NAB 2026 Updates: See the Latest News and it’s impact on your classroom

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NAB 2026 Day 2/3: 6 Broadcast Tools Schools Should Know

Day 2 almost did me in! After I got done, the only thing I was doing was sitting on the bed, watching reels and going to sleep. I have to admit that in terms of walking, the average was WAY down but the reason is simple. Much longer conversations. I spent most of my day in conversations with 5 or 6 companies. Good deep conversations!

Day 3 was great. It was much shorter but just a good with the conversations. I am going to create a separate post for my conversation with Blackmagic Design where we discuss Davinci Resolve and Fairlight Audio but I talked with the crew from NewBlue FX, Ikan and more.

Here’s the best of what I saw on days 2 and 3:

TriCaster Vizion (Vizrt)

I cut my teeth on TriCaster in the classroom and as a broadcast engineer years ago, and the Vizion generation feels like what that product wanted to be the whole time. The booth was running live demos with 8 MEs of switching, native graphics, and AI-assisted production all on one box, and you could feel the crowd doing the math in their heads. I got to sit with a real “Viz Wizard” Jeremy Morris as he did a deep dive into the Vizion. I have to admit, they are making great progress in terms of finding simple ways to make a big impression. For example, they are almost done with the final steps of the Zoom integration that allows you to use the Zoom username inside Datalink. This means, you can use Datalink to push content your lower thirds for the different guests if you are doing a Zoom as a part of your broadcast.

Zoom in your broadcast.

Instead of trying to figure out how to live shots all over campus with wireless or even NDI. You can set up a Zoom meeting, have students use devices in the field (anything that receives Zoom) and those can be inputs with audio and video back into your Tricaster. You could do a real live shot with an Iphone and a pair of ear buds!

Key Specs

•         44 live inputs (mix of NDI and SDI, configuration dependent)

•         Up to 16 configurable SDI I/O

•         8 MEs, 4 media players

•         UHD 4K60 support; up to 2 UHD mix outputs or 8 HD mix outputs

•         Native Viz Flowics graphics engine, AI-assisted tools

•         Built on HP Z4 G5 platform; 1RU rack or tower form factor

Price

Configuration-dependent. The Vizion Tower with 44 NDI inputs and 16 SDI I/O is listed through distributors around the mid-five-figure range.

Ross Indigo

This is the one that surprised me. Ross has a 40-year reputation for building gear you could hand to your grandkids, so seeing them use NAB to announce a completely browser-based, end-to-end platform was a little like watching a handmade boot company release a pair of sneakers. But it makes sense. Ross is reading the same room everybody else is, and Indigo is their answer.

Imagine all of your media being in one place, being able to be edited, added to your graphics or newsroom control software and controlled by anyone anywhere…. The kid that shot the basketball game is out today because they don’t feel well, they can upload their footage and edit it remotely - Now you didn’t miss the opportunity to tell the story.

For a school, the load-bearing feature here is asset management. Every media specialist I know has a 6TB external drive labeled “Old Stuff — Don’t Delete.” A browser-first workflow with auto-tagging is the pitch that finally makes that drive searchable. It is also a teaching tool — students can learn media asset management the same way industry professionals use it, on the same kind of platform.

Key Specs

•         Fully browser-based — no local client install

•         Modular: Indigo Core unifies users, media, workflows, metadata

•         Native MOS integration for newsroom workflows

•         AI-powered automatic resource tagging

•         Unified asset search across the repository

•         Covers ingest, editing, planning, workflow automation, asset management, editorial, playout

Price

Pricing pending

Canon RC-IP300

This was the most intriguing reveal in the Canon booth, and it is the one that will likely show up in the most school buildings. The RC-IP300 is a serious controller at a price a school can actually entertain. As much as I had to admit it, PTZ cameras are going to take over school studios in the next 5-10 years. I’m not sure if I am fighting it or going to go ahead and say it has to happen because the high schools are the end of the pipeline for studio camera operators…. The Canon RCP-IP300 is a great tool to make that transition a little easier.

A mid-range PTZ controller that makes a one-operator studio realistic.

The controller can handle up to 200 cameras over IP. That’s about 197 more cameras than most schools have. It has a touch panel that makes operation and previewing cameras simple. You can program camera moves and specific positions. It can be powered via POE so you just have to run one ethernet cable from a POE enabled switch.

