MONTREAL, CANADA – October 20, 2026 – University of Washington Intercollegiate Athletics has brought its new Sundodger Studios production facility on air, with Grass Valley cameras and production switchers supporting four control rooms on an SMPTE ST 2110 network. The installation combines two K-Frame SXP production switcher frames and ten LDX 100 Series cameras, providing the capacity to manage multiple live sports productions simultaneously. 

The project replaces a smaller, aging SDI production system with an IP infrastructure capable of supporting 1080p, UHD and HDR workflows. Designed in collaboration with broadcast technology consultant Anthony James Partners (AJP) and integrated by Conference Technologies, Inc. (CTI), the new facility was completed during summer 2026 and went live for the Washington Huskies’ opening men’s soccer game on August 12th. 

The University of Washington is a member of the Big Ten Conference, with its Intercollegiate Athletics department producing live coverage of Huskies sporting events. Located on the Seattle campus, Sundodger Studios serves the university’s athletics production requirements while providing students with access to professional broadcast technology and workflows. 

“Moving from our previous SDI system to a facility of this scale was a significant undertaking for our production and engineering teams,” said Sam Wojtalewicz, Associate Athletic Director of Broadcast Operations, University of Washington Intercollegiate Athletics. “We needed more capacity to support our athletics schedule, along with the flexibility to accommodate different production requirements. The new facility gives us four control rooms and the ability to develop our workflows as we gain experience with the IP infrastructure.” 

Shared Production Resources 

The facility uses two Grass Valley K-Frame SXP IP production switcher frames, each serving two control rooms. Each room has its own control surface, with two Kayenne 3 M/E and two Karrera 3 M/E panels across the facility. This allows production teams to work independently while sharing the processing resources of the two frames, reducing the hardware required to support four simultaneous productions. 

Each K-Frame supports 128 IP inputs and 64 IP outputs, with SMPTE ST 2022-7 redundancy and 12G UHD capability. Operators can also move between Kayenne and Karrera control positions without having to learn a different switching system. 

The camera installation comprises four LDX 135 native UHD cameras for primary coverage, four LDX 150 cameras equipped for 3x and 6x high-speed capture, and two wireless LDX 135 cameras for roaming and sideline positions. Eight XCU Xpress UXF base stations connect the cabled cameras to the IP network, while Grass Valley Creative Grading panels and a CCS-ONE camera control server provide consistent camera shading and color management. 

“The design needed to support several productions running at the same time, with each control room retaining its own operational flexibility,” said Michael Martin, VP of Technology, Anthony James Partners. “Using two K-Frame systems across four rooms makes efficient use of the production resources, while the ST 2110 infrastructure allows signals to be shared throughout the facility. That gives Washington greater freedom to configure its productions around the events it needs to cover.” 

Supporting Collegiate and Professional Sports Production 

The move to ST 2110 marked a significant change for the university’s production team, which worked with AJP, CTI and Grass Valley to adapt its workflows to the new infrastructure. 

Following its August 12th debut, the facility was showcased at an industry open house on September 18, co-hosted by the university, Grass Valley and CTI. 

Grass Valley’s established presence in professional live sports production was an important factor in the university’s technology selection. The new studios give students practical experience with K-Frame switching and LDX camera systems they are likely to encounter in their future careers. 

“The University of Washington is an important new customer for Grass Valley in collegiate sports,” said Greg Doggett, Vice President of Sports Sales, North America, Grass Valley. “Sundodger Studios reflects the level of production capability universities now require for their live events, alongside their commitment to developing the next generation of broadcast professionals.” 

The university also plans to integrate its Grass Valley production systems with Daktronics technology already deployed across its athletics venues. 

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About Grass Valley 

Grass Valley empowers over 90% of the world’s top media brands to create and deliver compelling stories that captivate audiences. At the heart of its solutions is the GV Media Universe (GVMU), combining advanced hardware solutions, with the agility, elasticity, and adaptability of the AMPP Media Operating System. Together, they form a seamless, scalable ecosystem for efficient and innovative workflows. 

With a portfolio spanning from camera to consumer, Grass Valley provides the flexibility to build solutions for every need – from a single creative harnessing immense production power to globally distributed teams collaborating seamlessly. This breadth of capability enables customers to craft efficient workflows that inspire and engage their audiences. 

With over 65 years of expertise, Grass Valley has consistently driven the evolution of live content creation and storytelling. Headquartered in Montreal and supported by Black Dragon Capital, the company remains dedicated to shaping and leading the media revolution. 

MONTREAL, CANADA – October 14, 2026 – HuskerVision, the video production and multimedia operation for University of Nebraska Athletics, has deployed Grass Valley K-Frame production switchers and LDX cameras as part of a new SMPTE ST 2110 production facility supporting sports venues across the university campus. 

The six-month project created three new control rooms and replaced HuskerVision’s aging baseband infrastructure with an IP production environment. The completed facility gives its production teams the capacity to support events across campus, with UHD and HDR capability built into the system as requirements develop.  

