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EMBARGOED UNTIL 4PM EDT ON WEDNESDAY, OCTOBER 9, 2019 – New York City, NY – Frame.io, the world’s leading video review and collaboration platform used by over 1 million filmmakers and media professionals, has brought Michael Cioni on board as Global SVP of Innovation. Cioni, one of the industry’s ...

Frame.io recruits Michael Cioni to help lead the next wave of film-tech innovation, starting with the development of breakthrough camera-to-cutting room technology.

EMBARGOED UNTIL 4PM EDT ON WEDNESDAY, OCTOBER 9, 2019 – New York City, NY – Frame.io, the world’s leading video review and collaboration platform used by over 1 million filmmakers and media professionals, has brought Michael Cioni on board as Global SVP of Innovation. Cioni, one of the industry’s most prominent production and post workflow experts, joins Frame.io from international camera company Panavision, where, in a similar role, he spearheaded numerous breakthrough products and workflows, including the Millennium DXL 8K large-format camera system.

At Frame.io, Cioni will lead a new LA-based division focused on the continued investment into cloud-enabled workflows for motion pictures and television—specifically, automated camera-to-cutting room technology. “Frame.io is not only looking to strengthen today’s use of the cloud, we’re also driving increased creative control by reducing the time it takes for media to reach editors in offsite cutting rooms,“ says Cioni.

“The professional filmmaking process is going through the largest functional change since the shift from analog to digital,” says Frame.io CEO, Emery Wells. “While cloud-based technologies are already transforming every industry, we understand moving more of the filmmaking process to the cloud presents several unique challenges: security, file sizes, and scale. Since day one, we have built Frame.io to solve the issues that we lived working in post-production.

When it comes to security, Frame.io has responded to Hollywood’s unique needs by making it a cornerstone of the platform. “Frame.io has invested deeply in security so that customers experience safe, documented, and trustworthy cloud accessibility of their highest-value media,” says Cioni.

Additionally, “Hollywood’s attention to image quality, archiving, and future-proofing are all core aspects of the Frame.io platform,” Cioni says. “Emery and I both know what it means to work with large creative teams, so at Frame.io we are developing a totally new direct camera-to-cutting room collaboration experience.”

Frame.io has been 100-percent cloud based since day one. "We started seeding new workflows around dailies, collaborative review, and real-time integration with NLEs for parallel work and approvals. Now, with Michael, we’re building Frame.io for the new frontier of cloud-enabled professional workflows,” Emery says. “Frame.io will leverage machine learning and a combination of software and hardware in a way that will truly revolutionize collaboration.“

With Cioni, Frame.io’s vision for the next generation of professional cinema workflows will be completely anchored in cloud-based technologies. “A robust camera-to-cloud approach means filmmakers will have greater access to their work, greater control of their content, and greater speed with which to make key decisions,” says Cioni. “Our new roadmap will dramatically reduce the time it takes to get original camera negative into the hands of editors. Directors, cinematographers, post houses, DITs, and editors will all be able to work with recorded images in real time, regardless of location.”

As the lines between production and post-production continue to blur, this move uniquely positions Frame.io to respond to the pervasive need for global studios and creatives to collaborate without geographic boundaries or borders.

Request an Executive Briefing with Frame.io

To request an executive press briefing with Michael Cioni or Emery Wells, please contact Megan Linebarger at [email protected]. Michael Cioni can be reached at [email protected]o

About Michael Cioni

Michael Cioni has been a serial entrepreneur in the entertainment space since 2003. After winning four National Academy of Television Arts and Sciences Emmy® awards, Michael founded several post-production companies and served as President and CEO of Light Iron, Hollywood's most advanced workflow-centric creative services company. After Light Iron was acquired in 2015 by the largest international camera rental group, Panavision, Cioni served as SVP of Innovation and product director of Panavision's Millennium DXL 8K large format camera ecosystem. With vast expertise in post and production, Michael is of the most well known international voices for workflow technologies in the cinema space. He is constantly exploring new technological advancements and creative trends to build product roadmaps focused on serving the complex needs of today's professional filmmakers. A frequent speaker on workflow and camera systems at numerous international industry events, Cioni is very active in the community, as a member of the Academy of Motion Picture Arts and Sciences and Associate Member of the prestigious American Society of Cinematographers (ASC), as well as having served on the board of the Hollywood Professional Alliance (HPA). Originally from Chicago, Michael is also an accomplished musician based in Los Angeles.

About Frame.io

Frame.io is the world’s leading cloud-based video collaboration platform, designed to streamline the video creation process by centralizing all media assets—and all feedback—in one secure place that’s easily accessible from anywhere in the world. Frame.io integrates with most major professional video tools, acting as the connective tissue of the entire video ecosystem, no matter the scale. Conceived and designed by video creators, the UI is intuitive and simple for both highly technical professionals and less-technical clients to use with little (or no) training.

Frame.io’s purpose is to allow all the contributors and participants in the video creation process to collaborate as if they’re all in the same room, no matter their physical location, accelerating workflows and eliminating obstacles to creativity. From script or storyboard to dailies to delivery, Frame.io redefines the modern video workflow.

Frame.io is backed by industry heavyweights including Accel Partners, FirstMark Capital, SignalFire, and Jared Leto. To learn more please visit http://frame.io. Watch: What is Frame.io?

Press Contact

Megan Linebarger

Zazil Media Group

(e) [email protected]

(p) +1 (617) 480-3674

Author: Nick Govoni
Posted: October 15, 2019, 5:08 pm
Fox and NBC split the Monday ratings title, Fox riding 9-1-1 and NBC with a hot The Voice. Both networks scored a 1.1 in viewers 18-49, per the Nielsen overnights, and a 5 share. 9-1-1 got a 1.4 and Prodigal Son a 0.8 on Fox. On NBC, The Voice slipped 7% to 1.4 across two hours and Bluff City Law ...

Premiere of ‘El Senor De Los Cielos’ puts up big number on Telemundo, nice gain for ABC’s ‘Dancing’

Fox and NBC split the Monday ratings title, Fox riding 9-1-1 and NBC with a hot The Voice. Both networks scored a 1.1 in viewers 18-49, per the Nielsen overnights, and a 5 share.

9-1-1 got a 1.4 and Prodigal Son a 0.8 on Fox.

On NBC, The Voice slipped 7% to 1.4 across two hours and Bluff City Law dropped 29% for a 0.5.

ABC did a 1.0/5 and CBS a 0.7/3. On ABC, Dancing with the Stars skyrocketed 38% to 1.1 and The Good Doctor went up 11% to 1.0.

On CBS, The Neighborhood rated a 0.8 and Bob Hearts Abishola a 0.7. All Rise and Bull both got a 0.6. All four were flat.

Telemundo rated a 0.6/2 and Univision a 0.5/2. On Telemundo, Exatlon Estados Unidos and El Final Del Paraiso both scored a 0.5, Exatlon flat and El Final up a tenth. The season premiere of El Senor De Los Cielos scored a noisy 0.7.

On Univision, La Rosa de Guadalupe got a 0.5 and La Usurpadora a 0.6, La Rosa flat and La Usurpadora up a tenth. El Dragon posted a flat 0.4.

The CW was good for a 0.2/1, with both All American and Black Lightning tallying that score. Both lost a tenth of a point from their season premieres. 

Author: Michael Malone
Posted: October 15, 2019, 4:40 pm
The Parents Television Council said the TV ratings system has failed to keep up with "content creep" that is not reflected in the age-based ratings system.  That is according to a new report, "A Decade of Deceit: How TV Content Ratings Have Failed Families" from the Parents Television ...

Wants Congress to step in, ratings oversight board disbanded

The Parents Television Council said the TV ratings system has failed to keep up with "content creep" that is not reflected in the age-based ratings system. 

That is according to a new report, "A Decade of Deceit: How TV Content Ratings Have Failed Families" from the Parents Television Council. 

The FCC conceded in a report to Congress last summer that the age-based ratings system needs work, pointing out that it is two decades old. 

PTC president Tim Winter, in a press conference on the report, said PTC was calling for Congress to step in, saying self-governance was instead self-service. PTC wants a hearing or symposium including doctors, health experts and others to review all the ratings categories. He also wants video streamers to have similar ratings. He also wants the TV Parental Guidelines Oversight Monitoring Board (TVOMB), the industry-headed group overseeing the ratings, disbanded. 

According to the report, looking at content and ratings over the past decade, "on shows rated TV-PG, there was a 28% increase in violence; and a 44% increase in profanity over a ten-year period," it said. "There was also a more than twice as much violence on shows rated TV-14 in the 2017-18 television season than in the 2007-08 season, both in per-episode averages and in absolute terms." Winter, apologizing for the language, pointed out that "suck, blow, screw, hell,dick" and more were all used in shows that were rated PG, the same rating on Disney movies. 

Related: FCC Can't Say if TV Content Ratings Are Accurate

PTC said that since it has been over 150 days since the FCC reported to Congress, it is time for the FCC and the TV Parental Guidelines Oversight Monitoring Board to get off the stick and make the ratings reflect the reality particularly since "neither the TVOMB nor the television networks made any changes to the content ratings system as a whole to reflect the vast increases in child- and family-unfriendly content on television," PTC said.

The report is based on what PTC says was its analysis of "every instance of violence, sexual dialogue, sexual actions, and foul language, and the content ratings assigned to each episode" during the 2017-2018 season's November sweep on prime time broadcast network TV, compared to the same survey in the 2007-2008 season.  

Winter said current TVOMB board chairman Michael Powell (president of NCTA-The Internet & Television Association), has advised him it is considering the feedback it has gotten on the ratings, but Winter opines that there has been no action. He added that, left to its own devices, the industry will do nothing. 

 

Nell Minow, who rates content on her moviemom.com web site, agreed something needs to be done. She pointed out that her father, former FCC Chairman Newton Minow, had described TV as a vast wasteland, in explaining why content was an important issue and ran in the famnly, as it were. She said the issue is not censorship, but avoiding "bad surprises." One of her big issues is that TV shows produced for later at night are then syndicated in the dinner hour "with jokes about bikini waxes." She said she did not want censorhip, but for parents to have the tools they need. "You cant be the pitcher and the umpire in the same game," she said, of the industry rating itself. "The ratings are done by insiders, for insiders." 

Winter said to look for PTC to be increasingly focus on streaming content given the move of video to that platform. 

Asked if he thought anything could actually be done on the Hill, Winter said he had presented the reports preliminary findings to both Democrats and Republicans on the Hill and that all had said the status quo was not acceptable.

Author: John Eggerton
Posted: October 15, 2019, 4:32 pm
CANNES, FRANCE & TOKYO, JAPAN – October 15, 2019 – Having previously announced a deal with Zense Entertainment in Thailand for its action-packed new gameshow format BLOCK OUT, Nippon TV announced today that the format they developed with Red Arrow Studios will be created by QV Media and air on ...

CANNES, FRANCE & TOKYO, JAPAN – October 15, 2019 – Having previously announced a deal with Zense Entertainment in Thailand for its action-packed new gameshow format BLOCK OUT, Nippon TV announced today that the format they developed with Red Arrow Studios will be created by QV Media and air on VTV in Vietnam, and also has been licensed to PT Cakrawala Andalas Televisi and air on ANTV in Indonesia. Both versions are slated to start airing this November.

The Thai version of BLOCK OUT started airing on Channel 7 from July and immediately rose to the top position in ratings.

Atsushi Sogo, President, International Business Development, Nippon TV said:

“We are delighted to announce the Vietnamese and Indonesian adaptations of BLOCK OUT, just a few months after its smashing success in Thailand. Proving that this hilarious yet thrilling studio game show format can grab the hearts of viewers across the globe in this multi-platform era, BLOCK OUT is sure to become a hit in Vietnam and Indonesia.”

In each episode of BLOCK OUT, two teams of four players – each with their backs literally against a wall – battle it out in a variety of physical games, combining trivia, strategy, and chance. Each team plays on a separate identical wall comprised of more than 100 giant blocks. Across several nail-biting games, wrong answers, and bad judgments, “blocks” will be pushed out in a variety of combinations and speeds, forcing contestants into crazy positions to try and avoid being knocked down into the pit below. The team who keeps the most players on the ledge for the longest wins the game.

Red Arrow Studios International has worldwide rights, excluding Asia, to BLOCK OUT, and is launching the format at MIPCOM 2019. Nippon TV distributes BLOCK OUT in Asia.

About Nippon TV

Nippon TV is Japan's viewer ratings champion, topping all timeslot categories for five 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 more than 35 versions in 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 formats, Mother has also been sold to South Korea, Ukraine, and France, while Woman has likewise been acquired in France. 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: October 15, 2019, 4:17 pm
In Booth 109 at the SMPTE Technical Conference, IHSE will present solutions focusing on network-based KVM and KVM solutions integrated with the Avid Pro Tools | S6 audio control surface. SMPTE attendees can learn more about IHSE's KVM solutions for AVID's Pro Tools | S6 Audio Mixing Control ...

SMPTE 2019 Technical Conference, Product Preview, Oct. 21-24, Booth 109

In Booth 109 at the SMPTE Technical Conference, IHSE will present solutions focusing on network-based KVM and KVM solutions integrated with the Avid Pro Tools | S6 audio control surface. SMPTE attendees can learn more about IHSE's KVM solutions for AVID's Pro Tools | S6 Audio Mixing Control Surfaces and how to create hybrid-IP KVM systems for transparent integration to existing IHSE KVM switch systems.

IHSE Provides KVM Solutions for AVID Pro Tools|S6 Control Console
At SMPTE 2019, IHSE will present integrated KVM sharing between Avid Pro Tools | S6 workstations using a Draco tera compact switch with HDMI vario extenders over Cat X. The S6 modular control surface includes network KVM options through an interface based on the IHSE KVM protocol, a feature that better integrates switching between multiple digital audio workstations. With networked KVM capabilities enabled, Avid S6 users can enjoy the benefits of integrated KVM control to take advantage of faster workflows and extended visual feedback during editing sessions. Through the S6 Master Module, the central hub of the S6 surface, users can configure the network KVM to allow easy mixing and control of multiple music and/or audio post projects created on different audio workstations simultaneously — all from a single control surface.

Secure IP KVM Remote Access Gateway
IHSE's R488 Secure IP Remote Access (SIRA) Gateway for KVM (keyboard, video, and mouse), reduces the time and cost associated with managing multisite computer sources by combining networked workstations and local computers under a single display-management system. For industry applications like video production or broadcasting, workflow is tremendously improved when operators can share multiple computer sources, no matter if they are centralized or located across the globe.

The SIRA Gateway is designed for use with IHSE Draco tera KVM switches and is seamlessly compatible with the Draco vario extender series and Draco vario chassis. The SIRA Gateway module connects the KVM matrix to private or public TCP/IP networks, bringing more flexibility to a Draco tera matrix without sacrificing the philosophy of securely isolating the core matrix and signal management from TCP/IP.

Secure IP KVM Gateway for Remote Server Access
IHSE's L488 Secure IP Remote Access (SIRA) Gateway is a remote IP-CPU extender module supporting multiple protocols for remote access in direct or virtual machine access configurations. This first-of-its-kind virtual KVM solution enables the integration of virtual servers into existing Draco tera KVM physical switch systems, creating a streamlined multitasking virtual environment where multiple operating systems and applications can be accessed directly from the physical consoles of the Draco KVM system.

The L488 extender module is particularly suited to control rooms with virtualized process automation, network operations centers that require real-time access to real and virtual target devices, and TV and film industry environments that rely increasingly on virtualized desktops. Users can access virtual machines directly from their own KVM-connected workstations via remote desktop protocol or perform simple PC maintenance remotely. The extensive functionality of the Draco KVM system offers options such as real-time switching; sharing; private mode; and flexible, unrestricted access to all connected computers and virtual machines.

Company Overview:

About IHSE USA
IHSE USA is a leading provider of KVM (keyboard, video, and mouse) products supporting long-distance signal extenders and switching for DVI, HDMI, VGA, SDI, USB, audio, and RS-232 serial data. For 30 years, IHSE has been developing new and innovative ways of supporting next-generation products for KVM and signal extenders. IHSE technology is deployed worldwide by public and private organizations in industries such as broadcasting, postproduction, government and military, medical, financial, and oil and petroleum. The company offers a complete line of DVI and HDMI video extenders over Cat-X or fiber-optic cables for mission-critical video and data access.

Link to Word Doc: www.wallstcom.com/IHSE/191015IHSE.docx

Image Downloads:

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Avid Pro Tools | S6 With IHSE USA's Network KVM Solution

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IHSE IP CON R488 Remote Access Gateway

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IHSE Draco vario Remote IP-CPU Extender

Follow IHSE USA:
Facebook: https://www.facebook.com/IHSE-USA-LLC-451555998278049/?ref=stream
Twitter: https://twitter.com/IHSEUSMarketing
LinkedIn: https://www.linkedin.com/company/ihse-usa-llc
YouTube: https://www.youtube.com/channel/UCeZlti-IfdBCBToP5il6MGw

Author: Wall Street Communications
Posted: October 15, 2019, 4:02 pm
The T-Mobile-Sprint merger continues to wend its way through the regulatory maze while deal opponents continue to try and stop it from finding the exit. The Justice Department has signed off on the deal, with conditions, but a federal court still has to sign off on those conditions to make sure ...

Critics said deal does not pass public interest test

The T-Mobile-Sprint merger continues to wend its way through the regulatory maze while deal opponents continue to try and stop it from finding the exit.

The Justice Department has signed off on the deal, with conditions, but a federal court still has to sign off on those conditions to make sure they are in the public interest. Usually that court approval--per the Tunney Act--is mostly pro-forma, but there is still a comment process and deal critics have been making their case there.

Meanwhile, the FCC's three Republican commissioners have approved the deal per its public interest review, but they have to give the two Democrats time to cast their votes, even if the outcome is already determined. An FCC spokesperson had no comment on when that vote would end. The Republican votes trigger must-vote status for the Dems, but they have several weeks, plus a customary few more that can be granted by the chairman.

Weighing in on that Tunney Act review last week was New America’s Open Technology Institute, which asked the court to pause its review until a state lawsuit against the merger has been resolved.

“The courts should block this merger. It would be a disaster for consumers, the wireless market, and the digital divide. The Trump Administration’s convoluted remedy is not a serious solution to these anticompetitive harms, and it won’t work," said Joshua Stager, senior counsel for OTI.

That "convoluted" solution is primarily to spin off Boost Mobil to Dish to seed a fourth facilities-based carrier, though it will start off having to lease capacity from an established player.

OTI suggests that allowing the Big Four--AT&T, Verizon, Sprint and T-Mobile--to become the Big Three in hopes that Dish will grown pre-paid Boost Mobile into a fourth facilities-based carrier. Is for the birds, literally.

"A bird in the hand is wort two in the bush," it told the court. "But here, the DOJ is proposing that we give up the bird we have today in the hope that it eventually flies back."

The Communications Workers of America agrees the Dish spin-off does not pass the public interest smell test.

In CWA's Tunney filing, CWA said that "a complex remedy that carries a high risk of failure and exposes the public to substantial economic harm if it fails is not in the ‘public interest." 

Author: John Eggerton
Posted: October 15, 2019, 3:56 pm
HBO Max has ordered musical series Grease: Rydell High, which is inspired by 1978 film Grease. The show reimagines the film with characters that viewers will recall, and some new ones too. Like the film, it is set in the 1950s. “It’s the peer pressures of high school, the horrors of puberty, and ...

‘Grease: Rydell High’ to offer music, comedy from ‘50s America

HBO Max has ordered musical series Grease: Rydell High, which is inspired by 1978 film Grease. The show reimagines the film with characters that viewers will recall, and some new ones too. Like the film, it is set in the 1950s.

“It’s the peer pressures of high school, the horrors of puberty, and the roller coaster of life in middle America with a modern sensibility that will bring it to life for today’s musical lovers,” according to HBO Max.

HBO Max debuts spring 2020.

“Grease is an iconic pop-culture phenomenon that works for every generation, and I’m thrilled that our friends at Paramount were excited about the idea of opening up the show and putting it on a larger canvas for a weekly series,” said Sarah Aubrey, head of original content, HBO Max. “This is high school and life in small-town USA told on the scale of a big rock ’n roll musical. It’s Grease 2.0 but with the same spirit, energy, and excitement you immediately think of when you hear any of these iconic songs. You’re the One That I Want!

Paramount Television and Picturestart will produce the series.

Grease is one of the most beloved Paramount titles and it’s a thrill to be re-imagining it for today’s audience with our good friends at Temple Hill and Picturestart,” said Nicole Clemens, president of Paramount Television. “When Bob Greenblatt called about bringing it to television, we knew we would be in the perfect hands because of our great working relationship with HBO Max and Bob’s genuine passion for musicals and Grease in particular.”

HBO Max draws content from the Warner Media library, including Warner Bros., New Line, DC, CNN, TNT, TBS, truTV, Turner Classic Movies, Cartoon Network, Adult Swim, Crunchyroll, Rooster Teeth and Looney Tunes.

Temple Hill, Picturestart and Paramount Pictures are in development on a feature film prequel to Grease, entitled Summer Lovin’. 

Author: Michael Malone
Posted: October 15, 2019, 3:56 pm
Season seven of 90 Day Fiance is on TLC starting Nov. 3. The show looks at couples that must fall in love and tie the knot within 90 days of one individual arriving in the U.S., or risk seeing half of the couple return to their home country. Seven new couples are on the show this season. ...

Couples have 90 days to tie the knot, or risk having one person move back home

Season seven of 90 Day Fiance is on TLC starting Nov. 3. The show looks at couples that must fall in love and tie the knot within 90 days of one individual arriving in the U.S., or risk seeing half of the couple return to their home country.

Seven new couples are on the show this season. Love-seekers hail from South Africa, the Dominican Republic, Brazil, Russia, Finland, Turkey and Ukraine. From South Africa is Syngin, a bartender who struck up a conversation with a tourist from Connecticut named Tania. From the Dominican is Anny, who met Florida man Robert on social media. Robert booked a cruise to meet her in person, and proposed the first day they met.

The show is produced by Sharp Entertainment.

TLC is part of Discovery, 

Author: Michael Malone
Posted: October 15, 2019, 3:39 pm
October is the rare equinox in American pro sports, with baseball, basketball, football, and hockey all in full swing for a precious few weeks. As tech companies make a play for the TV rights to sporting events that were once the exclusive purview of traditional media conglomerates, sports viewing ...

A scorecard for viewers and advertisers

October is the rare equinox in American pro sports, with baseball, basketball, football, and hockey all in full swing for a precious few weeks. As tech companies make a play for the TV rights to sporting events that were once the exclusive purview of traditional media conglomerates, sports viewing is on the cusp of reinvention. Players like Amazon, YouTube, Facebook, Twitter and others will bring not only unique, on-demand viewing environments to the realm of sports, but also notable changes in how our favorite sports are going to look and feel. And they will push the traditional networks to reinvent the live experience.

By 2025, everything you currently know about where and how you watch the world's biggest sporting events will have changed.

More Competition Puts More Money in Play Which Drives More Fan Engagement

Let’s start with the obvious fact that the entrance of tech platforms into the sports broadcasting arena brings a considerable number of new players to a space where only a few established players have operated in the past. Simple economics dictates that, with more players in the mix, bidding for sports TV rights will become more competitive. More competition will lead to more lucrative contracts for the leagues, and that means teams are going to have more money to spend on their players.

In short, we can expect to see some serious record-breaking when it comes to the size of high-profile player contracts in the next few years. And, in turn, the value of players and franchises to brands will rise commensurately as fan engagement reaches new heights. Looking at the biggest live sporting events from the past year – MLB World Series, NCAA Football Championship, NFL Super Bowl, NCAA Basketball Championship, NBA Championship, Women's World Cup, Wimbledon, Cricket World Cup, and Rugby 6 Nations – 4C tracked a 742% increase in social media engagement on average for the days of the events. This trend will only continue as players’ wallets get fatter and personalities get bigger.

As Cable Bundles Unravel, Cord-Cutting Rises

The digital-only nature of the players currently entering into the live sports realm has big implications for cable providers. At present, live sports is one of the main programming reasons that many people are still maintaining their current cable bundles; that’s why the rising cost of sports rights accounts for roughly 40% of programming costs paid by TV networks . As live sports migrates into new digital distribution methods and platforms, casual viewers will follow. In other words, we’re going to see an entirely new batch of linear viewers (including your parents) convert into on-demand viewers and OTT cord cutters. This is a trend already well underway with offerings like Hulu, ESPN+, and YouTube TV, each of which has made access to live sports content a central pillar of their value prop to consumers.

Sports Advertising Formats Will Be Forced to Evolve

As more OTT platforms get into the sports game, we’re going to see on-demand viewing, particularly on mobile devices, rise precipitously. This is important because the content consumption habits of people on these devices, and on OTT platforms in general, are quite different than with standard linear television. Importantly, OTT and mobile viewers are a lot less tolerant of the interruptive ad formats that are currently the hallmark of many sports viewing experiences.

The migration of live sports onto OTT platforms will create an incentive for leagues to provide more in-game advertising opportunities, enabling them to limit the number of traditional commercials that interrupt the viewing experience. Expect to see more jersey sponsorships and on-field advertising in the coming years, similar to what you see today with soccer and NASCAR, which are already less conducive to interruption.

A Whole New Type of Advertiser Will Enter the Game

On OTT platforms, advertisers are able to target by audience in ways that have been impossible under the traditional sports viewing paradigm. This opens up advertising around these events in entirely new ways.

Expect to see a lot more local promotions, even on national broadcasts. And expect to see ad campaigns with more-specific calls to action based on what the brand might know about the person watching its ad. Because OTT viewing occurs over digital pipes, such habits can be correlated at a user level with other online behaviors, and that means that TV ads of the future will reflect a much richer understanding of the consumer’s history with a given brand. That’s the advantage of TV’s emergence as a data-driven medium: marketers can plot these impressions within the increasingly precise coordinates of an ever-more-intelligible view of each consumer’s individual journey. The ads they show you will be based on this knowledge, and will be more specific, more individualized, and more targeted than the TV ads of old.

Your TV Ads Will Look More Like Your Online Ads

There’s a corollary to new types of companies advertising around major sporting events, and that’s the fact that a lot of those advertisers are going to be the ones that, as of today, are most sophisticated at marketing to people online and on social platforms. These brands – largely direct-to-consumer – will be extending their reach to live sports because, increasingly, they’re going to be able to make these ad buys based on the audiences and individuals they want to reach, rather than buying ad real estate around just a specific event (and whatever audience happens to come with it).

