Broadcast Industry News
Broadcasting & Cable
Animated program to debut in 2021
Marvel Animation & Family Entertainment is producing a new original Spiderman series for Disney Junior that is title Marvel’s Spidey and His Amazing Friends.
The series, the first produced by Marvel for Disney Junior, is set to debut in 20201 and will feature Peter Parker (aka Spidey) and his friends Miles Morales and Ghost-Spider Gwen. Hulk, Black Panther and Ms. Marvel will make guest appearances.
“Preschool kids already love Spidey, so they’ll be delighted to have Peter Parker thwipping across their screens in this new series” said Cort Lane, senior VP, Marvel Animation & Family Entertainment. He added, “Everyone at Marvel is thrilled to launch our first preschool series on Disney Junior, the gold standard platform for the audience. We believe parents and kids will be excited about these stories filled with themes of friendship, cooperation, solving problems and using your abilities to help others.”
The new show was announced during the D23 Expo conference for Disney fans.
"We're thrilled to be working with Marvel on this new series showcasing the exciting adventures of Spidey and his friends as they model the importance of teamwork and helping others in their community. This is the perfect series to introduce preschoolers to the super hero powers of friendship and working together to help others in need,” said Jo D’Ambrosia, senior VP, original programming and general manager of Disney Junior.
Marvel’s Spidey and His Amazing Friends is executive produced by Alan Fine, Joe Quesada, Dan Buckley, Cort Lane and Eric Radomski. It is co-executive produced by Marsha Griffin and supervising producer Harrison Wilcox. Alfred Gimeno serves as supervising animation producer, and Ashley Mendoza as story editor.
Shows feature Obi-Wan, She-Hulk, LIzzie McGuire and the Muppets
Three months before its launch, The Walt Disney Co.’s streaming service, Disney+ added more series to its roster at D23 Expo, a convention for fans of all things from the home of Mickey Mouse.
The new shows feature well known characters--known in the business world as intellectual properties--ranging from Obi-Wan Kenobi of Star Wars to the Muppets.
Fans at the conference also got to see the first trailers from several already-announced series and began lining up to subscribe to Disney+
“With less than three months until launch, Disney+ will soon entertain and inspire audiences of all ages for generations to come, and we’re excited to preview some of the amazing original content being created for the service exclusively from our world-class brands today at the D23 Expo,” said Kevin Mayer, chairman of Disney’s Direct to Consumer and International unit. “Storytelling is the cornerstone of The Walt Disney Company and we’re thrilled to unveil a new slate of original shows from the Star Wars and Marvel cinematic universes, along with popular television franchises set to return with all-new series streaming only on Disney+.”
In announcing the new series, actor Ewan McGregor made an appearance at the convention announcing his return as Obi-Wan Kenobi in a new untitled series from Lucasfilm.
Marvel Studios President Kevin Feige announced the development of new live-action series featuring the comic book characters Ms. Marvel, Moon Knight and She-Hulk.
Hillary Duff appeared to announce she will reprise her role as Lizzie McGuire in a new series from creator Terri Minsky.
Kermit the Frog and Miss Piggy and their friends will be coming the the small screen in a unscripted short-form series Muppets Now.
Attendees were able to test drive the Disney+ app, which will be available in November.
Disney said Disney+ will feature unlimited download on up to 10 devices, high quality, commercial free viewing and personalization.. Subscribers will also be able to stream on up to four devices at the same time. Show will be available in multiple languages and offer closed captioning, descriptive audio and navigation assistance to help subscribers with disabilities.
Gala to honor legacy of late president and CEO Jack Galmiche
St. Louis, MO — August 23, 2019 — Nine Network’s biennial Pioneer Spirit Gala will take place Saturday, September 21, at 6:00 p.m. at The Ritz-Carlton.
The gala will honor the legacy of Jack Galmiche, president and CEO, who passed away suddenly in April, celebrate Nine’s 65th birthday, and feature a “Sparkle and Twang” theme tied to the September premiere of Ken Burns’ new epic documentary, Country Music.
Great music, food, storytelling, and some down-home fun are on tap as is a discussion with special guest—country music legend and historian—Marty Stuart. With an extensive collection of country music memorabilia and a lifetime of stories, Stuart appears throughout the Ken Burns’ series. The gala will end with a performance by Marty Stuart, along with His Fabulous Superlatives.
The documentary series premieres on Nine PBS at 7:00 p.m. on Sunday, September 15.
“At the heart of every great country music song is a story,” says Ken Burns. “As the songwriter Harlan Howard said, ‘It’s three chords and the truth.’ The common experiences and human emotions speak to each of us about love and loss, about hard times and the chance of redemption. As an art form, country music is also forever revisiting its history, sharing and updating old classics and celebrating its roots, which are, in many ways, foundational to our country itself.”
Tickets, tables, and sponsorships for the gala are available at nineNet.org/gala. All proceeds benefit the Nine Network.
The fun continues the next day when Marty Stuart headlines the Nine Network’s 65th birthday concert on September 22 at the Sheldon Concert Hall. Ticket information is at nineNet.org/birthdayconcert.
Nine Network’s 65th Birthday Weekend is supported in part by the Steward Family Foundation, Polarity, Emerson, Ameren, Boeing, Express Scripts, and Webster University.
The Nine Network of Public Media is a multifaceted organization creating a network of individuals and organizations empowered by public media to strengthen civic life. One of the nation’s most watched public television stations, Nine Network offers the people of the St. Louis region multiple ways to explore the world and become engaged in civic life. Nine’s platforms include four distinct broadcast channels (Nine PBS, Nine World, Nine Create and Nine PBS KIDS®), the Nine Center for Public Engagement, the Public Media Commons, social media, and multiple websites accessible at nineNet.org. Nine Network’s rich legacy of serving the community was launched in 1954 and continues through our vision of a strong and healthy community working together through public media and our mission of igniting the spirit of possibility.
‘Purge’ based on thriller film franchise, ‘Treadstone’ about CIA black ops
Season two of The Purge starts on USA Network October 15, leading into new series Treadstone. Based on the movie franchise, The Purge revolves around a 12-hour period when all crime is legal. Season two explores how a single Purge night affects the lives of four connected characters over the course of the ensuing year, all leading up to the next Purge.
From Blumhouse Television and UCP, The Purge is an anthology series.
Season one was USA’s top scripted series in viewers 18-49 and 25-54 last year.
Season two is executive produced by film franchise creator James DeMonaco, who does so along with his partner from Man in a Tree, Sébastien K. Lemercier. Also exec producing are Krystal Houghton Ziv, James Roland, Tim Andrew and Jason Blum. Michael Bay, Brad Fuller and Andrew Form, from the film franchise, executive produce under the Platinum Dunes banner, as does Thomas Kelly.
Treadstone follows sleeper agents across the globe as they’re mysteriously “awakened” to resume their deadly missions. The thriller is set amidst a CIA black ops program called Operation Treadstone, a covert program that uses behavior modification protocol to turn recruits into nearly superhuman assassins.
Treadstone is produced by UCP and developed by and executive produced by Tim Kring. Ben Smith and Jeffrey Weiner executive produce on behalf of Captivate, which produced the Bourne film franchise.
