Singapore-based broadcast services provider has deployed Grass Valley cameras, switchers and hybrid workflow infrastructure across sports and entertainment productions

MONTREAL, CANADA – May 19, 2026 – Grass Valley has entered into a three-year enterprise agreement with Phoenix Broadcast Solutions as the Singapore-based company expands its live production operations across APAC and the Middle East. 

The agreement includes the deployment of Grass Valley LDX Series cameras, K-Frame production switchers and Densité/XIP infrastructure to support OB, REMI and hybrid production workflows across sports and entertainment projects. 

Phoenix Broadcast Solutions provides live production services across international sports and multi-event productions, specializing in OB, REMI and hybrid workflows for major sporting events and broadcasters across APAC and the Middle East. As part of the revamp of its operations, the company sought a scalable production ecosystem capable of supporting rapid deployment across multiple geographies and varied production environments. 

“We were looking for a production infrastructure that could scale with the type of projects we are delivering across different markets,” said Siddhartha Tyagi, Founder & Managing Director, Phoenix Broadcast Solutions.  

“That meant improving workflow flexibility and interoperability, supporting UHD and 4K production requirements, enabling REMI and distributed workflows, and maintaining reliability across large-scale multi-venue sports productions. We also wanted the flexibility to work across both IP and baseband environments depending on the operational and regional requirements of each project.” 

The deployment includes LDX 150 and LDX 98 cameras for live sports production, alongside K-Frame switchers with Kayenne and Karrera control surfaces for multi-camera productions across OB and REMI environments. Densité and XIP infrastructure will support a combination of IP and baseband workflows, allowing Phoenix to adapt systems according to venue, project and regional requirements. 

Systems are being deployed in phases in line with Phoenix’s production schedule across APAC and the Middle East, with the Grass Valley and Phoenix engineering teams collaborating on configuration and integration across a range of third-party audio, communications and transmission systems. 

“Grass Valley’s solutions give us the flexibility and reliability we need to deliver at the highest level across multiple markets,” Tyagi added. “This partnership is an important step in building a future-ready broadcast infrastructure.” 

The systems are already in use across Phoenix’s major international productions, improving operational flexibility across projects while enabling faster deployment between regions and greater consistency across workflows. 

For Grass Valley, the agreement strengthens its position within growing live production markets across APAC and the Middle East. 

“Phoenix Broadcast Solutions represents a new generation of broadcast companies: agile, ambitious, and built on deep industry expertise,” says Evan Boyd, Senior Vice President, Sales APAC, Grass Valley. “We are proud to support their journey with solutions that enable both performance and flexibility at scale.” 

The partnership is expected to expand further as Phoenix Broadcast Solutions continues to grow its operations across sports and live event production. 

Visit the Grass Valley booth (5C2-7) at Broadcast Asia 2026, taking place 20–22 May at Singapore EXPO, to find out how the company is supporting media providers across APAC and the Middle East with scalable live production, distributed operations and next-generation broadcast infrastructure. 

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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.

Compact HDR-ready remote production units combine native IP workflows, advanced camera shading and flexible live production capabilities for premium sports coverage

MONTREAL, CANADA – May 13,  2026 – Grass Valley announced that dB Broadcast has delivered new IP-based outside broadcast (OB) trucks for Cloudbass, featuring Grass Valley LDX 100 Series cameras and K-Frame production switching technology for premium live sports production across the UK. 

Designed for high-end sports broadcasting, the compact, fast-deploy OB units combine UHD, HDR and high-frame-rate production capabilities with a modern IP-based infrastructure. The trucks support centralized production operations and evolving remote and distributed production models, enabling Cloudbass to deliver premium-quality coverage across top-tier football and major live sporting events. 

The deployment features 32 Grass Valley LDX 150 native IP camera systems, delivering the imaging performance, operational flexibility and Native-IP connectivity required for premium live sports production. The cameras support SMPTE ST 2110 workflows directly from the camera head and are designed to help production teams transition efficiently to scalable live production environments. 

The project also incorporates Grass Valley’s Creative Grading tools to support centralized camera shading workflows, alongside K-Frame production switching capabilities as part of the overall live production architecture. 