In other words, the ads that follow you throughout your online journey based on your browsing and shopping patterns are going to follow you into your sports viewing experiences as well. In this new live sports reality, the best advertisers will be the ones who are still able to make these ad experiences uniquely interesting and valuable to you in the context of the sporting event you’re watching.

In the final analysis, it always helps to remind oneself of the changing nature of media consumption. After all, marketers are going to great lengths to deploy media the way the way consumers consume it. Sports are the most consequential microcosm of the broader trends in how the equation has fundamentally transformed in the era of digital. Over the next three to four years, this transformation will accelerate and become more visible than ever before. It won’t be long before these changes transform the product itself, with different ad breaks, different ad formats, and more targeted ads – not to mention better games.

4C is a global data science and marketing technology company that delivers self-service software for brands to execute video-centric marketing and optimize business outcomes.

Author: Aaron Goldman
Posted: October 15, 2019, 3:37 pm
BURY ST EDMUNDS, U.K. — Oct. 15, 2019 — bTV Media Group, Bulgaria's TV audience leader, has installed state-of-the-art teleprompter and camera support equipment from Autoscript and Vinten in its all-new innovative studio. Located in the Bulgarian capital of Sofia, the futuristic broadcast newsroom ...

Support Solutions Empower Flexibility Within Interactive 360-Degree Set

BURY ST EDMUNDS, U.K. — Oct. 15, 2019 — bTV Media Group, Bulgaria's TV audience leader, has installed state-of-the-art teleprompter and camera support equipment from Autoscript and Vinten in its all-new innovative studio. Located in the Bulgarian capital of Sofia, the futuristic broadcast newsroom incorporates seven Vinten Quartz pedestals with Vector 750 pan-and-tilt heads, along with Autoscript EPIC-IP17 teleprompters.

In addition to bTV, Bulgaria's first private national TV station, the bTV Media Group's television unit consists of market-leading channels bTV Action, bTV Cinema, bTV Comedy, bTV Lady, and RING. The new studio is the largest-scale technological project in the history of bTV and is unique in Central and Eastern Europe, featuring three multifunctional sets, 11 video walls, and a total area of 450 square metres.

The Autoscript and Vinten equipment is part of an overall design based on maximum flexibility in camera choreography and functional efficiency. Each camera setup includes an Autoscript EPIC-IP17 teleprompter sporting a sleek carbon-fibre hood, together with an integrated talent monitor.

"It's an honour to see our equipment playing a key role in bTV's new studio project," said Martin Leuenberg, Autoscript and Vinten regional sales manager. "The showpiece new studio — including a unique 360-degree set — enables bTV journalists to present the most important news, sports, and current events in an even more dynamic, accessible, and interactive way. The Vinten heads and pedestals, coupled with the Autoscript prompting solutions, play a critical role in this effort by empowering bTV camera operators and its on-air talent."

Information about Autoscript is available at www.autoscript.tv. More information on Vinten and its products is available at www.vinten.com.

# # #

A Snapshot of bTV
bTV is the first private national TV channel in Bulgaria. Established in 2000, it has been the viewership leader ever since. bTV sets the trends on the market and offers the most trusted news and only the highest quality entertainment and fiction content on all platforms. bTV is trendsetter in technology. After first introducing HD, 3D-mapping, augmented reality, 360° video and 360° livestream online, it now utilizes a unique hi-tech studio. bTV is part of bTV Media Group, operating six TV channels, several digital platforms, and five radio stations, and it is majority owned by Central European Media Enterprises. For more information, visit www.btv.bg.

A Snapshot of Autoscript
Autoscript, a Vitec Group brand, is the leading global provider of professional teleprompting equipment to broadcasters. Established in 1984, Autoscript manufactures reliable, premium-quality hardware and software solutions for both networks and stand-alone operations. Autoscript's new Intelligent Prompting system is the world's only fully IP-enabled, end-to-end prompting workflow. Intelligent Prompting devices, including the innovative EVO-IP prompt monitor, connect to WinPlus-IP prompting software via an IP network, enabling extremely flexible integration and operation in any location with network access. For more information, visit www.autoscript.tv.

A Snapshot of Vinten
Vinten®, a Vitec Group brand, is a leading provider of manual and robotic camera support systems. Customers rely on Vinten's engineering excellence and globally supported solutions for a wide range of technologies and markets. Founded over 100 years ago by William Vinten, the Vinten brand is still based on its founder's guiding principles of highly innovative design and extreme precision in manufacturing. Offering a best-in-class range of products that includes manual supports, robotic heads, pedestals, and controllers, Vinten is the premium solution for studio and outside broadcast. With over 80 registered patents, Vinten frees the camera operator's creativity by making camera operation effortless. For more information on Vinten, visit www.vinten.com.

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

Link to Word Doc: www.wallstcom.com/VPS/191015VPS.docx

Link to Photos:
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Photo Caption: Three images of the cutting-edge broadcast newsroom at bTV.

Author: Wall Street Communications
Posted: October 15, 2019, 3:19 pm
VidOvation, a leading technology and systems integrator, and video compression technologies provider V-Nova have announced a strategic partnership to support the increasingly demanding requirements of media processing and delivery with next-generation video compression solutions. The partnership ...

VidOvation, a leading technology and systems integrator, and video compression technologies provider V-Nova have announced a strategic partnership to support the increasingly demanding requirements of media processing and delivery with next-generation video compression solutions.

The partnership will see VidOvation represent V-Nova’s line of PPro-powered P.Link products for the rapidly growing contribution and remote production markets in the United States.

The move further underpins a strategic partnership between AVIWEST, a global provider of video contribution systems, and V-Nova for development and commercialization of ground-breaking innovations for newsgathering. VidOvation is the master distributor in the U.S. for AVIWEST and will play a pivotal role in bringing the joint developed products to market in 2020.

Jim Jachetta, EVP of Engineering and CTO, VidOvation commented, “VidOvation excels in helping our clients integrate custom solutions into existing infrastructure and third-party systems with the ability to satisfy any application or budget. V-Nova’s P.Link, powered by PPro, has demonstrated its ability to provide the best video quality per bit of any contribution intra encoder on the market. This allows our customers to lower costs by up to 70 percent, increase video quality or increase the number of services in the same network link. Using next-generation solutions like P.Link will help us to help our clients deliver low latency, high quality streams from anywhere in the field.”

Matt Hughes, Senior VP of Global Sales, V-Nova said, “VidOvation applies proven expertise to the complete project life cycle for its customers from project consulting and management to engineering and design and support. As a strong addition to our channel in North America, we look forward to working with VidOvation as the top value-added reseller of broadcast technology solutions. VidOvation understands the business intimately and will provide a go-to source for professionals seeking to take advantage of our PPro-powered P.Link compression solutions.”

V-Nova will be present on the VidOvation stand at NAB Show New York, October 16-17, on Stand N265.

Author: Page Melia PR
Posted: October 15, 2019, 3:03 pm
Sarah Silverman has signed on for late-night series pilot order on HBO, and will do a stand-up special on the network too. Silverman described the late-night series as “weighing in on the mishigas of the week and taking live video calls.” “Sarah is truly a comedic force of nature and we’re so happy ...

Judd Apatow behind late-night show

Sarah Silverman has signed on for late-night series pilot order on HBO, and will do a stand-up special on the network too. Silverman described the late-night series as “weighing in on the mishigas of the week and taking live video calls.”

“Sarah is truly a comedic force of nature and we’re so happy to have her back on HBO,” said Nina Rosenstein, executive vice president, HBO Programming.

Silverman was creator, executive producer and host of Hulu talk series I Love You, America and she is in production on the Universal comedy movie Marry Me. She is also adapting her memoir, The Bedwetter: Stories of Courage, Redemption, and Pee, into a musical that will debut in 2020. Silverman’s other television and film work includes Masters of Sex, Bob’s Burgers, Battle of the Sexes and the Wreck It Ralph movies.

In 2014, Silverman won an Emmy for Outstanding Writing for a Variety Special for the HBO comedy special Sarah Silverman: We Are Miracles, which was also nominated for Outstanding Variety Special. She appeared in the HBO comedies Mr. Show with Bob and David and The Larry Sanders Show.

“I’m as passionate talking about my face-washing routine as I am talking about why billionaires cost us money,” said Silverman. “Nothing’s off the table and nothing’s too high or low brow for me. I mean - look at my face - I’m literally all brow.”

Silverman, Judd Apatow and Amy Zvi are executive producing late-night pilot. 

Author: Michael Malone
Posted: October 15, 2019, 2:30 pm
Viacom’s streaming service Pluto TV said it added 11 new channels to its Pluto TV Latino service. Pluto TV Latino launched in July with 11 channels. With the new channels, Pluto TV offers a total of 4,000 hours of Spanish and Portuguese language programming. Some of the new channels are based on ...

Programming features James Bond, ‘The Walking Dead’

Viacom’s streaming service Pluto TV said it added 11 new channels to its Pluto TV Latino service.

Pluto TV Latino launched in July with 11 channels. With the new channels, Pluto TV offers a total of 4,000 hours of Spanish and Portuguese language programming.

Some of the new channels are based on Viacom brands, such as Nick Latino, Nick Jr. Latino and Spike Aventura. Others are more genre oriented, with a nature channel, Pluto TV Naturaleza; a food channel, Pluto TV Cocina; a travel channel, Pluto TV Mundo; a reality channel, Pluto TV Realities en Espanol and a channel focusing on James Bond, Pluto TV 007 en Espanol and another featuring Dog the Bounty Hunter called Dog, el Cazarecompensas.

The top rated zombie series The Walking Dead is featuring weeknights at 7 p.m. on Pluto TV Estelar and is replayed on the weekend on Pluto TV Cine Terror.

“Over the past year, Pluto TV has been heavily focused on increasing our global reach, weaving cultural resonance and diversity into our programming to appeal to audiences at home and abroad,” said Amy Kuessner, senior VP, content strategy & global partnerships at Pluto TV. “With Pluto TV Latino, we’ve witnessed the rapid adoption of OTT throughout the US Hispanic market and saw an opportunity to do what few others can do, super-serve them with premium content they know and love, in the language they speak.” 

Author: Jon Lafayette
Posted: October 15, 2019, 2:00 pm
Lionsgate said that E4 has acquired the rights to air Zoey’s Extraordinary Playlist in the U.K. The series, expected to be part of NBC’s mid-season lineup, is produced by Lionsgate and Universal Television in association with the Tannenbaum Company, Feigco Entertainment and Universal Music Group. ...

Network also acquires CBS’s ‘Star Trek: Discovery’

Lionsgate said that E4 has acquired the rights to air Zoey’s Extraordinary Playlist in the U.K.

'Zoey's Extraordinary Playlist'

The series, expected to be part of NBC’s mid-season lineup, is produced by Lionsgate and Universal Television in association with the Tannenbaum Company, Feigco Entertainment and Universal Music Group.

The show stars Jane Levy, Skylar Astin, Aliex Newells, John Clarence Stewart, Peter Gallagher, Mary Steenburgen and special guest star Lauren Graham.

Levy plans Zoey Clarke, who discovers she can hear what people around her want through songs.

"We’re delighted to partner with E4 in bringing our beloved drama to the UK,” said Agapy Kapouranis, president of international television and digital distribution at Lionsgate. “Zoey’s Extraordinary Playlist is a joyful, smart and empowering drama unlike anything else on television. The series grapples with important themes of empathy and human connection that I’m sure will strike a chord with audiences.”

Lionsgate has been showing off Zoey at MIPCOM.

Also at MIPCOM, CBS said it licensed Star Trek: Discovery to Channel 4, which will run the series on E4, marketing its linear TV premiere.

Star Trek: Discovery has been running in the U.S. on CBS All Access, the subscription streaming service.

E4 will acquired rights to air Man With A Plan, starring Matt LeBlanc, which will also launch in 2020.

Author: Jon Lafayette
Posted: October 15, 2019, 1:43 pm
ABC as picked up the game show The Hustler, a “mind-bending” concept, in the network’s words, hosted by Craig Ferguson. One contestant already knows the answers on the show, but won’t necessarily win. Production starts in the fall and the initial air date has not yet been announced. Each episode ...

One contestant knows the answers, but other contestants don’t know which is ‘Hustler’

ABC as picked up the game show The Hustler, a “mind-bending” concept, in the network’s words, hosted by Craig Ferguson. One contestant already knows the answers on the show, but won’t necessarily win. Production starts in the fall and the initial air date has not yet been announced.

Each episode follows five contestants as they answer a series of trivia questions, the prize pot building with each correct answer. One of the five contestants, the Hustler, already knows the answers but must keep their identity a secret in order to have a shot at winning the grand prize. Two contestants are anonymously eliminated by the Hustler, leaving the Hustler and two others, who must collectively decide who they think the Hustler is. If they are right, they share the prize pot. If the two contestants are wrong, the Hustler gets the cash.

Ferguson hosted Celebrity Name Game and was host on CBS program The Late Late Show with Craig Ferguson.

“It’s rare and exciting to have a mystery-based game show that employs viewers and contestants to tap into their sleuth skills,” said Rob Mills, senior vice president, alternative series, specials and late night, ABC Entertainment. “This fun, new format is the perfect addition to our dynamic game show lineup, and Craig’s unmatched wit and humor make him the ideal host. We couldn’t be more excited to welcome him back to ABC.”

The Hustler, which is produced by All3Media-backed production company Studio Lambert, is created by British TV and radio host Richard Bacon, who executive produces along with Studio Lambert founder Stephen Lambert, executive vice president of Studio Lambert USA Jack Burgess, creative director Tim Harcourt and Susan House.

“Studio Lambert and format creator Richard Bacon are incredibly excited to partner with ABC on The Hustler,” said Studio Lambert CEO Stephen Lambert. “With Craig in the driver’s seat, the comedic beats of this game are very much to the fore. We think ABC viewers will laugh a lot but also be shocked and surprised by the twists of this game, which invites contestants and viewers to play detective, solving a whodunit or, in this case, a whoisit.” 

Author: Michael Malone
Posted: October 15, 2019, 1:42 pm
Telemundo has signed up Boost Mobile, Ford, L’Oreal Paris, State Farm, Verizon and Universal Studios Hollywood as new corporate sponsors of Latin American Music Awards. The new sponsors join incumbents Toyota, Ulta Beauty and Xfinity. This year’s award show airs Thursday. Telemundo and Universal ...

Toyota, Ulta and Xfinity return

Telemundo has signed up Boost Mobile, Ford, L’Oreal Paris, State Farm, Verizon and Universal Studios Hollywood as new corporate sponsors of Latin American Music Awards.

The new sponsors join incumbents Toyota, Ulta Beauty and Xfinity. This year’s award show airs Thursday.

Telemundo and Universal Studios Hollywood are part of Comcast’s NBCUniversal. Comcast Cable markets Xfinity.

"At NBCUniversal and Telemundo, we've seen the demand for authentic, inclusive and relevant stories grow," said Carrie Stimmel, executive VP, Lifestyle and Hispanic Advertising Sales at NBCUniversal. "We're thrilled to be working with leading companies across industries to meet this demand and craft brand stories that not only drive results, but also engage viewers where they are during a premiere cultural event like the Latin American Music Awards.”

Most of the key sponsors have worked with Telemundo on some unique promotions attached to the award show.

Boost Mobile will air special ads that tease what “more” is coming up in the show that align with its “Mobile with More” slogan. Boost will also sponsor one of the awards.

Ford, promoting its 2020 Explorer model, will sponsor a closing sequence the network calls the first of its kind. Ford will also be presenting real-time highlights and moments from the red-carpet show on Twitter.

L’Oreal Paris will be featured during the show and is sponsoring an award category.

State Farm will also be featured throughout the show.

Toyota’s RAV4 Hybrid will be featured during the red carpet show as nominee Silvestre Dangond shows him with the vehicle on his journey to the AMAs. Custom content will be created and shared across broadcast and social channels.

Ulta Beauty has Jeimy Osorio and the band Ladama creating a custom anthem during a show-with-a-show. A performance of the song will be distributed across digital and social platforms. Ulta is also sponsoring personal stories from Osario, wrestlers Nikki and Brie Bella and soccer player Janelly Farias designed to inspire fans.

Universal Studios Hollywood will run a series of spots, Actress Carmen Aub is shown running late for the award show because she’s having too much fun at Jurassic Park--The Ride. She Facetimes with co-presenter Karim Mendiburu, who reminds her she needs to get to the theater to give out an award.

Verizon is sponsoring a New Music Drop segment featuring music being released across Facebook, Instagram and Twitter. Verizon has been working with LatinX Now, an entertainment program reaching English and Spanish bi-cultural audiences across Telemundo, Universo and NBCU’s E!. Verizon will have two live commercials from the red carpet featuring Christian Acosta and an integration in the Latin AMA’s Twitter livestream.

Xfinity, as part of its Hispanic Heritage Month activities, will highlight the people behind the scenes who make the awards show possible, including everyone from the performers, to the makeup artists and carpenters.

Author: Jon Lafayette
Posted: October 15, 2019, 1:00 pm
The streaming wars have hardly begun and a new study by Amdoc has found that 27% of consumers are already paying more than $100 a month on subscription services. Amdocs said that while 59% of those surveyed said they were happy with their current subscriptions, it could be difficult to get them to ...

Amdocs finds 27% of consumers spending more than $100 a month

The streaming wars have hardly begun and a new study by Amdoc has found that 27% of consumers are already paying more than $100 a month on subscription services.

Amdocs said that while 59% of those surveyed said they were happy with their current subscriptions, it could be difficult to get them to spend more. That could be bad news for both established players looking to raise rates and new services looking to get consumers to try them.

The study found that 22% of consumers would consider adding another service, but only if something new came to market.

With more than 100 streaming services available, many consumers are feeling overwhelmed, according to the study. What they want is ease of use. A lot of them, 39%, would like to have all of their services bundled into one platform, with consolidated billing and universal search.

The biggest problem cited by consumers about having multiple services is remembering passwords.

Advertisers targeting U.S. consumers will likely face an uphill battle, the report said. When looking at the international respondent pool, the majority would be willing to receive advertisements if they were tailored to their specific interests. In the United States, this is not the case, likely because U.S. consumers prefer channels that often have limited or no advertisements, Amdocs said.

The Amdocs report is based on a survey of 3,400 consumers interviewed in August by Dynata. 1,000 of the interviews were done in the U.S. market.

Author: Jon Lafayette
Posted: October 15, 2019, 1:00 pm
TV Time, which tracks data about TV and films, acquired Mediamorph, a cloud-based content management company. Financial terms were not disclosed. The growth of over-the-top platforms has made it more difficult to track consumer video consumption and a number of data firms have jumped in to provide ...

Combined company to be called Whip Media Group

TV Time, which tracks data about TV and films, acquired Mediamorph, a cloud-based content management company.

Financial terms were not disclosed.

The growth of over-the-top platforms has made it more difficult to track consumer video consumption and a number of data firms have jumped in to provide data and to manage the monetization of content. Those companies have been merging to achieve the scale needed to work with growing media companies.

The combined companies will operate under the name Whip Media Group.

Author: Jon Lafayette
Posted: October 15, 2019, 12:56 pm
A+E Networks said it promoted Glen Hansen to senior VP of content sales in the Asia-Pacific region and Ellen Lovejoy to senior VP and head of sales in the Americas and formats. In his new role, Hansen, who had been VP of content sales in Asia-Pacific, will add Australia and New Zealand to the ...

Execs expand international content sales duties

A+E Networks said it promoted Glen Hansen to senior VP of content sales in the Asia-Pacific region and Ellen Lovejoy to senior VP and head of sales in the Americas and formats.

Glen Hansen

In his new role, Hansen, who had been VP of content sales in Asia-Pacific, will add Australia and New Zealand to the territory for which he is responsible.

Lovejoy adds new leadership responsibilities in the regional and will aim to grow the company’s format business around the world.

Both executives report to Richard Tulk-Hart, managing director, content sales & co-productions.

Ellen Lovejoy

Hansen joined A+E in 2014 from Zodiak Rights. Before that he was with Fox Look, Target Entertainment and Granada International.

Lovejoy joined A+E in 2011. Previously she worked for Target Entertainment and Beyond Distribution.

Author: Jon Lafayette
Posted: October 15, 2019, 11:13 am
Los Angeles and New York, October 15, 2019: Testronic, a leader in quality assurance (QA), localization services, and compliance for the film, television and games industries, has integrated GrayMeta’s Iris Media Platform as a QC playback tool in their testing facility which is used to test Post ...

Los Angeles and New York, October 15, 2019: Testronic, a leader in quality assurance (QA), localization services, and compliance for the film, television and games industries, has integrated GrayMeta’s Iris Media Platform as a QC playback tool in their testing facility which is used to test Post Production Masters and other files for OTT services in territories around the world.

Testronic provides outsourced QC testing services, in various worldwide territories, to content owners who are launching, or have an existing, OTT service. Testronic’s services ensures that the quality of the content meets the highest expectations. Testronic also tests the OTT platform across a large international device farm to confirm correct functionality and user experience on mobile and living room devices, as well as smart TVs for territories the world over.

Testronic has integrated Iris into its playback tool testing platform, helping them in their QC process for Master Quality Control and OTT deliverable package QC. Equipped with advanced video and audio tools, collaboration features, and a QC report generator, GrayMeta’s Iris Media platform uses metadata templates to efficiently check technical requirements, import automated QC reports and verify and double-check for false positives.

Jason Gish, President, Film & Television, Testronic, said: “GrayMeta’s Iris is a vital player in our various workflows. It really sets the standard for QC players. Whether over HDMI or SDI, and from Dolby Vision to Atmos, and ProRes to DPX, it provides great versatility, reliability, and is easy to use. Additionally, the GrayMeta support team is top notch and a pleasure to work with, which is critical in this fast-paced environment with changing client needs and file types.“

Chi-Long Tsang, SVP and Principal Architect, GrayMeta said: “Iris enables Testronic to drive efficiency up and costs down with its software visualizations, wide codec support, and requirements templatization, eliminating the need for additional equipment in the QC/QA process. With the ability to visualize IMF and play it back as reference, Testronic is able to deliver media with confidence that nothing was missed. Having an ability to import QC reports from the major ‘Automated QC Systems’ also provides time savings as operators can now see points of interest on the timeline, jump to them, validate, and move on to the next piece of content.”

GrayMeta will be demonstrating the Iris Media Platform at NAB NY 2019 on stand October 16-17 on stand N1120. To book a demonstration, email [email protected].

About GrayMeta

GrayMeta is an AI powered metadata company that delivers enterprise efficiency and monetizes assets. GrayMeta provides the ability to create, extract and store intelligent metadata, turning unstructured data into valuable assets, and delivers media workflow efficiencies through the supply chain with workflow, collaboration, and quality control tools.

For more information about GrayMeta, visit https://www.graymeta.com.

About Testronic

Testronic's high standards have been protecting clients and safeguarding the consumer experience since 1998. As the leading global provider of quality assurance, compliance, and localization services for the entertainment industries, including film, television and games, Testronic ensures efficient and secure delivery of the highest quality consumer deliverables. Based in Burbank, CA, London, UK, Warsaw, Poland, and Santiago, Chile, Testronic offers an unparalleled history of next-generation innovation and service excellence across the entire digital media industry.

Find out more at www.testroniclabs.com.

For more information, please contact:

Clare Plaisted

PRComs

Tel: +1 703 300 3054

Email: [email protected]

Author: Clare null
Posted: October 15, 2019, 10:00 am
MEASAT Satellite Systems Sdn. Bhd., (MEASAT), in partnership with Globecast, has announced today that BBC Studios, the commercial arm of the BBC, has renewed its agreement to distribute its BBC channels across Asia via the MEASAT-3 satellite. “We are delighted to continue the partnership with ...

BBC Studios has extended its relationship with MEASAT, in partnership with Globecast, across Asia

MEASAT Satellite Systems Sdn. Bhd., (MEASAT), in partnership with Globecast, has announced today that BBC Studios, the commercial arm of the BBC, has renewed its agreement to distribute its BBC channels across Asia via the MEASAT-3 satellite.

“We are delighted to continue the partnership with Globecast, supporting BBC Studio’s channel distribution across Asia,” said Yau Chyong Lim, Chief Operating Officer, MEASAT. “This service extension with MEASAT and Globecast shows the strength of our 91.5°E video neighbourhood for broadcasters.”  

The channels include BBC Earth HD, which inspires audiences by sharing the incredible wonders of the universe; CBeebies HD, which provides pre-school age programming to encourage learning through play; and BBC Lifestyle Asia, which provides a wealth of inspiration for home, family and life.  

Globecast provides MEASAT satellite capacity, ground and uplink services to BBC Studios, carrying these channels to viewers across the Asian market. 

Shakunt Malhotra, Managing Director, Globecast, said, “We have a longstanding, productive partnership with MEASAT in Asia, delivering channels across the region and we are pleased that BBC Studios has chosen to renew their services with us.” 

“With MEASAT and Globecast, we have found strong and reliable partners for the distribution of BBC channels into Asia,” said Shad Hashmi, SVP, BBC Studios. “MEASAT and Globecast have addressed our business needs and we look forward to continue partnering with them in the years to come.”  

MEASAT-3 is collocated with the MEASAT-3a and MEASAT-3b satellites at Asia’s prime video hot slot of 91.5°E. The three satellites form the region’s strongest video neighbourhood, providing UHD, HD and SD channels across Asia, Australia, East Africa and Eastern Europe. The MEASAT fleet will be further strengthened with the addition of MEASAT-3d in 2021. 

Author: Jump PR
Posted: October 15, 2019, 8:40 am
Kent, UK, 15 October 2019 – Densitron, a creator of HMI technologies, Broadcast intelligent display solutions, and a global leader in display, monitor, and embedded computing solutions and Sonifex, which manufactures broadcast audio equipment for radio, TV, and telecommunications, have announced a ...

Kent, UK, 15 October 2019Densitron, a creator of HMI technologies, Broadcast intelligent display solutions, and a global leader in display, monitor, and embedded computing solutions and Sonifex, which manufactures broadcast audio equipment for radio, TV, and telecommunications, have announced a joint technical development initiative designed to tightly integrate Sonifex audio displays with a number of flagship Densitron reference monitors.

Densitron Managing Director, Simon Jones said, “Sonifex is highly regarded for the quality of its audio reference monitors, audio distribution, and audio interfaces. We are equally regarded for our display technologies, it makes perfect sense to explore and develop ways that the two can integrate to the benefit of users worldwide.”

Densitron’s smartphone-like clarity and in-plane switching (IPS) technology is being modified to integrate with a new range of Sonifex devices soon to be unveiled.

However, Sonifex’s new Dante® AVN-CU2 and AVN-CU4 commentary units as well as its AVN multi-channel audio mix engines already now use Densitron colour LCD displays.