C-SPAN airs audio of Trump financial records argument
C-SPAN's streaming of Second Circuit oral argument Friday (Aug. 23) in a case (Donald J. Trump, et al., v. Committee on Financial Services, et al.) involving the subpoena of President Trump's financial records, and whether House committees can do so, was hailed by Fix the Court (FTC) as the fourth federal appeals court to allow live streaming of oral argument.
FTC had pointed out that C-SPAN sought to cover to provide video coverage of the hearing on the cable channel, but the court compromised and let it stream audio of the hearing on its Web site and YouTube channel.
“If a case makes it to the point where there’s an oral argument before a federal appeals court, that by definition is newsworthy,” said FTC executive director Gabe Roth. “Americans expect to get their news live as it unfolds, not later in the day or week, and there’s no technological or financial reason for the remaining holdouts, including the Supreme Court, not to follow the Second Circuit’s lead and permit live audio.”
Twelve episodes for challenged couples and sexy singles
Season two of unscripted series Temptation Island premieres on USA Network Oct. 10. Mark L. Walberg hosts. There are 12 episodes, including a reunion special.
The show depicts four dating couples who have to decide whether to commit to a lifetime together or give in to temptation. Tempting them are 24 sexy singles in Maui.
The sexy singles include Aden Twer, a regional sales manager from Philadelphia who has a “great head of hair and rock-hard abs,” according to USA; Chris Grant, a special education teacher from the Bronx; and Darby Dowdell, a fashion designer from Atlanta who is divorced but “ready to find love again.”
David Goldberg, Caroline Baumgard and Scott Jeffress executive produce Temptation Island, and Jeffress is showrunner.
An earlier iteration of Temptation Island ran on Fox for three seasons, starting in 2001.
Broadcaster paying $9.6B to Disney
Sinclair Broadcast Group said it completed its acquisition of 21 Fox regional sports networks from the Walt Disney Co.
The price was $9.6 billion, which values the businesses at $10.6 billion.
Disney acquired the networks when it bought 21st Century Fox, but had to divest the regional sports networks in order to pass regulatory muster. The YES Network in New York is not included.
The Justice Department Friday gave its thumbs up to the deal, paving the way for the deal closure.
"Based upon its investigation, the Department did not find that the Divestiture Transaction would lead to competitive harm, and found that Sinclair has the incentive to use the RSNs to compete in all affected markets and that Sinclair has sufficient business experience and financial capabilities to compete effectively in the affected markets over the long term," Justice said.
“In exercising its discretion, the Antitrust Division has a duty to ensure that competition will be preserved for the American consumer, here the sports fan,” said Antitrust Division Chief General Makan Delrahim. “Sinclair’s acquisition of the divested regional sports networks addresses the harm the Division identified in its review of the Disney-Fox transaction.”
“We are very excited about the transformational aspects the RSN acquisition will have on Sinclair and are eager to bring those opportunities to life. We welcome Jeff Krolik, president of the RSNs, and the rest of the RSN management team and staff to the Sinclair family. We have an exciting future ahead of us,” said Chris Ripley, CEO of Sinclair.
Ripley told the Wall Street Journal that Sinclair would now be interested in looking at the regional sports networks owned by AT&T. Those networks are in Seattle, Pittsburgh, Colorado and the Southwest.
Sinclair now become a big player in the regional sports business. It also is starting the Marquee Network with the Chicago Cubs and it owns the Tennis Channel. As part of the Disney deal, it also acquired Fox College Sports.
The RSNs were acquired via a newly formed, indirect subsidiary of Sinclair, Diamond Sports Group, LLC.
Byron Allen has agreed to become an equity and content partner in a newly formed indirect subsidiary of Sinclair and an indirect parent of Diamond (“RSN Holding Company”). Allen, who bought The Weather Channel in 2018, is the founder, chairman, and CEO of Entertainment Studios.
The RSN brands acquired by Sinclair are: Fox Sports Arizona, Fox Sports Detroit, Fox Sports Florida, Fox Sports Sun, Fox Sports North, Fox Sports Wisconsin, Fox Sports Ohio, SportsTime Ohio, Fox Sports South, Fox Sports Carolina, Fox Sports Tennessee, Fox Sports Southeast, Fox Sports Southwest, Fox Sports Oklahoma, Fox Sports New Orleans, Fox Sports Midwest, Fox Sports Kansas City, Fox Sports Indiana, Fox Sports San Diego, Fox Sports West, and Prime Ticket. Also included in the acquisition is Fox College Sports.
Said it had ample authority to promote swifter broadband deployment
Backed by the Justice Department, the FCC has told a federal court it knew what it was doing when it deregulated pole attachments, and had the authority to do it.
That came in a brief responding to the lawsuit filed by utility companies last October. DOJ Antitrust Chief Makan Delrahim was also on the brief, signaling Justice agreed the FCC had the legal authority.
"Petitioners, a group of electric utility companies, contend that some of the Commission’s new rules are unlawful," the FCC and Justice told the U.S. Court of Appeals for the Ninth Circuit. "To the contrary, the challenged rules, which expanded on previous reforms, reflected a reasonable and carefully considered exercise of the agency’s authority.... Accordingly, the Court should reject petitioners’ claims and uphold the Order."
The FCC voted in August 2018 (unanimously, though with one partial dissent) to adopt various reforms related to new broadband attachments on utility poles.
The utilities challenged its authority to undertake for of those reforms: 1. The decision not to hold new attachers responsible for the costs of correcting preexisting violations by other attachers; 2. the decision to allow utilities to require advance notice of overlashing; 3. allowing attachers to help themselves if utilities missed deadlines for completing surveys and make-ready work; 4. and the FCC's rebuttable presumption that incumbent local exchange carriers are similarly situated to "telecommunications attachers" (including cable operators).
The FCC said it reasonably exercised its authority in doing all that.
In its brief, the FCC also pointed out that numerous commenters had told it that delays in pole attachments were deterring them from deploying broadband (which the FCC is under pressure from the White House, Congress and its own recognition of the digital divide, to promote).
‘Holey Moley’ closer goes up on ABC
CBS, Fox and NBC all rated a 0.9 in viewers 18-49, per the Nielsen overnights, and a 5 share. CBS was bolstered by Big Brother, Fox had pre-season football and NBC aired repeats, with football in some markets.
With several NFL games airing in various markets, ratings may be inflated for some programs.
Big Brother went up 18% to 1.3 and had reruns on either side on CBS.
NBC had reruns of The Wall, Ellen’s Game of Games and Law & Order: SVU, and Giants football in the New York market.
ABC got a 0.6/3. The Holey Moley finale did a 0.6 and Reef Break a 0.4, both shows up a tenth of a point from last week.
Telemundo and Univision both scored a 0.4/2. On Telemundo, Exatlon Estados Unidos, El Final Del Paraiso and Preso No. 1 all scored a 0.4. Exatlon was flat, El Final was down a tenth and Preso up a tenth.
On Univision, La Reina Soy Yo and Juntos, El Corazon Nunca Se Equivoca both did a 0.4, La Reina flat and Juntos up a tenth. Sin Miedo a la Verdad rated a flat 0.3.
The CW was at 0.2/1, both The Outpost and Two Sentence Horror Stories posting a 0.2. Both shows were level with last week.
Fifty-two employees, now under CWA representation, say they’re set to begin negotiation with cable company for first collective bargaining agreement
The Communications Workers of America said 52 Altice USA employees based Beckley and Logan, West Virginia are “ready to fight for job security” as they prep for their first collective bargaining negotiator with the cable company.