“Sports broadcasters and production providers are increasingly looking for ways to expand UHD and HDR capabilities while maintaining operational efficiency and flexibility,” said Mark Gardner, Senior VP of Sales, EMEA at Grass Valley. “These new Cloudbass trucks demonstrate how native IP production, centralized shading workflows and scalable live production technologies can be combined in a compact environment built for the realities of modern sports production.” 

The new units feature fully IP-based workflows and are designed to support remote operations, dynamic configurations and evolving broadcast requirements. The integration was led by dB Broadcast, a long-standing Grass Valley partner with extensive experience in complex broadcast systems integration. 

“This project was about delivering a future-ready IP architecture without compromising the operational practicalities of live OB production,” said Mike Bryan, Technology Director at dB Broadcast. “By standardising on Grass Valley’s LDX 100 native IP camera platform, Creative Grading and K-Frame technologies, we can provide Cloudbass with a consistent production environment from acquisition through to live production switching. 

Supporting around 15 cameras per truck, including UHD and HDR high-speed production workflows, the new units are optimized for long-term sports production contracts while maintaining the flexibility required for evolving sports production workflows. 

Come and see Grass Valley at booth B55 at MPTS at Olympia London on May 13–14, 2026. 

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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. 

SHOWRENTAL has recently acquired new Grass Valley LDX 180 Super35 system cameras, as part of an expansion of its camera setup. 

When we looked at expanding our camera setup, the requirement was straightforward. We wanted more flexibility in how we shape the look of the tory we’re shaping, but without changing how we run productions. 

That is what led us to the LDX 180. It gives us a way to introduce a more cinematic look, while staying within the same workflows the operators know and we already rely on. 

Bringing More Depth into Live Production 

The main difference for us is the Super 35 sensor. It gives a different sense of depth compared to a typical 2/3″ broadcast camera. Subjects separate more naturally from the background, and you can lead the viewer’s eyes without changing how the production is set up. 

In our day-to-day work, that matters most in concerts, shows and corporate events. These are environments where the viewer’s attention needs to be directed very clearly. The LDX 180 helps us achieve that without adding complexity or post-production workflows. 

Reliability Still Comes First 

At the same time, none of this works if the system is not stable in a live environment. 

The LDX 180 gives us UHD and HDR as a baseline, so we can maintain consistent image quality across different lighting conditions. Color matching across cameras is predictable, which is critical in multi-camera productions, and managed intuitively via Creative Grading.

It’s global shutter was also an important point for us. Fast movements and light effects are part of almost every production we do. Avoiding artifacts in those situations makes a real difference. You want to tell an immersive visual story, not distract the viewer with artefacts. The same applies to LED stages, where its optical low-pass filter helps reduce moiré without additional work on our side. 

Keeping the Workflow Flexible 

We’ve also added the LDX C135, which solves a more practical issue. There are always positions where a standard camera will not fit. With a compact unit, we can easily add those angles, whether on cranes, rails, or remote heads. 

What matters is that these shots integrate cleanly. There is no visible difference in look and image quality, so we can use them without having to treat them differently. 

From a workflow perspective, the move toward IP is already ongoing for us. Support for SMPTE ST 2110 and JPEG XS means the system fits into that direction. With the CCS-ONE, the Camera Control Service we can also adjust all of the cameras simultaneously during the production itself. That gives us more control over the final result while we are live, not afterwards. 

Overall, this was not about adding a new type of production. It was about extending what we already do, with more control over how the image looks, and without compromising the way we work. 

Grass Valley LDX camera systems enable leading German production company to support broadcast and cinematic live production within a single environment

MONTREAL, CANADA – April 13, 2026 – Grass Valley is expanding its partnership with Studio Berlin to supply a new generation of camera systems that will upgrade the German media company’s cinematic live production capabilities while building on its existing infrastructure.

The deployment includes 12 LDX 135 UHD/HDR camera systems alongside 12 LDX 180 Super 35mm cinematic cameras, including two compact LDX C180 units. The systems have already been delivered to Studio Berlin by the end of March and are now being integrated into its current production setup.

