The three studios announced the launch of Venu a year ago, prompting litigation from FuboTV, which said the combined sports streaming service is anti-competitive. It won a court injunction in August, which survived a December challenge.

On Monday (Jan. 6), Disney, Fox and Warner Bros. Discovery said they had patched up their differences with FuboTV, and would make an aggregate cash payment to Fubo of $220 million. In addition, Disney has committed to provide a $145 million term loan to Fubo in 2026 as part of the transaction.

In addition, Disney announced that it would merge its Hulu + Live TV vMVPD service with FuboTV, which would continue to be marketed as a separate service.

Monday’s announcement drew stern criticism from multiple corners of the industry, including DirecTV, which told the Justice Department that it might join EchoStar in challenging the deal in court.

What scuttled the deal is still up to speculation but the end came swiftly in an announcement this morning:

“Venu Sports, the proposed virtual MVPD service from ESPN, FOX and Warner Bros. Discovery, will be discontinued,” the companies said. “The collective decision by the three companies not to move forward with the contemplated joint venture is effective immediately.

“After careful consideration, we have collectively agreed to discontinue the Venu Sports joint venture and not launch the streaming service,” they added. “In an ever-changing marketplace, we determined that it was best to meet the evolving demands of sports fans by focusing on existing products and distribution channels. We are proud of the work that has been done on Venu to date and grateful to the Venu staff, whom we will support through this transition period.”

DirecTV issued this response:

“DirecTV remains a leader in sports, and we look forward to working with our programming partners —including Disney, Fox and Warner Bros. Discovery—to compete on a level playing field to deliver sports fans more choice, control, and value all-in-one experience. ”

Article updated to include DirecTV comment.

Prior to the announcement last night, TV Tech sister brand Radio World spoke with Doug Irwin, iHeart’s Los Angeles engineering lead, who monitored the situation all day Thursday as the fire suddenly jumped from Altadena. Irwin said late Thursday afternoon local time that the fire has not impacted any of the stations that transmit from the summit. From observing cameras, he believes the fire made it to the edge of the service road but did not cross it as of that time.

The summit has been without power since Tuesday as part of an area-wide temporary shutoff, Irwin said. His main concern was ensuring generator fuel refills can be conducted, as the service road had been closed. However, he expected it to reopen Thursday evening.

Thursday night at 7:55 p.m., a tweet on Mt. Wilson’s X feed announced that the Eaton Fire is now “under control”:

KTLA’s live webcam captured the frightening scene Thursday afternoon as the Eaton fire spread toward one of the summit’s towers. Both KTLA on its TV feed and KNX on its radio feeds mentioned that their over-the-air signals could be affected.

Mount Wilson is home to nearly every Class B FM signal serving L.A.; 21 FM signals in all broadcast from there. The 5,700-foot peak is also home to the Mount Wilson Observatory and Park. In addition, TV stations KCBS, KNBC, KTLA, KABC, KCAL, KTTV, KCOP, KMEX, KVEA and KDOC use the site.

The summit is no stranger to fires, including the Bobcat fire in 2020.

The Eaton fire that started on Tuesday has claimed five lives and consumed 10,600 acres so far, according to Cal Fire. As of Thursday Evening it remained 0% contained but winds had lightened earlier in the day. Forecasters are worried weather conditions may support another strong Santa Ana wind event Monday night into Tuesday.

On the radio, Audacy’s KNX (AM/FM) and iHeart’s KFI (AM) have been anchoring continuous coverage since the fires started with the Palisades Fire on Monday morning.

FCC Chair Jessica Rosenworcel commented on the fires yesterday afternoon.

“Our hearts remain with everyone impacted by the wildfires ravaging Los Angeles County and the first responders answering the call during this time of emergency,” she said. “While communications impacts are minimal so far, the FCC will continue to monitor how these sets of wildfires are affecting residents’ ability to receive the information they need to stay safe. Should conditions change, the agency stands ready to support in any way it can, including any requests to deploy FCC staff to help with any communications network recovery.”

In addition, the Broadcasters Foundation of America said on Thursday that it is offering financial assistance to those in the industry impacted by the fires.

This article initially appeared in TV Tech sister brand Radio World.

Formerly senior director of government relations, Kieley is tasked with managing congressional relations, serving as state government liason and working with federal departments and agencies, communications and grassroots and grasstops advocacy, APTS said.

“Jen has served APTS for over 18 years with exceptional skill, loyalty and thoughtful leadership,” APTS President and CEO Kate Riley said. “She has helped our organization and member stations navigate difficult times and successfully seize opportunities. Her collaborative nature and commitment to building consensus and working effectively with internal and external stakeholders will continue to serve APTS well. Jen’s deep knowledge and appreciation for the work of our stations, the public media system, the legislative process and the political landscape is a great asset to APTS and the public broadcasting community as a whole.”

In her new role, Kieley succeeds Riley, who was elevated to president and CEO of APTS last September, following the retirement of Patrick Butler.

Kieley joined APTS as a congressional liaison in 2003, advancing to director of government relations in July of 2009. She had been the group’s senior director of government relations since August 2023.

Before joining the public TV organization, Kieley worked as a legislative consultant for the National Water Resources Association and as a lobbyist for the National Rural Electric Cooperative Association. In six years at NRECA, she held positions in its grassroots department, ultimately becoming a lobbyist focusing on telecommunications, taxes and the Federal Emergency Management Agency, APTS said.

She has a bachelor’s degree in political science from the George Washington University.

“Specifically, we find that Corridor failed to participate as required in three Nationwide Tests of the EAS … one time each year·in 2018, 2019 and 2021,” the FCC reported in a Notice of Apparent Liability for Forfeiture released Jan. 8. “We also find that Corridor failed to file 2018 EAS Test Reporting System (ETRS) Form Three” and “we find that Corridor submitted incorrect or misleading information, without a reasonable basis for believing such information to be correct and not misleading, in five ETRS filings subsequent to each Nationwide Test of the EAS in 2018, 2019 and 2021.”

Corridor, which owns the license for KCWX, is wholly owned by Global Information Technologies., a privately held, Texas-based company owned by Saleem and Carmen Tawil.

The owners have 30 days to pay the fines or to file papers asking the levies be reduced or eliminated.

The full Notice of Apparent Liability for Forfeiture can be found here.

The league today said Google Cloud will provide it with data analytics tools, including Big Query and Looker, that will enable the UFL and its partners to develop better products and services for fans, enhance the experience of watching games and help the league grow regardless of whether fans are in the arena or at home.

“Innovation from a business and football standpoint is a cornerstone of our league as well, and this collaboration provides us with the framework to build upon those innovations,” UFL President and CEO Russ Brandon said. “Through the UFL’s association with Google Cloud, the league is confident that reporting will not only be more accurate and efficient, but the solutions emerging from that data will lead to us being a more valuable sports entity.”

The league will collect comprehensive data from its ticket sales, sponsorship, marketing, consumer product sales and social media assets and leverage BigQuery, Looker and Gemini for Google Cloud models, the UFL said.

The UFL will also work with Google Cloud throughout the season to enhance its football analytic capabilities, it said.

“By better understanding their data with Google Cloud solutions, the UFL will be able to elevate the fan experience, in-person and virtually,” said Albert Lai, global strategic industries director for the M&E Industry at Google Cloud. “The UFL’s collaboration with Google Cloud is a great example of how organizing and unlocking the value of data with advanced data analytics tools and AI can impact both the football platform and fan engagement, and I look forward to seeing what happens in their second season.”

The 10-week UFL season begins March 28 at 8 p.m. (ET) with a matchup between the St. Louis Battlehawks and the Houston Roughnecks on Fox.

More information is available on the UFL’s website.

“We have set aside Emergency Grant Dollars to provide financial assistance to broadcasters in L.A. who are in need,” BFOA President Tim McCarthy said.

The group also reported that the BFOA Emergency Grant Application Process has been streamlined to deliver financial aid to those in need as speedily as possible, usually within weeks.

Historically, it can take a week or more for victims of disasters like these wildfires to apply because their lives have been upended and they may not have immediate access to the internet, etc. For those broadcasters, the BFOA has set up an emergency phone number at (212) 373-8250. To apply directly online, broadcasters may go to broadcastersfoundation.org.

BOFA reaches across the country to provide an anonymous safety net for radio and television broadcast professionals who find themselves in acute financial need due to an illness, accident or emergency.

Gray Media is among a growing list of ATSC 3.0 broadcasters to support Advanced HDR by Technicolor, it said.

In one CES press announcement, Advanced HDR by Technicolor said: “The growing availability of devices that support the new standard helps explain why a growing number of broadcasters offering NextGen TV broadcasts—such as Gray Media—are supporting Advanced HDR by Technicolor.” Other broadcasters supporting it include Capitol Broadcasting, PBS and Sinclair.

[Also Read: More TV Tech Coverage of News From CES]

“Advanced HDR by Technicolor provides broadcasters with a powerful solution to enhance the viewing experience,” said Rob Folliard, senior vice president of government relations and distribution at Gray Media.

“It offers the flexibility to deliver exceptional HDR content while ensuring compatibility for viewers with SDR TVs. This capability reflects our commitment to delivering the highest-quality digital entertainment experiences.”

Advanced HDR by Technicolor also said at CES that it is collaborating with global streaming media company Plex to enhance the visual quality of ad-supported video-on-demand (VOD) services.

New NextGen TV models from both Hisense and RCA as well as a new Atlanta Direct To Home (ADTH) 3.0 receiver running software from Tolka that support Advanced HDR by Technicolor were also unveiled at the show.

Advanced HDR by Technicolor was collaboratively developed by InterDigital, Philips and Technicolor.

More information is available on the Advanced HDR by Technicolor website.

The deadline for submissions is Friday, Feb. 7. Entries can be submitted here.

Organizers said the Technical Papers Program “offers an excellent opportunity for forward-thinking technologists and companies to unveil their ideas and research to media industry leaders hungry for new technology concepts, their possible uses and practical applications.”

The program welcomes entries from all sectors across the media, entertainment and technology industry. Entries can come from any discipline, whether the entrant is a professional or a professor, a member of a research and development team, working alone or with a global brand, from across any part of the broadcast, communications, electronic media or entertainment fields.

“Unsurprisingly, AI was our most popular Technical Papers session at IBC2024—where we covered facial recognition, machine-learning in news and the iterative use of generative AI for targeted advertising,” Paul Entwistle, chair of IBC's Technical Papers Committee, said. “This was closely followed by our session on streaming, where the audience learnt how cricket was concurrently streamed to 59 million viewers in India. We also presented strong sessions covering XR including neural radiance fields, provenance and trust, 5G both technical advances and field trials, advances in video coding, and sustainability. All a reminder of the breadth of technologies impacting our industry.”

The technical papers are available on IBC365, with the very best showcased in a joint publication with the Institution of Engineering and Technology (IET), The Best of IET and IBC 2024, found either on IBC365 or on the IET website.

IBC Technical Papers present unpublished technical discussions of original, novel research and/or innovation focused on real-world problems faced by the international broadcast and digital media industry, the organizers explained.

At this initial stage, IBC is looking for a 300-word synopsis giving a clear and concise overview of the key topic of your paper, evidencing what is unique and novel and explaining its background.

“Technical disclosures can also include new analytical insight into the cultural, social and environmental impact of our industry—for instance, as AI continues to impress, its impact on human creativity, intellectual rights and jobs is less clear,” Entwistle noted. “IBC sincerely appreciates the support the industry shows the Technical Papers Program and looks forward to showcasing authors whose work sits at the cutting edge, challenges the norm or shares useful and practical insight.”

