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TOKYO, JAPAN – April 3, 2020 – Airing to stellar ratings in Japan, Nippon Television Network Corporation (Nippon TV), Japan’s leading multiplatform entertainment powerhouse, announced today that the company has just started offering format rights to its new game show Mute it! (30min to 120min eps.) ...

TOKYO, JAPAN – April 3, 2020 – Airing to stellar ratings in Japan, Nippon Television Network Corporation (Nippon TV), Japan’s leading multiplatform entertainment powerhouse, announced today that the company has just started offering format rights to its new game show Mute it! (30min to 120min eps.) which just recently aired during prime time on Nippon TV. The family-friendly studio-based game show with a unique twist was created for and produced by Nippon TV in Japan with the worldwide format rights available.

“Given our prior success with the enormously popular Silent Library, we are pleased to be presenting Mute it!, a game of silence, unlike any other game show. It pushes the limits of human concentration and balance whereby if a contestant makes any sound at all they are immediately disqualified from the game. Mute it!brings a breath of fresh air to a world normally filled by loud game shows,” commented Mr. Atsushi Sogo, President of International Business Development at Nippon TV.

In Mute it!, contestants play four stages of games in the Hall of Silence, a custom-built giant studio with difficult challenges for the players to accomplish, yet at the same time, filled with sound traps all around. There is only one rule: don't make any sounds. If contestants make any sounds above 50dB, the Sound Watchman, purveyor of the Hall of Silence, suddenly shows up to take the contestant away. For players who succeed in the first three stages, the final stage awaits. The question is will the players be able to withstand the challenges and overcome the difficult missions without making a single sound, to gain the big prize money at the end.

http://www.ntv.co.jp/english/pc/2020/03/mute-it.html

ABOUT NIPPON TV 

Nippon TV is Japan's viewer ratings champion, topping all timeslot categories for six consecutive years and garnering the largest profits in the country's broadcasting industry. One of the biggest successes for the nation's finest producer of all genres of programming is Dragons' Den, a globally successful business show format that has 40 versions in 186 territories across all continents of the world. The Emmy Award-winning version, Shark Tank, airs in the US. Following closely are the successes of scripted formats Mother and Woman My Life for My Children, whose Turkish versions have become mega-hits that have gone on to sell in nearly 40 territories around the world. As a format, Mother has also been sold to South Korea, Ukraine, France, and Thailand. With well-established businesses that span VOD / live-streaming engineering, animation, movies, events, fitness clubs, eSports, android creation, and digital mixed reality, Nippon TV is leveraging its coveted platform to revolutionize digital media in an ever-changing industry. Launching a channel in Southeast Asia named GEM through a joint venture with Sony Pictures Television Networks, and leading the Japanese digital content market through its subsidiary Hulu Japan, Nippon TV is steadily solidifying its presence and brand as a global media powerhouse.

Author: Sheila Morris
Posted: April 3, 2020, 5:03 pm
Portland, OR – April 2, 2020 – Red Giant has just released a quick and easy tutorial on creating a forcefield/watery surface effect. Now out on YouTube, Aharon Rabinowitz showcases his process of developing this effect using tools from Red Giant Complete. In just under 5-minutes, the tutorial shows ...

Aharon Rabinowitz utilizes Red Giant tools to demonstrate how easy it is to create a forcefield during this time of social distancing

Portland, OR – April 2, 2020 Red Giant has just released a quick and easy tutorial on creating a forcefield/watery surface effect. Now out on YouTube, Aharon Rabinowitz showcases his process of developing this effect using tools from Red Giant Complete. In just under 5-minutes, the tutorial shows viewers how to use a displacement map along with other tools to create a beautiful flowing, prismatic surface with refraction - all from the comfort and safety of one’s living room. Because it might be nice to shield oneself from work-at-home distractions using a forcefield, even if it's just by pretending to make one.

WATCH NOW: Forcefield Tutorial

To showcase the effect, Aharon starts off with some footage he shot of himself on his smartphone, waving his hands around in his living room. Working in After Effects, he pulls in plugins from Red Giant Complete to create particles emitting from his hands while adding various layers to enhance the effect. Aharon used Trapcode Particular to create the particles, then employed VFX Chromatic Displacement to add prismatic distortions.

The full set of tools used includes:

  • Trapcode Particular: Create organic 3D particle effects, complex motion graphics elements and more in After Effects. Now with Fluid Dynamics.
  • VFX Chromatic Displacement: Easily create beautiful prismatic displacement effects in After Effects or Premiere Pro

Free Trial

Want to follow along? You can download a free trial of Red Giant Complete and have access to fully functioning versions of all of our tools!

New Red Giant Complete Purchasing Options

Red Giant recently announced brand new purchasing options on Red Giant Complete, which is now available as a monthly subscription. For those in academia including students, teachers and faculty members, Red Giant Complete is now available for free; simply follow the instructions on the Red Giant website to learn how to apply.

  • Total if purchased separately: $3,495
  • Red Giant Complete Annual: $599/YEAR, or $49.92/MONTH (Paid Annually)
  • Red Giant Complete Monthly: $79/MONTH

The Red Pledge

Red Pledge is Red Giant’s commitment to customer happiness, with no purchasing hassles. Learn about the Red Pledge guarantee at https://www.redgiant.com/company/red-pledge/.

Request a Red Giant Media Review Kit

Members of the media are invited to review Red Giant Complete as well as any individual tools or product suites from Red Giant. For more information or to request a product review kit, please contact Alexis Isaacs at [email protected]

About Red Giant

Red Giant is a software company made up of talented artists and technologists who collaborate to create unique tools for filmmakers, editors, VFX artists, and motion designers. Our company culture is focused on finding balance between work and life – we call it “the double bottom line” – this philosophy helps us ignore complexity in favor of building simple tools that yield giant results. Over the last decade, our products (like Magic Bullet, Trapcode, Universe and PluralEyes) have become the standard in film and broadcast post-production. With over 250,000 users, it’s nearly impossible to watch 20 minutes of TV without seeing our software in use. From our experiences as artists and filmmakers, we aspire to not only provide tools for artists, but inspiration as well. Watch our films, learn from over 200 free tutorials, or try our software at www.redgiant.com.

Author: Nick Govoni
Posted: April 3, 2020, 4:51 pm
The FCC has waived its advertising disclosure rules for COVID-19 public service announcements using donated commercial ad time. Ordinarily, a TV spot has to include a disclosure of who paid for the time per FCC rules. But with businesses shuttered, events canceled and social distancing, many ...

Will extend until June 30

The FCC has waived its advertising disclosure rules for COVID-19 public service announcements using donated commercial ad time.

Ordinarily, a TV spot has to include a disclosure of who paid for the time per FCC rules. But with businesses shuttered, events canceled and social distancing, many advertisers can no longer use the commercial time they have already bought from TV and radio stations and are instead donating it to use for public service announcements.

Those PSAs display the name of the CDC or other public health authority, not the original ad time purchaser, so could run afoul of the rule that require broadcasters to disclose who bought the time.

"In this particular instance, however, where the time is being donated for the broadcast of PSAs related to the COVID-19 pandemic by the CDC, other governmental entities, or public health authorities, such a disclosure requirement might undercut the reliability of these PSAs, which are providing essential information, often from an entity charged with tracking and limiting the spread of disease," said the FCC's Media Bureau in explaining the waiver. "Moreover, requiring that the name or corporate logo of the commercial entity that originally purchased the airtime be included in the PSA might discourage the donation of beneficial advertising time, as commercial entities might not wish to have their names or corporate logos directly associated with the provision of information about COVID-19 for fear of a negative association by consumers."

The FCC has the discretion to waive the requirement if it thinks that would be in the public interest. The Media Bureau said that is the case. "The use of such donated advertising time could allow for the broadcast of numerous additional PSAs to the community during this national emergency and provide life-saving information to the public," it said.

The waiver extends to June 30, 2020, after which it will be reevaluated. 

Author: John Eggerton
Posted: April 3, 2020, 4:49 pm
ViacomCBS said it completed the acquisition of a 49% stake in Miramax from beIN Media Group. beIN Media retains 51% ownership of Miramax, the award-winning studio whose business was disrupted as sexual harassment charges surfaced against founder Harvey Weinstein. Weinstein was found guilty of rape ...

beIN Media Group retains 51% ownership

ViacomCBS said it completed the acquisition of a 49% stake in Miramax from beIN Media Group.

beIN Media retains 51% ownership of Miramax, the award-winning studio whose business was disrupted as sexual harassment charges surfaced against founder Harvey Weinstein. Weinstein was found guilty of rape charges in February and sentenced to 23 years in prison.

ViacomCBS will spend $375 million on Miramax, with an initial payment of $150 million plus an investment of $45 million annually for five years that will be used for new film and television productions and working capital.

ViacomCBS’s Paramount Pictures also entered into an exclusive long-term agreement to distribute Miramax’s film library and a long-term first look agreement under which Paramount will develop produce, finance and distribute new film and TV projects based on Miramax’s intellectual property.

Author: Jon Lafayette
Posted: April 3, 2020, 4:43 pm
As the COVID-19 virus continues to spread and sheltering-at-home becomes the new workplace, the Voice of America, the country's largest international broadcaster, has vacated its newsrooms and is conducting its broadcasts remotely from the homes of its journalists, hundreds of them, across the ...

Global studios move to bathrooms, living rooms

As the COVID-19 virus continues to spread and sheltering-at-home becomes the new workplace, the Voice of America, the country's largest international broadcaster, has vacated its newsrooms and is conducting its broadcasts remotely from the homes of its journalists, hundreds of them, across the globe.

Photo via gdb.voanews.com.

VOA provides news in 40-plus languages to an audience it estimates at 280 million, and usually does so out of almost 50 newsrooms/studio facilities. Those have now morphed into makeshift home studios to report from China and Korea, Iran, Russia and many more countries with 1,800 hours per week of programming.

"COVID-19 has created enormous challenges to our global newsroom operations, which has been met by a blossoming level of innovation by our reporters, producers and editors to adapt to news reporting during this global pandemic," said VOA director Amanda Bennett of the now even more far-flung correspondents.

The newly appointed home studios include an ironing board anchor desk in a living room studio at VOA Bosnia, a coat closet radio studio with clothes doubling as soundproofing to muffle background noise in VOA Korea, a bathroom (news) break with a shower curtain as a cityscape backdrop for live remotes from Celia Mendoza, a VOA Spanish service broadcaster (pictured above), and a plastic tablecloth green screen at VOA Armenia (to see how a wall becomes a window on the world, check out this short video).

The virus has also hit close to home for the international broadcaster. Former VOA head Jeff Shell (he is past chairman of the Broadcasting Board of Governors) tested positive for the virus.

Author: John Eggerton
Posted: April 3, 2020, 3:56 pm
ABC got the win in Thursday prime, with Grey’s Anatomy pacing the Alphabets to a 1.0 in viewers 18-49, per the Nielsen overnights, and a 5 share. That squeaked by CBS’s 0.9/4. Station 19 fell 8% to 1.1 on ABC and Grey’s Anatomy ticked up 8% to 1.4. How to Get Away With Murder scored a 0.6, up 50% ...

‘Man With a Plan’ opener down from last season on CBS

ABC got the win in Thursday prime, with Grey’s Anatomy pacing the Alphabets to a 1.0 in viewers 18-49, per the Nielsen overnights, and a 5 share. That squeaked by CBS’s 0.9/4.

Station 19 fell 8% to 1.1 on ABC and Grey’s Anatomy ticked up 8% to 1.4. How to Get Away With Murder scored a 0.6, up 50% over its last new episode late last year.

On CBS, Young Sheldon went up 18% to 1.3 and the season starter of Man With a Plan did a 0.9. Man opened at 1.1 last season. Mom grew 25% to 1.0 and the series premiere of comedy Broke posted a 0.6. Drama Tommy increased 20% to 0.6.

Univision was next at 0.6/3. La Rosa de Guadalupe and Amor Eterno did 0.7s, Rosa up 17% and Amor up 40%. Sin Miedo a la Verdad grew 25% to 0.5.

Fox got a 0.5/3 and NBC a 0.5/2. Fox had Last Man Standing down 13% to 0.7 and a Last Man rerun. A Mental Samurai repeat followed.

NBC had Superstore down 22% to 0.7 and Brooklyn Nine Nine off 29% at 0.5. A Will & Grace rerun led into Indebted at 0.3, mostly in-line with last week’s 0.4 and 0.3 double run. Law & Order: SVU slid 14% to 0.6.

Telemundo got a 0.4/2. Exatlon Estados Unidos got a 0.5 and La Dona a 0.4, both flat. Operacion Pacifico dropped 25% to 0.3.

The CW did a 0.1/0 with reruns of Katy Keene and Legacies

Author: Michael Malone
Posted: April 3, 2020, 3:56 pm
The Gray Television stations in Louisiana are working together on a series of statewide virtual concerts under the title Louisiana Rising: Songs From Home. The series will feature local artists across the state performing at home. The performances, occurring across three consecutive weekends, will ...

Local artists, performing in their backyards and living rooms

The Gray Television stations in Louisiana are working together on a series of statewide virtual concerts under the title Louisiana Rising: Songs From Home. The series will feature local artists across the state performing at home. The performances, occurring across three consecutive weekends, will be streamed on stations’ social media pages, apps and websites.

It begins on WVUE New Orleans April 4 at 1 and 5:30 p.m.

WVUE, WAFB Baton Rouge, KALB Alexandria, KPLC Lake Charles, KSLA Shreveport and KNOE Monroe, along with Scripps-owned KATC Lafayette, are partners on the series.

“Statewide, our dedicated journalists are doing an incredible job reporting the facts about COVID-19, but we know that information can sometimes be scary,” said Gray Television senior VP Sandy Breland. “While we may be distant, we’re excited to bring people together and spread a little joy through music, which is such an integral part of our culture.”

Louisiana has over 9,100 coronavirus cases, according to Nola.com.

“We’re excited to launch this innovative concert series to lift the spirits of so many around the state,” said Ronna Corrente, WVUE VP and general manager. “In addition to sharing their talents with Louisianans, these great artists will use their voices and air-time to promote different charitable causes close to their hearts, and viewers will be able to connect with these artists’ social pages to also support the causes of their choice.”

Author: Michael Malone
Posted: April 3, 2020, 3:09 pm
A pair of Democratic legislators are pushing the FCC to vigorously enforce new truth-in-billing rules that Congress mandated in the Television Viewer Protection Act that passed late last year.  The mandate requires cable and satellite providers to disclose all fees before potential subs sign ...

Suggest it is a critical consumer protection

A pair of Democratic legislators are pushing the FCC to vigorously enforce new truth-in-billing rules that Congress mandated in the Television Viewer Protection Act that passed late last year. 

The mandate requires cable and satellite providers to disclose all fees before potential subs sign on the dotted line and allow for a 24-hour grace period for cancellations without penalty. The TVPA also requires more transparency in electronic billing and prohibits MVPDs from charging for equipment they don't provide. It is supposed to go into effect June 20, six months after the law's passage as the legislation specified. 

But saying its members need to focus their time and energies on fighting the pandemic and shouldering the additional broadband load of a surf-in-place populace, NCTA-The Internet & Television Association,, along with USTelecom and ACA Connects, told the FCC they would like the mandate date extended to Dec. 20. Actually, the FCC asked in a request for comment whether it should extend it to that date. The association's said yes, definitely, then added an exclamation point with a request last week for an emergency extension citing the coronavirus pandemic.  The FCC Friday granted the extension, citing the pandemic, a move a source familiar with the legislators signaled they understood, so long as the FCC and MVPDs could implement the new mandate as soon, and as vigorously, as possible.

Related: NCTA Seeks Immediate Extension of Truth-in-Billing Regs

According to a copy of the letter, on Friday (April 3) Sen. Ed Markey (D-Mass.) and Rep. Anna Eshoo (D-Calif.) wrote the FCC seeking assurances it will "vigorously enforce" the mandate. They did not mention the cable effort, but did frame the letter as though the FCC would be enforcing the rules on time, suggesting that would be "executing the will of the U.S. Congress" to promote a "critical" consumer protections. 

"The pro-consumer reforms outlined above are scheduled to go into effect on June 20, 2020. In anticipation of the effective date, we would like to receive your assurance that the Commission fully intends to enforce the new law," they said.

Author: John Eggerton
Posted: April 3, 2020, 2:37 pm
Fremont, CA - April 3, 2020 - Blackmagic Design today announced that New Hampshire based live streaming and AV production company Events United used a Blackmagic Design live production workflow to produce Dropkick Murphys’ St. Patrick’s Day live stream “Streaming Up From Boston,” reaching a total ...

Fremont, CA - April 3, 2020 - Blackmagic Design today announced that New Hampshire based live streaming and AV production company Events United used a Blackmagic Design live production workflow to produce Dropkick Murphys’ St. Patrick’s Day live stream “Streaming Up From Boston,” reaching a total of more than 10 million viewers.

For the first time in 24 years, Boston based Celtic punk band Dropkick Murphys did not perform a concert with a live audience for St. Patrick's Day. The band took to the internet instead and performed a full concert set that was live streamed via the band’s Facebook, YouTube, Twitch, and other social media channels to fans throughout the world.

As a full service live streaming and audio visual production company, Events United was tasked with creating a high quality live streamed concert experience within a tight timeframe. The live stream idea was finalized only 48 hours in advance of going live.

Events United had already begun to build out a substantial streaming studio in response to many live events being postponed or canceled for the next few months. The setup needed to be expanded for a full band on stage, so as Dropkick Murphys’ live stream came to fruition, the team had to add even more AV gear to the workflow. Events United Producer Tim Messina worked tirelessly to make sure everything was done on time with a high quality look.

A Blackmagic Design Smart Videohub 40x40 12G router served as the hub of the live workflow. Seven cameras fed into the router, along with two computers for CG overlays and full screen video/graphics playback. Those feeds were routed into an ATEM 4 M/E Broadcast Studio 4K live production switcher connected to an ATEM 1 M/E Advanced Panel. Tim advised on the program cut during the show, and Video Director Jonathan Martell worked with the camera operators and directed Technical Director Kent Rich. Switching the cameras, Kent cut the main program on the ATEM 1 M/E Advanced Panel, which was then sent back to the router.

From there, the feed was sent to encoders and to several of Blackmagic Design’s HyperDeck recorders, including four HyperDeck Studios, three HyperDeck Studio Minis, HyperDeck Studio Pro and HyperDeck Studio 12G. Each camera was ISO recorded, and there were two recordings made of the program cut as well, one being the primary and the other as the backup. Audio was ingested into the ATEM 4 M/E Broadcast Studio 4K through a Teranex Mini Audio to SDI converter.

“Unlike the standard concert experience where everything is designed to look amazing to the audience, a live stream is a different ball game,” said Jonathan. “It didn’t really matter what this show looked like in the studio. The only thing that mattered was how everything came through the camera lens. We were able to work together alongside the band’s crew to make sure everything worked well to provide an amazing live stream.”

Jonathan noted that the team appreciated the ergonomics of the ATEM 1 M/E Advanced Panel, as well as the ability to remotely control the HyperDeck recorders, which made it very easy to sync up all the recordings.

“Blackmagic Design’s equipment was fast and easy to configure, had the right amount of processing power, and was reliable throughout the shoot,” said Jonathan. “We have multiple switchers in our inventory, but we chose the ATEM 4 M/E Broadcast Studio 4K because of its flexibility and input and output count. Blackmagic Design routers are the backbone of our video systems because they are reliable and affordable. Our team is all about premiere production services, and we really love working with our clients like Dropkick Murphys to help them realize the full potential of their ideas and events.”

Press Photography

Product photos of Smart Videohub 40x40 12G, ATEM 4 M/E Broadcast Studio 4K, ATEM 1 M/E Advanced Panel, HyperDeck Studio, HyperDeck Studio Mini, HyperDeck Studio Pro, HyperDeck Studio 12G, and Teranex Mini Audio to SDI as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Author: Nick Govoni
Posted: April 3, 2020, 2:16 pm
Activist investor Standard General on Friday said it has increased its stake in Tegna to 12%, a 20% increase. Standard General, which is mounting a proxy fight to get a slate of four directors added to Tegna’s board, said that it believes that it is now the largest shareholder in the broadcaster. ...