It can be as powerful as you want it to be but simple enough that any student can use it.

Key Specs

•         Controls up to 200 PTZ cameras over IP

•         3.5" touch panel display with live camera feeds

•         Physical buttons, dials, and assignable controls with status LEDs

•         Programmable trace operation; adjustable speed and response

•         PoE-compatible (plus AC adapter option)

•         Approximately 10.04 x 3.7 x 7.09 in (255 x 94 x 180 mm)

•         Supports CR-N and CR-X PTZ series and Canon cinema bodies

•         Canon MCO software previewed — auto-syncs sub-cameras to a main camera

Price

~$2,499 USD, shipping June 2026.

RCT (Remote Camera Technology)

We just happened on the RCT (Remote Camera Technology) booth this morning. Their controllers stopped us in our tracks. It’s basically the opposite of the controller above. Essentially RCT has built controllers that operate like a camera on a tripod for PTZ cameras. If you pan left, the camera pans left. The camera could be on the other side of campus but it operates like its on top of the tripod you are using. RCT has been quietly building the tools everybody else ends up comparing against. The booth was small but the product set was sharp. Their pan bar is the thing I wish every school PTZ setup had — it lets an operator run a robotic camera with the same muscle memory as a manned studio camera. No joystick, no learning curve, no students freezing up on the first live show.

PTZ control that feels like a real camera — because a pan bar works the way students already know.

RCT, based in Montreal, has been building advanced PTZ control systems since 2010. They partner closely with Panasonic, Sony, and Canon to stay compatible with the latest protocols. Their pan bar system translates a PTZ into the ergonomics of a traditional broadcast camera, which is a quiet revolution for anyone teaching high-school-aged operators. Their VT-1 wireless system extends remote robotic control up to 1,000 feet line-of-sight, which opens up sports sidelines, stages, and any location a wired run cannot reach.

The teacher use case writes itself. A student who has shot football on a sideline can pick up the RCT pan bar and feel at home. That is the difference between a student who hides behind the director and a student who actually calls the shots.

Their newest model, coming soon, ties in buttons like the Stream Deck units so you can adjust cameras on the fly, switch cameras, go to preprogrammed moves, etc.

I really see this as something that could impact a high performing sports program. Imagine one kid running two or three PTZ cameras just like they are standing there with a traditional camera.

Key Specs

•         Pan bar system for PTZ cameras (Panasonic, Sony, Canon)

•         Traditional broadcast-camera ergonomics with smooth pan/tilt/zoom

•         VT-1 wireless robotic camera system

•         Range: up to 1,000 ft / 300 m line-of-sight

•         Integration with major PTZ protocols and controllers

•         15+ years building remote robotic camera systems

Price

Configuration-dependent.

NewBlue Captivate

My conversation with Caleb and Todor at the Newblue booth was one of the best of the conference. They are really working to keep educators in mind. Captivate is the one on this list the a lot teachers already own and use about twenty percent of. If you have Captivate installed on your school’s control room PC and you are only using lower thirds, this section is for you.

Data-driven live graphics that turn a spreadsheet into a broadcast package.

Captivate is NewBlue’s live broadcast graphics platform: unlimited layers of animated 3D graphics, lower thirds, crawls, bugs, scoreboards, transitions, and stingers. The feature most teachers miss is the data integration. Captivate connects directly to Google Slides, Google Sheets, Excel, XML files, RSS feeds, and live social feeds from Facebook, X, and YouTube. Build a scoreboard in Sheets, sync it to the graphic, and run the whole season without rebuilding anything.

For a classroom, that changes the unit economics of a graphics package. A student with a Google Sheet and an afternoon can look like a network.

Key Specs

•         Unlimited layers of animated 3D graphics

•         Lower thirds, crawls, bugs, scoreboards, stingers, transitions

•         Live data integration: Google Slides, Google Sheets, Excel, XML, RSS, clocks

•         Social feed integration: Facebook, X, YouTube comments and polling

•         Spreadsheet autoplay mode for hands-free runthrough

•         Captivate Present adds camera switching and live streaming

•         Captivate Sport tier for live sports-specific workflows

Price

The biggest thing to say here is that NewBlue Captivate is one of the few graphics software options with perpetual licensing options.