“Altice’s workers and customers deserve better than this,” said Patrick Adkins, a member of CWA’s bargaining team from CWA Local 2002, which represents workers serving Altice’s Suddenlink brand in West Virginia. “It’s time for Altice to come to the bargaining table and negotiate a fair contract with CWA members to stop this trend of outsourcing that’s harming our communities.”
“As Altice continues to expand its company footprint, CWA members in West Virginia are ready to fight for a fair contract that protects good union jobs and improves the quality of service for customers by returning work to highly-skilled union members instead of contracting it out to cheap labor,” added Rob Lynch, a CWA bargaining team member from CWA Local 2007, which also serves Altice workers in West Virginia.
Altice USA responded with this statement: "We are committed to bargaining in good faith under the standards of the NLRA to work towards a mutually acceptable agreement, and, in this case, are fully engaged in discussions with the CWA."
Dwayne Johnson football series to end after five seasons
The fifth season of comedy-drama Ballers begins on HBO Aug. 25, and it is the final season for the football-focused series. Dwayne Johnson plays Spencer Strasmore, a former NFL star who is now a financial manager for NFL superstars. Stephen Levinson created the show, and runs it too.
There are eight episodes in the fifth season.
Johnson was The Rock earlier in his career in the wrestling ring. His films include the franchise The Fast and the Furious, Hercules and Moana.
This season finds Spencer settling into retirement and reflecting on his past, when an offer that's too good to refuse comes his way and sends him back into the fray, this time as a team owner. Following his split with Spencer, ambitious Joe (Rob Corddry) gambles to make Sports X greater than ever with the help of his new partner, Lance (Russell Brand). Ricky (John David Washington) has a setback that forces him to consider a new kind of future and tests his physical, mental and emotional resolve; Charles (Omar Miller) learns that being a general manager means getting your hands dirty; Vernon (Donovan W. Carter) shifts his focus to his love of gambling despite Reggie's (London Brown) wariness; and Jason (Troy Garity) decides to take his career to the next level.
Guest stars for season five include Odell Beckham Jr., Rick Fox and DeAndre Hopkins.
Levinson executive produces with Johnson, Mark Wahlberg, Dany Garcia, Peter Berg, Rob Weiss, Karyn McCarthy and Julian Farino.
'W.H.I.P.s' (working title) follows former sitcom stars
BET is working with comedian Wanda Sykes to develop a half-hour sitcom with the working title W.H.I.P.s.
The show is about four former sitcom stars from the 80s and 90s who are trying to navigate the rest of their lives while living together. W.H.I.P.s will be the first female African-American driven comedy celebrating Women who are Hot, Intelligent and in their Prime.
The show is based on an original pitch from Sykes, Page Hurwitz and Kim McKoy. Alyson Fouse is set to write the pilot and executive produce. Push It Productions, Sykes’ and Hurwitz’s production company, will produce, with Sykes and Hurwitz executive producing, along with McKoy and Tom Werner of Werner Entertainment..
Sykes has been nominated for two 2019 Emmys for her Netflix special.
At its stand (Hall 1.B13), SSIMWAVE will show how its SSIMPLUS® VOD Monitor Inspector provides full-reference SSIMPLUS viewer scores of Dolby Vision source and output files.
Waterloo, ON, Canada, August 23, 2019 – At IBC2019 September 13-17 in Amsterdam, SSIMWAVE will be demonstrating publicly for the first time its unique capability to inspect Dolby Vision™ enabled content for file-based streaming environments.
At its stand (Hall 1.B13), SSIMWAVE will show how its SSIMPLUS VOD Monitor Inspector provides full-reference SSIMPLUS viewer scores of Dolby Vision source and output files. VOD Monitor Inspector helps customers take control of HDR quality by allowing them to know exactly what viewers will experience on any screen, using frame-by-frame and pixel-by-pixel scores.
SSIMWAVE monitors the quality of Dolby Vision content across the distribution ecosystem, enabling media companies to quickly identify and resolve quality issues in VOD workflows.
Dolby Vision transforms viewing experiences with ultra-vivid picture quality. When compared to a standard picture, Dolby Vision can deliver colors never seen before on a screen, incredible contrast, highlights that are up to 40 times brighter, and blacks that are 10 times darker. The result Is a refined, lifelike image that makes viewers forget they are looking at a screen.
“We are proud to play an important role in the Dolby Vision ecosystem,” said Dr. Abdul Rehman, president and co-founder of SSIMWAVE. “Our company and our advanced technology exist to preserve artistic intent, so that the consumer receives the ultimate viewing experience.”
In addition to SSIMPLUS VOD Monitor Inspector’s support for Dolby Vision, SSIMWAVE also will be demonstrating at IBC2019 its SSIMPLUS VOD Monitor Production tool that uses the SSIMPLUS algorithm to optimize quality for high volumes of video assets across complex delivery chains. To book a meeting or demonstration with SSIMWAVE, please go to https://www.ssimwave.com/news/meet-us-ibc-amsterdam-2019/.
Nevada City, California, August 22 – At IBC 2019, Telestream (Booth 7.C16 & 7.C14), a global leader in file-based media workflow orchestration, media streaming and delivery technologies, will showcase major new functionality in its PRISM media processing platform. Telestream acquired PRISM recently when Tektronix’s video test, monitoring and quality assurance solutions for the broadcast and digital media markets were integrated into Telestream.
PRISM is the industry’s first hybrid IP/SDI media processing platform that bridges the gap between traditional SDI and IP media networks and now comes with a new mixed media card that enables support of 25GE networks. This approach allows existing installed units to be easily upgraded in the field with simple to install hardware, while new units with the new mixed media card only require a software update. Both upgrade routes are available at the same affordable price.
The addition of the 25GE interface within PRISM provides support for a variety of media networks from SD all the way to 4K HDR and WCG - enabling the transmission of the new generation of super high-resolution video and audio signals.
“PRISM has led the way through the SDI to IP transition. The new 25GE capabilities of PRISM allow users to directly connect to, and look at, uncompressed 4K signals being carried on IP networks,” commented Tsuyoshi Kitagawa, Product Manager at Telestream. “Users can transition to this 25GE capability at any time which de-risks initial purchase decisions and protects their investment.”
PRISM has been designed to meet the needs of engineering, operations and content creators on a single platform. A choice of software options allows greater flexibility on configuration and ease of future upgrades. PRISM is a single box solution from SD to 4K regardless of it being carried on SDI or IP. Using the same platform, UI and measurements across the whole team enable collaborative working and faster times to resolution.
Telestream offers the 25GE option in both PRISM form factors – the 3RU 9” full touchscreen, MPI2-25 as well as the 1RU rasterizer, MPX2-25. The proven PRISM IP measurements available in all models. All HDR /WCG features such as STOP waveform, CIE Charts, and a variety of False color displays can be used for the 4K content creation that carried through 25GE.
For more information on Telestream’s IBC exhibit, and to schedule a meeting at the event, please visit https://www.telestream.net/ibc
With insights from iSpot, Inscape and Tubular Labs
As summer (sadly) begins to wind down, at least we can look forward to fall TV. To help usher in the new season, we’re shining a spotlight on the major networks.