Sonifex CEO Marcus Brooke said, “We always actively seek opportunities to provide additional benefits to our customers and are particularly excited about sharing our latest audio interface and commentary unit developments with similar enhancements from Densitron. The integration of our respective technologies are significant value-adds to both product ranges.”

-Ends-

View online: www.densitron.com/insight

About Densitron
Founded over 45 years ago, Densitron is a display expert designing and manufacturing touch-based HMI (Human Machine Interaction) solutions tailored to the needs of customers around the world. In 2019, Densitron acquired the Intelligent Display System (IDS) product and brand from IPE Technologies. IDS is readily integrated into Densitron’s control surfaces and offers a fully scalable, network-based display and control system, which is a logical and seamless complement to Densitron’s existing product range. We collaborate with our customers to understand their particular requirements and then create bespoke products to address those. In November 2015 Densitron was acquired by Quixant plc which designs and manufactures highly optimised computing solutions and monitors principally to the global gaming industry. Together, the Company has offices in Asia, Europe and North America and experienced application engineers based worldwide, our global approach to innovation is always underpinned by a thorough local knowledge and understanding of cultural requirements. Our products can be found in a wide range of sectors including broadcast, medical, security, automotive, digital signage and gaming. More information can be found at www.densitron.com

Press contact:
Becky Taylor
Page Melia PR
Tel: +44 (0)7810 846364
Email: [email protected]

About Sonifex
This year Sonifex celebrates 50 years as a UK manufacturer of high quality audio equipment for broadcast radio & broadcast TV, AV integration & installed sound. The focus this year is on the launch of the new Sonifex AVN range of DIO Audiophile and Multi-Channel Dante® Audio Interfaces and their new Dante based commentary units. More information can be found at www.sonifex.com

Author: Page Melia PR
Posted: October 15, 2019, 8:37 am
PRINCETON, N.J. — Oct. 14, 2019 — Triveni Digital today announced that it will highlight new enhancements to its end-to-end ATSC 3.0 solutions at NAB Show New York, Oct. 16-17 at the Jacob K. Javits Convention Center, booth N1064. Triveni Digital's StreamScope® XM Verifier, StreamScope XM MT ...

PRINCETON, N.J. — Oct. 14, 2019 — Triveni Digital today announced that it will highlight new enhancements to its end-to-end ATSC 3.0 solutions at NAB Show New York, Oct. 16-17 at the Jacob K. Javits Convention Center, booth N1064. Triveni Digital's StreamScope® XM Verifier, StreamScope XM MT Analyzer, GuideBuilder® XM ATSC 3.0 Transport Encoder, and a new Advanced Emergency Alert (AEA) Editor are at the heart of several demonstrations with partners, showcasing how broadcasters can make a smooth transition to the ATSC 3.0 era and deliver next-generation television experiences to viewers while maintaining the broadcasters' main ATSC 1.0 revenues.

"ATSC 3.0 will be a breath of fresh air for the broadcast industry, improving the user experience through emergency communications, personalized advertising, service guides, and interactive programs," said Ralph Bachofen, Vice President of Sales and Marketing at Triveni Digital. "During the show, we'll highlight how our customers, currently in the early stages of ATSC 3.0 deployments, can achieve the most simple and flexible service delivery."

Simplifying the Transition to ATSC 3.0
Triveni Digital will unveil new features for its StreamScope XM Verifier software application for receiving, verifying, and recording ATSC 3.0 broadcast streams via ROUTE, MMTP, or SLTP protocols. The most significant enhancement is support for multiple PLPs within a broadcast transmission. In addition, StreamScope XM Verifier now offers a wide range of RF advancements (e.g., LP bars, bootstrap data, L1 basic data, L1 detailed data, L1 PLP data, quick status, and subframe data), providing broadcasters with improved analysis and visibility into ATSC 3.0 quality of service.

Streamlining Distribution of Advanced Emergency Alerts
At the NAB Show New York, Triveni Digital and technology partners will demonstrate how broadcasters can control and distribute interactive emergency applications and information in an ATSC 3.0 environment. Easy to integrate into existing workflows, the end-to-end solution is comprised of Triveni Digital's AEA Editor and GuideBuilder XM ATSC 3.0 Transport Encoder, Digital Alert Systems' DASDEC emergency messaging platform, and a software receiver from Alticast, with user-interface templates based on AWARN focus group and developed with the support of NAB Pilot.

Enhancing Broadcast TV With Interactive Content
Triveni Digital will demonstrate a joint solution with technology partner Alticast at the NAB Show New York that enables an interactive viewing experience based on the capabilities of ATSC 3.0. Developed in collaboration with Michigan State University's WKAR-TV PBS station, the demo at NAB Show New York will highlight how broadcasters can enhance the viewing experience for educational material with next-gen TV interactive content and companion device features. The solution is powered by Alticast's software receiver and an end-to-end ATSC 3.0 broadcast service delivery system from Triveni Digital.

Committed to making the transition to ATSC 3.0 as smooth as possible, Triveni Digital is also offering a unique transition market DMA licensing model. With the purchase of the company's ATSC 3.0 solutions, broadcasters will receive free licenses for corresponding ATSC 1.0 systems.

More information about Triveni Digital products is available at www.TriveniDigital.com.

# # #

About Triveni Digital
Triveni Digital is a leading provider of program guide and metadata management, data broadcasting, and service quality assurance solutions for broadcasters and service providers. Renowned for their ease of use and innovative features, Triveni Digital's solutions enable customers to deliver enhanced programs and services to television viewers. Working with leading industry partners, Triveni Digital employs an open and standards-compliant approach to the digital television market. As a leader in ATSC 3.0 solutions, a key contributor to standards development, and active participant in next-generation ATSC trials and deployments, Triveni Digital is leading the charge to a new, exciting broadcast television future. More information is available at www.TriveniDigital.com.

Note to Editors: When referring to Triveni Digital, please use the complete company name, "Triveni Digital." Product and company names mentioned herein are the trademarks or registered trademarks of their respective owners.

Link to Word Doc: www.202comms.com/TriveniDigital/191014TriveniDigital.docx

Photo Links: www.202comms.com/TriveniDigital/TriveniDigital-StreamScopeXMVerifier.jpg
Photo Caption: Triveni Digital StreamScope® XM Verifier for ATSC 3.0

Photo Links: www.202comms.com/TriveniDigital/TriveniDigital-StreamScopeXM.png
Photo Caption: Triveni Digital StreamScope® XM MT Monitoring and Analysis System

Photo Links: www.202comms.com/TriveniDigital/TriveniDigital_GuideBuilderXM.jpg
Photo Caption: Triveni Digital GuideBuilder® XM Signaling and Announcement Generator

Follow Triveni Digital:
https://www.facebook.com/pages/Triveni-Digital/137957436263401
https://twitter.com/TriveniDigital
http://www.linkedin.com/company/32484?trk=tyah

Author: 202 Communications
Posted: October 14, 2019, 9:36 pm
CAMBRIDGE, Ontario — Oct. 14, 2019 — Canadians go to the polls on Oct. 21 and once again Bannister Lake is providing two national broadcasters with complete election management solutions. Bannister Lake clients Global Television and CPAC, the Cable Public Affairs Channel (Canada's version of ...

Elector Results Solution Provides Production Teams With Industry-Leading Tools to Track Races, Make Calls, and Generate Real-Time Data Populated Graphics

CAMBRIDGE, Ontario — Oct. 14, 2019 — Canadians go to the polls on Oct. 21 and once again Bannister Lake is providing two national broadcasters with complete election management solutions. Bannister Lake clients Global Television and CPAC, the Cable Public Affairs Channel (Canada's version of C-Span), will use the company's Elector software to produce election night coverage. Elector allows producers to instantly see and track real-time results, take advantage of advanced filtering to zero in on specific races, make race calls, and quickly and accurately create graphic playlists for broadcast.

Elector features a multi-user, web-based user interface, making the product accessible to production teams anywhere. Producers and analysts can spot voting trends and translate those trends into powerful graphic presentations. Graphics can then be dragged, dropped, and organized into playlists in preparation for broadcast. Elector's Restful API can be used to strategically distribute real-time data content to online destinations, widgets, mobile devices, and augmented reality and virtual reality systems.

"Election night is an important opportunity to not only bring audiences up-to-the second results but to use that data to identify regional, demographic, and historic shifts, and present it all with spectacular graphics," said Georg Hentsch, president, Bannister Lake. "Elector provides production teams with the tools to easily reveal those trends and clearly communicate to viewers how results are unfolding."

Elector is an election results solution engineered and designed exclusively for Canadian elections; however, Bannister Lake's popular Chameleon data management product includes an election module that supports U.S. and any other election process. Like Elector, Chameleon election data can feed multiple broadcast graphic engines, online, mobile, and other broadcast visualization systems. Bannister Lake is expanding its election offerings with data-driven web widgets that allow online users to customize data to specific electoral districts to access local information and analysis.

In addition to Elector, Bannister Lake will provide Global Television and CPAC with a variety of professional services, including coordination with the Canadian Media Election Consortium to ensure results data is fully optimized for the Elector product.

More information about Bannister Lake's solutions is available at www.bannisterlake.com.

# # #

About Bannister Lake Inc.
Bannister Lake is a leading provider of professional video graphic display solutions for broadcast television, cable, satellite, audio/visual, information presentation applications, esports, and digital signage worldwide. The company's solutions integrate seamlessly with existing infrastructures while automating the integration and display of external data sources, improving the productivity of any organization. Visit Bannister Lake online at www.bannisterlake.com.

PR Link: www.ingearpr.com/BannisterLake/191014BannisterLake.docx

Photo Links: www.ingearpr.com/BannisterLake/BL_Elector-Preview-2019.png
Caption: Global Television and CPAC to use Bannister Lake Elector software to keep Canadians informed on Election Day. Elector allows producers to instantly see and track real-time results, zero in on specific races, make race calls, and easily create graphic playlists for broadcast.

Follow Bannister Lake:
Facebook: https://www.facebook.com/BannisterLake/
LinkedIn: https://www.linkedin.com/company/bannister-lake-software/
Twitter: https://twitter.com/bannisterlake
YouTube: https://www.youtube.com/channel/UCyztFDpw_dx278QdroHlbDg

Author: InGear PR
Posted: October 14, 2019, 9:16 pm
According to various reports, allies at a conservative conference last week played a video using a doctored film clip to show the President appearing to commit mass murder in a church, the "Church of Fake News," with his victims, identified by logos, as most of the major media outlets he has called ...

Press Secretary Grisham says POTUS strongly condemns video

According to various reports, allies at a conservative conference last week played a video using a doctored film clip to show the President appearing to commit mass murder in a church, the "Church of Fake News," with his victims, identified by logos, as most of the major media outlets he has called the enemy--CNN, CBS, CNBC NPR, ABC, Politico, The Hill--as well as Democratic opponents, are shot, stabbed, impaled and otherwise dispensed with. 

That is according to a New York Times story and a video available on YouTube identified by the Post as being shown by organizers--at a Trump property in Miami--of a conference at which former press secretary Sarah Huckabee Sanders and First Son Donald Trump Jr. were in attendance.  

Current press secretary Stephanie Grisham tweeted Monday (Oct. 14) that the President has not seen the video, but condemns it based on what has been reported. 

The President has consistently attacked the mainstream media as "the enemy" out to unseat him in league with Democrats, leading journalist groups to warn that such language puts their profession at risk.

Author: John Eggerton
Posted: October 14, 2019, 9:14 pm
NBC won Sunday prime with football, the network posting a 3.4 in viewers 18-49, per the Nielsen overnights, and a 15 share. In second was CBS, also paced by the NFL, at 1.7/7. NBC had Football Night in America up 31% to 2.1 and the pregame fell 17% to 3.5. The Sunday Night Football match, Steelers ...

CBS shows fall without football lead in

NBC won Sunday prime with football, the network posting a 3.4 in viewers 18-49, per the Nielsen overnights, and a 15 share. In second was CBS, also paced by the NFL, at 1.7/7.

NBC had Football Night in America up 31% to 2.1 and the pregame fell 17% to 3.5. The Sunday Night Football match, Steelers versus Chargers, fell 22% from last week for a 3.9. Last week was Colts-Chiefs.

CBS had an NFL overrun leading into 60 Minutes at 2.1, a 133% gain from last week. God Friended Me went up 29% to 0.9 and NCIS: Los Angeles grew 14% to 0.8, then Madam Secretary shot up 25% for a 0.5.

ABC and Fox both scored a 0.7/3. On ABC, America’s Funniest Home Videos, Kids Say the Darndest Things and Shark Tank all posted a 0.7. Home Videos went up a tenth, Kids Say lost 22% and Shark Tank was flat. The Rookie got a flat 0.6.

On Fox, comedy repeats led into The Simpsons at 0.8 and Bless the Harts at 0.6. (The shows did a 2.6 and 1.3 last week with a football lead in.) Bob’s Burgers slid 36% to 0.7, and Family Guy lost 22% for a 0.9.

Telemundo scored a 0.4/2 and Univision a 0.3/1. On Telemundo, three hours of Exatlon Estados Unidos rated a 0.4 and El Secreto de Selena a 0.3, both flat.

On Univision, it was 0.3s for Aqui Y Ahora, Reina de la Cancion and Cronicas, Aqui and Cronicas flat and Reina down a tenth.

The CW did a 0.2/1. Batwoman and Supergirl both got a 0.3. Batwoman lost 40% from premiere and Supergirl dropped 25%. 

Author: Michael Malone
Posted: October 14, 2019, 7:44 pm
TAG Video Systems Returns to NAB Show NY with new strategy of “Zer0 Friction” One Product, One Price, for all major Broadcast and Media applications that meets all Probing, Monitoring and Multiviewer needs anywhere, anytime. Company announces plans to share the secret of serving the entire video ...

TAG Video Systems Returns to NAB Show NY with new strategy of “Zer0 Friction”

One Product, One Price, for all major Broadcast and Media applications that meets all Probing, Monitoring and Multiviewer needs anywhere, anytime. Company announces plans to share the secret of serving the entire video ecosystem with one solution at annual event.

New York, NY -- October 11, 2019 -- TAG Video Systems, the world leader in integrated software-based IP Probing, Monitoring and Multiviewer solutions, is driving the conversation in a different direction, and instead of keeping it under wraps, they’ve announced plans to shout it to the industry. Chief Commercial Officer Kevin Joyce says it’s time to share the secret of how TAG serves the entire video ecosystem with one solution, one price, anywhere, anytime, and he’s using NAB Show New York 2019 as his stage.

“We’ve always concentrated on the product itself, but no longer,” Joyce explained. “90% of the people in this industry think of TAG as just another Multiviewer company. This has been our mistake. We are now pivoting the conversation from the product itself to its unique ability to provide Probing, Monitoring, and Multiviewing across the entire video ecosystem (Live production, Playout, Delivery and OTT). Even our long-term customers are not aware of all the features available to them and how they can unleash the power of a product they already have. And what better place to drive the conversation than at NAB New York.”

At NAB NY TAG will be demonstrating its unique platform, the world’s first and only 100% Software, 100% IP solution capable of running on standard off-the-shelf-hardware for all four primary video applications: Live Production, Playout, Distribution and OTT. TAG CEO Abe Zerbib noted that the needs of all four applications are very different and said, “Each application has its own set of challenges but can easily be managed within the same software platform in an IP environment. We can truly serve all four broadcast applications with our product and one license, and our team is consistently developing feature sets for each to enhance the user experience.”

Joyce added, “With the quick adoption of IP workflows, we need to remove the traditional barriers NOT just technologically, but also operationally and commercially. TAG will now offer ONE price for a product that can meet the diverse needs of the broadcast ecosystem and allow the customer to make the decision regarding what features they want to deploy at what location and time. What we call Zer0 Friction. This has never been done before in our industry and we believe TAG is leading the way for how all solutions will be offered in our industry once they are 100% IP, 100% Software 100% COTS.”

NAB NY will also be the first major US Trade Show where TAG will be demonstrating its platform with double capacity, which is critical when dealing with uncompressed 2110 IP inputs and outputs. Doubling the capacity decreases the overall hardware required, increases the ROI, and also results in reduced latency to one frame per second, or less – an important feature for live production. Doubling the capacity for the exact same price ……Zer0 Friction.

TAG’s 100% software approach is the world’s first system that combines monitoring of compressed and un-compressed signals on the same screen for all four primary video disciplines - and runs on off-the-shelf hardware. It’s allowed broadcasters to break away from purpose-built hardware and truly leverage the scale and agility that comes with software-deployed IP solutions while still delivering a low latency solution. TAG’s advanced software skills also allowed it to break the software / bandwidth / timing limitations of ST 2110 in COTS hardware and has brought a high-density solution with multiple 100GE interfaces and support for ST-2022-7 network redundancy.

TAG’s cross-application solution is currently supporting over 40,000 channels successfully in facilities around the globe underscoring the adoption of the Company’s unique 100% software approach to Probing, Monitoring and Multiviewing for live production, playout, distribution, and OTT in an all-IP ecosystem.

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 40,000 channels across the four primary broadcasting applications - Live Production, Playout/Master Control, Distribution and OTT. Its solutions allow Broadcasters and Content Distributors the greatest scalability and flexibility 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 off-the-shelf hardware (COTS), providing state-of-the-art IP monitoring and analysis tools combined with the 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: October 14, 2019, 7:10 pm
Gilbert, Ariz., Oct. 14, 2019 - The Conservatory of Recording Arts & Sciences (CRAS; www.cras.edu), the leading institution for audio engineering education, will be opening the doors to its Gilbert, Ariz. campus (1205 N. Fiesta Blvd.) to prospective students, parents, and the media on Saturday, ...

Three CRAS Graduates, Including a U.S. Marine Corps Veteran, Will Be On Hand for the Open House, as Well as Participate in an Open Panel Forum Oct. 25 for Current CRAS Students

Gilbert, Ariz., Oct. 14, 2019 - The Conservatory of Recording Arts & Sciences (CRAS; www.cras.edu), the leading institution for audio engineering education, will be opening the doors to its Gilbert, Ariz. campus (1205 N. Fiesta Blvd.) to prospective students, parents, and the media on Saturday, Oct. 26 from 10am – 4pm. Three CRAS graduates, one of whom is a Marine Corps veteran, will be on hand for the Open House, and will also be part of an Open Panel Forum held for current CRAS students the evening of Oct. 25.

The CRAS 42-foot Mobile Broadcast Unit.

“Besides our mandatory internship program, getting our students in touch with our grads who either are working for others, or who have made the leap into self employment, is huge,” said Kirt Hamm, CRAS administrator. “That’s what this grad panel is about in our upcoming Open House. Continued education, networking, and learning what it takes for going out on one’s own by those who have done it already is of enormous value for any student. In our ongoing quest to showcase many of the opportunities for our students once they graduate, we are able to give them an idea of what’s out there for them first hand once they enter the open market by connecting them with our graduates.”

Hamm added that CRAS also wants prospective students and their parents to discover everything there is to know about a CRAS education, and with hard work and dedication just how successful they can be. “For instance, every year,” Hamm continued, “CRAS graduates populate, in great numbers, Grammy nominations for the year. At this year’s Grammy Awards, 14 of our graduates worked on 15 2019 GRAMMY Award-winning nominations by numerous artists. In total, 34 CRAS graduates worked on 36 GRAMMY-nominated albums and songs across 33 categories.”

2009 CRAS graduate Kyle Oneal, who is currently working at South Lake Audio Services in Burbank, Calif. as a re-recording mixer (shown here).

Members of the October Open House Grad Panel include:

· Wil Anspach; a U.S. Marine Corps veteran who became part of one of the first units to enter Iraq in June 2002…he would see three deployments in the Middle East, and was shot in the leg while patrolling Najaf, Iraq. He is also a 2011 CRAS graduate who began his career by working at the renowned EastWest studio in Hollywood, Calif. After three years he had amassed a body of work that included Frank Ocean’s Channel Orange, Justin Timberlake’s 20/20 Experience, and the Latin Grammy Award-winning Agua Maldita from Molotov. He left EastWest to become the personal engineer for Alex Da Kid, working with Skylar Grey, X-Ambassadors, and Imagine Dragons before going freelance in 2015. Since then he has engineered three records for Vic Mensa, during which time he worked with NoID, Pharrell, Travis Barker, Tom Morello and Mike Dean. He has also worked with Zack de la Rocha, $uicide Boy$, and recorded the vocals of the 2018 Golden Globe Best Song Winner “This Is Me” for the movie The Greatest Showman.

· Kyle Oneal; a 2009 CRAS graduate who has been working post-production sound for more than 10 years. He’s currently working at South Lake Audio Services in Burbank, Calif. as a re-recording mixer. Kyle’s post-production audio resume includes ADR mixing, M&E mixing, dialogue editing, music editing, sound effects editing, foley recording/performing, and working in the machine room. As an ADR mixer, he worked on Teen Wolf, Awkward, Amazing Race, Halt & Catch Fire, Sanjay & Craig, and WestWorld season 1 team as an ADR mixer and won an Emmy Award with the crew. As a re-recording mixer, he’s worked on Chambers, Taken (the TV series), Perpetual Grace, Snatch, and a number of independent films. Currently working on Dragonheart 5, he will be working on Nickelodeon’s mini-series reboot of Are You Afraid of the Dark later in the year.

· Brandon Laureta; a 2017 CRAS graduate and currently works at VMWare Austin as an Audio/Visual support technician. His responsibilities include supporting corporate meetings, providing remote support, troubleshooting A/V systems, and overseeing A/V installations. Brandon is also a freelance audio engineer for clients such as Rooster Teeth Productions and The Alamo Drafthouse.

At the October Open House, guests will be able to interact with CRAS faculty and get a taste of the curriculum and the state-or-the-art audio gear spread throughout its numerous classrooms as well as its 42-foot Mobile Broadcast Unit. They will also be able to participate in live demonstrations in many of these real world audio recording studios, live sound venue, and labs.

The Conservatory of Recording Arts & Sciences is composed of two nearby campuses in Gilbert and Tempe, Ariz. A CRAS education includes Broadcast Audio, Live Sound, Audio Post for Film and TV, Music Production, Commercial Production and Video Game Audio, all taught by award-winning instructors who have excelled in their individual fields. CRAS’ structured programs, and highly qualified teaching staff, provide a professional and supportive atmosphere, which is complemented by its small class sizes allowing for individual instruction and assistance for students in engineering audio recordings. CRAS has been providing quality vocational training in Audio Recording for more than three decades. The curriculum and equipment are constantly being updated to keep pace with the rapid advancements in the music and sound recording industries. CRAS’ course offerings and subject matter have always centered around the skills and knowledge necessary for students’ success in the Audio Recording industries.

The 11-month program is designed to allow every student access to learn and train in all of the Conservatory’s studios which are comprised with state-of-the-art audio recording and mixing gear, the same equipment used in today’s finest studios and remote broadcast facilities, including Pro Tools 12, API Legacy consoles, SSL G+ and AWS consoles, Studer Vista consoles, and much more. All students must complete a 280-hour industry internship to graduate from the Master Recording Program II that may ultimately lead to industry employment.

“We want everyone to see, hear, and feel how our 11-month program focuses exclusively on what a student needs to know to begin living their passion in any one of the many facets of the Recording Arts,” Hamm concluded.

For more information on the Conservatory of Recording Arts & Sciences, please visit www.cras.edu, contact Kirt Hamm, administrator, at 1-800-562-6383, or email to [email protected]

About The Conservatory of Recording Arts & Sciences

Based in the heart of The Valley of the Sun with two campuses in Gilbert and Tempe, Ariz., The Conservatory of Recording Arts & Sciences (CRAS) is one of the country’s premier institutions for audio education. The Conservatory has developed a unique and highly effective way to help the future audio professional launch their careers in the recording industry and other related professional audio categories.

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Author: Charles Leib
Posted: October 14, 2019, 5:49 pm
Univision said that Latin Grammy nominee Sebastian Yatra will headline this year’s Nissan Presents: Road to Innovation, a concert series leading up to the Nov. 14 20th Annual Latin Grammy Awards. For five years Univision and Nissan have worked together on the pre-Latin Grammy tour. This year, there ...

Concert series leads up to award show

Univision said that Latin Grammy nominee Sebastian Yatra will headline this year’s Nissan Presents: Road to Innovation, a concert series leading up to the Nov. 14 20th Annual Latin Grammy Awards.

Poster promoting the concert series.

For five years Univision and Nissan have worked together on the pre-Latin Grammy tour. This year, there will be eight concerts in eight cities over 16 days, starting Oct. 28 in Los Angeles.

“Nissan is excited to celebrate Latin music’s top artists,” said Allyson Witherspoon, VP marketing communications and media for the auto company. “For the fifth year, we’re partnering with Univision for the Road to Innovation Tour featuring Sebastian Yatra. This eight-city tour is an engaging way to connect with our consumers leading up to the Biggest Night in Latin Music.”

Related: Univision’s Martínez-Guzmán Named Executive News Director

At each stop on the tour, Nissan and Univision will be presenting a branded experience featuring brand ambassadors and influencers on location.

The tour will get cross-platform promotion support on Univision's TV and radio properties and on digital and social outlets.

Univision is also creating a branded Uforia playlist featuring past Road to Innovation Tour artists for a custom musical experience, sponsored by Nissan.

“We are thrilled to once again renew this unique partnership with Nissan. With music being such an important passion point for the Hispanic audience, the Road to Innovation Tour has been the perfect vehicle to reach this valuable consumer,” said Steve Mandala, president of advertising sales and marketing, Univision. “The program showcases Univision’s full suite of marketing capabilities across TV, radio and digital and continues to deliver high-impact results for our client.”

Here is the tour lineup:

Oct. 28 in Los Angeles at the Avalon Hollywood.

Oct. 29 in Phoenix at the Celebrity Theater.

Oct. 30 in Dallas at the Medusa Dallas.

Oct. 31 in Chicago at the House of Blues Chicago.

Nov. 4 in Washington, D.C., at the Echostage.

Nov. 5 in Queens, N.Y., at La Boom

Nov. 6 in Miami at a TBD location

Nov. 12 in Las Vegas at the House of Blues Vegas.

Author: Jon Lafayette
Posted: October 14, 2019, 4:00 pm
CANNES, FRANCE – October 14th, 2019 - Marking their fifth deal together, Nippon Television Network Corporation (Nippon TV), the leading commercial broadcaster network and production powerhouse in Japan, announced today that MF Yapim, one of the leading production companies in Turkey, has acquired ...