Ikan LSH-POE

It seems trivial to say that a $200 light pole was the biggest find of the year for me but I will boldly make that statement. The LSH-POE is simply a 2 foot extender for ethernet cable to connect to the Ikan POE lights. It’s not much if you look at it like that but…. If you are using the POE lights and need to get a couple of extra feed from your grid to the talent in order to get a better light, it’s done and there are not cables to tie up when you are done - they are inside the pole.

If you are in a spot where don’t/can’t have a ceiling grid and you don’t want a ton of lights on the floor, the LSH-POE can actually be mounted to the back of a teleprompter rail and a light can be put behind the prompter and camera. The Ikan POE lights are soft enough that this won’t cause shadows and will give you good balanced light for your talen.

A PoE light hanger/stand that turns one Ethernet run into a clean overhead lighting drop.

The LSH-POE is a height-adjustable aluminum telescoping pole that can be used as a grid-mounted light hanger (with a Mega Clamp) or adapted for stand/desktop mounting. The key feature is the built-in RJ45 input on the pole and an internal coiled Cat6 cable that terminates in a pigtail connectorso you plug Ethernet into the pole, then plug the pigtail directly into a Lyra-PoE light. For schools, that means fewer exposed cables, fewer failure points students can accidentally snag, and a lighting install that looks like it belongs in a real studio.

Key Specs

·         Model: LSH-POE (PoE light stand/hanger)

·         Load capacity: 17.6 lb

·         Working length range: 11.522.8 in (telescoping sections with flip locks)

·         Built-in RJ45 input on the pole + internal coiled Cat6 cable with pigtail connector for direct PoE light connection

·         Designed for grid mounting with Mega Clamp compatibility (top screw: 1/2-13)

·         M12 thread at base for compatible light yokes

·         Integrated safety wire pass-through, plus locking collar clamp for stability

·         Includes 1/4-20 adapter plate for alternate mounting (e.g., stand/desktop/teleprompter)

Price

~$199$210 USD (street pricing varies by dealer).

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NAB 2026 Day 1: Seven Products Worth a Second Look

The theme of NAB 2026 should be “It has AI… you like AI.” I am 90% sure that one of the vending machines at the Las Vegas convention center siad the $8 bottle of water was enhanced with AI.

NAB is a great way to see what’s coming down the line for schools. Most of the products aren’t going to be ready for the classroom due to budget of functionality and the kids may not be at the convention center, but every camera, switcher, and intercom here ends up in a classroom sooner or later. These seven products stood out this year for one reason or another — some for the price, some for the workflow, and some because they solve a problem teachers have been working around for years.

Switchblade Recon

This box is LOADED with options and tools. It’s built with VMIX as the switcher, encoder, streamer but the box is crazy impressive. It’s got a switcher, keyboard, mouse pad, all of the I/O you could need all in one package. The Recon is perfect for schools looking to stream events in the community or move to doing live sports on the road. Just add cameras and mics and you are good to go!

A full vMix production system that folds up like a laptop.

The Recon is the kind of gear that makes a band director, a football announcer, and a broadcast teacher all want the same thing. It is a complete portable vMix production system — workstation, 17.3" folding monitor, integrated 12-channel control surface, T-bar, PTZ joystick, and XLR audio — in a single laptop-style form factor. Open it up, plug in cameras, start the show.

For a program that travels — sports away games, competitions, district events — the Recon is a serious answer to the "how do we take the studio with us" question. And because it is a real vMix system (not a limited appliance), everything your students learn in the classroom transfers to this machine one-for-one.

Key Specs

•      All-in-one portable vMix production system

•      17.3" Full HD folding monitor

•      Integrated 12-channel control surface (preview + program)

•      Physical T-bar transition slider

•      Dedicated PTZ camera controls

•      14-core Intel Core i9 processor

•      NVIDIA GeForce RTX graphics

•      XLR audio inputs

Price

Dealer quote — contact US Broadcast / Switchblade Systems for current pricing.

Switchblade LPU2 (with VMC12 Pro)

I have to admit that I was late to the Vmix party but I continue to be impressed by it and that’s because of people like US Distribution who are building boxes that make VMIX a great option at a school friendly price. This unit really is a workhouse that can make a difference in the studio.

The rack-mount vMix workhorse for a permanent studio install.

Where the Recon is the travel rig, the LPU2 is the foundation. A 2U rack-mount vMix 4K switcher with four 12G-SDI inputs, a pro NVIDIA workstation under the hood, and the VMC12 Pro control surface paired to it — 12-channel preview/program rows, T-bar, PTZ joystick, and audio knobs. For a permanent school studio or a dedicated broadcast classroom, this is the kind of install that lasts a decade.

