting heavy infrastructure to the cloud, our customers could expand their tournament footprint and capture more angles. LIQ and the LU900Q both demonstrated LiveU’s focus on robust, high-performance field connectivity.”

According to LiveU, broadcasters leveraging LIQ during the tournament achieved up to 35 percent higher average bitrates and maintained near-zero packet loss, even within those highly congested environments. LiveU notes that LIQ’s performance in the US market made a measurable difference for broadcasters operating across multiple cities and time zones.

LIQ was complemented by LiveU Mobile Data, LiveU’s cellular connectivity offering, connecting teams to multiple networks. All LiveU rental units came with Mobile Data as default, saving international teams from the hassle of sourcing local SIM cards in the US.

“When it was announced that Boston would be a host city, we knew this event would be massive”, says Adam Liberatore, Chief Photographer, WFXT Boston 25 News. “As rights holders, we immediately planned for a collaboration with LiveU to assist with giving us the bandwidth necessary to put on an in-stadium newscast. The LU800 helped turn this platform into a mobile newsroom with one unit handling up to four video sources. The LU800 and LIQ connectivity helped our lean production crew make this global event memorable for our viewers.”

Field transmission was only half of the story. Broadcasters heavily relied on the LiveU EcoSystem, a unified suite of cloud-native tools spanning the entire live production workflow, to execute sophisticated REMI workflows without sending massive production trucks to every venue. LiveU Central gave operations teams a single point of visibility across every unit in the field.

LiveU Ingest automated file-based recording and metadata tagging for rapid highlights and LiveU Nexus handled ingest, conversion, and distribution of live streams from traditional encoders to social media. LiveU Matrix routed live camera feeds to global newsrooms, production hubs, and distribution partners.

With deployments built around remote production, it reduced the need for massive on-site crews, for example cutting travelling headcount by around forty percent, according to LiveU. The team was on the ground in all key locations. When urgent deployments arose, LiveU teams bypassed shipping entirely, hand-delivering equipment directly to stadiums and production hubs to keep broadcasters on air.

LiveU’s partnership with One Media was central to managing that complexity in Mexico, where close to 200 systems were coordinated, staged, and tested more than a month before the opening match. The guiding principle was simple: the operational complexity was LiveU’s to absorb, not the customers, to ensure every client - whether running a full REMI workflow from their home country or streaming from a pop-up fan zone position - could focus entirely on editorial output.

“The 2026 World Football Championship was a true proving ground for modern sports broadcasting, demanding unmatched logistical agility and flawless network resilience”, says Gilboa. “By combining our purpose-built hardware, open architecture, and global footprint with AI-driven cloud orchestration, we showed that broadcasters don’t need a heavy physical presence on-site to deliver coverage. We’re already deep in preparations for 2030 - Spain, Portugal, Morocco, and Uruguay present an even greater logistical challenge, and we intend to meet it the same way.”

www.liveu.tv

Brompton Technology powers virtual production workflow for ITV’s “Believe Me”

Brompton Technology’s LED processors provided the processing backbone for the virtual production workflow used on “Believe Me”, ITV’s four-part true-crime drama produced by Etta Pictures, part of ITV Studios.

With a significant proportion of the drama taking place inside a black cab travelling through London at night, virtual production specialist Fivefold Studios developed a controlled LED workflow that could support the story’s creative, technical and performance requirements. The production used a 30-m-wide by 4-m-high ROE Visual BP2V2 LED wall driven by four Brompton 4K Tessera SX40 processors.

Filming the scenes conventionally on a low-loader would have required extensive night shoots on London streets and, according to the Fivefold team, could have taken between three and five times longer. “The controlled environment also helped protect the performances from the practical pressures of shooting such disturbing material at night on the streets of London”, explains Tom Murphy, Head of Production at Fivefold Studios.

“Many of the key dramatic beats depended on traffic lights changing and the cab following specific routes”, he continues. “Being able to programme those events, trigger them on cue and repeat them accurately allowed us to remain faithful to the script in a way that would have been extremely difficult on a low-loader.”

Fivefold became involved early in the process, with initial discussions beginning in early 2025. Three months before the shoot, the company worked with the production’s heads of department to test and validate the colour and image pipeline at its R&D Hub. The facility replicates the complete production workflow on a smaller scale, allowing technical questions to be resolved and creative approaches tested before the full-scale stage and crew were required.