CANNES, FRANCE – October 14th, 2019 - Marking their fifth deal together, Nippon Television Network Corporation (Nippon TV), the leading commercial broadcaster network and production powerhouse in Japan, announced today that MF Yapim, one of the leading production companies in Turkey, has acquired the scripted format rights to its leading one-hour drama series Abandoned. The company will be remaking the series in Turkish. This deal follows the four prior announcements between the companies including the Turkish remakes of Nippon TV’s scripted formats Mother (Anne in Turkey) which airs in almost 40 countries around the world, Woman – My Life for My Children (Kadin in Turkey) which airs in over 30 countries globally, and My Son (Turkish title TBD) and OASIS – a love story – (Turkish title TBD). The announcement was made jointly today by Mr. Atsushi Sogo, President of International Business Development for Nippon TV, and Mr. Faruk Bayhan, CEO of MF Yapim.

This new deal marks the second format deal for Abandoned which was previously sold to JSLGlobal Media in Thailand. The touching series featuring innocent small children abandoned by their parents streamed on LINE TV across Thai from May 2019, receiving tremendous acclaim especially from the young demographic and creating immense feedback on social media. The Thai adaptation recently won the award for “Best Drama for Family and Society” at Thai’s prestigious Maya Awards 2019.

“We are delighted to be working once again with Mr. Bayhan and his amazing team. The success they have achieved in Turkey with the previously announced scripted formats has been nothing short of extraordinary as evidenced by Woman – My Life for My Children (Kadin) kicking off its highly anticipated third season on FOX Turkey this month, winning against all other stations and receiving top ratings in all categories on the season premier. This groundbreaking achievement of a third season is a first for a Japanese series,” commented Mr. Sogo. “Abandoned is an amazing script that has garnered rave reviews in Japan, as well as in the Asian countries that have aired the original versions. With MF Yapim’s keen eye for great scripts, they have swiftly noticed our latest format and I have no doubt that they will achieve a similar if not greater level of success in Turkey and the various countries that will air their Turkish versions,” added Mr. Sogo.

“Since the beginning of our cooperation with Nippon TV for over 3 years, we have achieved very successful results from the productions that we adapted from Nippon TV’s outstanding drama formats,” commented Mr. Bayhan. “Our adaptations which have been produced with the collaboration between MF Yapim and our partner Medyapim, have received significant appeal not only in Turkey but also in many other countries where they have been sold. We are hoping and aiming to reach the same success too-if not better- with Abandoned. We believe such fruitful and harmonious cooperation with Nippon TV has the potential to evolve in different areas as well. The continuation of this cooperation between Nippon TV, MF Yapim and Medyapim for many years to come is my biggest wish,” added Mr. Bayhan.

Abandoned is a touching drama seen through the eyes of children facing the harsh reality of life in an orphanage. While facing many challenges, these young children long to be adopted. Only after agreeing to become a member of a new family, the orphans learn of their past given names. Are innocence and happiness lost forever when abandoned, or will these children ultimately find their place in the world? This series will take the viewers into the hearts of children while displaying what it means for them to love and be loved. http://www.ntv.co.jp/english/pc/2014/01/abandoned.html

ABOUT MF YAPIM 

Founded in 2012 by the partnership of Faruk Bayhan who is experienced for over 40 years in Turkish media industry and MEDYAPIM which is one of the leading production companies in Turkish television sector.

MF YAPIM is very successful in format adaptations as well as original productions and adapted many formats from South Korea, Italy and Japan so far. For that matter it is the first production company adapting the Korean drama formats in Turkey.

While producing many programmes to various tv channels since its start, MF YAPIM co-produce some of the projects together with MEDYAPIM as well. In such co-productions, apart from the synergy of the joint forces of MF YAPIM and MEDYAPIM, the mentality and the working principles of Faruk Bayhan and Fatih Aksoy who are in the television sector for many years manifest themselves. Trying to pick the plots different then the ones that are produced in Turkey so far, MF YAPIM continues its investments on the future projects together with MEDYAPIM.

ABOUT NIPPON TV

Nippon TV is Japan's viewer ratings champion, topping all timeslot categories for five 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 more than 35 versions in 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 formats, Mother has also been sold to South Korea, Ukraine, and France, while Woman has likewise been acquired in France. 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: October 14, 2019, 3:32 pm
The E.W. Scripps Co. said it appointed Marc Jaromin as VP and general manager of WKBW-TV, the ABC affiliate in Buffalo, effective immediately. Jaromin replaces Michael Nurse, who left in August as part of a shakeup in the station’s management. Earlier in his career, Jaromin served as local sales ...

Exec had been CEO of Roundtable Management Services

The E.W. Scripps Co. said it appointed Marc Jaromin as VP and general manager of WKBW-TV, the ABC affiliate in Buffalo, effective immediately.

Marc Jaromin

Jaromin replaces Michael Nurse, who left in August as part of a shakeup in the station’s management.

Earlier in his career, Jaromin served as local sales manager at WKBW when it was owned by Granite Media.

“We are looking forward to welcoming Marc back to Buffalo to lead the WKBW team in serving local audiences and advertisers,” said Brian Lawlor, president of local media for Scripps. “Marc’s in-depth experience across television operations and his ability to cultivate leadership in others make him a great fit for 7 Eyewitness News and its community.”

Jaromin most recently had been president and CEO of Roundtable Management Services, a media consulting business in Ohio. Before that he was director of media operations for Buckeye Broadband, and served as GM of WROC-TV, Rochester, N.Y.

“I am eager to return to my hometown and join WKBW’s dedicated team of people serving the Western New York community,” said Jaromin.

He met and married his wife Michelle in Buffalo and they will be returning there with their two daughters.

Author: Jon Lafayette
Posted: October 14, 2019, 3:01 pm
NEW YORK, OCTOBER 14, 2019 – NUGEN Audio unveils the latest SigMod Software plug-in update at AES 2019 (Booth 504I – Avid Partner Pavilion). The update allows SigMod to host multiple instances of the Insert module and incorporates hosting support for third-party VST2 and AU plug-ins. This enables ...

NEW YORK, OCTOBER 14, 2019NUGEN Audio unveils the latest SigMod Software plug-in update at AES 2019 (Booth 504I – Avid Partner Pavilion). The update allows SigMod to host multiple instances of the Insert module and incorporates hosting support for third-party VST2 and AU plug-ins. This enables users to access a wider pool of plug-ins – particularly in DAWs that support limited plug-in formats – and increases access for creative routing options such as mid/side processing for any stereo or multi-mono plug-in.

The company has also implemented a wet/dry control for the Insert module. This provides even further flexibility, allowing users to blend their effected signal with the original sound without the use of an AUX send. Improved navigation controls for third-party plug-ins, including a search bar functionality, enables users to filter by name and increases efficiency and ease of use.

NUGEN’s SigMod software provides custom, simple signal architecture with 12 single-process modules to enhance plug-in and DAW functionality. It offers creative new ways to work by allowing users to easily insert, swap and move modules to fit to the correction, conversion and tweaking of audio. Included among the available modules are Mid/side; Protect; Tap; Crossover; Insert – now with VST2/3 and AU; Mute/Solo; Trim; Switch; DC Off-Set; Mono; Phase; and Delay.

Several of these modules offer easy access to functionality that is often either missing or difficult to access in certain DAWs. With SigMod’s intuitive signal routing, the creative options are endless. The software is available in AAX, VST 2/3, AU and AudioSuite formats in both 32- and 64-bit versions, and is available on both Mac and Windows OS.

“Our release of SigMod VST2 is a great example of how we continually strive to be at the forefront of technology,” says Paul Tapper, CEO, NUGEN Audio. “We find that tailoring our products to the specific needs of audio professionals enables them to accomplish their full creative vision in a time- and results-oriented manner. We’re excited to release this product and look forward to speaking with audio pros at AES to discuss its features in greater detail.”

About NUGEN Audio

NUGEN Audio provides the broadcast and post-production industry’s most advanced solutions for surround upmixing and end-to-end loudness management, metering, and correction from content acquisition through to playout. Reflecting the real-world production experience of the NUGEN Audio design team, the company’s products make it easier to deliver high-quality, compliant audio while saving time, reducing costs, and preserving the creative process. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, post-production, and music production. For more information, visit nugenaudio.com.

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

Follow NUGEN: 

https://www.facebook.com/nugenaudio https://twitter.com/NUGENAudio

Author: D. Pagan Communications
Posted: October 14, 2019, 3:00 pm
Senator and presidential candidate Bernie Sanders has come out with his plan to "end corporate corruption and greed" and it would include potentially unwinding mergers approved under the Trump Administration.  Among the companies Sanders singled out: "Disney’s acquisition of 21st Century Fox ...

Lays into big companies as he lays out agenda to end 'corporate greed'

Senator and presidential candidate Bernie Sanders has come out with his plan to "end corporate corruption and greed" and it would include potentially unwinding mergers approved under the Trump Administration. 

Among the companies Sanders singled out: "Disney’s acquisition of 21st Century Fox has created a conglomerate that controls media in sports, in movie theaters, and on television," he said. 

Related: Sanders Proposes Banning TV Ads in Primary Debates

The key components of Sander's "Break Up Monopolies and Make Markets Competitive" plan are:

  1. Review all Trump administration mergers and undo improper mergers. 
  2. Reinvigorate the Federal Trade Commission to break up conglomerates and monopolies and institute clear, strong merger guidelines. 
  3. Establish caps for vertical mergers, horizontal mergers, and total market share. 
  4. Ban mandatory arbitration clauses and non-compete clauses that trap workers in low-wage jobs and strip them of their legal rights.  

He would also restore the corporate tax rate from 21% back to 35%, eliminate the 20% deduction on pass-though business income and much more. 

He pointed out in outlining his plan Monday (Oct. 14) that if his plan had been in effect last year, Amazon would have paid $3.8 billion in taxes rather than nothing at all.  

“For more than 40 years, the largest and most profitable corporations in America have rigged the tax code and our economy to redistribute wealth and income to the richest and most powerful people in this country,” said Sanders. "[W]e will start breaking up some of the largest and most powerful companies in America to lower prices for consumers, help small business and make markets competitive.”  

Author: John Eggerton
Posted: October 14, 2019, 2:31 pm
The Profit returns for season seven on CNBC at 10 p.m. ET Nov. 5. Marcus Lemonis hosts the show, about how struggling businesses turn around. CNBC called the program its most-watched primetime show this year. Lemonis visits 12 entrepreneurs looking for a turnaround this season. “The Profit is a ...

Marcus Lemonis offers struggling business ventures cash for a piece of the biz

The Profit returns for season seven on CNBC at 10 p.m. ET Nov. 5. Marcus Lemonis hosts the show, about how struggling businesses turn around. CNBC called the program its most-watched primetime show this year.

Lemonis visits 12 entrepreneurs looking for a turnaround this season.

The Profit is a show about business, but it’s also about the people in business,” said Lemonis. “For me, it’s not just a financial investment, but rather an opportunity for a real transformation that helps set these business owners up for success.”

Lemonis visits businesses in Las Vegas, Austin, Atlanta, Park City and New Jersey, among other locales, this season. In each episode, he offers cash for a piece of the business and a percentage of the profits.

Lemonis runs the recreational vehicle business Camping World.

CNBC launches the podcast “The Profit” Oct. 15. A new episode premieres every Tuesday. Each 40-minute podcast will unlock stories from the past six seasons.

The Profit is produced for CNBC by Machete Productions with Amber Mazzola the executive producer. Marcus Lemonis, Mike Riley, Deirdre Bianchi and James Bolosh are the executive producers for CNBC.

Author: Michael Malone
Posted: October 14, 2019, 2:10 pm
Media software company Hudson MX said it named former FreeWheel exec Judd Rubin as senior VP, AgencyCloud. Rubin, who had been senior VP of revenue and marketing at FreeWheel Advertisers, part of Comcast, will work with agencies to enable customized marketplace through AgencyCloud, a set of API ...

Exec moves from Comcast’s FreeWheel Advertisers

Media software company Hudson MX said it named former FreeWheel exec Judd Rubin as senior VP, AgencyCloud.

Judd Rubin

Rubin, who had been senior VP of revenue and marketing at FreeWheel Advertisers, part of Comcast, will work with agencies to enable customized marketplace through AgencyCloud, a set of API that integrate agencies with media, technology and data partners.

“Judd Rubin is one of the best people in this industry when it comes to connecting resources and getting people on board with essential change,” said JT Batson, co-founder and CEO of Hudson MX.

“Our conversation around solving the problems of local media transactions began seven years ago when we were both frustrated by the proliferation of unstructured data and lost opportunities created by outdated systems and disparate technology,” Batson said. “The ecosystem at that time was challenging to work within, and almost impossible to interact with from the outside. With the introduction of AgencyCloud, we have created pathways for seamless transactions, a mechanism for all activity to become structured data, and the incentive for any potential partners to optimize their business by leveraging our solutions.”

At FreeWheel, Rubin helped launch one of the industry’s first buyer-centric OTT marketplaces. Before that he had his own consulting firm and led Mediaocean’s media convergence growth initiatives.

Rubin worked with Batson when both were with Mediaocean.

“Legacy systems worked perfectly in a closed environment, but interoperability is the backbone of business in 2020,” said Rubin. “Agencies and partners shouldn’t have to conform to the limitations of their software. By starting fresh, our clients get to dictate how they want to work and whom they want to work with to best serve their clients. With AgencyCloud providing a seamless communication layer to the Hudson MX platform, we are able to make collaboration and connectivity easy and configurable.”

Author: Jon Lafayette
Posted: October 14, 2019, 1:00 pm
Ad-supported streaming service Tubi said it plans to launch Tubi Kids on Oct. 21, joining the ranks of on-demand over-the-top services offering content aimed at kids and families. Tubi also said it plans to expand overseas starting with the U.K. in 2020. Tubi said its international rollout will be ...

Streamer expanding into U.K. in 2020

Ad-supported streaming service Tubi said it plans to launch Tubi Kids on Oct. 21, joining the ranks of on-demand over-the-top services offering content aimed at kids and families.

Tubi also said it plans to expand overseas starting with the U.K. in 2020. Tubi said its international rollout will be a rapid one.

Tubi Kids will feature more than 1,200 movie and television shows that the streamers said are age appropriate.

Related: Tubi Available Via Vizio Smartcast Sets

With the launch, Tubi joins Roku, which added a kids zone to its Roku Channel, as well as the upcoming Disney+ and HBO Max, which will stream Sesame Street and a growing list of kids titles.

“We’re ramping up our international expansion with the UK launch being the first of several forthcoming territories and look forward to announcing them soon,” said Farhad Massoudi, CEO of Tubi. “The launch of Tubi Kids reinforces our dedication to offer an age-appropriate viewing environment – super-serving kids and families with a robust amount of content.”

Tubi said that in September it streamed more than 132 million hours of content, a 40% increase in four months. 

Author: Jon Lafayette
Posted: October 14, 2019, 10:28 am
Visit AIMS at AES New York 2019 Booth 869 BOTHELL, Wash. — Oct. 11, 2019 — The Alliance for IP Media Solutions (AIMS) and the Audio Engineering Society (AES) today announced the complete lineup of presentations for the Audio/Video-over-IP Technology Pavilion Theater at the upcoming AES New York ...

Industry Speakers Will Cover 20 Audio- and Video-over-IP Topics Including Standards Updates, Technical Tutorials, and Real-World Use Cases

Visit AIMS at AES New York 2019 Booth 869

BOTHELL, Wash. — Oct. 11, 2019 — The Alliance for IP Media Solutions (AIMS) and the Audio Engineering Society (AES) today announced the complete lineup of presentations for the Audio/Video-over-IP Technology Pavilion Theater at the upcoming AES New York 2019 show, scheduled for Oct. 16-18 at the Javits Convention Center in New York City. Over the three-day convention, the theater will feature a continuous program of 30-minute presentations covering a broad range of topics on audio and video networking over IP.

"AES and AIMS are collaborating once again, to present the 2019 Audio/Video-over-IP Technology Pavilion, designed to offer visitors valuable insights and practical knowledge about audio and video over IP networking. And this year, we've expanded the scope of the pavilion to include video and other related professional media networking topics," said Terry Holton, AIMS Audio Group chairman. "Presenters ranging from industry associations and solutions providers to end users and technology developers will share their knowledge and perspectives on the latest developments in audio and video over IP technologies and deployments. Presentations are open to all AES attendees, as well as attendees to the NAB NY Show, which runs in parallel to the AES Convention. The presentations will provide a great learning opportunity for pro audio, broadcast, and pro AV professionals as they transition their operations and businesses to IP."

The 2019 Audio/Video-over-IP Technology Pavilion Theater presentations will address 20 topics and include technical tutorials, real-world case studies, market/business case analyses, point-of-view/advocacy, and updates on the progress of audio and video over IP standards. Covered technologies will range from AES67 and the SMPTE ST 2110 suite for Professional Media Over Managed IP Networks to AMWA NMOS specifications, timing and synchronization using SMPTE ST 2059, and the emerging JT-NM TR-1001-1 framework for installing, configuring, and interconnecting equipment.

AES New York 2019 will be co-located with the 2019 NAB Show New York, also taking place at the Javits Convention Center Oct. 16-17. The full schedule of presentations for the Audio/Video-over-IP Technology Pavilion is available at: http://www.aes.org/events/147/aoip/?displayall.

# # #

About the Alliance for IP Media Solutions
The Alliance for IP Media Solutions (AIMS) is a not-for-profit organization dedicated to the education, awareness, and promotion of industry standards for the transmission of video, audio, and ancillary information over an IP infrastructure, as well as products based on those standards. The group represents the interests of broadcast, pro audio and pro AV companies, and technology suppliers that share a commitment to facilitating the industry's transition from baseband to IP through industry standards and interoperable solutions that enable the rapid evolution to open, agile, and versatile production environments.

Link to Word Doc: www.wallstcom.com/AIMS/191011AIMS.docx

Photo Link: www.wallstcom.com/AIMS/AIMS-logo_gradient.jpg
Photo Caption: AIMS Logo

Author: Wall Street Communications
Posted: October 11, 2019, 9:16 pm
LOS ANGELES and WHITE PLAINS, N.Y. — Oct. 11, 2019 — SMPTE®, the organization that is defining the future of storytelling, today announced that science writer and science comedian Kasha Patel will host the 2019 SMPTE Awards Gala. Scheduled for Thursday, Oct. 24, the gala and afterparty will serve ...

Patel Is a Digital Storyteller at NASA Earth Observatory, Stand-Up Comic, and Founder of a Science-Themed Comedy Show

LOS ANGELES and WHITE PLAINS, N.Y. — Oct. 11, 2019 — SMPTE®, the organization that is defining the future of storytelling, today announced that science writer and science comedian Kasha Patel will host the 2019 SMPTE Awards Gala. Scheduled for Thursday, Oct. 24, the gala and afterparty will serve as the concluding events of the SMPTE 2019 annual technical conference (SMPTE 2019), which runs from Oct. 21-24 at the Westin Bonaventure Hotel & Suites in downtown Los Angeles.

"The SMPTE Awards Gala audience is just my kind of crowd, and I look forward to sharing the room with scientists, engineers, and storytellers who share my love for engaging in creative and entertaining ways," said Patel. "I'm honored to be hosting this event and helping to celebrate the people whose work and ideas are driving the future of storytelling."

Patel is a digital storyteller at NASA Earth Observatory by day and a science comedian by night. In addition to being listed on Thrillist magazine's "Best Undiscovered Comedians in the U.S." list, she has been featured in The Washington Post, BBC World News, and the Travel Channel's "Mysteries at the Museum," and she will be appearing in a series on The Science Channel in 2020. Patel hosted an award-winning miniseries for NASA TV highlighting Earth science fieldwork, founded the live science-themed variety show "Science Comedy Night," hosted the Undark magazine podcast, and united her love for science and comedy with her TEDx Talk, "Sneaking Science Into Stand-Up," where she shares a series of surprising revelations pulled from her analysis of more than 500 of her stand-up jokes.

SMPTE's annual conference is the world's premier forum for the exploration of media and entertainment technology, and each year the Awards Gala honors industry leaders and innovators, both past and present. In addition to the gala, SMPTE 2019 will offer a wealth of technical sessions and exhibitions of advanced technologies, as well as special events that offer numerous opportunities for face-to-face interaction between attendees, exhibitors, and speakers.

Complete information about SMPTE 2019, including a detailed schedule and registration, is available at 2019.smpte.org. More information about SMPTE is available at smpte.org.

# # #

About SMPTE®
The Society of Motion Picture and Television Engineers®, or SMPTE, is defining the future of storytelling. The Society's mission is to enable the technical framework that allows the global professional community to make media for artistic, educational, and entertainment purposes and to distribute that content for the benefit and enjoyment of people worldwide. As a global volunteer-driven society of technologists, developers, and creatives, SMPTE is engaged in driving the quality and evolution of motion pictures, television, and professional media. The Society sets industry standards that help businesses maximize their markets more cost-effectively, provides relevant education that supports members' career growth, and fosters an engaged and diverse membership community.

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

Link to Word Doc: www.wallstcom.com/SMPTE/191011SMPTE.docx

Link to Photos:
www.wallstcom.com/SMPTE/SMPTE-2019_two_color_logo.jpg
Photo Caption: SMPTE 2019 Logo

Link to Photos:
www.wallstcom.com/SMPTE/SMPTE-Patel_stage.jpg
www.wallstcom.com/SMPTE/SMPTE-Patel_stage_wide.JPG
www.wallstcom.com/SMPTE/SMPTE-Patel_headshot.jpg
Photo Caption: Kasha Patel, Host of the 2019 SMPTE Awards Gala

Author: Wall Street Communications
Posted: October 11, 2019, 8:34 pm
Shepard Smith is stepping down from his role as chief news anchor and managing editor of breaking news at Fox News Channel. Smith’s final show was Oct. 11. Rotating anchors will fill his 3 p.m. slot until a new program is announced. Smith was an original hire at the network in 1996. “Shep is one ...

An original hire at the network, anchor seeks ‘new chapter’

Shepard Smith is stepping down from his role as chief news anchor and managing editor of breaking news at Fox News Channel. Smith’s final show was Oct. 11. Rotating anchors will fill his 3 p.m. slot until a new program is announced.

Shepard Smith

Smith was an original hire at the network in 1996.

“Shep is one of the premier newscasters of his generation and his extraordinary body of work is among the finest journalism in the industry,” said Jay Wallace, president and executive editor at Fox News Media. “His integrity and outstanding reporting from the field helped put Fox News on the map and there is simply no better breaking news anchor who has the ability to transport a viewer to a place of conflict, tragedy, despair or elation through his masterful delivery. We are proud of the signature reporting and anchoring style he honed at Fox News, along with everything he accomplished here during his monumental 23-year tenure. While this day is especially difficult as his former producer, we respect his decision and are deeply grateful for his immense contributions to the entire network.”

Related: Fox News Is Most Watched Cable Network in Third Quarter

Smith anchored Shepard Smith Reporting weekdays at 3 p.m. Before that, he anchored The Fox Report and Studio B.

The announcement--Smith let viewers know on his last show--follows a dust-up between Smith and prime time Fox News commentator Tucker Carlson, who complained when Smith defended a comment by a Fox analyst that President Trump may have broken the law. 

Related: Fox's Shep Smith Receives Zeidenberg Award

“Recently I asked the company to allow me to leave Fox News and begin a new chapter. After requesting that I stay, they graciously obliged,” he said. “The opportunities afforded this guy from small town Mississippi have been many. It’s been an honor and a privilege to report the news each day to our loyal audience in context and with perspective, without fear or favor. I’ve worked with the most talented, dedicated and focused professionals I know and I’m proud to have anchored their work each day — I will deeply miss them.”

Smith said per his agreement with Fox he won't be reporting anywhere else in the near term. 

Prior to joining Fox News, Smith was a correspondent at the Fox affiliate news service, Fox News Edge. He had been a reporter at WSVN Miami, the former WCPX Orlando, WBBH Fort Myers and WJHG Panama City. 

Smith had a reputation for delivering straight political news, when others on the network stuck closer to party lines. Last month, Smith pushed back on the President's claims about a border wall.

The President this week, in a tweeted attack on Fox, included Smith in a list of folks that he said "doesn't deliver for US anymore." 

 

Author: Michael Malone
Posted: October 11, 2019, 8:04 pm
Eutelsat, which exited the C-Band Alliance last month saying it wanted to make its own case for freeing up some of that spectrum for 5G, has told the FCC that it would consider re-joining the alliance under certain circumstances. That is according to a meeting between Rudolphe Belmer, Eutelsat CEO, ...

Says it is definitely in for helping CBA as transition facilitator

Eutelsat, which exited the C-Band Alliance last month saying it wanted to make its own case for freeing up some of that spectrum for 5G, has told the FCC that it would consider re-joining the alliance under certain circumstances.

That is according to a meeting between Rudolphe Belmer, Eutelsat CEO, and FCC chairman Ajit Pai--Belmer met with other FCC commissioners and officials to make the same points.

Belmer told the chairman Eutelsat still supports "the objectives" of expedited deployment of midband (C-band) spectrum for 5G as well as the secondary market approach for freeing it up (private deals rather than an FCC auction).

He also said Eutelsat would be willing to consider re-joining the alliance, "if, among other things, the structure and governance of the CBA and the proceeds allocation could be altered to better represent the interests of all affected stakeholders."

CBA has proposed to act as the facilitator for the transition of C-band spectrum to terrestrial 5G. Belmer said his company backs that, and would definitely agree to rejoin the alliance at least for that transition process.

Eutelsat is also open to considering clearing more than the 200 MHz in the CBA plan, Belmer said, but only after carefully weighing the costs and impact on customers.

Related: ACA Connects with FCC over C-Band Info

The alliance comprises the major satellite operators, all international, that provide network distribution services to broadcasters and cable operators. The companies--Intelsat, Telesat, and SES--are backing a private auction of the spectrum. Cable operators represented by ACA Connects, as well as Charter and the Competitive Carriers Association, are backing a different approach.

Cable operators, who are eyeing midband spectrum for their own 5G plans, are open to freeing up more than 200 MHz (370 MHz and and perhaps all 500) by shifting from satellite delivery to fiber. Broadcasters have been pushing back on that proposal, saying that would put their network feeds at the mercy or any Jane or Joe with an errant backhoe.

Author: John Eggerton
Posted: October 11, 2019, 8:03 pm
TAG Video Systems Executives Tapped to Share Expertise at Two NY Events CCO Kevin Joyce to speak at Video Services Forum October meeting CEO Abe Zerbib to serve as panelist at SVG’s TranSPORT event New York – October 10, 2019 – Two TAG Video Systems’ Executives will be sharing their expertise with ...