Operated by students and staff, HuskerVision produces video and multimedia content for University of Nebraska Athletics. Its student program has also provided a route into the broadcast industry for hundreds of graduates, making professional production experience an important consideration when the university selected technology for the new facility. 

“We had the opportunity to look at how we wanted to produce content across our venues for the next several years, rather than simply replacing the equipment we already had,” said Garrett Hill, Director of Technology, HuskerVision. “Grass Valley gave us the combination of functionality and price-to-performance we were looking for, with an IP production system that can support what we need today and our move toward UHD in the future.” 

Moving Production to ST 2110 

The new facility uses Grass Valley LDX 135 and LDX 150 cameras, with XCU Xpress UXF base stations connecting the camera systems into the ST 2110 environment. The LDX 135 provides native UHD acquisition, while the LDX 150 supports multi-format production, with both camera systems providing HDR and NativeIP capabilities.  

Two Kayenne K-Frame SXP-I production switchers provide the main production control, with support for HD, 3G and 12G UHD production. Advanced IP I/O and 100GbE connectivity carry signals across the IP infrastructure, while Creative Grading panels and a central control server provide color and HDR management across the camera fleet. 

The two switcher configurations provide separate production positions, giving HuskerVision the resources to manage multiple productions across its event calendar. The IP architecture also allows Grass Valley and third-party systems to operate across the same network rather than relying on fixed baseband routing.  

Preparing Students for Professional Production 

An important part of the project was giving students experience with technology they are likely to encounter when they move into professional live production. Grass Valley equipment is widely deployed across production trucks in the US, making familiarity with K-Frame and LDX systems relevant beyond their work at the university. 

“For our students, the technology they work with here is part of their preparation for a career in the industry,” said Kevin Raguse, Broadcast Technology Engineer, HuskerVision. “They can learn live production on the same type of switching and camera systems they will encounter in professional environments, while our staff has a reliable system that is straightforward to operate across our day-to-day productions.” 

Grass Valley worked with systems integrator BeckTV on the deployment, which also included commissioning and on-site operational and technical training.  

“Working with HuskerVision and Grass Valley, we integrated the cameras and production switchers into a shared ST 2110 network, giving the team more flexibility to route signals across control rooms and campus venues,” said Brock Raum, Senior Engineer, at BeckTV. “The facility was designed to support efficient day-to-day operations while providing a foundation for future UHD and HDR production. It also gives students hands-on experience with the IP workflows they’ll encounter in professional live production.” 

“HuskerVision has helped launch the careers of hundreds of people working in live production, which gives this project significance beyond the facility itself,” said Greg Doggett, VP of Sales – NAM Sports at Grass Valley. “It also reflects the growing number of universities investing in professional broadcast technology to support both their production needs and the practical training they provide for the next generation of industry professionals.” 

The new facility provides HuskerVision with a common IP production infrastructure across its control rooms, giving its production teams the capacity to support events across campus. 

Grass Valley will exhibit at NAB Show New York, October 21–22 at the Javits Center, at Booth 121, where visitors can learn more about its latest live production, IP infrastructure and software-defined production technologies. 

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About BeckTV 

BeckTV is one of the United States’ premier design-build systems integrators. With more than 40 years of experience, BeckTV has designed and built more professional television facilities for more customers than any other systems integrator. In virtually every application from broadcast and cable networks, local TV stations, sports trucks, and stadium venues to educational institutions and houses of worship, BeckTV uses a collaborative approach to assure successful outcomes, on time, and on budget. The company maintains full-service offices in New York and Austin, Texas, as well as an engineering office in Washington, D.C. More information about BeckTV is available at www.becktv.com. 

Press Contact:  
Sunny Branson, Wall Street Communications 
Tel: +1 801 326 9946 
Email: sunny@wallstcom.com     

##### 

About Grass Valley 

Grass Valley empowers over 90% of the world’s top media brands to create and deliver compelling stories that captivate audiences. At the heart of its solutions is the GV Media Universe (GVMU), combining advanced hardware solutions, with the agility, elasticity, and adaptability of the AMPP Media Operating System. Together, they form a seamless, scalable ecosystem for efficient and innovative workflows. 

With a portfolio spanning from camera to consumer, Grass Valley provides the flexibility to build solutions for every need – from a single creative harnessing immense production power to globally distributed teams collaborating seamlessly. This breadth of capability enables customers to craft efficient workflows that inspire and engage their audiences. 

With over 65 years of expertise, Grass Valley has consistently driven the evolution of live content creation and storytelling. Headquartered in Montreal and supported by Black Dragon Capital, the company remains dedicated to shaping and leading the media revolution. 

Original article publish in Broadcast Magazine NL

Over the past few years, our relationship with Grass Valley has continued to develop, and our move to AMPP in the Netherlands has been an important part of that journey.

When we chose Grass Valley’s AMPP cloud-native production platform for our services to Ziggo Sport, it was driven by a broader objective: to make our production capacity more flexible, scalable and less dependent on where the production itself takes place.

We have been working with Grass Valley technology across the wider DMC organization for some time. In Scandinavia, DMC Production works with LDX 98 cameras, while DMC Production Broadcast, formerly The Crew, has used LDX 86 cameras successfully for many years. Last year, we also added a Grass Valley K-Frame switcher to the operation.