Investor claims status as broadcaster’s largest shareholder

Activist investor Standard General on Friday said it has increased its stake in Tegna to 12%, a 20% increase.

Standard General, which is mounting a proxy fight to get a slate of four directors added to Tegna’s board, said that it believes that it is now the largest shareholder in the broadcaster.

On Wednesday, Standard General disclosed that it had sold 5 million shares in swap transactions, a move called “troubling” by Tegna.

“We are fully committed to Tegna, and we are not going anywhere,” said Soo Kim, founding partner of Standard General L.P.

“This increase in our position underscores our conviction that the company’s intrinsic value is much higher than its market price, but also our belief that Tegna will not achieve its full potential without an upgraded board. Our exceptional nominees have the needed experience and expertise to implement changes to Tegna’s business, operations, capital allocation and strategy to transform the company into the best-in-class operator it should be.”

Standard General has called Tegna an under-performer among broadcasting stocks. It also criticized the broadcaster’s approach to merger and acquisition, especially after recent bidders pulled their takeover offer.

“Our additional investment boosts our economic and financial exposure to the company’s equity and signals our steadfast commitment to driving change at Tegna for the benefit of all shareholders. Recently, Tegna has attempted to mislead shareholders and has falsely implied that by reducing the number of physical shares we own, that we reduced our economic interest in the company. In fact, Standard General has actually recently INCREASED its investment by more than 20%.”

Tegna stock closed at $11.32 Thursday and was up six cent in pre-market trading Friday.

Author: Jon Lafayette
Posted: April 3, 2020, 1:29 pm
The FCC is proposing to require 40 more markets (DMAs 61-100) to provide audio descriptions of video programming but also wants to know if the current pandemic changes any part of the equation. Per the Twenty-First Century Communications and Video Accessibility Act of 2010 (CVAA), FCC rules ...

But asks if pandemic should have any impact on timetable

The FCC is proposing to require 40 more markets (DMAs 61-100) to provide audio descriptions of video programming but also wants to know if the current pandemic changes any part of the equation.

Per the Twenty-First Century Communications and Video Accessibility Act of 2010 (CVAA), FCC rules currently require certain stations in the top 60 markets to provide that service to the blind and visually impaired.

A Notice of Proposed Rulemaking circulated by FCC Chairman Ajit Pai to the other commissioners this week for a vote at the April 23 meeting would:

  • "Seek comment on whether we should account for the current coronavirus pandemic in evaluating the reasonableness of costs of expanding video description requirements to markets outside of the top 60, and in making a determination regarding the compliance deadline, and, if so, how.
  • "Start phasing in the new markets starting Jan. 2, 2021 at a rate of 10 markets per year for four years.
  • "Propose that the Commission should determine in 2023 whether to continue expanding to an additional 10 DMAs per year, with any further expansion to be undertaken only following a future determination of the reasonableness of the associated costs.
  • "Conclude, tentatively, that 'the costs of implementing the video description regulations in these markets are reasonable' because that would 'ensure that a greater number of individuals who are blind or visually impaired can be connected, informed, and entertained by television programming.'
  • "Propose that, in determining which DMAs are subject to the video description requirements, the Commission should use an updated Nielsen determination rather than the current figures, which are from 2015."
  • "Propose to modernize the terminology in part 79 of the Commission’s regulations to use the term 'audio description' rather than 'video description,' in accordance with a recent recommendation from the Commission’s Disability Advisory Committee."
Author: John Eggerton
Posted: April 2, 2020, 10:44 pm
Never.no, the award-winning audience engagement specialist, has today announced a partnership agreement with Applied Electronics. Headquartered in Toronto, Canada, the media solutions company will license Never.no’s Bee-On platform and offer local support, creative assistance and training for ...

Never.no, the award-winning audience engagement specialist, has today announced a partnership agreement with Applied Electronics. Headquartered in Toronto, Canada, the media solutions company will license Never.no’s Bee-On platform and offer local support, creative assistance and training for broadcasters and content providers.

“We’re delighted to announce our new partnership with Applied Electronics. Their experience and knowledge of the industry, not to mention their expansive sales network, fits our strategic regional growth plans. We’re excited to work with forward-thinking broadcasters and content providers looking to bridge the gap between content and their audiences,” said Scott Davies, CEO of Never.no.

We’ll be working with their teams to give extensive support and training, which includes Bee-On’s new, soon-to-be-announced capabilities, that will enhance content providers’ workflows with seamless social platform and web browser integration,” added Karl Kathuria, head of North America for Never.no.

With over 20 years’ experience in interactive TV, Never.no has developed its cloud-based SaaS solution Bee-On to provide broadcasters and advertisers with the tools to deliver rich and captivating content that can be managed remotely, away from main production hubs. Bee-On’s intuitive system enables rapid real-time production changes and produces HD broadcast graphics on linear and digital platforms. The innovative feature-set includes a robust social moderation engine that filters audience-generated content - such as images, comments and videos – and manages scalable live polls and competitions, delivered in real-time for live or pre-recorded programming.

“Applied Electronics is excited to represent Never.no in the Canadian marketplace – a company that has been at the forefront of social technology innovation since the inception of the social media phenomenon,” said Paul Stechly, president of Applied Electronics. “The way people interact with content has evolved dramatically over the past two decades. It is fascinating to see the incredible possibilities that exist now for global audiences to interact in real time with the content they consume.”

With remote production at the forefront of content producers’ needs, Bee-On is fast becoming the go-to solution for fan and audience engagement across platforms. The new personalized response and messenger bot enhances broadcaster’s and advertiser’s engagement, extending campaigns beyond TV. Full access to social media APIs enables direct messaging with the audience. Bee-On manages and distributes auto-responses such as personalized messages and videos, in response to social media interaction following a call to action within the broadcast or streamed content. With a potential to boost broadcast and AVOD programming, direct and automated mass messaging delivers engagement rates of 154% on average.

Never.no appeals to both traditional and non-traditional broadcasters, such as corporations with in-house content creation teams. They are seeing the value in integrating real-time social user-generated content or live dynamic content into their productions,” Stechly added. “Content teams can have the ability to produce live programming strengthened by real-time audience interaction and engagement analytics. Never.no’s audience engagement platforms deliver invaluable tools and results to producers, broadcasters and advertisers.”

Key features:

  • Robust real-time social graphics – cloud-based graphics solution provides out-of-the-box and customizable advanced visualizations for live broadcast, streaming, digital signage and events. Bespoke templates can be customized and integrated with traditional TV graphics publishing systems.
  • Enhanced social campaign management - engage and amplify audiences across social channels with personalized responses. Generate automatic and moderated bespoke picture and video messaging over social networks.
  • Personalized engagement automate bot dialogues for marketing or extended and personalized audience engagement on platforms such as Facebook Messenger.
  • Full social platform integration – access Twitter, Facebook, YouTube and Instagram content and data, including improved social API access with Twitter Account Activity APIs, Facebook Group harvesting, Facebook Questions API, and many more to come.
  • Polling and voting – enhance audience engagement by running interactive live polls across social, messaging and digital platforms. Featuring Facebook Live Polling and polling widgets, generate web voting widgets using customizable templates for scalable engagement.

###

Press kit here

For all media relations please contact:

Red Lorry Yellow Lorry

Alex Humphries-French

[email protected]

For Canada and US sales contact:

Karl Kathuria, Head of North America for Never.no

[email protected]

Contact Applied Electronics

Paul Roeser, Manager of Sales Operations for Applied Electronics

[email protected]

About Never.no

Never.no is an international award-winning social engagement platform specialist, with headquarters in Manchester UK and Oslo Norway and offices in Canada, USA, Australia and UAE. Specializing in making TV social and advertising dynamic, it helps leading broadcasters, brands and agencies to engage with and grow their audiences, via interactivity and personalization using real-time social content. More information can be found at www.never.no.

About Applied Electronics:

Applied Electronics Limited is Canada’s leading provider of integrated media solutions and professional audio visual, broadcast and media storage technology. Providing specialized services including technical consultation, sales, system design, supply, integration, programming, and after-sale support, Applied Electronics has the resources and expertise to support projects of any scale. Founded in 1958, Applied Electronics maintains strong relationships with industry-leading technology manufacturers and has extensive experience to deliver innovative solutions to improve workflows, communication and collaboration for companies with media integration requirements. Applied Electronics is headquartered in Toronto, Ontario with regional operations in Ottawa, Montréal, Calgary, Edmonton, and Vancouver. For more information, visitwww.appliedappliedelectronics.com.

Author: Wire Contributor
Posted: April 2, 2020, 10:44 pm
HBO is making some of its original series, documentaries and movies from Warner Bros. available to stream for free as part of an effort to encourage viewers to remain at home to help slow the spread of the coronavirus. The AT&T-owned network is labeling its effort #StayHomeBoxOffice. HBO said ...

Network encourage viewers to #StayHomeBoxOffice

HBO is making some of its original series, documentaries and movies from Warner Bros. available to stream for free as part of an effort to encourage viewers to remain at home to help slow the spread of the coronavirus.

The AT&T-owned network is labeling its effort #StayHomeBoxOffice.

HBO said this is the first time this volume of programming has been made available outside of the paywall on HBO Now and HBO Go.

Related: Verizon Giving Subscribers Free Premium Channels

The network has also been making some of its content available in free previews via several distributors, including DirecTV and Verizon.

Nine classic HBO series available for free for a limited time beginning Friday, April 3 via HBO Now and HBO Go, including The Sopranos, Veep and The Wire.

Films that will be streaming free include The Lego Movie 2: The Second Part, Crazy, Stupid, Love and Pokemon Detective Pikachu.

Related: HBO Skateboard Drama ‘Betty’ Premieres May 1

Free documentaries include McMillion$ and The Case Against Adnan Syed.

Here’s a list of HBO content available to stream without a subscription:

9 Full Series

  1. Ballers (5 Seasons)
  2. Barry (2 Seasons)
  3. Silicon Valley (6 Seasons)
  4. Six Feet Under (5 Seasons)
  5. The Sopranos (7 Seasons)
  6. Succession (2 Seasons)
  7. True Blood (7 Seasons)
  8. Veep (7 Seasons)
  9. The Wire (5 Seasons)

10 Docuseries and Documentaries

  1. The Apollo
  2. The Case Against Adnan Syed
  3. Elvis Presley: The Searcher
  4. I Love You, Now Die: The Commonwealth v. Michelle Carter
  5. The Inventor: Out for Blood in Silicon Valley
  6. Jane Fonda in Five Acts
  7. McMillion$
  8. True Justice: Bryan Stevenson’s Fight for Equality
  9. United Skates
  10. We Are the Dream: The Kids of the MLK Oakland Oratorical Fest

20 Warner Bros. Theatricals

  1. Arthur
  2. Arthur 2: On the Rocks
  3. Blinded By the Light
  4. The Bridges of Madison County
  5. Crazy, Stupid, Love
  6. Empire of the Sun
  7. Forget Paris
  8. Happy Feet Two
  9. Isn't It Romantic?
  10. The Lego Movie 2: The Second Part
  11. Midnight Special
  12. My Dog Skip
  13. Nancy Drew and the Hidden Staircase
  14. Pan
  15. Pokémon Detective Pikachu
  16. Red Riding Hood
  17. Smallfoot
  18. Storks
  19. Sucker Punch
  20. Unknown
Author: Jon Lafayette
Posted: April 2, 2020, 10:08 pm
As more Americans are forced to stay home to blunt the spread of the coronavirus, total TV usage continues to increase, according to new figures from Nielsen. For the week of March 23, total TV usage is up 3% compared to the previous week, with an average of 24.6% of people with TV in the U.S. ...

Streaming via connected devices up 5% in week

As more Americans are forced to stay home to blunt the spread of the coronavirus, total TV usage continues to increase, according to new figures from Nielsen.

For the week of March 23, total TV usage is up 3% compared to the previous week, with an average of 24.6% of people with TV in the U.S. using them to watch live and time-shifted TV via traditional TV and connected devices.

Complete Coverage: The COVID-19 Pandemic

Source: Nielsen

Compared to the week of Feb. 24, total TV usage is up 27%.

The previous week, total TV usage rose 18%.

In the most recent week, people watching live TV was up 2% and streaming via internet connected devices was up even more at 5%.

Related: HBO Streaming Series, Movies From Warner Bros. for Free

The increase was largest among grownups of working age, with 18- to 49-year-olds and 25- to 54-year-olds showing 4% gains. Streaming via connected device grew most among older devices with people 25 to 54 and 55-plus both showing 8% gains.

Among local markets, Portland, Oregon, showed the biggest increase in television usage, up 12.5% from the previous week.

Other markets showing big gains were Seattle-Tacoma, Yakima, Baltimore, Flint, Reno, Detroit, Chicago, Grand Rapids and Washington, D.C.

Source: Nielsen
Author: Jon Lafayette
Posted: April 2, 2020, 9:32 pm
Ruptly, the award-winning video news agency, has today announced a strategic partnership with TVU Networks, the global online broadcast distributor. The long-term collaboration will allow media partners to receive Ruptly’s live transmissions over the internet at full broadcast quality using the TVU ...

Ruptly, the award-winning video news agency, has today announced a strategic partnership with TVU Networks, the global online broadcast distributor. The long-term collaboration will allow media partners to receive Ruptly’s live transmissions over the internet at full broadcast quality using the TVU Grid platform – a faster, more intuitive and more cost-effective delivery system.

The new partnership will enhance the propositions of both Ruptly and TVU by enabling them to serve new and prospective clients of all sizes. Using TVU Grid’s powerful delivery system, Ruptly will be able to switch, route and seamlessly distribute live content to any number of locations with high quality and low latency. In addition, users of the platform will be able to choose their level of commitment, purchasing live content on a one-off or more regular basis. This marks a move from Ruptly and TVU towards a more scalable operation, that will reach wider audiences.

Ahmet Cakan, Chief Technology Officer at Ruptly stated:

“We have always pushed to democratize video content, so we’re thrilled to be breaking down another barrier by improving access to live broadcast, using TVU’s unparalleled technology. Given the current global situation, there has never been a greater need for fast, broadcast-quality news footage from the centre of events – especially now many reporters and crews are unable to travel. This partnership will help us to ensure that in future, people in even the most remote areas will still be able to share their stories with the world.”

Yoni Tayar, Global Marketing Director at TVU Networks, commented:

“We understand how critical the speed and reliability of our equipment needs to be to distribute breaking news 24/7. With that in mind, we are excited that a news agency as innovative as Ruptly chose TVU Grid to better serve their affiliates globally while offering them access to cutting-edge live feed distribution technology.”

The service will be fully operational and available to clients across broadcast and digital news platforms in the coming weeks. Enquires can be directed to [email protected].

ENDS

Author: Wire Contributor
Posted: April 2, 2020, 9:10 pm
Watch and Share This Press Clip From 'Kenny, Dolly and Willie" Here AXS TV, the premier U.S. cable channel for music content, celebrates the life and legacy of GRAMMY®-winning country music superstar Kenny Rogers with a pair of classic concerts airing Monday, April 6 at 8 p.m. ET/5 p.m. PT. The ...

The Evening Includes the Emmy®-Winning 1989 Special ‘Kenny, Dolly And Willie: Something Inside So Strong’ and the 1985 Special ‘Kenny And Dolly: Real Love.’ Tribute Supports Kenny Cares Benefiting MusiCares® COVID-19 Artist Relief Fund.

Watch and Share This Press Clip From 'Kenny, Dolly and Willie" Here

AXS TV, the premier U.S. cable channel for music content, celebrates the life and legacy of GRAMMY®-winning country music superstar Kenny Rogers with a pair of classic concerts airing Monday, April 6 at 8 p.m. ET/5 p.m. PT. The April 6 concerts and additional broadcasts support Kenny Cares benefiting MusiCares® COVID-19 Artist Relief Fund. (Text KENNYCARES to 41444 or visit musicares.org/kennycares to donate.)

The tribute block begins at 8 p.m. ET with an unforgettable evening featuring performances from three of country music’s most influential artists in Kenny, Dolly And Willie: Something Inside So Strong. The Emmy®-winning 1989 NBC special was originally filmed at the Johnson Space Center in Rogers’ hometown of Houston, and captured Rogers, Dolly Parton, and Willie Nelson in rare form as they took the stage in front of a lively audience of NASA employees and their families. Highlights include a priceless medley where the trio take turns singing each other’s biggest hits such as “The Gambler,” “Two Doors Down,” and “Mammas, Don’t Let Your Babies Grow Up To Be Cowboys,” and Rogers explains the inspiration behind his 1977 hit “Sweet Music Man” before Nelson puts his trademark twist on the Rogers-penned fan-favorite.

Then, at 9 p.m. ET, stay tuned for an in-depth and candid look at one of country music’s most-enduring friendships in the 1985 HBO special Kenny And Dolly: Real Love. Real Love gives viewers the ultimate backstage pass with behind-the-scenes coverage documenting Parton and Rogers’ rehearsals blended with live performances from their joint 1985 Real Love tour. The pair’s unparalleled chemistry is on full display throughout the night, as they charmingly banter between performing some of their best-loved hits both together and solo. Highlights include performances of “Islands In The Stream,” “9 To 5,” “We’ve Got Tonight,” “Real Love,” and many more.

“Kenny Rogers is one of the most prolific showmen in country music,” said Sarah Weidman, Head Of Original Programming, Development and Multi-Platform Content for AXS TV. “His music has influenced and inspired generations of artists and fans alike, all across the world. AXS TV is proud to celebrate his incredible life and career with this block of classic specials, putting the spotlight on two of his finest performances as he brings the house down alongside his close friends and fellow icons Dolly Parton and Willie Nelson.”

The Kenny Rogers tribute will feature rebroadcasts and includes an episode Rogers filmed with Dan Rather in 2014 for AXS TV’s “The Big Interview.” The complete schedule is below:

(Note: All Times Eastern)

Monday, April 6

8 p.m. & 11 p.m. “Kenny, Dolly & Willie: Something Inside So Strong”

9:00 p.m. & 12 a.m. “Kenny & Dolly – Real Love”

Tuesday, April 7

12 p.m. “Kenny, Dolly & Willie: Something Inside So Strong”

Thursday, April 9

12 p.m. “Kenny & Dolly – Real Love”

Friday, April 10

9 a.m. “The Big Interview with Dan Rather” – Kenny Rogers featured guest

Sunday, April 12

9 a.m. “Kenny & Dolly – Real Love”

12 p.m. “Kenny, Dolly & Willie: Something Inside So Strong”

Follow the social media conversation on twitter @axstv and @_KennyRogers as well as #KennyCares.

Author: Wire Contributor
Posted: April 2, 2020, 8:53 pm
AXS TV presents a special broadcast of the star-studded benefit event Comedy Gives Back Laugh Aid — airing Saturday, April 4 at 7 p.m. ET/4 p.m. PT. Viewers can enjoy the Comedy Gives Back Laugh Aid simulcast on AXS TV, as well as across the Network’s various social media platforms including the ...

Performers Include Whitney Cummings, Jim Gaffigan, Ken Jeong, Adam Sandler, and More Coming Together to Benefit Comedy Gives Back COVID-19 Emergency Relief Fund

AXS TV presents a special broadcast of the star-studded benefit event Comedy Gives Back Laugh Aid — airing Saturday, April 4 at 7 p.m. ET/4 p.m. PT. Viewers can enjoy the Comedy Gives Back Laugh Aid simulcast on AXS TV, as well as across the Network’s various social media platforms including the AXS TV YouTube Channel, Facebook page, Twitter and website, AXS.TV. The network is pre-empting its regular programming on this night.

The four-plus hour telethon puts the spotlight on a powerhouse roster of comedy superstars, coming together to raise money and awareness for an emergency relief fund benefiting working comedians who have been financially impacted due to the spread of COVID-19. The A-list lineup of fan-favorites and industry icons includes, Dave Attell, Joel Kim Booster, Bill Burr, Dane Cook, Ron Funches, Anthony Jeselnik, Jessica Kirson, Bert Kreischer, Howie Mandel, Marc Maron, Big Jay Oakerson, Patton Oswalt, Tom Papa, Ray Romano, Jeff Ross, Iliza Shlesinger, The Sklar Brothers, Bob Saget, Amanda Seales, Dan Soder, David Spade, Taylor Tomlinson, Gina Yashere and many more.

