Jan Eveleens, CEO Product Division, Riedel Communications
Above all the buzzwords, I feel that there is a broader trend of customers being more open to new concepts and having the courage to commit to many of the new technologies that have proven their merit in the past years. Whether remote, cloud, on-prem, whether IP, SDI, or hybrid – our customers know there are many ways for them to reach their business goals, all with specific benefits and challenges. As they explore innovative paths to enhance their operations, we’re witnessing a strong drive toward solutions that simplify workflows, empower creativity, and maintain high standards of quality, all while doing more with less.
That’s why we’re also seeing an increased demand for virtualised and COTS-based solutions, which enable customers to be more efficient both on a workflow level, but also on investment level. They offer immense merits in terms of user experience and usability, and a very efficient use of our customers’ infrastructures. This also ties in with the fact that CapEx investments obviously are no longer the only way to acquire new technology. Many customers are looking for ways to optimise, spread risks and be more agile – and subscription models may offer all that.
Our customers know that innovation must not be a goal in itself but a means to drive their business forward. That’s why manufacturers mustn’t be focused solely on new technology trends, but also on refining and streamlining the “trending” innovations of recent years and making them more efficient and easier to use. In order to do this, manufacturers need to move even closer to their customers and listen closely to their needs and feedback from the field. This can be a win-win scenario: as the technical possibilities (and complexities) keep on growing, customers are looking for reliable partners to guide them through the high-tech maze that is the media- and entertainment industry. Close customer relationships seem to be more important than ever before.
This year, the importance of key topics like IP, remote, and cloud solutions will undoubtedly continue to grow. But in the end, these are just a means to an end, and just one part of the story of helping our customers create amazing productions efficiently. The other part are the people who use our technologies, who need them to be easy to use and to set up. Even though the complexity behind today’s technologies is steadily increasing, it’s the manufacturers’ job to keep breaking down these complexities to enable the users. In 2025, I believe workflow optimisation and user experience will be among the top priorities for manufacturers. Regardless of the transport or deployment model, solutions must be intuitive and accessible, ensuring that users can focus on creativity and productivity rather than grappling with technical barriers.
I’m sure that these developments will continue, accelerate even. As technologies get more mature, bandwidth, processing power of general-purpose platforms and cloud further improve, they will enable new applications and workflows that were not possible before. Also, the possibilities of incorporating AI into solutions feel endless and are sure to unlock future opportunities we can scarcely imagine today.
Simon Hawkings, director of sales strategy & business acceleration, Ross Video
Two significant trends in 2024 were AI and cloud platforms for live production. Everyone’s talking about AI, but while there was considerable hype around potential efficiencies and cost savings, most companies have found it’s brought up many challenges around legitimacy, trust, and synthetic content. Instead, media companies are using AI to drive efficiencies in backend areas like media asset management, and post-production, where we have seen some exciting developments. On the cloud side, we’re seeing platforms that let you build virtualised software stacks for live production, post, and content delivery. But latency, bandwidth, and the debate over CapEx and OpEx models are limiting adoption. It’s a fascinating time of transition.
Many media companies and broadcasters are trying to find ways to be more flexible and efficient so they can scale and experiment with new content quickly — without investing in physical infrastructure — but the transition is still uneven for a number of reasons.
Cloud will keep growing, but the move from CapEx to OpEx will continue to be a challenge. There’s a growing dichotomy: Some technology providers are really pushing OpEx models, and not everyone is ready for that. Many media companies are tightening OpEx budgets and trying to figure out how to adopt cloud and software without abandoning their existing systems, so hybrid models might be the way forward for now. Traditionally, the industry has relied on a five-to-seven-year CapEx cycle, where you buy once and use it for years. Many broadcasters aren’t ready to abandon their traditional CapEx models yet. It’s just not feasible to rip out existing systems and replace them with software-driven workflows. There’s also this realisation that the timeline for moving everything to cloud and software isn’t as short as some vendors might have you believe. It’s going to take time to reach that inflection point.
Cybersecurity will be front and centre throughout the year ahead, especially as we move toward software-based and cloud-driven workflows. Broadcasters will need secure systems, and regulations will push vendors to meet higher standards. As we saw in our recent research with DPP, there is still a big gap to make up in that area. We’ve seen major hacks in Europe, and media companies are realising they need secure-by-design solutions for their software and networks.
