MONTREAL, CANADA – September 29, 2026 – Asian News International (ANI), one of South Asia’s longest-established multimedia news agencies, has deployed Grass Valley AMPP and Framelight X to modernize ingest, media management and content distribution across its news operations, creating a centrally managed environment for capturing live feeds and making content rapidly available to editorial and distribution teams. 

Four on-premises processing nodes are connected to AMPP cloud orchestration, supporting 32 concurrent scheduled ingest resources across 28 SDI and four SRT channels. The Framelight X solution also brings monitoring, media management, clip playback, graphics and workflow automation into the same environment. 

Founded in 1971, ANI operates more than 100 bureaus across India, South Asia and other international locations, supplying text, video and picture content to television networks, digital platforms, newspapers and more than 1,000 news organizations worldwide. 

“ANI operates continuously across a fast-moving news environment, where incoming content must be recorded, verified and made available to our editorial and distribution teams without delay,” said Ishaan Prakash, Director at ANI.  

“The Grass Valley AMPP and Framelight X platform gives us a centralized environment for scheduling, ingest monitoring, asset management and automated content delivery, helping us manage a high volume of news feeds while making content available faster for broadcast, digital and social media workflows.” 

Managing High-Volume News Ingest 

Grass Valley Elastic Recorder X and Scheduler give ANI centralized control of its 32 ingest resources, meaning operators can create and modify schedules, assign recorder resources, select sources and monitor recording status from a common interface. Each processing node handles seven SDI inputs and one SRT input, bringing facility and remote IP contribution into the same scheduling environment. Elastic Flow Monitor gives operators real-time visibility of source presence, signal health, recording status and storage usage. Dedicated Clip Player services handle preview, quality control, production and transmission, with GV HTML Graphics, Clean Cut and Image Store used for graphics, switching and fallback. 

From Ingest to Distribution 

Framelight X gives ANI browser-based access to media search, proxy preview, metadata inspection and content validation. Once a recording is complete, automated workflows transfer it into ANI’s central library and make it available for editing, archive and playout, including Adobe and EDIUS editing environments. Workflow Engine, Script Services and S3 Transfer handle highlight creation, MP4 processing, S3 delivery and social media preparation. During breaking news, ANI can record and monitor multiple live feeds while making captured material available for editorial review, clipping and distribution. Retention, proxy regeneration and asset deletion are also automated, reducing the manual handling required as media moves through the system. 

Local Processing, Cloud Orchestration 

Time-critical media processing remains on ANI’s four local nodes, with AMPP handling cloud-based orchestration and application management. Shared storage connects ingest, library, editing, archive, playout and transcoding, alongside ANI’s existing routing and monitoring infrastructure. 

“ANI operates at a scale where speed, reliability and visibility across the content lifecycle are critical,” said Evan Boyd, Senior Vice President of Sales, APAC, Grass Valley. “This deployment combines AMPP cloud orchestration with local media processing to manage high-density ingest and automate the movement of content into editorial, broadcast and digital workflows. It gives ANI a scalable software-defined platform that can continue to develop with its news operations.” 

ANI now has a common platform for scheduled ingest, monitoring, media management and multi-destination delivery, with the flexibility to add applications and workflows as its requirements change. 

Grass Valley will be exhibiting at Broadcast India 2026 in Mumbai, October 22–24, at Booth D04, where visitors can learn more about AMPP, Framelight X and the company’s wider portfolio of production and content workflow solutions.  

##### 

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.

Lithuanian broadcaster deploys Playout X and Framelight X across five networks, combining on-premises software-defined playout with cloud-based disaster recovery as part of its SMPTE ST 2110 transition.

MONTREAL, CANADA– September 16, 2026 – LNK Group one of Lithuania’s leading commercial television groups has moved playout and media management for its five national television networks to Grass Valley’s AMPP Media Operating System, completing a project to introduce software-defined operations alongside its transition to SMPTE ST 2110.

The deployment covers LNK, BTV, TV1, InfoTV and 2TV, replacing LNK’s legacy playout environment with Playout X and Framelight X running on AMPP Local at its Vilnius facility.

Delivered by Hannu Pro, Grass Valley’s partner in the Baltic region and a certified AMPP Managed Service Partner, the project combines an on-premises primary system with cloud-based disaster recovery.

LNK selected the Grass Valley solution following a competitive tender as part of a wider upgrade of its broadcast infrastructure. The broadcaster required the reliability and operational resilience of national television playout, with greater flexibility to develop services and workflows.