AXS TV is pleased to provide viewers with a place to come and enjoy the absolute best in entertainment programming, bringing them closer to their favorite performers with acclaimed documentaries, candid interviews, unforgettable concerts and more, airing each and every day. AXS TV’s audience can expect to enjoy a roster of exclusive specials, live simulcasts, hit-packed sets, in-depth interviews, and insightful documentaries, curated specifically for those viewers craving the magic that only live performances can provide.

“Now more than ever, the world could use a little levity,” said Sarah Weidman, Head of Original Programming, Development and Multi-Platform Content for AXS TV. “This is a great opportunity for viewers across the country to sit back, relax, and let the country’s top comics entertain them with a night of laughs that we hope will provide some joy, while raising funds for an important cause. AXS TV is proud to continue to offer live simulcast events such as Comedy Gives Back Laugh Aid, and we look forward to sharing them with our audience.”

In addition to broadcasting the event, AXS TV is supporting Comedy Gives Back Laugh Aid, providing tech support and studio operations in collaboration with Laugh Lounge.

Throughout the event, viewers will be encouraged to make donations to Comedy Gives Back Laugh Aid COVID-19 Emergency Relief Fund. The relief fund (https://www.comedygivesback.com/covid-19-grant) is now open, taking grant submissions and distributing funds to those in need. Viewers can text LAUGHAID to 707070 to donate to the relief fund for comedians affected by the pandemic.

Follow the social media conversation on Twitter @axstv and @comedygivesback as well as #ComedyGivesBack, #LaughAid2020, #ComedianReliefFund and #AloneTogether.

Author: Wire Contributor
Posted: April 2, 2020, 6:55 pm
TAG Video Systems Introduces Next Generation Approach for Media & Entertainment Industry to Deploy, Operate and Acquire Broadcast Technology - Zer0 Friction Industry’s first multi-functional broadcast application which can be deployed remotely across all four major broadcast applications ...

TAG Video Systems Introduces Next Generation Approach for Media & Entertainment Industry to Deploy, Operate and Acquire Broadcast Technology - Zer0 Friction

Industry’s first multi-functional broadcast application which can be deployed remotely across all four major broadcast applications within minutes, providing broadcasters the greatest return on investment for maximum asset utilization

Tel Aviv – April 1, 2020 -- TAG Video Systems, the world leader in 100% SW, 100% IP, 100% COTS/Cloud, Probing, Monitoring and Multiviewing solutions, is reassuring broadcasters, during this time of heightened news and media consumption, that global operations are uninterrupted, and in fact strengthened by the Company’s Zer0 Friction business strategy – an industry First.

Zer0 Friction takes broadcast technology to the next level; leveraging TAG’s unique ability to handle both compressed and uncompressed formats. Supporting all major industry standards such as SMPTE 2110, 2022-6/7, JPEG 2000, MPEG TS, DASH, HLS and CMAF. TAG’s solution can be applied to all four major broadcast applications: Live production, Playout, Delivery and OTT. Zer0 Friction allows clients the to manage the software across applications and locations, thus maximizing asset utilization.

“For years the industry has expressed concerns about the low utilization of broadcast technology,” stated TAG’s Zero Friction Officer Kevin Joyce. “In many cases systems are being used less than 30% of the time. With Zer0 Friction TAG’s customers are no longer restricted in how they use our multi-functional applications, where they use them across their ecosystem, or when they use them. Broadcasters can now use a Multiviewer for live production in a facility in London and as soon as they are done, applying the license to probe for errors in a OTT facility in New York. Finally, the clients will be unrestricted operationally and financially to deliver the best possible content to consumers with…… Zer0 Friction”

Since its founding 12 years ago, TAG has been 100% SW, 100% IP, 100% COTS and it has been TAG’s philosophy to provide clients a zero commitment trial of the TAG system to ensure 100% satisfaction. “As a software only company we are able to deploy our technology and have customers up and running in minutes,” said Joyce. “Support is handled remotely, and all software upgrades are delivered remotely on a continuous basis. This is what clients have always wanted and we are now taking this to the next level with the of Zer0 Friction.“

As the industry transitions to cloud based IP workflows, TAG’s Zer0 Friction approach is an industry first in what we expect will be the only way broadcast applications will be deployed in the future. Zero Friction breaks down the traditional barriers across the three pillars of a truly digital workflow: Technology, Operations, and Asset utilization to provide an unprecedented customer experience.

On behalf of all of us at TAG video Systems, we wish you all a healthy 2020.

TAG Video Systems is the world leader in 100% software based integrated IP Multiviewing, Probing and Monitoring solutions. Introducing its first IP solution in 2008, today TAG supports over 50,000 channels across the four primary broadcasting applications - Live Production, Playout/Master Control, Distribution and OTT. TAG’s Zer0 Friction philosophy allows Broadcasters and Content Distributors the greatest scalability, flexibility and asset utilization available in the market today. The 100% software platform supports both compressed and uncompressed formats, including MPEG TS, JPEG2000, SMPTE 2110, SMPTE 2022-6/7, and HLS. TAG's solutions run on standard Commercial Off-The-Shelf hardware (COTS) and cloud, providing state-of-the-art IP monitoring and analysis tools combined with highest quality UHD Multiviewer available on standard and mobile device displays. For more information: www.tagvs.com

TAG Video Systems contact:

Danna Mann

Europe: +33 1 86 26 94 00

US : +1 315 646 8400

mailto:[email protected]

Press contact:

Desert Moon Communications

Harriet Diener

+1 – 845-512-8283

[email protected]

Author: Wire Contributor
Posted: April 2, 2020, 6:39 pm
Disney Plus is responsible for 18% of all internet video traffic coming over peering connections in some European countries, according to new data released today by Nokia Deepfield. The broadband analytics firm’s data bite is among a steady stream of snapshots indicating that Disney Plus, which ...

More metrics emerge suggesting streaming service is getting off to a solid start overseas

Disney Plus is responsible for 18% of all internet video traffic coming over peering connections in some European countries, according to new data released today by Nokia Deepfield.

The broadband analytics firm’s data bite is among a steady stream of snapshots indicating that Disney Plus, which enjoyed an extraordinary Nov. 12 launch in North America, is also doing well in Western Europe. The SVOD service launched last week in UK, Austria, Germany, Ireland, Italy, Spain and Switzerland

Related: Disney Plus Downloaded 5M Times in 1st Day of Euro Rollout

Parrot Analytics, a company that measures viewer interests in movies and TV shows with a proprietary metric it calls “demand expressions,” said this week that Disney Plus’ first signature original series, The Mandalorian, ranked No. 1 using the demand expressions measuring stick in all seven European countries.

Visit Next TV to read more stories like this one. 

Parrot Analytics said that in Germany, demand for The Mandalorian is more than 43 times higher than it is for the average TV series.

Meanwhile, App Annie—which reported last week that 5 million Disney Plus app downloads were conducted in Europe on launch day—said the Disney Plus iOS app continues to rank No. 1 in downloads across its seven-nation deployment in Europe.

Disney Plus is set to launch in France and India next week. 

Author: Daniel Frankel
Posted: April 2, 2020, 6:39 pm
PBS will premiere the documentary Inside the Vatican Tuesday, April 28 at 9 p.m. The film looks behind the scenes into the lives of those who live and work inside the Vatican City, the headquarters of the Roman Catholic church.  Pope Francis, who has lead the Catholic church since 2013, has ...

Film looks at lives of those who live and work inside Vatican City

PBS will premiere the documentary Inside the Vatican Tuesday, April 28 at 9 p.m. The film looks behind the scenes into the lives of those who live and work inside the Vatican City, the headquarters of the Roman Catholic church. 

Pope Francis, who has lead the Catholic church since 2013, has challenged attitudes on divorce and homosexuality and is not afraid of confronting opponents, the press release stated. He appointed 14 new cardinals from parts of Iraq, Madagascar and Pakistan.

The film also looks at Pope Francis's visit to Ireland back in August. Just before he was scheduled to depart, a sex scandal was reported alleging the Catholic Church’s cover up of Catholic priests abusing young children. The report accused more than 300 priests of abusing more than 1,000 children.

"Everyone wonders if Pope Francis will address the issue in Ireland, the center of the child sex abuse scandals that have rocked the Church worldwide," said PBS.

Inside the Vatican is produced by Oxford Film and Television for BBC. Silvia Sacco is producer and director. Sam Hobkinson and Nicolas Kent also serve as producers. 

Author: Chelsea Anderson
Posted: April 2, 2020, 6:15 pm
The Paley Center for Media said they announced the newest members of its board of trustees and its board of governors. Three members have been added to the board of trustees including Eddy Cue, senior VP, software and internet services at Apple; Alex Rodriguez, founder and CEO of A-Rod Corp. and ...

Shari Redstone joins board executive committee

The Paley Center for Media said they announced the newest members of its board of trustees and its board of governors.

Alex Rodriguez

Three members have been added to the board of trustees including Eddy Cue, senior VP, software and internet services at Apple; Alex Rodriguez, founder and CEO of A-Rod Corp. and Andrew Wilson, CEO of Electronic Arts.

The board of trustees is chaired by Frank Bennack Jr. The board advises on the organization's mission and to lead, guide and support in today's evolving media.

Michelle Sneed

Joining the Los Angeles board of governors will be Charles D. King, founder and CEO, MACRO; Keith Le Goy, president, worldwide networks distribution, Sony Pictures Television and Michelle Sneed, president, production and development, Tyler Perry Studios.

The role of the board of governors is to strategize for the programming calendar and forge new partnerships.

In addition, Shari Redstone will be joining the board of trustees executive committee. Redstone is the chair of ViacomCBS. 

Author: Chelsea Anderson
Posted: April 2, 2020, 5:58 pm
Fox News Channel and Facebook are teaming up for a virtual town hall on the COVID-19 pandemic Thursday (April 2) at 7 p.m. The one-hour town hall will be commercial free and hosted by Martha MacCallum (The Story). It will be live streamed on FNC's Facebook page, all of Fox TV station's Facebook ...

Facebook Portal will connect socially distanced audience

Fox News Channel and Facebook are teaming up for a virtual town hall on the COVID-19 pandemic Thursday (April 2) at 7 p.m.

The one-hour town hall will be commercial free and hosted by Martha MacCallum (The Story). It will be live streamed on FNC's Facebook page, all of Fox TV station's Facebook pages, websites and apps, as well as on Fox's CoronavirusNOW.com and the CoronavirusNOW channel on Samsung TV.

In addition to MacCallum and the virtual audience, participants include Dr. Deborah Birx, a member of the White House's coronavirus task force familiar from the daily televised briefings, and Surgeon General Dr. Jerome Adams.

The participants will use Facebook Portal smart video devices, with all participants following social distancing guidelines and stay-at-home orders. Each member of the non-studio audience was shipped a Portal device that will allow them to attend virtually and ask questions, with video "perfectly" framed by the portal's smart camera and clear sound, said Fox.

Fox and Facebook are also teaming up to donate $1 million to the Feeding America’s COVID-19 Response Fund, which funds food banks for those affected by school closures, job disruptions and health risks. 

Author: John Eggerton
Posted: April 2, 2020, 5:43 pm
CBS Television Distribution’s Rachael Ray joins the ranks of other shows -- including Disney’s Tamron Hall and Live with Kelly and Ryan -- that are now producing episodes from the host’s home. Related: Bill Geddie Exits 'Tamron Hall' as Executive Producer In the week of April 6, the show will air ...

Joins other syndicated shows, such as 'Tamron Hall' and 'Live with Kelly and Ryan,' that are coming to viewers from their homes

CBS Television Distribution’s Rachael Ray joins the ranks of other shows -- including Disney’s Tamron Hall and Live with Kelly and Ryan -- that are now producing episodes from the host’s home.

Related: Bill Geddie Exits 'Tamron Hall' as Executive Producer

In the week of April 6, the show will air two new episodes produced from Ray’s upstate New York home and featuring her husband, John Cusimano, and dog, Isaboo, as special guests. On Monday, April 6, Rachael Ray will feature three new recipes with pantry staple chickpeas. Ray will answer viewer questions gathered from social media about how best to cook from their pantries, and Cusimano, will mix up a cocktail and share a pre-recorded musical performance with his band, “The Cringe.”

Another home episode will air on Friday, April 10, with Ray sharing three recipes for canned tuna. HGTV’s Crafty Lumberjacks also will share at-home crafts ahead of Easter on Sunday, April 12.

Going forward, the show will continue to air episodes shot from Ray’s home as well as new episodes that were produced in front of a live studio audience prior to the coronavirus outbreak.

Author: Paige Albiniak
Posted: April 2, 2020, 4:41 pm
Fox won Wednesday prime easily, with The Masked Singer leading the way. Fox got a 2.4 in viefwres 18-49, per the Nielsen overnights, and an 11 share. In a distant second was CBS at 0.9/5. The Masked Singer did a 2.4 from 8 to 10 p.m., a 14% gain from last week. CBS had Survivor at a level 1.6 and ...

David Blaine special on ABC does OK

Fox won Wednesday prime easily, with The Masked Singer leading the way. Fox got a 2.4 in viefwres 18-49, per the Nielsen overnights, and an 11 share. In a distant second was CBS at 0.9/5.

The Masked Singer did a 2.4 from 8 to 10 p.m., a 14% gain from last week.

CBS had Survivor at a level 1.6 and special Garth and Trisha Live! at 0.8. A SWAT repeat followed.

ABC got a 0.8/4 and NBC a 0.6/3. ABC had The Goldbergs at 0.9 and Schooled at 0.6, both comedies flat. Modern Family did a flat 0.9 and American Housewife shot up 17% to 0.7. Special David Blaine: The Magic Way got a 0.7.

NBC had Chicago reruns.

Univision got a 0.5/2 and Telemundo a 0.4/2. On Univision, La Rosa de Guadalupe got a 0.6 and Amor Eterno got a 0.6. Sin Miedo a la Verdad did a 0.4. All three were flat.

On Telemundo, Exatlon Estados Unidos lost a tenth for a 0.4. La Dona got a 0.4 and Operacion Pacifico a 0.3, both shows flat.

The CW had a 0.2/1 with Penn & Teller: Fool Us reruns for April Fool’s Day. 

Author: Michael Malone
Posted: April 2, 2020, 4:36 pm
Using nanoStream Cloud, Service Providers Can Deliver an End-to-End Latency of Around One Second — Now with Live Transcoding and ABR BERLIN — March 31, 2020 — nanocosmos, the Berlin-based interactive live streaming technology provider, has introduced new enhancements to its nanoStream Cloud ...

Using nanoStream Cloud, Service Providers Can Deliver an End-to-End Latency of Around One Second — Now with Live Transcoding and ABR

BERLIN — March 31, 2020 — nanocosmos, the Berlin-based interactive live streaming technology provider, has introduced new enhancements to its nanoStream Cloud service, which delivers an end-to-end latency of around one second for interactive video streaming applications. Through new adaptive bit rate (ABR) playback, automatic live transcoding, and analytics capabilities, nanoStream Cloud enables service providers and platform operators across different vertical markets such as webcasting, live auctions, gaming, sports betting, polling, e-commerce, e-learning, and entertainment to deliver a superior live video streaming experience.

"Ultra-low-latency live streaming opens up a variety of exciting opportunities for multiple markets, especially those focused on driving audience engagement," said Oliver Lietz, CEO and founder at nanocosmos. "As nanoStream Cloud deployments grow across the globe, we're excited to introduce several new enhancements that answer our customers' live streaming challenges. Through ABR playback, transcoding, and action-based analytics on the nanoStream Cloud service, we're helping to ensure that service providers can deliver an interactive and lean-forward type of video experience with ultra-low latency that is critical for live streaming."

nanoStream Cloud leverages a unique combination of software analytics, global CDN services, and an ABR player to achieve the exceptional quality of service (QoS) required for ultra-low-latency (ULL) live video streaming. By providing users with a complete end-to-end workflow, nanoStream Cloud simplifies live video streaming for web browser applications and offers a level of control that is not possible with any other solution on the market.

A key new feature of nanoStream Cloud is ABR playback on any mobile or desktop browser, including iOS Safari, via the nanoStream H5Live Player. The H5Live player automatically adjusts video quality based on network conditions on the viewer side to avoid buffering and ensures streams provide an ULL of about one second. nanoStream Cloud also provides live transcoding, creating different levels of quality streams so that service providers and platform operators can reach a wider range of audiences.

In addition, the nanoStream Cloud now collects real-time data throughout the entire live streaming workflow, providing users with valuable analytics and actionable insights for improving live video streaming QoS and quality of experience (QoE). Metrics include ABR quality, user experience, stream quality, player statistics, buffering, volume, and connectivity of audience.

nanoStream Cloud is easy to integrate into any existing live video streaming workflow, enabling rapid deployment of ULL interactive video applications.

For more information, visit www.nanocosmos.de/cloud.

# # #

About nanocosmos (www.nanocosmos.de)
nanocosmos enables users to go live around the world in one second with its nanoStream Cloud and H5Live Player. With many years of experience, nanocosmos has created the unique H5Live technology for plug-in-free delivery and playback on any device and HTML5 browsers, including Safari on iOS, now with full Adaptive adaptive Bitbit rate (ABR) support. H5Live is part of nanoStream Cloud, a scalable live streaming solution and ultra-low-latency (ULL) CDN with a global footprint. nanoStream Cloud Analytics and H5Live Metrics for better insights and QoS are now also available. For live encoding, browser-based Webcaster is included, or users can simply deploy their existing RTMP Live Video Encoder workflow.

More information is available at www.nanocosmos.de.

All trademarks appearing herein are the property of their respective owners.

Link to Word Doc: www.202comms.com/nanocosmos/200331nanocosmos.docx

Photo Link: www.202comms.com/nanocosmos/nanocosmos-nanoStreamCloud.jpg
Photo Caption: nanocosmos' nanoStream Cloud Ultra-Low-Latency Live Streaming Solution

Follow nanocosmos:
Twitter: https://twitter.com/nanovideo 
LinkedIn: https://www.linkedin.com/company/nanocosmos-gmbh/
Facebook: https://www.facebook.com/nanocosmos.net/

Author: 202 Communications
Posted: April 2, 2020, 4:22 pm
Classic TV network MeTV hosts “The Month of Mayberry,” a stunt featuring The Andy Griffith Show, Gomer Pyle, U.S.M.C., spinoff Mayberry R.F.D. and other things Mayberry, from May 3 to May 31. “Now more than ever Americans need at-home entertainment options where the entire family can gather ...

Features ‘Andy Griffith Show,’ Gomer Pyle, U.S.M.C.’ and ‘Mayberry R.F.D.’

Classic TV network MeTV hosts “The Month of Mayberry,” a stunt featuring The Andy Griffith Show, Gomer Pyle, U.S.M.C., spinoff Mayberry R.F.D. and other things Mayberry, from May 3 to May 31.

“Now more than ever Americans need at-home entertainment options where the entire family can gather together to watch comforting, beloved programming,” said the network.

The Andy Griffith Show, Gomer Pyle, U.S.M.C. and Mayberry R.F.D. air from 5-7 p.m. ET/PT May 3. Beginning on Monday, May 4, MeTV starts four weeks of Andy Griffith Show episodes 8-9 p.m. ET/PT. Gomer Pyle U.S.M.C. airs 9 p.m.

On weekday mornings at 7 a.m., MeTV will air color episodes of The Andy Griffith Show paired with Mayberry R.F.D. Select episodes of Matlock will follow at 10 a.m., starring Andy Griffith and featuring special guest star Don Knotts and other Mayberry favorites. Weeknights at 11 p.m., The Carol Burnett Show features Mayberry guest stars. MeTV has The Love Boat Sunday afternoons at 5 and 6 p.m. ET/PT, starring Mayberry guest stars.

On May 31st, TV reunion movie Return to Mayberry airs at 5 p.m. ET/PT. 