Today’s focus: Fox. We’re examining recent advertising and viewership trends from the network (Jan. 1 through May 31, bypassing the summer lull) using data from iSpot.tv, the always-on TV ad measurement and attribution company, and Inscape, the TV data company with glass-level insights from a panel of more than 11 million smart TVs. Also below: the fall Fox shows that are showing lots of viewer interest online using insights from video measurement company Tubular Labs.
Key Advertising Stats via iSpot
- 39.9 billion TV ad impressions
- $1.43 billion in estimated TV spend
- Top-spending brands: GEICO, Progressive, Ford, T-Mobile, Chevrolet
- Most-seen (non-network promo) spot: Visa’s “CVS Health: The Most Amazing” featuring Drew Brees (482.3 million impressions)
Ford, KFC, Pepsi Score High for Attention
iSpot.tv has attention analytics that measure the propensity for viewers to interrupt ad play during a commercial, called the iSpot Attention Index (interruptions include changing the channel, pulling up the guide, fast-forwarding or turning off the TV, and the higher the score, the better). Three big brands — Ford, KFC and Pepsi — were particularly strong over the winter/spring both with brand iSpot Attention Index overall and individual spots.
Ford racked up 584.5 million impressions during Fox programming and had an iSpot Attention Index of 108, meaning its ads had 8% fewer interruptions than average. One of its key attention-grabbing ads was “Co-Pilot360 Technology,” promoting the 2019 Edge, with 185.1 million impressions and an iSpot Attention Index of 159 (59% fewer interruptions).
KFC ads generated 583.3 million impressions and had an average iSpot Attention Index of 124 (24% fewer interruptions). Its “Abundance Bowls” spot garnered 266.7 million impressions with an iSpot Attention Index of 109 (9% fewer interruptions).
Pepsi ads resulted in 418.5 million impressions with an average iSpot Attention Index of 117 (17% fewer interruptions). Its “Ice the Kicker” commercial featuring Ron Rivera and Devin Funchess generated 258.2 million impressions and had an iSpot Attention Index of 127 (27% fewer interruptions)
Attention Trends by Daypart and Day of the Week
We also looked at attention trends by daypart and day of the week using the iSpot Attention Score, which gives the average percentage of an ad that is played across TV devices. Looking at daypart, the highest iSpot Attention Scores on average came from weekend days (91.75), late fringe a.m. (91.14) and day time (90.72).
For days of the week scoring high, Wednesdays (90.94), Tuesdays (90.93) and Fridays (90.73) led the way.
We looked at viewer trends across some of Fox’s major shows using insights from Inscape, including show crossover and season-over-season crossover.
First, a look at the percentage of crossover among five of its series: The Masked Singer, 9-1-1, Empire, The Simpsons and Last Man Standing. A note about methodology: You have to do more than just flip past a station with your remote to count as a “crossover viewer” in Inscape’s system. For the data below, the minimum viewing threshold is 10 minutes.
On the high end: 37% of 9-1-1 viewers tuned into Last Man Standing; on the low end: only 12% of The Simpsons fans tuned into Empire, while 13% of Last Man Standing viewers watched Empire. But interestingly, Empire had high-ish crossover with each of the other shows, ranging from 29% (The Simpsons) to 37% (9-1-1).
Speaking of Empire, this iconic drama will wrap up for good after its sixth season, which premieres Sept. 24. We took a look at its audience loyalty with a season-over-season crossover analysis.
Of the fans who watched season four (Sept. 27, 2017 through May 23, 2018), 41% came back for season five (Sept. 26, 2018 through May 8, 2019). For season-five viewers, 43% had watched season four.
What’s Poised to Be Big in 2019?
Though it’s impossible to entirely predict which shows will be most successful this fall, one hint lies in the impressions for trailers (i.e., high impressions = the network putting big bets on a given show) that have aired this summer. Looking at data from iSpot, we can see the most impressions delivered by trailers for the following Fox shows from July 1 through Aug. 15:
- Prodigal Son (212.1 million)
- The Masked Singer (198 million)
- Almost Family (167.1 million)
- Bless the Harts (106.9 million)
Data from video measurement company Tubular Labs expands that view further by gauging the popularity of trailers for Fox shows across social platforms including Facebook, YouTube, Twitter and Instagram.
Since May 1, some of Fox’s most-viewed social videos have been trailers for fall TV shows both new and old. The Facebook trailer for new show Prodigal Son (starring Tom Payne) was the fifth-most viewed video for Fox Networks in the timeframe, with over 6.9 million views. Almost Family — originally dubbed Not Just Me — stars Brittany Snow and earned 6.6 million views for its first (now-deleted) trailer on Facebook. Filthy Rich, a U.S. remake of a New Zealand show of the same name, stars Kim Cattrall and received 6.4 million views for its Facebook trailer. Those show trailers were also among the most-viewed Fox Networks videos on YouTube as well.
Notably, the biggest Fox Networks video winners were Masterchef and BH90210. The latter had six of the top 20 social videos (by views) in the timeframe, while the former had five of the top 25. Both of those shows are currently running, however, and are slated to wrap up just as the fall TV season begins.
'All Access' will become third show in entertainment magazine franchise that includes 'Access Hollywood' and 'Access Daily'
NBCUniversal’s Access Hollywood is adding new half-hour, All Access, when the new season debuts Monday, Sept. 9. The new half-hour will air on NBC-owned TV stations that used to air Warner Bros.’ Extra, which is moving to Fox-owned stations in those markets this fall and rebranding to Extra Extra.
All Access will be hosted by Mario Lopez, who is moving over to NBCUniversal and Access Hollywood after having hosted Extra for 11 years, as well as Kit Hoover, Scott Evans and Sibley Scoles. It will air on WNBC New York, KNBC Los Angeles, WCAU Philadelphia, KNTV San Francisco, WTVJ Miami and WVIT Hartford at 7:30 p.m. Access Hollywood will move to 7 p.m. in those six markets.
Access Hollywood, which is returning to its original name after a couple of years of just being known as Access, will launch its 24th season on Sept. 9 and will change things up by adding a live broadcast to the East Coast. In addition, Access Live, which airs in daytime in many markets across the country, will now be called Access Daily.
“With the rapidly evolving entertainment news cycle, we strive to bring our viewers the most up-to-date headlines and going live will achieve that,” said Maureen FitzPatrick, senior executive producer of Access Hollywood, All Access and Access Daily. “We will be able to advance the stories in real time as news breaks.”
As part of the changes, the overall Access Hollywood brand will debut new looks, including new logos, graphics and theme music intended to “reflect a more modern feel;” a state-of-the-art set and exclusive segments broadcast from Universal Studios Hollywood.
All three shows tape from the Terrace Studios, adjacent to the Universal Studios lot, in Universal City, Calif., and are distributed by NBCUniversal Domestic Television Distribution.
Both Access Hollywood and All Access will be executive produced by FitzPatrick, Stewart Bailey and 23-year Access veteran Mike Marson, who was recently promoted to executive producer. Cara Petry and Sharon Spaeth have been promoted to supervising producers and Claudia Eaton will continue as senior producer across all three shows.
Julie Cooper will executive produce Access Daily with Alyson DiFranco and Jennifer Dixon as supervising producers.
Marci Ryvicker will offer a keynote "A View of The Media Ecosystem: What Happens Now?" at Media Outlook 2020.
