Original article published in TV Tech

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

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

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

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

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

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

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

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

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

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

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

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

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

MiLB Club Deploys LDX 110 Cameras at CarMax Park to Deliver A New Standard in Engaging Fan Experience 

MONTREAL, CANADA – June 15, 2026 – Grass Valley today announced that the Richmond Flying Squirrels, a Minor League Baseball affiliate of the San Francisco Giants, have deployed five Grass Valley LDX 110 cameras at CarMax Park. The upgrade has significantly elevated the quality and consistency of the organization’s game broadcasts and livestreams, further enhancing the Flying Squirrels’ ability to deliver a more dynamic and engaging viewing experience for fans. 

The Flying Squirrels’ new production environment features five LDX 110 camera systems, including one unit in a wireless configuration, delivering the image quality, operational flexibility and broadcast-grade performance needed to support comprehensive live coverage throughout the venue. The deployment reflects the club’s continued focus on raising the quality and consistency of its live game coverage while also strengthening CarMax Park’s capabilities for live sports and event productions. 

“There is nothing minor league about our capabilities using Grass Valley equipment,” said Flying Squirrels General Manager Anthony Oppermann. “The overall broadcast and live event production is on a completely different level now. We’ve received very positive feedback from our fans and MLB partners on the quality of the broadcasts, livestreams and in-game presentation.” 

The new workflow is further enhanced by Grass Valley’s Creative Grading technology, which allows operators to maintain a consistent and distinctive visual look throughout every game. Its intuitive graphical interface enables rapid adjustments without distracting operators from the live action, helping them stay focused on the moments that matter most. From high-speed plays to emotional crowd and player reactions, Creative Grading continuously supports optimal image quality while preserving the creative vision behind the production. The result is a richer, more immersive viewing experience that helps bring fans closer to the game. 

The upgrade has positioned the Flying Squirrels among a small group of Minor League Baseball organizations operating with broadcast infrastructure typically associated with larger sports markets. The improved on-screen presentation has strengthened the club’s ability to deliver an engaging and visually consistent experience across streaming, broadcast and in-venue coverage. 

“Fans expect a high-quality viewing experience regardless of market size,” said Greg Doggett, Vice President Sports, North America at Grass Valley. “The Richmond Flying Squirrels are demonstrating how regional sports organizations can adopt the same caliber of technology used across top-tier live sports to deliver stronger coverage, more engaging broadcasts and greater long-term operational value.” 

The project reflects a broader shift across regional sports as teams continue investing in modern broadcast infrastructure to elevate live content and strengthen audience engagement across streaming and in-venue experiences. 

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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. 

About the Richmond Flying Squirrels

The Richmond Flying Squirrels, Double-A Eastern League affiliate of the San Francisco Giants, have established themselves as one of the most recognizable brands in Minor League Baseball since their inaugural season in 2010. Guided by three pillars – be different, be impactful and have FUNN – the organization has ingrained itself in Central Virginia, annually reaching more than 10,000 students through the club’s education programs while making 400-plus community appearances. Additionally, the team has renovated multiple youth baseball and softball fields across the city and awarded more than $150,000 in scholarships through its 501(c)(3) nonprofit, Flying Squirrels Charities. The Flying Squirrels consistently rank among the top-drawing teams in MiLB having led the Eastern League in total or average attendance 11 times while topping all 30 Double-A teams in total and average attendance each of the past four seasons. For more information, visit SquirrelsBaseball.com

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. 

Originally published in FEED Magazine

It’s becoming increasingly apparent that broadcast-grade technology is no longer confined to major networks and global sporting events. Now, it’s rapidly becoming a crucial component of collegiate athletics, where universities are producing content at a quality that even rivals professional operations.

This is no more apparent than across three recent deployments in the US at the University of Illinois, University of Pittsburgh and Texas A&M. Using tools from broadcast tech powerhouse Grass Valley, one theme from these projects stood out: the continued move toward future-proof infrastructures is serving to empower both students and professionals to operate at the highest level.