MeTV is talking up its Month of Mayberry with #StayHomeWithMe spots

Author: Michael Malone
Posted: April 2, 2020, 4:02 pm
Fresh of the closure of its $31 billion acquisition of America’s No. 4 consumer wireless option, Sprint, T-Mobile announced today that’s giving away new mobile-first streaming service Quibi to subscribers on select wireless plans. T-Mobile has already had its “Netflix on Us” promotion in place for ...

Wireless carrier’s ‘Quibi on Us’ promotion is eligible to Magenta family and ONE plan subscribers

Fresh of the closure of its $31 billion acquisition of America’s No. 4 consumer wireless option, Sprint, T-Mobile announced today that’s giving away new mobile-first streaming service Quibi to subscribers on select wireless plans.

T-Mobile has already had its “Netflix on Us” promotion in place for some time. That program delivers the $11.99 base tier of the SVOD service for free to specific T-Mobile wireless plan customers.

Also read: Katzenberg on Quibi: 'If You Make It and It's Good, They Will Come'

These customers will now receive both Netflix and the $4.99-a-month base tier of Quibi for free for 12 months. After that first year, they’ll have to decide between the “Quibi on Us” and the “Netflix on Us” promotions.

Quibi launches April 6, promising an onslaught of original series from well known movie and television talents, all of them cut up into “quick-bite” episodes of 10 minutes or less, and optimized for profile and landscape modes.

Also read: Can Quibi Build a Brand From Scratch Amid Stiff Streaming Competition?

Quibi has two tiers: a $4.99 iteration with commercials; and a $7.99 version with no commercials.

The “Quibi on Us” promotion is eligible for customers paying for two or more voice lines at standard rates on Magenta and ONE plans. Military members and first responders are also eligible, as are small business customers with up to 12 lines.

"T-Mobile customers have always been ahead of the curve—streaming more data, watching more mobile video—so when we first heard about Quibi, we knew our customers would love it!” said Mike Sievert, newly appointed president and CEO of T-Mobile, in a statement. “And, with more of us staying home right now, Quibi’s never been more needed. It comes on the scene with a totally different experience, made for mobile, quick to watch and as entertaining as anything you’ve ever seen.”

Author: Daniel Frankel
Posted: April 2, 2020, 3:38 pm
CBS Television Stations’ KCBS, KCAL and CBSN Los Angeles have partnered with iHeartRadio Los Angeles, the Los Angeles Chargers and the Los Angeles Unified School District to present “L.A. Students Most in Need,” a fundraiser for Los Angeles public school students and their families who are ...

Newscasts throughout the day focus on those suffering amidst pandemic

CBS Television Stations’ KCBS, KCAL and CBSN Los Angeles have partnered with iHeartRadio Los Angeles, the Los Angeles Chargers and the Los Angeles Unified School District to present “L.A. Students Most in Need,” a fundraiser for Los Angeles public school students and their families who are struggling during the pandemic.

The event happens April 2, starting with KCBS’ 6 a.m. news. It will be featured during all KCBS, KCAL and CBSN Los Angeles newscasts until 11 p.m. Stars from CBS primetime, daytime and syndicated series, and other celebrities from sports and entertainment, will appear live via Skype and FaceTime and in recorded messages that encourage viewers to donate.

Donations will help provide meals and urgently needed supplies, as well as digital libraries and books.

Author: Michael Malone
Posted: April 2, 2020, 3:33 pm
Democratic senators are on the same page as FCC chair Ajit Pai when it comes to wanting more funding for distance learning. In a letter to House and Senate leadership Thursday, the majority of Senate Democrats called for "robust" funding of K-12 online education. By "robust," they mean at least ...

Tell colleagues that is among the emergencies in need of relief

Democratic senators are on the same page as FCC chair Ajit Pai when it comes to wanting more funding for distance learning.

In a letter to House and Senate leadership Thursday, the majority of Senate Democrats called for "robust" funding of K-12 online education.

By "robust," they mean at least $2 billion in E-Rate funding in the next COVID-19 aid bill. E-Rate is the FCC subsidy for high-speed broadband to schools and libraries.

The senators had wanted E-rate funding in the $2 trillion CARES Act aid package, but that bill's broadband funding was only $300 million, targeted at telehealth.

“Children without connectivity are at risk of not only being unable to complete their homework during this pandemic, but being unable to continue their overall education,” the lawmakers wrote. “Congress must address this issue by providing financial support specifically dedicated to expanding home internet access in the next emergency relief package so that no child falls behind in their education.”

Related: FCC Will Seek Distance Learning Dollars from Hill

The FCC under Pai also pushed for distance learning funding in the CARES Act, and signaled it would do so again in any subsequent aid bill, FCC officials said this week, though they did not say how much money they thought was needed.

The FCC has already taken several steps to help distance learners, Pai has pointed out, including lifting gift rules in the E-rate program to allow donations of equipment and services, and allowing closed schools and libraries to keep getting funding so they can serve as community WiFi hot spots. On Wednesday (April 1), it also extended filing and implementation requirements for the program.

Leading the letter were Sens. Ed Markey (D-Mass.), Chris Van Hollen (D-Md.), Michael Bennet (D-Colo.), and Brian Schatz (D-Hawaii). Other signatories were Kamala Harris (D-Calif.), Richard Blumenthal (D-Conn.), Chris Murphy (D-Conn.), Mazie Hirono (D-Hawaii), Dick Durbin (D-Ill.), Tim Kaine (D-Va.), Angus King (I-Maine), Bob Casey, Jr. (D-Penn.), Tammy Duckworth (D-Ill.), Kirsten Gillibrand (D-N.Y.), Jack Reed (D-R.I.), Jeff Merkley (D-Ore.), Tammy Baldwin (D-Wisc.), Chris Coons (D-Del.), Cory Booker (D-N.J.), Mark Warner (D-Va.), Elizabeth Warren (D-Mass.), Bernie Sanders (I-Vt.), Catherine Cortez Masto (D-Nev.), Tom Carper (D-Del.), Sherrod Brown (D-Ohio), Sheldon Whitehouse (D-R.I.), Jacky Rosen (D-Nev.), Robert Menendez (D-N.J.), Amy Klobuchar (D-Minn.), Tom Udall (D-Utah), Tina Smith (D-Minn.), Ben Cardin (D-Md.), Ron Wyden (D-Ore.), Patty Murray (D-Wash.), and Dianne Feinstein (D-Calif.).

Author: John Eggerton
Posted: April 2, 2020, 3:15 pm
CUPERTINO, Calif. — March 31, 2020 — Interra Systems, a leading global provider of software products and solutions to the digital media industry, today announced that it will offer a series of free educational webinars in April. Webinar topics focus on the company's new and full range of content ...

CUPERTINO, Calif. — March 31, 2020 — Interra Systems, a leading global provider of software products and solutions to the digital media industry, today announced that it will offer a series of free educational webinars in April. Webinar topics focus on the company's new and full range of content quality control (QC), monitoring, analysis, and classification solutions. This includes two new solutions that were set to be showcased at the 2020 NAB Show: BATON LipSync, a new automated tool for lip sync detection and verification, and BATON Captions, which brings simplicity and cost savings to the creation, management, and delivery of captions.

Despite the cancellation of the 2020 NAB Show, Interra Systems wants to ensure that its customers and partners don't miss out on vital information regarding the company's recent technology innovations. The webinar series offers a way to stay connected, providing attendees with a digital connection to news about solutions that streamline content management, improve efficiencies, and help to provide exceptional audio-video quality on every device.

The full list of webinar topics and dates includes:
• "BATON LipSync — Solving Critical Lip Sync Issues in Media Content" on Thursday, April 9
• "BATON Captions — Efficient Video Captions Creation and Distribution" on Monday, April 13
• "Media QC" on Wednesday, April 15
• "Media Monitoring and Delivery" regarding ORION-OTT on Friday, April 17, and regarding ORION on Monday, April 20
• "Content Classification" on Wednesday, April 22
• "Media Analysis" on Friday, April 24

Each webinar will last for approximately 60 minutes. For more information about the webinar topics, to view the available times and register online, visit: http://www.interrasystems.com/mailer/OnlineNAB2020/.

More information about Interra Systems solutions can be found at www.interrasystems.com.

# # #

About Interra Systems (www.interrasystems.com)
Interra Systems is a global provider of enterprise-class solutions that streamline the classification, quality control (QC) process, and monitoring of media content across the entire creation and distribution chain. Relying on Interra Systems' comprehensive video insights, media businesses can deliver video with high quality of experience, address new market trends, and improve monetization.

Widely adopted by broadcast, cable, telco, satellite, IPTV, OTT, and post-production markets around the world, Interra Systems' products enable better quality video, reduced exposure to regulatory issues, and higher customer satisfaction. Featuring AI- and machine learning-enabled algorithms, along with a flexible, software-defined architecture, Interra Systems' solutions support a variety of deployment scenarios, including the cloud, for higher performance, scalability, and efficiency.

The company's industry-leading solutions include BATON, an enterprise-class automated file-based QC system that ensures high quality content at every stage; ORION-OTT for quality assurance of ABR streams, allowing flawless delivery of live and VOD content; ORION for 24x7 confidence monitoring of linear/live video delivery; WINNOW for content classification and compliance; VEGA for in-depth media analysis, offering content debug & compliance; and BMP, a powerful industry grade media player.

All trademarks appearing herein are the property of their respective owners.

Link to Word Doc: www.202comms.com/InterraSystems/200331InterraSystems.docx

Follow Interra Systems:
Twitter: https://twitter.com/interrasystems
LinkedIn: https://www.linkedin.com/company/interra-systems

Author: 202 Communications
Posted: April 2, 2020, 3:13 pm
Watch Bonnie Raitt’s Exclusive Performance-Click Here AXS TV, the premier destination for music programming, puts the spotlight on the most unforgettable performances from one of the country’s top music festivals in The Best Of Farm Aid 2019—premiering Easter Sunday, April 12, at 8 p.m. ET/5 p.m. ...

Highlights Include Bonnie Raitt’s Acoustic Performance of “Devil Got My Woman” - Seen for the First Time On TV - as well as Sets by Willie Nelson, John Mellencamp, Neil Young, Dave Matthews, & More

Watch Bonnie Raitt’s Exclusive Performance-Click Here

AXS TV, the premier destination for music programming, puts the spotlight on the most unforgettable performances from one of the country’s top music festivals in The Best Of Farm Aid 2019—premiering Easter Sunday, April 12, at 8 p.m. ET/5 p.m. PT.

AXS TV originally broadcast country music icon Willie Nelson’s Farm Aid 2019 festival live from Alpine Valley Music Theatre in East Troy, WI, on September 21, 2019. The hit-fueled day of music brought some of music’s most influential artists together as they took the stage to raise much-needed funds and awareness for America’s farmers, who face a growing national farm crisis. This all-new 2.5 hour Best Of Farm Aid 2019 special compiles exclusive footage from AXS TV’s presentation of the festival, giving viewers the best seat in the house for an epic evening packed with incredible performances and all-star jams.

Highlights include appearances from an eclectic roster of critically acclaimed artists headlined by Farm Aid founder Nelson and his fellow Farm Aid board members and music legends John Mellencamp, Neil Young, and Dave Matthews; as well as the soulful Nathaniel Rateliff & The Night Sweats; recent GRAMMY®-winning country artist Tanya Tucker; rising country superstar Margo Price; California rockers Lukas Nelson & Promise Of The Real; breakout artist Yola; and many more. As a special exclusive, The Best Of Farm Aid 2019 also features GRAMMY®-winning blues siren Bonnie Raitt’s acoustic performance of “Devil Got My Woman”—a show-stealing moment seen now for the first time on television, making this a can’t-miss event for devoted music connoisseurs.

“AXS TV’s yearly Farm Aid coverage has continued to resonate with our viewers since the Network first began broadcasting it in 2014,” said Sarah Weidman, Head of Original Programming, Development and Multi-Platform Content for AXS TV. “It is inspiring to see these iconic performers come together in support of such a vital cause, and the festival never fails to deliver some truly unforgettable moments because of it. Farm Aid 2019, in particular, boasted an unprecedented roster of artists and influencers delivering a night of powerhouse performances and stunning sets, and now our viewers can relive all of that magic once more when The Best Of Farm Aid 2019 premieres on April 12.”

Follow the social media conversation on twitter @axstv and @FarmAid as well as #BestofFarmAid.

Author: Wire Contributor
Posted: April 2, 2020, 3:03 pm
Verizon said it will be making premium channels HBO, Cinemax and Starz available to subscribers, many of whom are staying at home to slow the spread of the Coronavirus. All Fios TV customers will be able to watch HBO and Cinemax April 17-20 and Starz from April 17 to 23. They will also be able to ...

HBO, Cinemax, Starz added for customers staying at home

Verizon said it will be making premium channels HBO, Cinemax and Starz available to subscribers, many of whom are staying at home to slow the spread of the Coronavirus.

All Fios TV customers will be able to watch HBO and Cinemax April 17-20 and Starz from April 17 to 23.

They will also be able to watch free replaces of classic NBA games from NBA League Pass and select NHL games from NHL Center Ice.

Previously, Verizon had added more than 80 channels to its service, including both premium entertainment channels as well as resources that allow for online learning and study support for students.

As of April 1, Fios TV customers who don’t subscribe to select premium channels will get access to additional networks at no added cost, without having to sign up or sign on.

Those networks include Showtime and Epix.

Customers can also get 30 days of instruction exercise video from Gaiam TV Fit and Yoga.

In April, Verizon mobile and Fios customers will be able to experience up to 60 days of free access to valued education resources, tools and games at no cost, including:

  • Quizlet: Students and teachers can get a Quizlet Plus account to study languages, science, math, history and more with engaging learning tools and flashcards.
  • Bookful: Children can bring books to life with hundreds of augmented reality and 3D interactive education books and games to improve comprehension.
  • Chegg: Students will have access to the new Chegg Study Pack with step-by-step textbook solutions, expert Q&A, practice tests, grammar and plagiarism checkers, and a step-by-step math solver.
  • Epic!: Parents and children will get access to Epic’s 40,000-book digital library, trusted by more than one million teachers, and built for safety, discoverability and fun. 
Author: Jon Lafayette
Posted: April 2, 2020, 2:24 pm
Pointing to the successful launch of Disney+, a new report said there is still room for new players in the crowded streaming market. The report, from Apptopia and Braze, said that partly because of the COVID-19 pandemic, streaming sessions were up 30.7% globally. “Clearly, 2020 will be a big year ...

Apptopia, Braze see 30.7% increase in March

Pointing to the successful launch of Disney+, a new report said there is still room for new players in the crowded streaming market.

'Rick and Morty' proved a big online draw for Adult Swim.

The report, from Apptopia and Braze, said that partly because of the COVID-19 pandemic, streaming sessions were up 30.7% globally.

“Clearly, 2020 will be a big year for streaming. As consumers adapt to the new normal, we’ll see the launch of Quibi on April 6, HBO Max in May, and NBCUniversal’s Peacock on July 15, further challenging a strong group of established play,” the report said. “Despite the crowded market, Disney+ proves there’s still room for new streaming services.”

NBCU's Peacock will be available on April 15 to Comcast subscribers.

The two companies’ research found that Disney+ had 22 million downloads within the first four weeks of its launch. The service has continued to grow, with 17.5 million downloaded in the first quarter of 2020, including 14.1 million in the U.S., topping Netflix’s 11.9 million.

With movie theaters closed down by the coronavirus, Disney+, Amazon and other services have started to make current hit movies available via streaming, attracting subscribers and building usage.

The report, which looked at 35 streaming services from August 2019 through March 2020, said that the program that had the biggest impact was Adult Swim’s Rick and Morty, which powered the most dramatic and lasting increase on daily active users and total sessions in the industry.

But while content is king, even in the streaming world, the report said that the top performing streaming services drop success by combining quality content with a comprehensive customer engagement strategy.

Top performers tended to send action-based messages to subscribers and were more likely to send messages on mobile-native channels.

According to the report, the top 10 streaming apps by in app revenue in 2020 in the U.S. are YouTube at $60 million, Disney+ with $45 million, Netflix with $30.1 million, Hulu with $23.5 million and HBO Now, with $17.4 million.

Source: Apptopia and Braze
Author: Jon Lafayette
Posted: April 2, 2020, 2:00 pm
FuboTV and FaceBank Group said they completed their merger agreement and that the combined company will be called fuboTV. FuboTV will be based in New York, effective Thursday, and David Gandler, who ran fuboTV will be the new firm’s CEO. “With today’s closing, fuboTV is well-positioned to redefine ...

New company to be headed by CEO Gandler

FuboTV and FaceBank Group said they completed their merger agreement and that the combined company will be called fuboTV.

FuboTV will be based in New York, effective Thursday, and David Gandler, who ran fuboTV will be the new firm’s CEO.

“With today’s closing, fuboTV is well-positioned to redefine the virtual MVPD space," Gandler said. "Technology-driven cable TV replacement services are more important than ever, especially at this time when people are staying safe at home watching television for needed information, entertainment and escape.”

David Gandler

FuboTV intends to continue its global expansion with FaceBank’s Nexway AG, a global e-commerce and payment platform. FuboTV has committed to global expansion and in 2018 entered Europe with its launch in Spain.

“Today’s closing creates a tech-driven IP company and, for consumers, the ability to enjoy content through a dynamic user interface and delivery platform that supports their rapidly evolving practices of content consumption,” added FaceBank founder John Textor.

Author: Jon Lafayette
Posted: April 2, 2020, 1:23 pm
Sling TV said it will donate the profits from movie rentals to a group that is helping people impacted by the COVID-19 pandemic through April 5. The move, pegged to the “Stay in & Sling” initiative covers all titles, including theatrical releases such as The Invisible Man, The Hunt, Emma and I ...

Money will provide personal protective equipment for healthcare workers

Sling TV said it will donate the profits from movie rentals to a group that is helping people impacted by the COVID-19 pandemic through April 5.

The move, pegged to the “Stay in & Sling” initiative covers all titles, including theatrical releases such as The Invisible Man, The Hunt, Emma and I Still Believe.

Funds go to Good360, which provides personal protective equipment for healthcare professionals and basic household products to quarantined individuals and families.

"With Sling TV's help, we are further able to support communities with limited access to critical supplies, quarantined individuals and families, as well as those impacted by job loss, to help our nation in this great time of crisis," said Matt Connelly, CEO, Good360. "During these unprecedented times, Good360 is leveraging decades of learned best practices, our network of corporate donors and our vast nonprofit partner base to get needed goods into the hands of those who need them most."

Movies can be rented via sling.com on web browsers and through the Sling TV app on supported devices and users of the Sling TV free experience.

"The best way to protect our communities is to stay home," said Warren Schlichting, group president, Sling TV. "The second best thing we all can do is support our caregivers and those who are battling this virus and don't get to stay home. Our hope is that our partnership with Good360 will give Americans another reason to stay safe while supporting those in need. Every action helps."

Author: Jon Lafayette
Posted: April 2, 2020, 12:38 pm
A Boise company is using the new ATSC 3.0 broadcast technology to launch a new challenge to cable and satellite at a time when consumers are cutting the cord. Edge Networks said its Evoca service will provide more than 80 news and sports and local channels for less than $50 a month. Evoca also lets ...

Evoca to deliver 80 channels for less than $50 a month

A Boise company is using the new ATSC 3.0 broadcast technology to launch a new challenge to cable and satellite at a time when consumers are cutting the cord.

Edge Networks said its Evoca service will provide more than 80 news and sports and local channels for less than $50 a month. Evoca also lets users access local channels via built-in antennas, video on demand and streaming apps via their internet connections.

Viewers will be able to switch between broadcast, cable and internet programming using Evoca’s user interface and a single remote control.

“Thanks to major advances in broadcast TV technology, combined with our own proprietary systems, Evoca delivers a buffer-free 4K TV-watching experience,” said Edge Networks CEO Todd Achilles.

By using ATSC 3.0, our signal doesn’t affect and isn’t affected by internet bandwidth in the home,” Achilles said. “Regardless of how many video games, movies or video conferences may be streaming, viewers will always receive a better quality picture and more reliable service than what they experience today.”