August 20, 2019 – What challenges face programmers, cable operators, and new entrants as they navigate the rapid changes in consumer media consumption habits? Marci Ryvicker, Managing Director and Senior Equity Analyst at Wolfe Research, will address this question during her keynote entitled, A View of The Media Ecosystem: What Happens Now? at Media Outlook 2020.
Media Outlook 2020 is hosted by the Media Financial Management Association (MFM) and its BCCA subsidiary, the media industry’s credit association. The seminar will be held on Thursday, September 12, at the offices of Lowenstein Sandler LLP, 1251 Avenue of the Americas, Floor 17, in New York. The program runs from 8:30 a.m. - 12:20 p.m. A light breakfast will be available at 8:00 that morning.
Ryvicker joined Wolfe Research in 2018 after serving as a sell-side analyst for Wells Fargo Securities. Known for her deep, bottoms-up, analysis of various media subsectors, she is frequently cited in a wide range of publications and is a well-respected keynoter at industry conferences. Her Media Outlook keynote address will draw from her vast knowledge of the media and entertainment space.
“Marci Ryvicker is a leader among media industry analysts who has her finger on the industry’s pulse,” said Mary Collins, president & CEO of MFM and BCCA, the media industry’s credit association. “With change being the watchword in the media business, Ryvicker’s long history of analysis in this sector means she will give our attendees practical information that they can use now and in the coming year.”
Co-chairing Media Outlook 2020 are Antonella Ricciardi, SVP Group Controller, Entertainment & Lifestyle Networks and Telemundo Network, NBCUniversal and George Berbari, Director, International Revenue, Planning & Analysis, A+E Networks.
Registration for the event is $99 for MFM members; $79 for MFM corporate members; and $250 for non-members, which includes a one-year trial MFM membership. Eligible participants may earn up to four  Continuing Professional Education (CPE) credits. Space is limited, get more details and register at https://www.mediafinance.org/media-outlook.
About MFM and BCCA
Media Financial Management Association (MFM) is the premiere resource for financial professionals for media industry education, networking, and information sharing throughout the U.S. and Canada. More information about MFM is available on its website:https://www.mediafinance.org and via its updates on LinkedIn, Facebook and Twitter. Its BCCA subsidiary serves as the media industry’s credit association. BCCA’s revenue management services encompass a variety of credit reports on national and local media advertisers and agencies, including Media Whys, a credit report for media businesses which offers a credit score based on industry-specific aging combined with trade data from Experian or D+B. More information about BCCA is available at https://www.bccacredit.com as well as its updates on LinkedIn, Facebook and Twitter.
Innovations in Cloud and Software Lead Transformation to Simpler, More Scalable and Flexible Video Workflows
SAN JOSE, Calif. — Aug. 22, 2019 — At IBC2019, Harmonic (NASDAQ: HLIT) will demonstrate real-world deployments of its unified OTT and broadcast delivery solutions. A variety of deployment strategies will be showcased, including cloud, on-premises and hybrid environments, to demonstrate how service providers, broadcasters and content owners originate and distribute video channels smarter, faster and simpler. Harmonic's unique approach to video delivery includes cloud-based SaaS solutions that dramatically speed up the launch of new services, including live OTT channels, increase business agility and enhance video experiences.
"At IBC2019, we're drawing from our extensive deployment experience and showcasing concrete solutions deployed in the field by leading service providers, broadcasters and content owners," said Tim Warren, senior vice president and chief technology officer at Harmonic. "The video market is highly dynamic, and consumer demand for live OTT services is growing. Harmonic's expansive solutions portfolio and enhancements in cloud, targeted advertisement and 8K technologies, with a SaaS business approach are designed with a sharp eye to help our customers stay one step ahead of the video evolution."
Unified OTT and Broadcast Delivery
Unified delivery workflows running in the cloud and on premises will be demonstrated, which offer service providers a low-latency OTT solution for multiprotocol environments to provide the same delay between broadcast and OTT feeds — key for delivering live sports. In addition, Harmonic will showcase a range of unique workflows for VOS®360 SaaS to launch skinny bundles, create new pop-up channels, deploy disaster recovery and stream live sports in UHD.
Maximize Efficiency & Flexibility with Virtualized, Software and Cloud Playout Solutions
At IBC2019, Harmonic will demonstrate real-world deployments of hybrid SDI/IP, UHD and HDR playout and on-premises/cloud-based channel origination for OTT and broadcast workflows powered by its virtualized Spectrum™ X media servers and VOS360 SaaS. By supporting the SMPTE ST 2110 suite of standards and AMWA IS-04 and IS-05 specifications, Harmonic enables video content and service providers to make a smooth transition to all-IP workflows.
Simplify Live Content Distribution with CDN-Enabled Primary Distribution SaaS
Harmonic's CDN-enabled Primary Distribution solution, a powerful workflow supported by the company's VOS360 SaaS, will also be highlighted. With the Primary Distribution SaaS solution, programmers can deliver linear channels to distributors, whether they are traditional pay-TV operators, virtual MVPDs or local broadcasters, anywhere in the world via CDN.
Increase Monetization with Video SaaS for OTT and Broadcast Services
Harmonic will also showcase the powerful dynamic ad insertion (DAI) capabilities in Harmonic's video SaaS solutions. With the company's video SaaS solutions, operators can deliver advanced targeted advertisements and optimize ad campaigns to deliver personalized advertisements to viewers in real time. Harmonic's solutions provide operators and advertisers a unified approach to reach audiences over hybrid broadcast and broadband delivery networks.
Future Zone Brings 8K, AI Technologies to the Forefront
The company will demonstrate high-quality 8K video delivery on 8K connected TVs and legacy mobile devices with EyeQ™ content-aware encoding (CAE), which reduces the required bandwidth by up to 50% while improving quality of experience. AI-based video compression will also be demonstrated, showing how it can reduce bit rates for broadcast and IPTV delivery, improve QoE for OTT and increase density for all applications.
Thought Leadership on AI Video Compression, 8K and 5G at the Future Zone Theatre
Thierry Fautier, vice president of video strategy at Harmonic, will outline the opportunities that 5G networks promise and the challenges ahead for 8K in his "Taking a Look at 8K and 5G Technologies" presentation on Sept.14 at 1:50 p.m. in the Future Zone Theatre (Hall 8, Stand F40).
Also in the Future Zone Theatre, Stephane Cloirec, senior director, video appliances at Harmonic, will speak on how "AI-Driven Video Compression Brings New Revenue Opportunities and Cost Savings for Service Providers" on Sept. 16 at 4:10 p.m.
Harmonic is showcasing its innovative solutions for OTT and next-gen TV delivery, along with real-world deployment examples, at IBC2019, Sept. 13-17, in Amsterdam at Stand 1.B20. Further information about Harmonic and the company's solutions is available at www.harmonicinc.com.
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Harmonic (NASDAQ: HLIT), the worldwide leader in video delivery technology and services, enables media companies and service providers to deliver ultra-high-quality broadcast and OTT video services to consumers globally. The company has also revolutionized cable access networking via the industry's first virtualized cable access solution, enabling cable operators to more flexibly deploy gigabit internet service to consumers' homes and mobile devices. Whether simplifying OTT video delivery via innovative cloud and SaaS technologies, or powering the delivery of gigabit internet cable services, Harmonic is changing the way media companies and service providers monetize live and VOD content on every screen. More information is available at www.harmonicinc.com.