AI will continue driving efficiencies in areas like user behaviour analysis and ad targeting, but its role in live production is still unclear. I expect we will also see AI used to clip, edit, and distribute social media content faster, helping broadcasters engage audiences across more platforms more effectively.
Sustainability might come back into focus, especially in Europe, where public broadcasters are under increasing pressure and scrutiny. Another trend is this push for unique content and experiences. We’re seeing things like cine cameras being used in live sports to create cinematic, Hollywood-quality visuals, and I’m hoping to see lots more interesting experimental content types over the coming years.
Duncan Beattie, market development manager, Tuxera
There were several very public outages in 2024, and this has made the industry nervous about storing all assets in one location, provider or region. These events have highlighted why installing a combination of cloud and on-premise is a sensible decision. For those whose on-premise solutions are the primary location, they need to be fast, scalable and secure. Current server offerings have been evaluated to ensure they cover these key requirements.
There has been a long-established way of handling storage where large amounts of hardware are thrown at the problem. This increases rack space, energy consumption and management. With all-flash solutions becoming more readily available combined with 2.5” SSD and NVMe modules pushing 100TB, the move from spinning disk is gaining pace. The move to all flash will in turn demand all traditional bottlenecks be removed.
I feel we will see some strategic media mergers in 2025 aimed at capturing valuable market share, allowing larger budgets to be driven into production and therefore, the media supply chain.
I also believe we will see a significant rise in strategic technical partnerships between large vendors and smaller pioneering companies. Collaborations such as these will greatly enhance the market reach of the more established firms by delivering superior solutions with much deeper integration.
M&E suffered many challenges during the pandemic, and later industrial action, but 2025 promises to be a year of truly inspiring and innovative development that defines our industry.
James Gilbert, VP Sales & Marketing, Pixel Power
2024 felt like a year of hedging bets while grappling with change. We saw advertisers moving more of their spend over to streaming and digital platforms, with the traditional linear brands looking to technology to help them produce more cost-effective (supplementary/digital) content in order to stay relevant and compete. Short-form content snacking keeps on growing, and so does fragmentation as a result. AI may be smoking around the edges but we haven’t seen any flames yet, and a clear picture of its role in the industry landscape has yet to emerge.
The word ‘efficiency’ has probably been the most commonly used at industry events. Broadcasters seem more open to discussing product roadmaps and direction of travel than ever, but they need to see solid business cases for how technology will drive efficiency and savings. This same argument can be applied to cloud. While cloud-based workflows are certainly becoming more commonplace and we can all see the advantages of sharing/collaborating/producing and distributing content in this way, camera technology keeps getting better and more pixels equates to larger file sizes – cloud storage continues to be stubbornly expensive with cost and speed clear barriers to wholesale adoption. Don’t expect hybrid models to disappear anytime soon!
I think change management will continue to be an important issue this year – the traditional OTA brands are having to change their approach and working practices, and the practicalities of managing that sometimes look more complex than the new technologies themselves. 2025 will see more ‘cloud creep’ – slow but steady adoption – but I think the environmental/sustainability side of cloud workflows will have to be addressed much more openly. In a similar vein, I think 2025 will see much greater use of virtualised/FAST channels that can be spooled up quickly around specific sporting events and games (e.g. the forthcoming Winter Olympics). This will go hand-in-hand with an emphasis on more comprehensive coverage rather than the traditional focus on a few key events + highlights.
I think we’ll see continued discussion around AI this year but very few tangible examples of it being used in anger. The industry vibe around AI reminds me a little of the early days of IP – much high-level and academic talk of the benefits and applications but a strong sense of ‘wait and see’ among customers. Our conservative nature means that nobody wants to be first; most in the community want to see proven solutions that are delivering value (with the kinks already ironed out), and that will inevitably take time.
In 2025, I’m expecting a lot more of the same – although I do think that sustainability will come back into the spotlight after a few years on the sidelines. Environmental/sustainability metrics have become an integral part of tenders and contract negotiations, and these are only going to grow in importance as broadcasters put pressure on their supply chain to reduce carbon emissions as part of their own ESG commitments.