AMPP gives us another way of thinking about how these technologies can be deployed.

Moving beyond the traditional OB model

Traditionally, much of the technology required for a live production has been brought together in an OB vehicle. That model continues to have an important role, but it is not always the most efficient approach for every production.

With AMPP, a significant part of the production functionality can be delivered through software. This means we can rethink how we organize productions and how we use our infrastructure.

We have now built three OB vans based on this approach, with two already operational in Germany and Sweden. In the Netherlands, we have introduced a more compact version this year, designed specifically for productions using around four to six cameras.

The principle is straightforward. One or more servers in the vehicle run the AMPP software, while a reliable network connection allows a significant part of the production to take place remotely.

For example, production control and other production functions can be operated from our facilities in Hilversum, while the cameras and the necessary infrastructure remain at the event.

This gives us more options when planning a production.

A practical model for sports production

Sports is a particularly good example of where this approach can make sense.

Many sporting events need professional multicamera coverage, but not every event requires a large traditional OB truck and a full technical crew on site. By combining AMPP with high-quality camera and connectivity technology, we can create a hybrid production model that brings onsite and remote resources together.

The important point for us is that this is not about remote production for its own sake. It is about having more flexibility in how we build and operate a production, depending on what the production actually requires.

That can mean keeping the cameras and essential infrastructure at the venue while centralizing production functions where it makes operational sense. It also means that resources can potentially be shared across productions rather than being tied to a single physical facility or vehicle.

Building for the future

For DMC, the move toward software-defined production is therefore about more than adopting new technology. It is about changing how we organize our production resources.

Where it makes sense, software can replace dedicated hardware, while centralized resources can be made available to multiple productions. This gives us an infrastructure that can grow more easily with demand, while maintaining the quality and reliability required for professional live production.

We are already seeing this approach move from theory into real operational environments. That is an important step.

The production market is looking for solutions that are more flexible and cost-efficient, but the expectations around quality and reliability have not changed. We still need to deliver professional live production, regardless of how the underlying technology is deployed.

For us, AMPP is one of the technologies helping us respond to that reality. It gives us more choices in how we design productions, where we locate production functions and how we use our resources.

That flexibility will become increasingly important as software-defined and remote production continue to develop. At DMC, we see this as an important part of how we will build and operate productions in the years ahead.

For most of his career, Kevin Callahan has built the World Cup somewhere else. As VP of Field Operations & Engineering at FOX Sports, he’s spent the last 12 years putting together temporary broadcast facilities for the network’s biggest events, three years out of every four; build it, run it for 45 days, tear it down, and start over for the next one. 

The 2026 World Cup was different. Instead of building a temporary facility for the tournament, FOX operated out of its Pico headquarters in Los Angeles, a building that’s on the air every day of the year whether or not there’s a World Cup happening. 

“This one was very different because we were working within the confines of our building,” Callahan says. 

That meant planning years ahead of time instead of weeks, all while Pico kept its everyday broadcasts running without interruption. “For the past three years, every technology decision made within our Pico headquarters in LA was looking forward to this World Cup,” he says.

The 104 matches ran through two match control rooms – PCR 101 and 102, upgraded for the tournament with Grass Valley K-Frame CXP production switchers and Korona control panels, in keeping with the same ecosystem as the rest of the building’s GV switchers. For the studio shows, production ran out of two identical medium control rooms – PCR 203 and 205, built side by side so crews could walk between them. Those rooms added Mod I/O boards for extra SDI capacity to the Kayenne 4-stripe 35 source select panels and K-Frame XP video processing engines, needed because the AR stage introduces a real time delay whenever a presenter or video image appears in the LED wall, and the audio has to be delayed right along with it.

Stage B, FOX’s XR studio, ran on Grass Valley LDX 150 cameras that have now shot three consecutive World Cups. “The cameras on Stage B traveled the world since 2022,” Callahan said. “They were with us in Qatar, they were with us in Australia, and then they got installed here on Stage B.” FOX had purchased around 40 LDX 150 cameras, with 12 deployed on Stage B. 

Those cameras were chosen for what FOX calls GhostFrame. The LED volume is fed by four different images layered on top of each other, so a phone camera catching behind the scenes footage sees a slightly doubled, soft background. The broadcast cameras don’t. “The way the cameras are set up with their shutter, they only see their own background,” Callahan explains. “So, it sees a perfectly clear image. That’s one of those differentiators that, as far as I know, to this point, no one else is doing yet.” 

Across the tournament’s 16 venues, FOX built seven permanent sets. In addition, BRISK, short for Broadcast Remote IP Studio Kit, was used to cover 12 venues with six mobile ST 2110 flypacks that traveled the country, met up with each venue, put cameras and equipment on a stage, and sent everything back to Pico using JPEG XS. That was the infrastructure behind the broadcast.  

What made this World Cup different for Callahan personally came down to something smaller. This World Cup also gave Callahan a personal first: he’d never actually seen Pico’s 18-foot countdown clock hit zero. 