“This project represents an important step in the modernization of LNK Group’s broadcast infrastructure,” said Ričardas Kazlauskas, CTO at LNK Group. “Our objective was to maintain the reliability required for national television broadcasting while giving us more flexibility in how we deploy and develop our services. Moving our five networks to AMPP and Playout X alongside our transition to SMPTE ST 2110 provides that foundation.”

Five Networks on AMPP
LNK’s five networks combine scheduled programming, advertising, live content, news and graphics. Redundant Playout X chains provide continuity across all five, with support for live inputs, secondary recordings, HTML5 graphics, advanced audio and SCTE insertion for downstream advertising on LNK’s digital platform. LNK and BTV also support SRT contribution feeds.

AMPP allows applications to run on shared compute rather than dedicated broadcast hardware, giving LNK greater flexibility to introduce or modify workflows. The deployment operates alongside the broadcaster’s SMPTE ST 2110 infrastructure, connecting software-defined applications with its wider IP environment.

“One of the most important aspects of this transformation is that broadcast applications are no longer tightly coupled to dedicated hardware,” said Justinas Kunickas, CIO at LNK Group. “With AMPP we can run applications on shared compute infrastructure, integrate them with our existing systems and introduce or change workflows without rebuilding the underlying signal chain. For us, that architectural flexibility is one of the key benefits of moving toward a Dynamic Media Facility environment.”

Connecting Playout and Media Management
Framelight X provides media management, logging, editing, record scheduling and content review, with high-resolution and proxy media held on central NAS storage. It also supports QC and preview of high-resolution content and connects LNK’s active workflows with an archive of approximately 150,000 assets.

Framelight X replaces the archive browsing and selection functionality previously used by traffic, scheduling and promo teams, providing access to content held within the existing Telestream DIVA archive. Hannu Pro integrated DIVA and Vantage with the new environment to meet LNK’s workflow requirements.

For LNK and BTV, disaster recovery is provided through a separate AMPP deployment on AWS, with Wasabi storage for high-resolution and proxy media.

Building on Existing Operations
The project continues a technology relationship between LNK and Hannu Pro dating back to 1993. LNK’s wider production environment includes Grass Valley LDX cameras, K-Frame vision mixers and GV STRATUS, alongside Octopus NRCS for news production.

“LNK Group demonstrates how software-defined applications can be introduced into established broadcast operations while maintaining the resilience required for national television,” said Carlos Ferreira, VP of Sales, Southers Europe at Grass Valley. “AMPP gives LNK a common platform for playout and media management across five networks, with the flexibility to run applications on premises and extend critical services into the cloud. Combined with SMPTE ST 2110, it provides a practical route towards the Dynamic Media Facility.”

Kalvis Baumanis, CEO of Hannu Pro, added: “We would like to thank LNK’s management for the trust they have placed in Grass Valley and Hannu Pro while making the bold move into the AMPP Dynamic Media Facility world – among the first broadcasters in the Baltics. With AMPP, LNK’s technical team has hundreds of broadcast tools immediately at hand, covering practically any television production need. Where adding a new capability once meant months of ordering, installing and configuring dedicated equipment, it can now be deployed in minutes.”

####

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.

Media production is entering a phase where many new ingredients are becoming practical at the same time. Dynamic Media Facilities, software-defined production, MXL, zero-trust security, resilience, operational intelligence, AI and more unified media operations are no longer abstract ideas. They are becoming real options for organizations that need to create more, adapt faster and serve audiences across more platforms without losing control of the operation. That creates opportunity, but it also creates confusion.

This white paper exists to demystify what is happening. Its purpose is to explain what these new ingredients really are, what they enable, where their value comes from and how they fit into the larger transformation of media production. Not as isolated technologies, not as competing choices and not as a reason to dismiss the systems that already work, but as part of a more connected operational reality.

At Grass Valley, we believe this transformation is not about replacing one model with another. Dedicated hardware, software-defined
workflows, cloud resources, partner technologies and existing infrastructure all have a role to play. The real opportunity is to bring them together in ways that give creative teams more freedom, operations teams more confidence and media organizations more agility in how they respond to audience and business needs.

The seven articles in this white paper follow that journey. They look at the architectural shift behind Dynamic Media Facilities, the role of MXL in making software-defined media exchange more open, the trust and resilience needed to operate with confidence, the role of AI and operational intelligence and the importance of connecting new capabilities to the operations media organizations run today.

But the largest transformation is not purely technical. It is human.

