Mac-based broadcasting and video software gives students real-world newsroom experience
BRUSSELS, March 24, 2026 – Softron Media Services, the broadcast industry’s leading developer of professional video and broadcast software solutions for macOS, today announced it has been selected by the Walter Cronkite School of Journalism and Mass Communication at Arizona State University (ASU) to provide software support for its student news broadcast control room.
ASU equips its student news broadcast room with Softron’s Mac-based software solutions OnTheAir Video, OnTheAir MOS Gateway, AMP Server, and MovieRecorder.
Softron was selected for its ease of use, industry-proven reliability and ability to support virtually any video codec format, enabling students to spend less time learning complex applications and more time operating a professional newsroom environment.
The Cronkite School of Journalism is a nationally recognized, professionally focused program known for its hands-on learning, top-tier faculty and strong industry partnerships. Located in Downtown Phoenix with additional studios in Los Angeles and Washington, D.C., the Cronkite School offers undergraduate and graduate degrees in journalism, content creation, strategic communications and emerging media technologies.
“Softron is excited to be part of one of the nation’s most well-known and respected schools of journalism,” said Daniel Tapie, CEO of Softron Media Services. “We are committed to providing ongoing support that helps develop the next generation of broadcast news professionals.”
Cronkite School assistant teaching professor Jim Jacoby said the decision was clear after evaluating the solutions firsthand.
“It was quickly clear how well Softron aligns with how we prepare students for professional newsrooms,” Jacoby said. “The intuitive interface and MOS integration enable our students to work with the same tools and workflows they’ll encounter in the field, reinforcing real-world production skills in the classroom.”
OnTheAir Video
OnTheAir Video is a professional, Mac-based video playout application used by broadcasters, production studios, houses of worship and corporate video teams to schedule and play media reliably. Designed as a broadcast-grade “channel-in-a-box,” the software outputs high-quality SDI or NDI® output in resolutions ranging from SD to 8K.
With OnTheAir Video, users can build, manage and run broadcast playlists with complete control over timing, formatting and playout rules for round-the-clock environments including TV stations, OTT channels, signage networks and live events.
OnTheAir MOS Gateway
The Softron OnTheAir MOS Gateway brings the flexibility and ease-of-use of OnTheAir Video to newsroom computer systems (NRCS) using the MOS (Media Object Server) protocol. Producers may continue writing in their NRCS and then refine their production inside the MOS plugin. Within the plugin, users may assign and preview videos, non-destructively edit media, and add graphics. Once the MOS object is added to a rundown, it shows up in OnTheAir Video as a playlist item.
One of the world’s most widely used NRCS is Associated Press ENPS (electronic news production system), the first NRCS compatible with OnTheAir MOS Gateway. ENPS provides a centralized editorial platform that enables journalists, producers and technical staff to create scripts, manage assignments, build rundowns and coordinate live broadcasts.
AMP Server
The Softron AMP Server further utilizes the OnTheAir Video playlist, giving professional switcher solutions from Sony, Ross, and Grass Valley a means to control playout. AMP, or Advanced Media Protocol, is a broadcast-industry standard for video control developed by Grass Valley. Combining AMP Server and OnTheAir Video offers a product unlike any other video server with features like mix and match codec, frame rate, and resolution-timed graphics, and fill and key support.
MovieRecorder
For ingest, ASU chose Softron’s MovieRecorder that contains powerful workflow features like edit-while-ingest, multi-destination recording, metadata support, and an open REST API allowing users to create their own controllers.
To learn more about how these solutions work together, visit the Softron YouTube page.