“This was the first time I’ve ever been in our building where the countdown clock hit zero,” he says. “Usually I’m out on the remote, wherever the event is happening, an IBC, a football game, a Super Bowl. This time I was actually in the building when it hit zero.” 

“Within 45 minutes, we had four different desks, none of which were on the stage making TV,” Callahan says of FOX’s first day on air. “We were live from Venice Beach, we were in LA, we were in Mexico City, both inside and outside the stadium.” Looking back, that stretch is the moment he points to first. “What we do is take what is incredibly complex and try to make it look easy. And we succeeded in that.” 

That same push showed up in the watch parties too, part of what made the coverage feel big. FOX pulled in reaction footage from international rights holders and ran it through Grass Valley Alchemist for frame rate conversion so it could drop straight into FOX’s production. The Alchemist is staying in the building for good. “In terms of workflows, we wanted to make sure that what we put in place for the World Cup is something that we can also build upon,” Callahan says. FOX has a college football game in London coming up in about two months, and a college basketball game in Rome later this year. “The international thing is certainly staying with us.” 

Anyone in the U.S. who wanted to watch a match they weren’t attending in person had two options: FOX, or Telemundo. “You have a responsibility for the game and the event to make sure that you pull it off extremely well, because that’s what people were looking at,” Callahan says. “That’s what people saw as the World Cup if you came to America. So that was a special responsibility.” 

Asked where this ranks against everything else, he’s worked on, Callahan says: “I think this is the top. When you do a Super Bowl, it’s one day. It is a big, massive event for one day.” What put it there, for him, wasn’t just the scale of it. It was watching the tournament’s reach play out in public. “Seeing on the news and seeing on social media what this became in this country is something special,” he says. 

“We helped shape that World Cup experience for people throughout the world,” he says.

What stuck with him most, though, wasn’t statistical; it was the fans. Callahan is a lifelong New York Rangers fan who was in the building the night they won the Cup in 1994, and he says it doesn’t compare. FOX’s security team used to escorting athletes like Tom Brady, Derek Jeter, and Alex Rodriguez through crowds, told him about the scene outside the opening match at LA Stadium was unlike anything they’d handled before. After a quarterfinal involving France, around 5,000 fans waited 45 minutes behind FOX’s set hoping to see the talent leave, and FOX had to work with FIFA to walk them out through the stands and onto the pitch just to clear the area. 

“You couldn’t sit there and figure out, pick any sport you want in America, pick whatever the most passionate fan base is for that team; you don’t have anything like that,” Callahan says. “Fans spent large sums of money between flights, tickets, and lodging to follow their team. And it’s not just one; it’s hundreds and thousands of fans doing that.” 

After three years of planning the biggest broadcast days of his career, Callahan still came home most nights to the same short list. “My wife was still expecting me to walk the dog and take out the trash,” he says. “World Cup or not, some things don’t get a pass.” 

When viewers watch a World Cup game, they don’t think about frame-rate conversion. They simply expect the pictures to look great.

Behind the scenes, however, broadcasters are constantly making technical decisions that have a direct impact on the viewing experience. During the 2026 World Cup, Sport TV faced one of those challenges. 

Ibertelco has worked with Sport TV for many years, so when the team set out to improve the quality of its frame-rate conversion, they turned to us to find the right solution. Their existing on-premises system didn’t deliver the picture quality they expected, particularly when handling fast-moving sports content.

The timing added another layer of complexity. With the tournament already underway, there was no opportunity for a lengthy evaluation or a complex deployment. The solution needed to be implemented quickly and integrate seamlessly into Sport TV’s existing operations. 

After testing Grass Valley’s Alchemist X, the choice became clear. As Filipe Tocha, Technical Director of IT and Broadcast Television at Sport TV commented, “We immediately saw the difference in quality. That gave us the confidence to put Alchemist X into production.” 

Working closely with the Grass Valley team, Ibertelco deployed Alchemist X on an on-premises AMPP server using HD-SDI I/O. The implementation was smooth and caused no disruption to operations, allowing Sport TV to start using the system almost immediately. 

The most important result was exactly what Sport TV was looking for: improved frame-rate conversion and a better viewing experience. In live sports, where every camera movement and replay matters, image quality can make a real difference. 

The flexibility of the AMPP platform was another key advantage. While the immediate objective was to improve standards conversion during the World Cup, its software-based environment also gives Sport TV the flexibility to expand and evolve its workflow over time.

That flexibility is already reflected in ongoing discussions. Sport TV is evaluating further expansion of its AMPP environment, alongside a future project to modernize its infrastructure through a hybrid SDI/IP solution based on Grass Valley ACE cards and GV Orbit. 

Projects like this remind us that technology is most valuable when it solves a real operational challenge. Sport TV wasn’t looking for new technology for its own sake. The team wanted higher-quality pictures, a solution that could be deployed quickly, and a trusted partner to help deliver it. 

As a partner, that’s exactly the kind of partnership we value. Working closely with customers means understanding their operational challenges and helping them identify solutions that make a genuine difference, both today and as their infrastructure continues to evolve. 