Based in Berlin-Adlershof, Studio Berlin is one of Germany’s leading television and media production service providers, delivering studio, OB and post-production services for broadcasters, streaming platforms and production companies. A long-standing Grass Valley customer, the company has worked with its camera technology for decades. This latest investment extends that relationship, introducing cinematic capture while maintaining continuity with its established LDX workflows.

The new systems allow production teams to move between broadcast and cinematic formats within the same environment. Cameras can be mixed on a single production, with shared XCUs, viewfinders, shading and accessories ensuring a consistent operating model for crews.

“We wanted to extend our production capabilities with a new generation of cameras that support cinematic live workflows while staying aligned with our existing setup,” explained Matthias Alexandru, CTO of Studio Berlin. “The combination of LDX 135 and LDX 180 systems gives us ultimate flexibility in upgrading to a cinematic live production environment without changing how our teams operate day to day. The connectivity flexibility of Grass Valley’s cameras to work in traditional XCU environments as well as our distributed studio campus camera network (DirectIP) or natively in SMPTE 2110, and the ability to switch between these in a matter of seconds without any additional hardware, makes these cameras an essential part of our production environment.” The deployment also includes HPE-300 hybrid power supplies, supporting Layer 2 / Layer 3 connectivity with SMPTE 2110, with optional JPEG XS support directly from the camera heads.

“Production teams are looking for more flexibility from their camera systems, without adding complexity to established workflows,” said Adam Marshall, CPO, Grass Valley. “The LDX platform allows customers to extend into cinematic production while maintaining a consistent operating model, which is a key requirement as production demands continue to evolve.”

In a market where hybrid cinematic and broadcast production workflows are in high demand, the ability to upgrade with a trusted partner in a single ecosystem with industry-leading technology was a key factor for Studio Berlin.

“This investment supports how we plan to develop our production offering through enhanced cinematic storytelling,” added Nick Zimmermann, CEO of Studio Berlin. “It gives us the flexibility to take on a wider range of projects while building on a platform our teams already know and trust. That continuity is important for both efficiency and future growth.”

The systems were delivered in collaboration with Grass Valley channel partner Logic Media Solutions GmbH, acting as a sales and ASP partner for the project.

It marks the latest step in Studio Berlin’s ongoing investment in Grass Valley camera technology to provide a clear upgrade path across generations of live production systems.

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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.

Click here for the German version

ImSoPROD, the TV production entity of French national lottery operator FDJ United, has installed a suite of Grass Valley LDX C98 cameras in its lottery draw studio

MONTREAL, CANADA – March 24, 2026 – Grass Valley has strengthened its long-standing relationship with ImSoPROD, the TV production entity of the FDJ United, with the deployment of Grass Valley LDX C98 compact cameras across its national lottery production facilities in France.

Throughout a decades-long partnership, ImSoPROD has been using Grass Valley cameras continuously since the LDK300 generation, alongside NVISION and Sirius routing infrastructure solutions. The latest deployment is part of an ongoing modernization of ImSoPROD’s camera fleet, supporting both nation-wide lottery productions as well as studio facilities rented to external TV production and broadcast customers.

With an efficient lottery draw set measuring only 80 m², ImSoPROD required a compact camera solution that could match the image quality of its existing broadcast cameras, while significantly reducing physical footprint and system complexity. “Space is a limiting factor on a lottery draw set, but image quality and reliability are non-negotiable,” said Jérémie Guillain, Technical Director Broadcast and Engineering at ImSoPROD.

“Deploying the LDX C98 allowed us to install up to 14 cameras in a very small environment in a very short space of time, while maintaining the highest levels of picture quality. With Grass Valley, we know that image quality is going to be consistent across its entire camera range, regardless the form factor, which made the C98 the perfect fit for this challenging environment.”

The LDX C98 delivers native UHD acquisition using the same imager technology and image processing as Grass Valley’s full-size broadcast cameras and operates without

the need for an XCU. It comes standard with HDR and Wide Color Gamut and has 3x and 6x speed options for Super Slo-motion operations.

The complete end-to-end deployment was delivered in under two months, with the system successfully on air since September 2025. ImSoPROD’s facilities include three production galleries that can be connected to any of its four studio sets, enabling flexible routing and production configurations across lottery draws and third-party productions. ImSoPROD has also expanded its virtual production capabilities with an 80 m² Extended Reality (XR) wall, where Grass Valley cameras are likewise deployed, making synchronization with its Pixotope XR system flawless and straightforward.

