Jody Neckles

Streamline your audio monitoring with the D*AP8 MAP by Jünger Audio. This compact processor combines Dolby® metadata handling, loudness compliance, EQ, and bass management in one unit, giving studios precise control over multi-channel audio while saving space and setup time.

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Is cloud production hard? Not anymore. On the contrary - setting up your switching in the cloud means: - no dedicated hardware - instant access to production ready machines - access for your entire team - tools like SRT, multi steaming and NDI ready to go And so much more. I’ve been using vMix in the cloud for daily productions and doing it on my Mac. With my local Stream Deck controlling everything. Team members have the same access as me. Remote guests come in from everywhere. And when I’m done? Shut down and I’m ready for the next show. I’m no longer limited to where I produce from. I can do it in a web browser, on a Mac or from an Airport lounge and hotel room (yes, I’ve done it). *this is not a paid endorsement* and I say that because it will surely sound like it :) How? Thanks to Michael Lange and his Cloud Studio Masters courses. I’m a big fan of leaning on the experience of others to learn and hit fast-forward on my learning. This was by far the best investment of the past five years and has allowed me to open the door to whole new type of client and production. Now he’s made a production ready machines click away in the AWS Marketplace. One less step in getting going. Very cool Michael Lange - keep it up!

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30 years in broadcast: Why people matter more than technology I began my career as a broadcast engineer believing success was straightforward: master every cable, every feed, every fix, and progression would follow. In those early years, I focused entirely on delivering perfect results — understanding technology inside out, staying curious to learn more, and solving problems quickly. As time passed, and as I worked across cities and countries, a deeper realisation took shape. Technical skills open doors, but people carry you through them. Behind every major event — Olympics, FIFA, or the IPL — it wasn't technology that kept things running. It was the people. The producer who trusted me with a critical transmission. The foreign technician who stepped in when problems hit. The colleague who recommended me for a new opportunity. The competitor who became a teammate during tight deadlines. These relationships mattered as much as any system we built. Working across cultures, languages, and time zones taught me that broadcast engineering demands precision and agility, but collaboration often decides success. Over 30 years, I kept learning and adapting — from analogue to digital, from manual rigs to cloud setups. Yet when pressure mounted, it was trust, teamwork, and clear communication that kept projects alive. Broadcast engineering means embracing a nomadic existence. Work took me to 67 countries. Airports, control rooms, hotel lobbies, and cities blurred over time. Each project felt like building a life from scratch. Home, I learned, is not a place. It is the people you work beside. Friendships and professional bonds form a network that outlasts jobs, projects, and borders. Time taught me is that people change. The engineer you disagreed with early on may return as a trusted partner later. The manager you misunderstood may become a strong supporter. Time, shared pressure, and common goals reshape perspectives. They teach patience, respect, and the importance of leaving relationships intact — even when things do not go perfectly. Here is what experience taught me: Stay curious about people as much as technology. Greet everyone with respect, especially when the pressure runs high. Stay open to new cultures, new ideas, and different ways of working. Forgive quickly, because careers are long and paths cross often. Protect your reputation carefully. It travels faster than any signal you will ever send. Some of my proudest moments did not happen during perfect transmissions or flawless shows. They happened quietly — during long nights troubleshooting problems, during recoveries when teamwork averted disasters, and during successful live broadcasts that only a close team knew almost did not happen. It was never just the shows or the signals that mattered most. Technology changes. Projects end. Cities blur. But the relationships will shape every step of your journey. #BroadcastLife #CareerAdvice #GlobalNomad #BroadcastEngineering

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Satellite vs IP Contribution: What Works Best in Emerging Broadcast Markets? As broadcast organisations modernise their contribution and distribution workflows, one recurring question continues to surface: Should we rely on satellite, IP, or a combination of both? In emerging broadcast markets, this decision is rarely straightforward. It is shaped not only by technology trends, but by infrastructure realities, cost considerations, and operational risk. Satellite contribution has long been the backbone of live broadcasting. It offers wide coverage, predictable performance, and independence from terrestrial infrastructure. For live events, national coverage, and remote locations, satellite remains a trusted solution although with clear constraints. Bandwidth cost, scaling, and flexibility. For broadcasters under pressure to reduce operating costs, these limitations are increasingly difficult to ignore. IP contribution, on the other hand, offers very different value proposition. Leveraging managed fibre, public internet, or hybrid networks, IP-based contribution enables flexibility, faster deployment, and easier integration with modern production workflows. Remote production, cloud-based processing, and multi-platform distribution become far more achievable with IP. Unlike satellite, IP contribution is only as reliable as the network infrastructure supporting it. In many emerging markets, the challenge is not choosing between satellite and IP, but recognising that neither solution is universally sufficient on its own. Urban centres may support robust IP contribution through fibre and managed networks, while rural or remote locations still depend heavily on satellite links. Even within cities, network reliability can vary significantly. This is why a hybrid contribution strategy is increasingly approach. Satellite can provide primary or backup paths for critical live events, while IP handles routine contribution, secondary feeds, and remote production workflows. When designed correctly, hybrid systems deliver both resilience and flexibility. Another critical factor is skills and operational readiness. Satellite workflows are familiar to many broadcast teams, while IP contribution requires closer collaboration between broadcast engineers and IT professionals. Successful deployment depends as much on training and operational discipline. In conclusion, the question is not whether satellite or IP is“better,” but which combination best aligns with operational realities, infrastructure maturity, and long-term strategy. Broadcasters that evaluate contribution technologies pragmatically rather than emotionally or trend-driven will be best positioned to deliver reliable content while controlling costs. How is your organisation balancing satellite and IP contribution today? -Broadcast Technology Executive | Satellite, IP & OB Systems #OWASPACE #OWASPACEBroadcast #SatelliteCommunication #IPBroadcasting #LiveContribution #ITInfrastructure #TechLeadership