About Softron
Softron Media Services has been a pioneer in Mac-based video and audio solutions for more than 40 years. Headquartered in Brussels, Belgium, Softron delivers flexible, software-driven workflows that reduce costs and outperform traditional hardware solutions. The company provides a wide range of broadcast applications spanning live replay, playout and scheduling, newsroom management, character generation, acquisition and device control. Trusted by broadcasters and media professionals worldwide, Softron is known for the reliability, intuitive design and seamless integration of its software. Learn more at www.softron.tv
About the Cronkite School
The Walter Cronkite School of Journalism and Mass Communication at Arizona State University is widely recognized as one of the world’s premier professional mass communications programs and has received international acclaim for its "teaching hospital" learning approach and award-winning student work. Rooted in the time-honored values that characterize its namesake, the school fosters excellence and ethics in both the classroom and in its real-world media experiences that fully immerse students in journalism, production, strategic communication and more. Learn more at cronkite.asu.edu.
For years, Windows-based PCs have been the default platform for broadcast newsrooms. They power ingest stations, edit bays and playout systems across the industry. But today, many broadcasters are reassessing that approach. Macs — once limited to creative teams — are becoming the practical choice for newsroom operations, live production and field reporting.
The shift extends beyond aesthetics or brand loyalty. It is driven by operational realities of speed, reliability, security and the need to produce more content across more platforms with fewer resources.
University broadcast journalism programs are also making the switch as they attract and cultivate future journalists who grew up producing content on their iPhone and Macs.
With more than three decades of working exclusively on the Apple platform, Softron has witnessed an upsurge in Mac environments from classrooms to newsrooms across the country. These are the six factors we see driving broadcast journalism migration from Windows to Macs.
1. Reliability and performance
In a 24/7 newsroom, stability is non-negotiable. Live production environments cannot afford unexpected reboots, driver conflicts or background updates interrupting workflows. Many broadcasters view macOS and Apple Silicon as a more predictable foundation for long-duration ingest, encoding and playout.
Apple’s unified hardware and software architecture reduces compatibility challenges commonly found in mixed PC environments. M-series processors deliver strong performance with lower power consumption, allowing editors and producers to handle multi-stream playback, rendering and rapid turnaround without sacrificing reliability.
For software developers, like Softron, this consistency also simplifies development and testing. Supporting a smaller range of hardware configurations allows tighter optimization and more predictable performance in real-world broadcast environments.
2. Fewer interruptions and a simpler technical environment
Because newsrooms operate under constant deadlines, technical troubleshooting can slow production at the worst possible moment. Macs are often described as “it just works” systems because they require less day-to-day maintenance.
With fewer background processes and tightly controlled updates, Macs can reduce unexpected disruptions during live capture or playout. The unified Apple Silicon architecture minimizes driver-related issues that frequently appear in Windows environments with diverse hardware combinations.
This operational simplicity allows engineering teams to focus on content delivery rather than device management.
3. A creative ecosystem built for modern journalism
Today’s newsrooms produce content for broadcast, web, social media and mobile platforms simultaneously. Macs integrate naturally into these multi-format workflows.
Tools like Final Cut Pro, Motion and Compressor are deeply optimized for Apple hardware, while Adobe Creative Cloud and DaVinci Resolve run seamlessly alongside them. File sharing across iPhone, iPad and Mac devices enables quick collaboration between field reporters and editors, especially when producing short-form content for digital platforms.
For many organizations, the Mac becomes the creative hub of the newsroom — bridging ingest, editing and distribution in a single environment.
4. Built-in security and operational resilience
Security concerns continue to grow as broadcasters handle sensitive content and distributed production environments. macOS offers a layered security model built on its UNIX-based foundation, which uses a strict permissions structure to protect system files.
Features such as Gatekeeper, XProtect and sandboxed applications help reduce exposure to malware, while System Integrity Protection limits unauthorized system changes. Apple’s control over the entire technology stack — hardware, software and silicon — enables tighter integration of security features than many traditional PC deployments.
While no platform eliminates risk entirely, these protections help maintain operational continuity during critical news cycles.
5. Stronger ROI and longer hardware lifecycles
Although Macs often carry a higher upfront cost, many broadcasters report a favorable total cost of ownership over time. Devices tend to remain in use longer, require fewer repairs and maintain higher resale value compared to typical PCs.
