If you work in post-production, the 2026 Engineering, Science & Technology Emmy Award recipient list announced September 3 by the Television Academy and the National Academy of Television Arts & Sciences is going to look very familiar. Adobe Premiere and the Avid DNx codec family are both on it, and for anyone who edits for a living those are two names you likely know well. The ceremony is on October 14 at the Television Academy’s Saban Media Center in North Hollywood. I know folks that work for both of these companies, so congrats to all!

Adobe’s first for Premiere, Avid’s twentieth

For Adobe, this is the first Engineering Emmy for Premiere (though it has won six overall). It’s been a long time coming for a tool that shipped its first version in the early 1990s and has been running on editing workstations in one form or another for 35 years. That’s 35 years of the same core application, though same is stretching it a bit. The early Premiere I remember was a multi-thousand-dollar box of CDs for the Creative Suite that looks almost nothing like the Creative Cloud-connected, AI-integrated, collaborative production software we run today. It’s a long way from my CS6 review and my CC review.

⬆️⬆️ I actually lied about the “multi-thousand-dollar box of CDs for the Creative Suite” above. While the Creative Suite is the Premiere I first remember making money from, my very first non-linear edit ever is the one above, done in Adobe Premiere 4.2. I ain’t proud of it but it is a gem of the era from pixelated video off a CD to cheesy wipes and who knows how the opening animation was made. 

The Television Academy is honoring Adobe Inc. for the development of Adobe Premiere, and the Adobe team put it well when they said the award “belongs to the editors, colorists, sound designers and engineers who’ve shaped Premiere over the past three and a half decades.” Premiere started life as a tape-based NLE on the Mac, left the Mac and then came back and evolved into what we know today that is editing everything from YouTube videos to Emmy-winning television and feature films. Not to mention everything in between.

For Avid, this is Emmy number 20. Two decades’ worth of Engineering Emmy recognition, which puts them in a category nearly all their own in terms of industry acknowledgment. This particular Emmy honors the development of the Avid DNx codec family, the technology Avid has been refining since DNxHD launched in 2004 as a constant-bitrate editing codec purpose-built for nonlinear workflows. We sometimes call these codecs mezzanine or intermediate codecs, and we as editors love them dearly. DNxHD was standardized by SMPTE in 2008 as VC-3, later expanded into DNxHR for UHD and beyond, and unified under the Avid DNx name in 2025.

The five engineers named on the Avid Emmy are Shailendra Mathur, Markus Weber, Katie Cornog, Dane Kottke, and Michel Rynderman. I’ve never met any of this team but they kept the codec moving through two decades of format evolution. If you’ve ever cut a show in Media Composer and not thought once about your codec, there’s a decent chance DNx is why. DNxHD 36 was the first of the offline codecs I ever used and it was like editing butter. And if you know a good offline codec you know exactly what I am talking about.

What each of these recognitions actually means

Adobe’s Emmy is a statement about longevity and ecosystem. Premiere didn’t win because it’s the flashiest NLE or because it beat everyone else in a feature comparison. It won because it became the backbone of a creative ecosystem that includes Creative Cloud, After Effects, Audition, Frame.io among others. And it won because editors, producers and other post professionals built careers and facilities around it.

Avid’s Emmy is a statement about infrastructure. Codecs aren’t glamorous but they are a backbone. A codec doesn’t have a UI or a marketing video or social media influencers gushing about it. In fact, may influncers couldn’t tell you what a codec even is if their TikTok depended on it. But it’s what sits underneath the edit, maintaining quality through roundtrips, review sessions, and finishing workflows. And it’ s not just high-end broadcast television using DNx codecs but many professional productions across the board. The fact that DNx got standardized by SMPTE and adopted broadly across the industry, not just within Avid’s own ecosystem, is what makes it genuinely award-worthy.

A few other notable 2026 honorees

• Charles F. Jenkins Lifetime Achievement Award: Barry B. Zegel –  A career at CBS that reached senior vice president and general manager level, recognized for leadership in television engineering, infrastructure, standards, and operations.
• Philo T. Farnsworth Corporate Achievement Award: Chapman/Leonard Studio Equipment Inc. – The camera support manufacturer whose cranes and dollies show up on sets of all sizes.
• ARRI – The camera and lighting company, also recognized this year, which is consistent with their long track record with the Academy.

There are a lot more 2026 winners than just those noted above and the full recipient list covers a wide spectrum of television engineering. Check out the full list as the official Television Academy site as they are all worth celebrating. The Emmy’s will air live on Monday, September 14th on NBC.