All submissions are rigorously reviewed by a panel of professional experts. Papers accepted for presentation at the IBC2025 Conference have the opportunity to win the highly coveted Best Conference Paper Award, presented at the IBC2025 Awards.

At this week’s CES (Venetian Expo, Halls A-D, Booth 51727), Sylvox has been displaying its Sylvox Cinema Pro Outdoor TVs with Helio QLED technology that deliver 3,500 to 5,000 nits of brightness for cinema-grade visuals in bright outdoor environments. They are the first outdoor TV sets that come with built-in ATSC 3.0 reception capabilities.

[Also Read: More TV Tech Coverage of News From CES]

"Sylvox is committed to pushing the boundaries of outdoor entertainment," Sylvox founder Golden Young said. "With CES 2025, we're proud to unveil innovations that transform outdoor living spaces into immersive entertainment hubs."

The Sylvox Cinema Series transforms outdoor spaces into theaters with Helio QLED technology. Featuring up to 5,000-nit brightness and theater-grade features, it delivers immersive movie nights under the stars, vibrant sports viewing in bright daylight, and stunning entertainment for outdoor gatherings year-round, the company reported.

For more information, visit sylvoxtv.com.

“We are absolutely thrilled to welcome Sam, Heather, Mike and Ernesto to the LABF Board of Directors,” said co-chairs Heidi Raphael, Beasley Media Group chief communications officer, and Jack Goodman, a longtime Washington, D.C.-based communications attorney. “Their incredible leadership and vast experience are exactly what we need to continue our mission of preserving, protecting, and promoting radio and television broadcasting’s rich and incredible history.”

Executive Committee members elected to additional two-year terms include Gary Chapman, Mary Collins, Jack Goodman, David Kennedy, and Ginny Hubbard. Additionally, Dave “Chachi” Denes was elected to serve on the Executive Committee.

The following LABF Board members were elected to serve new three-year terms: Heather Birks, Mike Carter, Chandra Clark, Ginny Hubbard, Harry Jessell, Deborah Parenti, Walter Podrazik, Dan Spears, John Taylor, Joyce Tudryn, and Dennis Wharton.

Other current serving LABF board members include Pierre Bouvard, Sally Brown, April Carty-Sipp, Tony Coles, Mike Conway, John Dille, Erica Farber, Dr. Caroline Frick, Dr. Judy Kuriansky, Jim Morley, Leo MacCourtney, Brian Phillips, Patsy Smullin, Jeff Smulyan and Julie Talbott.

Sam Bush is the executive vice president, treasurer, and chief financial officer of Saga Communications, a Nasdaq-listed media company dedicated to acquiring, developing and operating broadcast properties. Saga operates 114 stations across 28 U.S. communities with a growing focus on digital, e-commerce, and nontraditional revenue initiatives. Since joining Saga in 1997, Sam has held leadership roles, including vice president and treasurer, and was promoted to executive vice president last year. He also serves as vice chairman and head of the Human Resources Committee at Gleaners Community Food Bank and is a past chair of the Media Financial Management Association. He has degrees from the University of Indianapolis and Purdue University’s Krannert Graduate School of Management.

Heather Cohen is president of The Weiss Agency, a leading broadcast talent agency representing prominent local and syndicated personalities. Her illustrious career includes serving as vice president of programming at Greenstone Media, assistant program director at radio station WOR New York and executive producer of “The Joan Hamburg Show.” Cohen’s accolades include the Judy Jarvis Memorial Award from Talkers Magazine and being named one of Radio Ink’s Most Influential Women in Radio annually since 2014. She also co-chairs the Gracie Awards and serves on the Broadcasters Foundation of America’s board of directors. She holds a degree from Hofstra University, where she leads the executive board of its alumni organization.

Mike McVay is the president of McVay Media Consulting, a firm specializing in content creation, programming, syndication, podcasting, talent coaching and media training. With over four decades of experience, McVay has been executive vice president of content and programming for Cumulus Media and Westwood One and has launched numerous successful syndicated programs. A 2021 inductee into the West Virginia Broadcasters Hall of Fame, McVay serves on the boards of the Alliance for Women in Media Foundation and Country Radio Broadcasters and is a voting member of the Country Music Association and The Academy of Country Music. He was named to the LABF “Giants of Broadcasting” in 2024.

Ernesto Mourelo is vice president of digital news at Hearst Television, where he oversees digital content and distribution strategies across Hearst’s local stations. With a career that spans leadership roles in television and digital news, Mourelo manages Hearst’s national content production and video distribution across digital platforms, contributing significantly to the evolution of news delivery.

The LABF is the philanthropic arm of the Library of American Broadcasting, which houses the nation’s most extensive collection of broadcast history, policy, and tradition. The collection, preserved at the University of Maryland, includes historical documents, professional papers, oral and video histories, books, scripts, and photographs.

Early last year, Netflix made a $5 billion deal to acquire rights to stream WWE’s flagship weekly wrestling show beginning this month.

The inaugural Netflix episode averaged 2.6 million households (live-plus-same day) in the U.S., according to VideoAmp, which is 116% higher than ‘Raw’s’ average 2024 U.S. audience of 1.2 million households on cable’s USA Network higher than any other ‘Monday Night Raw’ broadcast in the past five years. The event also more than doubled the 18-to-49-year-old audience vs. last year.

Netflix also reported that the X hashtag #WWERaw was the No. 1 trending topic in the U.S., Brazil, Australia, and the U.K. as soon as the show started. #WWERaw trended No. 1 for 14 consecutive hours in the U.K. and occupied six of the top 7 trending topics in the U.S. #RAWonNetflix and #WWEonNetflix also trended in Brazil, Mexico, Spain and the U.S., Netflix reported.

In addition, Netflix reported that WWE generated 223 million social views across platforms on the day of the Netflix ‘Raw’ premiere, more social views than any ‘Raw’ episode in 2024.

The debut of R”aw‘ on Netflix, which took place at a sold-out Intuit Dome in Los Angeles, set a company record as the highest-grossing WWE arena event of all time. Additionally, the event set a merchandise sales record, becoming the highest-grossing non-premium live event of all time.

Netflix is now the exclusive home of ‘Raw’ in the U.S., Canada, the UK, Australia and Latin America, among many other global territories. Netflix is also the exclusive home of ‘SmackDown,’ ‘NXT,’ archival content and all WWE premium live events—including ‘WrestleMania,’ ‘Royal Rumble,’ ‘SummerSlam’ and more—in most international markets.

When the launch of Venu was announced last year, Fubo—a virtual multichannel video programming distributor (vMVPD) that focuses on live sports—filed a lawsuit against the studios over anticompetitive concerns. On Dec. 16, a federal judge ruled against the studio’s attempts to have the lawsuit dismissed. Three weeks later, the studios said they had settled their differences with Fubo, making way for the launch of Venu.

As part of the settlement, announced Monday (Jan. 6), Disney, Fox and WBD will make an aggregate cash payment to Fubo of $220 million. In addition, Disney has committed to provide a $145 million term loan to Fubo in 2026 as part of the transaction. In addition, Disney will acquire a 70% majority stake in Fubo and combine it with Disney’s Hulu + Live TV MVPD service.

In its letter to the DOJ, DirecTV used the department’s own words when it issued a preliminary injunction in favor of FuboTV.

“Defendants have paid Plaintiff to ensure cooperation from an aggrieved competitor, but the settlement does nothing to resolve the underlying antitrust violations at issue,” the letter read. ”Instead, this settlement restores ‘an anticompetitive runway for the JV Defendants to control the future of the live pay TV market.’ ”

DirecTV said it is joining “nonparty EchoStar Corporation’s request that the Court preserve its legal and factual findings given the significant public interests at stake.” DirecTV announced its intention to merge with EchoStar last year but dropped its bid in November, citing its board’s concerns over debt that would have been incurred.

“The Court concluded that the Venu joint venture—and the exclusive right to license unbundled sports networks that it would enjoy—would allow Defendants to ‘drive out competitors’ like DirecTV from the live pay TV market, ‘all to the detriment of consumers and competition,’ ” DirecTV told the DOJ. “The Department of Justice agreed that the launch of Venu would ‘lessen … current competition by giving Defendants a path to collective dominance and foreclosing Venu’s rivals.’ ”

DirecTV added that the settlement “clears the path for Venu to launch unencumbered by removing the injunction the Court imposed to preliminarily prevent the immediate and irreparable harms the JV launch presents,” adding that it is one of “several non-parties that expressed ‘grave concerns’ ” about the impact Venu would have on competition for sports programming, given that Venu would “offer content in a manner that [the Defendants] do not allow DirecTV or other distributors to offer to consumers.”

DirecTV accused the three studios of attempting to buy their way out of the DOJ's injunction.

“The preliminary injunction has protected consumers and distributors alike from the JV Defendant’s scheme to ‘capture demand,’ ‘suppress’ potentially competitive sports bundles, and impose consumer price hikes. By this settlement, Defendants pay off and seek to subsume the very competitor that raised these antitrust violations to the Court. However, Defendants cannot purchase their way out of the antitrust violations.”

DirecTV said it “continues to evaluate its options with respect to the joint venture, the parties’ settlement, Defendants’ tying practices and other anticompetitive harms, and it joins EchoStar in requesting that the Court reject any effort by the Defendants to vacate any prior rulings or findings in this case.”

The Spectrum Alliance is an independent project managed by NABA, which unites broadcasters, content creators, rightsholders, venues and others in media and production to protect spectrum critical for broadcasting, wireless microphones, wireless cameras and other RF production elements.

In addition to broadcasters, the group is backed by the NFL, MLB, the United Football League and the United States Tennis Association.

Other members of the Alliance are the ATSC, CP Communications, Gotham Sound, NEP, RF Wireless, Sound Devices, and current NABA members.

Brad Cheney, vice president of field operations and engineering at Fox Sports, will chair the Alliance.

Spectrum usage has dramatically increased in North America over the past years, yet the region has suffered significant losses in spectrum over the same period, the group reported.

“Sports is not the only industry impacted by the wireless spectrum shortage,” Cheney said. “News operations, theaters and concert venues, as well as theme parks and other entertainment hubs, are struggling with spectrum scarcity. The Alliance will take a stand against further erosion of this resource on behalf of all of us.”

The Alliance will host two webinars in January that lay out the threats to wireless mics and cameras. These will be open to Alliance members and non-members. Interested parties can get more information and register for the events at these links for Jan. 14 and Jan. 16.

“As more concerned users of spectrum join the Alliance, our voice will grow stronger in advocating for our collective interest before the FCC, and internationally at the Inter-American Telecommunication Commission (CITEL) and the International Telecommunication Union (ITU),” said Rebecca Hanson, director-general of NABA. “It is critical that we take our seat at the table to protect our industries and the public interests they serve.”

The North American Spectrum Alliance will build its calendar of events in January, 2025, which will be available later this month at www.nabanet.com/naspa/. Membership in NABA is not required to participate in the Spectrum Alliance. For more information on joining the Alliance, please contact Rayne Morgan at rayne@nabanet.com.

As required by law, the increases match changes in inflation measured by the consumer price index, which rose by 17.41% from the first effective date of 2020 fees in April 2021 to April 2024. The new fees will take effect 30 days after they are published in the Federal Register.