This press release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934. Statements concerning Harmonic's business and the anticipated capabilities, advantages, reliability, efficiency, market acceptance, market growth, specifications and benefits of Harmonic products, services and technology are forward-looking statements. These statements are based on our current expectations and beliefs and are subject to risks and uncertainties, including the risks and uncertainties more fully described in Harmonic's filings with the Securities and Exchange Commission, including its Annual Report on Form 10-K for the year ended Dec. 31, 2018, its Quarterly Reports on Form 10-Q and its Current Reports on Form 8-K. The forward-looking statements in this press release are based on information available to Harmonic as of the date hereof, and Harmonic disclaims any obligation to update any forward-looking statements.
Harmonic, the Harmonic logo and other Harmonic marks are owned by Harmonic Inc. or its affiliates. All other trademarks referenced herein are the property of their respective owners.
Link to Word Doc: www.202comms.com/Harmonic/190822Harmonic.docx
Photo Link: www.202comms.com/Harmonic/Harmonic-VOS360SaaS.jpg
Photo Caption: Harmonic VOS®360 SaaS
One-hour show will see Robbins talk to real people about real problems
“The Mel Robbins Show is not a show it’s an experience,” the inspirational speaker and now talk-show host says in the opening seconds of the above first-look trailer for the hour-long talk show that Sony Pictures Television is premiering on TV stations across the country on Monday, Sept. 16.
“This is a show about real people. It’s not a show for celebrities. It’s a show for you and me,” Robbins says in the trailer, which shows guests discussing their real-life challenges.
“People are struggling right now,” Robbins continues in a statement. “This show was created to help and inspire people through the challenges of everyday life. It's not just a show, it's an experience: from Instagram-worthy set design to the dynamic audience interactions in every show, to the powerful takeaways you'll want to share with your friends, and a digital strategy that provides resources and inspiration 24/7. When you watch ‘The Mel Robbins Show,’ you will learn things you can put to use immediately, and we're going to have a heck of a lot of fun changing lives together.”
Robbins is an international best-selling author (The 5 Second Rule) and in 2018 was the most-booked female speaker in the world, according to SPT. She’s a working mom from the Midwest with three kids. A decade ago she was experiencing crippling anxiety, but she managed to turn that around and now she shares how she did that with others.
Mindy Borman, who was the original executive producer of SPT’s The Dr. Oz Show, will serve as executive producer. Prior to Oz, Borman produced such shows as ABC’s The View and Good Morning America.
“Mel Robbins is bringing an entirely new energy to daytime television with a focus on issues and problems we all can relate to,” said Borman. “The goal is for viewers to walk away inspired, recharged and feeling confident they can conquer the problems we face every day.”
The Mel Robbins Show will air on the Nexstar and Tribune station groups, with stations from CBS, Cox, Hubbard, Meredith, Scripps and Weigel also signing on.
Mel Robbins joins Disney’s Tamron Hall, NBCUniversal’s Kelly Clarkson, Fox’s 25 Words or Less and MGM/Orion’s Personal Injury Court in premiering this fall in syndication.
Billy Bob Thornton’s lawyer character faces off with a new Goliath in Dennis Quad’s billionaire rancher
Season three of legal drama Goliath begins on Amazon Prime Oct. 4. Billy Bob Thornton stars.
The unexpected death of an old friend leads Thornton’s Billy McBride to take a case in the drought-stricken Central Valley, where he comes face-to-face with a billionaire rancher (Dennis Quaid) and his sister (Amy Brenneman). As Billy and his team pursue the truth, old enemies and personal demons resurface, forcing him to confront his own mortality.
Also in the cast are Nina Arianda, Tania Raymonde, Diana Hopper and Ana de la Reguera.
Guest stars lined up for season three include Beau Bridges, Griffin Dunne, Sherilyn Fenn and Ileana Douglas.
“Our Prime Video customers loved the first two seasons of Goliath, and I’m excited we can bring them a new season of this sharp and surprising legal drama,” Vernon Sanders, co-head of television, Amazon Studios, said when season three was announced. “We have an incredible array of stars joining Billy Bob and the Goliath cast, and fans will be thrilled to see what’s in store for season three.”
Goliath is executive produced by Lawrence Trilling, Geyer Kosinski, and Jennifer Ames & Steve Turner.
LOS ANGELES, CA / ATLANTA, GA – August 16, 2019 – As a result of a significant expansion of the distribution relationship between TV5MONDE USA and Cox Communications, customers in more than 20 markets across 14 states will be able to receive America’s only 24/7 French language entertainment channel. Beginning immediately, Cox is offering TV5MONDE USA for $9.99 per month in the following markets:
- Ft. Smith-Fayetteville-Springdale-Rodgers, AR
- Phoenix (Prescott), AZ
- Tucson (Sierra Vista), AZ
- San Diego, CA
- Santa Barbara-Santa Maria-San Luis Obispo, CA
- Mobile-Pensacola (Ft. Walton Beach), AL-FL
- Gainesville, FL
- Orlando-Daytona Beach-Melbourne, FL
- Panama City, FL
- Macon, GA
- Twin Falls, ID
- Topeka, KS
- Wichita-Hutchinson Plus, KS
- Springfield, MO
- Joplin-Pittsburg, MO-KS
- Omaha, NE
- Las Vegas, NV
- Cleveland-Akron (Canton), OH
- Oklahoma City, OK
- Tulsa, OK
TV5MONDE USA provides viewers with a variety of high quality, French-language programming, subtitled in English. Viewers can expect classic, recent and never-before-seen in the U.S. French language films, around the clock newscasts live from Paris, the latest series and dramas, premium documentaries, children’s shows, cultural programs and international sports coverage of major events.
Upcoming TV5MONDE USA program highlights include:
A special week of programming celebrating Paris Fashion Week, culminating in the U.S. premiere of the 2019 documentary, Lubin, un parfumeur d'excellence, examining the history and prominence of the famed perfumery (September 25 at 9:30 p.m. ET).
Recently released films such as the 2019 feature film Meltem, a coming-of-age drama set in the Greek isles (August 18 at 8:30 p.m. ET), Place publique (2018), a comedy following a divorced couple who unexpectedly reunites at a party (September 1 at 8:30 p.m. ET), and Mystère à l'Élysée (2018), a murder mystery taking place at the turn of the century in Paris (September 13 at 8:30 p.m. ET).
The kick off of the 2019-20 season of Ligue 1 Conforama, France's professional soccer league (Saturdays at 11:30 a.m. ET).
Concours Reine Elisabeth: Concert de clôture, a concert featuring the three winners of the Queen Elisabeth Competition who will perform LIVE at the Palais des Beaux-Arts, accompanied by the Liège Royal Philharmonic (August 22 at 1:30 a.m. ET).
Critically acclaimed series, including L'art du crime in which a stubborn detective partners with an art historian to solve mysteries involving priceless artifacts (Sundays at 11:00 p.m. ET beginning September 1) and the series premiere of Aux animaux la guerre, a drama about the effects of a factory closure on a small town nestled in the Vosges mountains. (Tuesdays at 11:00 p.m. ET, beginning September 3).