At the centre of this preparation was the ability to establish a reliable 10-bit image pipeline with an accurate reference for the displayed image and its colour transforms. Using the same Brompton workflow during research and development and on set enabled Fivefold to refine the setup in advance, providing a more controlled and predictable starting point when principal photography began.

Working closely with cinematographer Bryan Gavigan, the gaffer and the DIT, Fivefold aligned the LED imagery with the physical lighting and camera requirements. “Our main job was to ensure that the background never took the audience out of the moment or the performance”, Murphy notes. “That meant getting the brightness, contrast, colour, perspective and scale right, while maintaining a detailed record of every setup so that the production always had a faithful reference.”

Lighting fixtures could also be driven by the video playback, enabling synchronised effects to be mapped to specific areas of the content and reproduced consistently between takes. Detailed records were maintained for every setup, scene and take, providing the crew and production with an accurate reference should a sequence need to be revisited.

An iPad-based interface allowed the virtual production supervisor to remain alongside Ford and trigger events, reset the sequence to its starting position and reproduce cues efficiently. For the actors, the real-time environment provided visible movement and lighting to respond to naturally, reducing the need for additional direction and helping performances remain synchronised with the world outside the vehicle.

The controlled workflow also expanded what the production could achieve beyond the cab sequences. One opening shot, featuring a bus crossing a bridge and passing the London Eye, was written into the drama because virtual production made the sequence achievable with significantly less practical risk.

Fivefold has used Brompton processing across the majority of its productions to date, while several members of its team have worked with the technology since 2020.

(Photos: Fivefold Studios)

www.bromptontech.com

Infileds DBmk2-Serie macht Studio von Kanal 75 fit für den Broadcast-Betrieb

Kanal 75 produziert mehr Live-Übertragungsstunden als jedes andere Produktionsunternehmen in der nordischen Region und liefert an jedem Tag des Jahres mehr als vierzehn Stunden Live-Sportprogramm für Zuschauer in Schweden und international.

Als das Unternehmen beschloss, eines seiner Produktionsstudios in Stockholm zu modernisieren, bestand die Aufgabe darin, eine in die Jahre gekommene Miet-LED-Wand durch eine permanente Installation zu ersetzen, die sowohl den täglichen Broadcast-Betrieb als auch die kreativen Ambitionen des Produktionsteams unterstützt. Die DBmk2-Serie von Infiled erwies sich dabei als passende Lösung.

Die bisher genutzte, 2 x 6 Meter große Miet-LED-Wand entsprach nicht mehr den Anforderungen von Kanal 75. Christian Bruns, Studio Manager bei Kanal 75, leitete die Suche nach einer neuen Lösung, die den Anforderungen einer hochfrequenten Live-Broadcast-Umgebung gerecht werden und dem Kreativteam gleichzeitig mehr Freiraum für die Entwicklung neuer Formate bieten sollte, darunter Live-on-Tape-Produktionen und experimentelle visuelle Hintergründe.

Nach Demos auf der International Broadcasting Convention (IBC) und der NAB Show sowie der Empfehlung eines langjährigen Kontakts aus der Broadcast-Branche entschied sich Bruns für die DBmk2-Serie und arbeitete während des gesamten Projekts eng mit dem schwedischen Team von Infiled zusammen.

Die neue Installation besteht aus einer 2 x 8 Meter großen gebogenen LED-Wand, bei der flache und 10°-gebogene Panels der DBmk2-Serie kombiniert wurden, um an einem Ende der LED-Wand einen sanften 90°-Bogen zu erzeugen. In Kombination mit einem Novastar-MX40-Pro-LED-Prozessor verleiht dieses Design dem Studio mehr räumliche Tiefe und sorgt für eine immersive Bildwirkung. Gleichzeitig bietet es größere Flexibilität bei der Positionierung der Kameras für unterschiedliche Programmformate.

Per Quick-Lock-System wurden die Cabinets sicher miteinander verbunden, während der Verstellmechanismus für die Krümmung eine exakte Anpassung der gebogenen Bereiche ermöglichte. Zusätzlich sorgten vormontierte Magnete an der Ober- und Unterseite jedes Cabinets während des Aufbaus für zusätzliche Stabilität. Mit einem Infiled-Techniker, der während des gesamten Projekts vor Ort war, wurden Installation, Kalibrierung und Inbetriebnahme innerhalb von zwei Tagen abgeschlossen.