TAG Video Systems Executives Tapped to Share Expertise at Two NY Events

CCO Kevin Joyce to speak at Video Services Forum October meeting

CEO Abe Zerbib to serve as panelist at SVG’s TranSPORT event

New York – October 10, 2019 – Two TAG Video Systems’ Executives will be sharing their expertise with sold-out crowds at industry events in October. Kevin Joyce, TAG’s newly appointed Chief Commercial Officer has been tapped as a speaker at Video Services Forum’s (VSF) October 14 meeting, and CEO Abe Zerbib is slated to serve as a panelist at Sport Video Group’s (SVG) TranSPORT conference on Tuesday, October 15. VSF and SVG have teamed up to hold back-to-back events at the Microsoft Technology Center In New York.

On Monday, October 14, Joyce will address attendees at VSF’s October meeting. VSF, an international association dedicated to interoperability and quality metrics, hosts forums to identify and address issues involving the development, engineering, installation, testing and maintenance of video networking technologies. Joyce’s presentation - Achieving low latency in 100% software in uncompressed (2110 JPEG 2K) workflows – will be delivered from 1:15 – 2:00 PM and will delve into the need for low latency in live-production applications, the journey to embracing SMPTE ST 2110, and the benefits of software-based systems to broadcasters.

On Tuesday, October 15 from 1:20 – 2:00 PM Zerbib will join other distinguished industry professionals at SVG's annual TranSPORT conference on a panel titled - Traditional vs. OTT Distribution Technology: Where are we? The session will explore the shift from linear TV to streaming outlets and engage the participants in a discussion about their technological strategies, how to deliver a high-quality viewing experience to fans regardless of their preferred screen, and where the business is headed.

Both Joyce and Zerbib will draw upon their first-hand experience working with TAG, the world leader in integrated software-based IP Probing, Monitoring and Multiviewer solutions, and the world’s first and only 100% Software, 100% IP solution capable of running on standard off-the-shelf-hardware for all four primary video applications: Live Production, Playout, Distribution and OTT.

The events, both of which have sold-out registration, precede NAB Show New York - the popular, annual industry Trade Show to be held at the Jacob K. Javits Convention Center on October 16 & 17 where Joyce and Zerbib will be available in Booth N 861 to demonstrate TAG’s solution and talk to visitors about its benefits.

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 40,000 channels across the four primary broadcasting applications - Live Production, Playout/Master Control, Distribution and OTT. Its solutions allow Broadcasters and Content Distributors the greatest scalability and flexibility 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 off-the-shelf hardware (COTS), providing state-of-the-art IP monitoring and analysis tools combined with the 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: October 11, 2019, 7:13 pm
The next Democratic presidential debate happens Oct. 15 in Westerville, Ohio. CNN will carry the shindig and a dozen candidates will make their case for the presidency. Moderators are CNN anchors Erin Burnett and Anderson Cooper, and New York Times national editor Marc Lacey. The debate happens at ...

Warren, Biden, Harris, Sanders to do battle, Anderson Cooper to moderate

NBC News' Democratic debate broadcast in June 2019.

The next Democratic presidential debate happens Oct. 15 in Westerville, Ohio. CNN will carry the shindig and a dozen candidates will make their case for the presidency.

Moderators are CNN anchors Erin Burnett and Anderson Cooper, and New York Times national editor Marc Lacey.

The debate happens at Otterbein University.

The candidates onstage will be Joseph Biden, Elizabeth Warren, Bernie Sanders, Cory Booker, Amy Klobuchar, Andrew Yang, Kamala Harris, Julian Castro, Pete Buttigieg, Tom Steyer, Tulsi Gabbard and Beto O’Rourke.

It’s the Dems’ fourth presidential debate, and the first one where all candidates appear on one stage on the same night.

Author: Michael Malone
Posted: October 11, 2019, 6:59 pm
PHABRIX, a worldwide leader in test and measurement solutions, is pleased to confirm that Creative Technology, an NEP Live Events company, has purchased a fourth Qx rasterizer for the company’s new portable production unit (PPU). Creative Technology (CT) covers a wide variety of live events across ...

PHABRIX, a worldwide leader in test and measurement solutions, is pleased to confirm that Creative Technology, an NEP Live Events company, has purchased a fourth Qx rasterizer for the company’s new portable production unit (PPU).

Creative Technology (CT) covers a wide variety of live events across the broadcast, corporate, entertainment and sports industries, including a lot of live music events and tours such as Kylie Minogue and Glastonbury Festival. CT began using PHABRIX equipment some years ago on recommendation, beginning with a handheld system. The reliability and functionality of this unit led the company to purchase a Qx for each of its three original PPUs.

Sid Lobb, Head of Vision & Integrated Networks at Creative Technology, commented, “PPUs need to be small for transportation, but fully-featured. We chose the Qx rasterizers because they were a cost-effective and space-efficient way of engineering 4K content and they have an excellent feature set in a great form factor. Also, engineering from a scope can be quite tricky, so having all the information on a single hi-res monitor in front of the engineer makes it much easier to take in.”

Qx is the world’s first fully flexible rasterizer for hybrid IP/SDI analysis and video/audio monitoring, offering the latest hybrid IP/SDI test and measurement tools for environments that require 4K/UHD (12G/6G/3G-SDI), HD-SDI as well as SMPTE ST 2110, ST 2022-7, ST 2059 (PTP), AMWA NMOS IS-04 and IS-05* and ST 2022-6 formats. “This flexibility is very important because, while we currently work with 4K at 12G, we will be ready as and when we add IP capabilities to the PPUs,” said Lobb.

CT is seeing the demand for 4K gradually increasing, with Lobb estimating it at currently around 20% of total projects. “The demand for 4K in music and touring is certainly growing, primarily for recording,” he said. “The LED screens that we shoot for are becoming higher and higher resolution, so they need better quality images. Similarly, screen resolution in corporate work has increased a lot in recent years.”

CT’s latest PPU build follows the same model as the others, with the Qx being part of a common hardware platform surrounding Ross Carbonite, Grass Valley Korona, Kula and Kahuna mixers, which allows for modularity and scalability of our camera systems.

“The Qx fits really well into our PPU workflow. Having a standard build also means we have one consistent kit across the fleet, so we don’t have to retrain our engineers on lots of different scopes,” adds Lobb.

The new PPU, with its Qx on board, has already been out in the field at the 2019 Latitude Festival, a Mumford and Sons tour, a conference for a major pharmaceuticals company and a Major League Baseball breakout event in London.

###

Posted: October 11, 2019, 6:55 pm
SportsEngine, the NBC Sports Group company, said it has promoted two executives who become part of its Minneapolis-based leadership team. Brett MacKinnon was named senior VP of sales and Jody Vogelaar was named senior VP of marketing and content. MacKinnon joined SportsEngine in 2013 and will ...

MacKinnon, Vogelaar named senior VPs

SportsEngine, the NBC Sports Group company, said it has promoted two executives who become part of its Minneapolis-based leadership team.

Brett MacKinnon

Brett MacKinnon was named senior VP of sales and Jody Vogelaar was named senior VP of marketing and content.

MacKinnon joined SportsEngine in 2013 and will oversee inside and enterprise sales, advertising and sponsorship sales and business development for SportsEngine’s competition and sports management platforms. Previously he was at Search Leaders and Cbeyond.

Vogelaar has been with SportsEngine since 2016. He will lead customer marketing and engagement, creative services, and the company’s youth sports content strategy. Before SportsEngine, he was with Roku and News Corp.

Author: Jon Lafayette
Posted: October 11, 2019, 6:44 pm
YOKOHAMA, Japan — Oct. 11, 2019 — Leader Electronics Corporation, a global producer of high-performance test and measurement solutions, has enhanced its ZEN series waveform monitors and rasterizers with the ability to decode and display the SR Live Metadata packet proposed by Sony Imaging Products ...

YOKOHAMA, Japan — Oct. 11, 2019 — Leader Electronics Corporation, a global producer of high-performance test and measurement solutions, has enhanced its ZEN series waveform monitors and rasterizers with the ability to decode and display the SR Live Metadata packet proposed by Sony Imaging Products & Solutions. The packet structure supports Sony's SR Live for HDR production workflow, which allows 4K HDR and HD HDR video to be produced simultaneously within an HD SDR live-production environment.

SR Live Metadata is embedded into the SDI signal in accordance with the SMPTE ST 291-1 Ancillary Data Packet and Space Formatting standard. As a result, newly enhanced ZEN series (LV5600/LV7600/LV5350/LV5300/LV7300) products can decode and display the following information:

Table Version, OETF, Transfer Matrix, Color Gamut, Conversion Mode, HDR Look, HDR Black Compression, SDR Gain, Master Black, HDR Black Offset, Gamma Table, Gamma Step, Gamma Level, Knee, Knee Point, Knee Slope, Knee Saturation, Knee Saturation Level, Soft Knee, Knee Radius, SDR White Clip, SDR White Clip Level, HDR Knee, HDR Knee Point, and HDR Knee Slope.

Leader Electronics supports SR Live Metadata to enable efficient content production workflows, and the SR Live Metadata decode and display feature is now available as a standard function on all new ZEN series waveform monitors and rasterizers. For previously purchased ZEN products, users can add this feature free of charge by downloading and updating their units to the latest firmware, which is available on the Leader website.

Further information about Leader and the company's products is available at www.leader.co.jp/en/.

# # #

About Leader Electronics Corporation
Leader Electronics is a manufacturer specializing in electronic measurement instruments. The company's strengths lie in video-related fields including 8K, 4K, and high-definition video for television and motion pictures, and its primary business is to develop, manufacture, and sell measurement instruments for video production, postproduction, and broadcast requirements.

Product or service names mentioned herein are the trademarks of their respective owners.

Link to Word Doc: www.wallstcom.com/Kokoro/191011Leader.docx

Photo Link:
www.wallstcom.com/Kokoro/Leader-Sony_SR_Live.png
Photo Caption: SR Live for HDR Logo

Photo Link:
www.wallstcom.com/Kokoro/Leader-Sony_Hybrid_IP:SDI.png
Photo Caption: Hybrid IP/SDI Waveform Monitor LV5600

Photo Link:
www.wallstcom.com/Kokoro/Leader-Sony_SR_Live_Metadata.png
Photo Caption: SR Live Metadata Packet Display on LV5600

Author: Wall Street Communications
Posted: October 11, 2019, 6:42 pm
At the 2019 NAB Show New York, Videon will showcase its award-winning EdgeCaster edge compute encoder. The EdgeCaster is the industry's first HTTP CMAF streaming encoder to include multiple-bit-rate outputs in support of ultra-low-latency streaming solutions for broadcast, pro AV, and a multitude ...

At the 2019 NAB Show New York, Videon will showcase its award-winning EdgeCaster edge compute encoder. The EdgeCaster is the industry's first HTTP CMAF streaming encoder to include multiple-bit-rate outputs in support of ultra-low-latency streaming solutions for broadcast, pro AV, and a multitude of new applications — at an industry-leading price point.

2019 NAB Show New York Highlight: EdgeCaster Ultra-Low-Latency Encoder
Videon's EdgeCaster is at the forefront of edge computing, enabling 4K HEVC and H.264 encoded signals as part of an HLS, DASH, and CMAF workflow while simultaneously creating six different encoded output versions. By performing computationally intensive, expensive functions on the encoder, rather than in the cloud, the EdgeCaster enables faster-than-broadcast latency while also reducing the cost of streaming.

The key to the EdgeCaster's management of time-laden, expensive cloud functions, such as transcoding, format repackaging, multiple-bit-rate creation, and other computationally intensive processes, is Videon's intellectual property developed using Qualcomm® technology. With the processing power of the SnapDragon™ chip, the EdgeCaster streams at resolutions up to 4K at 30 FPS using either H.264 or H.265/HEVC compression. The EdgeCaster can also output up to six streams simultaneously, in multiple bit rates and resolutions, using chunked HLS or DASH, and still offer the flexibility to take advantage of power over ethernet (PoE).

As an AWS Elemental Technology Partner, Videon's EdgeCaster interfaces directly to MediaStore and Cloudfront, enabling less than three seconds of latency, in scale, over public internet connections using standard HTTP-compatible applications for playback. As a result, EdgeCaster users can easily launch and scale up services — including live, interactive services and other delay-sensitive applications.

In addition to HTTP-based streaming, the EdgeCaster can simultaneously support two additional low-latency formats. Videon's support for SRT allows users to stream from building to building or across campuses while achieving latency of less than half a second. The EdgeCaster's robust feature set ensures maximum flexibility by touting three low-latency options ranging from worldwide in three seconds, one second interactive, and less than a second for unparalleled point-to-point streaming.

Company Quote:

"Our EdgeCaster edge compute encoder democratizes interactive live streaming by uniting ultra-low latency and support for multiple simultaneous workflows in a single, attractively priced solution. EdgeCaster empowers users to take full advantage of the numerous opportunities that arise when live streaming truly is live. Enabling highly effective social video engagement with audiences both local and global, across numerous platforms, this unique solution is changing the way video is delivered across applications ranging from live events and esports to auctions, betting, and event enterprise connectivity."
— Todd Erdley, CEO, Videon

Headshot Link: www.wallstcom.com/Videon/Videon-ToddErdley.jpg

Company Profile:

Videon is a world-leading provider of ultra-low-latency, high-resolution, and high-performance streaming solutions that enable users in the prosumer, pro AV, and broadcast markets to simplify streaming workflows and reduce costs. Videon has also partnered with top software brands around the globe to incorporate its technology solutions into millions of devices. Videon actively supports its employees, its community, and the environment by emphasizing the belief that employees should care more about others than they do about themselves.

Videon simply moves media. https://videon-central.com/

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

Link to Word Doc: www.wallstcom.com/Videon/191010Videon.docx

Image Download: www.wallstcom.com/Videon/Videon-EdgeCasterHD.jpg
EdgeCaster significantly reduces latency and cloud service fees while improving the viewer experience.

Follow Videon:
Facebook: https://www.facebook.com/videon.central
Twitter: https://twitter.com/Videon_Central
LinkedIn: https://www.linkedin.com/company/videon-central/

Author: Wall Street Communications
Posted: October 11, 2019, 6:32 pm
Federal Trade Commission chairman Joe Simons has said he intends to name Ian Conner as the new head of the commission's Competition Bureau. Conner is currently the deputy director of the bureau, a post he has held since September 2017, appointed by then chairman Maureen Ohlhausen as acting ...

Ian Conner had been deputy director

Federal Trade Commission chairman Joe Simons has said he intends to name Ian Conner as the new head of the commission's Competition Bureau.

Conner is currently the deputy director of the bureau, a post he has held since September 2017, appointed by then chairman Maureen Ohlhausen as acting director. Conner is formerly a partner in the antitrust and competition group at Kirkland & Ellis.

Along with the Justice Department the bureau enforces antitrust laws, so it is one of the key players in the oversight of broadband following the FCC's reclassification of broadband as a Title I service under the argument that antitrust enforcers could oversee ISP conduct rather than via bright-line rules enforced by the FCC.

Related: FTC Prepares to Wade Into Digital Age Competition

Conner's resume also includes a trial attorney in the Transportation, Energy and Agriculture Section of the Justice Department's Antitrust Division. He was also a special assistant U.S. attorney in the Eastern District of Virginia and taught a class on antitrust and merger review at the College of William & Mary.

Conner will be replacing Bureau of Competition Director Bruce Hoffman, who is exiting in November after more than two years in the post. Under Hoffman, the FTC challenged 42 mergers and participated in nine trials, including winning its monopolization case against Qualcomm over smart phone chips.

Hoffman also helped create the agency's Technology Task Force to monitor Big Tech and investigate potential anticompetitive conduct. The FTC has been under some pressure from Capitol Hill to figure out whether Big Tech was allowed to anticompetitively "buy up" to monopoly. 

Author: John Eggerton
Posted: October 11, 2019, 6:22 pm
Fox won Thursday prime Nielsens by a mile, with football setting the winning pace despite dropping from last week. Thursday Night Football led Fox to a 3.4 in viewers 18-49, per the Nielsen overnights, and a 16 share. In a distant second was ABC at 0.9/4. Giants-Patriots took up Fox’s prime. Last ...

‘Supernatural’ starts a bit slow on CW

Fox won Thursday prime Nielsens by a mile, with football setting the winning pace despite dropping from last week. Thursday Night Football led Fox to a 3.4 in viewers 18-49, per the Nielsen overnights, and a 16 share. In a distant second was ABC at 0.9/4.

Giants-Patriots took up Fox’s prime. Last week’s game, Seahawks versus Rams, got a 3.7.

ABC had Grey’s Anatomy at a flat 1.3, A Million Little Things down 11% to 0.8 and How to Get Away With Murder at a level 0.5.

CBS got a 0.7/3 and NBC a 0.6/3.

On CBS, it was Young Sheldon at a flat 1.0 and The Unicorn off 13% at 0.7. Mom got a flat 0.8 and Carol’s Second Act slid 14% to 0.6. Evil rated a level 0.6.

On NBC, Superstore did a flat 0.8 and Perfect Harmony dropped 20% to 0.4. The Good Place rated a 0.6 and Sunnyside a 0.3, both flat, then Law & Order: SVU slid 14% to 0.6. Univision scored a 0.4/2 and Telemundo a 0.3/2.

On Univision, La Rosa de Guadalupe rated a level 0.4 and La Usurpadora dropped 17% to 0.5. El Dragon got a flat 0.5.

On Telemundo it was Exatlon Estados Unidos and El Final Del Paraiso at 0.4, Exatlon down a tenth and El Final flat, then No Te Puedes Esconder off 33% for a 0.2

The CW posted a 0.3/1. Season premieres for Supernatural got a 0.4, down a tenth from last fall’s opener, and Legacies a 0.3, level with last year’s premiere.

Author: Michael Malone
Posted: October 11, 2019, 6:09 pm
IRVINE, Calif. — Oct. 10, 2019 — Renowned wildlife cinematographer Steve Lumpkin has chosen Sonnet's Solo10G™ Thunderbolt™ 3 Edition 10GbE adapter to accelerate and streamline postproduction workflows for his Endless Treasures of Botswana project. The Solo10G played an integral role in Lumpkin's ...

Thunderbolt 3 to 10 Gigabit Ethernet (10GbE) Adapter Delivers Tenfold Performance Boost for 4K Editing and Storage Workflows

IRVINE, Calif. — Oct. 10, 2019 — Renowned wildlife cinematographer Steve Lumpkin has chosen Sonnet's Solo10G™ Thunderbolt™ 3 Edition 10GbE adapter to accelerate and streamline postproduction workflows for his Endless Treasures of Botswana project. The Solo10G played an integral role in Lumpkin's just-released mini-documentary, "Speed Kills: Kalahari Cheetah Family."

In partnership with the Government of Botswana, Endless Treasures of Botswana is a non-profit project to create both still images and films that showcase the country's success in protecting its diverse and protected wildlife population, including big cats, elephants, and wild dogs. Lumpkin spent 65 days taking still photographs and filming video in the bush, with much of the video shot in 4K.

Until recently, Lumpkin was struggling in postproduction with a large performance lag while trying to transfer 4K video files from his QNAP TVS-882T NAS storage system to his iMac Pro®. He was only getting read times of about 100 Mb/sec from Thunderbolt, which made editing the 4K footage difficult. On the recommendation of Bob Zelin, video engineering consultant and owner of Rescue 1, Lumpkin installed the Solo10G adapter, which uses the 10GBASE-T standard and Ethernet cables to deliver lightning-fast connectivity between computers and high-speed infrastructure and storage systems.

"Products like Sonnet's Solo10G are critical for helping our team celebrate Botswana's recognition as the conservation leader of Africa," Lumpkin said. "Instantly after I connected the Solo10G, I jumped to a transfer rate of more than 880 megabytes per second, a nearly tenfold throughput increase. And now the system just screams – the Solo10G has accelerated every piece of my workflow, from ingest to 4K editing to rendering and output. Honestly, the Solo10G is a gamechanger for any editor that needs to connect to a storage array using Thunderbolt."

Endless Treasures of Botswana's newest title, "Speed Kills: Kalahari Cheetah Family," is set in the wilds of Botswana's Central Kalahari Game Reserve, the second largest game reserve in the world. The film follows Diana, mother of two female cubs, as she roams from Deception Valley to Letiahau in the reserve. Lumpkin and his team spent 18 days with her and the cubs as they scratched out a living in bush thick with lions and leopards.

"For more than a decade, Steve has been traveling to the Republic of Botswana to capture and celebrate the country's diverse and protected wildlife population. His passion for these animals comes through in every one of his stunning photographs and films," said Greg LaPorte, vice president of sales and marketing, Sonnet Technologies. "We're honored that the Solo10G is playing such a key role in accelerating Steve's ability to tell the story of Botswana and its tremendous success in protecting threatened species."

More information on the Solo10G Thunderbolt 3 Edition is available at www.sonnettech.com/product/solo-10g-tb3.html.

More information on Sonnet and its other products is available at www.sonnettech.com.

# # #

About Sonnet Technologies
Sonnet Technologies Inc. is a leading provider of Thunderbolt™ 3 to PCIe® card expansion systems; external graphics (eGFX) solutions for pro users and gamers; pro media readers; docks and adapters; and network, storage, and other interface cards for pro users in the audio, video, and broadcast industries. Sonnet's Thunderbolt expansion products enable the use of pro audio I/O and DSP cards, pro video capture and transcoding cards, GPU cards, network and storage interface cards, and other high-performance PCIe cards with Thunderbolt technology-enabled computers. For more than 30 years Sonnet has pioneered and brought to market innovative and award-winning products that enhance the performance and connectivity of Mac®, Windows®, and other industry-standard computers. More information is available at www.sonnettech.com.

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

Link to Word Doc: www.wallstcom.com/Sonnet/191010Sonnet.docx

Link to Photos:
www.wallstcom.com/Sonnet/Sonnet-CinematagrapherSteveLumpkin.jpg
www.wallstcom.com/Sonnet/Sonnet-SteveLumpkinCheetah.jpg
www.wallstcom.com/Sonnet/Sonnet-SteveLumpkinLion.jpg
www.wallstcom.com/Sonnet/Sonnet-SteveLumpkinLions.jpg
www.wallstcom.com/Sonnet/Sonnet-SteveLumpkinLionPride.jpg
Image Caption: Renowned wildlife cinematographer Steve Lumpkin uses Sonnet's Solo10G™ Thunderbolt™ 3 Edition 10GbE adapter to accelerate and streamline postproduction workflows for his Endless Treasures of Botswana project.

Follow Sonnet Technologies:
Twitter: https://twitter.com/SonnetTech
Facebook: https://www.facebook.com/SonnetTech/
LinkedIn: https://www.linkedin.com/company/sonnet-technologies/
YouTube: https://www.youtube.com/user/SonnetTech/playlists

Author: Wall Street Communications
Posted: October 11, 2019, 6:04 pm
The new co-production stars: Orla Brady (American Horror Story, Mistresses,) Eileen Walsh (Catastrophe, Women on the Verge, Can’t Cope Won’t Cope), Ger Ryan (Little Dog, Rialto, Raw), Lily Nichol (MJ, Handymen), Steve Wall (Vikings, An Klondike, Rebellion), Kevin J. Ryan (Copper, Guilt), Patrick ...

The new co-production stars:

Orla Brady (American Horror Story, Mistresses,) Eileen Walsh (Catastrophe, Women on the Verge, Can’t Cope Won’t Cope), Ger Ryan (Little Dog, Rialto, Raw), Lily Nichol (MJ, Handymen), Steve Wall (Vikings, An Klondike, Rebellion), Kevin J. Ryan (Copper, Guilt), Patrick Bergin (Sleeping with the Enemy, Patriot Games, EastEnders, Red Rock), and introducing Sam Barrett

October 11, 2019 - RTÉ and Acorn Media Enterprises (AME) have partnered to commission The South Westerlies, an Irish comedy-drama with Dublin based Deadpan Pictures, alongside ZDF Enterprises, TV2 Norway and in association with Screen Ireland. Filming rolled into action in mid-September and the ten week shoot will roll until mid-November. The shoot locations include Wicklow town and Cork in Ireland and Oslo in Norway. Anagram Norway are providing production services in Oslo.

When a small coastal town in the south-west of Ireland is earmarked for a Norwegian-owned wind farm, it’s not just the spectacular scenery that’s under pressure. For a single working mother, tasked with going undercover to bring the project home, her eco-battle is compounded by the return of a crinkly-eyed surfer with an unmistakable resemblance to her teenage son.

The South Westerlies is created by Catherine Maher and written by Catherine Maher, Hugh Travers, Hilary Reynolds and Michelle Duffy. The six part series is directed by Simon Gibney (Doctors Nowhere Fast) and Declan Recks (Drop Dead Weird, The Flag, Pure Mule).

Acorn Media Enterprises with its distributor Acorn Media International, has secured all rights in North America, Australia, New Zealand and United Kingdom; and secondary rights in Ireland. ZDF Enterprises will distribute the series in the rest of the world. The South Westerlies will premiere in 2020 on RTÉ in Ireland and shortly thereafter on AMC Networks’ streaming service Acorn TV in the United States as an Acorn TV Original.

The South Westerlies boasts an impressive ensemble of acclaimed actors including, Orla Brady (American Horror Story, Mistresses,) as Kate, Eileen Walsh (Catastrophe, Women on the Verge, Can’t Cope Won’t Cope) as Breege, Ger Ryan (Little Dog, Rialto, Raw) as Noreen, Sam Barrett as Conor, Lily Nichol (MJ, Handymen) as Poppy, Steve Wall (Vikings, An Klondike, Rebellion) as Baz and Patrick Bergin (Sleeping with the Enemy, Patriot Games, EastEnders, Red Rock) as Michael.

Based in Dublin, Kate Ryan is working as an Environmental Compliance consultant for Norwegian energy giant Noreg Oil, she’s on the verge of a lucrative promotion and transfer to HQ in Oslo. But there’s a caveat; a final assignment for NorskVentus (Noreg Oil’s new wind-power subsidiary).

Despite getting planning permission for their wind farm, offshore from the West Cork town of Carrigeen, ongoing local protests are creating a PR nightmare. Kate must go undercover to Carrigeen, quash objections before the six-week Appeals deadline and smooth the path for imminent turbine installation, or her promotion is off the table. She’s furious, and her son Conor’s not pleased either. Six weeks with his mother in West Cork wasn’t on his summer agenda. But uppermost in Kate’s mind is keeping old secrets firmly under wraps.

As a public service media organisation, creating and delivering original Irish drama and comedy in partnership with the independent production sector is an important part of RTÉ’s role. We're very proud to support and develop this exciting project with such a talented cast. It’s been great working together with Deadpan Pictures, Acorn, Screen Ireland and ZDF Enterprises to bring this new homegrown six-part drama from script to screen for our viewers on RTÉ One” said Shane Murphy, RTÉ’s Group Head of Drama and Comedy.