Newsrooms frequently redeploy older Macs into secondary roles such as backup ingest systems or auxiliary editing stations, extending the lifespan of IT investments. The ability to run professional broadcast software on standard Mac hardware without extensive configuration further reduces deployment complexity.
This lifecycle flexibility makes Macs attractive for organizations seeking reliable performance without constant hardware refresh cycles.
Using an off-the-shelf device also means that, in the rare case of a hardware failure, a replacement unit can easily be found, unlike with dedicated closed server devices.
6. Meeting the expectations of the next generation of broadcasters
Technology decisions are increasingly influenced by workforce trends. Many journalists, editors and designers already prefer Apple devices. Younger professionals often enter the industry with extensive Apple experience.
Journalism schools are widely adopting Macs as teaching platforms, introducing students to professional editing tools and mobile-first storytelling workflows. Long battery life and portability also make Mac laptops ideal for reporters working in the field, filing stories from remote locations or producing content directly from their iPhones.
As this new generation enters the workforce, Mac-based production environments feel increasingly familiar and intuitive.
A platform aligned with the future of news production
The move toward Mac and the Apple ecosystem is not about replacing every Windows system overnight. Many newsrooms will continue to operate hybrid environments. However, the momentum is clear. Broadcasters are prioritizing platforms that deliver predictable performance, seamless creative workflows and strong long-term value.
As news organizations adapt to faster production cycles and digital-first distribution, Macs are evolving from niche creative tools into foundational newsroom infrastructure. For broadcasters focused on efficiency, reliability and future-ready workflows, the business case for Macs continues to grow.
Delivering unprecedented channel density, Softron’slatest M|8XL bundle brings 8× 4K60p capture in a single card, with MovieRecorder, and the DELTACAST-12G-e-h 8c.
The new bundle is designed for broadcasters and post-production facilities that require uncompromising multi-channel 4K capture.
The M|8XL bundle combines Softron’s MovieRecorder software (8-channel license) with the new DELTA-12G-e-h 8c card from DELTACAST. This unique combination delivers industry-first ingest capabilities for up to eight simultaneous channels of 4K60p video on a single PCIe card.
The DELTA-12G-e-h 8c is the first PCIe Gen 4 video card to support 8× 4K60p signals or 2 × 8K60, delivering higher density and enabling more channels to run on a single card. Alongside its 8× 12G-SDI bi-directional connections, the card includes reference in and out, plus LTC input, a rare combination valued by professional users.
“The DELTACAST-12G-e-h 8c is ideal for anyone who needs to manage and process SDI channels ranging from SD-SDI up to 12G-SDI,” said Pierre Lespagnard, head of products at DELTACAST. “Pairing this performance with Softron’s MovieRecorder creates a powerful solution for broadcasters working in sports, music, news or multi-camera production environments.”
“When every second counts and compromise isn’t an option, you need the ultimate hardware and software bundle,” said Daniel Tapie, CEO of Softron Media Services. “The M|8XL combines high-end, low-latency DELTACAST technology with multiple MovieRecorder licenses on a single dongle, delivering the best possible solution for a Mac Pro configuration.”
Availability and Pricing
The Softron M|8XL bundle will be available in October for €14,450 / $14,950.
It joins Softron’s existing lineup of bundles, including the M|4i and M|8i, expanding customer choice for ingest solutions at every scale.
The DELTACAST-12G-e-h 8c card will also be available as a standalone purchase for customers seeking upgrades, backups or integration with Softron’s playout applications.
For more details, visit: softron.tv/products/hardware/bundles
Apple ProRes has long been a staple in professional video production. Wildly popular among broadcast, post-production and streaming media professionals for its high-quality compression and efficient editing performance, ProRes is used from Hollywood films to TV newsrooms around the world.
Apple ProRes is offered as a standard or optional recording feature on industry-leading cameras such as ARRI, Canon, Sony, Panasonic and Blackmagic. Editors count on it as the codec for Final Cut Pro, Adobe Premiere Pro and DaVinci Resolve.