Todd Achilles

Edge Networks has launched two stations in Boise that are broadcasting using the ATSC 3.0 standard and has permission to launch nine more. The stations in Boise are airing a test bundle of channels that can’t be seen with current TV receivers, only with the kind of ATSC 3.0 receiver that will be built into Evoca devices. The service will launch there this summer, and the company plans to expand into more markets in 2021.

When TV switched from analog to digital, Sinclair Broadcast Group and other station owners talked about using secondary digital channels to launch cable-like services, but those ideas never came to fruition.

In an interview with Broadcasting+Cable, Achilles said that ATSC 3.0 offered a better opportunity because the technology made broadcast part of the internet.

“I don't think a lot of people that have been in this industry for their careers appreciate what a big deal that is,” said Achilles, who was in the mobile industry when people started to access the internet on their phones.

“That changed everything," he added. “This will rejuvenate broadcasting.”

Edge Networks is backed by a strategic partner that Achilles declined to identify. More investors are expected to come in to help Evoca roll out. 

The service will lean heavily on subscription revenues, but the technology lends itself to the kind of targeted advertising that is making over-the-top and connected TV popular with marketers.

In addition to ATSC 3.0 supporting a sharp 4K picture, “with the economic efficiencies of broadcast, we can deliver this at half the price of the incumbents,” Achilles said.

Consumers are looking for a low price point, but the also are tired of hidden fees, so Evoca won’t have them. “What we're trying to have is a very clear, crisp, transparent pricing model, with none of the fees and surcharges folks are just frankly tired of,” he said.

Achilles added that Evoca was starting out in Boise for a reason. ”Most second and third tier markets are under-served. There’s usually one legacy provider and they’ve got monopoly pricing and the quality of service tends to be low,” he said. “So we see a huge opportunity in second- and third-tier markets and that’s really across the West and the Midwest and the Southeast. But eventually, this is a nationwide service.”

Programmers have been receptive to the Evoca pitch and Achilles said he has a number of programming deals in place because networks are looking for growth opportunities in this cord-cutting era. Channel lineups will be announced closer to launch.

Evoca won’t be able to let subscribers choose their own networks on an a la carte basis, but it will be able to fine-tune channel lineups on a market-by-market basis.

“What’s relevant in Boise is different from Boston, right,” Achilles said. “Nobody watches that 200 channel bundle, so we’re really trying to target it to be relevant and hit a good clean price point.”

Price is especially important because people are worried about their health and their jobs because of the Coronavirus crisis. “The product we’re offering is heavy on news and local content. It’s built around the community, and that’s exactly what people want now, he said. “We’re coming in with something that saves households money. I think there’s a ton of value there.”

Author: Jon Lafayette
Posted: April 2, 2020, 12:00 pm
Aldermaston, UK, 02 April 2020: GB Labs, the global leader in intelligent storage solutions, has today announced the appointment of Howard Twine as Chief Product Officer. Twine joins GB Labs from EditShare where he held the post of Director of Software Strategy for the QScan Brand. Twine's ...

GB Labs, the global leader in intelligent storage solutions, has today announced the appointment of Howard Twine as Chief Product Officer. Twine joins GB Labs from EditShare where he held the post of Director of Software Strategy for the QScan Brand.

View the 2 images of this gallery on the original article

Aldermaston, UK, 02 April 2020: GB Labs, the global leader in intelligent storage solutions, has today announced the appointment of Howard Twine as Chief Product Officer. Twine joins GB Labs from EditShare where he held the post of Director of Software Strategy for the QScan Brand.

Twine's experience spans many different sectors of the industry. Prior to EditShare, Twine was the Chief Operating Officer at Vidcheck. With a strong background in workflow and technology he has been instrumental in bringing MAM solutions to market as well as the first productisation of LTFS for the industry.

At GB Labs, Twine will be leading the interface between GB Labs users, technology partners and the development of new technologies – maintaining and enhancing GB Labs market leadership.

GB Labs CEO-CTO Dominic Harland said, "Twine joining has enabled us to promote Duncan Beattie to the role of Chief Solutions Officer. This is a newly created position in response to market demand and our customer/partner requirements.

"It allows Beattie to concentrate on the identification, development and delivery of our solutions to a wider market demographic, as well as working more closely with our sales team, strategic partners and end customers."

Harland concluded, "Beattie’s unparalleled storage expertise, together with Twine’s 23 year experience, is vital to our business continuity strategy and the timing of this announcement couldn’t be better."

About GB Labs

GB Labs is the global leader in Intelligent Media Storage, creating a shared storage ecosystem for the media industry. By understanding real-world industry problems, cutting-edge technologies have been developed for the unique "CORE" software that fulfils end users’ needs. Regardless of where the production is being filmed, how big the team is or the size of budget, GB Labs can provide a solution to ensure deadlines are met and throughout the whole process, content is secure.

Find out more at: www.gblabs.com or call: EUROPE (+44) (0)118 455 5000 or USA (+1) 661 493 8480.

Company contact:

Matt Worth

GB Labs

Email: [email protected]

Phone: +44 (0) 118 455 5012

Media Contact:

Kara Myhill

Manor Marketing

Email: [email protected]

Phone: +44 (0) 7899 977 222

Author: Wire Contributor
Posted: April 2, 2020, 10:41 am
AMC Networks said it is launching Acorn TV, its subscription streaming service featuring British TV, in the U.K. on April 29. New users will be able to get a 30-day free trial. After that, Acorn TV will cost £4.99 per month or £49.99 per year. Launched in the U.S. in 2011, Acorn TV began ...

Bringing British TV to Britain for £4.99 per month

AMC Networks said it is launching Acorn TV, its subscription streaming service featuring British TV, in the U.K. on April 29.

'Queens of Mystery'

New users will be able to get a 30-day free trial. After that, Acorn TV will cost £4.99 per month or £49.99 per year.

Launched in the U.S. in 2011, Acorn TV began commissioning its own original show including the mysteries Queens of Mystery and London Kills and Finding Joy. Last year, AMC announced that Acorn TV had more than 1 million U.S. subscribers.

“Acorn TV has been phenomenally successful in North America, and we’re excited to bring our slate of exceptional programming from around the world to UK viewers,” said Matthew Graham, general manager of Acorn TV.

“The United Kingdom has a long-standing tradition of producing first-rate dramas and mysteries, so we’re thrilled to feature so many popular, award-winning programs in one place like ITV’s Foyle’s War and BBC’s Keeping Faith, as well as introduce UK audiences to the charming, British-produced Acorn TV Original Queens of Mystery,” Graham said. “For the last eight years, Acorn TV has curated and produced the very best in global television with a diverse mix of shows from Great Britain, Australia, New Zealand, Ireland and Scandinavia with the singular focus of satisfying a rapidly growing fan base seeking high quality mysteries and dramas. As one of the best values in television, Acorn TV will make an excellent add-on to British consumers’ streaming options.”

Author: Jon Lafayette
Posted: April 2, 2020, 10:25 am
Nielsen said it agreed to a multi-year renewal with Sinclair Broadcast Group. The deal covers Sinclair’s 191 TV stations, 22 regional sports networks, Tennis Channel and several digital broadcast channels. In addition to local TV ratings, Nielsen will provide services including Nielsen ...

Deal covers 191 stations, 22 RSNs, Tennis Channel, digi-nets

Nielsen said it agreed to a multi-year renewal with Sinclair Broadcast Group.

The deal covers Sinclair’s 191 TV stations, 22 regional sports networks, Tennis Channel and several digital broadcast channels.

In addition to local TV ratings, Nielsen will provide services including Nielsen Scarborough, Ad Intel, Arianna, Grabix and Digital in TV ratings for some markets and platforms.

Financial terms were not disclosed.

In 2017, Sinclair sent a letter to advertisers saying that it would be using Comscore exclusively for local measurement. But in February 2018, Sinclair signed a new agreement with Nielsen.

“As Sinclair has acquired and diversified its portfolio of media platforms, Nielsen’s solutions continue to be utilized across these assets including local TV measurement solutions for regional sports networks and out-of-home services,” said Catherine Herkovic, executive VP and managing director, Nielsen Local. “We are proud to extend our longstanding alliance with Sinclair to power its strategic measurement initiatives that deliver bottom-line results relied upon by advertisers.”

Author: Jon Lafayette
Posted: April 2, 2020, 10:00 am
Rascular, designers of software-based powerful, customisable control and monitoring applications for third-party, professional video technologies, has today announced the launch of three new versions of its RouteMaster Lite virtual routing for Newtek NDI® application: RouteMaster Lite Solo; ...

RouteMaster Lite brings familiar video routing capabilities to Newtek’s NDI video

Rascular, designers of software-based powerful, customisable control and monitoring applications for third-party, professional video technologies, has today announced the launch of three new versions of its RouteMaster Lite virtual routing for Newtek NDI® application: RouteMaster Lite Solo; RouteMaster Lite One; and RouteMaster Lite Four.

RouteMaster Lite - a Windows PC application - brings familiar video routing capabilities to Newtek’s NDI video. Based on Rascular’s proven RouteMaster system, it gives operators a range of familiar control interfaces for controlling video switching. With typical switching times of just one or two frames, RouteMaster Lite is perfect for live and on-air use. This ultra-fast switching makes it suitable for manual intervention and other applications where quick response is essential.

Roddy Pratt, Technical Director with Rascular, says, “Because of our strong commercial relationship with NewTek, we are very pleased to be able to provide ultra-fast switching, a uniquely powerful capability. RouteMaster Lite is ideal for OB and production environments, supporting up to 20 sources and 20 destinations. The built-in GUI is ideal for preset and take switching, showing resizable video previews and audio metering of the current video and the chosen source.”

No video streams are passed through the router system, instead traffic is redirected at the network level. This means only minimal bandwidth and processor requirements are needed, regardless of the number of video streams and resolution. There’s also no additional video delay through the system. Additionally, RouteMaster Lite does not become a central point of failure: if the router system fails for any reason, video continues to flow from sources to destinations uninterrupted.

RouteMaster Lite Solo (£500) is a 20 x 20 Virtual NDI® router, with an in-built General User Interface. RouteMaster Lite One (£600) adds application support for one control client, either a Rascular WebPanel (included) or a Blackmagic Design hardware panel (to be provided by the end-user). RouteMaster Lite Four (£900) provides support for a maximum of four control clients in any combination of either four Rascular WebPanels (included) or four Blackmagic Design hardware panels (to be provided by the end-user).

NDI, NewTek’s innovative Network Device Interface technology, is a royalty-free standard enabling IP video workflows across Ethernet networks. NDI is a bi-directional standard that allows video systems to identify and communicate with one another over IP, and to encode, transmit, and receive multiple streams of broadcast-quality, low latency, frame-accurate video and audio in real time.

Author: Jump PR
Posted: April 2, 2020, 7:43 am
Tegna branded the sale of 5 million shares in the broadcaster by activist investor Standard General as something that should be “troubling” to stockholders being asked to put Standard General nominees on the Tegna board. In an SEC filing Wednesday, Standard General, which said it owns a 9% stake in ...

Investor discloses ‘swaps’ involving 5 million shares

Tegna branded the sale of 5 million shares in the broadcaster by activist investor Standard General as something that should be “troubling” to stockholders being asked to put Standard General nominees on the Tegna board.

In an SEC filing Wednesday, Standard General, which said it owns a 9% stake in Tegna said it sold 5 million shares in a series of swaps. Standard General might still be able to vote those shares because the trades were made after the deadline for eligibility.

Standard General has said that Tegna’s board has allowed the company’s management to underperform its peers and allowed potential bids for the company to disappear. It has proposed a slate of four people with broadcast experience it wants elected to the Tegna board. Tegna said it looked into the nominees and rejected them because of conflicting positions in other broadcasters.

“Today’s Schedule 13D amendment filing by Standard General should be troubling for all Tegna shareholders. Just one day after describing itself in a letter to shareholders as ‘the largest active shareholder of Tegna’ with a 9.7% ownership position, Standard General today disclosed that it sold approximately 25% of its shares shortly after the record date and instead took derivative positions,” Tegna said in a statement.

“None of this information was communicated in yesterday’s letter, and we urge shareholders to look at the Schedule 13D amendment for themselves,” Tegna said. “At a time when Standard General is seeking dramatic change to Tegna’s highly qualified, engaged and diverse board, long-term shareholders should ask themselves why it would be in their interest to disrupt Tegna’s solid track record of delivering successful operational and financial results and prudent stewardship, especially during a time of national economic distress.”

Standard General did not comment.

According to a source familiar with the situation, Standard General has put some of its Tegna holding into swaps before and retains control of the shares. 

Author: Jon Lafayette
Posted: April 2, 2020, 4:06 am
Ali Wentworth, actress (In Living Color, Felicity) and wife of ABC Good Morning America and ABC News chief anchor George Stephanopoulos, has tested positive for the coronavirus.  She posted a photo of herself on Instagram (above) Wednesday with the news. "I have tested positive for the Corona ...

Husband GMA anchor George Stephanopoulos will work from home

Ali Wentworth, actress (In Living Color, Felicity) and wife of ABC Good Morning America and ABC News chief anchor George Stephanopoulos, has tested positive for the coronavirus

She posted a photo of herself on Instagram (above) Wednesday with the news. "I have tested positive for the Corona Virus. I’ve never been sicker. High fever. Horrific body aches. Heavy chest. I’m quarantined from my family. This is pure misery. #stayhome." 

Stephanopoulos announced on the show Wednesday morning that he would be broadcasting from home because Wentworth had developed "some symptoms." 

"While she is recovering, as she goes through this, I'm going to be broadcasting from home and we'll be working as long as we can here."

Author: John Eggerton
Posted: April 2, 2020, 2:56 am
Tegna named Jessie Kane as executive news director of KREM-TV in Spokane, effective May 26. The move marks a return to KREM for Kane, who began her career at the station and was a show producer there from 2002 to 2005. Kane has been news content director at Tegna’s KXTV in Sacramento since 2017. ...

Started at station as an intern

Tegna named Jessie Kane as executive news director of KREM-TV in Spokane, effective May 26.

The move marks a return to KREM for Kane, who began her career at the station and was a show producer there from 2002 to 2005. Kane has been news content director at Tegna’s KXTV in Sacramento since 2017.

Jessie Kane

She succeeds Noah Cooper who became senior content recruiter for Tegna in January.

“Jessie’s knowledge of the Spokane market, innovative spirit, and ability to create a positive newsroom culture make her the ideal leader to build upon KREM’s momentum,” said RJ Merritt, president and general manager at KREM. “We are thrilled she has decided to return to her Washington roots at KREM 2, where Jessie got her start in the local broadcast industry nearly two decades ago.”

Kane has worked at Tegna stations for 18 years. She began her career at Tegna and KREM as an intern while a senior at Washington State University. After working with KREM and Northwest Cable, she worked at Tegna’s WCNC-TV in Charlotte and KING-TV before moving to Sacramento.

At KXTV, Kane oversaw the launch of two new shows in 2019 and led the transition to a digital-first approach in the newsroom.

..

Author: Jon Lafayette
Posted: April 1, 2020, 10:35 pm
Last week, Red Giant announced it is now making it possible to get a monthly subscription to Red Giant Complete, a subscription service that gives editors, motion designers and VFX artists all Red Giant tools at one low price. Now for just $79/ month, subscribers will have access to Trapcode Suite, ...

Last week, Red Giant announced it is now making it possible to get a monthly subscription to Red Giant Complete, a subscription service that gives editors, motion designers and VFX artists all Red Giant tools at one low price. Now for just $79/ month, subscribers will have access to Trapcode Suite, Magic Bullet Suite, Universe, VFX Suite and Shooter Suite. With Red Giant Complete, annual and monthly subscribers will have the most up-to-date versions of all tools, saving thousands of dollars over traditional perpetual licenses.

Watch now: Red Giant Complete

In addition to now offering Red Giant Complete Monthly, the subscription is also now completely free for educational use. Students, teachers and faculty members can get access to every single tool Red Giant makes free of charge.

Learn more about Red Giant Complete Monthly and educational use here.

For the ultimate in savings, Red Giant Complete Annual is always your best bet - at $599 a year, this works out to be just $49.92 per month.

As always, Red Giant products are still available for purchase as perpetual licenses.

Red Giant Complete includes:

  • Trapcode Suite (reg. $999): The industry’s most essential tools for creating 3D motion graphics and visual effects in Adobe® After Effects®, now with the Dynamic Fluids™ physics engine.
  • Magic Bullet Suite (reg. $899): Widely-used for color correction, finishing and film looks, Magic Bullet Suite 13 gives editors and filmmakers everything needed to make footage look great, right on editing timelines.
  • Universe (reg. $199/year): Red Giant’s collection of over 80 GPU-accelerated plugins for editors and motion graphics artists.
  • VFX Suite (reg. $999): The all-new suite of keying, tracking, cleanup and visual effects compositing tools, all right inside Adobe After Effects.
  • Shooter Suite (reg. $399): Shooter Suite 13.0 is a set of purpose-built applications, including the industry-leading PluralEyes, that give directors of photography, videographers, shooters and filmmakers the ability to bring footage from set to post.

Total if purchased separately: $3,495

Red Giant Complete Annual: $599/YEAR, or $49.92/MONTH (Paid Annually)

Red Giant Complete Monthly: $79/MONTH

Red Giant Complete for Volume Customers

If you are a business buying five or more licenses, check out Red Giant’s Volume Program (https://www.redgiant.com/volume/), which includes additional business-focused features such as floating licenses, remote deployment, advanced support, training and more.

Compatibility

Red Giant Complete is made up of several different suites, each with its own set of tools and relative compatibility info. Every tool runs on Mac and Windows and is compatible with Adobe After Effects, while some of the tools also work in additional host-applications. Visit the Red Giant compatibility page to learn more about each product.

The Red Pledge

Red Pledge is Red Giant’s commitment to customer happiness, with no purchasing hassles. Learn about the Red Pledge guarantee at https://www.redgiant.com/company/red-pledge/.

Request a Red Giant Complete Media Review Kit

Members of the media are invited to review Red Giant Complete as well as any individual tools or product suites from Red Giant. For more information or to request a product review kit, please contact Alexis Isaacs at .

About Red Giant

Red Giant is a software company made up of talented artists and technologists who collaborate to create unique tools for filmmakers, editors, VFX artists, and motion designers. Our company culture is focused on finding balance between work and life – we call it “the double bottom line” – this philosophy helps us ignore complexity in favor of building simple tools that yield giant results. Over the last decade, our products (like Magic Bullet, Trapcode, Universe and PluralEyes) have become the standard in film and broadcast post-production. With over 250,000 users, it’s nearly impossible to watch 20 minutes of TV without seeing our software in use. From our experiences as artists and filmmakers, we aspire to not only provide tools for artists, but inspiration as well. Watch our films, learn from over 200 free tutorials, or try our software at www.redgiant.com

Author: Nick Govoni
Posted: April 1, 2020, 10:13 pm
Fremont, CA, USA - Wednesday, April 1, 2020 - Blackmagic Design today announced it will hold a live stream on Friday, April 3, 2020 at 10:00 AM PDT to provide new developments in its live production and cameras. Held by CEO and cofounder Grant Petty, the stream will be available from Blackmagic ...

Fremont, CA, USA - Wednesday, April 1, 2020 - Blackmagic Design today announced it will hold a live stream on Friday, April 3, 2020 at 10:00 AM PDT to provide new developments in its live production and cameras. Held by CEO and cofounder Grant Petty, the stream will be available from Blackmagic Design’s website, as well as on the company’s YouTube and Facebook pages.

Event Dates and Times

Los Angeles: 10:00 AM PDT – Friday, April 3, 2020

New York: 1:00 PM EDT – Friday, April 3, 2020

London: 6:00 PM BST – Friday, April 3, 2020

Singapore: 1:00 AM SGT – Saturday, April 4, 2020

Tokyo: 2:00 AM JST – Saturday, April 4, 2020

Sydney: 4:00 AM AEST – Saturday, April 4, 2020

Press Photography

Product photos of all Blackmagic Design products are available at https://www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Author: Nick Govoni
Posted: April 1, 2020, 10:07 pm
Every year for the past 36 years, the NSW Department of Education has presented The Schools Spectacular – and every year for the past nine years, TDC – the Technical Direction Company – has provided the video technology and broadcast record support to deliver a spectacular entertainment event that ...