Technology only matters when it helps people do better work. The director shaping the story. The operator making decisions under pressure. The engineer keeping the operation under control. The creative team finding the moment that will hold the viewer’s attention. The executive deciding how to invest with confidence. A more unified media operation should make those people more capable, not more burdened by complexity.

That is the belief behind this white paper: to make the new ingredients clearer, to place them in context, and to show how they can help media organizations build operations that support the people who create the moments audiences remember.

MONTREAL, CANADA – September 7, 2026 – Visitors to Grass Valley’s booth at IBC2026 will be introduced to new Framelight X capabilities that connect content acquisition, management, editing and publishing within a unified workflow for news and sports production. 

Framelight X provides a browser-based environment where teams can acquire, discover, enrich, edit, review and publish content without creating unnecessary media copies or moving between separate systems. As part of Grass Valley’s Unified Media Operations strategy, the platform extends Dynamic Media Facility principles across the content lifecycle, connecting people, applications and media across locations. 

“Every delay between acquisition, discovery and editing reduces the value of the content,” said Chris Partington, Product Director for Content and Editing at Grass Valley. “Framelight X brings those stages together so news and sports teams can start working with media as it arrives, collaborate across locations and get the story in front of the audience faster.” 

From the Field to Every Audience 

The new iOS FLX Reporter app extends Framelight X into the field, allowing journalists and production teams to capture and contribute news and live-event content from a mobile device. Media is transferred into Framelight X as it is captured through an integrated camera-to-cloud workflow, making it available to newsroom teams while the reporter remains on location. 

The Framelight X Web Editor allows journalists, producers and editors to work with the same managed media directly in the browser. Multilayer editing, digital effects, branded graphics and multi-aspect-ratio production support delivery across linear television, websites, apps and vertical social platforms. Automated portrait tracking and resizing help adapt landscape footage for vertical formats. 

For advanced craft editing, Framelight X integrates with EDIUS and Adobe Premiere Pro, keeping specialist NLE workflows connected to the same managed content and approval process. Integration with the Digital Joy Newsroom NRCS joins existing support for SAGA, Avid iNEWS and ENPS, connecting Framelight X media with newsroom planning and editorial workflows. 

Finding and Publishing the Moment 

For sports production, new continuous record trains allow live feeds to be recorded as growing media, giving editors access before the recording or event has finished. Highlights, packages and supporting content can therefore be created while the action is still taking place. 

Integration with OPTA sports data adds event and player information, while automated speech logging makes spoken content searchable. New Smart Search adds AI-based semantic tagging and search, allowing users to locate media according to the meaning and context of a scene rather than relying solely on filenames, manually entered metadata or timecode. 

AI-assisted tracking, blurring and point-of-interest tools reduce repetitive preparation work. Objects and areas of interest can be followed through a shot, while blurring can be applied to identities, screens, commercial marks or other visual elements where required. 

Collaboration Across Locations 

New browser-based collaboration capabilities allow producers and editors to work together from different locations. A remote over-the-shoulder workflow lets producers see and hear an editing session without dedicated remote-viewing infrastructure, while browser-based commentary and voiceover workflows allow contributors to add audio remotely. 

Share links extend review and approval to external participants without requiring full system access. Editors, producers, reviewers and contributors can therefore work around the same managed content without transferring media between locations. 

Framelight X’s federated architecture also provides access to content held across existing storage environments through a common library. Media can remain in place while teams search, audit and work with it across production sites and hybrid storage, reducing unnecessary duplication and retaining existing storage investments. 

Native rendering and integration with Telestream Vantage and other workflow technologies extend this approach into processing and delivery, allowing actions to be coordinated through Framelight X as content moves towards publication. 

Extending Open Media Workflows 

IBC2026 will also see Grass Valley preview TAMS Store support within Framelight X, enabling time-addressable media to be discovered, recorded, managed and played as part of the wider workflow. 

TAMS provides an open interoperability model that allows applications to work with the same underlying time-based media without creating a new file or proprietary handoff at each stage. Framelight X adds media management, metadata and user access, presenting TAMS-based content through the same tools used for search, editing, review and publishing. 

“TAMS creates an important open foundation for media interoperability, but interoperability only delivers value when content is easy for production teams to access and use,” said Regis Andre, VP Engineering at Grass Valley. “Framelight X provides the management, discovery and workflow layer around TAMS, allowing users and applications to contribute, find and work with media without creating another isolated system.” 

The integration extends the role of Framelight X within Grass Valley’s Dynamic Media Facility approach, connecting live and growing media with content management, editing and downstream workflows while retaining an open path between applications and storage. 

