dB Broadcast Delivers New IP-based Cloudbass Sports OB Trucks Featuring Grass Valley LDX 100 Cameras

dB Broadcast has delivered new IP-based outside broadcast (OB) trucks for Cloudbass, featuring Grass Valley LDX 100 Series cameras and K-Frame production switching technology for premium live sports production across the UK.

Designed for high-end sports broadcasting, the compact, fast-deploy OB units combine UHD, HDR and high-frame-rate production capabilities with a modern IP-based infrastructure. The trucks support centralized production operations and evolving remote and distributed production models, enabling Cloudbass to deliver premium-quality coverage across top-tier football and major live sporting events.

The deployment features 32 Grass Valley LDX 150 native IP camera systems, delivering the imaging performance, operational flexibility and Native-IP connectivity required for premium live sports production. The cameras support SMPTE ST 2110 workflows directly from the camera head and are designed to help production teams transition efficiently to scalable live production environments.

The project also incorporates Grass Valley’s Creative Grading tools to support centralized camera shading workflows, alongside K-Frame production switching capabilities as part of the overall live production architecture.

“Sports broadcasters and production providers are increasingly looking for ways to expand UHD and HDR capabilities while maintaining operational efficiency and flexibility,” said Mark Gardner, Senior VP of Sales, EMEA at Grass Valley. “These new Cloudbass trucks demonstrate how native IP production, centralized shading workflows and scalable live production technologies can be combined in a compact environment built for the realities of modern sports production.”

The new units feature fully IP-based workflows and are designed to support remote operations, dynamic configurations and evolving broadcast requirements. The integration was led by dB Broadcast, a long-standing Grass Valley partner with extensive experience in complex broadcast systems integration.

“This project was about delivering a future-ready IP architecture without compromising the operational practicalities of live OB production,” said Mike Bryan, Technology Director at dB Broadcast. “By standardising on Grass Valley’s LDX 100 native IP camera platform, Creative Grading and K-Frame technologies, we can provide Cloudbass with a consistent production environment from acquisition through to live production switching.

Supporting around 15 cameras per truck, including UHD and HDR high-speed production workflows, the new units are optimized for long-term sports production contracts while maintaining the flexibility required for evolving sports production workflows.

You might also like...

IP Security For Broadcasters 2026 – The Psychology Of Security

As engineers and technologists, it’s easy to become bogged down in the technical solutions that maintain high levels of computer security. But as the boundaries between traditional broadcast engineering and IT continue to dissolve, the first port of call i…

Standards: Audio - Advanced Audio Coding (AAC)

AAC succeeded MP3 by delivering better quality at lower bitrates. This guide examines how it works, compares the leading encoder implementations, and explains where it sits within the broader MPEG audio standards landscape.

Broadcast Standards - The Science Of AI: New Foundations

We begin this series with the foundational building blocks of AI. Basic principles, the technology stack and the types of AI based upon it, and how to apply them effectively in a broadcasting enterprise.

IP Security For Broadcasters - The Book 2026

Security is everyone’s problem. It is not just about having the right policies in place or knowing where the vulnerabilities in your network are; it’s about understanding how the network is accessed and by whom, and how to str…

Standards: Audio - MPEG Layer 3 Audio Coding (MP3)

Launched in 1995, MP3 remains one of the most ubiquitous audio formats in the world. This guide explains how psychoacoustic compression works, explains the differences between MPEG-1 and MPEG-2 implementations, and finds out where MP3 works – and where it doesn’t.