Upgrade without upheaval

At the University of Illinois, the challenge wasn’t just about upgrading, it was about doing so within the constraints of an existing facility while laying the groundwork for long-term growth. Partnering with TAB M Solutions, Grass Valley delivered a hybrid SMPTE ST 2110/SDI environment that strikes a careful balance between innovation and operational familiarity.

The deployment includes native SMPTE ST 2110 workflows powered by LDX 150 cameras, alongside a CCS-ONE camera control system, which centralises shading and enables remote monitoring. By eliminating traditional baseband CCUs, the system reduces both rack space and thermal load – critical considerations in a constrained control room environment.

For Fighting Illini Productions, the impact is instant and strategic. As its associate director of athletics Derryl Myles explains: “Our objective was to elevate our game-day production while positioning Fighting Illini Productions for long-term growth. The hybrid architecture allows us to incorporate IP strategically while still maintaining familiar workflows, and the LDX 150 cameras provide the image quality, flexibility and performance needed to meet the expectations of the Big Ten as well as the fanbase.”

This ‘intentional transition strategy’, as described by TAB M Solutions partner and CTO Kevin Tucker, highlights a key trend in education: universities are not simply replacing legacy systems, they are evolving them. “The hybrid 2110/SDI architecture preserves operational familiarity while leveraging IP where it creates tangible benefits. Deploying the LDX 150 cameras natively over 2110 reduced rack space, heat load and integration complexity while creating a scalable foundation for future expansion.”

Pittsburgh powers up

If Illinois represents a carefully phased evolution, the University of Pittsburgh shows what full IP transformation looks like within a high-demand environment. Supporting more than 150 live events annually across 19 NCAA Division I programmes, Pitt Athletics required a system that could handle scale and complexity.

Grass Valley’s solution centred on a complete transition to a SMPTE ST 2110 IP backbone, anchored by K-Frame XP switcher architecture. The upgrade enables six switcher suites across control rooms, with shared processing, expanded ME capacity and enhanced resilience.

Importantly, this latest deployment followed pre-existing investments. Pitt’s original LDX 86 cameras, installed in 2018, were seamlessly integrated into the IP infrastructure, demonstrating the longevity and adaptability of Grass Valley systems.

“With over 150 events annually, our production demands continue to grow across both broadcast and in-venue platforms,” says director of operations and strategy, University of Pittsburgh athletics, Patrick O’Shea. “The original LDX 86 installation allowed us to operate in 1080p from day one, and this upgrade now positions us for IP, HDR and expanded slow-motion capabilities.”

From an engineering perspective, the transition to IP unlocks new efficiencies. Tucker notes: “By leveraging Grass Valley’s K-Frame XP ecosystem in a full 2110 architecture, we were able to centralise resources, increase capacity and create a clear path toward HDR and expanded super slow-motion workflows.”

Built to scale

At Texas A&M, the focus shifted, with the main goal being to build a forward-looking production ecosystem that bridges today’s needs with tomorrow’s possibilities.

The university deployed a suite of Grass Valley solutions, including K-Frame X switchers, LDX 135 cameras and LDX 150 cameras, creating a robust foundation for high-quality 1080p production with a clear upgrade path to UHD.

12th Man Productions’ associate athletic director Andy Richardson emphasises how, originally, “12th Man Productions first invested in Grass Valley camera technology in 2014 when we upgraded our facility to support the Videoboard shows and ESPN/SEC Network live event programming for Texas A&M Athletics. In 2024, as we turned over a new page in technology by upgrading our live camera systems to support IP 2110 infrastructure and transitioning to HD 1080p, we saw Grass Valley as the ideal partner to elevate our productions. And we couldn’t be happier with the results.”

Jan Rein Hettinga is a Dutch freelance cameraman who has been working in the industry since 1994 and still brings the same passion to his work. He shares stories from behind the camera on his blog. 

In this article, he reflects on recent developments in the broadcast industry from his own perspective. 

In the eighties, Back to the Future was my absolute favourite film. I must have watched the first part at least twenty times. A DeLorean with a 2.21 gigawatt flux capacitor for travelling through time, I’d love one of those. To go back once more to all the major television productions I’ve been part of over the past thirty years: the Tour de France, the UEFA European Championship, the Olympic Games, Formula 1, festivals, concerts, commemorations, the coronation of the Dutch king, and the wonderful travel programmes I’ve been able to contribute to as a freelance camera operator. Behind every production lies a great story, and I would do it all again with passion and joy.  