Visitors can experience Framelight X and Grass Valley’s story-centric content workflows at Booth 9.A01 during IBC2026, September 11-14, at RAI Amsterdam. 

##### 

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. 

Encompass Digital Media launches Altitude Playout Plus, powered by Grass Valley AMPP, with Channel 4 among two major UK public broadcasters adopting the platform

MONTREAL, CANADA – August 28, 2026 – Encompass Digital Media and Grass Valley are expanding their collaboration with the launch of Altitude Playout Plus, a software-defined channel origination platform developed for broadcasters managing live, late-changing and complex programming. 

Encompass Digital Media provides managed media services to broadcasters, networks, sports leagues, federations, and OTT platforms worldwide, supporting channel origination, content processing, live event distribution and delivery. 

The new service combines Encompass’s managed services, Media Cloud and Altitude Flow, with Grass Valley AMPP and Playout X, creating an integrated workflow from media supply chain operations through to channel origination and transmission. Channel 4 has selected Altitude Playout Plus to support its channel portfolio under a new multi-year managed playout agreement, with services scheduled to launch in 2027. Channel 4 is the second major UK public broadcaster to select the Encompass and Grass Valley platform, following the successful launch this month.  

Altitude Playout Plus has been developed for channels where schedules and content can change close to and during transmission, such as live sports, news and entertainment. Alongside playout, the architecture supports live contribution, event management, recording and fast-turnaround workflows, giving Encompass the flexibility to respond quickly as schedules and content update.  

Grass Valley’s AMPP provides the software-defined production and playout foundation, with Playout X supporting channel origination. Encompass integrates these capabilities with Altitude Flow, its media supply chain and control platform, while its web-based Playout Director brings together the operational data needed to manage live programming and late changes.  

The result is a distributed architecture that can be deployed across cloud and on-premises infrastructure and operated from multiple Encompass locations. Services for the UK public broadcasters will be delivered from Encompass facilities in London and Riga, providing geographic diversity while giving operational teams flexibility over where resources are deployed. 

“Altitude Playout Plus has been designed around the realities of running complex live channels, where schedules can change quickly and operators need immediate access to the services and information required to respond,” said Keir Shepherd, Chief Solutions Officer, Encompass Digital Media. “Our work with Grass Valley gives us a software-defined foundation that we can combine with our media supply chain, operational tools and global managed service capability. Channel 4’s decision to adopt the platform, alongside another major UK public broadcaster, gives us a strong foundation for extending the service to other demanding channel environments.” 

The architecture also gives Encompass access to additional AMPP applications when specialist capabilities are required. Resources can be introduced according to the requirements of a channel or event rather than maintained permanently for workflows that may only be used periodically. 

For Grass Valley, the deployment demonstrates how its Dynamic Media Facility approach supports established broadcast services across hybrid, geographically distributed infrastructure. AMPP applications can operate alongside existing systems and Encompass technology without requiring the service provider or its customers to standardize operations around a single deployment location. 

“Major broadcasters are looking for greater flexibility without compromising the resilience and operational control required for live television,” said Steve Hassan, Senior Director Playout at Grass Valley. “Working with Encompass shows how a Dynamic Media Facility can bring software-defined playout and existing broadcast operations into the same architecture. Resources can be deployed across cloud and on-premises infrastructure and across different locations, giving service providers the flexibility to respond to changing channel and event requirements while maintaining the operational standards their customers expect.” 

Extensive design work between Encompass and Grass Valley has been completed ahead of the Channel 4 transition to ensure the platform meets the broadcaster’s technical and operational requirements.  

Grass Valley will be at IBC 2026 at the RAI Amsterdam, September 11-14. Visitors can meet the team at Booth 9.A01 to learn more about AMPP, Playout X and the Dynamic Media Facility. 

##### 

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. 

####

About Encompass Digital Media 

Encompass Digital Media is a global managed services company that is technology-driven, software-defined, and people-powered. World-leading broadcasters, networks, sports rights-holders, and OTT platforms rely on its unique global reach, unrivalled quality of service, and unmatched industry expertise to make the most of their media. Every day, Encompass processes over 25,000 hours of content and serves 850 channels to 84 countries; it distributes over 243,000 live events annually, and reaches 400 million radio listeners weekly worldwide.   