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When I started my career in Broadcasting it was the mid 2000s when the shift to having Multi-Skilled Operators or MSOs. At the time, it was about margins and lowering costs, and there was a fear that it would reduce the level of skill in the industry. But not everyone could just “go live” and broadcast back then and the skills in camera direction, lighting, audio quality and story telling were retained and experienced passed on. Today the MSOs role is vital as companies develop strategies responding to the ever growing demand for content, and competing with an ever growing number of people able to “broadcast” content to the masses. The skill and craft of the MSOs are the differentiator, and I truely believe the customer would rather watch and well produced piece of content over a poorly produced one. With SimplyLive we want to offer those MSOs a tool that allows their skill and dedication to the craft shine.

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A brief history of TV audio: from mono to stereo, then digital TV with compressed data and wider bandwidth. Digital audio supports up to 5.1 channels but requires bit rate reduction. Lossy codecs discard inaudible information using masking curves. Dolby Digital frames consist of 1,536 audio samples. Next-generation audio (NGA) supports immersive, personalized audio and enhanced dialogue. Adopted by ATSC 3.0, DVB, ISDB, cable, satellite, and TV 3.0 in Brazil. NGA enables new features and improved audio experiences. #TVaudio #DigitalAudio #DolbyAtmos #NextGenAudio #ATSC3 #AudioTechnology

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ATSC (B2X) Multicast Broadcast Neutral-Host O-RAN System Architecture First paper to be published IBC 2025 https://lnkd.in/eRyCBMza ABSTRACT ATSC 3.0 is the most advanced digital broadcast standard. This paper introduces Broadcast-to-Everything (B2X), a new physical layer Radio Access Network (RAN) standard being developed by ATSC. B2X enables multiple users to share multiple radio frequency (RF) carriers in various IMT and broadcast bands (ranging from 5 MHz to 50 MHz). B2X is optimized for battery-powered devices. B2X builds on ATSC 3.0's Layer 1 (L1) and Layer 2 (L2) protocols where applicable and includes new L1/L2 control signalling. It operates within a Neutral-Host shared Open RAN (O-RAN) system, supporting a variety of services such as wearables, IoT, and Smart City applications with flexible Fast Fourier Transform (FFT) sizes of 128, 256, 512, and 1024. To ensure reliable and scalable performance, Orthogonal Frequency Division Multiple Access (OFDMA) is used, breaking the physical layer into Physical Resource Blocks (PRBs), each containing 24 subcarriers spaced 3 kHz apart. A scheduler allocates PRBs based on service needs, with Virtual Bandwidth Parts (VBP) assigned to each application. B2X is designed for efficient multicast and broadcast with carrier aggregation to increase capacity. It enhances mobile performance using intelligent Single Frequency Network (SFN) topologies, allowing content delivery over a wide-area SFN or cloud-based edge networks. For 5G/6G interworking and traffic offloading, B2X uses the O-RAN F1 interface to encapsulate the 5G/6G-PDCP (Packet Data Convergence Protocol) layer 2. The data is transmitted via B2X baseband over O-RAN fronthaul to SFN transmitter sites for emission. Dual-connected user equipment (UE/UBE (User Broadcast Equipment)) retrieves and passes the PDCP layer 2 to the 5G/6G UE PDCP buffer, completing the offload process.

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For many broadcasters, multicast in the cloud has long sounded like a contradiction in terms. But the swXtch.io and Bridge Technologies integration proves otherwise. It delivers one-to-many IP-based workflows using standard functionality: no proprietary transport layers, no multiple compressions, and no compromises on latency. This is cloud done on broadcast’s terms. #cloudtechnology #multicast #broadcasters #broadcastmedia

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See also the press at the link below where use cases of VVC multilayer coding in broadcasting scenario are described. https://lnkd.in/g7hcFmyE

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The cable TV and studio execs are migrating to the "new studios" as the former shrivel out of existence and the latter are exploding in user growth and revenue... "June 9 (Reuters) - Paramount Global's (PARA.O), opens new tab finance head Naveen Chopra will leave to take on a similar role at video gaming firm Roblox (RBLX.N), opens new tab, the companies said on Monday. The move comes as Paramount is seeking to close its $8.4 billion merger with Skydance Media, which is pending approval from the U.S. Federal Communications Commission. Chopra joined Paramount as CFO in 2020, when the company was still called ViacomCBS, and drove its transition from legacy media to streaming. Before this, he was finance head for Amazon's (AMZN.O), opens new tab Devices and Services business." https://lnkd.in/e_D6W6u4