With an impressive ensemble cast led by Orla Brady, a picturesque setting, and first-rate writing, The South Westerlies will definitely interest Acorn TV’s subscribers and audiences worldwide. Acorn is excited to be working with our friends at RTÉ, Deadpan Pictures, Screen Ireland, and ZDF Enterprises to produce another high-quality drama,” said Catherine Mackin, Managing Director of Acorn Media Enterprises.

“The South Westerlies is very much a series for our climate-changing-times, an ensemble comedy drama set in a picturesque seaside town divided. It’s warm and funny, while also shot through with darker shenanigans. Alongside our brilliant cast and crew, it’s great to be partnering again with Acorn, RTÉ, ZDF Enterprises and Screen Ireland to bring The South Westerlies to both Irish and international audiences alike,” said Ailish McElmeel, Co-founder, Deadpan Pictures.

We are thrilled to add this exciting drama series to our slate. It combines entertainment, suspense and ‘something for the soul’. The compelling mix of Irish and Norwegian elements in the series will be a must have for every channel in 2020," said Robert Franke, ZDF Enterprises‘ VP ZDFE.drama.

We are delighted to support the development and production of The South Westerlies as part of Screen Ireland’s new focus on episodic TV drama. Deadpan Pictures is a dynamic Irish company going from strength to strength, with a growing slate of high-end comedy and drama TV shows. With The South Westerlies, Catherine Maher has created an unapologetically warm and funny piece of Sunday night entertainment. The show will bring Irish talent and images of Ireland to audiences across the US and worldwide.” Teresa McGrane, Deputy Chief Executive, Screen Ireland.

The South Westerlies is series produced by Ailish McElmeel, Deadpan Pictures and produced by Candida Julian-Jones. Executive producers include Shane Murphy and Justin Healy for RTÉ, Catherine Mackin and Bea Tammer from Acorn Media Enterprises, Paul Donovan for Deadpan Pictures, Ann Kolbjørnsen and Ole Marius Araldsen for Anagram.

The South Westerlies is produced by Deadpan Pictures (Ireland) in association with RTÉ, Acorn TV with its UK-based development division Acorn Media Enterprises, ZDF Enterprises and Screen Ireland.

The South Westerlies comes on the heels of recent RTÉ co-production drama series’ including Taken Down, Finding Joy, Women on the Verge and Striking Out. Acorn Media Enterprises co-produced Striking Out and Finding Joy and also premiered Taken Down in the U.S.

Date: Friday October 11 2019

RTÉ Communications: Laura Fitzgerald / +353 872923931 / [email protected]

Acorn TV Press Contact: Chad Campbell, 301.830.6203, [email protected]

ZDF Enterprises Press Contact: Christine Denilauler / 0049 6131 991-1130 / [email protected]

Editor’s Notes:

RTÉ (Raidió Teilifís Éireann) is Ireland's national public-service media organisation. RTÉ commissions a broad range of high-quality programming and content to meet the needs of multiple audiences. Further information can be found here: https://www.rte.ie/about/en/how-rte-is-run/2014/0310/601244-about-rte/

About Acorn TV

AMC Networks’ Acorn TV is North America’s leading streaming service specializing in British and international television and with its development division Acorn Media Enterprises has commissioned several series, including Agatha Raisin, Series 2 and Series 3 starring Ashley Jensen; the straight-to-series order of British drama London Kills; and fun British mystery Queens of Mystery; as well as co-commissioned Irish period mystery series Dead Still and New Zealand thriller The Sounds. In 2019, Acorn TV has featured the U.S. premiere of ITV’s highest rated drama in the past six years with true crime drama Manhunt, and UK’s highest rated show of the year and from the creator of Bodyguard with Line of Duty, Season 5; plus Australian mystery series My Life is Murder starring Lucy Lawless (Xena) and the return of smash hit British dramedy Doc Martin, Series 9.

About AMC Networks

Known for its groundbreaking and celebrated original content, AMC Networks is the company behind the award-winning brands AMC, BBC AMERICA, IFC, SundanceTV, WE tv, and IFC Films. Its diverse line-up of popular and critically-acclaimed series and independent films include Killing Eve, Better Call Saul and The Walking Dead, which has been the #1 show on basic cable television for nine consecutive years, as well as Portlandia, Brockmire, Love After Lockup, and the films Boyhood, Death of Stalin, and many more. Its original series Mad Men and Breaking Bad are widely recognized as being among the most influential and acclaimed shows in the history of TV. The Company also operates AMC Studios, its production business; AMC Networks International, its international programming business; the subscription streaming services Shudder, Sundance Now; Acorn TV; and UMC (Urban Movie Channel); and Levity Entertainment Group, the Company’s production services and comedy venues business. For more information, visit http://www.amcnetworks.com.

Author: Acorn TV
Posted: October 11, 2019, 5:47 pm

Also: Bill Ruck’s capacitor experiences; and a unique and humane rat or mice trap

The post Deter Stinging Insects at the Transmitter Site appeared first on Radio World.

Tom Johnson and I were talking about pests.

Fig. 1: Eaves and overhangs at unmanned transmitter buildings can attract stinging insects.

We met at the Alabama Broadcasters Association and Larry Wilkins’ Engineering Day seminar; and as we talked about bugs infesting transmitter sites, Tom shared the picture in Fig. 1.

I don’t know many engineers who care for wasps, hornets or other flying, stinging insects. Tom’s photo is a great reminder to spray under eaves, and around door and window frames — any place that’s protected from the weather.

Unfortunately, with cold weather approaching, it’s not just vermin that seek shelter from the cold. An unoccupied transmitter building or AM antenna tuning unit is an ideal home for insects and rodents. Make sure it is sealed.

ATUs in particular can attract unwanted guests. If your ATU has a light fixture inside, wait til it’s dark and then  turn it on, then walk around the ATU looking for any escaping light (remember to look underneath, too; and also watch out for the “hot” tower). Any holes you spot, perhaps where bolts once held coils or other components, are “welcome signs” for insects, and usually the proper diameter for these insects to squeeze through. Plug those holes with RTV or caulk.

Remember also that before opening the ATU door, pause to watch whether stinging insects are flying around. They may have infested your enclosure already.

Check that entry panels or doors to the ATU also fit tight; again look for light leakage. Remember that field mice can squeeze through amazingly small crevices.

Tom waited till dark, then sprayed that nest and its occupants.

When I did contract work, a client was losing their satellite signal every day at dusk. I stood on a ladder and unscrewed the LNB. A swarm of angry wasps escaped the nest they built inside. How we didn’t get stung —  or break a leg, frantically jumping off the ladder — still amazes me.

As I mention in my Workbench sessions, a one-liter clear plastic water bottle fits nicely in the throat of a satellite feed horn and will prevent infestation. As for your building, a good spritz of wasp and hornet spray applied under all the overhangs on your building is good preventive maintenance.

 

* * *

 

San Francisco contract and project engineer Bill Ruck writes, “Been there, done that.” He was referring to the electrolytic capacitor woes we described recently.

Back around 1967, Bill learned about electrolytic capacitors working at a hi-fi store. Rule of thumb in those days was (1) if they’ve “puked their guts” by exploding, replace them; (2) if not, replace them anyway.

Since then, Bill’s experience is only worse. Many times he has traced spurious outputs of an FM exciter to the power supply oscillating and modulating the carrier.

Recently, Bill had two BE FX-30 exciters with that problem. The issue was traced to the FMO module. The problem was that the FMO is potted and to dig out the potting compound to replace the capacitors would take a lot of time and was no longer cost-effective. The group owning the exciter preferred to purchase a new exciter rather than put a lot of money into reconditioning something that was over 30 years old.

Bill adds a few more nuggets to consider:

1. Although high ESR (equivalent series resistance) doesn’t cause “ringing,” it does let an unstable amplifier oscillate. Furthermore, most three-terminal regulators can be defined as an “unstable amplifier” and will oscillate. Bill learned in his own home-built power supplies to put a 1 uF tantalum bead capacitor and a 0.1 uF ceramic disc capacitor as close to the regulator IC input pins as possible.

2. Always put in 105 degree C electrolytic capacitors. They’re slightly larger and slightly more expensive but they last a lot longer.

3. It takes the same effort to remove capacitors from a printed circuit board to measure them, than to just replace them. Yes, Bill can measure ESR and capacitance, but he does that only to confirm his suspicions, after putting in new low ESR 105 C replacement capacitors.

In summary, Bill writes that these days, component level repair is less cost-effective than during his misguided youth; but if you do make these repairs, replace!

 

* * *

 

Fig. 2: Find this DIY rat trap at the YouTube link in the text.

Our Workbench Malaysian connection, broadcast engineer Paul Sagi, found an interesting YouTube video that we’ll call “Curiosity Killed the Rat!” Here’s the link: https://m.youtube.com/watch?v=T-KJMM55A9A

Paul comments that it appears that clear box sealing tape was used to hold the grain, and the “ramps” appear to be floor tiles, placed so the underside faces up. Placing two ramps on opposing sides permit some rats to balance out each other, a single ramp may be better. Finally, for remote locations, Paul suggests affixing the ramp to the bucket, so it doesn’t fall.

My comment? I sure hope this isn’t someone’s transmitter site! That’s a lot of rats.

I also hope you’ll contribute to Workbench. You’ll help your fellow engineers and qualify for SBE recertification credit. Send Workbench tips and high-resolution photos to [email protected].

John Bisset has spent 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 Deter Stinging Insects at the Transmitter Site appeared first on Radio World.

Author: John Bisset
Posted: October 15, 2019, 4:08 pm

The reorganization of WBAI offers lessons for stations

The post Community Broadcaster: A Cautionary Tale appeared first on Radio World.

The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

This week’s big news in community radio was all about layoffs at Pacifica radio station WBAI(FM) in New York and termination of its existing programming. The seriousness of the situation is a bellwether to conversations community media must have about relevance.

WBAI is certainly an iconic noncommercial radio station. It has hosted a veritable who’s who of cultural vanguards, especially in the 1960s. From Bob Dylan to Malcolm X, WBAI has been fondly remembered by fans for such history. Unfortunately, those glory days are long gone.

When I wrote for Radio World about the Empire State Realty Trust $3 million judgment against WBAI and Pacifica in 2017, matters were already quite dire. Pacifica audits noted a listener support decline between 2007 and 2017 in the millions. The California Attorney General’s Office and the Corporation for Public Broadcasting Inspector General launched probes in 2015 and 2011 respectively over management issues. WBAI had seen crashes in 2009 and 2013, and its internal strife, inability to make payroll and subsidization by other Pacifica outlets had been in public circulation for years. WBAI folks, a smart and interesting bunch to be sure, have long contended what may seem to be farfetched theories, from essentially embezzlement by its licensee to its owner kneecapping the station staff and volunteers for their liberal orientation and willingness to host marginal programming under the free speech banner.

[Read: Community Broadcaster: Changemakers]

Indeed, any publication that termed this week’s action stunning or a shock clearly must be excused for not paying attention to a crisis decades in the making.

Pushback to Pacifica’s decision was swift, including a state court intervening in the situation. However, it may be unclear how influential a New York court injunction to prevent layoffs and program changes will be. After all, Pacifica is a California nonprofit organization. The network’s payroll and WBAI’s federally assigned license (and thus programming placed on it) are both based far from said court’s jurisdiction. This story is developing.

Regardless of what happens to WBAI, the health of community radio as a whole is always a concern. What can stations learn from this issue?

As I conveyed to radio station WORT this week, community radio stations should always ask themselves about how they are truly listening to and serving local listeners with content they are passionate about and rely on. It is not difficult to figure out why WBAI, at 99.5 FM and in a city of eight million people and with one of the nation’s top median household incomes, could muster only 78,500 weekly listeners (according to Nielsen Audio) and not cover basic expenses. An old friend at Radio Research Consortium, noncommercial media’s data clearinghouse, once shared, listeners tell you what they think of your programming with their ears and wallets. Every station should track what their local fans think, and be responsive to area needs. That can be hard, given the many perspectives that are part of a station, but centering listener experiences with our stations must always be a priority.

Careful financial monitoring and adopting an approach to problems that sees them as a shared responsibility should also be a part of any station’s ethos. When tensions arise, the easy way out is to cast blame on others. Difficulties such as those experienced by the community radio space this week might have been averted with more swift, productive actions, and buy-in from everyone. All community stations might be wise to unify in times like these.

And finally, every station would be well served to take the lead in telling its story. In times of trouble, explaining one’s vision and where one hopes to be reassures listeners and tells donors you have a solution. Once a station loses control of its narrative, it is hard to regain credibility. Pacifica’s message posted on WBAI’s website is a start, in this instance.

Noncommercial radio observers may recall the WBAI move is not without precedent. In May, Humboldt State University shuttered its volunteer-based programming and laid off staff at KHSU in a bid to reorganize. A Humboldt State University advisory review identified a need for financial review of university investments, a realignment of the station’s operations and other issues for the licensee. One can hope WBAI’s reorganization is successful, and that all of community radio takes a cue from what’s happened to make the best media possible.

 

The post Community Broadcaster: A Cautionary Tale appeared first on Radio World.

Author: Ernesto Aguilar
Posted: October 15, 2019, 3:28 pm

Making informed investment choices today is crucial to safeguarding broadcast radio’s future

The post Does 5G Make Sense for Radio? appeared first on Radio World.

The author is the head of technical and infrastructure department at German national public broadcaster Deutschlandradio.

The reception of radio programs with smartphones is becoming increasingly important for radio makers, particularly due to young people’s tendency to use their hand-held devices for a wide range of purposes — information and entertainment, social media networks, smart home and smart speakers, amongst others.

Chris Weck

There is no doubt that broadcasters have to be present on that platform with both linear and non-linear audio, with social media and the various functions of the internet.

At first glance, 5G broadcasts seem to be a promising solution for the future of broadcasting, and a viable solution to bring radio to the smartphone — one device and one transmission standard on one transmitter network. But who will benefit from this — the user, the mobile network operators, radio broadcasters or the industry as a whole?

Physical laws for radio communication are still valid for 5G as for DAB and all the other broadcasting and telecommunication schemes. From the well-known Shannon limit of 1948 we know that a minimum of energy per bit is necessary in order to provide an error-free transmission over a channel with a certain bandwidth (Eb/N0 = −1.6 dB in AWGN-Channel).

New and very efficient transmission systems like 5G are able to transmit very high data rates in a channel of a certain bandwidth, however, the energy per bit will never fall under the minimum defined by the Shannon law. With other words, the higher the data rate of a transmission system, the higher the signal-to-noise ratio required. This means in practice for a certain transmitting power the size of the transmitter cell will be reduced for higher data rates accordingly.

Now, from a theoretical point of view with respect to the energy per transmitted useful bit (including all the overhead), there is no significant difference in performance between 5G modulation schemes compared to the still very robust system of DAB+.

The 5G broadcast mode provides also a robust QPSK modulation to make use of bigger cell sizes. However, the expected performance compared to DAB especially in a single frequency network is rather the same. In fact, there are no results of a system comparison in the field available and therefore it is reasonable to focus on other basic differences between the idea of 5G broadcast and conventional DAB+ broadcasting.

Today, DAB radio receivers have an external antenna as well as car receivers. In comparison to a smartphone with a less sensitive built-in antenna, the link budget for the required field strength differs at minimum of 15 dB or even 20 dB and more.

This means that in order to achieve the same coverage for radio reception by smartphones, 10 dB more transmitting power is required. This is also true for 5G broadcast networks, so that 5G broadcast networks for smartphone reception have to aim for 10 dB more transmitting power compared to a conventional DAB+ network. In practice, this means that a significantly denser transmitter network is required for 5G broadcast to smartphones than for conventional DAB+.

Radio reception differs for smartphones compared to conventional radio receivers.  The field strength required depends on the effective antenna size, and has to be higher for smartphone reception.

The reduction of the transmitter distance can be anticipated easily from the CCIR propagation curves. For example for VHF propagation a loss of field strength of 20 dB corresponds to a reduction of the distance to the transmitter from 30 km to 10 km.

With the basic transmitter distance of about 60 km for DAB+ networks, the average transmitter distance for 5G broadcasting to smartphones has to be around 20 km. In fact this means that the transmitter distance has to be reduced by a factor of three in order to overcome a loss of 20-dB field strength. This means nine times more transmitters in the area are required in order to achieve the same coverage as a conventionally planned DAB+ network. Can radio broadcasters really afford this? In fact round about 10 dB more transmitting power results in 10 dB more money.

For the time being, the national DAB multiplex in Germany comprises of 130 transmitters in a nationwide SFN. Today, coverage stands at around 95% for mobile reception, but in order to reach 99% coverage, the number of transmitters has to be increased to 250 at least and may be around 400 (including small gap fillers) in the long term.

With 5G Broadcast round about 10 times more transmitters will be required which might sum up to 2,500 or even 4,000 transmitters in Germany. The mobile network in Germany comprises already 40,000 transmitters today and everybody experiences that this is rather not enough. Concerning 5G mobile networks, experts anticipate that future high data rate networks will be based on a cell size of less than 1 square kilometre, which would sum-up to around 400,000 transmitters in Germany for nationwide area coverage.

CCIR 370 Propagation Curves

What can we learn from these facts?

  1. The DAB+ network with its low number of transmitters is the most efficient network to realize a full area coverage
  2. The 5G broadcast networks, the mobile network and future 5G mobile networks require far too much transmitters for a full area coverage that nobody can expect the same area coverage as for DAB radio services

Assume e.g. transmitting costs for a full area DAB network in Germany of about €25 million per year. In order to gain 10 dB more transmitting power for smartphone reception, the network will cost a nationwide broadcaster approximately €250 million per year, as opposed to €25 million a year for conventional DAB. In Germany, no broadcaster is in a position to afford this amount of money — the price for this purpose to reach smartphones with radio is incredible high, and quite frankly, out of reach for any public broadcaster.

If one says that 5G would only be applied in cities as opposed to rural areas, the additional costs would indeed be lower. However, setting aside a budget of €10 million a year for this purpose is also unrealistic for a broadcaster and, should this sum even be available, it would certainly make more sense to spend it on the DAB network, where coverage gaps could be closed, and where broadcasters and consumers could benefit from it.

What’s more, it wouldn’t make sense for a broadcaster to give up nationwide DAB coverage. In order to supply 10% of the area with 5G broadcast to mobile phones for the same amount of money.

So, if broadcasters are far from being able to afford 5G broadcasting, who would pay for this? Mobile network operators will never provide a 5G-radio service for free, and broadcasters will not pay for 5G broadcasting either, so there really is no business model for either.

The one and only solution is that the user pays for the broadcasting service to his smartphone — this could be done by a contract with the broadcaster or with the mobile network operator, something that is already being done today with 3G/4G.

The smartphone user has a mobile contract and pays for the data volume on an individual basis. This enables the mobile network operator to set up very dense mobile networks that have enough power to be received by small smartphones. This works perfectly for radio with LTE and even UMTS, so why wait for 5G broadcasts?

Users already have radio services available on smartphones today, and it works well, so long as the user has enough high-speed volume on his contract.

Today, hybrid radio with DAB+ and Internet via mobile networks or via Wi-Fi at home provides the most suitable solution. Hybrid radio is the perfect fit for all broadcaster and user requirements, as with DAB+ it allows broadcasters the proven and most efficient radio network at an affordable price for area-wide coverage. It allows for free access of the users to radio and information, regardless of whether they live in cities or in rural areas, and whether or not they can afford a high-volume data contract for their mobile phones.

Hybrid DAB radio provides broadcasters with a content distribution platform directly linked to the customers, and independent of the commercially driven infrastructure of mobile network operators. This may be an advantage for emergency warnings, too.

On the other hand, users already have audio streaming and additional non-linear services available on their smartphone via the Internet. So, the only need for radio broadcasters today is to think about attractive hybrid radio services, and an impactful marketing strategy for their brand.

I cannot comprehend why broadcasters and politicians would want to switch a system running with DAB and IP with the more expensive, and in practical terms less efficient system that is 5G. Instead, why not use and extend the existing and approved technology? Hybrid radio is the best approach both economically and in terms of efficiency, and this is unlikely to change in the future.

Diversity between broadcaster networks and mobile phone networks will result in better efficiency and will offer more advantages than disadvantages for broadcasters as well as for users — so proceed with Hybrid DAB and IP. There is no need for 5G for radio broadcast.

[Read: Using Digital Radio to Boost Listening Figures and Revenues]

 

The post Does 5G Make Sense for Radio? appeared first on Radio World.

Author: Chris Weck
Posted: October 15, 2019, 6:00 am

The annual conference will take place in Lisbon, Portugal

The post Radiodays Europe Announces First Group of Speakers appeared first on Radio World.

Six industry professionals have already made their plans to attend the 2020 edition of Radiodays Europe in Lisbon, Portugal, as the conference has announced the first batch of its planned speakers.

Those confirmed to speak at next year’s conference are Cilla Benkö, director general and CEO for Swedish Radio; Cathrine Gyldensted, co-founder and director at the Constructive Journalism Network in the Netherlands; Yagmur Özberkan, journalist and presenter for YLE, Finland; Torben Brandt, Danish radio legend; Ole Hedemann, content developer and head of formats at NRK in Norway; and Susani Mahadura, journalist for YLE, Finland.

Radiodays Europe Lisbon 2020 is going to take place from March 29–31, 2020. For more information or to register for the event, click here.

 

 

The post Radiodays Europe Announces First Group of Speakers appeared first on Radio World.

Author: RW Staff
Posted: October 14, 2019, 4:21 pm

Curt Yengst is back in his workshop on another product

The post “THAT Thing” — A Solid-State Mic Preamp Project appeared first on Radio World.

Over the years I’ve become a student of mic preamp design, building and modifying several along the way and learning a little more each time. Usually, I worked from a kit or published set of plans. Recently, I’ve tried some designs from “scratch,” researching various components, studying earlier designs, and incorporating them into raw schematics, followed by circuit layout, design tweaks and final fabrication.

Since my last two builds were vacuum tube devices, I wanted to do a simple, solid-state design this time. I came across some old preamp ICs in a parts box and almost used them but discovered they had been obsolete for years.

Was there a viable updated replacement? Enter THAT Corp., a relatively small IC manufacturer that specializes in chips for audio applications. THAT makes a few chips that are direct replacements of some popular preamp ICs like the Analog Devices SSM2019 or Texas Instruments INA163. If you’ve ever cracked open a broadcast console, you may have seen one. THAT’s website is a treasure trove of design notes and white papers on mic preamp design, with plenty of ideas to get a project going.

This project uses two ICs from THAT: the 1512 Low-Noise Audio Preamp, and the 1646 Balanced Line Driver. Using design notes from THAT and other sources, including advice from several more experienced DIYers, I was able to come up with a relatively low-cost design that has plenty of gain and good performance numbers for most applications.

The mic preamp can make or break a recording. Aside from the microphone, it’s the first stage in the signal chain before the recorder, and in some cases the only stage. It has to be clean and have ample headroom (unless noise and distortion are your thing), yet have sufficient gain to handle a wide variety of microphones.

Professional microphones have a balanced output, so the preamp will have a balanced input. Normally this is accomplished either with transformer balancing, which is expensive, or by using a standard op-amp as a differential amplifier, usually involving two op-amp stages with their attendant gain feedback loops, etc. The THAT 1512 takes care of this within the chip, providing its own balanced input. All that’s needed is a pretty standard input stage that can provide phantom power. The phantom power is sent to Pins 2 and 3 of the input XLR jack through a matched pair of 6.81K resistors, R1 and R2. These limit the current of the phantom supply.

The phantom power section

In order to preserve common mode noise rejection, any components that are mirrored between positive and negative signal paths must be matched in value as closely as possible. SW1 [switch] allows for turning off phantom power when it is not needed, and LED1 illuminates to show the actual presence of phantom voltage. R9 limits current through the LED to keep it from going “poof!” Capacitor C13 is there to smooth out any ripples from the 48 V supply. Between Pins 2 and 3 of the input jack and ground, ceramic capacitors C1 and C2 shunt any RF noise that might hitch a ride on the mic cable. Bad mic cables make good radio antennas!

Keeping stray static at bay is the job of the diodes.

Obviously, we need to keep 48 VDC out of our audio circuit. In a transformer-based design, the transformer would handle this, as transformers only pass AC. Likewise with capacitors, which are much cheaper and take up less space. This is why inexpensive designs use them. The problem is that inexpensive designs tend to skimp on these coupling capacitors. Years ago, I hot-rodded a mic preamp that originally had 4.7µF tantalum capacitors in the coupling stage. I replaced them with nonpolar electrolytics of a much higher value, and performance was improved.

Here, for C3 and C4, I use the same ones. At 100µF it’s overkill, I’ll freely admit, but the higher value reduces low-frequency phase shift (the LF response here is in the single-digit Hz range). Anything around 22µF or greater will work. Besides, it’s very difficult to match capacitors to such tight tolerances.

The high-pass filter is engaged by a switch — SW2.

Here’s where R5, R6, and R7 come in. They form what THAT calls a “T-bias” circuit, which boosts low-frequency common mode impedance. C14 is another ceramic capacitor across the inputs to clean up any remaining RF noise. By the way, R3 and R4 are there to limit any fault currents that might sneak by the capacitors. Their low value prevents input impedance issues.

Additional protection from stray static charges and other voltage transients is provided by diodes D1 through D4. This is a simplified version of a number of protection circuits I’ve seen. Anything ugly gets shunted to ground.

Now, it’s on to the preamp IC, which does the heavy lifting in terms of gain: up to 60 dB of gain, in fact. While a lot of designs will set the chip at a fixed gain level and introduce level controls somewhere between subsequent stages, ours is a simple mic preamp. It would be a simple matter of just inserting a potentiometer (VR1) across the gain setting pins of the chip, right? Not that easy!

Rapid changes in that resistance can introduce DC offset in the chip, which translates to thumping and popping on the output. This is where C5 comes in; a very large capacitor to kill DC offset. Why so large? Because VR1, R8, and C5 comprise a high-pass filter, so the capacitance has to be large enough to bring the low-frequency response down. In this case, it puts it around 5 Hz at maximum gain, keeping any rolloff well below 20 Hz. VR1 is a reverse-log pot, which provides the correct gain vs. position curve.

Capacitors C7 through C10 filter RF gunk out of the power rails to each chip.

Speaking of high-pass filters, I included one here to roll-off any mic or room rumble. C6 and SW2 provide a HPF, but this one has a twist. (Special thanks to the folks at www.groupdiy.com for this idea.) Because the changing resistance of VR1 naturally changes the characteristics of the HPF, this filter’s rolloff actually increases somewhat at higher gain settings. At first, this may seem undesirable, but think about it — low frequency artifacts are more likely to be a problem at higher gains than at lower gains. At any rate, C6 is small enough to rolloff the low end, but not to the point of sounding thin.