“Section 8(b)(1) of the Communications Act of 1934, as amended … requires the Commission, in every even-numbered year, to adjust the schedule of fees for processing applications to reflect increases or decreases in the Consumer Price Index (CPI), rounded to the nearest $5 increment,” the FCC explained in a Jan. 7 order announcing the new fees and costs for different types of filings.

Commissioner Brendan Carr, who has been tapped to chair the FCC in the incoming Trump administration, complained “this means some applications now cost hundreds, or in some cases, thousands of dollars more than they did just a few years ago. It is difficult to support what is ultimately a direct tax increase on startups and other job creators at a time when they are already battling rising costs from inflationary policies.”

Carr noted however, that “the FCC does not have much of a choice here given the law,” which requires that fees be adjusted to keep pace with inflation. “So I will be voting to concur,” he said.

The full order is available here.

Inscape has a nationally representative household that is based on more than 24 million opted-in devices. Data from TVision’s passive measurement panel will give Inscape the ability to unlock and understand consumer co-viewing behavior—critical to media owners and buyers seeking to evaluate audiences and make marketing decisions, the companies said.

The extended partnership also will provide data to help publishers better understand and capitalize on cross-platform consumer viewing behavior to inform distribution decisions. It also provides marketers with business insights from TVision’s industry-leading regional coverage.

“Synergizing TVision’s person-level viewing activity across all linear and CTV, hundreds of apps, and thousands of programs with Inscape’s nationally representative data and measurement will help all parts of the industry become smarter and make better decisions,” TVision CEO Yan Liu said.

The agreement builds on several recent announcements by Inscape to further strengthen its measurement capabilities. In November, Inscape and EDO announced a partnership that will help fuel outcomes measurement. In September, it struck a partnership with local video advertising provider Locality to help brands plan, measure and manage local ad reach. And at the beginning of 2024, the company rolled out Smart TV Tuner technology in order to bring big data to the local landscape.

This year, NBCU is starting a two-year run of premium, English and Spanish-language programming to celebrate NBC’s 100th-anniversary milestone in the fall of 2026.

“NBCUniversal has long been a leader in innovative storytelling and advertising technology,” said Mark Marshall, chairman, global advertising and partnerships, NBCUniversal. “Our One Platform ecosystem has maximized our marketers’ reach and scale over the past five years to prove TV is a performance vehicle in a way no other product in the marketplace has. Now, as we head into our next century, we are kicking off a slate of unrivaled content combined with cutting-edge technology and exceptional end-to-end advertising solutions that will drive demand in new ways and provide long-term viability for our clients.”

At CES, NBCU introduced viewer and advertiser experiences on Peacock with new formats and product features. It also showed creative optimization capabilities including new predictive ad models to forecast creative impact for the world’s biggest live events.

Peacock’s “Live in Browse” feature brings live events to life on the home page, automatically playing in the top row as soon as viewers open the app. Beginning this month, “Live in Browse” will be available for marketers to align their brands with these highly visible marquee moments.

Additionally, NBCU is making its Pause Ad format available within live events. Pause Ads on Peacock drive a 43% lift in site visitation for brands and 43% higher memorability compared to standard ads, NBCU said, demonstrating the effectiveness of this format.

Looking ahead, Peacock will begin piloting new product features on its iOS and Android mobile apps this month to drive fan engagement around its most popular titles even deeper. These daily mini-games and prediction games, along with new curated vertical video playlists of can’t-miss clips from Peacock’s biggest shows, will be tested prior to a broader rollout, unlocking new potential opportunities for advertisers, NBCU said.

NBCU has also developed new predictive ad models to forecast and improve the performance of ads.

NBCUniversal said its Ad Creative Engine uses generative AI, machine learning and statistical models to understand the the historic performance of ad creative within specific content and predict how creative will perform for specific KPIs, including brand awareness, message breakthrough, ad likability and search engagement.

NBCU is now expanding this capability to the biggest moments in live event content, with new models for golf and ad innovations, including Pause Ads and Engagement Ads, as well as an updated Super Bowl ad model for February, leveraging three times more data points since 2018.

In addition, NBCU has tested the effects of aligning the emotional metadata of advertiser creative with that of content using AI and machine learning to drive impact on mid- and lower-funnel conversion. Preliminary tests have shown a double-digit lift in emotionally congruent ad and content pairings. NBCU plans to make this capability more widely available later this year, it said.

At CES, NBCU also released new data showing the effectiveness of TV advertising. Highlights include:

• NBCU’s One Platform total audience campaigns had generated a 32% increase in purchase intent and a 33% increase in brand favorability; a 2 times increase in search engagement; and a 64% increase in incremental store visits, as well as 28% greater reach, 22% higher search engagement, and a 7% lift in prescription conversions
• NBCUniversal was the first publisher partner for Adobe Real-Time CDP Collaboration, a solution that brings publishers and advertisers together to discover, reach and measure high-value audiences. Through the beta test, advertisers experienced two times more efficient conversion, 10 tmes better match rates and 90% lift compared to standard audience onboarding.
• Consumer packaged goods brands that participated in NBCUniversal’s retail media data collaboration pilot with Instacart saw a return on ad spend of 8 to 17 times, with an average of 37% new-to-brand buyers on Instacart.
• During a successful real-time outcome measurement beta period, NBCUniversal tracked conversions attributed to streaming campaign exposures in flight. Upon completion of the campaigns, advertisers saw an average 8.5 times increase in ROAS, indicating the overall effectiveness of NBCU's streaming environment. This measurement capability will be generally available beginning in Q1.

NBCUniversal also announced that it is a launch partner for Comcast’s “Universal Ads” (UA), a cross-publisher advertising solution enabling new advertisers simplified access into the premium video category

In a statement about UA, Marshall said: “The North Star of advertising has always been combining the premium reach of linear with the precision of data-informed targeting for marketers. Now with Universal Ads, we are delivering that vision to businesses of all sizes. TV has always been a performance vehicle for brands, and UA puts the scaled reach and premium content that TV is known for into the hands of marketers everywhere.”

AMPP is Grass Valley’s microservices-based media production platform enabling efficient and flexible production workflows for live content creation, management, and distribution.

“AMPP has become a cornerstone for live production on a global scale—from local sporting events to major international programming for Tier 1 media brands—enabling customers to reduce operational costs, gain flexibility, and drive new revenue streams,” Grass Valley President and Chief Operating Officer Jon Wilson said.

Grass Valley’s strategic partnerships with key players such as Diversified, ES Broadcast and Arabsat further underline the company’s commitment to enhancing product innovation for the broadest possible mix of customers, it said.

“Broadcast-grade production technology is no longer the preserve of traditional broadcasters and TV networks,” Grass Valley executive chairman and CEO Louis Hernandez Jr. said. “Access to cutting-edge media production solutions is now within reach for a broader pool of organizations, a transformation that technology providers such as Grass Valley have been instrumental in enabling.”

Hernandez will explore these themes during his keynote session at ISE 2025’s AV Broadcast Summit on Feb. 5. He will demonstrate how technology solutions from Grass Valley enable a new roster of media publishers to deliver high-quality productions.

“The ongoing democratization of media solutions will see accelerating deployments of technology in non-traditional broadcast environments such as corporate, education, and houses of worship, as well as providing areas like sports, live events and esports with new production and streaming capabilities,” he said.

See Grass Valley at ISE 2025, booth 4P660.

More information is available on the company’s website.

The deployment relies on Appear’s hardware-accelerated SRT technology to connect 11 sub-affiliate sites across the nation to a central master control room (MCR) and playout operation in Porto Alegre, Brazil. Previously each site had its own MCR and playout, the company said.

“Centralizing our MCR and playout operations required a robust solution that seamlessly connects a multitude of feeds from various sites across [the] South of Brazil into our facility in Porto Alegre. Appear’s SRT-enabled X Platform meant we could integrate feeds from different interfaces and sources with ease,” Grupo RBS engineering manager Roberto Hoffmann said.

SRT is rapidly becoming the preferred protocol for primary video distribution for broadcasters thanks to its ability to overcome the obstacles of traditional broadcast delivery over unreliable networks, according to Appear. This is especially important when streaming content from central playout facilities to geographically dispersed local affiliate stations, Appear said.

One of the main challenges in primary distribution over the public internet is ensuring broadcast-quality signal integrity, where packet loss, jitter and unpredictable bandwidth can challenge traditional transport protocols. SRT effectively tackles these issues with error correction mechanisms, adapting to network quality, Appear said.

“Appear’s proactive approach in understanding our needs from the beginning was paramount to the project’s success,” Hoffman said. “It was actively involved in the proof-of-concept process, proposing effective solutions that perfectly aligned with our needs. Moreover, the X Platform met all technical requirements and was the right size for the project. Our partnership with Appear not only enhances our operational efficiency but also paves the way for better broadcast experiences in Brazil, through reducing points of failure and enabling us to concentrate on ensuring that our single super-playout center is the most advanced in LATAM.”

Appear’s X Platform SRT solution provides low-cost channel transmission over the public internet, according to the company. It enables replacement of expensive satellite links and dedicated fiber circuits. SRT also empowers operators to reduce the transport budget of moving studio functionality such as media asset management to the cloud, Appear said.

In a single 2RU chassis, Appear’s X20 Platform as an SRT gateway can handle up to 1,536 connections (12 cards with 128 connections per card) and up to 72 Gigabits of SRT traffic. SRT enables organizations to change the economics of migration to Internet distribution in their favor, it said.

Signiant’s technology allows large media files to move quickly and securely through the media supply chain regardless of where they are stored.

“Signiant’s solutions, including its Media Shuttle product—which uses a proprietary protocol to move files over any IP network, between both public cloud and on-premises storage locations—are high-quality and extremely sticky among its customers,” Battery Ventures principal Roland Anderson said. “We’re excited to work with the company to fuel further growth, both organic and through potential acquisitions.”

Some of the world’s largest media and entertainment companies in sectors such as postproduction, professional sports, gaming and broadcast/cable TV rely on the company’s products. Among its customers are NBCUniversal, Warner Bros. Discovery, Ubisoft and the NHL, it said.

The company is now expanding the functionality of its file-transfer SaaS platform in pursuit of adjacent media service customers. Signiant will use the investment from Battery to fund product development and go-to-market activities, as well as potential future acquisitions in the media technology space, it said.

“We are thrilled to partner with Battery, a firm with a long history of scaling enterprise SaaS businesses, to begin writing the next chapter of the Signiant story,” Signiant CEO Margaret Craig said. “Both the company and the media industry are at inflection points. We feel our solutions are uniquely suited to meet the current moment in media and entertainment, which demands the type of efficiency and fast time-to-value that only a modern multitenant SaaS platform can deliver.”

Battery Ventures partner Dave Tabors said Signiant has successfully developed technology to assist media companies move large files. “In our view, Signiant has cracked the code on how to tackle this problem, building a robust SaaS business to facilitate the transfer of these files in a secure way. And we see the opportunity to grow the company’s market even more,” he said.

Both Anderson and Tabors will join Signiant’s board, the company said.

Pharus served as exclusive adviser to Signiant on the transaction with Mintz Levin acting as counsel.

More information is available on the company’s website.

Well-suited for fixed and mobile installations, the Encode 1000 handles a wide range of signals from NDI and SMPTE ST 2110 to traditional SDI. The portable unit supports a variety of applications across enterprise, government, hospitality and live-event production, Cinegy said.