The spec I keep pointing out to CTE directors: native vMix support for NDI, NDI|HX, SRT, RTMP, and RTSP. Translation: whatever source your building adds in the next five years — a new PTZ, a streaming feed from the gym, a remote contribution from another school — this switcher already speaks the language.

Key Specs

•      2U rack-mount form factor (≈18" W x 9.5" D x 3" H)

•      4x 3G-SDI inputs (12G-SDI variant available)

•      Separate SDI / HDMI program output

•      12-core Intel i7-12700 processor

•      NVIDIA RTX A4000 graphics card

•      16 GB RAM, 1 TB SSD, 2 removable 2.5" SSD bays

•      VMC12 Pro surface: 12-channel preview/program, T-bar, PTZ joystick, audio knobs

•      vMix native: NDI, NDI|HX, SRT, RTMP, RTSP

Price

$5,595 USD (LPU2 + VMC12 Pro bundle)

AIDA RCP Core

This was probably the most interesting thing that I saw when it came to the classroom. It’s a simple camera controller but it was loaded with features and the ability to control up to 7 cameras makes it perfect for schools as we move into schools having more and more PTZ cameras in their workflow.

Camera control, centralized — so one operator can shade a full studio.

AIDA has been quietly building one of the most usable PTZ ecosystems in education for years, and a dedicated remote control panel is the logical next step. The RCP Core is built to sit on a director's desk and give a single operator real-time control over multiple cameras' paint, iris, gain, white balance, and pan/tilt/zoom — the stuff that actually makes a multi-camera show look professional instead of homemade.

In a school context, this is a teaching tool as much as it is a production tool. Students learn what shading a camera actually means when they can watch another student do it live on the panel next to them. It turns the control room into a classroom.

Price

[Pricing pending — request quote from AIDA or authorized dealer]

Z CAM P2-R1N

This camera took us by surprise. I looks like a box camera camera on a PTZ frame. The interesting part that I would like to see is if the tracking works as good as they say it will. The booth reps boasted that it will do face tracking, multi object framing, gesture control, and object tracking… That’s a lot. All the same, it may be work the investment to try even if you just have to manually control it.

A PTZ camera that stops looking like a PTZ camera.

The P2-R1N is the camera you buy when you are tired of compromising. PTZ cameras in schools have historically meant one of two things: a $900 unit that looks like a webcam on a stick, or a $12,000 broadcast model the AV director won't let students touch. The P2-R1N lands in the middle — a genuinely cinematic PTZ with an f/1.6 lens, 18x optical zoom, NDI|HX3, and built-in auto-tracking for programs that don't have a dedicated camera op for every shot.

The auto-tracking piece is worth pausing on. In a small program, your teacher is also your director, and your director is also a camera op. A camera that can follow a presenter on its own, cleanly, without a laptop running tracking software on the side, is the kind of thing that turns a one-person show into a professional one.

Key Specs

•      4K UHD at up to 60 fps (1080p60 over SDI)

•      18x optical zoom, 36x digital zoom (1080p)

•      f/1.6 wide aperture

•      1/1.3" CMOS sensor

•      HDMI, SDI, NDI|HX3, PoE

•      Built-in auto-tracking (no external PC required)

•      Internal recording

Price

~$3,299 USD+

Z CAM E2N Mark II

This camera caught my eye when I was at the US Distributors booth and they gave me the specs so I had to go check it out myself. This is a POE+ powered, NDI cine camera with interchangeable lenses. Read as: If you want to create a cine look for a broadcast, this is your answer.

A cinema-quality NDI camera built for the way schools actually stream.

The E2N Mark II is a Micro Four Thirds cinema camera with serious broadcast DNA — and a feature set that maps almost perfectly to what a school building needs. NDI|HX3 certification is the headline: you can run multiple cameras over a single network cable, feed a switcher across the building, and keep your bandwidth under control while still getting visually lossless video. For a program running its own morning show, a sports broadcast, or a hybrid studio-and-theater setup, that is the kind of flexibility you usually pay double for.

Z CAM has also leaned into color refinement on the Mark II generation, with finer control over saturation, hue, and skin tones. Translated for a classroom: your students' faces look like your students' faces, not like they've been color-shifted through a consumer camera's processing pipeline. That matters more than spec sheets usually let on.