TV5MONDE is the global French language entertainment network, broadcasting 24 hours a day, 7 days a week, without commercial interruptions. TV5MONDE USA is a premium pay-tv channel reaching 1.5 million viewers in the U.S. American viewers enjoy a wealth of high quality French language programming, subtitled in English, including up to 300 classic, recent and never-before-seen in the U.S. French language films, around-the-clock newscasts live from Paris, the latest series and TV dramas, premium documentaries, cultural programs and international sports coverage. To find channel information and more information about TV5MONDE USA and its programming, please visit: www.tv5mondeusa.com
How to approach TV & OTT with a digital mindset.
The emergence and steady rise of OTT has forever changed the advertising landscape. TV, OTT, and digital video were once clearly defined as separate entities, but the lines between them are blurred, thanks to the wide variety of streaming services and devices now in play.
This doesn’t have to stop your advertising from meeting – and exceeding – benchmarks. Audiences are still watching TV and video in droves. No matter how they’re watching, the right advertising strategy backed by in-depth audience data will ensure you are reaching them.
Learn the top facts to know about the convergence of TV and digital and how to meet the evolving media landscape head on in our comprehensive guide.
- The first factor disrupting the media buying landscape is the shift to impression-based buying across all media, rather than relying on TV ratings. By changing the standard currency to impressions we can use any source of measurement, including Nielsen, set-top-box data, comScore, and more.
- The second factor is the truth about cord-cutting. Many are cord stacking, which occurs when a cable TV subscriber adds Netflix and other paid OTT services to their lineup.
- The third factor is the evolution of multiscreen viewing. Video viewing has not dropped due to the web; it’s just become spread across more platforms and screens.
- The fourth factor is the power of first-party and third-party data. In an increasingly multi-platform world, audience/consumer data is key to making the most targeted media purchases.
- The final factor? Goal-orientated campaign intelligence. Integrated, cohesive campaign measurement driven by impressions-based buying. With the emergence of this precise “campaign intelligence,” advertisers can now reliably assess how well their multi-platform ad campaigns are performing – and why.
Collectively, the Five Factors are good news for advertisers, ad sellers, and the viewers who receive commercials targeted to their needs and interests. This is a quantum leap from the old ways of video advertising.
“The Convergence of TV, OTT & Digital video: 5 Factors Disrupting the Media Buying Landscape” explains how OTT and digital video have forever changed the advertising landscape.
Comcast, Charter among those pledging aid
In coordination with all 50 state attorneys general, Charter and Comcast have joined with big telecoms to combat robocalls.
A dozen companies (see below) have committed to a dozen principles they say will help protect phone users by making it easier for AGs to investigate and prosecute bad actors.
Thanks to the phone companies’ prevention efforts and the bipartisan Attorneys’ General enforcement efforts, the days of preying upon, misleading, and taking advantage of individuals throughout our state and this country will soon be numbered," said New York State AG Letitia James.
The FCC has been focused on combating billions of unwanted robocalls, spurred on by legislators, some of whom have gotten robocalls while conducting hearings on stopping unwanted robocalls.
The communications companies are already expected to have implemented no-cost, de facto, robocall blocking by the end of the year.
The companies have pledged to:
1. "Implement call-blocking technology at the network level, at no cost to customers;
2. "Make available to customers additional, free, easy-to-use call blocking and labeling tools;
3. "Implement technology to authenticate that callers are coming from a valid source; and
4. "Monitor their networks for robocall traffic."
They will also help AG's enforce blocking by:
1. "Knowing who their customers are so bad actors can be identified and investigated;
2. "Investigating and taking action — including notifying law enforcement and State Attorneys General — against suspicious callers;
3. "Working with law enforcement — including State Attorneys General — to trace the origins of illegal robocalls; and
4. "Requiring telephone companies with which they contract with to cooperate in traceback identification."
Along with Comcast and Charter, other companies taking the pledge were AT&T, Bandwidth, CenturyLink, Consolidated, Frontier, Sprint, T-Mobile, US Cellular, Verizon, and Windstream.
“Illegal robocalls are more than annoying, they are a deliberate attempt by criminals to flood voice networks with unwanted calls that scam, spoof and prey upon vulnerable consumers who are justifiably fed up," said CTIA, USTelecom and NCTA-The Internet & Television Association. “The member companies of USTelecom, CTIA and NCTA are taking action and aggressively responding to this threat with a variety of tools. We appreciate the efforts of the state attorneys general, the FCC, the FTC and other agencies to further collaboration that will hold the scammers behind these calls responsible for their actions.”
FCC Chairman Ajit Pai had plenty to say about the effort, including pointing out the things the FCC is already doing to combat the calls.
“Few things can bring together policy leaders across the political spectrum like the fight against unwanted robocalls," he said in a statement. "I salute today’s bipartisan, nationwide effort to encourage best practices for combating robocalls and spoofing and am pleased that several voice service providers have agreed to abide by them. It comes as no surprise to me that these leaders are dedicated to battling this scourge. Indeed, the FCC has a number of agreements with state officials to share information on robocalling and spoofing incidents, and I saw their dedication firsthand when I met with state attorneys general at their Consumer Protection Conference
earlier this year. I thank them for their continued leadership and look forward to working together to help American consumers.
“These principles align with the FCC’s own anti-robocalling and spoofing efforts. Earlier this month, the FCC adopted rules to apply anti-spoofing prohibitions to international robocalls, as called for by many of these same state attorneys general. In addition, we continue to see progress toward adoption of caller ID authentication using SHAKEN/STIR standards. And our call blocking work has cleared the way for blocking of unwanted robocalls by default and of likely scam calls using non-existent phone numbers. The FCC is committed to working together with Congress, state leaders, and our federal partners to put an end to unwanted robocalls.”
First buildout benchmark is 2022
The FCC has announced almost $5 billion in support of rural broadband over the next decade, a continuation of its focus of government broadband subsidies on closing the rural divide.
The commission said the money ($4,914,427,137 to be exact) will go to improving and expanding "affordable" broadband for 455,334 homes and businesses. That includes 44,235 locations on tribal lands, something the FCC trumpeted in a separate announcement.
The money is coming from the FCC's Connect American Fund Universal Service Fund broadband subsidies and is going to 171 smaller, so-called "rate of return" carriers in 39 states and territories.
To get the money, the carriers have to provide broadband speeds of at least 25 Megabits per second (Mbps) downstream and 3 Mbps upstream to more than 363,000 locations, including more than 37,000 on Tribal lands.
Deployment must begin by 2022.
The FCC also voted earlier this month on a framework for handing out some $20 billion in broadband subsidies, which it has dubbed its Rural Digital Opportunity Fund.
BOSTON, MA (August 22, 2019) – Berklee College of Music has been known for decades as the premiere educational institution for students who are serious about developing careers in the contemporary music industry. Their diverse offering of both traditional instrumental performance and technology-based majors is well renowned in both musical and academic circles. Currently, the school is in the process of upgrading most of the rehearsal spaces on campus with the goal of providing high quality, easy-to-use live sound and real-time recording capabilities for its students and teachers. Bill D’Agostino, Senior Director of Academic Performance Technology and Facilities, explains why their choice for doing so is QSC from top to bottom, including K.2 Series powered loudspeakers and TouchMix Series digital mixers.