Encompass’ cloud-first Altitude products – supported by IP distribution, 34,000 miles of fibre, 24/7 NOCs, 50+ satellite platforms, and experienced, passionate people – operate in the sweet spot of high availability and high quality that audiences now demand, enabling content providers to navigate change flexibly and deliver content flawlessly to any audience. 

For more information, please visit www.encompass.tv and follow us on LinkedIn. 

Shawn Belluigi  

Account Director – Bubble Agency 

encompass@bubbleagency.com

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.

#####

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.

Unified Media Operations showcase brings hardware, software-based applications and a growing partner ecosystem together in an open production environment, with native MXL support at its core.

MONTREAL, CANADA –AUGUST 14, 2026 – At IBC2026, Grass Valley will demonstrate the principles of the Dynamic Media Facility in action today, bringing hardware, software-defined applications, existing infrastructure and partner technologies together as one unified media operation.

Through its active support of the JT-DMF industry initiative and the open standards that will underpin the Dynamic Media Facility, Grass Valley’s IBC showcase will put these principles into practice across a complete, camera-to-consumer workflow, while demonstrating how AMPP will continue to adopt DMF-aligned standards as they are released.

The environment combines Grass Valley’s hardware portfolio – including LDX cameras, the latest Altair router and the new ACE-3901-GRID MXL gateway – with AMPP OS-based applications as an end-to-end media workflow. ACE-3901-GRID bridges existing SDI and SMPTE ST 2110 infrastructure with software-defined workflows, while AMPP provides the orchestration, media fabric and scalable compute needed to deploy applications across on-premises, edge and cloud environments.  

This hybrid-by-design approach allows media organizations to introduce software-defined production alongside the infrastructure, workflows and operational expertise already delivering value. Dedicated systems continue to provide predictable performance for live operations, while AMPP-based applications add flexibility and scalable processing where required.

“IBC is our latest opportunity to demonstrate native MXL integration operating across our production portfolio,” said Jon Wilson, CEO, Grass Valley. “Visitors will see how infrastructure, live production, content management and playout through AMPP work together with open media exchange across the technologies our customers already use every day. Native MXL support gives software applications a common way to exchange media while preserving the timing, identity and context production workflows depend on.” 

Open By Design 

Openness is a core principle of Grass Valley’s strategy. AMPP enables customers to combine Grass Valley and partner technologies around their operational requirements, without creating another closed production environment.

Native support for MXL, the Media eXchange Layer, extends this approach by giving software media functions a shared method to access and exchange media. It replaces application-specific approaches to media transport, conversion and integration with a common model that preserves the timing, identity and context required for professional production. 

At IBC2026, Grass Valley will demonstrate native MXL v1.1 support in AMPP, together with the latest NMOS implementations for MXL flow discovery and control. The technology will operate across an end-to-end workflow spanning acquisition, ingest, media processing and monitoring, live production, content management and playout.

The showcase also reflects the accelerating growth of the Grass Valley partner ecosystem. Technologies from Calrec, Lawo, Haivision, TVU Networks, Zoom – and more – will operate alongside Grass Valley solutions within real-world, multi-vendor workflows.

Unified Workflows from Camera to Consumer 

The booth itself will operate as a connected production environment, demonstrating how SDI, SMPTE ST 2110 and MXL each support different parts of a modern media workflow. SDI and ST 2110 remain foundational across facilities, devices and real-time production, while MXL enables media exchange between software applications once media has entered compute.

Visitors will see these technologies working together across live production, networking, processing, monitoring, content workflows, orchestration and automation. Grass Valley production switchers will extend familiar control surfaces across hardware and software-defined environments, while ACE-3901-GRID will connect established facility infrastructure with MXL-native applications in AMPP. 

The showcase will include reverse REMI production and the remote operation of a software-defined OB truck in partnership with DMC Production and Broadcast Solutions. Customer use cases across the booth will provide further examples of media organizations combining dedicated systems with software-defined capabilities for live production, content management, media processing and large-scale delivery.

“The technologies underpinning unified media operations are already supporting customers in live production today,” added Wilson. “At IBC, we’re looking forward to showing how this hybrid-by-design ecosystem is helping media organizations build on the infrastructure they already trust while introducing software-defined workflows that give them greater flexibility as their operational requirements evolve.” 

Together, the showcase supports Grass Valley’s wider thought-leadership focus, The Dynamic Media Facility Today, exploring how DMF principles can deliver practical operational value now while establishing an open foundation for the future. 

To learn how Grass Valley is helping global media organizations build more unified media operations, visit Booth 9.A01 at IBC2026, RAI Amsterdam, September 11–14. 

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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. 

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.