The DPP has just released its Cloud Native Live Production report, landing just in time for IBC this weekend. The report brings together broadcasters, rights holders, vendors and technology leaders, including Grabyo CEO Gareth Capon, to share perspectives on how live production is evolving.

The message is clear. Live production is undergoing a profound transformation. The conversation is no longer about simply moving to the cloud, but about adopting software-defined workflows that are flexible, modular and scalable. Cloud has moved from the fringes to the mainstream, powering news, entertainment and sport at every level.

Cloud-native live production is not experimental anymore. It has become a strategic enabler of new formats and business models, from FAST-first publishing to grassroots sports coverage. Here is our take on some of the most striking data and insights from the report.

From trucks to tabs

For decades, “live” was defined by OB trucks, control rooms and large on-site crews. But as audiences have moved to streaming, cloud-native production has followed. What started as small-scale experiments has become everyday reality.

• 20% of global sports rights spend now comes from streamers, led by DAZN, Amazon and Netflix.
• Major rights holders like the NHL, NFL and WWE are adopting cloud-first strategies to reach fans directly.
• Cloud-native workflows are democratising production, making FAST channels, niche sports and pop-up events viable where CapEx-heavy models never could.

The real change is not just about moving to the cloud. It lies in software-defined production: workflows that are modular, flexible and scalable. Where compute happens matters less than how the tools are built.

Challenges still to solve

The report also highlights areas where work remains to be done:

• Audio and comms are the least mature, with latency and sync issues still to be solved.
• 83% of contributors use public cloud at least some of the time, but emphasise that software design is more important than infrastructure choice.
• Scalability is cloud’s biggest advantage. Elections, for example, could only be covered because producers could spin up feeds from every constituency.
• Cost can be both a benefit and a risk. Poorly architected workflows can add expense, while OpEx models such as pay-per-hour graphics enable faster innovation.
• Interoperability is critical. Too many proprietary systems force broadcasters into the role of integrators. Initiatives like the Media Exchange Layer (MXL) may be a step forward.
• AI remains underused. Generative AI is not ready for live, but automation and agent-based tools such as auto-clipping are already delivering value.

Hybrid models and new architectures are bridging the gaps. The direction of travel is clear: cloud-native live production is no longer experimental.

Why this matters now

☀️ For broadcasters, this shift means consistent workflows across regions, greater efficiency and “follow the sun” operations. It also requires a cultural change from CapEx to OpEx.

🏟️ For sports rights holders, it enables more coverage with leaner crews, plus interactive and personalised feeds that connect directly with fans.

🎥 For digital publishers and FAST platforms, it aligns production with monetisation, turning live content into revenue faster.

🥳 And for audiences, it means better access, richer coverage, and content designed for the platforms they spend time on.

Looking ahead

The DPP’s Cloud Native Live Production report captures a turning point. In the next three to five years, workflows will be broadcast-grade, scalable and multi-format, setting the standard for live production worldwide.

For us, the value of this report is in how it distils the challenges and opportunities facing the whole industry. The pace of change is only accelerating, and cloud-native production will be at the centre of how broadcasters, rights holders and publishers adapt.

As IBC opens its doors this week, these conversations will be front and centre on the show floor. The DPP report sets the context perfectly, and it is essential reading for anyone thinking seriously about the future of live production.

Get your hands on the full report here.

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