“This project shows how broadcasters and content providers can build flexibility and agility into their production-needs without compromising the quality of their operations or output,” said Carlos Ferreira, VP of Sales for Southern Europe at Grass Valley. “It also showcases the value of long-standing partnerships, and we are very proud to continue to work with ImSoPROD, an entity of FDJ United, in expanding their production capabilities for the future.”

Beyond the camera deployment, ImSoPROD has also begun upgrading associated workflows, including the introduction of Grass Valley’s Creative Grading platform to upgrade legacy OCP400 control workflows, with further installations to come.

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About ImSoPROD

ImSoPROD, the audiovisual subsidiary of FDJ, provides executive production for draw shows, corporate content, brand content, and advertising for the FDJ Group. It also offers production services through its three studios in Boulogne-Billancourt:

• 600 m² studio with an 80 m² XR wall and 70 m² LED floor for virtual production, also adaptable to physical sets and able to host an audience of up to 200 people.
• 150 m² virtual studio with green screen or customizable physical set.
• 80 m² digital studio with green screen or physical set, equipped for moderation and streaming.

All studios are available with state-of-the-art lighting, camera, and sound equipment, control rooms (broadcast or Tricaster), and secure transmission solutions (satellite, fiber, or livestream). Post-production suites, premium reception areas, offices, dressing rooms, and the expertise of our teams are also included.

These facilities are ideal for advertising, TV, corporate, digital, and event productions.

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.

If you spend time in master control, you know most issues are not major failures. They are small misalignments. A timing difference. A late change that doesn’t carry across. Something that looks minor but ends up on air. 

Playout is where those things are either managed or exposed. 

What has changed is the environment around it. Broadcasters are no longer delivering a single output. The same channel is now delivered across linear, OTT, FAST and web, often at the same time. The expectation is that everything stays aligned. 

That shift is what is driving changes in how playout is managed. 

Network18 in India is a clear example. Operating more than 25 television channels alongside a growing digital presence, the goal was to consolidate broadcast and digital workflows into a single system. By deploying Playout X on AMPP, their linear, OTT, and web services are now managed through one platform.  

Before that, like many broadcasters, they relied on multiple vendors and separate systems. Moving to a unified, integrated approach simplified operations and reduced complexity across broadcast and digital workflows. 

A similar shift can be seen with Sky Network Television. As part of a broader modernization of its playout operations, Sky is deploying Playout X on AMPP across 10 HD channels. The deployment introduces UHD support and a flexible, cloud-ready environment that can operate across on-premises, hybrid, and cloud-burst models, while integrating with existing systems. 

A related change is visible in how resilience is being approached. It is no longer treated as something separate from the main operation. 

Asharq News took a different approach, implementing a cloud-based disaster recovery solution on AMPP using Playout X and Framelight X. Delivered as a fully hosted SaaS deployment, the system allows them to maintain continuity without reliance on dedicated on-premises infrastructure.    

What stands out in that approach is that recovery is not isolated. It is part of the overall workflow, supporting both live and on-demand content delivery while maintaining operational continuity across platforms.  

Across these examples, the pattern is consistent. 

Broadcasters are moving away from fragmented systems toward a single environment that can handle multiple outputs at once. That includes playout, ingest, recording, ad workflows, and OTT and FAST delivery operating as part of the same system rather than separate chains.  

The benefit is not just technical. It reduces the amount of coordination required between systems and teams. Operators have a clearer view of what is on air, and changes can be applied consistently across all outputs. 

That is what keeps channels aligned. 

Playout remains the final control point before content reaches the viewer. That has not changed. What has changed is the number of outputs that need to stay synchronized at the same time. 

The role of playout is no longer just to keep a channel on air. It is to keep every version of that channel aligned, consistent, and reliable across all platforms. 