TDC helps celebrate talent

Every year for the past 36 years, the NSW Department of Education has presented The Schools Spectacular – and every year for the past nine years, TDC – the Technical Direction Company – has provided the video technology and broadcast record support to deliver a spectacular entertainment event that lives in the memory of those who take part.

View the 8 images of this gallery on the original article

“Our role is to design, install, program and operate all video production for the project, such as LED screens, floor- and stage mapped projection, broadcast cameras, media servers and playback, real-time tracking and Notch generative content, in-room cast and crew monitoring systems, in-room IMAG cameras, CCTV systems, and OB facilities,” explains Matt Teale, technical project manager at TDC.

Based on the belief that every child has a talent that should be celebrated, The Schools Spectacular holds the Guinness World Record for ‘Largest Amateur Variety Act’ with over 5,500 performers including singers, dancers, drama performers, poets, aerialists and circus acts.

Challenging scale

The 2019 event took place at the Qudos Bank Arena. Originally built for the Sydney 2000 Olympic Games, it is ranked in the top ten arenas in the world and is the largest indoor entertainment and sporting arena in Australia. Capable of accommodating up to 21,000 visitors.

“The scale of the performance and the venue meant that the layout of equipment was spread across a large distance,the main control was at front of house - while the server racks, IMAG control and LED systems were behind the main stage 150 meters away,” recalls Steve Cain, head engineer and media server specialist at TDC, “the OB truck was another 150 meters away. Then, there were more system racks 35 meters up in the air on the roof catwalks - and screens and cameras distributed throughout the venue.”

In response, TDC used its extensive fibre optic transport solutions, ranging from products such as Riedel MediorNet and MicroN frames, Arista Systems 4K solutions, Lightware point-to-point optical links, and a mesh array of Ubiquiti and Luminex nodes to deal with the 11 VPN networks needed to run the complex system.

“Each year we’ve supported The Schools Spectacular, we strive to make it even better than the previous year,” continues Steve, “and we managed it again. TDC provided BlackTrax real-time motion tracking and automation technology for the first time, which enabled us to use Notch generative content to track performers and set pieces. In addition, we deployed disguise media servers to run everything, which meant TDC were really able to have total control of all elements; all content was pixel accurate, which resulted in better image quality.”

Learn, grow

“At TDC, we try to learn and grow from every show we do,” he adds, “refining process, gaining more experience in using the gear in new ways, trying new things, and always trying to create efficienes while delivering a superior result for our clients year on year along with offering our clients more options both from a creative point of view and in terms of the technical systems.”

He notes that TDC is able to take advantage of its purpose-built disguise previsualisation studio where the entire show can be pre-programmed ahead of time, on this occasion allowing the
NSW Department of Education Arts Unit executive producers to see a complete, detailed run-through and gain an understanding of how everything would work – even using 3D VR headsets to walk around the venue, and looking at sightlines from any seat in the arena. This allowed any changes to be made before going on-site - another first for TDC with The Schools Spectacular!

“Our client was absolutely over the moon with the improvements that we made with the systems, and especially in the preproduction side of the project, thanks to the disguise previsualisation capability that TDC delivered,” smiles Matt.

Moment to shine

For the show itself, TDC rigged 19 LED screens were in a variety of positions – ground support, flown off-truss or attached to Kinesys moving motors that moved and changed location throughout the event.

Using an array of carefully positioned Barco UDX projectors, the entire arena floor, main stage and ramps was seamlessly blended and mapped or projected content. TDC supplied a standalone Sony HD camera and Grass Valley Kayak switcher for in-room IMAG, with keying in around 200 name titles as performers had their moment to shine.

In addition, an extensive CCTV system of monitors and PTZ cameras was put in place for conductors, choir masters, performers, producers and technical operators – all scattered around the venue.

Control of the show was provided by two d3 4x4pro and two gx2 servers from disguise, creating an enormously powerful total of 24 main server outputs and 24 backup server outputs. Also in use were BlackTrax real time tracking servers, cameras and beacons; Notch real time generative content; disguise OmniCal cameras; NAS drives; capture of HD-SDI broadcast feed capture: audio in and out – all run from GrandMA 2 lighting consoles.

Each of the four shows of The Schools Spectacular was broadcast on prime time TV to an estimated one million viewers in Australia. This saw TDC provide its extensively-equipped HD01 OB truck, into which video packages and graphics were fed by the disguise servers.

The theme for this year’s The Schools Spectacular was ‘Stars’, and this was reflected throughout the show’s design, with the lighting truss in the shape shape of a giant star, use of mirror balls, stars in the content of the screens, tracking shooting stars under performers’ feet and so on.

“Most importantly,” concludes Steve, “it was our responsibility to understand the producers’ dream to make the kids feel like superstars, giving them massive hero moments in the show. We think we helped them turn that dream into a reality.”

Author: Great Centralian
Posted: April 1, 2020, 10:00 pm
Fight Network, a subsidiary of Anthem Sports & Entertainment and the world’s premier combat sports network, announced today that author, producer and boxing manager Adrian Clark has joined the organization as a consultant to develop original programming and strategic partnerships with a focus ...

World’s Leading Combat Sports Channel Will Be Launching New Boxing Programming and Relaunching Its Mobile App to Support Growth on New Platforms

Fight Network, a subsidiary of Anthem Sports & Entertainment and the world’s premier combat sports network, announced today that author, producer and boxing manager Adrian Clark has joined the organization as a consultant to develop original programming and strategic partnerships with a focus on professional and amateur boxing content, as well as supporting social media and community growth across Fight Network’s digital and social platforms.

Clark has managed various clients, including Jerry Belmontes, James De La Rosa, Willie Monroe Jr. and Frank Galarza. Clark has also worked closely with Jarrell “Big Baby” Miller and current world welterweight champion Errol Spence. He was a certified agent for the National Basketball Players Association (NBPA) from 2012 to 2014. Clark was honored by Forbes in their “30 Under 30” for 2016 in sports. Clark has also published several books, including ‘i’ A Guide for Young Entrepreneurs, Protect Yourself at All Times: A Guide for Professional Boxers, Boxing = Life and Dark Horse.

Clark launched his Protect Yourself at All Times initiative in February 2016, including a book, podcast and video blog. Everlast Worldwide, the world’s leading manufacturer, marketer and licensor of boxing, MMA and fitness equipment, partnered with Clark in 2018 to launch the first-ever Protect Yourself at All Times symposium, an educational tool for fighters and their families whose purpose is to educate and inform professional boxers on the nature of business in boxing. Clark will be developing the concept into a television series for Fight Network in addition to other original programming for the network.

“I look forward to working with Fight Network on enhancing the depth of its boxing coverage,” said Clark. “Working closely alongside my network of industry contacts and the FN Studios original production team, we will develop new programming to put the spotlight on the sweet science and topics that are often overshadowed in mainstream coverage. With its recent resurgence in mainstream popularity, this as an opportune time to bring Fight Network subscribers unprecedented coverage of their favorite boxing stars, both inside the ring and behind the scenes.”

“The rise in popularity of boxing in recent years cannot be understated,” said Ariel Shnerer, newly appointed GM of Fight Network. “With more ways to consume fights than ever before and new stars being born, the sport has experienced tremendous growth on a global scale. We look forward to collaborating with Adrian on new programming initiatives and sponsorship opportunities as we put a renewed focus on our coverage of the sport, not only through our weekly news coverage and live fights, but by developing original productions that bring our viewers closer to the fights and fighters they love, as well educational programming about the business of boxing.”

For more information, visit www.fightnetwork.com.

Author: Wire Contributor
Posted: April 1, 2020, 8:49 pm
Nielsen CEO David Kenny received $12.9 million in compensation for 2019, the company disclosed Wednesday. Kenny, who joined Nielsen in November 2018, had compensation of $19.8 million in 2018. That included $15.1 million in stock awards and a $1.5 million bonus, which was awarded to make up for ...

Oversaw strategic review resulting in splitting company in two

Nielsen CEO David Kenny received $12.9 million in compensation for 2019, the company disclosed Wednesday.

David Kenny

Kenny, who joined Nielsen in November 2018, had compensation of $19.8 million in 2018. That included $15.1 million in stock awards and a $1.5 million bonus, which was awarded to make up for payments he’d earned at IBM, his previous employer.

He received a $2.5 million bonus in 2019 that also made up for payments he was due to receive from IBM.

As CEO, Kenny helped oversee a strategic review that resulted in Nielsen being split into two companies, one consisting of its global media business, the other its global connect business.

Author: Jon Lafayette
Posted: April 1, 2020, 8:42 pm
Former FCC commissioner Rob McDowell has been released from the hospital, according to a partner at Cooley LLP, where McDowell is also a partner and co-leader of Cooley's global communications practice. Related: McDowell Hospitalized McDowell had been hospitalized, then released, then ...

Is convalescing at home after likely COVID-19

Former FCC commissioner Rob McDowell

Former FCC commissioner Rob McDowell has been released from the hospital, according to a partner at Cooley LLP, where McDowell is also a partner and co-leader of Cooley's global communications practice.

Related: McDowell Hospitalized

McDowell had been hospitalized, then released, then hospitalized again after three "brutal days" with double pneumonia and what he had tweeted was likely COVID-19. It was unclear whether he had ever been tested.

The partner sent out a note saying he was pleased to report that McDowell had been released from the hospital and continued to improve each day, but that he was still weak and it would take some time before he could "reengage" at a normal level. 

Author: John Eggerton
Posted: April 1, 2020, 8:24 pm
Charter Communications and AT&T have finally reached an agreement on the latter’s carriage of regional sports network SportsNet LA, breaking an impasse that started in 2014. Spectrum SportsNet LA is the exclusive RSN home of the Los Angeles Dodgers. The deal, terms of which weren’t described, ...

Agreement brings Dodgers baseball to DirecTV, AT&T TV, U-verse and AT&T TV Now … if and when the season finally starts

Charter Communications and AT&T have finally reached an agreement on the latter’s carriage of regional sports network SportsNet LA, breaking an impasse that started in 2014.

Spectrum SportsNet LA is the exclusive RSN home of the Los Angeles Dodgers. The deal, terms of which weren’t described, has already brought SportsNet LA to not only DirecTV, the second most distributed pay TV service in Southern California, but also AT&T’s new IP-based pay TV platform, AT&T TV. Legacy IPTV service U-verse will also get the channel, as will AT&T’s marginalized virtual pay TV service, AT&T TV Now, starting April 8.

SportsNet LA was launched at the beginning of the 2014 Major League Baseball season, the result of a 25-year, $8.35 billion deal carved out by the erstwhile Time Warner Cable and the Dodgers organization. Right off the bat, TWC and DirecTV came to loggerheads over carriage of the new channel. Charter’s subsequent purchase of TWC, and AT&T’s acquisition of DirecTV, didn’t change the dynamic … until now.

With news circulating among Dodgers fans in the L.A. region, many wondered if it was an April Fool’s gag—timed conspicuously to an MLB season with a start indefinitely delayed by the COVID-19 pandemic.

This Charter press release seems to confirm the authenticity of the news, however.

“This agreement underscores our commitment to provide all Dodgers fans the opportunity to enjoy our award-winning programming and live game coverage,” said Dan Finnerty, senior VP of Spectrum Networks, in the statement. “Working together with AT&T, we were able to reach an agreement to offer the region’s most popular teams to local fans across AT&T’s video platforms.”

Indeed, for the bulk of a seven-year string of consecutive National League West championships, not to mention two World Series *appearances, the Dodgers have remained unaccessible on television to a large portion of the local fanbase. (Astros fans: You know what the asterisk is for.)

Los Angeles Mayor Eric Garcetti added: “Our city has the best sports fans in the world, and they want to enjoy all of the excitement and tradition that Dodger games bring to Los Angeles. I’m very pleased that Spectrum Sports and AT&T have reached this agreement, which will bring Dodger games into the homes of AT&T TV, DirecTV, U-verse TV and AT&T TV Now customers when the season begins and give more Angelenos the chance to cheer for our favorite team all the way to the World Series."

Author: Daniel Frankel
Posted: April 1, 2020, 7:57 pm

When tech companies delete radio from cars, it tears at the fabric of our social connectedness

The post Yesterday Our Privacy, Today Our Radio appeared first on Radio World.

Roger Lanctot

The author is director, automotive connected mobility of the Global Automotive Practice of Strategy Analytics. 

As technology consumers we make tradeoffs.

We let Google peer into our online activity and email communications and we even accept annoying advertisements tied to our browsing activity in order to access free email and browsing. We tolerate smartphones with diminishing performance from Apple — even after Apple admits that the diminishing performance is deliberately-inflicted obsolescence to push us into our next iPhone upgrade. We accept Tesla’s privacy violations in exchange for an awe-inspiring driving experience and software updates.

Along the way we have surrendered our privacy and so much more. Now Tesla Motors may be asking us to surrender free over-the-air broadcast radio.

According to the notes describing the latest software update for owners of 2018-made Tesla’s and earlier (using MCU-1), the latest optional software update (which carries a $2,500 price tag but adds Netflix, Hulu, YouTube and Twitch) removes AM/FM radio and SiriusXM. 

This is the often-cited downside of software updates — the potential to obtain improved system performance while sacrificing previously desirable functionality.

While Tesla’s decision only impacts older Tesla’s, it nevertheless highlights the strangely tortured relationship between the broadcast radio industry and Silicon Valley. The issue is a common thread traceable to Apple’s refusal to activate the FM chips built into its phones — and Google’s decision to ignore “terrestrial” radio as part of either Android Auto or Google Automotive Services.

Google, Apple and Tesla have all turned their backs on the broadcast radio industry in spite of the wide reach of radio — a reach that exceeds that of television — and the fact that it is free, localized content ideally suited to consumption in a mobile environment. Tesla’s decision likely only affects a sliver of Tesla owners given the cost of the optional upgrade and the limited in-vehicle enhancements, but it has the ominous tinge of something more sinister.

The Tesla software update, focused as it is on adding streaming video and a $9.99/month subscription — for owners not already on the company’s premium service tier — points to a streaming-only approach to content delivery. Just as satellite broadcaster SiriusXM felt compelled to offer an IP version of its content, Tesla appears inclined to shift all content delivery to IP reception.

The strategy makes sense for a company delivering cars on multiple continents with varying local broadcast protocols and metadata. Shifting radio reception to IP delivery vastly simplifies the in-dash configuration and, in the long run, may enable some hardware content reduction in the form of deleted tuners and antennas. This is particularly relevant in the run up to 5G adoption — a technology upgrade that will require the additional of multiple antennas.

Tesla vehicles in North America have always come with TuneIn — so, now, TuneIn becomes the preferred radio IP broadcast point of aggregation. In fact, it is quite possible that Tesla has leveraged user data from its own vehicles to determine that radio listening in its vehicles was sufficiently minimal to be worth risking some minor resistance.

More importantly, the software update removing the radio experience is optional. Maybe the offer is a test to determine the customer reaction to a tradeoff of streaming video and improved user interface performance with the sacrifice of broadcast radio for $2,500? Is the offer a bit of a market research project? Anything is possible from Tesla, which has altered its pricing and discounts on multiple occasions in response to market conditions.

But the inclination to delete radio is a popular behavior pattern in Silicon Valley where Google and Apple have treated broadcasters with disdain. 

Is this approach sustainable? Is it tolerable? Where can an outraged consumer turn to protest?  Will there be consumer outrage? Should there be? Is it time for an in-vehicle radio mandate to ensure that emergency communications — at least — can be broadcast into cars?

I’m not going to cry wolf. And I’m not going to play Chicken Little. I will say that the radio industry offers   contextually relevant and reliable content delivery with a broad reach across a wide range of devices and listening environments. Deleting radio from cars — terrestrial or satellite-based — tears at the fabric of our social connectedness.

The marginal cost of preserving terrestrial broadcast connections — particularly in the context of radio’s ongoing global digital transition and the resilience of the medium during emergencies — ought to place this particular content reception experience in a non-delete category. Tesla doesn’t appear to share this view and Tesla is not alone. Once again, Silicon Valley is asking us to surrender one thing in exchange for another. Yesterday it was our privacy. Today it is the radio. Tomorrow it will be our freedom.

Roger Lanctot posted this to his blog in early March; it appears with permission.

The post Yesterday Our Privacy, Today Our Radio appeared first on Radio World.

Author: Roger Lanctot
Posted: April 3, 2020, 11:51 am

Field will cut his own salary 30%

The post Entercom Joins in Radio Industry Job Cuts appeared first on Radio World.

Entercom Communications will eliminate or furlough a “significant” numbers of employees, the Philadelphia Inquirer reported.

“The nation’s No. 2 radio chain, which reaches 170 million listeners, also will temporarily cut employee pay by 10-20% for those earning more than $50,000,” the Inquirer said.

It said CEO David Field will cut his salary 30%, and that bonuses will be eliminated for the first half, as will its 401K match.

Entercom’s headquarters are in Philly, and it owns several radio stations in that market.

The radio industry is reacting to a decline in ad sales commitments in the face of the national health crisis. The paper quoted Field saying, “Better days lie ahead. With the tough but necessary actions we are now taking, we are doing what is required for us to preserve the health of the company and ensure that we are strong when we get to the other side.”

[Related: Beasley Cuts 67 Jobs, Furloughs Others]

The post Entercom Joins in Radio Industry Job Cuts appeared first on Radio World.

Author: Paul McLane
Posted: April 2, 2020, 7:37 pm

And the best part is, they are free!

The post Techsurvey 2020 Says Home Stations Leads the Streaming Audio Pack appeared first on Radio World.

Streaming audio and video are relatively new players in the media ecosphere, but Techsurvey 2020 says AM/FM radio is holding its own against them very well.

Jacobs Media, Techsurvey 2020, radio audience listenership

Even though radio is not a steaming brand per se, it has been inserted in the Jacobs brand pyramid for comparison. It’s clearly a leader with 90%. Facebook is the next closest competitor with 72%.

Jacobs Media, Techsurvey 2020, radio audience listenership

It’s no surprise that everything in audio and video streaming is trending upwards, and skewing to a younger audience. The percent who watch streaming video weekly or more has jumped from a total of 62% in TS 2016 to 74% in TS 2020. In the lead is Gen Z with 96%, followed closely by millennials with 93%.

Jacobs Media, Techsurvey 2020, radio audience listenership

TS 2020 says that just under half of their respondents listen to streaming audio daily, with 50% of the silent generation, and climbing to 77% for Gen Z.

And more good news for radio, TS 2020 says nearly two-thirds of respondents listen to their home station’s stream. That’s way ahead of Pandora, YouTube, Spotify and iHeart Radio.

Jacobs Media, Techsurvey 2020, radio audience listenership

A key reason they give for listening to AM/FM radio is that it’s free. That is especially important at a time when the survey also suggests that six in ten feel that subscription fees for audio and video fees are a concern.

Jacobs Media, Techsurvey 2020, radio audience listenership

Fred Jacobs, president of Jacobs Media sees this as a golden opportunity for radio. “We see two forces combining here. First, the coronavirus has increased the already strong interest in local radio and its personalities at a time when most are forced to stay at home, and are probably listening more. Second, many have either lost their jobs, or been without income for some time. When their credit card bills begin to arrive, they may question whether they should, or can afford to pay for several streaming services every month. All of that can work to radio’s advantage.”

[Read: Techsurvey 2020 Tracks Smart Speaker Success]

He adds that some stations have not promoted their streams well in the past, either because they don’t understand how to monetize them, or because they believe it might detract from their ratings numbers. Here’s Jacobs’ to-do list: clean up your stream — in the home it’s the only way many can listen; if you can switch to TLR, do so, it’s a better experience for most stations; test drive your smart speaker commands then heavily promote them and finally think local, it’s the “secret sauce” that none of the other media platforms can provide.

 

The post Techsurvey 2020 Says Home Stations Leads the Streaming Audio Pack appeared first on Radio World.