Studios and broadcasters including the BBC, ESPN, CBS and streaming platforms like Netflix, Apple TV+, Disney+, and Amazon Prime Video accept or often require ProRes for delivery and mastering.
At the same time, popularity continues to grow for the SMPTE ST 2110 protocol, a set of standards designed for transmitting professional media over IP networks. This protocol is transforming how major broadcasters move media over IP and opening the door for smaller productions to benefit from flexible, affordable, and rapid innovations in software-based workflows.
Softron Makes the Connection
Until recently, a combination of ProRes and the ST 2110 protocol was out of reach. However, over the last several months, Softron has been applying our four decades of innovative engineering in the Apple community to integrate the ST 2110 protocol (via 2110-22) and ProRes to stream in real time over IP networks. Our goal was to make this connection to improve bandwidth efficiency, and workflow simplicity between live broadcast and post-production.
ST 2110 was originally built to handle uncompressed media streams, separating video, audio, and metadata into distinct IP packets for flexible routing and processing. This design made it ideal for live broadcast environments where latency and fidelity are critical.
Over time, ST 2110-22 was introduced to extend the standard to compressed video essences. The most widely adopted codec in this space is JPEG-XS, which became the reference for 2110-22 because of its extremely low latency and visually lossless quality, making it a perfect fit for demanding live production workflows.
Apple ProRes, on the other hand, is a compressed codec that was built for post-production workflows rather than real-time transmission. Its compression is efficient and visually lossless, but introduces more latency than JPEG-XS. That makes it less suited for ultra-latency-sensitive live switching, yet very compelling for other use cases where flexibility, cost, and in most cases interoperability matter more than absolute sub-millisecond latency.
At IBC2025, Softron has teamed with Macnica Americas to demonstrate the first pairing of Apple ProRes compressed video over ST 2110-22, combined with macOS and the Macnica100Gbps MEP100 SmartNIC.
This industry first marks a significant evolution, bridging the gap between live IP workflows and post-production environments. We are working with Macnica to bring this solution to market before the end of the year.
Why ST 2110 Support Matters for Apple ProRes
The integration of ProRes into ST 2110-22 introduces new advantages that complement, rather than replace, JPEG-XS. While ProRes does not match JPEG-XS in ultra-low latency, its ubiquity and licensing model make it an attractive option in many real-world workflows.A Familiar, Widely Supported Codec
ProRes is already built into most professional cameras, NLEs, and post-production systems. On macOS, it is decoded and encoded without licensing fees, and on Windows and Linux many vendors already support it for file recording. This means manufacturers can adopt ProRes over ST 2110 without having to pay for an additional proprietary codec such as JPEG-XS. The result: lower costs and faster adoption across hardware and software ecosystems.
Flexible Workflows at Lower Cost
In workflows where ProRes is already the mastering- or playout-format, carrying it over 2110-22 eliminates unnecessary re-encoding. A frame that already exists in ProRes can simply be transmitted in its current form, avoiding both the quality hit and the latency penalty of recompression. This opens use cases where latency remains low enough to be practical, even if not as minimal as JPEG-XS.
Bandwidth and Channel Scalability on Mac
On Apple platforms, ProRes makes IP video transport significantly more scalable. For example, current Thunderbolt bandwidth limits restrict uncompressed workflows to two 4K60 channels per bus. With ProRes over 2110-22, it becomes possible to handle up to eight 4K60 channels initially, and more in the future, enabling multichannel production even on Mac systems without PCIe slots such as the Mac Studio or Mac mini.
Scalability and Network Efficiency
ST 2110 leverages an IP infrastructure, which is inherently scalable. With support for ProRes over high-bandwidth networks (like Macnica’s 100Gbps SmartNIC), creators can transmit high-resolution compressed video efficiently, enabling remote production and distributed workflows.
Low-Latency, High-Quality Streaming
While ProRes is compressed, ST 2110-22 ensures that it can be transmitted with minimal latency, which is crucial for live events and real-time collaboration. This makes it possible to use ProRes not just for editing, but also for live ingest and playout.