Now on to the output stage, handled by the THAT 1646. It’s one of the simplest I’ve ever seen. One IC and a couple of nonpolar capacitors. Caution must be used if inserting any other stages or components before the 1646, as it is very sensitive with regard to impedance. C11 and C12 are there to address any common-mode DC offset on the outputs. From there, it’s on to the output XLR jack, passing through a simple polarity switch, SW3, to reverse phase if needed.

Finally, capacitors C7 through C10 filter RF gunk out of the power rails to each chip, a very important consideration in any design. Clean audio has to have clean power.

Since this whole thing is built around THAT ICs, I decided to simply call it “THAT Thing.” Tune in next time, and we’ll talk about the power supply, breadboarding the prototype, and putting it all together.

More information about the THAT 1512 and 1646 ICs, as well as design notes and other information can be found at:

www.thatcorp.com/Design_Notes.shtml
www.thatcorp.com/datashts/THAT_1510-1512_Datasheet.pdf
www.thatcorp.com/datashts/THAT_1606-1646_Datasheet.pdf

Curt Yengst, CSRE, is a contributor to Radio World and an assistant engineer with WAWZ(FM) in Zarephath, N.J.

Email us with your own DIY ideas at [email protected].

The post “THAT Thing” — A Solid-State Mic Preamp Project appeared first on Radio World.

Author: Curt Yengst
Posted: October 14, 2019, 3:25 pm

Give your AM listeners a pleasant experience with natural-sounding audio

The post Find Your Modulation Sweet Spot appeared first on Radio World.

First I’ll tell what you already know. Back in the day, AM broadcasting was king and FM was commercial-free. Things changed in the 1970s as FM grew in popularity. Here we are 40+ years later with many AMs struggling. Some have gone away because they were no longer financially viable. To make matters worse, AM directional stations are more time-intensive and costly to maintain, especially when compared to FM stations.

On the positive side, I know a number of smaller AM/FM combination and standalone AM stations in Minnesota that are doing well. One town has a 1 kW AM with a 100 kW FM. The AM brings in 40% of the sales revenue because it has always been locally programmed with live announcers until 1 p.m., then is live again during afternoon drive.

AM radio isn’t supposed to sound bad. It can be a clean and pleasurable listening experience, even when there is only 3 kHz of audio bandwidth. On the other hand, AM can be ugly to the ear when there are maladjustments.

SCIENCE

Modulation is the process of adding audio to a transmitted signal. Amplitude modulation is aptly named. A station’s carrier (transmitter power) is varied by the station’s audio. Carrier power is depressed to zero watts to achieve 100% negative modulation. It increases to 1.5 times carrier power when 100% positive modulation is reached. That is why a thermocouple antenna ammeter reading rises with modulation. You read it during a programming pause to get an accurate measurement.

METERING

AM modulation monitors have –100% and +125% lights indicating overmodulation. You really don’t want those lights to come on. More is not better.

First, be sure to set the monitor’s RF carrier level control so the carrier meter needle is in the right spot, as per manufacturer’s instructions. A carrier meter misadjustment will result in inaccurate modulation monitor readings.

Fig. 1 shows an AM modulation monitor. The –100% and +125% lights are on and yet the analog modulation meter reads only 94%. It is normal for an analog meter to read lower than actual modulation. In fact, 85 to 90% is a more realistic meter display, because it cannot track peaks as lights do.

Fig. 1: AM modulation monitor showing overmodulation.

A monitor’s audio output will sound excessively bright or harsh if a de-emphasis audio circuit is not included. Monitors traditionally do not have this, but often a simple capacitor and resistor modification will do the trick. The idea is to undo the high-frequency boost that is a part of the audio processing, per the National Radio Systems Committee (NRSC) standard. As you probably know, the transmitted audio has increased high-frequency response to overcome high-frequency rolloff in most receivers. The goal is to restore flat frequency response to the listener. Some audio processor manufacturers are using non-standard pre-emphasis curves to suit their taste. That complicates getting a realistic feel for frequency response. At least they are trying to make the best of receiver frequency response roll-off.

ON A SCOPE

An article I wrote regarding the operation of oscilloscopes, “Your Scope Is a Tool for all Seasons,” appeared in the Jan. 13, 2013, edition of Radio World.

To refresh your memory, a scope has a display where a dot that travels from left to right is deflected up and down with voltage. In this case, we will look at a transmitter’s RF output.

Fig. 2: An AM RF carrier wave on an oscilloscope.

I’ll begin with Fig. 2. It shows an oscilloscope with a view of the transmitter’s carrier with the scope sweeping at high speed (0.2 microsends per horizontal screen division) to see the actual carrier wave of an AM radio station. By carrier, I mean the transmitter’s power output. What you see is an almost perfect sine wave at the station’s operating frequency.

 

Fig. 3: A carrier with no modulation.

Let’s zoom in to the scope’s screen. Fig. 3 shows the carrier when the oscilloscope is slowed down to view audio (0.2 milliseconds per division). No modulation was present at that instant. Fig. 4 shows a 1 kHz sine wave modulating the carrier 100% positive and negative. The positive parts are the top and bottom peaks. They are mirror images of each other. The negative modulation part is where the carrier is just pinched-off at zero power in the center of the screen. This sine wave is relatively clean/undistorted, with less than 0.5% audio harmonic distortion.

Fig. 4: A carrier modulated 100% with a 1 kHz sine wave.

Many receivers do not reproduce it that way. The last 5 or 10% of negative modulation, between 90 and 100%, is where receiver detectors have trouble faithfully reproducing what the transmitter is sending. The result is audio distortion. We all know that unwanted audio artifacts are a listener turnoff.

Fig. 5: 100% modulation with receiver detector output.

In Fig. 5, I’ve switched the oscilloscope to dual trace mode. It shows the transmitter at 100% modulation on the top trace. The bottom trace was sampled at the receiver’s detector. I made the measurement there so it rules out additional audio harmonic distortion, which might be added in the output stage. By definition, harmonic distortion is where this 1 kHz audio tone will have unwanted audio products at 2 kHz, 3 kHz, 4 kHz etc. because of non-linear system performance. In this case, distortion from transmitter through the receiver detector measured 5.1%. It was only 3.1% at 90% modulation.

Fig. 6: 125% positive modulation, 100% negative modulation with receiver detector.

Fig. 6: Traditional analog audio processing used diodes to clip the negative side of audio before it went to the transmitter so it would not attempt to overmodulate the negative modulation while allowing positive modulation to go to 125%. The downside is that it added as much as 6.5% harmonic distortion in the process. Add the receiver’s problems to the mix and you have a whopping 10.2% distortion. Ouch! You’d never allow that on FM.

Newer digital processors reduce but may not eliminate the problem. Yes, the station can be a bit (about 0.9 dB) louder on the dial, but it is irritating to many listeners. They don’t know how to describe it, but oops, there goes another tune-out! Again, some people hear it and some don’t. Best not to penalize the station with high modulation.

Fig. 7: The transmitter is being badly over-driven at 100% negative modulation.

Fig. 7 shows the transmitter being modulated at over 100% negative modulation. I’ve moved the scope’s trace up a bit so you can see detail. Negative peaks go flat to the center, which is no carrier at that instant. Modulation like this will not pass the required NRSC occupied bandwidth nor will it pass my ear test for listenability. It is tiring to hear.

Fig. 8 is where you want to be. No more than 95% negative modulation, the sweet spot between loudness and listenability.

Fig. 8: 95% program modulation of the carrier.

It is a shame to lose listeners for that last 5% (about 0.5 dB) of modulation. Few if any will hear the loudness difference. Likely most will hear grit in the audio of transmitters modulated to the max. You can make up much of the modulation percentage difference with careful adjustments of the audio processing, before it goes to the transmitter. Software-defined receivers eventually will solve much of this problem, but we need to deal with today’s radios.

When I was installing AM stereo years ago, negative modulation was usually set at 95% and positive modulation at 95% for stations to sound clean. It was positive +125% if the client preferred it. That extra positive modulation comes as “forced asymmetry” where the negative audio peaks are soft clipped so the positive peaks can go higher. Ouch!

Surprisingly, bad-sounding audio with less than 100% modulation will usually fit into the NRSC occupied bandwidth mask, in the FCC required annual measurement. That is because of the required 9.5 kHz low-pass filter in audio processing.

AM stations competed in loudness wars to beat the other guy years ago. Now it is time to give listeners a pleasant experience with natural-sounding audio. Don’t drive them away.

I grew up in a broadcasting family that owned two AM stations and no FM. Success was dependent on keeping listeners. Loudness was not the answer.

Comment on this or any article. Write to [email protected].

Mark Persons, WØMH, is an SBE Certified Professional Broadcast Engineer. He recently retired after more than 40 years in business. His website is www.mwpersons.com.

The post Find Your Modulation Sweet Spot appeared first on Radio World.

Author: Mark Persons
Posted: October 11, 2019, 3:53 pm

“Majale Shamgahi” and “BBC Naray Da Wakht” programs will air every day across all of Afghanistan

The post Radio Television Afghanistan Rebroadcasting BBC Radio Programs appeared first on Radio World.

The BBC has announced that its two flagship radio programs for Afghan audiences will now be carried live by Radio Television Afghanistan, the country’s national broadcaster.

BBC News Dari

“Majale Shamgahi,” which is broadcast in Dari, and “BBC Naray Da Wakht,” broadcast in Pashto, will have the first half of its hour-long evening news programs every day on RTA’s FM networks in all 34 provinces of Afghanistan, as well as on medium wave.

The BBC programs examine key local and international issues with daily reports, interviews and analysis.

“A partnership with the BBC further reinforces RTA’s mission of informing the Afghan nation,” said RTA Director General Ismail Miakhail.

Pictured from left to right are Diva Patang, RTA presenter based in London; Ismail Miakhail, RTA director general; Jamie Angus, BBC World Service director; and Ismael Saadat, planning and commissioning editor, BBC News Afghan.

“Adding BBC programming to our output will contribute to the provision of trusted and impartial news about Afghanistan and the wider world.”

[Read: Radio TechCon Opens Registration]

BBC News Pashto

“We are delighted that the new partnership with RTA will allow our content to reach more people in Afghanistan, on channels they already know,” added Jamie Angus, BBC World Service director.

Miakhail also said that the RTA Academy would use the BBC as an example as it looks to train its country’s journalists on ethical journalism.

“Majale Shamgahi” will air from 6:30–9:30 p.m. Kabul Time, and “BBC Naray Da Wakht” will air from 3–4 p.m. Kabul Time.

 

 

The post Radio Television Afghanistan Rebroadcasting BBC Radio Programs appeared first on Radio World.

Author: RW Staff
Posted: October 11, 2019, 1:52 pm

FCC says station allegedly failed to prepare quarterly issues/lists and upload files to online database

The post Virginia FM Handed $15,000 Forfeiture for Alleged Filing Violations appeared first on Radio World.

A Virginia licensee has been handed a $15,000 forfeiture — in addition to receiving a shortened license renewed term — after allegedly failing to keep proper issues and program files updated in the FCC OPIF database.

The Media Bureau at the Federal Communications Commission ruled in a combination order/notice of apparent liability that Seaview Communications, which is licensee of WPEX(FM) in Kenbridge, Va., apparently violated several sections of FCC rules.

[Read: AM Station Hit with $15,000 Forfeiture After Public File Lapse]

According to the bureau, the station allegedly failed to prepare its set of quarterly issues and programs lists and it failed to upload this information into the station’s online public inspection file. FCC Rules require that commercial broadcast radio stations place issues and program lists — which detail programs that he station has covered over a three-month period — every quarter . Those files must include a quick briefing of the issues addressed as well as lay out specific details such as the time, date, duration and title of each program. Stations must then upload certain public file documents to the FCC’s OPIF public inspection file database. As of March 1, 2018, all broadcast stations are now required to post public file info (except political file material).

When Seaview began the process of prepping its license renewal application, it answered “no” when asked if it has placed the required documentation into its public file. The station explained that it had difficulties in navigating the new on-line public inspection file. “As such, certain deadlines were not meet with respect to the ‘upload’ of issues/programs lists,” the licensee said, though Seaview said it had begun working with the FCC counsel and plans to resolve the public file upload problems.

However, this explanation does not excuse or nullify the violation, the bureau said. The commission has the authority to hand down a base forfeiture of $10,000 to those licensees who fail to maintain their public file and an additional $3,000 for failing to upload the required documentation.

The commission can also raise or lower those forfeitures based on the circumstances. In the case of WPEX, the FCC handed down a $15,000 forfeiture, saying that even though Seaview admitted to its violations, it did so only when compelled to answer via its renewal application. Moreover, the bureau found the violations were “extensive” and apparently encompassed the entire license term.

The Media Bureau also found that the licensee’s conduct fell short of the standard of compliance that the FCC uses when handing out a routine license renewal. “The issues and programs lists are a significant and representative indication that a licensee is providing substantial service to meet the needs and interests of its community,” the bureau said. As such, it concluded that a short-term license renewal of two years was warranted. “This limited renewal period will afford the commission an opportunity to review the station’s compliance with the [Communications Act] and the FCC’s rules and to take whatever corrective actions, if any, that may be warranted at that time.”

Seaview has 30 days to pay the forfeiture or respond seeking reduction or cancellation of the proposed forfeiture.

 

The post Virginia FM Handed $15,000 Forfeiture for Alleged Filing Violations appeared first on Radio World.

Author: Susan Ashworth
Posted: October 10, 2019, 4:26 pm

The new TLS protocol update needed before November 8

The post Broadcasters Need to Keep Eye on Latest EAS Updates appeared first on Radio World.

It’s time for broadcasters to confirm that their stations are up and running with the latest in EAS updates.

As it stands today, EAS participants are required to not only receive Common Alert Protocol messages from IPAWS but also configure their systems to reject all CAP-formatted EAS messages that include an invalid digital signature. Now, an effort to maintain compliance with commonly accepted security standards, FEMA is also taking the next step of removing support for older methods by requiring the use of an updated TLS 1.2 protocol to access FEMA’s IPAWS server, said Sage Alerting Systems and the Society of Broadcast Engineers. TLS, or Transport Layer Security, is cryptographic protocol providing communications security over networks and is often used for internet communications.

To acquire and verify IPAWS CAP alerts, a broadcaster’s EAS alerting equipment must be upgraded with the TLS 1.2 update prior to Nov. 8, 2019.

[Read: California LPFM Asked to Explain Alleged Transmission, EAS Violations]

The move is one of several rule changes put in place by the Federal Communications Commission and the Federal Emergency Management Agency to improve EAS security to ensure that messages are received smoothly and accurately.

According to Sage, the TLS 1.2 protocol is now part of a September 2019 update called Rev95. Certain ENDEC systems qualify for a free update; older systems will need to purchase an update via a distributor.

SBE cautioned in its blog that after the switchover on Nov. 8, older versions of the ENDEC software will not be able to receive CAP messages from IPAWS. “This will render the station in violation of FCC rules concerning EAS monitoring and logging,” the SBE said.

For Gorman-Redlich systems, the SBE reported that stations operating with E-prom V 9.5.8 will remain compliant with the changes. For Digital Alert Systems DASDEC/One-Net systems, those units operating with software versions 3.1 or 4.0 will remain compliant.

In addition to the CAP format changes, the SBE said the FCC also recently changed EAS rules to refine the time window within which an alert message is valid and added a new false EAS alert reporting rule.

 

The post Broadcasters Need to Keep Eye on Latest EAS Updates appeared first on Radio World.

Author: Susan Ashworth
Posted: October 10, 2019, 4:13 pm

As the FCC backs off requirements, what will it mean for radio ownership interests?

The post Radio Eyes Advantages of Deregulation appeared first on Radio World.

WASHINGTON — Recent changes to certain FCC rules present opportunities for the industry to operate more efficiently, supporters believe.

Elimination of the main studio rule, the license posting requirement and the requirement to keep a hard copy of FCC rules at radio stations are three of the changes that have swept through the commission under the leadership of Chairman Ajit Pai.

Further significant regulatory amendments remain in the pipeline, such as the potential relaxation of local ownership rules, including modifying limits on common ownership of AM and FM stations in a market. Those decisions are pending completion of the FCC’s latest quadrennial review.

Further, the commission has launched a proceeding to simplify local public notice requirements for radio station applications, according to a FCC filing.

Radio broadcasters are focused  on adapting their operations to better compete in a more relaxed regulatory environment. “The deregulation of the past 18 months is significant,” said Scott Flick, partner at Pillsbury Winthrop Shaw Pittman LLP, ahead of a panel discussion of radio and financial experts at the Radio Show in Dallas.

“Early during Chairman Pai’s leadership he said he wanted to put one media deregulatory item on each month’s FCC agenda. They’ve hit a lot of the low-hanging fruit, but there is more to go,” Flick said. “I think we are on the brink of fundamental regulatory change.”

Radio broadcasters are researching alternate business practices to improve efficiencies, Flick said, but first they must consider structural changes in how they run their businesses.

“Radio broadcasters are so used to being micro-managed by the FCC that it takes a while for these changes to sink in. For instance, the elimination of the main studio rule. Of course broadcasters want to maintain a presence in their local communities, but there are circumstances where having a main studio, or at least what qualifies as a main studio now by the FCC, may not make sense anymore,” Flick said.

“Broadcasters are stepping back to ask how they might do things if they were starting from scratch today. They are giving their operations a fresh look.”

Flick said some of his broadcast clients are adopting new business strategies in light of deregulation, specifically the elimination of the main studio rule, but though not in large quantities. “It takes time to implement changes, and … leases are sometimes years long,” he said.

In addition, deregulation of any industry typically increases the interest level of investors, Flick said; he expects that to be the case for radio.

“Any time you cut out the regulatory straightjacket, then you have people asking, ‘Ok, now I might want to invest the money to figure out an alternate business plan,’” Flick said. “The risks are lower and the industry becomes less complicated with fewer government limits.”

Not everyone feels the direction of radio deregulation is a good thing, Flick said; and on some issues, radio companies don’t speak with one voice. For example, iHeartMedia and Urban One are opposed to a change in the ownership subcaps that many others support.

“Of course, there will always be a split on any proposed deregulation between those who feel the rule constrains them and those who like the rule’s constraining effect on their competitors,” Flick said.

Susan Patrick, co-owner of Legend Communications, said the regulatory environment is presenting opportunities to improve operations and in some cases expand them.

“We are fans of deregulation. It’s going to help small-market broadcasting and help us compete against all of the other audio services that are out there now,” Patrick said.

Legend Communications, which has 23 radio stations, including several FM translators across Wyoming, is always looking for business efficiencies, she said.

“We have several situations where the main studio rule being eliminated could help us. We haven’t made those changes yet. I have spoken to a number of small-market broadcasters who have combined studio facilities, and it has helped them use resources in a different manner that better serves their communities.”

Patrick, who is also co-owner and managing partner of brokerage firm Patrick Communications, said she does see the potential for some broadcasters to utilize the new rules to cut staffing by consolidating facilities.

“To say otherwise is naïve. Some people given the opportunity to save money will try to save money, while large operators are more likely to be able to afford to keep staff.”

Beth Neuhoff, president and CEO of Neuhoff Communications, said the deregulatory mode of the FCC can help radio broadcasters increase value in their properties.

“I think with deregulation there is tremendous upside to a disciplined operator and investor. One of the basic rules of economics is that mature industries must consolidate to survive,” Neuhoff said. “There is so much opportunity in the smaller market for a better, more efficient model.”

Neuhoff said regulatory moves by the FCC offer broadcasters relief but they don’t go far enough.

“I think there would be both top- and bottom-line growth opportunity with less regulation. The ability to streamline back-office and operations is certainly interesting,” Neuhoff said.

“The bigger opportunity in my estimation is top line. With greater scale, I believe markets like ours could be better served with more offerings both that serve multiple markets and a larger portfolio of digital.”

Those stations with market proximity “most certainly can and should take advantage of the main studio rule,” Neuhoff said, but the challenge will be keeping a local presence visible on the street.

Neuhoff Communications, which owns 20 radio stations, is reviewing its best business practices, she said.

“Interestingly enough, our Fast Forward team, our next generation of company leadership, is designing the station workplace of the future as their capstone project. They identified main studio as a real opportunity for us,” Neuhoff said.

David Santrella, president of broadcast media for Salem Media Group, said the broadcaster is looking upon the recent FCC dereg moves favorably.

“I think now all broadcasters need to run more efficiently. There are broadcasters always looking for ways to run their operations with less money than they did the year prior and the year before that. And so I think the main studio rule will present opportunities going forward,” Santrella said. “Salem will look at that.”

The FCC is simply allowing broadcasters to make changes to operations to better fit new technology, he said.

California-based Salem, with just over 100 radio stations in just under 40 markets offering Christian-centric content, is “not behind” the movement for a change in the subcaps, Santrella said.

“If they change the subcaps I think you’ll see more people abandoning the AM band and moving formats to FM. Such a move would devalue AM properties. We built a business based on the current model and regulations, so when you change the rules in a very long tail business, and radio is a long tail business, you severely impact the business model designed based on the rules as they exist,” Santrella said.

Santrella, who also chairs the NAB Radio Board, said radio will need to balance moves based on fewer regulations while not losing touch with radio’s greatest natural strength of being “a local community service” business.

What do you expect the impact of FCC rule changes to be on the U.S. radio business marketplace? Comment on this or any story. Email to [email protected] with “Letter to the Editor” in the subject field.

The post Radio Eyes Advantages of Deregulation appeared first on Radio World.

Author: Randy J. Stine
Posted: October 10, 2019, 3:39 pm

Is it still worth maintaining AM?

The post Solving the Medium-Wave Problem appeared first on Radio World.

The author is chairman of Digital Radio Mondiale.

Is medium wave in decline? Some people think so.

In the 1950s radio was declared mortally wounded by TV. But then FM with its new music rescued it, becoming one of the most successful technologies and platforms ever. Radio survived and thrived but AM should have died at the hands of the nimbler, younger and more attractive FM.

Photo credit: Radu Obreja

Only it did not and the medium reinvented itself by using presenter-led programming, commercial music and sport. In the United States it took until the end of 1990s for the FM and AM audiences to be equal and to this day the big AM stations are going strong, bringing in the ad dollars.

REASONS

Still, it’s undeniable that the whiff of decline has enveloped AM in the past two decades. The reasons are well-known: Analog medium wave doesn’t always deliver the best sound, it can suffer from interference, it can behave annoyingly different by day and night and even by season. Medium wave mainly appeals to a maturing population (a global phenomenon, considered shameful by some!) using aging receivers (this is bad!).

Analog medium-wave broadcasting also needs quite an infrastructure and deep pockets for the electricity bill.

Ruxandra Obreja

On the other hand, medium wave is that middle sister that delivers by giving excellent regional coverage over hundreds or (overnight and if the ionosphere behaves) even thousands of kilometers, whereas FM goes up to roughly 200 kilometers and digital DAB+ to half of that.

Medium wave is not only a regional but also an excellent local coverage solution. In Australia 33% of the public broadcaster ABC’s local transmitters broadcast in AM and 11 50 kW transmitters are serving the mainland capital or big cities. Medium wave covers large areas and reaches small far-flung communities for whom, even in developed countries, medium wave and FM still provide the first source of information.

Besides, medium wave with its reach, availability outdoors and on the go, is a fallback solution in times of emergency or simply a good standby solution when other platforms or services are unavailable (broadband, satellite, 4G or the mythical 5G).

The listeners’ behavior and the demands of the digital world are such that tackling medium wave has elicited different responses from broadcasters and regulators worldwide. In Europe, where the frequency was much used and abused, broadcasters initially energized by the potential of IP have not thought twice about closing down many medium-wave transmitters. Some have survived the cull, for example, in the UK, France, Spain, or in some eastern European countries.

DIFFERENT SCENARIOS

Regulators in other parts of the world have embraced different scenarios. One was to migrate AM to FM, or AM to a digital solution for FM (HD or DAB+). This process has taken a long time and, despite some successes, has shown it’s no replacement for AM or for a full large regional or national coverage.

In other parts of the world, like Brazil, digital was not even part of the mix. The simple migration AM to FM is plodding on there, as this is easier done in smaller places than in bigger, overpopulated ones, like big cities where there is no FM spectrum available and where the original demand for a solution came from.

Another idea is to expand the FM band, downwards, migrate everyone and forget about AM altogether, as FM seems a proven and winning formula. A nice idea but then, on top of the costs of replacing a large area covering transmitter with many, expensive, spectrum and energy hungry FM transmitters, there is the extra challenge of the new receivers to be produced and actually sold.

Certainly, there is also the option of doing nothing. Reading through the most recent submissions to the judicious consultation launched by the Australian regulator on the future delivery of radio services, I was struck by how some contributors claim that there is no current replacement for analog AM. Their scenario is to leave things as they are, for at least the next 10 years.

[Read: Historic Woofferton Boasts a Modern Twist]

Change is though the name of the radio game. While analog AM will subsist, it is worth looking at other options, too. In India where most of the territory and population are covered by the public radio medium-wave transmitter infrastructure, the government and public broadcaster took the bull by the horns and deployed almost 40 digital transmitters covering about half the country population with a digital signal.

THE SOLUTION

Recently cricket fans were able to enjoy an open-air demonstration of three different DRM programs on one frequency ahead of an important match in Bangalore. The fans also received data (stock exchange values) available on radio screens. This demonstrated that digital DRM is a game changer for medium wave.

In DRM the crackling audio disappears as sound is as good of that on FM. The electricity consumption and costs decrease, the spectrum is trebled and reception, even in cars (as available in over 1.5 million cars in India currently) is excellent, too.

If it is so good then why isn’t DRM medium wave conquering the world faster? Maybe it’s about confidence in a new platform. Broadcasters and governments need to market DRM digital radio once signals are on air in their countries.

As for receiver availability and their costs, let us remember how many receivers were on sale in the 1970s when FM was taking over the world. Nowadays, many listeners consume radio in their cars rather than sit in front of a retro looking wooden box. Digital receivers (DRM alone or DRM/DAB+) are a reality and a bigger push for digital would help with volumes sold thus bringing down the prices.

Radio, and therefore medium wave, can and should survive digitally. Digital radio must be an enabler of audio content and information while preserving its ubiquitous and unmatched advantage of providing a service for all.

For that, a bit of imagination, trust and, last but not least, some long-term investment is necessary. Because medium wave is still worth it!

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The post Solving the Medium-Wave Problem appeared first on Radio World.