K-Frame and Maverik X innovations extend familiar production control into AMPP, alongside new replay, audio, commentary and communications capabilities

MONTREAL, CANADA – AUGUST 26, 2026 – At IBC2026, Grass Valley will demonstrate an integrated live production environment that brings dedicated hardware, software-based applications and partner technologies together within a unified media operation.

Aligned with Grass Valley’s Dynamic Media Facility strategy, the showcase combines K-Frame, Maverik X, LiveTouch X and new AMPP applications across switching, replay, audio, commentary and communications. Production teams can introduce software-defined capabilities while retaining the control surfaces, workflows and performance they rely on for live production.

“Live production does not leave room for hesitation,” said Greg Huttie, VP Live Production Solutions at Grass Valley. “Operators need immediate control, predictable performance and the confidence to make decisions in the moment. At IBC, we are showing how K-Frame continues to provide that trusted live core, while extending its reach across software-based production, replay, venues and distributed teams.”

Extending Familiar Control into AMPP
K-Frame remains the dedicated production core for demanding live productions, with true suites operation allowing multiple productions to share processing and I/O resources while retaining independent control. At IBC, Grass Valley will demonstrate expanded UltraMatch format conversion, additional programmable outputs and integration with Daktronics LED mapping, supporting broadcast feeds and in-venue displays from the same production. Integration with CUEZ Automate adds automation
for planned and repeatable sequences while operators retain control of editorial decisions.

K-Frame control panels now extend into AMPP, allowing operators to use familiar tactile surfaces and workflows with Maverik X. The software-based production switcher also supports Maverik modular panels, Korona, Stream Deck and Skaarhoj surfaces, giving customers a choice of control options across on-premises, edge and cloud deployments.

New Maverik X capabilities include luma keying, WYSIWYG DVE control and timeline sequence automation. Operators can build and trigger timed actions for opening sequences, transitions and recurring production elements, with sequences able to trigger actions across AMPP and connected Grass Valley Alliance applications.

“Software production should expand what a production team can do, not force it to relearn how to work,” said Jonathan Lyth, Product Director for Live Applications and Enterprise Media at Grass Valley. “By extending familiar control into AMPP and making the user experience customizable, we can reduce technical complexity and give each operator the controls they need for the production in front of them.”

Replay, Audio and Distributed Production
LiveTouch X enhancements extend sports replay within the same production environment. New multi-camera controls support angle selection and switching during highlights, alongside expanded audio monitoring, faster navigation and clearer on-air feedback. Direct integration with Grass Valley’s triple-speed LDX cameras connects acquisition and replay, while Production Replay X brings replay, clip playback and highlight creation into AMPP for hybrid and distributed productions.

Calrec ImPulseV brings broadcast audio control into the AMPP environment, connecting virtualized DSP and familiar operator surfaces with the wider production workflow. Grass Valley and partner technologies can operate within the same environment, with Zoom ISOcloud bringing remote participants into AMPP as individual production sources, NDI expanding connectivity, and MXMZ and Flowics providing graphics integration.

Grass Valley will also introduce AMPP Commentator, a browser-based application for professional commentary from venues, remote locations or temporary production setups. Commentators can receive program video and audio, manage monitoring, microphone and talkback, and return broadcast-quality audio directly into AMPP.

The newly released Audio Cart application further provides playout of music, stings, audience effects and other short-form audio elements used during live production.

AMPP Intercom, announced at NAB 2026, extends production communications across facilities and remote locations. It can operate independently or connect with existing facility intercom environments, keeping communications between operators and contributors within the same distributed production architecture.

Extending the Production Environment
The same production foundation supports Broadcast AV and Enterprise Media applications through Event Producer X and Framelight X. Event Producer X provides a streamlined production environment for town halls, leadership communications and corporate events, with interfaces that can be tailored to the operator and production. Framelight X connects live output with media management, browser-based editing, review and distribution.

LayerCake provides the infrastructure, AMPP applications and resources required for each production, while Slide Relay integrates PowerPoint presentation control and contribution. Together, these capabilities allow organizations to simplify operation for less-specialist users while retaining access to the production and content tools required for professional output.

Grass Valley’s IBC showcase demonstrates how Dynamic Media Facility principles can be applied across live production, connecting established hardware, software-defined applications and partner technologies without requiring production teams to abandon familiar ways of working. Customers can select and deploy resources according to each production while extending existing workflows across facilities, remote locations and software-based environments.

“Hybrid production is not about choosing hardware or software,” added Lyth. “It is about bringing the right resources together for each production and making them simple for people to operate. That is how AMPP helps customers unify media operations while putting the principles of the Dynamic Media Facility into practice today.”

Visitors can experience Grass Valley’s integrated live production portfolio at Booth 9.A01 during IBC2026, September 11–14, at RAI Amsterdam.

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About Grass Valley
Grass Valley empowers over 90% of the world’s top media brands to create and deliver compelling stories that captivate audiences. At the heart of its solutions is the GV Media Universe (GVMU), combining advanced hardware solutions, with the agility, elasticity, and adaptability of the AMPP Media Operating System. Together, they form a seamless, scalable ecosystem for efficient and innovative workflows.