Mit der DBmk2-Serie kann das Team von Kanal 75 nun nahtlos zwischen Live-Videosignalen, grafikintensiven Sendungen, Standbildern und experimentellen Hintergründen wechseln, ohne das Studio neu konfigurieren zu müssen.

(Foto: Kanal 75)

www.infiled.com

Redge Technologies delivers record-breaking streaming performance during this year’s World Cup

Redge Technologies has delivered its largest streaming project to date, achieving record-breaking Content Delivery Network (CDN) performance throughout this year’s World Cup tournament, culminating in a peak of 6.3 Tbps of simultaneous CDN traffic during the final.

The milestone was reached while Redge delivered traffic simultaneously across all three of its VDP regions - Poland, Israel, and France - marking the first time the company has sustained record-level traffic across all three regions at once.

Redge launched 4K/H.265/HDR streaming in production for IPBC (Kan) and deployed its proprietary Multi-CDN solution, CDN Selector, at scale for the same client. The company also acted as operator of three CDNs for IPBC (Kan), delivering approximately 3 Tbps of combined traffic through a combination of two Redge CDN instances and AWS CloudFront.

Alongside this, the company sustained record traffic simultaneously across all three VDP regions and ran a new version of its CDN infrastructure in production, reaching a peak load of 150 Gbps from a single node. During the World Cup final alone, Kan’s digital platforms, including Kan Box, the Kan app and Kan’s website, logged approximately 5.4 million views, with peak concurrent usage reaching roughly 410,000 simultaneously active devices, the highest figure recorded since the broadcaster’s founding.

Redge Technologies’ infrastructure supported record-breaking traffic for a range of major clients throughout the tournament, including Play (Play Now), TVP (TVP VOD), WP (WP Pilot), TVN (player.pl), and IPBC (Kan). For each of these clients, the World Cup generated the highest traffic volumes they have ever recorded, with Redge’s platform supporting that growth without disruption. Some of the applications reached number one in both the Apple App Store and Google Play during the tournament, reflecting the scale of viewer engagement the platform supported.

Despite the unprecedented scale of the tournament, Redge did not record a critical incident across any match throughout the entire competition. Traffic across all CDN nodes was protected throughout the tournament by Redge Guardian, the company’s own DDoS mitigation solution.

www.redge.com

LiveU powers cross-venue coverage of Commonwealth Games in Glasgow

LiveU’s LU900Q intelligent production unit played a central role in the host broadcast operation for the Commonwealth Games in Glasgow, Scotland (July 23 to August 2, 2026). The host broadcaster Actua Sport deployed a total of fourteen LiveU units, including the LU900Q, around multiple venues - covering ten sports and six Para sports, with approximately 3,000 athletes from 74 nations and territories. LiveU Matrix was also deployed in the cloud for IP distribution to leading broadcasters across the globe.

Producing a multi-venue event across a city presents a connectivity challenge that no fixed infrastructure can fully solve in advance. ENG crews moving between the venues and various side events faced networks that ranged from stable to heavily congested - particularly around busy public venues at peak competition times. Actua needed a production solution that could adapt in real time.

As a longstanding LiveU partner, Actua built its deployment around the LU900Q, bringing together native LiveU IQ (LIQ), advanced 5G architecture, and dual-Mimo antennas to deliver broadcast-grade contribution across demanding multi-venue environments. Unlike conventional setups that lock crews into a fixed set of mobile network operators, LIQ dynamically and intelligently switches eSIMs between mobile operators. Across four venues and ten days of competition, it helped keep broadcast-grade video moving even as network conditions changed around the production.

Using the LU900Q, ENG crews could move between stadiums and social event locations to contribute live and near-live content, from press conferences and athlete arrivals to warmups and side-event coverage, back to the broadcast operations center. With live moments possible at short notice, crews needed to stay ready to deploy at any time.

The mobile set-up allowed crews to get closer to the action and capture angles fixed infrastructure couldn’t reach. Actua also deployed multi-cam LU800 units across all Glasgow venues as an additional backup layer for the contribution network, with two more LU800 units delivering 24/7 beauty shots from remote locations directly to rights holders.

The deployment supported Actua’s wider host broadcast operation, with 650+ staff producing 1,400 hours of content, including a 24/7 official Games Channel, a real-time Content Hub offering all produced content worldwide and a daily 52-minute highlights program.

