The Next Phase of SMPTE ST 2110

1. The Network Switch Is Now More Affordable

The network has historically been one of the biggest barriers to ST 2110 adoption. Large facilities may use enterprise switching from manufacturers such as Arista, where a professional media switch can easily cost $30,000 or more because the system is designed around substantial bandwidth, redundancy, scalability, and demanding requirements.

Several models in the NETGEAR M4250 family cost under $2,000 while supporting multicast, QoS, and PTP. That does not make the M4250 a replacement for an Arista deployment in a large broadcast plant, but a six camera studio may not need that level of infrastructure in the first place. The network can instead be sized around its actual bandwidth, redundancy, and endpoint requirements.

2. Compressed ST 2110 Is Making Bandwidth Manageable

Network cost is closely tied to how much data each video signal requires. ST 2110-20 carries uncompressed video with excellent quality and very low latency, but the bandwidth requirements can become substantial, particularly with UHD.

ST 2110-22 provides standardized transport for constant bit rate compressed video, and JPEG XS is an important codec used in that environment. Unlike delivery codecs such as H.264 or HEVC, JPEG XS is designed around visually lossless production quality and very low latency, which makes compression practical inside a live production workflow.

The terminology matters: ST 2110-22 is the compressed transport, while JPEG XS is the codec. Reducing the bandwidth of individual signals can translate into fewer high speed ports, less reliance on expensive optics, more opportunities to use copper Ethernet, and in some cases a smaller network switch.

3. IPMX Brings the Model Into Pro AV

IPMX, or Internet Protocol Media Experience, builds on the professional media over IP ecosystem, including ST 2110 and NMOS, while addressing requirements that are particularly relevant to Pro AV. These include compressed and uncompressed workflow, easier discovery and connection management, security, and operation over more conventional commercial Ethernet networks.

JPEG XS class compression is important here because high quality 4K signals can move at data rates that fit into much smaller networks than uncompressed UHD. That makes standards based IP more realistic for facilities that need professional signal distribution but cannot justify the infrastructure of a large broadcast plant.

Rather than treating IPMX as a competitor to ST 2110, it is more useful to see it as one way the broader ST 2110 and NMOS ecosystem co-exists and reaches into AV environments with different set of operating models.

Some of the capabilities that make IPMX relevant to Pro AV include:

• Compressed or uncompressed operation depending on the application
• NMOS based discovery and connection management for connecting devices across the network
• Security for broader AV deployments
• Conventional Ethernet infrastructure that can better fit smaller commercial networks

• JPEG XS class compression for high quality 4K at more manageable data rates

Together, these capabilities make standards based IP more realistic for university studios, council chambers, corporate production rooms, performing arts centers, houses of worship, and other environments where enterprise broadcast infrastructure would be difficult to justify.

4. Control Now Has Multiple Levels

Large ST 2110 facilities often rely on orchestration platforms such as EVS Cerebrum, Evertz MAGNUM, Grass Valley Orbit, LAWO HOME and VSM, Nevion VideoIPath, and Imagine Magellan. These systems can hide much of the underlying network complexity and provide familiar source to destination control across a large environment.

Cerebrum and Magellan are also useful in hybrid SDI and IP facilities, allowing organizations to introduce ST 2110 without replacing everything on day one. A smaller production room can take a different approach, which is utilizing Bitfocus Companion and a Stream Deck for tasks that can be automated such as camera presets and record, and graphics triggers, at a much lower cost.

These products address different operational requirements rather than competing for the same role. A large broadcast facility may need orchestration across a complex networked environment, while a smaller room may only need a reliable interface for a focused set of production tasks. The control layer can now be scaled along with the rest of the ST 2110 system.

5. Switchers Now Have Real 2110 Price Tiers

Production switching provides one of the clearest examples of how the market has expanded. Enterprise platforms such as Grass Valley K-Frame, Ross Acuity, and Sony XVS Series still serve demanding broadcast productions where scale and reliability justify a substantial investment. Native ST 2110 switching, however, now extends well below that tier.

The Blackmagic Design ATEM 4 M/E Constellation IP creates a much lower entry point at $8,795, while Panasonic KAIROS Core 200 occupies a flexible middle tier at roughly $69,000 for the core. A Grass Valley Karrera K-Frame CXP IP 2 M/E configuration can reach about $150,000, reflecting the more demanding requirements of enterprise broadcast environments.

These are not equivalent switchers, which is precisely why the comparison is useful. Native ST 2110 production switching now spans value, mid tier, and enterprise platforms, allowing the switcher to be selected around the actual production needs instead of making ST 2110 an automatically six figure decision.

So, So, Is ST 2110 Finally for Everyone?

Not every facility needs ST 2110, but it is becoming a realistic option for more organizations. Smaller networks, JPEG XS compression, and more affordable equipment mean facilities can now build around their actual production needs instead of following an enterprise broadcast model.

The real change here is having the choice. A university studio or low budget media production team can approach ST 2110 at a scale and price point that would have been difficult to justify only a few years ago.

Key Code Media can help determine where ST 2110 fits into your next production or facility upgrade. Whether you’re considering a full IP system or a gradual transition from SDI, contact our team to talk through the right approach for your workflow.