Key Specs

•      4/3" MFT sensor, Micro Four Thirds mount

•      4K at up to 60 fps, 1080p at up to 240 fps

•      NDI|HX3 certified — high-quality, low-latency network video

•      Enhanced color engine (refined saturation, hue, skin tones)

•      Dual native ISO

•      PoE+ support

•      Web interface for networked control

Price

If I were good at my job, I would have asked. It’s not posted on the website yet. If I get by there again, I will update the article.

Accsoon CoMo 2

I have seen several schools using Accsoon intercom products in recent years and these really caught my eye yesterday. The look similar to competitive products but seem to be better built. The units cover up to 400 meters and the part I love the best for teachers is the flip to mute function on the headsets. It’s not hard to see who’s mic is open….

Team communication is the part of production teachers always end up solving last.

If you have ever tried to run a live event with one teacher whisper-shouting cues across an auditorium, you already understand why a wireless intercom belongs in a classroom budget. Accsoon's CoMo lineup has been quietly winning fans since 2024 — long battery life, long range, noise-cancelling mics, and a price point that doesn't require a district-level purchase order. The CoMo 2 carries that DNA forward with the refinements you'd expect from a second-generation product.

For a student crew, the single biggest thing an intercom changes is confidence. Camera operators stop guessing. The director stops running across the room. The kid on audio actually hears the cue. A full-duplex headset system is not glamorous, but it is the difference between a stressful show and a clean one.

Key Specs

•      Full-duplex wireless intercom headset system

•      Noise cancellation (dual-mic ENC)

•      Long-range operation (previous generation: ~1,300 ft / 400 m)

•      Multi-user support for team communication

•      Extended battery life for full event days

Price

$500+

Accsoon CineView Master 4K Lite

The Accsoon Cineview Master 4k lite caught my attention for a lot of reasons, price being the greatest. The footprint of this wireless video system is about the size of a business card with antennas. I will say that they are not for live production. These would be best used as a monitor for a teacher/director looking to be able to see framing, etc from a distance. This can help you when it comes to being hands off on cinematic shoots but still being able to see and coach what the students are shooting.

Wireless video, DCI 4K60, at a price classrooms can actually reach.

If you have ever tried to run an HDMI cable across a gym floor during a live broadcast, you already know why wireless video matters in a school. The CineView Master 4K Lite is the stripped-down sibling of Accsoon's flagship Master 4K — same DCI 4K60 wireless transmission, same clean H.265 image, just a shorter range and slightly higher latency. For a school environment, that trade is a non-issue. You are not broadcasting across a stadium; you are moving a camera across a cafeteria or an auditorium.

The detail I keep coming back to is the USB-C video output on both the transmitter and the receiver. Students can monitor on their own phones or iPads — up to five devices at once — without a dedicated director's monitor. That changes what's possible for a two-student crew working a live event.

Key Specs

•      DCI 4K60 wireless transmission (H.265)

•      Range: ~1,200 ft / 350 m

•      Latency: <35 ms at 1080p; <65 ms at 4K60

•      USB-C video out on both TX and RX

•      Up to 5 device monitoring (1 wired + 4 wireless)

•      Camera control on select Sony and Canon bodies

•      Dual-band 2.4 GHz / 5 GHz with DFS support

Price

$729 USD (TX + RX set)

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Pre-NAB Show 2026: The Essential Tech Takeaways for Media Educators

NAB Las Vegas is the annual pilgrimage of AV professionals from around the world to meet, see new technologies, or have their eyes opened to old technologies and their changes in the last year. It’s one of the events that I wish I could attend every year. I think its something that teachers should attend every five years. It know it would be tough to do because of the cost, timing, and perceptions about what would actually happen in Vegas. 

NAB is not for the weak though. I arrived yesterday after a 4 hour flight. Got checked into my hotel and got rolling. Last night after 6 miles of walking, multiple meetings, a keynote presentation, and a plate of mediocre nachos, I ended my 23 hour day. (only to be awakened at 3am this morning by house of worship clients who were having trouble with Tricaster licensing…) 

That said, I believe NAB is perfect for educators. Its a great way to stay involved in the industry of your choice - TV, film, radio, sports, streaming, etc. It’s all here. It’s a great way for you to make real connections with manufacturers. It shocked me the first time I attended NAB how many of the manufacturers not only cared about what was happening in the classroom but who wanted to be engaged in the conversation about what will help teachers. 