I would also love to travel a few years into the future, because in my view the broadcast world is currently at an interesting, but also exciting, tipping point. Technological developments are moving at breakneck speed, and although I haven’t really noticed much of that yet as a cameraman, I’m convinced it is going to happen in the years ahead.  

Artificial intelligence will play a major role in the field of camerawork as well. A colleague recently sent me a video showing how far Germany has come with AI-driven cameras at football matches. A Grass Valley camera on an Egripment remote head independently recognises the positions of players relative to the ball and follows the game the way a lead camera operator normally would. What makes this system remarkable is that it has taught itself how to respond, and as a result it keeps getting better. In studios too, camera positions are already being replaced by robots. If this becomes as reliable as a human operator and cheaper, it would be naive to think it won’t lead to major changes in our profession.  

Last year I was standing on a circuit in the Netherlands with a camera in the dust of rallying cars, while the director was in Stockholm and the vision engineer was in Oslo. It took some getting used to, but it worked, and the client was able to save considerably. Formula 1 has been using remote production for years. Large outside broadcast trucks on location may well be on their way out. Ultra-fast fibre connections and 5G make it possible to send images, audio and data back and forth without any meaningful delay. The question is no longer whether this model will conquer the Dutch market, but when. What we must not lose in all of this is the human dimension, because after a remote production wraps, you can’t look each other in the eye anymore, shake hands, or share a beer to celebrate. Those informal moments exist for a reason. They are where trust is built, where you evaluate openly, and where you learn from one another. Technology can solve many things, but not that.  

At the Winter Olympics in Milan, I operated three remote-controlled cameras on my own. Three cameras, one operator. A considerable saving for the client, and a wake-up call for me. Because if I can operate three cameras, how much human work will disappear in the years to come?  

Yet I don’t want this to become a story of doom. Technology that once required an entire team now fits in a backpack. Productions that were never financially viable are suddenly within reach. Good news for camera operators who are willing to adapt. The cameraman who remains relevant will not be the one who fights hardest against change, but the one who understands how remote production works, is comfortable with PTZ systems, and knows how to manage multiple cameras simultaneously without forgetting their core talent.  

Because that is what robots and algorithms cannot replicate, at least not for now. An AI can perfectly frame a wide shot or capture an offside moment, but it doesn’t glance beyond the viewfinder and notice that a coach is about to explode with fury. Camera operators are storytellers, the eyes and ears of a director who is increasingly working from a great distance. You need to be a generalist, with a solid understanding of technology, but above all a sharp eye for detail and an instinct for the unpredictable. That way of telling stories through images remains a craft. The profession will change, but it will not disappear. After all, there are still excellent painters, despite the fact that we have long been able to photograph everything beautifully.  

I therefore hope that developers continue to listen to specialists who have their feet firmly on the ground. A good camera is not simply a rectangular computer with an all-seeing eye – it is also a tool you want to put on your shoulder and use instinctively to keep making beautiful shots. Ergonomics, good viewfinders, and the ability to customise a camera to your own preferences will remain critically important well into the future.  

At the end of Back to the Future, the DeLorean lifts off and Doc Emmett Brown delivers those legendary words: “Roads? Where we’re going, we don’t need roads.” It is the cliffhanger that sets up the second film. I would happily climb in and take a look at exactly what the future holds for the broadcast world. But if that time machine never comes along, I’ll put the camera back on my shoulder and seize every opportunity I can to keep developing. I’m more than willing to move with the times 

Clients started asking for UHD and HDR as a standard, not an exception. We already had capable equipment in our fleet, but none of our mobile units were designed to operate natively in these formats. That started to limit how quickly and competitively we could respond.

Rather than building a new unit from scratch, we chose to upgrade one of our existing 8-camera trucks into a multi-format mobile unit, capable of handling UHD, HDR, and simulcast workflows. That gave us the foundation, but the key decision was the camera system.