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Why GPU‑Accelerated DVNR Is a Game Changer for Broadcasters In today’s fast-paced broadcast environment, delivering crystal-clear video is non-negotiable. Noise not only compromises visual quality, but also hinders compression efficiency—driving up distribution costs. That’s why Wavelet Beam’s GPU‑based DVNR solution, powered by CUDA and scalable HPC architecture, is so vital. It effectively removes noise without sacrificing detail, ensuring both live feeds and archived footage look their best. * Sharper picture quality * More efficient encoding = lower bitrates & costs * Scales to high‑volume workflows with ease For broadcasters and post-production teams operating at scale, this tech offers a tangible boost to output quality and system performance. Ready to optimize your workflow? Learn more at waveletbeam.com. #Broadcast #DVNR #GPU #CUDA #VideoQuality #BitrateOptimization #UHD #HDR #PostProduction

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Grass Valley Helps Scale and Centralise BMG’s Cloud Network Operations Centre BMG is adopting Grass Valley AMPP, Kayenne K-Frame Switcher and LDX 135 cameras to scale and control live remote workflows and manage assets from its new NOC in Washington, DC read more  https://lnkd.in/gZuTq5hg

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Designed for Modern Live Sound as well as Future Broadcast, this platform brings true flexibility to modern production environments where Performance, Redundancy, and audio quality are mission critical. 🔴 4 Microphone Splits per input ideal for parallel feeds (FOH, Monitor, Broadcast Feeds, Recording Production) 🔴 32 Bit Mic Converter & Ultra-wide 164 dB dynamic Range 🔴 Up to 192 kHz Audio Sampling for pristine sound reproduction 🔴 Microphone Control parameters accessible via industry-standard digital mixing consoles 🔴 OLED Audio Source Labelling for clear identification and workflow efficiency 🔴 Supports Multiple Audio Formats from High Quality Analog and Multichannel Formats Audio via Fiber Optic & Ethernet to various industry standard AoIP Protocols Whether for Live Sound, Theatre, Opera, OB Trucks, IP TV / Radio Studios, Touring Productions, or hybrid production setups, NEX:T Axio provides the scalability and integration modern productions demand. If you’re planning upgrades for live sound or broadcast infrastructure, come and talk to us, STAGETEC Asia about your expectations let’s explore how this platform can fit into your workflow!

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📺 I keep seeing the same issue across broadcast infrastructures: things work… until they don’t 🙄 Not because the technology is immature, but because interoperability is still treated as a checkbox, not as a foundation. In this article, I share my perspective on why core stability and true interoperability are what actually make IP workflows (ST 2110, UHD, HDR, immersive audio…) operationally viable, not just on paper. And how we approached this at BBright across encoder, gateway and decoder 👇 👉 https://lnkd.in/dZe-MkQ9 📢 Curious to hear how others are dealing with this in real deployments. #Broadcast #ST2110 #IPVideo #MediaTech

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Most MCR failures are not technical. They’re procedural. And that’s uncomfortable to admit. Because it’s easier to blame: The server. The switcher. The automation system. But equipment rarely fails without warning. Processes do. Broadcast disruptions usually begin with something small: • An escalation matrix nobody clearly owns • An SOP updated on paper, not in practice • A shift handover missing one critical detail • An operator overwhelmed by monitoring fatigue Nothing dramatic. Nothing “catastrophic.” Until it is. Technology breaks occasionally. Process gaps exist every day. In a Master Control Room, discipline is not optional. It is infrastructure. You can invest crores in redundancy. But if decision clarity is weak, if accountability is blurred, if communication is inconsistent — Reliability is an illusion. Operational maturity defines broadcast reliability. Not the size of your monitoring wall. Not the brand of your equipment. The question is simple: Are your systems resilient — or are your people just firefighting better? If you’ve worked in MCR operations, you know the answer. Let’s talk.

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For those working in HDR, WCG, or digital cinema workflows, this may be of interest. Charles Poynton is launching a monthly technical note focused on colour science topics related to UHD and streaming. Looking forward to the first issue.

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From Broadcast Operations to IT Skills – Learning Windows File Commands As a Broadcast Engineer working in MCR/PCR, managing media files, logs, and system workflows is part of daily operations. In modern broadcast environments, understanding file and directory operations in Windows is very important for: - Managing media content - Handling playout logs - Organizing storage systems - Troubleshooting file-related issues To support this, I created a learning video explaining Windows File & Directory Commands using CMD, including: • cd, dir, mkdir, rmdir • copy, xcopy, robocopy • move, del, ren • type, more, tree • attrib, where These commands are useful not only for IT professionals but also for broadcast engineers working with media servers and playout systems. 📺 Watch the full video here: https://lnkd.in/g6w5UuEM I’m continuously learning and sharing knowledge about broadcast technology, IT systems, and command-line tools. #BroadcastEngineering #MediaTechnology #ITInfrastructure #WindowsCMD #TechLearning #Playout

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