What makes an event like this genuinely difficult is that you are operating across multiple venues, with network conditions that can vary significantly, under conditions that change by the hour”, says Franck Choquard, Director of Actua Sport. “The LU900Q gave our crews the confidence to go live from anywhere, whether in the venues, backstage or elsewhere in the city. We also knew LiveU’s setup would let us scale easily during the games to capture the best content and share it with the participating rights holders.”

Once content reached Actua’s Broadcast Operations Center in Glasgow, located within BBC Scotland’s permanent broadcast facility in Glasgow and linked to Actua’s facility in Geneva, LiveU Matrix handled IP distribution. Rights holders across multiple countries received live feeds via SRT, with Actua able to route content to any taker with a single operation.

Multiple takers across the UK and other countries used those feeds for linear TV transmission, OTT platforms, and social media distribution. With its scalable architecture, Actua could combine LiveU Reliable Transport (LRT) and SRT delivery through LiveU’s cloud infrastructure.

Beyond day-to-day distribution, LiveU Matrix also served as an additional contingency layer: with all content routed through the cloud, Actua could maintain full distribution to rights holders even in the event of disruption at the broadcast operations center.

(Photo: LiveU)

www.liveu.tv

Palmer Digital Group selected as approved digital menu board supplier for Burger King franchisees

Palmer Digital Group (PDG), a supplier and installer of indoor and outdoor digital kiosks, drive-thru digital menu boards and canopy systems, has been selected as an approved supplier of outdoor digital menu board systems for Burger King franchisees across the United States and Canada. The agreement allows franchisees to purchase PDG’s single- and triple-panel outdoor digital menu board (ODMB) systems as they modernize drive-thru operations with new technology.

The new partnership represents another major milestone in PDG’s continued expansion within the quick-service restaurant (QSR) market. Installations are already underway, with the first locations opening in Wisconsin and approximately eighteen orders already placed. PDG expects roughly thirty Burger King locations to be operational by the end of the third quarter and approximately fifty by the end of 2026.

Burger King franchisees will have the flexibility to choose either professional installation by PDG’s nationwide installation team or complete installation themselves after receiving training from Palmer Digital Group. Because many franchise groups already maintain experienced construction teams, PDG developed an installation-friendly design to simplify deployment.

Training for self-installation is led by Patrick Profitt, PDG’s Vice President of Project Management and Field Operations, through an online session that walks installation teams through every step of the process. Beyond installation, PDG provides deployment services including site surveys, concrete foundations, conduit installation, high- and low-voltage electrical work, trenching, indoor display installation and ongoing break-fix support, to give customers a single source for every stage of the project.

The Burger King systems will utilize LG 49-inch outdoor displays integrated into PDG’s modular outdoor digital menu board enclosures. The modular design allows individual components to be serviced or replaced without replacing the entire structure.

The agreement also creates significant long-term growth opportunities for Palmer Digital Group. With approximately 6,000 Burger King restaurants across the U.S. and Canada eligible to purchase through the approved supplier program, PDG sees substantial potential as franchisees continue upgrading their drive-thru technology.

(Photo: Palmer Digital Group)

www.palmerdigitalgroup.com

TNDV powers broadcast of Pickleball Slam 4

When viewers tuned in to watch Pickleball Slam 4 live from Seminole Hard Rock Live in Hollywood, Florida, on April 16, 2026, they saw a fast-paced national broadcast showcasing some of the sport’s biggest personalities. Behind the scenes, the production was the latest chapter in a relationship that stretches back more than sixteen years between mobile production specialist TNDV (a division of Live Media Group) and sports production company Ohlmeyer Kusserow Group (OKG).

Tasked with producing and directing the live broadcast for a major US sports broadcaster on behalf of client Horizon Sports & Experiences and GSE Worldwide, OKG once again turned to TNDV for technical production support. The partnership dates to 2010, when OKG founders Lou Kusserow and Chris Ohlmeyer launched their company and selected TNDV to support some of their earliest tennis broadcasts.

“Sixteen years later, we rarely call anyone else”, says Kusserow, who directed the Pickleball Slam 4 broadcast from inside TNDV’s flagship Exclamation mobile production unit. “We trust Rob and his team completely. They understand how we work, they hire great people, and they consistently deliver.”

TNDV deployed its Exclamation truck for the main live broadcast and its Modulation truck for satellite uplink and transmission support. The production marked TNDV’s first pickleball event and required a workflow tailored to the pace and presentation style of the rapidly growing sport. Unlike traditional tennis broadcasts, Pickleball Slam 4 emphasized player interaction and personality as much as game action.