At NAB 2017(-ish), I met Hank Landsberg from Henry Engineering and after a year of conversations, tests, and work on Hank’s part, the Henry Engineering Sportscaster was released. I still think that is the absolute best tool for schools when it comes to teaching and practicing to be on-air talent for sports broadcasts. 

Now to this year… 

I spent some time at the JB&A Pre-NAB and Ross Video Keynote events and had some great takeaways: 

Invest in NDI Infrastructure Now

I remember the day I actually figured out what NDI will do and how I could use it in my classroom. It was life changing. We tried a ton of stuff: live interviews on the other side of the building, esports, car rider door opening at the elementary school, teaching from a laptop (2020), and more. I still believe that once you get it, you are hooked. My entire studio was NDI. There were 0 cables running from my studio to our production area - it was all over the school network. (It only failed me once in 4 years.) 

Why you should start pushing for NDI workflows in your school now - NDI is trying to take over the AV world. At the JB&A meeting, “Dr. NDI” broke down the new stuff that available to be run over NDI and it never ceases to amaze me. NDI is no longer just video signals. It’s now everything - Audio, KVM (keyboard, video, mouse), DMX (used to control lights and other hardware), and more. 

If you aren’t aware of NDI, first don’t be intimidated. It’s not as complex as you think. At its root, it’s connecting a device to a network, getting it’s address, and telling something else how to interact with it. (We will do a whole series on NDI soon)

Long story short: if you want to maximize what you are doing in the studio and around the building, learn NDI. More to come… 

Simplify Production with Bitfocus Buttons

I haven’t dug in a ton yet but Bitfocus Buttons looks to be very promising. Bitfocus is the same company that built the companion app for the Elgato stream decks so you could control sophisticated tools with a button. 

The thing about Buttons that interested me the most was the ability to use RF cards to assign roles with the buttons tools. While it is designed for user specific roles, I immediately thought about how it could be used to set up different shows for a school. For example, Your news show has a specific card that you swipe and how you have access to the tools that are needed for that show - camera controls, video routing, graphics tools, etc. Then that night, you have a sports broadcast, swipe the sports card, and boom now you have a different set of tools.  

I am going to spend some more time on this but I have to say, it has a ton of potential for the classroom . It’s one of those little things that once it’s in place, you can save a ton of time and hassle with a couple of button pushes or swipes.

Ross Video's Evolving Ecosystem: Indigo and 5 M/E

The Ross Keynote was a great example of a company with it’s eyes on serving clients and creating cool stuff. Earlier in the day, I saw Matt Morgan from Ross share the 5 pillars that Ross Video is working in and the biggest for educators is obviously the broadcast video pillar though I think that Architainment could be something fun for the schools with a great budget and looking to make a huge impression (probably colleges more than secondary schools). 

Ross has always been creative with their new tools and implementations. They love a lot and as we all do want “one more (insert).” The biggest takeaway from the session for me was the new 5 M/E control panel. If you aren’t aware, the biggest control surfaces for the last 40 years have been 4 M/E which are HUGE. While I  haven’t seen it yet, my mental picture when they announced it was that when it’s not being used for a production, a well built cover could be placed over it so the JV basketball teams would have a place to practice. I am excited to see it in person because it reminds me that no matter how much of something we have, we want “one more…”

I’m also digging in on the new control room software that was announced last night, Indigo. Indigo combines all of the elements of production management into one tool - ingesting media, writing, editing, planning, and producing - into one tool. I’m really excited to dig in on Indigo. I am probably going to do that on Tuesday so I can spend more time on it. 

Make sure you come back to see what we dig up at the show as it officially opens today (Sunday).

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Meet the Author, Tom White

Tom White is the director of business development at Amitrace. Tom's role is to help educators build better programs through better training, planning, and equipment. Before joining Amitrace, Tom was the Broadcast Engineer at Grady College of Journalism and Communication at the University of Georgia. Prior to that role, Tom taught at Morgan County High School and Rockdale Career Academy where he and his student produced thousands of live streams for sports, news, and community events. Tom is a member of the SkillsUSA Georgia Board of Directors and also serves as a contest tech chair for SkillsUSA Alabama and Tennessee.

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