The Cinegy Encode 1000 is 7.87 by 7.87 by 1.96 inches (20 by 20 by 5 centimeters) and weighs 4.4 pounds (2 kilograms). It offers four bidirectional 12G SDI ports and is powered by an Intel i9-1390H processor. The encoder handles up to four simultaneous UHD streams while maintaining broadcast quality standards, the company said.

Cinegy will also make the ISE debut of its Cinegize remote access solution, which it says offers ultralow latency performance previously only available with hardware IP KVM systems. Cinegize supports resolutions up to 8K with comprehensive color space options, it said.

Cinegize delivers sub-20ms latency in LAN environments and sub-100ms over WAN. This enterprise-ready solution features GPU optimization for NVIDIA, AMD and Intel with built-in security encryption, it said.

The company will also feature its Cinegy Multiviewer. A single instance can monitor hundreds of feeds across multiple displays, supporting formats from traditional SDI to cutting-edge IP standards including NDI, SRT, and SMPTE 2110.

See Cinegy at ISE 2025 in booth 4J550. More information is available on the company’s website.

Since 2018, Smith has been news director at KCCI-TV, a Hearst-owned CBS affiliate in Des Moines, Iowa.

She takes over for Sean Oswald, who was tapped as president and general manager of Hearst-owned ABC station WISN-TV Milwaukee.

“Allison is an accomplished news leader who has demonstrated success in every opportunity she has earned,” Hearst Television President Michael J. Hayes said. “She brings an understanding of the region which will accentuate the strength of the leadership team at one of our most successful properties.”

The new post marks a return to Nebraska for Smith, who graduated from Waverly High School near Lincoln before earning her bachelor’s degree in broadcast news from Drake University in Des Moines and starting her career at KCCI as news producer. She then moved on to producer and executive producer roles in Ohio and Pennsylvania before rejoining Hearst in 2014 as assistant news producer at WLWT Cincinnati. She returned to KCCI as news director in December of 2018, only the station’s fourth-ever news director and the first woman in that post.

Under Smith’s tenure, the station in 2023 won 16 Iowa Broadcast News Association Awards, including first place for Overall Excellence, Best Newscast and Best Sportscast, as well as six regional Edward R. Murrow awards. In 2023, she was named News Director of the Year by B+C. The Iowa Broadcasters Association named Smith its broadcaster of the year for 2024. She has won three regional Emmy Awards, two for Outstanding Newscast and one for Interview/Discussion Program.

KCCI under Smith’s guidance received the NAB Leadership Foundation’s Service to America Award in 2023; KETV received the same distinction last year.

Smith serves on the Board of Trustees for the Iowa Freedom of Information Council and as a member of the Waukee Rotary. She holds an MBA from Iowa State University.

This effort marks the first time a pay TV provider will offer dynamic ad insertion into in-flight TV programming, the company said.

“DirecTV has always been in the business of delivering the right message to the right audience at the right time,“ DirecTV Advertising Chief Advertising Sales Officer Amy Leifer said. “But as Live TV viewing shifts beyond the traditional household, we have to think differently about how we define the ‘right place.’ DirecTV Remote will give marketers the ability to tell their brand’s story through premium video, embarking on a journey to reach audiences without walls, while driving tangible business results.”

In launching the effort, DirecTV reported that the growth of retail media networks; digital billboards, growing mobility functionality, and digital programmatic buying will help OOH ad spending surpass $9.5 billion in 2025.

DirecTV also cited data showing that 76% of digital out-of-home viewers took an action after seeing an ad, like visiting a website, going to a store or making a purchase.

DirecTV Advertising reported that it is currently in market with media buyer Starcom and Best Buy as the first partner to advertise using the OOH offering beginning this week.

“As the advertising landscape becomes increasingly omnichannel, the line between online and offline continues to blur,” Alyssa Kelly, senior vice president of strategy and planning at Starcom, said. “OOH is no longer just a standalone tactic—it’s a critical component of comprehensive media strategies that drive results. We’re thrilled to collaborate with DirecTV and Best Buy on this innovative initiative, enabling our clients to unlock new opportunities for engagement and impact.”

(Editor’s note: Run3TV, originally developed and promoted by Pearl TV and the Pearl Network consortium as a broadcast application framework for 3.0, was spun out as an independent entity in July 2024. Thus, both the entity and the framework/platform are now called Run3TV.)

“Broadcasters are using our platform to both offer viewers additional choices for streamed content from their local libraries, advanced viewing features such as Program Re-Start and Smart applications such as enhanced weather forecasts,” Run3TV CEO Michael Collette said.

[Also Read: More TV Tech Coverage of News From CES]

“One of the key benefits of ATSC 3.0 is the ability to give viewers both live, linear broadcasts and ready access to applications from local stations,” Colette said. ”We’re very pleased to select Velope.tv to develop a new streamlined starter version of our application. The starter app will include configurable weather and traffic functions for viewers and enable stations to get the benefit of summary data analytics on viewing habits.”

Velope.tv’s starter application gives broadcasters a simpler way to leverage 3.0 more fully. “This extensible Starter Application will provide an easy way for broadcasters of all sizes to deliver immediate consumer benefits to their NextGen TV viewers and a strong foundation for future Run3TV-powered features,” Velope.tv CEO Michael Gregor said.

Run3TV is focused on developing a thriving ecosystem for developers, many of which have recently signed on, he said. Among the new Run3TV developers being highlighted at CES are: ClickVizion, Fincons Group, GlobalLogic, Happiest Minds, Oxagile and Velope.tv.

“There’s tremendous interest on the part of local broadcasters to have applications that can be built and deployed that can accurately measure viewing activity, especially noting the amount of TV viewing time and the total audience with younger viewers,” Collette said. “Run3TV is working to improve the consumer experience, ensure robust privacy practices, and also give broadcasters a better idea of which types viewers are actually watching and when.”

Run3TV continues to search out new developers to assist in identifying customers and building their businesses, he said.

See Run3TV applications at CES in the ATSC booth in the Central Hall of the Las Vegas Convention Center, booth 20340.

More information is available on the Run3TV website.

The deal includes 29 stations owned by Nexstar, three owned by Mission Broadcasting and one owned by White Knight Broadcasting.

Together, the 33 stations reach more than 14 million U.S. television households.

As is typical in these types of deals, financial terms were not disclosed.

D’Amato served as interim executive director since last October, when David Grindle stepped down. The SMPTE board of governors subsequently named her executive director, a role she began Dec. 18.

“I’m honored to accept the role of executive director,” D’Amato said. “After more than two decades with the society, I’m humbled to be chosen as its leader. I will continue to work toward a society that is efficient, innovative and united. My goal as executive director is to encourage more collaboration across sections to create more opportunities for members, strengthen the standards community and reinforce the organization's infrastructure. This will be enacted through a mission we’re calling ‘We Are All One SMPTE.’”

D'Amato joined SMPTE in 2001 as an administrative assistant. Two years later, she was promoted to executive assistant. In 2005, she was elevated to director of operations. Eleven years later, she became director of events and governance liaison and was responsible for planning and executing events, as well as working with the board, SMPTE said.

Among her accomplishments at SMPTE are helping to enact the current bylaws and operations manuals and production of the Media Technology Summit since 2005, as well as a virtual version during the COVID-19 pandemic. She also produced the SMPTE centennial celebration in 2016, the group said.

“Sally-Ann has been a tremendous asset to SMPTE, and will continue to be in this new role,” SMPTE president Renard T. Jenkins said. “She has proven her commitment, qualifications, and talent time and time again, and when asked to lead the Society, she didn’t hesitate to step up. Her performance in the role of interim executive director has already had a positive impact on the society. I believe she will lead SMPTE to a brighter future, and I look forward to helping her do just that.”

More information is on the SMPTE website.

Powered by Montage system-on-chip (SoC) and enabled with Advanced HDR by Technicolor technology, the new receiver allows HDR television owners to receive premium HDR broadcasts from Sinclair and other major broadcasters, including PBS, Gray Television and Capitol Broadcasting. Consumers with SDR televisions also benefit from enhanced SDR picture quality when using the receiver to access NextGen TV services, the companies said.

“The implementation of a NextGen TV receiver, powered by Tolka and Advanced HDR by Technicolor, broadens access to HDR and SDR content for a growing audience,” Tolka Vice President Alex Day said. “This device makes it possible for more viewers to enjoy NextGen TV broadcasts with exceptional picture quality.”

The receiver will deliver live NextGen TV broadcasts, including HDR content, across more than 100 channels nationwide.

“With the new NextGen TV receiver powered by Tolka, we’re delivering Advanced HDR by Technicolor’s optimized viewing experience to a wider range of consumers. Whether live or on-demand streaming, the solution ensures consistent, high-quality content on any screen,” Rick Dumont, head of business development for HDR at Philips, said.

[Also Read: More TV Tech Coverage of News From CES]

The growing availability of both live and on-demand content is driving increased consumer demand for HDR-capable TVs, the companies said.

“As broadcasters, we’re seeing increased demand for HDR-quality content as consumers become more aware of the difference it makes,” Matthew Goldman, vice president of strategic and technical initiatives at Sinclair, said. “Our ability to deliver live and on-demand programming in HDR ensures we meet these expectations and provide an exceptional experience across a wide range of devices and viewing environments.”

See new NextGen TV receivers and demos at ATSC’s CES 2025 booth in Central Hall, booth 20340.

More information is available on the Tolka and Advanced HDR by Technicolor websites.

Sharp is now the fourth manufacturer producing Xumo TVs, joining Element, Hisense and Pioneer.

The TVs will be available in 50-, 55-, 65-, 75- and 85-inch screen-class sizes and are designed to make it easier for consumers to find content.

“Xumo’s platform is all about making streaming easy for customers—getting them to the content they want to watch faster and spending less time searching across apps to find something new,” Stephanie Cassi, senior vice president, sales and marketing, Xumo, said. “We believe that combining our intuitive user interface with Sharp AQUOS QLED creates a best-in-class viewing experience.”

[Also Read: More TV Tech Coverage of News From CES]

“As we continue to expand our presence in the U.S. TV market, we're looking to pair Sharp AQUOS QLED with an operating system that delivers a streaming experience that meets the demanding needs of today's viewers," added Jim Sanduski, president of Sharp Home Electronics Company of America. “Xumo is the perfect partner because they help unlock the overall immersive experience we'd like our customers to enjoy when watching our AQUOS QLED TVs.”

The Xumo TV experience is built on the entertainment operating system that powers tens of millions of devices from Comcast and partners worldwide. Key features include seamless content discovery, voice search and personalization.

In addition to the Xumo operating system, the Sharp AQUOS QLED TVs will offer a frameless, 4K UHD screen with Quantum Dot Wide Color Gamut technology, which enhances Dolby Vision HDR and HDR10 content to look lifelike with near-perfect color reproduction.

The TV will also enable the pass-through of Dolby Atmos sound from supported content sources when connected to a compatible audio device.

This signals growth in consumer spending on tech products and services, according to CTA’s U.S. Consumer Technology One-Year Industry Forecast. But the CTA has also updated its “How Proposed Trump Tariffs Increase Prices for Consumer Technology Products” report to indicate that tariffs on technology products could lead to a $90 billion to $143 billion decline in U.S. consumer purchasing power.

[Also Read: More TV Tech Coverage of News From CES]

According to the CTA, purchases of laptops and tablets could decline by as much as 68%, consumption of gaming consoles could fall off by as much as 58% and consumption of smartphones could drop by up to 37%.