Author: Tom Vernon
Posted: April 2, 2020, 5:15 pm

He’ll be in charge of making multichannel digital platforms for WBLS and Hot 97

The post Alex Roman Named CTO of MediaCo’s NYC Stations appeared first on Radio World.

Alex Roman
Alex Roman

MediaCo Holding has named Alex Roman as the new chief technology officer for New York radio stations WBLS(FM) and “Hot97” WQHT(FM).

MediaCo Holding is a public company owned by investment firm Standard General and Emmis Communications.

[Learn more: Biggest Station Trading Deal in Q3 2019 Was MediaCo Creation]

Roman was named Emmis’ director of integrated technologies in New York in 2011. While working for Emmis, the company said, he led efforts to modernize WQHT, WBLS and WLIB, including creation of digital media production spaces and transitioning to AoIP. Roman was also in charge of the team that rebuilt the Empire State Building transmitter facility and added an auxiliary transmitter site on 4 Times Square.

During his career, Roman also served as chief engineer for WKTU(FM) and as director of engineering for Citadel Broadcasting. He began his engineering career 24 years ago in California.

In the announcement, Emmis Communications and MediaCo Holding President/Chief Operating Officer Patrick Walsh called Roman “invaluable” as the broadcaster moves ahead with the creation of “multichannel digital platforms for WBLS and Hot 97.”

The post Alex Roman Named CTO of MediaCo’s NYC Stations appeared first on Radio World.

Author: RW Staff
Posted: April 2, 2020, 5:12 pm

Long-time morning jock on WAKO in Lawrenceville

The post Steve Sheley Dies, “a True Icon” in Illinois Radio appeared first on Radio World.

Steven Lee SheleySteven Lee Sheley died Monday after a lengthy battle with leukemia.

“Steve was a true icon in the southeastern Illinois and southwestern Indiana radio business,” said colleague Bill Shrode.

According to his obituary, for many years Sheley was the morning DJ for WAKO in Lawrenceville, Ill., after having worked an earlier stint there in the evenings. He also did a stint at WYER in the late 1980s.

Sheley started as a newsman for WNOI(FM) in Flora, Ill., in the early 1970s, and entered the broadcasting program at Wabash Valley College in Mt. Carmel, Ill. Among subsequent call letters on his resume were WVJC, WREY(AM) and WAKY.

Steve enjoyed radios, DXing, travel and assisting veterans. Affiliations included Moose, Eagles, and Sons of the American Legion.

A celebration of life will be announced at a later date. Memorial donations may be made to the Lawrence County Cancer Resource Center & Wig Shoppe. Emmons-Macey & Steffey Funeral Home in Lawrenceville, Ill., is in charge of arrangements.

 

The post Steve Sheley Dies, “a True Icon” in Illinois Radio appeared first on Radio World.

Author: Paul McLane
Posted: April 2, 2020, 4:13 pm

Windows app provides remote WheatNet-IP interface

The post Work From Afar With Wheatstone ReMix appeared first on Radio World.

Working remotely has inspired Wheatstone to release ReMix, a remote mixing application.

ReMix is a Windows PC or tablet app that can access a WheatNet-IP audio network from afar.

According to Wheatstone, ReMix provides an affordable, quick alternative to a physical home studio for remote broadcasting and voicetracking by remotely accessing existing equipment at the station, such as codecs, hybrids, and playout systems.

Wheatstone Director of Sales Jay Tyler said, “ReMix is proving to be a great little application for all our broadcasters who need to get talent up and operating from home quickly and securely.”

The application can be installed on a Windows desktop, laptop or tablet in a home or remote studio or on a station PC that can be accessed by talent remotely through a secure VPN.

ReMix provides a direct user interface to the utility mixers found in the I/O Blades that make up the WheatNet-IP audio network. Each I/O Blade includes two built-in 8 x 2 stereo mixers, the inputs and output busses of which are available as resources on the network. The WheatNet-IP utility mixers are accessible anywhere in the audio network for simple functions such as summing, splitting, and level adjustment, performing crossfades and segues between sources, as well as creating custom mixes or intercom systems.

I/O Blades also include Wheatstone ACI (Automation Control Interface) for third-party control of automation systems and other Wheatstone partners’ gear and can be used for functions such as routing, ducking, panning, logic control, mixing and silence detection.

Info: www.wheatstone.com

The post Work From Afar With Wheatstone ReMix appeared first on Radio World.

Author: RW Staff
Posted: April 2, 2020, 1:38 pm

RadioPix includes computers, software and PTX cameras

The post Broadcast Pix Shows Visual Radio Package appeared first on Radio World.

Visual radio system developer Broadcast Pix calls its new RadioPix a voice-automated, integrated visual radio production solution.

The new system combines the company’s Media Aware macros with voice-automation to turn a radio station’s host into a video producer. The package includes two new RoboPix PTZ cameras with 20X zoom and plug-and-play operation. Users plug them into two of the included Lenovo Tiny PCes five NIC ports using Cat-5 cables, connect to the local audio network for automatic triggering and receiving station output and then onto the internet.

Jeff Adams, RadioPix product manager, said, “It’s the behavioral intelligence that makes RadioPix unique. Show hosts don’t usually have time to also produce the video content, so RadioPix automates the production process, keeping it visually appealing.”

He explained, “By detecting microphone activity through the Dante interface, Broadcast Pix’s visually aware macros can be triggered. For example, activity on all mics could trigger a wide shot. Then, there is the ‘boredom’ macro, useful when a guest is speaking for longer than a minute. The shot could pull back, bring up the lower third title graphic, go to a wide shot, and then go back to a close up to keep the output interesting.”

The host can override the behavioral intelligence from optional touch screen panels, MIDI interfaces or even footswitches.

On initial startup, the system is ready to go, but a period of user consultation is included to help create the station’s look and feel. For example, import and position the station ID, choose suitable video clips and graphics elements and finally program the behavioral intelligence.

Broadcast Pix is pegging the price at $15,000.

Info: https://broadcastpix.com.

The post Broadcast Pix Shows Visual Radio Package appeared first on Radio World.

Author: RW Staff
Posted: April 2, 2020, 1:33 pm

Useful features should appeal to those working with or for AM broadcasters

The post Exploring the Inovonics 674 AM Monitor Receiver appeared first on Radio World.

As the radio broadcast ecosphere shifts towards streaming and digital delivery, the number of new products for the AM broadcaster seems to be on the decline. That’s why it was a delight when Inovonics unveiled their 674 AM Monitor Receiver in 2019. Part of the INOmini series, the 674 fills the niche for a versatile but inexpensive AM confidence monitor.

This software-defined DSP receiver has many cool features. 

As a global product, it can either tune in 10 kHz increments for the Americas, or 9 kHz increments for Europe. Audio outs are available in analog and digital, each with independent level adjustments. 

The multicolor, backlit LED display continuously shows received signal strength and audio levels. Combined with the jog wheel, this display also facilitates system setup. The 674’s programmable front-panel alarms with rear-panel tallies indicate low or no signal and audio program loss. 

Alarm conditions also cause the display to flash against a red background, a move guaranteed to get your attention. Tweaks and upgrades to the firmware are easily uploaded through the front-panel USB port.

Around back, there’s an F connector for the 50 ohm antenna input as well as terminals for the alarm tallies, including ground, +5 volts, low signal and audio loss. There’s also an AES digital audio output and analog line outputs labeled left and right. 

And no, analog AM stereo is not making a comeback, these are really dual monaural outputs that are adjustable from –15 dBu to +15 dBu. The logic behind the left/right nomenclature is that most studios are wired for stereo, whether the programming is or not. 

Finally, two paralleled coaxial power connectors can take the +12 VDC and daisy-chain it to two additional INOmini devices, useful if the 674 is rack mounted with two companion units.

The front-panel headphone jack will accommodate any stereo phones with a 3.5 mm plug. When the headphones are plugged in, the LCD menu will automatically switch to the headphone volume screen, and you can adjust volume with the knob. Press the knob again and you’re returned to the previous menu. 

Menu screen 6 gives a bargraph presentation of program audio level. The meters are peak-responding with a floating peak-hold function. One-hundred percentcarrier modulation corresponds to 0 dB. 

GETTING THE SIGNAL

As  a practical matter, the 674 can operate with just about any type of antenna. The 50 ohm antenna connector is insulated from the rear panel to create a quasi-balanced configuration. The instructions recommend connecting the shield to an external ground. 

Getting a strong, interference- and noise-free signal can be difficult in some locations, and Inovonics offers as an option the 637-01 passive AM loop antenna, with a figure 8 pattern, which can assist with some of the more challenging AM reception environments. 

Two menu screens determine how the 674 will sound. The standard NRSC truncated 75 µs de-emphasis may be switched in or out. The manual suggests making a decision based on which sounds best to you. A second screen enables selection of  IF bandwidth. Your options are 2, 3, 4 and 6 kHz. These settings mark the –6 dB points. 

Your selection is really a tradeoff between background noise and fidelity, with the 6 kHz setting being as close to high fidelity as you’re going to get. 

The days when you could troubleshoot broadcast equipment and make the repairs yourself are long gone. As with most modern gear, the Inovonics 674 is designed around surface-mount technology and chips with firmware, so the company recommends returning equipment to the factory for repairs. 

Nevertheless, curiosity dictates that it be taken apart just to see what it looks like inside. The board work, sheet metal and paint jobs are all up to Inovonics’ usual high standards.

Our evaluation 674 performed well with a long-wire outdoor antenna. The use of the traditional cold water pipe as an antenna ground turned out to be ill-advised. Smart meters dump large amounts of noise into the ground wiring. A stake driven into the ground outside the window worked much better. 

As expected, local stations could be set for NRSC off and 6 kHz with good fidelity and no noise. The AGC range of the 674 is broad enough to seamlessly handle day/night power reductions and antenna pattern changes. Although not intended for DXing, distant stations can easily be received, and are listenable with NRSC on and reduced bandwidth. Of course, noise from summer electrical storms is always a problem.

While the firmware in the 674 works as expected, other features could make it much better. As it stands, there is no way to store settings for multiple stations. That could make it inconvenient for users who work for a cluster. A preset function would also be useful if you want to do an A-B comparison between your station and the competition for the purpose of setting up audio processing

While the 674 is geared to a global market, the display is only offered in English. A menu selection of languages might make it more user-friendly outside the United States and other English-speaking countries.

Your happiness with the 674’s performance may depend to a large degree on how much thought and planning has been put into its antenna. Back in the day, a frightening number of stations used a short piece of wire and a clip lead as an AM antenna for EBS and EAS boxes, and even for mod monitors. It was never a good idea. 

Today, the proliferation of smart meters, LED and fluorescent lights, computers and switching power supplies all combine to create very high noise levels across the LW, MW and SW frequency bands. An outdoor antenna connected to the 674 via coax is almost mandatory for good reception. 

PRODUCT CAPSULE: Inovonics 674

Monitor Receiver

Thumbs Up

+ Independent audio level controls for analog and digital outputs

+ Programmable front alarms with rear-panel tallies for low signal and audio program loss

+ De-emphasis and IF bandwidth options for best audio quality

Thumbs Down

– English-only display

– No presets or easy to A-B compare stations

Price: MSRP $880

 

Contact: Gary Luhrman at Inovonics at 1-831-458-0552 or visit www.inovonicsbroadcast.com.

The post Exploring the Inovonics 674 AM Monitor Receiver appeared first on Radio World.

Author: Tom Vernon
Posted: April 2, 2020, 11:19 am

The role of DAB+ radio in helping to manage the crisis caused by the Covid-19 outbreak

The post DAB+ Lends a Hand in a Time of Crisis appeared first on Radio World.

The author is president of WorldDAB.

Patrick Hannon

As people around the world are faced with a global pandemic, the full extent of which has yet to be determined, governments are increasingly looking for new ways to keep their citizens informed and out of harm’s way, while enforcing strict stay-at-home regulations.

As one of the oldest communication platforms available, radio has always played a significant role in times of crisis. Today, the role of DAB+ digital radio is more important than ever — keeping citizens informed, and providing some sense of belonging and togetherness to the most vulnerable people who are faced with a lengthy spell of uncertainty and isolation.

HELPING THE MOST VULNERABLE

In this time of crisis, we are seeing more and more ways by which DAB+ digital radio is helping broadcasters address issues such as loneliness, due to long period of social distancing and self-isolation.

A graph highlighting the number of national radio services on air (DAB/FM) in some European countries.

In the United Kingdom, BBC local radio, together with loneliness charity Wavelength, has partnered with manufacturers and retailers to offer free DAB radios to the most vulnerable people aged over 70. This initiative forms part of a broader BBC campaign called Make A Difference. This campaign is running across 39 BBC local radio stations with the goal of connecting communities during the Coronavirus outbreak.  In its first five days, the Make A Difference campaign received 28,000 calls.

NEW SERVICES

One of the key benefits of DAB+ is that it offers listeners a wider pool of content to choose from — both on a national level and in specific regions. In the U.K., a new DAB+ service broadcasting important information on the outbreak and spread of COVID-19 has just launched on a number of small-scale multiplexes across the country.

Named Health Info Radio, the DAB+ station broadcasts a mixture of updates on COVID-19 symptoms, myths and social isolation rules and guidelines, as well as interviews designed to help listeners through the national lockdown. Produced as a public service in London, the station is already available in a several major cities across the U.K.

Similarly, in Austria’s capital Vienna, DAB+ is being used to broadcast announcement loops with crucial information related to COVID-19. In addition to the announcements that run continuously in German, there are also several information stations on air in English, Turkish and Romanian, as well as an “Emergency Warning Functionality” (EWF) station broadcasting in Bosnian, Serbian and Croatian.

When on air, the EWF station — a special service dedicated to disasters and matters of the utmost importance — can break into the majority of receivers, including radios that are in sleep mode.

In Germany, the commercial radio station Schwarzwald Radio (Blackforest Radio), broadcast nationally on DAB+, has announced the launch of the first nationwide game night on DAB+. Schwarzwald Radio’s aim is to provide some distraction and boost the morale of German citizens who are currently confined to their homes.

CONGESTED NETWORKS

As millions of people remain confined to their homes, telecoms operators are struggling to cope with the surge in internet and mobile phone usage, and the network congestions that come hand in hand with them.

In Britain, the biggest telecoms companies have set aside their rivalries and launched a national campaign to tell the public how to manage this surge with the hope of reducing congestion. DAB+ does not require internet, and as such, helps alleviate some of the pressure building up on telecoms operators as internet usage continues to grow.

DAB+ allows broadcasters to combine classic content with digital diversity, without the need for internet connectivity, freeing up much needed internet bandwidth. More importantly in this time of crisis, it offers a wide range of news, safety guidelines, tailored information and distractions to the population — both nationally and on a regional level — all much needed at this time.

The post DAB+ Lends a Hand in a Time of Crisis appeared first on Radio World.

Author: Patrick Hannon
Posted: April 2, 2020, 6:00 am

Privacy concerns are the elephant in the room

The post Techsurvey 2020 Tracks Smart Speaker Success appeared first on Radio World.

The home listening environment has become a hostile place for AM/FM radios. The proliferation of electronic devices such as computers, LED lighting, and especially smart power meters has combined to raise the noise level to the extent that reception is near impossible. That could be part of the reason smart speakers have experienced such explosive growth. Techsurvey 2020 fills in the details, including some opportunities for radio, but also implies there may be a dark cloud in the device’s future.

Jacobs Media, Techsurvey, smart speaker

Their data suggests a close correlation between age and ownership of an AM/FM radio. The silent generation leads with 92%, and that number gradually decreases, ending with 67% for Gen Z. Overall ownership has fallen from 89% in TS 2016 to 81% for TS 2020.

Jacobs Media, Techsurvey, smart speaker

These trends, according to Jacobs data, are almost the reverse for smart speaker ownership. The silent generation owns just 18% of the smart speakers, while millennials own 41%. Gen Z and Gen X are almost tied for second place, with 38 and 37% respectively. Overall ownership has skyrocketed from 11% with TS 2017 to 33% with TS 2020.

Jacobs Media, Techsurvey, smart speaker

Listening to streamed music tops the list of frequent uses for smart speakers; AM/FM radio listening is essentially tied for second. Sadly for radio, data from TS 2020 also suggests that only 38% of smart speaker owners have heard stations promoting the devices.

Jacobs Media, Techsurvey, smart speaker

This comes despite data from Jacobs Media which suggests that radio’s local orientation continues to grow in importance. Fred Jacobs, president of Jacobs Media adds, “While it’s always been true that localism matters, that’s never been more the case than with the coronavirus pandemic we’re facing now. Some broadcasters have really embraced smart speaker technology and promoted it well, while others have their work cut out for them.” He adds that stations who lean into their personalities and really embrace localism may come out ahead of the game when the current crisis has passed.

[Read: TechSurvey 2020 Looks at Podcast Growth]

Despite its meteoric growth, the future is not all bright for smart speakers. Jacobs survey also asked why respondents do not own a smart speaker. “No use for one” led the responses with 37%, and “privacy concerns” was second with 32%.

As Jacobs elaborates, “We started to hear more about privacy concerns with smart speakers in our focus groups, so we added the question in TS 2020. There’s no doubt that the voice activated internet is here to stay, but privacy issues are not going to go away. It’s something that Amazon, Google and the rest of the smart speaker manufacturers will need to come forward and address.”

 

The post Techsurvey 2020 Tracks Smart Speaker Success appeared first on Radio World.

Author: Tom Vernon
Posted: April 1, 2020, 5:09 pm

Salary reductions also put in place

The post Beasley Cuts 67 Jobs, Furloughs Others appeared first on Radio World.

Beasley Media Group logoBeasley Media Group is among the U.S. radio companies cutting jobs and reducing salaries in the face of the business downturn caused by the coronavirus health crisis.

Beasley made cuts Tuesday. Chief Communications Officer Heidi Raphael confirmed in an emailed statement: “Our company, like other broadcasters and our clients, is being directly impacted by the recent unanticipated economic downturn due to the coronavirus pandemic. Like so many others in our industry, we must adjust to the new and unforeseeable circumstances we now face.”

She said Beasley eliminated 67 positions, and furloughed 18 full-time employees and several part-timers. She did not identify the positions eliminated; RW believes they included about a half-dozen engineers.

The company also reduced salaries for full-time employees by 10% for the second quarter, unless prevented by contractual obligations. CEO Caroline Beasley is taking a 20% reduction. It reduced the hours for full-time hourly employees to 36 hours.

“We anticipate bringing back all furloughed employees at the end of the second quarter or sooner if circumstances permit,” Raphael said.

According to AllAccess and other trade publications, iHeartMedia this week also instituted furloughs and reductions in executive pay.

The post Beasley Cuts 67 Jobs, Furloughs Others appeared first on Radio World.

Author: Paul McLane
Posted: April 1, 2020, 3:46 pm

Also, here’s a software suggestion for April 1

The post Cameras Keep Watch at Your Transmitter Site  appeared first on Radio World.

Fig. 1: A strategically-placed IP camera keeps watch on your transmitter site equipment.

Ernie Nearman is a veteran broadcast engineer who has been practicing in Honolulu for decades. Like any contract engineer, Ernie sometimes has to be in two places at once, and believe it or not, he’s figured a way to do just that.

Ernie uses strategically-placed IP cameras at his sites to give him “remote” eyes to see what’s going on. He acknowledges that these IP cameras are not cheap, but if you buy the style that provides pan, tilt and zoom features, the camera does a pretty good job of letting you know what’s going on before you arrive at the site. 

Fig. 2: By selecting a camera with pan and tilt functions, the camera can zoom in to a specific piece of equipment, like this transmitter fault panel.

At one site, the camera is mounted on conduit so it normally faces the door (Fig. 1). Anyone entering the site can be identified. However, with the built-in mechanical adjustments, Ernie can remotely turn the camera to view the faults on a transmitter, as seen in Fig. 2 or point the camera in another direction to check the room temperature and Nitrogen pressure gauges (Fig. 3).

Fig. 3: Pan in another direction to check the room temperature and N2 pressures.

After a storm, wouldn’t it be nice to know the surge suppressor took a hit before arriving at the transmitter site? Fig. 4 shows that information. These little snapshots may not seem important, but when you are handling a number of contract clients, IP cameras can help you perform triage.