LDX 135 cameras deliver clearer visual presentation following competitive European tender led by integration partner VP Media Solutions

MONTREAL, CANADA – February 12, 2026 – Grass Valley, the pioneering media and entertainment technology innovator, has won a competitive NATO-wide tender to provide the new camera system for NATO’s main broadcast studio at its Brussels headquarters. The project, delivered in partnership with VP Media Solutions, marks an important new customer relationship for Grass Valley and provides a full upgrade on the facility’s incumbent camera system.

The deployment includes five Grass Valley LDX 135 studio camera channels, supporting daily world-wide press conferences and broadcast operations from NATO’s headquarters. The system has already been fully installed and is now in live operation.

Grass Valley’s Belgian integration partner VP Media Solutions led the tender response and was responsible for system design, installation, commissioning, training coordination and ongoing support. VP Media Solutions also managed logistics and on-site delivery, including security screening prior to equipment entering NATO’s broadcast facilities.

The tender specified requirements for a 4K/HD portable studio camera system with SMPTE fiber connectivity and compatibility with existing baseband SDI workflows.

In cooperation with Bart Vandendorpe, Head Broadcast at NATO, Grass Valley’s LDX 135 cameras were selected as they met the technical requirements and delivered a clear improvement in image quality, including sharpness, contrast, and color reproduction. The set-up, including Creative Grading, Grass Valley’s intuitive and graphical camera shading solution, is easy to operate, and integrates seamlessly into NATO’s existing studio environment.

The deployment was completed within a tight timeframe, requiring the replacement of five existing camera chains and the installation of the new systems over a four-day period. The intuitive system required only one day of training for the NATO production team enabling a rapid transition to live operation.

“This project required precise coordination and careful planning due to the operational and security constraints of the site,” said Emmanuel Charlet, CEO of VP Media Solutions. “By working closely with NATO and Grass Valley, we were able to deliver the full upgrade within the required timeframe, while ensuring a smooth handover to the broadcast team.”

The system is currently operating in a baseband SDI architecture, with a clear pathway to IP-based workflows through optional NativeIP licensing, supporting NATO’s future infrastructure plans.

“Establishing a new partnership with NATO following a formal NATO-wide tender is a significant milestone for Grass Valley, and we’re delighted to be supporting Bart Vandendorpe and the team with their production capabilities,” said Rene Hueber, Director of Global Channel Sales at Grass Valley. “Working alongside VP Media Solutions, this project demonstrates the flexibility and efficiency of the LDX platform in meeting strict technical specifications while delivering clear operational and image-quality benefits.”

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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.

Empowering Scalable Live Production for Saudi Arabia’s Next Generation of Storytelling

MONTREAL, CANADA – January 20, 2026 – Grass Valley will demonstrate how it is powering scalable, future-ready live production at FOMEX 2026, taking place February 2–4 in Riyadh, Saudi Arabia. Exhibiting at Booth #107, the company will highlight solutions designed to help broadcasters, content creators, and media organizations remove technical barriers and focus on compelling storytelling from image capture to playout.

As Saudi Arabia continues to expand its media, sports, entertainment, and cultural production capabilities under Vision 2030, Grass Valley is supporting organizations that need to scale rapidly while maintaining broadcast-grade reliability. At FOMEX, visitors will see how Grass Valley combines trusted broadcast technology with modern cloud and SaaS workflows to deliver production agility without compromise.

“Our starting point is always listening to our customers, understanding how they want to work today and how they need to evolve tomorrow,” said Jon Wilson, Chief Executive Officer at Grass Valley. “Broadcasters and content creators in Saudi Arabia are operating at incredible scale and pace, and they need solutions that adapt to their workflows, not the other way around. Everything we are showing at FOMEX reflects that customer-led approach.” 

Central to Grass Valley’s show presence is the GV Media Universe (GVMU), which brings together best-in-class hardware and the cloud-native AMPP Media Operating System into a single, unified production environment. By seamlessly connecting on-premises, cloud, and hybrid workflows, GVMU enables production pipelines that evolve over time, allowing teams to focus on creativity and storytelling rather than operational complexity.

At FOMEX, Grass Valley will showcase recent product introductions and enhancements designed to support live productions of any size, from daily news and regional sports to religious broadcasts, national celebrations, and large-scale international events. These innovations are built to scale quickly and reliably, supporting both permanent and pop-up production environments.