Expanding the 2110 Ecosystem
By embracing ProRes alongside JPEG-XS, ST 2110-22 becomes more flexible and inclusive. Broadcasters can continue to use JPEG-XS for the most latency-critical live production, while leveraging ProRes for multichannel ingest, playout, remote production, or mixed environments where cost, adoption, and compatibility are equally important.
Future-Proofing Production Pipelines
As media formats evolve such as 8K and HDR, ST 2110 provides a modular, flexible foundation. Supporting ProRes within this protocol ensures that workflows remain adaptable and ready for future innovations.
We think it's going to be big
We believe the inclusion of Apple ProRes in the ST 2110 protocol can be a game-changer, merging the best of both worlds: the editing efficiency of ProRes and the real-time, scalable power of IP-based media transport.
For broadcasters, post-production teams, and live event producers, this development opens up new possibilities for seamless, high-performance workflows across the entire production chain.
This year at IBC, Softron will unveil ProRes over SMPTE 2110 with Macnica.
For more exciting innovations and new features, go to our IBC exhibit page !
As part of recent system updates, the automated support ticket creation feature is no longer available in applications released before June 2025—specifically, those that do not use the new license system.
In these older versions, only the “Collect Logs…” option remains functional. While you can still gather logs manually, the automatic ticket creation and update features are no longer supported.
In the latest versions of our applications, the improved “Contact Support…” option is available. It automatically collects logs and pre-fills support information directly in your web browser.
To send us logs, we recommend updating to the latest version and following this procedure. If updating isn’t possible, you can still collect logs manually and submit them. For instructions using older versions, refer to this guide.
We apologize for any inconvenience and appreciate your understanding as we continue to enhance our support systems.
For urgent support, please visit our Support Center to submit a ticket directly.
Thank you for your continued support.
We are officially discontinuing OnTheAir Node, OnTheAir Manager, and OnTheAir Live. These products have served our users faithfully for over 15 years, but they’ve now reached the end of their lifecycle. While we’ll continue to offer limited maintenance updates for a short transition period, active development on these apps ended several years ago, and they are no longer available for purchase.
But here’s the great news:
We’ve poured our efforts into building something better—OnTheAir Video is now our flagship playout solution. It not only incorporates the key features of the discontinued products, but also introduces significantly more powerful capabilities: native support for advanced effects, remote control options, squeeze back with supersources, and more.
This move also simplifies our product lineup. In the past, it wasn’t always clear which software best fit a given workflow—Master Control, Newsroom integration, or Live production. Now, the answer is simple: OnTheAir Video is the way to go, no matter the broadcast scenario.
Transition made easy:
- If you own a license for OnTheAir Node 4, you’re entitled to a free crossgrade to OnTheAir Video 4.
- If you own a license for OnTheAir Node 3, just purchase the upgrade from OnTheAir Video 3 to 4, indicate your Node license number in the comment field, and we’ll convert that to a crossgrade from Node 3 to Video 4.
We understand that transitions can raise questions, and we’re here to help. Our team is committed to ensuring a smooth shift to OnTheAir Video, and we’re confident it will deliver a more streamlined, powerful, and future-proof experience.
Continued Support and Tips for a Smooth Transition
While OnTheAir Node, Manager, and Live are now discontinued for new sales, we will continue to provide limited maintenance updates and support for a reasonable period (likely a year or two). If you have a stable and working setup today, you can absolutely continue using it for as long as it works for you — nothing is being changed or disabled. This announcement simply means that we are no longer selling these products, and that maintenance updates will gradually come to an end. If you’re happy with your setup and have no issues, there is no reason to stop using it. Just keep in mind that once maintenance updates have stopped, our ability to help in case of a technical problem may be limited.
If you plan to transition, we encourage you to start testing OnTheAir Video now — download the demo, try it on a separate Mac, and explore its graphical scheduler and other features.
And of course, feel free to reach out to our support team anytime for guidance on upgrading. We're here to help you ensure a smooth and stable transition.