TNDV and OKG collaborated on a camera strategy designed to capture both the speed of play and the exchanges between competitors throughout the event. “Pickleball moves incredibly fast, and there’s a lot more conversation between players than you see in many sports”, says Rob Devlin, President of TNDV. “We spent time studying previous productions and finding ways to streamline the technical approach.”

The production utilized nine Sony HDC-4300 broadcast cameras, two jib cameras, and three Panasonic UE150 robotic cameras positioned throughout the venue to provide dynamic coverage and player-focused perspectives. A wireless camera captured player entrances and feature elements, while all four competitors and the referee were equipped with wireless microphones to bring viewers directly into the action.

At the center of the workflow was Exclamation’s Evertz Nexx routing infrastructure, which managed video and audio signal routing, audio embedding and de-embedding, transmission feeds to the Modulation uplink truck, and in-house IMAG feeds displayed throughout the venue. TNDV also relied on DSC Labs ChromaDuMonde color charts to match camera systems and maintain consistent image quality across the production.

Communication was equally critical. Kusserow directed the broadcast using an RTS/Clear-Com communications system that connected production personnel, on-air talent, venue staff, technical crews and event stakeholders throughout the facility. 

“This was one of those productions where everyone was pulling in the same direction”, says Devlin. “The venue was great to work with, the OKG team had been planning the show for months, and our crews worked seamlessly together. When you have a relationship that spans more than a decade and a half, there’s a level of trust that allows everyone to focus on making the show look great.”

(Photos: Live Media Group)

www.livemediagroup.com

Infiled-WP-Serie realisiert großformatiges LED-Display in Pariser Westfield Forum des Halles

Mehr als 64 Millionen Menschen besuchen jedes Jahr das Westfield Forum des Halles unter dem markanten Canopée im Zentrum von Paris. Der Komplex vereint über 150 Geschäfte, das meistbesuchte Kino der Welt, zahlreiche öffentliche Kultureinrichtungen und vieles mehr. Der Place Carrée bildet innerhalb des Einkaufszentrums einen zentralen Knotenpunkt. Einkäufer, Kinobesucher und Pendler, die zwischen der Pariser Metro und den RER-Linien umsteigen, passieren diesen Bereich täglich.

Als Westfield beschloss, das bestehende LED-Display durch eine größere und leistungsfähigere Lösung zu ersetzen, war ein System gefragt, das sich in einem der meistfrequentierten öffentlichen Innenräume der Stadt behaupten kann. Für die Definition der Projektanforderungen beauftragte Westfield das französische Planungs- und Beratungsunternehmen Scenarchie, das auf audiovisuelle Gestaltung, Szenografie und digitale Umgebungen spezialisiert ist.

Scenarchie legte die technischen und räumlichen Anforderungen für das neue Display fest und stellte sicher, dass sich die fertige Installation harmonisch in die Proportionen und Besucherströme des Place Carrée einfügen würde. Anschließend folgte ein wettbewerblicher Auswahlprozess. BTB Audiovisuel, ein französischer Systemintegrator und AV-Partner von Infiled in Frankreich, beteiligte sich gemeinsam mit Infiled an der Ausschreibung und setzte sich gegen mehrere Wettbewerber durch. Als Systemintegrator übernahm BTB die vollständige Installation vor Ort.

Das Projekt brachte eine besondere Herausforderung mit sich: Da der Place Carrée tagsüber von tausenden Besuchern frequentiert wird, konnten sämtliche Arbeiten ausschließlich während der Schließzeiten zwischen 22 Uhr und 7 Uhr durchgeführt werden. Innerhalb von acht Nachtschichten demontierte das Team die bestehende LED-Wand, verlegte die Strom- und Glasfaserverkabelung, integrierte den Controller in ein Technikrack und passte die vorhandene Unterkonstruktion an die Abmessungen des neuen Displays an.

Mit einer Breite von 8,4 Metern, einer Höhe von 4,7 Metern, einem Pixelpitch von 2,5 mm und einer Auflösung von 3.360 x 1.890 Pixeln musste das Display über die gesamte Fläche hinweg optimal ausgerichtet werden. Da es aus unterschiedlichen Blickwinkeln und Entfernungen innerhalb des Einkaufszentrums sichtbar ist, hätten selbst kleinste Abweichungen zwischen Cabinets oder Modulen die Bildqualität beeinträchtigen können. Um diese Anforderungen zu erfüllen, entschied sich BTB für die WP-Serie von Infiled.