“The tech sector is America’s economic engine, driving global innovation and job creation,” CTA CEO Gary Shapiro said. “Our positive forecast reflects the industry’s strength, but proposed tariffs threaten the deflationary power of tech in the global economy. Tariffs are a tax on American businesses and consumers. We urge the incoming administration and Congress to prioritize an Innovation Agenda that fosters growth.”

“Connected TV combines the impact of television with the precision of digital advertising,” DPG Media Chief Digital Officer Stefan Havik said. “With our new interactive brand lift surveying product, DPG Media allows advertisers and agencies to better understand the impact of this channel, making it more accountable than ever before.”

The solution uses a custom VAST (Video Ad Serving Template) ad tag, integrated into the video player, to deliver brand-lift measurement in real time within the CTV environment, DPG Media said.

The new approach measures the frequency and time of campaign exposure and then delivers a single question directly to users’ CTV device, enabling instant response via remote, DPG said.

Each measurement delivers campaign results across four key brand outcomes: awareness, consideration, preference and action intent, the company said.

"Having measured over 40,000 campaigns, Brand Metrics has always been committed to proving the impact of digital advertising on brands,” Brand Metrics CEO Anders Lithner said. “We are therefore delighted to announce this exciting partnership with DPG Media, proving that broadcasters and media owners can now also measure CTV campaigns directly on the device, thereby helping us move towards a more transparent and addressable ecosystem."

More information is available on the DPG Media website.

The launch promises to offer a major boost to the visual and audio quality of in-auto viewing of feature films.

IMAX Enhanced is designed to deliver IMAX’s signature picture and sound outside of a theatre. With this agreement, RIDEVU will deliver select IMAX Enhanced films featuring IMAX’s expanded aspect ratio (EAR), its proprietary DMR process and DTS:X sound, available in multiple dubbed languages.

[Also Read: More TV Tech Coverage of News From CES]

The IMAX Enhanced movies from Sony Pictures’ library include such features as “Venom: The Last Dance,” “Spider-Man: No Way Home” and “Uncharted.”

SPE’s RIDEVU service is available in the U.S., Canada, Japan, the United Kingdom, Ireland and Germany. The service is fully integrated with select original equipment manufacturers, including Mercedes-Benz as the first global automotive OEM. It offers access to thousands of movies to buy, rent or stream.

Designed for the car, RIDEVU connects Sony Pictures films with its advanced streaming technology, allowing consumers to enjoy hours of entertainment on built-in screens or on iOS and Android devices being used in the car.

Using Screen Manager, users can easily control playback across all screens from the center screen and entertain passengers with individual or shared viewing experiences on up to six screens. Content can be accessed by the driver (while parked) and front- and rear-seat passengers.

“By deepening our collaboration with IMAX, we’re demonstrating our unwavering commitment to providing discerning consumers with immersive experiences that transform every journey,” Pete Wood, senior vice president of digital sales, distribution, SPE, said. “By delivering IMAX Enhanced content through RIDEVU, we are showcasing what is possible as we push the boundaries of content and audio delivery in the car starting in Mercedes-Benz models later this year.”

Vikram Arumilli, senior vice president and GM, streaming and consumer technology at IMAX added that “we are bringing our most immersive sound experience directly to the vehicle in a way that hasn’t happened before. With this collaboration, we’re not just providing a quality audio experience, we’re helping bridge the gap between home and vehicle, delivering personalised entertainment where consumers want it.”

The service is being demoed in a Mercedes-Benz E-Class vehicle at CES from Jan. 7-10 at Xperi’s booth 5840 in the West Hall of the Las Vegas Convention Center.

The new features include the ability to generate a summary of news stories that could directly compete with TV news outlets.

[Also Read: More TV Tech Coverage of News From CES]

In one demo, TechCrunch reported that by asking Gemini to play a “News Brief,” the AI assistant “will scrape news stories from across the internet and YouTube video headlines posted by trusted news channels, and will produce a brief summary to catch you up on the day’s events.”

The new features for the latest version of its TV operating system will begin rolling out later this year on select Google TV devices.

They will allow “you and your family … to gather together and have a natural conversation with your TV. This will make searching through your media easier than ever, and you will be able to ask questions about travel, health, space, history and more, with videos in the results for added context.”

“The Gemini model on Google TV also enables you to do other things like create customized artwork with the family, control your smart home devices while your TV is in ambient mode and even get an overview of the day’s news,” the blog said.

The group reported that a host of new ATSC 3.0 receivers and enhanced broadcast services will reach U.S. consumers this year, with RCA launching a lineup of NextGen TV sets and new ATSC 3.0 accessory receivers from ADTH, MyVelo, Stavix, Vbox, Zapperbox and Zinwell among the new consumer products showcased at ATSC’s booth.

Expanded High Dynamic Range, interactive gaming, and digital signage options are also on show this week, as local stations and networks take advantage of the key benefits of next-generation broadcasting—including the ability to launch virtual channels with internet connections, the group said.

The displays come at as the ATSC 3.0 broadcast standard is now widely deployed in the U.S., South Korea and Jamaica, with Brazil also recommending ATSC 3.0 to power its DTV+ service. Additionally, tests of ATSC 3.0 broadcasts are on the air in Trinidad and Tobago, India, Mexico, and Canada, the group said.

“More than three-quarters of U.S. viewers now have access to NextGen TV broadcasts, and at CES we’re very pleased to see the addition of RCA as a sixth TV manufacturer to join the roster of those offering NextGen TV sets, a list that now includes nearly 100 different receiver models,” Madeleine Noland, president of ATSC, said. “The first affordable USB-style receivers will also soon be available from ADTH for Android and Fire TV devices. These new products will reach even more consumers, with millions already enjoying NextGen TV receivers at home.” Panasonic recently returned to the U.S. television market with several OLED models powered by Fire TV equipped with NextGen TV electronics, and the addition of RCA in 2025 will bring even more choices to consumers planning a display upgrade.

More specifically, the group said that technologies from six TV and six accessory device manufacturers are on display this week at the ATSC booth at CES, including more than a dozen different types of NextGen TV products, device software offerings from Tolka and Mirakulo, the Run3TV broadcast application, and Advanced HDR from Technicolor. NextGen TV displays from Hisense, Panasonic, Samsung, Sony, RCA, and TCL are in the ATSC exhibit, as are ATSC 3.0 accessory receivers from ADTH, MyVelo, Stavix, Vbox, Zapperbox, and Zinwell.

In addition, ATSC’s NextGen TV “Wall of Champions” in its booth highlights growing investment across the ecosystem. “We invite CES attendees to experience all these innovations in person at the booth. Plan your visit for 2 p.m. on Tuesday, Jan. 7, to join us for a much-deserved coffee break sponsored by Rohde & Schwarz,” Noland said.

ATSC will be showcasing NextGen TV’s ability to transmit digital data for new purposes such as digital signage. ATSC will feature a new signage kiosk equipped with everything necessary to offer messaging—including an antenna for over-the-air reception, a receiver and on-board storage and playback. In the ATSC booth, the signage kiosk managed by USSI Global will feature local headline news, traffic and weather updates, emergency alerting and advertising messages and promotions from KTVN-TV, the Las Vegas ABC affiliate owned by E.W. Scripps.

Also on display will be enhanced services from broadcasters for HDR and interactivity.

More than 200 NextGen TV services in the U.S. now include HDR, with many also adding immersive Dolby Atmos audio to daily broadcasts, the group said.

At CES, Sinclair is showing a side-by-side demonstration of the eye-popping consumer benefits of HDR, highlighting the enhanced picture quality made possible with ATSC 3.0 HDR broadcasts compared to standard ATSC 1.0 digital TV broadcasts. Local stations started adding HDR to sports broadcasts in 2024, greatly expanding offerings that take advantage of what the ATSC 3.0 standard makes possible. Today, more than 80 million viewers have access to NextGen TV with HDR.

In terms of interactivity, ATSC said that many stations are enhancing local content with the Run3TV broadcast app, which offers on-demand programming from local stations and opens the door for interactive content such as program restart and hyperlocal weather forecasts. The ATSC exhibit will also demonstrate gaming over NextGenTV by GameLoop, which is launching a new channel and its “Play Now” feature, which allows NextGen TV viewers to instantly play games showcased on the channel by using their TV remote or mobile phone.

In addition, broadcasters are also using the ATSC 3.0’s internet protocol backbone to add channels and local content streamed through internet connections, the group said.

For more information, visit www.atsc.org.

FIFA+, the organization’s free digital streaming platform, offers live soccer matches from around the world and video content on men’s and women’s soccer games. It offers more than 40,000 live matches per year, ranging from major leagues to grassroots games, as well as decades of archival footage.

"FIFA+ includes football content from every corner of the globe, aligning with FIFA's vision to ensure football unites the world," said Masahiro Aono, CEO of ACCESS Europe. "We are thrilled to extend the reach of FIFA+ by partnering with automobile OEMs and smart TV brands and operators, to make premium football content freely accessible to fans worldwide. This collaboration underscores our commitment to enhancing the viewing experience for sports fans everywhere."

The integration of FIFA+ with ACCESS Europe’s offerings gives fans access to high-quality video streams of live matches and on-demand content in their cars and on their smart TVs.

ACCESS Europe provides white-label in-vehicle infotainment, smart TV and OTT ecosystems. FIFA+ integration with its solutions will make it possible to reach millions more Smart TV users.

More information is available on the company’s website.

The multiyear deals feature ongoing carriage of Paramount's networks, including CBS, BET, Comedy Central, MTV, Nickelodeon, Paramount Network and others. Comcast subscribers will also retain access to Paramount's popular streaming services, including Paramount+, Pluto TV and BET+. Additionally, as part of the renewal, Comcast has the right to make Paramount+ with Showtime available to qualifying Xfinity customers.

Terms of the agreement were not disclosed.

“We are pleased to renew and expand upon our broad partnership with Comcast,” Paramount Distribution President Ray Hopkins said. “This new deal ensures that our dynamic portfolio of popular brands and premium programming continue to reach and entertain our valued audiences everywhere.”

“Paramount Global is a valued partner, and we are excited to continue providing Xfinity customers with access to their traditional and streaming content across our industry-leading entertainment platforms,” John Dixon, senior vice president, entertainment, Comcast Cable, said. “This agreement gives us the ability to offer customers more choice and flexibility in what they want to watch and how they want to watch it.”

Ball, who starts in her new role next month, will be tasked with overseeing the company’s technology strategy and with leading its technical teams to deliver cutting-edge solutions, the company said.

A 25-year TV production veteran, Ball has held several leadership positions at the BBC, where she led the technical aspects of such high-profile sports telecasts as the Wimbledon tennis tournament, soccer’s FA Cup and the London Marathon, as well as the Commonwealth Games and the Olympic Games.

“We are thrilled to welcome Narinder to the team,” EMG/Gravity Media Chief Operating Officer Charlie Cubbon said. “Her leadership, technical acumen, and strategic vision will be invaluable as we continue to innovate and expand our offerings. We are confident that Narinder will help us achieve our ambitious goals and strengthen our position as a leader in the industry.”

As technology director, Ball will focus on driving technological innovation within broadcasting and production, including advancing content delivery platforms, optimizing media workflows and scaling infrastructure to support high-demand streaming and production environments, EMG/Gravity Media said. She’ll also lead the company’s efforts to enhance its cybersecurity measures and explore new technologies to improve audience engagement, content personalization and the overall viewer experience, the company said.