With a portfolio spanning from camera to consumer, Grass Valley provides the flexibility to build solutions for every need – from a single creative harnessing immense production power to globally distributed teams collaborating seamlessly. This breadth of capability enables customers to craft efficient workflows that inspire and engage their audiences.

With over 65 years of expertise, Grass Valley has consistently driven the evolution of live content creation and storytelling. Headquartered in Montreal and supported by Black Dragon Capital, the company remains dedicated to shaping and leading the media revolution.

Original article published in TV Tech

Opening CarMax Park gave us the opportunity to build a new live production workflow around Grass Valley’s LDX 110 camera system. 

Opening a brand-new, state-of-the-art production facility at CarMax Park presented many challenges and opportunities. Among them was the all-important decision of selecting the camera system. Taking the leap from our previous workflow in The Diamond, our goal was clear: support productions of home games, live events, LED programming, and multiplatform content with a consistent, high-quality production standard that truly sets us apart. 
 
Knowing that the cameras would be in use throughout the day, reliability, image quality and flexibility were all important factors. 

We looked at several options before selecting the Grass Valley LDX 110. During our evaluation, it delivered better performance in low-light and other challenging lighting conditions than the alternatives we considered, while remaining within the budget we had set for the project. The Xenios CMOS image sensor consistently produced the picture quality we were looking for, and the compact camcorder-style design was a good fit for the way our operators work on game days. 

All-Action Capture 
Our production schedule begins when the gates open and finishes after the last fans leave the ballpark. During that time, in addition to the baseball game itself, we’re producing a variety of content including player introductions, fan features, live entertainment, and promotions and activity around the concourse. Camera operators are constantly moving between different environments and lighting conditions. 

Our fixed cameras, including the high home and center field positions, provide the main coverage throughout the game. They produce excellent pictures and give us the consistency we need across the entire production. 

The MVP in our live production workflow has been the mobile camera system, a huge upgrade over previous systems deployed.  

The LDX 110 gives us much more freedom to cover everything happening around the stadium with the same picture and color quality we see on fixed cameras. Operators can move freely around the 360-degree concourse to spend time with fans, react to big moments, and capture entertainment that occurs on and off the field, all with the consistent high-quality production standard. These shots are critical in telling the story of the fan experience at CarMax Park. 

The mobile system is a seamless, natural fit in our workflow with the color grading system in our control room, allowing our shader full control while the camera operator freely moves around CarMax Park. That combination has made mobile operation far easier than we have experienced in past workflows. 

We use the word consistency often as that has probably been the biggest operational improvement seen since opening the venue. The picture quality and consistency of the LDX 110 systems is big league, giving our production the polish our fans and partners deserve while allowing our production team to stay focused on the live show. 

Big-League Delivery  
The response from our fans and community partners has been extremely positive. We regularly hear comments about the beautiful picture quality of the video presentation. Fans, colleagues, and industry peers who visit CarMax Park often describe our productions as “big-league”. That was one of our main objectives when we designed the production facilities, so it is very rewarding to receive that feedback. 

We are equally pleased with how the system has performed behind the scenes. The deployment has exceeded our expectations, and we are already working with Grass Valley and our integration partners to add a second mobile camera system. That decision is based on how much value the first system has added to our productions and how often we now rely on it during a game. 

Opening a new ballpark gave us the chance to build the production workflow we wanted from the beginning. The LDX 110 cameras have become an important part of that workflow, helping us produce consistent, professional coverage throughout every game while giving our production team more creative freedom around the stadium. 

David C. Ruckman is Vice President of Creative Services and Branding for the Richmond Flying Squirrels and owner/operator of David C. Ruckman Creative LLC. A live event production specialist with more than 20 years of experience, David has produced more than 1,500 professional baseball and NCAA Division I sporting events. Including CarMax Park opening in April 2026, David has now helped open five ballparks across the United States. 

Interview with Production 360. Original article published here

The theme of this issue is outside broadcast (OB) and remote production (RP). How would you assess the general health of these markets at the present time? 

The market is healthy and evolving quickly. Demand for live content remains strong – particularly in sports – but broadcasters and rights holders are under increasing pressure to deliver more content across more platforms while keeping costs under control. 

Traditional OB remains essential, especially for premium productions and major international events where maximum onsite capability is required. What has changed is how the industry views remote production: it’s becoming a core part of modern live production rather than an alternative workflow.  

What I find particularly exciting is the move toward software-based remote production. More production workflows are shifting from fixed hardware to software-defined environments, creating new opportunities for scalability, flexibility and resource sharing. I expect that trend to continue. Software-based remote production will play a much bigger role, even for large international events that have traditionally relied on extensive onsite OB infrastructure. 

I don’t see traditional OB and remote production as competing models; I see a hybrid environment where the production model is determined by the specific needs of each event. 

The expansion of RP has been attributed to a variety of technical, economic and practical factors. From your perspective, why has RP grown so rapidly in recent years? 