Das fertige Display wurde mit einem NovaStar-H-Series-Controller sowie sechs CVT10-S-Glasfaser-Einheiten ausgestattet. Das 16:9-Panelformat ermöglicht eine proportionale Darstellung über die gesamte Bildschirmfläche. Mittels ultraflacher Cabinets und des nahezu nahtlosen Erscheinungsbildes fügt sich die WP-Serie den Wünschen des Auftraggebers entsprechend in die bestehende Architektur ein.

(Foto: Infiled)

www.infiled.com

Wisycom solves RF challenges across miles of live action for Gravity Media

When live cycling races and international marathons stretch for miles across cities and countryside, there is no margin for RF failure in live broadcast. As Chief RF Communications Engineer at Gravity Media, Glenn Willems is responsible for ensuring long-range RF communication in some of the most demanding live broadcast environments in the world, so that the events reach viewers without interruption.

These productions often require communications links spanning extraordinary distances, sometimes placing the RF team more than 100 miles away from the action. Throughout the racing season, which runs from February through October, Willems and his team support major cycling events such as the Tour of Italy, Tour of Denmark and numerous international marathons, including those in Berlin, Vienna, Amsterdam and Rotterdam.

To meet these challenges, Willems frequently turns to Wisycom, integrating a range of the company’s RF over Fiber and wireless solutions into Gravity Media’s workflows. “The wireless part of the communication is absolutely critical”, he says. “It’s all live television, so our broadcast simply has to work.”

Wisycom solutions often play a role in creative, problem-solving scenarios, such as during the Berlin Marathon, where Willems was tasked with enabling a reporter to conduct live interviews while riding a bike alongside runners. “It was a rather particular request”, he laughs. “We had to find a way to get that wireless microphone signal into our transmission system while everything was moving.”

The solution involved using Wisycom MCR42 camera receivers, integrated directly into the video link system. “If you looked at it, you might realize we weren’t operating like a professional scripted TV or film production team”, Willems admits, “but it worked extremely well. That’s the kind of outside-the-box thinking we often need, and Wisycom made that possible. Thanks to the MCR42’s multiband and multi-compatible capabilities, we were even able to integrate third-party microphones without issue. That flexibility meant we could adapt quickly, which is crucial in live broadcast environments.”

Beyond wide-ranging racing applications, Gravity Media also regularly relies on Wisycom for large-scale and non-traditional infrastructure deployments, utilizing the brand’s MFL RF over Fiber system. “The MFL is a modular system, so you can mix and match and configure it the way you like”, Willems notes.

The Gravity Media team also deployed the MFL system on a major stadium installation, where the TV compound was seven- to eight-hundred meters from the field of play. The system links the OB vans to the field of play via fiber. “Fiber virtually has no losses, which means every fraction of a dB is preserved”, says Willems. “That directly translates into range and stability. For us, every fraction of a dB counts. As long as your connectors are clean, fiber is also plug-and-play. People think it’s black magic, but it’s actually incredibly robust.”

(Photo: Gravity Media/Wisycom)

www.wisycom.com

Absen powers one of the world’s most ambitious 3D immersive LED installations

Absen has delivered a landmark COB (Chip on Board) LED installation at Swinburne University of Technology in Melbourne, Australia, powering the Swinburne Virtual Universe (SVU), a purpose-built 3D immersive environment that is believed to be the largest truly wraparound LED screen ever constructed for public education.

Spanning over 106 sqm across a seamless canvas, the installation uses Absen’s KLCOB1.5 Pro V2 technology to transport visitors from a Melbourne campus to the furthest reaches of the cosmos. Officially unveiled in April 2026, the Swinburne Virtual Universe places visitors at the centre of a futuristic space surrounded by high-contrast LED screens that deliver 3D imagery and interactive animations.

Audiences can be flown around a virtual solar system, witness planetary close-ups as if aboard their own spacecraft, and explore deep space environments powered by supercomputer simulations and real astrophysics data. The SVU is driven by Nvidia GPU technology and real-time rendering engines, with content generated directly from Swinburne’s OzStar and Ngarrgu Tindebeek supercomputers.