“I am excited to join EMG/Gravity Media at this pivotal moment in its journey,” Ball said. “The combined group has a tremendous foundation, and I look forward to collaborating with the talented team here to drive technological advancements that will create even greater value for our customers and stakeholders.”

The E.W. Scripps Co., Gray Media, Nexstar Media Group and Sinclair have formed EdgeBeam Wireless to provide expansive, reliable and secure data delivery services. Leveraging the one-to-many nature of broadcasting and ATSC 3.0’s inherent internet protocol-based transport, the new venture is taking aim at industries that need to send data to multiple customers, often in real time, EdgeBeam Wireless said.

“The launch of EdgeBeam Wireless is the culmination of many years of technological advancement, market development and, importantly, recognition by government regulators of the expanded services local broadcasters can provide through ATSC 3.0 technology,” Scripps president and CEO Adam Symson said. “Scripps is pleased to join forces with its peer companies to create not just a new company but a marketplace that will allow us to more deeply serve our local communities while providing a wide variety of industries with efficient data-transmission services nationwide.”

Wireless data delivery via 3.0 offers data customers a notably cost-effective solution that complements and enhances current wireless solutions. EdgeBeam will be able to deliver data across the country to any civilian, military or industrial device with an ATSC 3.0 receiver, such as cars and trucks, drones, marine vessels, phones, tablets or television sets, it said.

“With adoption of ATSC 3.0 receivers in television sets continuing to increase with more models available and sets sold every year, Gray Media is eager to join EdgeBeam Wireless to expand the user base for our broadcast signals to a new category of businesses and to spur the wider deployment of receiver chips in an expanded range of handheld units and vehicles,” Gray Media Executive Chairman and CEO Hilton Howell said.

In automotive applications, EdgeBeam could deliver software updates, infotainment, precision navigation and safety enhancements. An internal estimate pegs the annual value of the addressable market for automotive connectivity services as $3.7 billion, EdgeBeam said.

Providing reliable wireless data transport in content delivery network applications, EdgeBeam can improve the experience of customers that stream content without buffering or lag, especially during high-profile live events with large audiences like sports events. The total addressable market for CDN services is estimated at up to $3.65 billion per year, it said.

In enhanced GPS applications, 3.0 can improve location information accuracy from meters today to a few centimeters. EdgeBeam estimates the addressable market for enhanced GPS services at $220 million per year, it said.

“Our long-held belief is that the transmission of high-speed data via our broadcast infrastructure represents a new way forward for the broadcast industry and a new stream of potentially significant revenue,” Nexstar Chairman and CEO Perry Sook said. “Nexstar is pleased that these four broadcast groups have come together to create this important new venture.”

By bringing together the spectrum footprints of Scripps, Gray, Nexstar and Sinclair, EdgeBeam achieves coverage no broadcaster could on its own, bringing the possibility of nationwide 3.0 coverage for data delivery within grasp, it said.

EdgeBeam anticipates partnering with other broadcasters for additional capacity to offer truly nationwide services. A national ATSC 3.0 footprint would enable broadcasters to provide a complementary backup to the existing GPS system, offering a reliable failover in the event GPS satellites experienced interference and helping to secure the U.S. economy, EdgeBeam said.

“This is a groundbreaking development for the broadcast industry,” said Sinclair president and CEO Chris Ripley. “We’re thrilled to partner with other leaders in our industry to chart a new path forward and develop new revenue opportunities. EdgeBeam Wireless will have benefits for the entire wireless ecosystem, helping to relieve congestion while also offering competitive pricing for wide-area data distribution.”

Financial details of the joint venture were not disclosed.

More information is available on the Scripps, Gray Media, Nexstar and Sinclair websites.

The partnership integrates Moments Lab’s Media Hub, Live Asset Manager, and MXT-1.5 multimodal AI with LucidLink’s storage collaboration platform. Together, they offer video professionals an intuitive, seamless and lightning-fast workflow, the companies said.

“Moments Lab and LucidLink’s solutions take content production teams from point A to point B in their live video workflows without the need to download and re-upload files to begin building, editing and distributing content,” said Frederic Petitpont, chief technology officer and co-founder of Moments Lab. “LucidLink’s technology is instant, secure, and truly empowers creative teams to work collaboratively in ways they couldn’t before.”

Added LucidLink CEO Peter Thompson: “LucidLink simplifies content collaboration and enables real-time access to even the largest files. Partnering with Moments Lab, with its groundbreaking AI indexing and content discovery technology, significantly accelerates the process of finding the key moments needed to build great content. This enables creatives to focus on what they do best— crafting captivating stories.”

Global media brand Brut, known for its short-form video content, beta-tested the Moments Lab and LucidLink integration during the 77th Cannes Film Festival. As the festival's official media partner for the third consecutive year, Brut captured live streams from red carpets, ceremonies, and interviews, with teams working on-site in the south of France and from its offices in Paris, New York and New Delhi. The Moments Lab platform made the festival streams instantly accessible, enabling journalists to quickly select the best moments and send them to their LucidLink filespace for fast editing and publishing.

This efficient workflow helped Brut achieve record-breaking results for the iconic celebration of cinema. More than 600 million views were generated across the Brut France, Brut America, and Brut India social platforms, a 90% year-on-year increase in views across all social platforms, including Instagram and TikTok and making it Brut’s most successful Cannes coverage to date, according to Ghislain Marais, head of social media at Brut.

“Roku’s extensive scale sets us apart in the streaming industry, with more engagement than any other TV OS platform in the U.S.,” Roku founder and CEO Anthony Wood said. “Thanks to our laser focus on simplifying and enhancing the streamer’s journey, Roku is the preferred choice for millions of viewers. I’m grateful to our customers, partners, advertisers, and employees for helping us reach this notable milestone.”

Roku launched its first connected streaming devices in 2009 and its Roku TV program in 2014. In addition to North America, Roku is also available in Europe, Latin America and Australia. The Roku Channel is a top 10 streaming service in the U.S. and has seen over 80% year-over-year growth, the company said.

“Tubi’s momentum is growing as audiences increasingly value a premium entertainment experience that is also 100% free, fun and reflective of culture,” Tubi CEO Anjali Sud said. “Our strategy is simple yet powerful: put viewers first by offering unique stories from unique storytellers, a vast selection of content to choose from and a delightful experience across devices. We let our viewers guide us and obsess over their engagement, and we are seeing the results.”

Tubi also reported that exclusive content has been gaining adoption on Tubi with nearly one in four viewers watching a Tubi Original. “Sidelined: The QB and Me,” a young-adult romance, premiered in November and brought in more viewers than any title in Tubi’s history in its first week and the most new viewers for any Tubi title ever. In the last six months, six Tubi Original films hit Variety’s Streaming Originals Chart, which ranks the most-watched streaming originals every week based on data sourced from Luminate.

In addition, the majority of Fortune 100 brands are now advertising on Tubi as more advertisers seek to reach the growing population of cord-cutters and cord-nevers, the streamer said.

Overall, the report said the U.S. broadcast TV and radio station industry will decline 9.3% to $32.83 billion in total advertising revenue in 2025 from $36.19 billion in 2024, primarily since it is a nonelection and non-Olympic year. In 2025, a nonpolitical year, S&P estimates total TV station revenue, including retrans, will decline 6.9% to $37.60 billion from $40.40 billion in 2024, although this is $517 million higher than the prior nonpolitical year 2023, with core national spot down 4% and local spot ad revenue ticking up 2%.

In the report, Seth Shafer, senior research analyst at S&P Global Market Intelligence, argues that “2025 could prove to be a pivotal year for the global media landscape as more sports programming and advertising dollars flow towards streaming services. Intense competition could see a rise in mergers and deal-making, especially in the U.S. where media firms are firmly focused on profitability and deregulation could be on the rise.”

Other key trends include:

• Cord-cutting in the U.S. will persist and continue to pressure linear TV networks. Total traditional U.S. multichannel households will decline by 9.3% in 2025 as more consumers “cut the cord” in favor of digital video and streaming alternatives.
• Carriage disputes will result in more creative bundling options as operators push back on rate hikes from stations and networks. Subscriber declines will also continue to pressure traditional pay TV video margins, resulting in cost-cutting decisions to drop certain networks and push back on rising carriage fees. Even so, the report stressed that both network owners and pay TV operators remain incentivized to keep the traditional bundle alive, resulting in creative bundling strategies and mutual concessions to adapt to the market environment.
• Box office recovery will continue in the wake of the 2023 Hollywood strikes The domestic box office entered its fourth year of recovery in 2024. It had been steadily improving from 2021 and 2022 after the COVID-19 pandemic decimated the 2020 box-office year. Total box office grew 98.3% in 2021 to $4.33 billion and 69.2% in 2022 to $7.32 billion. Total 2023 box office ended up at $9.16 billion, growing 25.2%, but still down significantly from the totals of more than $11 billion from prior to the pandemic, the report said.
• In the current sports media-rights landscape, the expenses associated with broadcasting games have surged significantly, coinciding with an increasingly fragmented audience spread across various video platforms as more rights shift to streaming.

The scholarship, open only to those attending a four-year college or university, is intended to help students from diverse backgrounds reflecting the broadcaster’s audiences nationwide, the company said.

Eligibility requirements and a scholarship application is available on the company’s website.

The first NBA game on the list of free OTA broadcasts will feature the Pacers versus the Golden State Warriors at 7 p.m. on Jan. 10.

“It’s an exciting time for Pacers basketball and we’re thrilled to expand our reach so that more fans can access games, follow the team and stay connected,” PS&E CEO Mel Raines said. “We are incredibly thankful for our long-time partners, WTHR and Tegna, as they continue to help us deliver in-demand content to our growing and diverse fan base.”

The broadcast schedule includes five Pacers games on WTHR:

• Jan. 10, 7 p.m., vs. Golden State Warriors
• Feb. 8, 4 p.m., at Los Angeles Lakers
• March 14, 7 p.m., at Philadelphia 76ers
• March 15, 8 p.m., at Milwaukee Bucks
• March 19, 7 p.m., vs Dallas Mavericks

For years, software developers and solutions vendors have used the H.264 encoding capabilities of NVIDIA GPUs, which became a cornerstone of many media industry solutions, the company said.

With NVIDIA’s introduction of the Turing series of GPUs, the company ended H.264 interlace support. While this initially caused issues, the availability of the previous Pascal generation of NVIDIA cards made the situation manageable, Cinegy said.

However, Pascal-based hardware availability has now ended, and these cards no longer receive NVIDIA driver updates, significantly impacting many broadcast workflows.

Cinegy's latest Cinecoder SDK version 4.22 addresses the situation by enabling interlace H.264 encoding using Turing, Ampere and Ada Lovelace (current) generation NVIDIA GPU cards. This development benefits the broadcast and Media & Entertainment industries, which still deliver most of their content in this format, it said.

Current generation NVIDIA cards now offer higher performance, increased encoding throughput and improved energy efficiency, while newer cloud instances provide better value for money with up-to-date NVIDIA drivers, it said.

"This is a great achievement and at the same time a huge relief to all of us," Cinegy Chief Technology Officer Jan Weigner said. "Our customers were really struggling to find a solution, especially after the driver support for the Pascal-based cards ended. Now new NVIDIA cards can be used for H.264 interlace encoding, achieving much better performance. Also, when looking at cloud deployments, we do not have to limit ourselves to using AWS G3 instances, which were the AWS instances with Pascal series GPUs."