Author: Ruxandra Obreja
Posted: October 10, 2019, 4:00 am

FM stations have until Oct. 15 to request TV repack reimbursement funds

The post Deadline Approaches for Reimbursement Requests appeared first on Radio World.

Mark your calendars for just before midnight on Oct. 15. That’s the deadline for FM stations looking to file a request for repack reimbursement funds from the Federal Communications Commission.

In August the Media Bureau and the Incentive Auction Task Force released a set of instructions for FM stations, LPTV stations and TV translator stations who are looking to receive reimbursement payments for costs incurred as result of the post-incentive auction repack.

Those instructions clarified which stations are eligible to be reimbursed from the TV Broadcaster Relocation Fund and Reimbursement Expansion Act — the latter of which has made it possible for certain FM stations to be reimbursed for repack-related costs. The REA has appropriated an additional $1 billion to the fund for those stations (though the commission determined in a later report and order that payments to Class A stations and MVPD providers would take precedence over FM stations, LPTVs and TV translators).

For FM stations, the deadline is around the corner — stations are required to submit a reimbursement form by 11:59 p.m. on Oct. 15, 2019. Keep in mind that the recent extension announced by the Media Bureau is only for low-power and TV translator stations, not FM broadcasters.

A webinar clarifying the reimbursement process was held in August. A replay of that webinar can be found here under the “Education” tab.

 

The post Deadline Approaches for Reimbursement Requests appeared first on Radio World.

Author: Susan Ashworth
Posted: October 9, 2019, 5:38 pm

YouTube has been growing for years; we can’t ignore the question of how it fits into our strategies

The post Visual Radio: Creating a YouTube Channel appeared first on Radio World.

It’s often said that kids keep a person young. I can attest that my three have kept me a bit more in touch with reality than I would have been otherwise from news or focus groups. And whether they belong to you, a friend or a relative, it’s hard to miss that kids are the ultimate harbingers of change.

The YouTube channel of Power 106 Los Angeles, aka KPWR(FM), owned by Meruelo Media. A large subscriber base with low video views equals opportunity to invest in advertising to increase audience, while improving content and frequency of posting.

I first noticed my kids utilizing YouTube for music consumption about six years ago. I recall the jolt at the time; it actually made me feel bad that broadcast radio wasn’t totally meeting their needs.

Like you, I got over that feeling once I accepted the new on-demand enormity of YouTube, then recalled that radio still has a major role to play with its convenience, personalities, information and immediate relevance.

This evolution reminds me of when television first supplanted radio. The industry initially ignored the shift, but over time, adjusted — and when it did, what happened next? We made a U-turn and started advertising our product on TV!

In my previous article, we covered advertising on YouTube; if you haven’t read it, please do (radioworld.com, keyword Lapidus).

Now I’d like to address the importance of having a radio station YouTube channel.

LEARN FROM THE SUCCESSFUL

Wanna hang on to listeners or win over new ones? You gotta go where your audience does.

You execute this all the time when you send DJs to host concerts and events. The issue for many years now is that much of your audience is spending significant time elsewhere — online and with music apps. If you want to go where the fish are, you need a real presence.

The best example I’ve seen of a highly successful radio YouTube channel was created by the BBC’s Radio 1. I’m not alone in loving this channel; it has 6.9 million subscribers. Some videos have millions of views, many have hundreds of thousands of views and yes, they even have pieces in the mere thousands.

“Foul!” you cry. I can hear the haters now, saying in unison: “But the BBC is a fully funded network, propped up by the government. It doesn’t even have to make a profit!”

Can’t deny that. However, everyone needs something to aspire to, admire and emulate. I’m simply suggesting that you click around the channel and notice how they’ve constructed it, what videos are performing, how they promote their broadcast channel, and the amazing outpouring of emotion they get from their audience in the comments section.

If you want to go domestic, take a gander at NPR Music with its nearly 3 million subscribers or the other NPR channels with 206,000, 99,000 and 101,000, respectively. Try looking at your best-in-class format competitors to see what they’ve got brewing and what you’re up against.

It’s interesting to note that Power 106 in L.A. is at nearly a million subscribers but, like Z100 in New York, has a low viewing rate. This could indicate that the stations are not purchasing any YouTube advertising; that their audiences are not diggin’ what they’re posting; or that their frequency of posting (content velocity) is low, so the audience doesn’t actually participate regularly anyway.

CONSIDERATIONS

A few things to debate:

Should a morning show have its own YouTube channel, separate from the main radio station? While there’s no definitive answer to this, my gut tells me that integration is preferable simply because it’s desirous to maintain a steady flow of content velocity. If both the morning show and the station are creating product, the overall posting frequency will increase.

Another advantage is exposing what could be two audiences to one brand. Some morning shows will fight this hard because, from a brand/ownership perspective, they may want their show to fly solo in case at some point they decide to depart the mothership.

What about other streaming services like Spotify and Apple Music? No reason why you shouldn’t offer playlists of your own design or by artists who reside in your format. I’m not convinced it will have the same impact as a YouTube channel, but the effort and barriers to entry are low. Apple Music claims to be streaming 100,000+ radio stations. Is your station available?

Is there money to be made on YouTube? It doesn’t turn into serious change until a station achieves a large number of video views with viewers who will watch full 30-second pre-roll ads. This ad-sense (pre-roll) that you can activate at any time, may be setting up a barrier to entry. It isn’t something that requires serious discussion until you have a substantial audience. Another angle is to integrate sponsors into your content, probably the most appealing, as it could be tied to a station ad-buy.

A highly produced/professional YouTube channel does require an investment in money, time and resources, and I get that not all stations are able or willing to play. It would be very interesting to see if this can be done on a small- or medium-market level — highly localized with raw materials. Would it perform by itself and also help to maintain or grow ratings? Let me know of your own experience.

By the way, this isn’t about being futuristic or obsessing over a passing fancy. YouTube has been growing for years. If we ignore advertising on it, or avoid even the notion of our own channel, it could be at our own detriment.

Mark Lapidus is a longtime Radio World contributor. Comment on this or any story to [email protected].

The post Visual Radio: Creating a YouTube Channel appeared first on Radio World.

Author: Mark Lapidus
Posted: October 9, 2019, 4:00 pm

Views latest circuit court decision as an opportunity

The post Starks Criticizes FCC Record on Media Diversity appeared first on Radio World.

FCC, Geoffrey Starks“America’s broadcasters should look like America.”

That was FCC Commissioner Geoffrey Starks, expressing “particular concern [about] the persistent lack of diversity in broadcast media ownership, and among its rank and file.”

The commissioner has been on the job for about nine months and is one of two Democrats on the five-member panel; he spoke Tuesday at the Media Institute Free Speech America Gala. Starks said that the FCC’s controlling statute “demands that we distribute [broadcast] licenses in a way that prevents too many from winding up in the same hands and promotes ownership by women and people of color. This is important. The capacity of broadcast media to empower and inform is indisputable, and it is critical that those exercising this power represent all of us, not a mere privileged or anointed few.”

However, he said, the commission has, “largely and over many decades,” failed in meeting its statutory goals and obligations in this regard. “This isn’t conjecture or political posturing. It isn’t even an opinion. It is a fact borne out by our data.” He noted that of 1,300 full-power TV stations licensed, only 12 were owned by African Americans.

Starks said the FCC currently has an opportunity: “As the Third Circuit Court of Appeals observed in its most recent media ownership decision, Prometheus v. FCC, the commission can and must do better in addressing the impact of its regulatory efforts on the ability of women and people of color to own stations. No longer can it rely on bad data and analysis while ignoring its obligations. The court sent back this FCC’s latest deregulatory efforts and demanded that we get the data and perform the analysis necessary to ensure that we are fully meeting our statutory requirements.”

However, FCC Chairman Ajit Pai, head of the Republican majority on the commission, has been harshly critical of the court and of its latest decision. Pai said last month that for 15 years, the Third Circuit has blocked attempts to modernize regulations to “match the obvious realities of the media marketplace.”

Starks on Tuesday also called for the FCC to “redouble” its Equal Employment Opportunity efforts. “For 15 years, the commission has had an open rulemaking proposing to continue a decades-old data collection on the diversity of the broadcast workforce. And for 15 years, while we’ve been stuck in neutral, we’ve elicited zero visibility on whether station management and news teams reflect our communities. We cannot fully engage on this issue when our ability to understand the problem is compromised.”

He said new research, including disparity studies identifying past discrimination in licensing, could be critical to addressing the concerns of the court “and finally making good policy in this space.”

Earlier in his remarks, Starks expressed ardent support for a free press. “The American people have a deeply ingrained urge to seek out and wade through what the Supreme Court has called a ‘multiplicity of information.’ That’s a good thing because it is essential to our democracy that the American people go through the process of hearing from a wide range of sources, ideologies and viewpoints. … What we need, then, is a press that pursues unvarnished facts and, above all else, truth.”

Starks was nominated by President Trump and was confirmed by the Senate in January 2019.

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The post Starks Criticizes FCC Record on Media Diversity appeared first on Radio World.

Author: Paul McLane
Posted: October 8, 2019, 6:40 pm

Fire prevention and safety are greatly aided by preplanning

The post More on Fire Safety and Prevention appeared first on Radio World.

The author is director of engineering for Broadcast Devices.

Your article “Fires, Your Station and You” was a great reminder to take a look around and introduce some common sense into planning for what we hope never happens. As the chief of a volunteer fire department I see lots of foolish and sometimes even borderline criminal things. Our mantra is (unfortunately) “You can’t fix stupid.”

[Read: From the Archives: Fires, Your Station and You]

Here are a couple of quick items to add to the sensible suggestions in that article:

  • All of that wiring and plastic in your station gives off nasty gases when it burns and though the smoke from plenum-rated cable is supposed to be “less toxic” they stop short of calling it “nontoxic.” Even if the smoke is not obscuring your vision there is a good chance you are breathing in stuff that your life insurance carrier would prefer you do not. If you can’t knock down a fire quickly with a single extinguisher consider backing out and make sure you close the door to limit the oxygen supply to the fire. The last part is very important. As you plan your fire escape strategy with staff make sure they understand that exiting the building and leaving every door wide open is a great way to provide all the oxygen that a fire needs to spread.
  • Call the fire department. Not when your station is already on fire but before anything happens. Most fire departments are happy to do a “preplan” walk-through with you and doing so will usually buy you some good will when they point out that you have code violations. Keep in mind that should those code violations be discovered after you have a fire and someone is seriously hurt the consequences will be significantly more unpleasant than the embarrassment of discovering them while you walk-through with the fire department.

A preplan will not only be informative for you and your management but will also give the fire department the opportunity to see the layout of your facility and what hazards might lurk there when they do respond with the building full of smoke and time is of the essence.

  • Fire extinguishers need to be checked and recharged. Since you are going to pay someone to do so, consider having your staff practice with them as part of that ongoing maintenance cycle. The time to learn how to use one correctly is NOT when you actually need to use one.
  • While on the subject of not learning things when you need to use them, also considering bringing in a CPR instructor to do a class for your staff. One of them might save your life and they will certainly be grateful if they save a family member with training you forced them to take.

Radio World invites industry-oriented commentaries and responses. Send to Radio World.

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The post More on Fire Safety and Prevention appeared first on Radio World.

Author: Ron Kumetz, N1WT
Posted: October 8, 2019, 5:28 pm

Help celebrate the 75th anniversary of Voice of America – Bethany Relay Station

The post National VOA Museum Asks for Your Support appeared first on Radio World.

Her six massive transmitters may be quiet, but she is far from silent.

Amateur radio operators routinely talk to the world from station WC8VOA in West Chester, Ohio, located about 25 miles north of Cincinnati. This former VOA relay station is now a museum with collections from the Gray History of Wireless Radios; Powel Crosley Jr., and Cincinnati radio and TV broadcasting history; and the Voice of America.

The museum celebrated the 75th anniversary of the Bethany Station in September with a fundraiser to make the first floor of the museum accessible for people of all abilities.

SIT AT THE BOARD

The National Voice of America Museum of Broadcasting is open every weekend from 1 to 4 p.m. Tours are given continuously on weekend afternoons by knowledgeable docents. It houses the Bethany station’s last control room and one of the remaining 250 kW Collins shortwave transmitters.

You can sit at the massive audio console that controlled the six shortwave transmitters and literally take a tour inside one of the Collins transmitters. You can view the massive switch gear, built during World War II, that changed Bethany’s 24 rhombic antennas to its six transmitters.

At one time, Bethany Station covered a square mile of property on former farmland. Today the museum sits on 14 acres and the antennas are gone; but with surrounding park acreage, you get a sense of the massive scale the site covered with towers and the miles of transmission lines and antenna wire.

The antennas are a memory, but the site’s spirit lives on.

The museum houses a large collection of radios from the early part of the 20th century, including names such as Hallicrafters, National, Drake and Collins. A large collection of Drake Amateur Radio products is always a must-see by visiting radio enthusiasts and ham radio operators.

Drake radios were produced nearby in Miamisburg, Ohio. An area dedicated to the Crosley Corporation shows off many of the Crosley brothers’ radio, TV and household products that were manufactured in Cincinnati. Crosley contributed heavily to the war effort during World War II, with the production of tens of thousands of portable radios for the U.S. Army and millions of proximity fuses for anti-aircraft ordinance.

Not only did Crosley develop radios, but content as well, with its on-air radio station WLW, which still broadcasts today on 700 AM. WLW transmits from its original site and the large Blaw-Knox tower can be seen from the VOA museum. The museum contains the original 50-watt AM transmitter that WLW started with in 1922.

WLW was the only U.S. station allowed to operate at 500,000 watts of power during the 1930s. The collection includes a bright red Crosley Hot Shot sports car, too. Crosley Corporation developed a number of vehicles during the late 1930s and resumed production after World War II until shutting down in 1952.

An additional area of the museum houses artifacts and memorabilia from the early era of Cincinnati radio and TV broadcasting. The Cincinnati Media Heritage section includes many of the celebrities who got their start at WLW and other local broadcasting outlets. These WLW radio stars, many of whom transitioned from radio to TV, include Rod Serling of Twilight Zone fame; sisters Rosemary and Betty Clooney; Eddie Albert; Doris Day; The Mills Brothers; and Ruth Lyons.

Housed in three of Bethany’s old transmitter vaults, the history of broadcasting showcases the talent and equipment that made Cincinnati an early nursery for radio and television entertainment. Artifacts include equipment from a 1930s radio station; a 1950s AM station, including disc jockey’s audio console and turntables; and a 1000-watt transmitter. A very early and massive RCA Victor color television camera is on display, along with other television and video equipment.

RADIO LIVES HERE

Our amateur radio station is operated under FCC license WC8VOA and is manned by the West Chester Amateur Radio Association.

The station has seven operating positions equipped with modern and vintage amateur radio gear. Antennas cover the radio spectrum from two meters down to 160 meters. The former VOA receiving satellite dish has been converted to 10 GHz transmit and receive capabilities for EME (Earth Moon Earth) bounce. Signals are sent to the moon and the dish used as a passive satellite to communicate with other amateur radio operators.

The club participates in radio contests, portable operations and local STEM events. It averages some 6,000 contacts per year, covering modes of voice and digital and CW. The club also operates two FM repeaters on two meters and 440 Mhz.

Operators are in the shack every weekend and hold an open house every Wednesday night for radio enthusiasts and those interested in obtaining a ham radio license. Our WC8VOA call sign is recognized by many of our fellow radio amateurs around the world. We have made contacts from all seven continents and hundreds of countries.

Radio is still an important part of our lives. Whether it is listening to AM, FM or satellite services, radio remains a viable source of our news and entertainment.

CINCINNATI LIARS

Voice of America broadcasts were never intended for Americans. They were targeted to people living in oppressed countries where media was censored to change people’s minds by providing sourced and accurate news.

In fact, the VOA Charter (Public Law 94-350), which was passed in 1976 during the Ford administration, states that VOA news will be “accurate, objective and comprehensive.” It will also “represent America, not any single segment of American society, and will therefore present a balanced and comprehensive projection of significant American thought and institutions.” Last, the VOA is mandated to “present the policies of the United States clearly and effectively and will also present responsible discussions and opinion on these policies.”

VOA news and feature stories are still broadcast and transmitted today to more than 275 million people weekly in 40-plus languages in nearly 100 countries. VOA programs are delivered on multiple platforms, including radio, television, web and mobile via a network of more than 3,000 media outlets worldwide.

Broadcasts have aired continually for more than 75 years, along with sister stations of Radio Free Europe; Radio Liberty; Radio Free Asia; and Radio Martí.

Here is the crux of the matter for all of us at the VOA museum: Once Bethany Station began operation during mid-World War II, an infuriated Adolf Hitler was quoted as saying on one of his radio broadcasts to never listen to those “Cincinnati Liars.” We’re proud to be part of the VOA heritage we are entrusted with and even more proud to be related to those “liars” from Cincinnati.

But while we’re proud of our heritage, I must be honest: The museum is housed in an aging, uninsulated, 75-year-old building that constantly needs repairs. We receive no federal funding, and this is our big fundraising push for the year.

Joe Molter

Our workforce of docents, conservators and maintenance crews are all unpaid volunteers. And many of our volunteers come from our local radio club, the West Chester Amateur Radio Association.

Please help us out with a donation. For information on the museum and how you can help with donations, visit www.voamuseum.org. Please donate today. If you’re interested in our amateur radio group, additional information is at wc8voa.org.

Joe Molter, WCARA, N8IDA, ARS Operator, is with the National VOA Museum of Broadcasting.

The post National VOA Museum Asks for Your Support appeared first on Radio World.

Author: Joe Molter
Posted: October 8, 2019, 3:58 pm

FCC says N.Y. operator has deliberately interfered with the Amateur Radio Service

The post Ham Radio Operator Handed $17,000 Notice of Forfeiture appeared first on Radio World.

A ham radio operator who was repeatedly warned not to deliberately interfere with other amateur radio operators has been slapped with a $17,000 forfeiture.

Commission’s rules are clear on the issue: Amateur radio licensees may not monopolize the ham radio frequency for their exclusive use. Yet the Enforcement Bureau at the Federal Communications Commission said New York resident Harold Guretzky has not followed those rules and is instead an alleged “repeat offender” who has long misused the local amateur radio service by interfering with other operators.

Guretzky, licensee of station K6DPZ in Richmond Hill, N.Y., has been the center of numerous complaints over the last several years over his attempts to prevent other amateur licensees from using the local ham radio repeater.

[Read: Pennsylvania Ham to Pay $7k Fine for Intentional Interference]

Back in June 2017, the bureau issued a warning letter to Guretzky, advising him of the nature of the allegations against him and directing him to refrain from using the repeater going forward. Additional complaints came forward again in August 2017; the bureau said that Guretzky had also begun making threats against other operators.

Agents came twice in 2018 to Richmond Hill to check on Guretzky. The first time, agents advised Guretzky in writing that he was prohibited from using the local repeater. The second visit revealed that Guretzky was again allegedly interfering again with the local repeater and making threatening comments toward other amateur operators. This was followed by a phone call from the Regional Director of the Region One Enforcement Bureau who cautioned Guretzky, again, to not use the repeater.

The commission moved to take action against Guretzky with a formal notice of apparent liability for forfeiture. The bureau said that Guretzky deliberately violated the Communications Act and the FCC Rules — despite receiving multiple notifications that he cease this activity.

As a result, the commission found that Guretzy’s “repeated, intentional and egregious apparent violations” warrant a fine of $17,000, which is an upward adjustment of the $10,000 base forfeiture often assigned in cases like these. Any future violations by Guretzky may result in additional forfeitures, the commission said.

Guretzky has 30 days to pay the forfeiture or to respond to the commission.

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The post Ham Radio Operator Handed $17,000 Notice of Forfeiture appeared first on Radio World.

Author: Susan Ashworth
Posted: October 8, 2019, 3:06 pm

Enforcement bureau cited concerns with antenna, transmitter and EAS logs

The post California LPFM Asked to Explain Alleged Transmission, EAS Violations appeared first on Radio World.

A California LPFM station has some compliance steps to consider after agents from the Enforcement Bureau came a calling.

In March 2019, an agent with the Federal Communications Commission observed several alleged violations after visiting low-power station KQEV(LP) in Covina, Calif., including concerns with the station’s antenna, transmitter and its EAS log.

[Read: Arizona LP Licensee Agrees to $1,500 Consent Decree]

Specifically, the agent noted that the station’s transmitting antenna was allegedly 7 meters higher above ground than it should have been and was located at coordinates that were about 40 meters away from its authorized site. The station’s transmitters was also allegedly found to be out of compliance; the model in use is not certified for use at that station, the agent reported.

The agent also noted irregularities with the station’s record keeping logs. Stations are required to keep an entry of each test and activation of the Emergency Alert System and at the time of inspection, the agent noted that no EAS log was available.

The next step for Chinese Sound of Oriental and West Heritage, which is licensee of KQEV, is to provide additional information to the FCC on these alleged violations. That means Chinese Sound must submit a written statement within 20 days explaining each alleged violation and include a timeline for completion of any pending corrective action. The commission plans to use all of that information to determine what, if any, enforcement action will be handed out from there.

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The post California LPFM Asked to Explain Alleged Transmission, EAS Violations appeared first on Radio World.

Author: Susan Ashworth
Posted: October 8, 2019, 11:52 am

The technology could play a bigger role in consolidating broadcast operations across distances

The post Something More to SIP appeared first on Radio World.

The author is affiliated with Wheatstone, which manufactures the WheatNet-IP audio network.

Anyone who has ever tried to fit a week’s worth of personal items into carry-on luggage understands the problem. It’s impossible to pack audio in the megabits-per-second range into bandwidth in the kbps range without an IP audio codec, and that means losing some bits in the process.

Dee McVicker

The problem isn’t just that audio comes with a lot of baggage, either. It’s that you can’t always be sure what to pack. Opus, G.722, AAC, they are different algorithms and have different ways of packaging bits for transport across an IP link. You might use brand X on your end of a remote, but that’s not going to fly if it’s brand Y on the far end.

ENTER SIP

Up until now, this has been resolved by simply using the same codec at the studio and at your remote truck or STL at the far end. But all that goes out the window once you want to open accessibility, as is often the case for combining studios across a region or establishing a network operation center in the cloud. Then, it’s hard to control which codec unit you’ll be handing off to on the far end, and it’s an impossible task if you’re handing off to more than one endpoint with more than one codec variation, which can be the case for multiple transmitter sites.

Enter SIP, or session initiation protocol, which is often associated with VoIP communications but also makes a pretty darn good interoperability standard for codecs.

SIP is a signaling protocol used for initiating, maintaining and terminating real-time multimedia sessions.

It initiates a session by sending a message to an endpoint SIP address that can be linked to a physical phone or a software application through a SIP service provider. There’s a header component of the SIP message that conveys information about the message and also a description component (called a session description protocol or SDP) that conveys information such as codec formats.

An “invite” is sent to the far end, and once acknowledged, SIP discovers the codecs in common between the two end points and determines which to use.

[Read: Jay Tyler’s Top 5 AoIP Trends]

Codec product manufacturers have been interested in SIP for some. IP audio network manufacturers like Wheatstone are also interested in SIP, in part because it makes it possible to seamlessly transport AoIP from a remote sporting or news event to the studio network without regard to codec brand.

IMPLICATIONS

But the wider applications for SIP go way beyond remotes.

SIP is already playing a central role in the next level of consolidating broadcast operations, where for example, one studio is carrying all the programming for a group of stations in a region. It’s likely that some or all of a group’s programming and operating functions will be hosted by a cloud service provider.

Combined with audio control and codecs as part of the AoIP network, SIP solves that issue of getting IP audio out of the studio network and onto the public network for a number of beneficial purposes that will ultimately lead to more flexibility and cost savings for broadcasters.

The post Something More to SIP appeared first on Radio World.

Author: Dee McVicker
Posted: October 8, 2019, 6:00 am

Emmanuel Communications sought authorization to construct a cross-service FM translator for its Worcester AM station

The post Massachusetts FM Translator Nixed After Interference Concerns appeared first on Radio World.

An FM translator station in Massachusetts won’t be built after the Media Bureau dismissed an appeal because of complaints of interference and a subsequent reconsideration request that fell outside a 30-day window of time.

In 2017, Emmanuel Communications filed an application permit seeking authorization to construct a cross-service FM translator station to rebroadcast station WNEB(AM) in Worcester, Mass.

Soon after, a petition to deny was filed by Plymouth Rock Broadcasting Co. who argued that the proposed translator would cause interference to listeners of one of its stations, WPLM(FM) in Plymouth. Emmanuel responded to say that the anticipated interference was minimal and that displacement relief would be the best remedy for that single listener. After all, argued Emmanuel, authorizing this translator would help further the commission’s long-standing goal of revitalizing the AM radio service.

But 2018, the Media Bureau found that the interference to the listener of WPLM(FM) would be in violation of FCC Rules. The bureau thus dismissed the permit application.

Emmanuel responded with a Petition for Reconsideration saying that the bureau was in error and it proposed two alternatives to dismissal: one, waiving a section of the rules and granting the permit application (with the understanding that Emmanuel would submit a modification application proposing displacement relief if any actual interference should occur); and secondly, allowing the permit application to remain pending while Emmanuel negotiated an agreement with Plymouth Rock.

But the bureau demurred and said that the rules expressly prohibit the filing of contingent applications for new stations and that Emmanuel had not demonstrated that waiver of the rules was justified. The Media Bureau also rejected Emmanuel’s argument that it should reinstate the application to allow it to negotiate an agreement with Plymouth Rock.

The bureau also reminded Emmanuel that it could have amended its permit application while it was pending to correct the interference violation — or even could have filed a corrective amendment after the dismissal of the application. But the licensee did not do so within the specific time period.

Emmanuel filed another application for review saying the bureau was mistaken in its ruling, saying the interference rules violation is “a processing obstacle” but not a true technical defect. The licensee says the amendments proposed by the bureau would not have been successful and it argues that the bureau failed to recognize the “policy ramifications of failing to exercise its waiver authority.”

In this case, Emmanuel said, the bureau’s decision subverts the policy objectives that informed the AM revitalization proceeding. Emmanuel took the next step of filing an amendment to its permit application and proposed to operate the translator at minimal power and said it would seek “displacement relief” upon grant of the application.

But when the commission reviewed the Media Bureau’s actions and Emmanuel’s application for review, it found that Emmanuel’s evolving arguments — including the waiver and the amendment — were untimely. The commission also dismissed Emmanuel’s assertion that one of the listener affidavits from Plymouth was unacceptably ambiguous.

As a result, the commission dismissed both the application and request for review.

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The post Massachusetts FM Translator Nixed After Interference Concerns appeared first on Radio World.

Author: Susan Ashworth
Posted: October 7, 2019, 9:34 pm