Delivering an experience of this ambition demanded display technology capable of meeting an exceptional set of requirements. The installation needed to produce 3D imagery across an unusually wide, low-profile screen geometry, maintain colour accuracy and uniformity at close-viewing distances, and perform without interruption across long, continuous operating periods. At the same time, the surface had to withstand the demands of a high-traffic public environment, be robust enough for interaction, and remain visually seamless across every viewing angle.

The KLCOB1.5 Pro V2 was selected to meet these demands. With its ultra-fine 1.5 mm pixel pitch, the product delivers the detailed resolution essential for immersive close-range 3D content, producing deep blacks and high contrast.

At this scale and geometry, maintaining seamless uniformity across the entire surface is critical to the immersive effect. The KLCOB1.5 Pro V2’s monolithic construction and engineering ensures a smooth, uninterrupted canvas that supports the visual integrity of the 3D content, regardless of viewing position within the space.

The facility will serve undergraduate students, school groups, families and the wider public, as well as acting as a creative and technical resource for Swinburne’s Film, Games and Animation programmes. It is part of an expanding portfolio of astronomy assets at Swinburne, including its partnership with the W. M. Keck Observatory.

“We are proud that the KLCOB1.5 Pro V2 was selected to power this remarkable installation and help deliver an experience that brings the universe closer to audiences of all ages”, comments Ruben Rengel, Vice President at Absen.

The Swinburne Virtual Universe will progressively open to schools, families and the broader community, serving as a hub for science communication, research translation, and public engagement with space science. For Absen, the project adds to a growing global portfolio of COB LED installations in education, cultural and public environments, reinforcing the technology’s place at the forefront of large-format immersive display.

(Photos: Absen)

www.absen.com

Hippotizer MX Series media servers support immersive storytelling at National Cowgirl Museum

The National Cowgirl Museum & Hall of Fame in Fort Worth, Texas, is celebrating more Women of the West through new immersive storytelling experiences powered by Hippotizer MX Series Media Servers from Green Hippo.

The museum honors the Women of the American West through exhibitions, archives, and immersive storytelling. While video and projection have long been part of the visitor experience, the museum’s expansion aims to significantly elevate the flexibility and creative potential of its visual environments. The museum’s archives currently house more than 4,000 artifacts and information on more than 750 remarkable women.

Fort Worth-based integration specialist Electro Acoustics & Video Inc. led the design with the Hippotizer Meuse MX Media Server. The project forms part of the museum’s 16,000-square-foot expansion project, centered around refreshing its immersive projection-driven attractions.

“We focus heavily on video and projection elements throughout the museum”, explains Hunter Atchison, Associate Director of Operations at the museum. “Our new space features nine projectors surrounding the room projecting content in a panoramic format.”

Previously, the space featured looping panoramic ranch footage from Texas and Colorado alongside horse show visuals. While popular with visitors, the legacy system offered limited flexibility and proved difficult for the museum team to maintain and customize.

“Our goal with the new system was to create something far more fluid and adaptable”, says Atchison. “We wanted a space that could transform depending on the experience we want to create. Hippotizer is giving us the ability to customize the room and use it however we want, depending on the event or experience.”

The museum’s existing external video contractor first recommended looking into Green Hippo solutions, leading the Electro Acoustics team to connect with Green Hippo’s Scott Kehoe. “Scott was very helpful and even set the client up with a demo system for a few months to make sure they liked the system”, says Ryan Walker from Electro Acoustics.

That collaborative approach continued throughout the installation and integration process: “The system was being controlled by an outside control system, and Green Hippo was willing to meet with our programmer to discuss how everything was going to work together”, says Walker. “They worked with us every step of the project.”

The decision to implement Hippotizer Meuse MX now affords the museum’s team better management of visual content across the nine-projector environment while opening up new possibilities for exhibitions, events, and donor experiences.

During the daytime, the panoramic environment supports the museum’s immersive exhibitions and interpretive storytelling experiences. In the evenings, the same space transitions into an events venue for weddings, donor receptions, and private functions. Museum staff can transform the room with projected visuals ranging from mountain landscapes to coastal scenes, while also incorporating custom event-specific content.

The panoramic event space is part of a broader expansion project designed to seamlessly connect the museum’s original building with newly developed galleries and attractions. Across from the projection space, the expansion includes an 18-horse carousel installation, while adjoining gallery areas host rotating exhibitions including costumes from Miranda Lambert’s recent tour.

(Photos: Green Hippo/National Cowgirl Museum & Hall of Fame)

www.green-hippo.com