Sustainability in media and entertainment
The subject of sustainability featured prominently among our respondents. In this section, a selection of key industry figures explain why they see its importance as paramount and how the media and entertainment business can continue to pursue its environmental goals.
Lee Otterway, commercial director of Dot Group
The most significant trend we observed in 2024 was the dramatic increase in broadcasters actively pursuing sustainable operations and carbon reduction initiatives. What’s particularly noteworthy is that this isn’t just talk – we’re seeing real commitment from major industry players to measure and reduce their environmental impact, with organisations like BAFTA albert leading the charge.
The impact on M&E has been transformative, with broadcasters fundamentally rethinking their operations, from remote production techniques to more efficient resource utilisation. We’re seeing a particular shift in outside broadcast approaches, with companies increasingly adopting solutions that reduce travel and transport while maintaining production quality.
While 2024 was about raising awareness and setting intentions, 2025 will be the year of action. We expect to see broadcasters making data-driven decisions about their operations, looking for solutions that can reduce both carbon footprint and costs – especially important as budgets continue to tighten across the industry.
Lesley Marr, director of business development and sustainability at NXTGENbps
In 2024, the media and entertainment industry took sustainability from aspiration to action, with significant movement towards battery-powered energy solutions. This shift reflects growing accountability from broadcasters, streamers, and production companies to reduce their environmental impact. While the benefits of these solutions—reduced emissions, silent operation, and fewer logistical constraints—are clear, what’s stood out most is the increasing willingness to experiment and integrate these technologies into everyday workflows. Productions are no longer asking if they should make the change but how quickly they can adapt.
Battery-powered solutions are redefining expectations on set. The removal of diesel generators has had a profound impact—not just on emissions but on the working environment itself. Productions now enjoy quieter, safer sets with more flexibility in how and where power is deployed. However, the broader impact lies in the mindset shift happening across the industry. By committing to more sustainable energy practices, productions are setting a standard that ripples across the supply chain, from equipment manufacturers to hire companies. This has created a stronger ecosystem of accountability and innovation, pushing the industry to think beyond short-term gains and focus on long-term environmental responsibility.
The conversation will shift from early adoption to refinement in 2025. Advancements in battery technology—such as improved capacity, better portability, and faster charging—will make these solutions more adaptable to a broader range of production needs. What’s more, productions will start seeing the value of live data collection on energy use, enabling them to plan smarter and reduce waste. As sustainability becomes a competitive advantage, we expect broadcasters and streamers to require greener energy solutions as a baseline expectation, leading to further innovation and adoption across the industry.
In 2025, sustainability will no longer be siloed to the power conversation—it will weave into every department. We expect the adoption of battery power for on-location productions, including live events and remote shoots, to accelerate as productions recognise its potential to reduce emissions and noise pollution while offering greater flexibility. However, battery power is unlikely to fully replace traditional power sources due to infrastructure challenges and the demands of certain setups. Instead, hybrid approaches that combine batteries with other technologies will gain traction, offering a practical and impactful way to reduce environmental impact without compromising reliability. This growing focus on integrating cleaner energy solutions where they make the most sense will drive the industry toward smarter, more sustainable workflows.
Audio
Completing our series, two key figures from the audio sphere provide insights into what they foresee happening in their own particular field, as the year gets underway.
Dave Letson, VP of sales, Calrec
With 2024 being such a big year for sports, the scale of remote productions really stood out. Most broadcasters have been using remote production in one form or another for regional sports studio shows alongside a traditional OB truck. Last year, at the Summer Games and other major tournaments, we saw a massive swing towards remote production at real scale, replacing traditional workflows by moving people – staff and talent – who would traditionally have been at the Games back to their main operation centres. This reflects a broader trend in the broadcasting industry; one that prioritises flexibility, efficiency, and the ability to deliver high-quality content regardless of physical location.
Likewise, many broadcasters had been preparing for 2024 over the last couple of years with major IP projects, replacing SDI-based infrastructures with arguably more flexible and scalable IP infrastructures. One broadcaster commented that this had provided a saving of 40 per cent in space while packing a lot more punch into that smaller footprint.