The open, interoperable design of Grass Valley’s AMPP platform gives customers the freedom to integrate third-party tools and design workflows that fit their creative, technical, and operational requirements. This flexibility supports localization and collaboration across diverse production teams.

In addition to its technology showcase, Grass Valley will play an active role in FOMEX 2026’s thought leadership program. Louis Hernandez Jr., Founder & CEO of Black Dragon Capital and Chairman of Grass Valley, will participate in a panel titled “The Media Technology Landscape – Mapping Influence and Leading Transformation,” sharing perspectives on industry evolution, investment, and innovation shaping the future of media. Jon Wilson, CEO of Grass Valley, will take part in the panel “How Can Media Partnerships Succeed in Creating a Sustainable Economy?”, where he will share insights on aligning innovation with long-term value creation and driving sustainable growth across the media ecosystem.

Grass Valley will also be joined at FOMEX by members of the GVx Council, including industry leaders such as Phil Wiser of Paramount, Thomas Gunkel of Skyline Communications, and others. GVx Council members will participate in panels throughout the event, sharing real-world insights and experiences on modern media workflows, interoperability, and the transformation of live production.

Attendees visiting Grass Valley at Booth #107 during FOMEX 2026 will experience how scalable, future-ready live production can support Saudi Arabia’s next generation of storytelling, connecting local content with global audiences.

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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. 

If you took me to a Newsroom 20 years ago and told me I’d be genuinely excited about a web editor, I wouldn’t have believed you.  Back then, a broadcast web editor was smoke and mirrors.  We used to describe a light-weight edit as ‘my first editor’ to be used only for very basic needs or by very technically-challenged colleagues.  And it was most definitely ‘cuts only’.

Which is why Framelight X’s web editor still feels like a meaningful and surprising breakthrough.  A good surprise which in live TX environments is the welcome kind.  The kind you stumble on and immediately think, “where was this when I needed it? It can radically change the way we work”

What really stands out to me is how capable it is.  It’s not pretending to be a finishing tool, it actually is one.  Proper DVEs, blurs, keys, fills, captions, multiple audio channels… all running smoothly in a browser.  I’ve used it on the patchiest wifi and it still does the job.  The contrast with navigating cumbersome remote desktop connections and round-trips to a Craft Editor is remarkable. 

The best part, though, is how simple it is for the user.  Not simple as in limited, but simple as in “you don’t need to think about it.”  Drag, drop, adjust, move on.  Publish to multiple destinations and platforms in one transaction.  Job done.

The clever engineering is working hard underneath, but the surface stays refined.  When I was consulting, that’s what I always wanted: something versatile and powerful.  Something that didn’t feel like hard work and users couldn’t break.

And that makes a difference, the safety net.  Because the templates and settings are consistent, everyone stays inside the house style without needing someone looking over their shoulder.  Whilst it enables users to edit like they mean it; to create complex edits with several layers of effects and audio it can also act – for some – like ten pin bowling with the bumpers up. You’re free to get on with it, and the system keeps things – and users – quietly on track.

What does this change in the newsroom?  Pace. Journalists and producers can finish content themselves without waiting around, and craft editors get to focus on the more detailed or premium creative work instead of being constantly interrupted for tiny fixes.  It just smooths everything out. There’s a sense of content flow that didn’t really exist before.

Content moves faster today than it ever has.  News, sport, digital, social … everything shifts by the hour.  And somehow, Framelight X has grown up in step with that. It’s not the first gen newcomer anymore;  it’s a genuinely solid part of the workflow.  The maturity shows.

I keep coming back to this concept of a best kept secret that needs to be blown wide open.  Simply because most people still expect a web editor to be basic, and this one isn’t.  Not even close. It’s become the tool I wish I’d had years ago, because it would have made life a lot easier, and newsrooms probably a lot calmer 😉

And that’s why I’m happy to bang on about it.  Not because it’s my job, but because I know exactly how much difference it can make.

Interested in learning more or request a demo visit our Framelight X page

Published in the IABM Journal

The world has changed the definition of “production.” For many years, only broadcasters and studios needed to think in camera chains, multiviewers, or live production switching. Today, every company, university, hospital and government body is a media organization in disguise. The stories they tell customers, employees, or citizens, now rely on the same visual language once reserved for professional broadcast.