We evaluated the market across performance and cost. The solution proposed by Crosspoint fully met our needs and challenges. What stood out with the Grass Valley LDX 110 was the balance. The licensing model allowed us to invest in a UHD and HDR-capable platform at a cost closer to HD, and activate those formats only when needed.

Since then, we have been able to respond more quickly and stay competitive on projects that require UHD and HDR. One example is the program Uniques for 3Cat, which focuses on capturing well-known Catalan festivals live while also building a high-quality archive. These productions take place in historic city centers where large trucks cannot access, so a compact unit capable of UHD and HDR is essential.

We have used this setup across events such as La Patum de Berga, the Carnival of Vilanova, and Las Santas de Mataró. These are demanding environments where both mobility and reliability matter.

The same camera chains have also been used on other types of productions, including music programs like Zénit and large-scale live events such as La Velada del Año with Ibai Llanos. In these contexts, image quality is critical, but so is consistency in operation. We have seen a clear improvement in sensitivity and dynamic range, which has a direct impact on the final output, especially in complex lighting conditions.

Tools like the Grass Valley Creative Grading (CCS1) have also simplified the work for our teams. They provide intuitive control for engineers and shader operators, which is important in live production environments.

Remote production is another area where this setup has proven effective. We have used it across several REMI workflows, including the FIM Ice Speedway Championship and the Spanish Formula 4 Championship. Operating the LDX 110 with a traditional XCU, which manages connectivity including integration into IP-based workflows, ensures reliable setup and simplifies integration with transmission systems.

Features such as intercom over SDI, return video directly in the camera, and remote control of parameters contribute to a more efficient setup. In practical terms, this allows us to deliver high-quality production with tighter budgets and less time on site.

This has changed how we evaluate our camera fleet. The same platform can be used across different types of productions, improving utilization and cost efficiency.

Visit Sobatech Group

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.

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New initiative combines scholarships, hands-on learning, and access to Grass Valley technology to help universities develop industry-ready talent for live sports production

MONTREAL, CANADA – April 6, 2026 – Grass Valley today announced the launch of its Future Playmakers Program, a new global initiative designed to support and develop the next generation of professionals in sports production and media technology. 

Timed ahead of NAB Show, the program reflects Grass Valley’s continued investment in education, workforce development, and long-term industry growth. It is built to help students gain practical experience while enabling higher education institutions to strengthen their production programs with access to professional-grade tools and workflows. 

The Future Playmakers Program combines scholarships, hands-on learning, technology access, and institutional collaboration. It is designed to create a sustainable pipeline of talent trained on industry-standard solutions used across live sports and event production. 

“Developing the next generation of talent is critical to the future of our industry,” said Jon Wilson, CEO of Grass Valley. “The Future Playmakers Program is about giving students real access to the tools, workflows, and experiences that define modern live production, while strengthening our partnerships with the institutions shaping that future workforce.” 

Through the program, Grass Valley will select up to 10 students annually from participating partner institutions. Selected students will receive financial support alongside access to experiential learning opportunities designed to bridge the gap between academic study and real-world production environments. 

A central component of the program is the Grass Valley Montreal Technology Experience, where students will engage directly with the company’s technology and teams. The experience includes a factory tour, hands-on product demonstrations across cameras, production switchers, AMPP, and orchestration solutions, as well as live production workflow sessions and access to industry experts. 

“The industry is evolving quickly, and there is a clear need for talent that understands both production and technology,” said Greg Doggett, Vice President of Sales, NAM Sports, Grass Valley. “This program is designed to give students that exposure early, while helping higher education institutions build programs that reflect how live production operates today and gaining important exposure to where the industry is headed.” 

Participating institutions benefit from scholarship opportunities, increased industry visibility, and closer collaboration with Grass Valley through technology alignment and program engagement. The initiative is open to higher education institutions and production programs investing in next-generation broadcast and live production workflows. 

By connecting students, educators, and industry professionals, the Future Playmakers Program aims to deliver long-term value across the media ecosystem. It supports the development of operators, engineers, and production specialists equipped to work in increasingly complex, IP-based, and software-defined environments. 

Grass Valley will share additional updates on participating institutions as the program expands. 

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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.