Several factors have come together at the right time. Firstly, the technology has matured. Better IP connectivity, improved contribution links and lower latency have made remote workflows reliable enough for demanding live productions. 

The economic case is equally compelling. Broadcasters need to produce more content, but budgets aren’t growing at the same rate. Remote production allows them to scale far more efficiently. 

There’s also a people aspect. Skilled operators are valuable resources. Instead of spending time traveling between events, they can support multiple productions from centralized facilities. 

Software has probably been the biggest catalyst. As live production has moved from dedicated hardware to software-defined infrastructure, entirely new production models have become possible. For me, that’s where the real acceleration started. 

Remote production today has moved beyond saving costs to creating new ways of producing live content.  

There is huge pressure on broadcasters and service providers to make OB and RP more streamlined and cost-efficient. What steps has DMC taken in this regard? 

We’ve focused on removing inefficiencies without compromising production quality. One of the biggest steps has been investing in our new remote production vehicles, built around Grass Valley AMPP running on high-performance servers inside the trucks. That has changed how we think about mobile production. 

Instead of relying entirely on fixed-function hardware, much of the production processing now happens in software. That gives us much greater flexibility. We can scale switching, replay, audio and graphics to match each production instead of designing every truck for maximum capacity. 

We’ve also invested heavily in standardizing workflows across the DMC Group. It may not be as visible as new technology, but it has a significant operational impact. Standardization simplifies engineering, improves support and reduces setup complexity. 

In my experience, efficiency rarely comes from one major breakthrough. It’s usually the result of many smaller improvements in workflow, automation and smarter use of resources. 

On a related note, the software-based production facility opened by DMC in 2025 was designed to provide a “scalable, cost-efficient” approach to sports production. Can you tell us about the workflow of this facility, how it delivers more streamlined sports production, and the role of Grass Valley technology? 

Our software journey with Grass Valley AMPP started before many people realized how committed we were to software-based production. 

DMC launched its first AMPP-based production platform in Hilversum in 2024 to support our Dutch operations. It proved that software-based live production was already capable of supporting demanding productions at scale. 

We’re now building a fully software-based Broadcast Center in Stockholm, which will go live in September, while a similar platform for our German operations is scheduled to launch in 2027. 

In terms of the bigger picture, this is very exciting. Within the next six to twelve months, all DMC broadcast centers will be compatible with production control rooms that connect directly to our AMPP-based remote production trucks. 

A production can be handled entirely within a remote vehicle or extended into any of our broadcast centers. Just as importantly, we’ll be able to allocate operators regardless of location: a vision mixer in Stockholm, a replay operator in Hilversum and an audio engineer in Germany can all work on the same live production. That level of flexibility changes how production teams can be built and deployed. 

We’re also seeing major gains in bandwidth efficiency. Modern software-based workflows make it possible to produce a full-scale multi-camera production using around 100 Mbit of public internet bandwidth without compromising production quality. 

That changes the economics of live production. Events that were previously too expensive to produce remotely suddenly become commercially viable. 

Instead of thinking in terms of trucks versus centralized facilities, we think about one distributed production ecosystem where compute resources, production tools and operators can move wherever they’re needed. 

It’s been a very busy summer for RP and OB, especially in live sports. Can you outline some of your recent projects in this area? 

It has been a busy summer for us. Across the DMC Group, we deliver thousands of live sports productions every year, and the past few months have included everything from football and horse racing to large studio-based sports broadcasts. Many of these are high-volume productions where remote workflows deliver clear operational and commercial benefits. 

Football is a good example. Broadcasters want more matches covered, and not just premium fixtures but secondary leagues and additional editorial programming around the games. Remote production makes that possible while maintaining the production quality audiences expect. 

Beyond our day-to-day sports production, our work supporting MagentaTV’s coverage of the FIFA World Cup 2026 is a good example of where live production is heading. 

DMC Production Germany is delivering key elements of the production infrastructure for the tournament, supporting a highly distributed production model spanning studios in New York and Munich, together with remote production from stadiums across Canada, Mexico and the United States. 

The scale speaks for itself: 104 matches, more than 1,000 hours of programming, three dedicated tournament channels, and delivery in UHD, HDR and Dolby Atmos. 

The real difference is how the production is brought together. Rather than treating every location as a separate production island, the workflow connects multiple studios, remote venues and centralized production resources into a single production ecosystem. 

For me, that’s a great example of where the industry is heading: combining traditional OB with software-defined remote production to deliver major international events with much greater flexibility. 

Finally, please give us a hint of what lies ahead for the company in the second half of this year. 

The second half of the year will be an important period for us. A major milestone will be the launch of our new Stockholm Broadcast Center, another significant step in our software transformation. We’ll also continue expanding our remote production capabilities while investing in automation and AI-assisted workflows. 

What excites me is the broader transformation taking place across live production. We’re still in the early stages of software-based broadcasting, and over the next few years the lines between broadcast engineering, IT infrastructure and software development will continue to blur. 

At DMC, we’re focused on making that technology practical, but with one principle in mind: technology should serve storytelling, not the other way around. 