That shift exposes a fascinating contradiction: the audience expects broadcast quality, but the environments producing it rarely have broadcast resources. Enterprise AV is where this tension plays out. It’s a space where ambition outpaces infrastructure, and where MediaTech has a chance to lead a new creative revolution.

Raising the Segment, Not Lowering the Standard

When an event stream from a corporate stage or a university lecture looks cinematic, no one calls it “enterprise video.” They simply call it good. High-end imaging and fluid production are now baseline expectations across every domain. The question isn’t whether quality matters; it’s whether it’s accessible.

The irony is that the demand for professional results is rising fastest where professional training is rare. The world wants the reliability andaesthetic of live broadcast, delivered by teams that may have never set foot in a control room. That’s the contradiction Grass Valley has spent decades preparing to solve.

Grass Valley’s heritage was built in environments where precision meant everything; live sports, breaking news, entertainment at global scale. Bringing that DNA to the enterprise space isn’t about scaling down; it’s about scaling intelligence. The same principles of timing, image quality and operational resilience now empower organizations that never considered themselves part of the media industry.

AMPP OS makes this translation possible. It takes the depth of broadcast engineering and expresses it through software-defined simplicity. The result is a creative infrastructure that anyone can deploy, but that performs at a professional level. In other words, we’re not descending into a new market… We’re elevating it.

Compute That Adapts to the Moment

Enterprise AV demands agility. One day it’s an internal CEO address, the next a global product launch, the next a hybrid classroom. Static systems can’t justify that variability. With AMPP OS, every compute node can become what’s needed in the moment; a production switcher, a multiviewer, a recorder, or a playout engine.

This shape-shifting capability is more than technical elegance… It’s economic sense. Organizations pay for what they use, when they use it, without locking into hardware footprints that sit idle between events. Whether deployed on-prem, or in the cloud, this elasticity aligns perfectly with enterprise rhythms being unpredictable, fast-moving and cost-sensitive.

Enterprise AV isn’t just about infrastructure; it’s about identity. As communication becomes visual, video turns into a strategic language. Training, marketing, investor relations, crisis response, all rely on real-time storytelling to build trust and clarity. Yet, few enterprise systems were designed with that responsibility in mind.

MediaTech brings discipline to that chaos. It introduces the rigor of timing, the safety of redundancy and the beauty of composition to environments that desperately need them. And when these qualities meet the speed and accessibility of software-defined workflows, something powerful happens: professionalism becomes invisible. The technology disappears; only the story remains.

A Future Without Tiers

There’s a temptation to see this expansion as a new market conquest… “Broadcast enters enterprise.” But the truth is subtler. It’s a convergence. As storytelling becomes universal, the lines between media and enterprise dissolve. Hospitals broadcast training sessions. Universities run multicamera live events. Corporations build in-house studios. What used to be “adjacent markets” are now parallel storytellers on the same continuum.

Grass Valley’s role is to make that continuum seamless, connecting the proven reliability of our hardware with the adaptive intelligence of AMPP OS, all within the open framework of the Grass Valley Media Universe. Scale and sophistication no longer live on opposite ends of the spectrum. Enterprise AV is not a step sideways; it’s a step forward. Both for the industry and for the craft. As the tools of professional media become accessible to all, the visual standard of communication rises everywhere. The result is not dilution, but evolution: an expanded definition of what it means to “go live.”

For Grass Valley, this evolution is both opportunity and obligation. We’ve spent decades refining the tools of professional storytelling. Now, we have the privilege to share them more widely and to help every organization, in any sector, communicate with the clarity and emotion once reserved for broadcast studios.

In the future, there won’t be “broadcast” quality versus “enterprise” quality. There will only be good storytelling. And the technology that enables it. The boundaries between industries are dissolving. The language of media has become universal. And as that convergence unfolds, one thing becomes clear: the world doesn’t need lower standards… It needs broader access to excellence.

See how Grass Valley is supporting and innovating Enterprise Media on stand 4Q900 at ISE Europe, Feb 3-6 in Barcelona