Fig. 4: How about checking your Surge Suppression status, before arriving at the site?

If, for example, a station goes down and you see that the fault can be corrected remotely, your time can be spent on bigger issues. Ernie says this benefit is especially appreciated when a storm rolls through, taking several of his contract clients off the air at the same time. These IP cameras permit engineers to work smarter and more efficiently.

Fig. 5: The compact camera fits in the palm of your hand, making mounting a breeze.

Ernie chose the Amcrest IP Camera, Model IP4M, in Fig. 5. It’s not the cheapest but its features include Ultra-HD resolution, remote viewing, two-way audio and night vision. It uses power over the Ethernet.

Fig. 6: Compile a screen to show both inside and outside the transmitter site.

Yes, you can find less expensive versions, but buying cheap junk probably won’t give you the features you need. Consider this a diagnostic tool, so don’t fall for the $20 wonders — you’ll be disappointed. 

You can find out more by Googling “Amcrest IP cameras” or searching for them on Amazon.

***

Have you signed up for the SBE Member Plus membership tier? When you do, you’ll have access to all of the SBE webinars. These broadcasting webinars provide online training in a variety of broadcast engineering topics. Head to www.sbe.org for more information.

***

April 1 is here. With that in mind, Newman-Kees’ Frank Hertel sent in some tips for using the latest release of Sonus Precarious Audio Software.

He writes that many engineers have yet to experience Sonus Precarious and its quirks. As an experienced user, Frank thought it would be useful to share some of the things that you need to be aware of when considering Sonus Precarious.

  • If you download the free version, after three months, you will be required to purchase and install a dedicated Sonus Precarious hard drive to save your work.
  • When deleting elements of your work, all mouse buttons and the scroll wheel must be used in reverse order. They provide this as an extra safety feature for jocks, to keep them from accidentally deleting elements of their work.
  • All work is saved in the new Sonus Precarious file format. To distribute your recorded work to others, you must attach a document that has a ciphered phrase. That ciphered phrase must be decoded and entered to unlock the recording for playback.
  • Sonus Precarious offers a user-selectable series of new bitrates, to enhance the sound of the recorded work. This gives you the sound quality that relates to the year of audio quality development. For example: one of the bitrates is called “64÷8,” and it actually enhances recordings to sound like 1941.  
  • Be aware that the manual is written in 64-point “Baked Alaska Script” font. They did this because, they explain, “It’s pretty!”

Have a great April 1. 

John Bisset has spent over 50 years in the broadcasting industry and is still learning. He handles western U.S. radio sales for the Telos Alliance. He holds CPBE certification with the Society of Broadcast Engineers and is a past recipient of the SBE’s Educator of the Year Award.

The post Cameras Keep Watch at Your Transmitter Site  appeared first on Radio World.

Author: John Bisset
Posted: April 1, 2020, 11:27 am

The sound of radio is changing and the industry needs to listen

The post Sound Ideas. Sound Decisions. appeared first on Radio World.

The author is communications manager for Radiodays Europe.

COPENHAGEN — Have you seen the YouTube clip of two Glaswegians with strong Scottish accents trying to work the voice controls in a lift? Or the lady sitting in a mid-range car trying to find a radio station using the voice controls, her accent is very strong and she calls the stations by their abbreviated names.

Rosie Smith

Those are two, rather old, examples of where voice control doesn’t work. The problems of voice control are well known, but with the rise of the smart speaker the future is most surely voice-controlled so how does your station work with the voice? Can listeners find you? Or is your name and frequency too difficult to find on a voice-controlled device or in a device-controlled system in the car?

MORE WORK

Some stations are working on their smart speaker future and with the major smart speaker manufacturers to try and ensure that no matter the listener’s accent, the many ways the station is named (e.g. name/frequency/abbreviation), the speaker gets to the right place and you don’t lose listeners.

The sound of someone’s voice needs to be understood and, radio stations need to do more work to ensure they are the first on the list when “Alexa play…,” is uttered.

The revolution is happening or has happened depending on whom you talk to in terms of the sound of podcasting, “800,000 valid podcasts are now available in Apple Podcasts.”

In addition, the explosion of the podcast market continues with new players entering, new forms of production and a media truly open to all with a microphone and the ability to stand the heat of sitting under a duvet while recording their podcast (production method suggest by “Beef and Dairy Network Podcast” Ben Partridge, RDE Podcast Day 2019) — though apparently kids tents with a duvet over the top works just as well.

The sound of short, home produced podcasts though, like the early days of YouTube videos, are now moving on. With more production houses entering the market the sound of podcasts are becoming more professional, more stylized and may be losing some of the previously and joyously bad production which marked out podcasts in the early days.

That’s not to say that there still aren’t a lot of people out there desperate to know which microphone to use? What makes a podcast sound like a winner is becoming the Holy Grail: How do you make your podcast stand out in a market place where many new podcasts are launched daily?

The sound of the radio in terms of diversity and equality remains an area that needs to be tackled head on in all countries. More stations need more female voices and those from multicultural backgrounds. As local communities diversify so too must radio, bringing a wealth of opinions, experiences and familiarity to their listeners.

If the “woke” generation is the audience of tomorrow, then radio needs to appeal to them and bring the sound of their generation to radio. Podcasts in this respect cater to this demographic bringing with them the multisound world that should be the goal of all stations.

GATE-KEEPER PLATFORM

What is the next big thing for sound? In every space the sound you hear is a key part of the experience. But how do you deliver that sound? Will it be on 5G in the future? In the United Kingdom, mobile network operator and internet service provider, EE, has 5G coverage in over 50 towns at the end of 2019; in the United States Verizon 5G has gone live in parts of 31 cities; and in Australia Telestra covered 10 major cities by the end of 2019, according to TechRadar.com. A similar story in many other markets, 5G is coming to listeners and quickly.

Broadcasters are eagerly exploring how they can deliver more on the mobile networks but the issue of a “gate keeper” for your station’s sound is once again being discussed. Also, the question arises: Will listeners pay for radio streaming?

In a recent study by Imperial College London, researchers found “the evolution of modern culture, including pop music, is just as slow as biological evolution.” What do changing tastes mean for music stations? If smart speakers are outselling traditional radio devices what does that mean for radio? If the car of the future is autonomous what will radio sound like?

These are just some of the questions facing radio today. Making “sound” decisions for a station is the preoccupation for every CEO, head of radio and program director. Competition for the ear is growing, though radio still remains in a strong position, how do you navigate this new world of sound?

Sound ideas and sound decisions on all platforms, across all innovations in technology are paramount.  Radiodays Europe in Lisbon, now slated for December, will address these issues with examples from radio stations worldwide with a view to ensuring the sound of radio continues to hit the right note.

The post Sound Ideas. Sound Decisions. appeared first on Radio World.

Author: Rosie Smith
Posted: April 1, 2020, 7:00 am

A new free product guide is now available from Radio World

The post Spring Show @ Home appeared first on Radio World.

This free resource is part of Radio World’s “Spring Show @ Home” initiative, helping equipment buyers and sellers keep in touch in an April without an NAB Show.

In the 21st century, radio is enduring, engaging and evolving. So too are the media companies that create all that great content. And so are the manufacturers that make the technologies that are the backbone of our great industry.

The guide is intended to give you a sampling of new offerings that you would have seen if you’d attended the show. It includes ads and Product Previews from our sponsors about technologies they are introducing or highlighting this spring. Also, you’ll find “Exhibitor” listings based on the material that companies had sent us shortly before the physical convention was cancelled.

Thank you for being part of this great industry and of the Radio World community.

The post Spring Show @ Home appeared first on Radio World.

Author: RW Staff
Posted: April 1, 2020, 5:02 am

DOE Paul Montoya on putting remote broadcasting to work at WPM

The post In Wyoming, a Game Plan for COVID-19 appeared first on Radio World.

Wyoming Public Media is among the radio organizations building new pathways and processes for broadcasting from home during the COVID-19 pandemic.

Paul Montoya is director of engineering for WPM, which is part of the University of Wyoming and located in Laramie. It operates 45 transmission facilities; WPR channels covers 90% of the state.

Radio World: I’m told you’ve been doing some live shifts from home yourself. What technologies and products are you using and how do the pieces plug together?

Fig. 1: Control Room Zetta screen via secure VPN

Paul Montoya: This is something we have been working on for the last year, primarily for remote broadcasts. The goal has been to control the equipment back at the studio as if you were sitting in front of it. In the past, the most we could do is have someone bring up the remote location on the control room console, then fire “next event” closures when needed to play underwriters announcements, promos or other elements.

So to do this properly you really needed two screens at the remote location — one to remotely control the mixing console at the studio and the other to fully control the automation system. We use a Telos Axia Element console at the studio. For automation we use the RCS Zetta system. At our studios we use the Raritan Dominion KX III KVM to control workstations in all of our studios. This is an IP-based system so devices can be accessed via web browser.

So, to put everything together we first access the Control Room Zetta screen via secure VPN remotely on one screen. We now have a full-function version of the same screen an operator would be using in the studio (Fig. 1). Now we need some way to control the levels, inputs and channel on-off functions of the console.

Fig. 2: Telos SoftSurface

Telos Axia makes a piece of software called SoftSurface that accesses remote control of any LiveWire-based Fusion or Element console in a graphical format (Fig. 2). With this software on my second screen I can now control any function on the studio console from a computer on the LiveWire VLAN. Because I don’t want to extend my AoIP VLAN out of the studio, I run SoftSurface on another computer connected to the LiveWire VLAN. I can then access this computer through the secure VPN tunnel (or TeamViewer or GoToAssist).

Fig. 3: Comrex BRIC

The final element is a Comrex BRIC for getting my audio back to the studio console (Fig. 3). Now any audio at my remote location can be put on the air. In the case of the studio in my home this gives me access to a CD player and turntable. Now I can pretty well do anything that I could as if I was standing in the studio.

We always been prepared to use a setup like this for a campus emergency such as an “active shooter” situation. Never did we think it could also be used for a worldwide pandemic.

RW: What has the impact of the crisis been on air talent and other staff?

Montoya: We have four audio channels that we deliver. WPR Main (NPR, News and Information), Classical Wyoming, Wyoming Sounds (AAA Music) and Jazz Wyoming. Classical and Jazz have been no problem as they are satellite-delivered formats. Wyoming Sounds has gone 90% voice track with announcers being able to voice-track easily through the Zetta2Go interface that can be accessed through secure VPN. We have been able to do remote programming for live segments through the process I explained earlier.

The WPR Main Channel has been our biggest challenge because of the varied and ever-changing elements of the format, including White House press conferences that come at a variety of times and almost never seem to start on time. Between accessing the Zetta automation system remotely through our secure VPN and changing Axia Livewire audio routing remotely, we have been able to keep up with most functions remotely and safely. “Morning Edition” and “All Things Considered” in the afternoons are still being hosted live, however we have made plans to host these shows remotely and still have a live feel to the programs.

[Related: COVID-19: WAMU’s Game Plan]

Fortunately these two programs have fixed clocks and timed breaks so filling these elements remotely isn’t too terribly difficult. The host can record their local newscasts, weather and other timed show elements remotely. These can then be uploaded via secure VPN to an mapped ingest folder for our automation system. Then working in cooperation with our programming and traffic people these can be placed remotely into the proper location in the log. We have not had to try this yet, but it should work.

Reporters have been producing their stories remotely then dropping their stories into “Shared Audio” folders at the studio via secure VPN. Staff meetings are being conducted weekly using Zoom. We do “audio only” Zoom sessions as some people call in by phone. We haven’t found video to be necessary.  So far this has worked quite well.

RW: What is the strategy of the WPM technology team to react to the coronavirus, as far as its overall operational and technical processes are concerned? 

Montoya: We had a pretty good idea that COVID-19 virus could affect our operation about late February. We had received a copy of a plan put together by Northern California Public Radio that seemed to be similar to the plan we knew we would need. Working with our General Manager Christina Kuzmych, our program director and our news director, I was able to put together a plan that should hopefully get us through this crisis.

The plan consisted of three stages. Essentially Stage 1 was a readiness stage that took preventive measures to keep areas clean. Stage 2 included non-essential people working from home. The only people in studio would be live on-air personnel. Stage 3 would include all personnel working from home.

RW: How “virtual” can your operation get, and how?

Montoya: The plan is that by Stage 3 we would be 100% virtual with little knowledge by the general public that we were operating any less effectively. We have taken the attitude that we are an essential lifeline of information to the Wyoming public during a time of crisis. So far we have not had to operate at a Stage 3 level but I feel that we could.

RW: Any other specific technical obstacles have you encountered?

Montoya: Much of what we are doing, absolutely could not be done just a few years ago. A secure VPN was important. Access to our office VLAN for sharing and exchanging information was very important. Total remote control and access to our automation system was also important. The icing on the cake was remote control of the main mixing console. Access to these systems was very important, but we needed to accomplish this in a secure fashion.

RW: What lessons can other engineers and technical managers learn from what you’ve been doing?

Montoya: Preparing for any crisis is important to station operations. I’ve heard it said by other broadcast engineers that by simply looking around your plant (including transmitter sites) and just trying to imagine what can be done to stay on the air in a variety of emergencies is the first place to start. Just by stepping back and asking yourself, “If my studio was swallowed up by an earthquake, is there any way to stay on the air?”

Sharing your ideas with other station department leaders and general manager to make sure everyone is on board with any emergency is the final element in being prepared for any emergency. You also have to realize that it is almost impossible to plan for every situation and you may just have to “MacGyver” things in some situations.  They used to call this a “can do” attitude. Most engineers are quite skilled at this.

RW: Do you think these infrastructure changes will be permanent in any way?

Montoya: I would say that almost everything done during this crisis will stay in place. There is always another crisis looming on the horizon. We may collect up all the extra laptops we have distributed to staff members, but we will hang onto them to keep ready.

We’re looking to tell your story about solving radio technical challenges during the coronavirus crisis. Email us with your story idea at [email protected].

The post In Wyoming, a Game Plan for COVID-19 appeared first on Radio World.

Author: Paul McLane
Posted: March 31, 2020, 7:43 pm

Version of Tracktion’s pro DAW offering unrestricted track count, unlimited plug-in use, more

The post Waveform Free DAW Debuts From Tracktion appeared first on Radio World.

Tracktion, Waveform Free, digital audio workstation software, DAW, free DAW software

Digital audio workstation software developer Tracktion Software has launched Waveform Free, a new version of its professional flagship DAW that is free to all music creators.

The new DAW is released with no restrictions, offering unlimited track count, the ability to add as many plug-ins as the user wants, and a sizable feature set. The new DAW is suitable for all three major desktop operation systems; Windows, OSX and Linux as well as the Raspberry Pi.

[Check Out More Products at Radio World’s Products Section]

It is compatible with current-day expressive instruments and also supports MPE. Waveform Free includes many of Tracktion’s recent offerings and features, such as the MIDI Pattern Generator to create synchronized melodies, chord progressions, bass lines and more, the 40SC Virtual Synthesizer and Micro Drum Sampler.

The DAW is supported with a dozens of tutorial videos as well numerous templates such as EDM production; band recording and mixing; location recording for churches, schools and others; and more.

Info: www.tracktion.com

 

The post Waveform Free DAW Debuts From Tracktion appeared first on Radio World.

Author: ProSoundNetwork Editorial Staff
Posted: March 31, 2020, 7:28 pm

USB-Mobile is a digital interface and direct box for mobile devices

The post Radial Debuts USB-Mobile Interface/DI appeared first on Radio World.

Radial Engineering, USB audio interfaces, USB-MobileRadial Engineering has introduced a new device, the USB-Mobile, a digital interface and direct box for mobile devices.

Usable with typical consumer mobile devices, including smartphones, tablets, and other media players, the Mobile-USB digital interface and direct box allows users to connect a device directly using a USB cable. The result is that users can provide high-quality playback, sending two channels of balanced analog outputs over XLR connectors to feed a PA system or a set of powered speakers.

[Check Out More Products at Radio World’s Products Section]

The unit provides a USB-A input connector and stereo XLR outputs, as well as a level control to operate the DI in mic or line level. It also auto connects to most mobile devices.

The USB-Mobile is iOS compatible, and has the added benefit of charging the devices while they are used for audio playback. The unit is priced at $299.

Info: www.radialeng.com

 

The post Radial Debuts USB-Mobile Interface/DI appeared first on Radio World.

Author: ProSoundNetwork Editorial Staff
Posted: March 31, 2020, 7:01 pm

n this issue we bring you stories about trends that would normally have been discussed at NAB Show, but with readers at home in mind

The post Inside the March 31st Issue of Radio World appeared first on Radio World.

The business of managing radio facilities is more important than ever, while technology introductions roll on, even without a physical NAB Show. In this issue we bring you stories about trends that would normally have been discussed at the show, but with readers at home in mind — even including exhibitor listings so you can learn about their new product introductions. Also: Mark Lapidus explores the crucial role of apps for radio; Roger Lanctot comments about radio’s tenuous hold on the dashboard; and of course, there’s the coronavirus.

Read it online here.

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

RADIO FUTURE
NAB Radio Technologists Look Ahead

We asked correspondent Davide Moro to report on David Layer’s presentation at the Digital Radio Summit 2020 in Geneva, which doubles as a kind of state-of-the-industry technical report for U.S. radio.

NAB SHOW 2021
Massive LVCC Expansion Is Underway

If we had gone to Vegas in April, we’d all be ogling dramatic changes at the convention center. Here’s what we can expect when we finally go back.

HISTORY SPECIAL:

The post Inside the March 31st Issue of Radio World appeared first on Radio World.

Author: RW Staff
Posted: March 31, 2020, 6:19 pm

Read about the U.K.'s first radio station for podcasts, a DRM shortwave service for Siberia, the latest in transmitters, and more

The post Inside the April issue of Radio World International appeared first on Radio World.

Podcast Radio is the United Kingdom’s first radio station devoted exclusively to podcasts. Launched in London, it broadcasts on DAB+ digital radio, showcasing podcast content from around the world. In this issue, we look at the station’s strategy and studios. In addition, we share tips to help you transition to AoIP; provide information on a new DRM shortwave service for Siberia; reveal the latest advances in transmitter technology, and more. Read the April issue of Radio World International here!

Prefer to do your reading offline? No problem! Simply click on the Issuu link, go to the left corner and choose the download button to get a PDF version.

DIGITAL SHORTWAVE

Russia Returns to DRM on Shortwave

Radio Purga targets Chukotka, the country’s northeasternmost region

EBU DRS 2020

Radio Is More Than Linear

EBU’s annual meeting highlighted radio’s future with a feature-rich menu of podcasts, multiplatform content

ALSO IN THIS ISSUE

The post Inside the April issue of Radio World International appeared first on Radio World.

Author: Marguerite Clark
Posted: March 31, 2020, 4:25 pm

Officials said there is still “bandwidth and time” despite pandemic

The post FCC: C-Band Auction Still “Go” for December appeared first on Radio World.

The FCC has no plans to postpone its planned auction of C-Band spectrum.

That is according to senior FCC officials speaking on background Monday (March 30) about the impact of COVID-19 on FCC processes and actions.

The C-Band is the midband spectrum currently used by satellite operators to deliver network programming to broadcasters and cable operators.

[Read: C-Band Plan Aims to Limit Broadcast Disruption]

The officials said there was still plenty of “bandwidth and time,” even given the move of the 3.5 GHz (CBRS) auction. They said it was still important to transition the C-Band to 5G use, but that, of course, if there was a compelling reason to adjust that timeline they that is still on the table.

Currently, the FCC plans to auction 280 MHz of the spectrum for advanced wireless beginning in December.

It announced earlier that it had postponed the auction of those CBRS spectrum licenses, but that had been scheduled for June, and it has only been pushed back a month.

The officials said there were no plans for blanket extensions of waivers or comment deadlines due to the coronavirus, but that the FCC would continue to respond flexibly to individual requests for more time on a case-by-case basis.

 

The post FCC: C-Band Auction Still “Go” for December appeared first on Radio World.

Author: John Eggerton
Posted: March 31, 2020, 3:47 pm