Every live event starts with a defining moment. A camera captures the game-winning goal, the dramatic replay or the crowd celebration. But capturing the moment is only the beginning.

What happens next is just as important.

Today’s venues are expected to deliver engaging experiences simultaneously to fans in the stadium, viewers at home and audiences across digital platforms. Replays, graphics, statistics and LED displays all need to work together in real time. Yet many production teams still rely on separate systems that add unnecessary complexity and slow down operations.

This is where connected workflows make a difference.

One connected workflow

The collaboration between Grass Valley and Daktronics brings together two essential parts of the live event ecosystem.

Grass Valley provides the live production technology that captures and produces content, while Daktronics delivers the display and show control technologies that power the in-venue experience. Together, they create a connected workflow that moves content from camera to production and on to venue displays with fewer manual steps.

Instead of managing disconnected systems, operators can work within an integrated environment where video, graphics, data and control stay synchronized throughout the production.

Built for today’s venues

Whether it’s a professional stadium, collegiate athletics venue, entertainment venue or esports arena, production teams are being asked to do more than ever, often without adding more people.

They need to create more content, support more displays and deliver increasingly engaging experiences, all while keeping productions running smoothly.

A connected workflow helps simplify those operations, making it easier for teams to work efficiently while staying focused on the event itself.

Better experiences for every audience

Fans don’t think about where the broadcast ends and the in-venue experience begins. They simply expect everything to work together.

When a key play happens, replays, graphics, LED displays, statistics and venue presentation all need to respond instantly. By connecting production and display workflows, Grass Valley and Daktronics help operators deliver a more coordinated experience that feels natural to the audience.

The result is a better experience for fans in the venue while maintaining the high production standards expected by viewers everywhere else.

Ready to grow

No two venues operate in exactly the same way.

That’s why the solution is designed to fit into existing production environments while supporting a broad ecosystem of technologies and partners. Rather than requiring teams to overhaul established workflows, the integrated approach builds on the systems they already use and provides the flexibility to grow over time.

As live production continues to evolve, connected workflows will play an increasingly important role. They help venues simplify operations, make better use of existing technology and create more engaging experiences for fans.

From lens to pixel, every step in the workflow matters.

Leading North American mobile production facility provider standardizes on Grass Valley’s fully IP-native K-Frame production switchers for its fleet of next-generation trucks   

MONTREAL, CANADA – July 09, 2026 – Game Creek Video, one of North America’s largest mobile production providers, has reached an agreement with Grass Valley to purchase 10 fully configured K-Frame production switchers as part of a two-year fleet expansion program. 

Game Creek serves major professional sports leagues and premium live event productions across the United States, and the agreement continues a long-standing relationship between the two companies. Two K-Frame systems have already been delivered, with the remaining eight scheduled over the next two years.  

“We have always invested in technology that gives our clients the flexibility and performance they need for the most demanding productions,” said Pat Sullivan, President and Founder, Game Creek Video. “The K-Frame platform and its fully IP-native configuration reflects our commitment to serve our demanding customers by building customers by building a fleet of trucks ready for modern live production workflows.”  

Each K-Frame system will be deployed with a Kayenne 4ME control surface and configured identically, featuring nine MEs and a fully loaded 192×96 IP-architecture. The common specification provides Game Creek with a consistent operational framework across its fleet to support high-end sports and entertainment productions. 

“The combination of scale, reliability and IP capabilities made K-Frame the right fit for our next generation of trucks,” said Jason Taubman, SVP, Technology, Game Creek Video. “Standardizing on a common architecture gives our engineering and production teams the same unique capabilities, regardless of which truck is on-site.” 

The project continues a relationship that spans multiple generations of Game Creek production trucks and further expands the presence of K-Frame in the North American mobile production market. “Game Creek is known for being ahead of the curve with technology investments and setting an exceptionally high bar for production standards,” said Greg Doggett, Vice president of Sales, NAM Sports at Grass Valley. “This commitment reflects the strength of our relationship and the confidence the industry has in K-Frame as Game Creek continues to advance the capabilities of their respected fleet.” 

Grass Valley will showcase its latest live production solutions, including the K-Frame production switcher family, at Booth 219 at the 44th Annual IDEA Conference, taking place 12–15 July at the Northern Kentucky Convention Center, Cincinnati, OH.

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About Grass Valley 

Grass Valley empowers over 90% of the world’s top media brands to create and deliver compelling stories that captivate audiences. At the heart of its solutions is the GV Media Universe (GVMU), combining advanced hardware solutions, with the agility, elasticity, and adaptability of the AMPP Media Operating System. Together, they form a seamless, scalable ecosystem for efficient and innovative workflows. 

With a portfolio spanning from camera to consumer, Grass Valley provides the flexibility to build solutions for every need – from a single creative harnessing immense production power to globally distributed teams collaborating seamlessly. This breadth of capability enables customers to craft efficient workflows that inspire and engage their audiences. 

With over 65 years of expertise, Grass Valley has consistently driven the evolution of live content creation and storytelling. Headquartered in Montreal and supported by Black Dragon Capital, the company remains dedicated to shaping and leading the media revolution.