Benchmarks using standard test clips show that the Cinecoder interlace H.264 encoder for NVIDIA GPUs creates the same or better-quality output than the original NVIDIA Pascal series hardware encoder, the company said.

The encode performance of Ada Lovelace-based NVIDIA GPUs, the current NVIDIA generation, is around 500 frames per second (FPS) for H.264 1080i per NVENC encoder unit. This means that cards with two NVENC units, such as the RTX 4070 Ti, RTX 4070 Ti Super, RTX 4080 and RTX 4090 (or their professional counterparts like the RTX 4000 ADA and up), can encode around 1000 FPS, Cinegy said.

Cinegy's Cinecoder SDK can be licensed specifically for enabling NVIDIA GPU H.264 interlace encoding or for all additional encoding, decoding and media handling features. It is also home to Cinegy's proprietary Daniel2 codec, offering more than 10,000 FPS 4K encode and 30,000 FPS 4K decode capabilities, the company said.

More information is available on the company’s website.

The new Universal Ads platform is backed by a host of major TV players and media companies, including A+E, AMC Networks, DirecTV, Fox Corp., NBCUniversal, Paramount, Roku, TelevisaUnivision, Warner Bros. Discovery, and Xumo who have committed to be launch partners. More companies are expected to be announced in the coming months, Comcast said.

Launching in Q1, Universal Ads is built on top of FreeWheel’s ad technology and will seamlessly allow ad buyers and sellers to directly transact all in one place.

“Universal Ads has been purpose-built in response to what advertisers have been asking from Comcast,“ Comcast Advertising President James Rooke said. “That is, make TV simpler to buy, scale and measure in a way that is compatible with the needs of performance marketers, and really, all marketers. Comcast has tremendous assets across tech, media and data. Universal Ads brings those assets together in a way that has never been done before. And, just as importantly, we are thrilled that our partners, many of whom are already FreeWheel clients, have signed on to join us in this initiative, as we seek to transform the TV ad marketplace of the future.”

The effort is notable on several levels, including the fact that it is Comcast’s first-ever cross-industry collaboration at this scale. By strategically partnering with premium industry partners, Universal Ads will provide simplified access to audiences of premium content and will provide "full-funnel performance" for advertisers while opening new demand channels for publishers, Comcast noted.

“Universal Ads offers the solution to the fragmented premium video advertising category,“ Jeff Collins, Fox president of advertising sales, marketing and brand partnerships, added. “Coming together as publishers allows us to present a singular platform for brands of any size in any category to advertise in premium video — all with the ease and familiarity of buying on social. This is a terrific opportunity for advertisers and publishers alike.”

The effort also hopes to take advantage with growing disillusionment with social-media platforms. According to a 2024 study of 250 performance-based advertisers conducted by Comcast Advertising, 50% of advertisers who have never advertised on TV or only done so minimally felt that their ROI from social media buying had peaked or is diminishing, and 89% are willing to try TV advertising.

Comcast said Universal Ads is designed to attract advertisers who were limited in their ability to purchase premium, brand-safe inventory from some of the top TV publishers. Those clients can now access premium video at scale directly, with a simple, consistent buying experience regardless of the publisher, the cable operator said.

“The north star of advertising has always been combining the premium reach of linear with the precision of data-informed targeting for marketers,” said Mark Marshall, chairman, NBCUniversal Global Advertising & Partnerships. “Now with Universal Ads, we are delivering that vision to businesses of all sizes. TV has always been a performance vehicle for brands, and Universal Ads puts the scaled reach and premium content that TV is known for into the hands of marketers everywhere.”

More specifically, Universal Ads will offer:

• Universal Ads Manager, a free self-service, easy to use TV ads buying tool.
• Direct access to premium, brand-safe video that reaches over 90% of U.S. households.
• Plans to offer free, automated AI creative production of TV commercials.
• A marketing API, which will enable developers to build reporting, measurement, creative generation and other applications.

Comcast executive James Grant has been tapped to lead the Universal Ads initiative. On the product front, former Snap executive James Borow, who helped platforms such as Snap, Reddit and Discord launch their ad businesses, has been hired to lead the Universal Ads product and engineering teams, in collaboration with the FreeWheel product and technology team.

For more information visit www.UniversalAds.com.

Despite its benefits, many households overlook this resource due to the challenges associated with external antennas. By reintroducing built-in antennas into modern television sets, these barriers can be eliminated, ensuring OTA broadcasting continues as a vital, equitable and efficient medium in the digital age.

OTA Broadcasting in the Streaming Era: Challenges and Potential
Despite its longstanding history and wide availability, OTA broadcasting faces a curious contradiction: it offers content at no cost, yet accessibility challenges make it less appealing.

External antennas, once a standard feature of television viewing, have largely disappeared as minimalist TV designs dominate the market. This trend has inadvertently restricted access to a resource with immense potential, especially for diverse communities.

Barriers to Accessibility
External antennas present significant barriers to widespread adoption. Many viewers find setting up external antennas technically complex and intimidating. Achieving optimal signal reception often involves trial-and-error adjustments, which can be frustrating and time-consuming, particularly for those unfamiliar with the technology.

Aesthetic concerns also discourage use; sleek, modern interiors often clash with the visible, cumbersome nature of external antennas. In urban settings, especially for apartment or condominium residents, restrictions on antenna placement add another layer of difficulty. Geographic challenges further exacerbate accessibility issues.

In rural or remote areas, specialized antennas are often necessary to achieve strong reception, a requirement that adds complexity and discourages adoption even in communities that stand to benefit most from OTA broadcasting.

Societal Consequences
The difficulties in accessing OTA broadcasting have far-reaching societal implications. Limited access to OTA content diminishes community engagement by reducing the shared experiences facilitated by local programming, such as live sports or emergency updates. This decline weakens the collective understanding and connection within communities. Local broadcasters, whose revenues rely on advertising, suffer as viewership dwindles.

This financial strain undermines their ability to produce high-quality content, further compounding the cycle of declining interest. Moreover, limited access to OTA broadcasting jeopardizes public safety by reducing the reach of critical emergency alerts, leaving households unprepared during crises such as natural disasters or severe weather events.

The Unique Value of OTA Broadcasting
Unlike streaming platforms that depend on stable internet connections, OTA broadcasting operates independently of broadband infrastructure, making it particularly valuable in areas with limited connectivity or during service outages.

OTA broadcasting can deliver content to an unlimited number of receivers without additional infrastructure costs, a feature that makes it inherently scalable and efficient. These qualities reinforce its role as a vital component of a balanced media ecosystem, complementing the on-demand nature of streaming platforms.

Built-in Antennas: A Path To Accessibility and Equity
Reintegrating antennas into television sets directly addresses the accessibility challenges posed by external devices. Built-in antennas simplify the process, eliminating technical and physical barriers while presenting OTA broadcasting as a modern and practical alternative to streaming services. By integrating the antenna into the television sets, viewers gain a straightforward plug in-and-play solution that benefits a range of audiences. Those less familiar with technology can access OTA content without navigating complex setups, while urban households with space-conscious living environments benefit from an unobtrusive solution. In areas where high-speed internet is unavailable or unreliable, built-in antennas offer a dependable source of news, entertainment, and emergency alerts.

By expanding the viewership of OTA broadcasting, built-in antennas maximize the use of the public spectrum, a finite resource allocated for societal benefit. This broader utilization enhances the impact of OTA broadcasting, fulfilling its role as a public service. Reintegrating antennas also align with media accessibility principles.

Contemporary theories, such as postphenomenology, argue that unnecessary technological complexity creates barriers between users and content. Simplifying access fosters a direct connection with OTA content. Media ecology theory further emphasizes the need for diverse platforms in the media landscape. OTA broadcasting, with its real-time content, complements streaming services and strengthens civic engagement and cultural connection.

Advances in Antenna Technology
Modern technology has made it possible to integrate antennas into television designs without compromising aesthetics or performance. Innovations such as compact antenna designs allow for discrete integration within slim TV profiles, ensuring high-quality reception while maintaining visual appeal. Smart signal-tuning technology enables automated optimization of reception, adapting to environmental or geographic variables without manual intervention. Hybrid designs offer flexibility, combining built-in antennas with optional external connections for areas with challenging signal conditions.

The potential of built-in antennas extends beyond hardware integration. Smart TVs can incorporate OTA capabilities into their interfaces, presenting OTA channels alongside streaming services in a unified menu. This integration bridges traditional broadcasting and digital media, enhancing user experience through features like voice search and personalized recommendations. Televisions equipped with intelligent switching technology could seamlessly alternate between OTA and streaming content delivery, offering the best option for any given program without user intervention.

Broader Benefits of Built-in Antennas
The reintegration of built-in antennas offers significant benefits across various domains. For households, it provides access to free, high-quality programming without the need for additional equipment or subscriptions.

This is particularly impactful for families in areas with limited broadband access or those seeking cost-effective alternatives. Local broadcasters benefit from increased OTA viewership, which boosts advertising revenue and supports the production of high-quality, localized content.

Television manufacturers gain a competitive edge by offering products with advanced built-in antenna features, such as smart tuning or integrated interfaces, adding value for consumers. Enhanced access to OTA broadcasting also strengthens public safety by ensuring more households receive timely emergency alerts, particularly in scenarios where internet services are disrupted.

Implementation Strategies
Achieving the potential of built-in antennas requires a coordinated effort. Collaboration among television manufacturers, broadcasters, and policymakers is essential to developing high-performance integrated designs that meet existing and future OTA standards.

Consumer awareness campaigns can educate the public on the benefits of built-in antennas, dispelling misconceptions and repositioning OTA broadcasting as a modern and reliable option. Policymakers can support these efforts through regulatory incentives that encourage manufacturers to include built-in antennas while preserving the spectrum allocations necessary for OTA broadcasting. Content investment is also crucial; engaging, high-quality programming is essential to attract and retain viewers, showcasing the unique advantages of OTA broadcasting.

Measuring Success
The success of this initiative can be measured by increased OTA viewership, higher engagement with local content, and improved dissemination of emergency alerts. Surveys and audience data provide valuable insights that inform continuous improvements in both technology and content delivery.

Conclusion
Reintroducing built-in antennas offers a forward-thinking solution to revitalizing OTA broadcasting. By removing access barriers and embracing modern design, this initiative ensures the continued availability of free, reliable content for all. It reflects a broader commitment to accessibility, equity, and the public good.

As a cornerstone of public media, OTA broadcasting’s universal access, cultural connection and environmental efficiency remain indispensable in the digital age. Through thoughtful collaboration and innovation, built-in antennas bridge OTA’s legacy with the demands of the streaming era.

New technology enables higher quality options now and in the future for content producers such as TV, movie and game studios, while enabling multiple distribution platforms. Higher 96 Gbps bandwidth and next-gen HDMI fixed-rate link technology provide optimal audio and video for a wide range of device applications. An end user can be assured their displays will support a native video format in the best way possible and can deliver a seamless and reliable experience, the Forum said.

“The HDMI Forum’s continuing mission is to develop specifications to meet the HDMI ecosystem's growing demand for high-performance capabilities and features,” Chandlee Harrell, president of the HDMI Forum, said. “This new specification supports the fast-evolving landscape for amazing new technologies and products entering the markets now and in the future.”

Higher resolutions and refresh rates will be supported and more high-quality options will be provided. Faster 96Gbps bandwidth improves demanding data-intensive, immersive and virtual applications such as AR/VR/MR, spatial reality and light field displays as well as various commercial applications such as large scale digital signage, medical imaging and machine vision.