New and more efficient ways of working are developing quickly, but broadcasters still need supporting. Workflows are much more complex when consoles no longer operate in isolation. Remote and distributed workflows can locate IP processing cores on site, on edge, or on prem, and promote the adaptability of mix environments to meet the needs of a production rather than the other way around.
More importantly, centralising production enables broadcasters to create more content for more channels. Many of the discussions we’re having with broadcasters reflect exactly this and are less about the hardware and more about better utilisation of resources.
Last summer, sports broadcasters using both remote production and IP benefited from cost and environmental savings as less people, less equipment and less real estate are required in remote locations. What’s more it’s proved that remote production and IP can really scale up. But, perhaps more importantly, because broadcasters now have that infrastructure and equipment in place, it can easily be reutilised going forward. If it works across continents and oceans, it can easily work within a country.
Heading into 2025, more of our products now offer deeper remote production capability to allow broadcasters to scale production up or down, by choosing the product to be at the remote end, not the local end. One thing audio has had to deal with is the “just one more thing” additions to every production. Could I have one more IFB? Can you send me a pre-hear of that… etc? More flexibility at both ends will make it harder for the audio engineer to say no.
We’ll see TV broadcasters continuing to adopt more hybrid approaches that blend linear video and cross-channel content. This is why Calrec is so committed to helping news broadcasters streamline their processes. As sports broadcasters have increasingly adopted remote workflows to centralise production and generate more content for increasingly diverse channels, news broadcasters are looking to do the same. They’re enabling news outlets to not only generate the localised coverage that viewers have learned to trust, but also to reach bigger audiences by expanding their digital reach into other channels.
Kevin Salvidge, sales engineering & technical marketing manager, Leader Electronics of Europe Limited
Everybody agrees that HDR is required for live production, but the jury is still out on video resolution. UHDTV or 1080p? Maybe 2025 will provide a clear answer.
One area that was previously overlooked, but which maybe has a more significant impact for viewers at home, is the audio. SMPTE ST 2110 now offers the flexibility to manage audio streams much more easily than was allowed by SDI video and its embedded audio. We have already seen productions start to use multiple ST 2110-30 / 31 audio streams.
In 2024 we started to see live productions deploy all available audio channels as discrete channels, with no encoding or decoding on the audio feeds that were being delivered to media rights holders. This gives rights holders the freedom to manage discrete audio however they want to. Perhaps put the commentary on top, aside, or apply a mix. Because it’s not encoded, timing issues are easier to handle.
To achieve this, live productions are implementing three SMPTE ST.2110-30/31 streams.
- Audio stream1: Two audio channels (stereo)
- Audio stream 2: Six audio channels (5.1 surround)
- Audio stream 3: Four audio channels (immersive)
This significantly simplifies workflows for the media right holders but requires enhanced audio analysis capabilities during live production. Test and measurement tools that can handle multiple SMPTE ST 2110 streams and multiple audio channels become essential.
Media rights holders are continually trying to attract new subscribers to their services and reduce customer ‘churn’ by differentiating themselves from their competitors. Offering an enhanced audio experience will help achieve this. Live productions need to provide discrete audio channels to enable these enhanced immersive audio experiences, without any timing issues, plus the associated metadata.
Immersive audio is currently accompanied by an ADM (Audio Definition Model) file which contains the metadata needed to facilitate immersive playback. In the case of live production and transmission, the ADM file cannot be constructed and added as a metadata file. It needs to be serialised in the form of sADM (or S-ADM).
This is similar in concept to metadata that could be carried alongside the regular analogue-to-digital PCM audio (as defined in SMPTE ST 2020). sADM defines the audio elements that make up a complete production carrying all related tracks simultaneously.
In 2025, return on investment is one of the greatest challenges broadcasters face, especially as the life expectancy of COTS hardware is nowhere near that of the SDI hardware that broadcasters were previously accustomed to.
There are also legacy technologies, like JPEG 2000 (aka J2K) that are holding back some of the potentially most important technology innovations, like the adoption of SMPTE ST 2110-22 JPEG XS. That’s before we even touch subjects like cloud-based production and AI.