Also included is Latency Indication Protocol (LIP) for improving audio and video synchronization, especially for multiple-hop system configurations such as those with an audio video receiver or soundbar.

The specification includes a new Ultra96 HDMI Cable supporting 96Gbps bandwidth and enabling all the HDMI 2.2 Specification features. It is part of the HDMI Cable Certification Program requiring each model length to be tested and certified and display a Certification Label.

The new specification will be available to all HDMI 2.x adopters and they will be notified when it is released in H1 2025.

Roku Data Cloud connects advertisers, agencies and partners with accurate and reliable information from its TV operating system (TV OS), offering extensive insight into viewership habits, preferences and identity.

The company’s partners can access Roku Data Cloud via Roku’s clean room, driving outcomes via inventory in Roku Exchange. Roku Data Cloud offers brands a greater understanding of viewers and how to reach them more precisely, and provides a means to unearth ad campaign data to inform future strategy across all phases of the marketing cycle, the company said.

“Starting with Roku Exchange, we have been working for greater interoperability in the entire programmatic ecosystem, and Roku Data Cloud is the perfect next step on delivering business outcomes for our advertisers,” said Miles Fisher, senior director of strategic advertising partnerships at Roku.

“As the No. 1 selling TV OS, we believe Roku is in the best position to help advertisers reach consumers and is shepherding digital precision to the largest screen at home,” Fisher said. “We are committed to making Roku more accessible and performant, and Roku Data Cloud is a milestone of progress.”

Roku is partnering with companies across the planning, activation and outcomes and measurement phases of the campaign journey.

Expanding on existing partnerships, Roku will integrate its TV data into marketing intelligence platforms for planning, including:

• Omnicom Media Group, which will leverage the new solution to maximize the effectiveness of clients’ spend on the streaming platform, combining Roku viewer data with customized audience data in Omni, the open operating system that supports all Omnicom agencies, thereby enabling more precise planning and relevant messaging.
• PMG’s Alli, which allows media planners to gain valuable insights into audience behavior and preferences to tailor and optimize client campaigns. With the ability to plan directly addressable audiences, Alli connects strategic insights to media trafficking in an end-to-end solution that ensures marketing campaigns can be effectively targeted.

The company also plans to expand its partnership with Yahoo with three new integrations: enabling Yahoo ConnectID through the Roku Data Cloud, directly connecting the Roku Exchange to Yahoo Backstage and activating Roku audiences on the Yahoo Demand-Side Platform (DSP). Through the partnership, advertisers are expected to have seamless access to Roku inventory and later this year apply Roku audiences in the Yahoo DSP for enhanced targeting and performance across an entire campaign, it said.

To address outcomes and improve CTV measurement, Roku is partnering with:

• Innovid, which intends to collaborate with Roku to share in-flight campaign information. This allows the Roku Exchange additional signals to optimize for multiple KPIs, including reach, unique reach and conversions, to increase campaign effectiveness, relevance and impact.
• iSpot, a previously announced partner, which intends to continue to work with Roku on incorporating Roku signals into its measurement suite and share in-flight campaign insights for optimized campaign performance.

More information about Roku Data Cloud, Roku Clean Room and Roku Exchange is available online.

The NBC deal follows Scripps’ successful affiliation agreement renewal with CBS last fall, which covered Scripps-owned stations including WTVF Nashville and CBS-affiliated markets in Montana.

The new NBC agreement, effective Jan. 1, 2025, includes WGBA Green Bay, Wisconsin; WTMJ Milwaukee; KRIS Corpus Christi, Texas; KTGF Great Falls, Montana; KTVH Helena, Montana; WLEX Lexington, Kentucky; KOAA Colorado Springs, Colorado; KJRH Tulsa, Oklahoma; KSBY San Luis Obispo, California; WPTV West Palm Beach, Florida; and KSHB Kansas City, Missouri.

“This expanded agreement recognizes our decades-long partnership with NBC as well as the importance of our TV stations in providing trusted local news reporting, emergency weather alerts and community coverage to these markets,” Dean Littleton, Scripps executive vice president, media broadcast operations, said. “Moreover, it illustrates the ongoing strength of the network-affiliate model and the enduring value of our local stations.”

“We look forward to continuing our longstanding relationship with Scripps, bringing their viewers the leading broadcast network and vital entertainment, news and sports content,” NBCUniversal president, affiliate relations Phil Martzolf said. “As we enter 2025 and look forward to exciting programming like the NBA, we will continue to work with our partners to innovate our NBC offerings on behalf of viewers nationwide.”

The show will see the introduction of new ATSC 3.0 receivers, ranging from high-end NextGen TV sets to affordable accessories that can transform Android and Fire TV devices already in consumer homes into 3.0 receivers. New interactive channels using NextGen TV broadcast, expanded support for HDR and other developments will also be on display.

“We are very excited about the expanded offerings from accessory device manufacturers for NextGen TV,” Pearl TV managing director Anne Schelle said. “The new, low-cost ADTH USB receiver, powered by Tolka, is built for existing Android and Fire TV televisions and will, at a very affordable price, expand the reach of NextGen TV into homes who already have those sets. ADTH is also about to introduce a new model that works without an internet connection and will be doing a software update for deployed ADTH devices to give them the same functionality. In addition, Zinwell is adding pause functionality to their accessory device, with an add-on hard disc drive. In 2025, RCA is also coming to market with two new NextGen TV sets that will join TV options already available from Panasonic, Sony, Samsung, Hisense, and TCL. We congratulate all of the manufacturers who are selling thousands of receivers each day to consumers looking for the best possible video and audio quality from local stations.”

During the show, attendees will also be able to see how broadcasters are loading up new services with new features for NextGen TV viewers, including interactive gaming options that will be launched by GameLoop.

GameLoop TV launches in Las Vegas on local NextGen TV channel 3.2 and will bring gaming directly to viewers with no additional hardware or subscriptions required. At the heart of GameLoop’s innovation is the channel’s exciting “Play Now” feature, which allows NextGen TV viewers to instantly play games showcased on the channel simply using their TV remote or mobile phone.

“We also salute TV broadcasters Gray and Sinclair, who are working to bring fun, interactive gaming to the living room through GameLoop—a service that utilizes NextGen TV for web-based family fun that will work seamlessly with millions of installed NextGen TV sets. Easy interactivity is literally going to be a game-changer for viewers,” Schelle predicted.

Pearl TV also reported that HDR functionality is now live on more than 200 local NextGen TV services throughout the country, with more being added to enhance viewing of key sports games and other spectacles.

Broadcasters are promoting the advantages of NextGen TV this sports season on stations throughout the country and plan to continue these promotions as they continue to rollout HDR and Dolby Atmos services nationwide.

A holiday promotion effort in NextGen TV markets that began before December continues through early February, with broadcasters now indicating onscreen to viewers when local NextGen TV programming is available in High Dynamic Range (HDR).

"We're very excited to announce that broadcast stations throughout the country are adding HDR10+ capability in their NextGen TV broadcast services to accommodate a broad array of TV manufacturers,” Schelle said. “With other flavors of HDR that also may be present in the service, this allows every receiver to present the best picture possible, showing that local television just keeps getting better and better, which is exactly what we promised with the rollout of NextGen TV services.”

In addition to providing better video quality through HDR, many markets are also adding Dolby Atmos audio coding, which delivers immersive audio capabilities.

"HDR began for sports with the Kentucky Derby last spring,” Schelle said. “It really made the Olympic Games pop with brilliant video. We know that sports is a big driver for buying new TV sets as well as for enjoying broadcast services—your favorite games look even better in High Dynamic Range.“

Pearl TV also stressed that local stations are also using ATSC 3.0 to add more channels through broadcast internet protocol, or broadcast IP. These additional channels, available as NextGen TV channels, have added more choices for viewers in a range of markets, from public to commercial broadcasters who now have their programming available for NextGen TV viewers.

Pearl TV is backed by Cox Media Group, Graham Media Group, Gray Television, Hearst Television, Nexstar Media Group, Sinclair, E.W. Scripps and Tegna.

More information is available at https://pearltv.com/for-broadcasters/.

Hub’s semiannual “TV Advertising: Fact vs. Fiction” survey indicates most consumers prefer to watch TV ads in exchange for lower subscription costs, particularly those concerned about the economy and potential inflation.

This marks a significant turnabout in viewers’ acceptance of TV ads; in the dawn of the streaming age, low-cost monthly subscriptions for ad-free viewing were all the rage. As streaming services went global, production and distribution costs ramped up, resulting in increased subscription rates, which led to cancellations and lower uptake. Streaming companies, led by Netflix, began offering ad-supported subscription tiers in recent years to attract and retain subscribers, with others soon following suit.

Any doubts about the success of such tiers were quickly settled as Netflix reported recently that 70 million subscribers worldwide signed up for ad-supported subscriptions just two years after launch.

So it’s not surprising Hub reported that a full two-thirds of viewers who responded to its survey now say they would prefer to watch content with ads if it brings down the cost of a TV subscription. Notably, there has been a growing preference for ads over the past three years among people who say they cannot tolerate ads. As viewers add more TV services, and those services increase prices, lower-cost alternatives are persuading consumers who dislike ads to consider ad-supported content, Hub said.

With many free, ad-supported streaming TV platforms (FASTs) and AVODs now offering live-TV options, especially in news and sports, consumers are finding more options for live viewing. Although streaming services are still mainly used for on-demand viewing, one third of viewers’ time is spent with live streaming.

Since a great deal of live TV content is formatted for commercial breaks, two-thirds of viewers find advertising more tolerable than in on-demand programming. The positive sentiment toward live TV ad breaks is even more prevalent among younger viewers.

Ad breaks in live TV give many viewers a welcome break in the programming. For live sports in particular, ads are seen as part of the regular rhythm of the action. The positive reaction to ads in live TV subsequently leads to greater attention to the ad breaks, compared to on-demand programming.

According to Hub, when asked a series of questions about characteristics of ads that would garner more of their attention, viewers were most likely to cite rewards for viewing. The next three most-cited drivers of attention were all associated with fewer ads, though: shorter ad breaks, shorter ad length and a single ad per break.

Although many streaming services provide countdown clocks or ad counters, fewer viewers agreed those features earned more of their attention during ad breaks.

Among the lowest-ranked ad break features were those requiring viewer participation: games, interactive ads, or product links. Pause ads, another common practice among streaming services, also scored low on attracting viewers’ attention.

As more TV services have introduced ad-supported offerings, viewers are acclimating to that reality and embracing it, Hub said. The number of consumers who say they are intolerant of TV advertising continues to decline. What is particularly noteworthy is the viewers who say they cannot tolerate ads are the ones who are coming around to accepting ads for lower subscription costs, according to the researcher.

“Over the past three years, it’s clear most viewers prefer watching ads if they can save on TV subscriptions. More recently, we’re seeing that even the most ad-intolerant consumers are deciding the trade-off of watching ads for lower costs is worthwhile,” said Mark Loughney, Hub Research Senior Consultant. “There is plenty of good news here for streaming services and their advertisers. Most consumers think the amount of advertising is reasonable, especially in live viewing. As streamers add more live content, especially sports, advertisers will have greater opportunities to reach more viewers who are paying full attention to their messages.”

These findings are from Hub’s 2024 ”TV Advertising: Fact vs. Fiction” report, based on a survey conducted among 3,000 U.S. consumers age 14-74 who watch at least one hour of TV per week.