“We’re extensively putting QSC in our rehearsal rooms, which are basically band-sized rooms that accommodate three to, say, 12 student musicians and a teacher,” explains D’Agostino. “We have ensemble classes in those rooms during the week, and these teach students how to play in various types of groups. We might have a heavy metal band next to an Art Blakey-style jazz ensemble next to a vocal group… all different styles. So, having a great-sounding and easy-to-use P.A. system that’s right for the room is key. For rooms of this size, we found the K10.2s really hit the sweet spot. They have more than enough low end for the larger rooms, but aren’t overpowering in the small ones. Then, we’ve been installing the TouchMix-8.”
D’Agostino describes this most compact member of the TouchMix family as “the perfect size” for the ensemble rooms, but notes that it’s not small on features. “We really like the Simple Mode and built-in effects,” he says, “because a lot of the time if students have a little reverb on their voice or compression on their bass guitar or whatever it is, sounding a bit more polished inspires them to practice harder.”
The TouchMix Series’ ability to save and recall multiple scenes also comes in extremely handy given the heavy use these rooms see. “We have something like 500 ensembles a week rotating through all the rooms on campus. At first, teachers were simply using the scene recall to zero the mixer back to a default state from where the previous class had left it. But recently, I’ve gotten the word out that they can actually save the entire configuration for their course, and keep saving it as the mix gets tweaked over the semester. They can save that on a USB thumb drive and use almost none of their valuable class time getting set up.”
D’Agostino also touts the TouchMix’s preset scenes, which provide “starter” mixes for different types of bands and source material. “You can pick a scene that’s close to the instrumentation of the class, then adjust it a little” he says. We’ve also started to let faculty know about the recording function of the TouchMix, which lets you plug a USB drive in and walk away with a multi-track or stereo mix of the class. This is a welcome feature for students and teachers reviewing their playing.”
Berklee is a famously technology-forward campus, but some departments use technology more than others. D’Agostino praises the ease of use of the TouchMix Series as instrumental (pun intended) in enabling more departments to use technology. “The TouchMix is really helping us realize a long-term strategy of bringing more technology into the performance side of music education,” he explains. “We have music production and audio engineering programs here—synthesis, loop creation, turntablism, all that. For the instrumental performance side of things, the TouchMix is an ideal bridge between technology and the live-band world.”
That QSC’s product line scales to meet different requirements is proving useful, because not all rehearsal and performance spaces at Berklee are created equally. “We have K8.2s in some of our smallest rooms, and in some of our medium sized rooms where we want to record public performances, we’re looking at K12.2s and the TouchMix-16 as an intermediate-sized system. Over the next few years, we’re looking to take old analog boards out of about 100 rooms and upgrade everything to QSC.”
Even at a school as storied as Berklee, budget is always a consideration, which is why D’Agostino flags bang-for-buck as QSC’s most important overall feature. “We often have to make a case for equipment budgets a couple of years out to get approval,” he says. “QSC gives us tremendous value, and that has made it easier to make that case. We have used many brands of P.A. equipment in the past, and to say that QSC performs better than gear that might cost more, well … that’s an understatement!”
Founded over five decades ago, QSC is globally-recognized leader in the design, engineering and manufacture of award-winning high-performance loudspeakers, digital mixers, power amplifiers, audio processors, digital cinema solutions, and the Q-SYS™ software-based audio, video and control platform. Offering reliable, scalable and flexible solutions for professional installed, portable, production, corporate and cinema applications, QSC puts customers first with its highly-acclaimed sales, service, and support networks worldwide.
Exhibiting in InfraGard's Booth, VuWall and Matrox Will Highlight Integrated, Easy-to-Deploy, High-Performance Control Room Solutions
Visit VuWall at GSX 2019, Booth 1187
MONTREAL — Aug. 22, 2019 — VuWall, a leader in video wall control and AV network management solutions, and Matrox Graphics Inc., a world-class provider of capture, video and graphics processing, real-time encoding, KVM extension and switching, and AV-over-IP technologies, will partner at Global Security Exchange (GSX) 2019 conference and expo, Sept. 10-12, in Chicago. On InfraGard's Booth 1187, attendees will see state-of-the-art technology from the two companies integrated to deliver the best deployment and visualization experiences inside command and control rooms.
"As more and more organizations expand their facilities with command and control rooms, they require advanced solutions that streamline the configuration and deployment process, and simplify the user experience," said Paul Vander Plaetse, CEO at VuWall. "Matrox is a trusted provider of a broad range of advanced video wall, IP KVM extension, and streaming and recording technologies for security applications that are at the heart of VuWall's integrated solutions. GSX 2019 is a great opportunity to see how our respective technologies integrate, creating the most advanced, yet easy-to-manage command and control rooms."
For the first time, VuWall will demonstrate its VuStation visualization and control workstation with Matrox's Extio 3, a high-performance IP KVM extender, across four full HD displays. The KVM solution for personal video walls, VuStation, enables operators to seamlessly interact with multiple sources from a single KVM station, having all critical controls and information at their fingertips. Matrox Extio 3 works as either a point-to-point or networked KVM extender and creates a scalable and cost-effective KVM matrix switching environment using standard 1-Gigabit network switches. Designed for high-performance applications, Matrox Extio 3 Series IP KVM extenders deliver 4Kp60 4:4:4 or quad 1080p60 4:4:4 over a standard Gigabit Ethernet network (fiber optic or copper) at unprecedented low bitrates. The integrated solution delivers the best visualization experience and the easiest AV network management system for the control room market.
"Operators rely on our solutions to provide unmatched performance," said Samuel Recine, director of sales for the Americas and Asia Pacific at Matrox Graphics Inc. "When paired with VuWall's ecosystem, they can quickly visualize information for collaboration and improve communication and critical decision making, helping them keep pace with the 24/7 demands of any command and control environment."
To schedule a meeting with VuWall and Matrox at GSX, sign up here. More information on VuWall and its full line of solutions is available at www.vuwall.com.
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About Matrox Graphics
Matrox Graphics is a global manufacturer of reliable, high-quality ASICs, boards, appliances, and software. Backed by in-house design expertise and dedicated customer support, Matrox products deliver stellar capture, extension, distribution, and display. Engineering high-quality products since 1976, Matrox technology is trusted by professionals and partners worldwide. Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/graphics.
Matrox Media Contact:
Matrox Media Relations
Email: [email protected]
Tel: +1 (514) 822-6000
VuWall, leader of video wall management and AV distribution solutions, is recognized worldwide for delivering state-of-the-art controllers and intuitive collaboration software. VuWall eliminates the complexities of traditional AV network and video wall management while simplifying the life of AV/IT integrators and video wall operators. Tailored to each project and providing unrivaled command, control, and visualization support, VuWall solutions feature superior quality and set a new industry benchmark in ease of use and deployment for professional and mission-critical applications. Its award-winning solutions are installed in the world's most prestigious control rooms, collaboration rooms, government agencies, and corporate environments of Fortune 500 companies in more than 45 countries. VuWall is headquartered in Montreal, Canada, with European offices in Tübingen, Germany. www.vuwall.com
PR Link: www.ingearpr.com/VuWall/190822VuWall.docx
Photo Link: www.ingearpr.com/VuWall/VuWall_VuStation.png
Photo Caption: VuWall VuStation Visualization and Control Workstation with Matrox's Extio 3
New season begins on ABC Sept. 16
Sean Spicer, Christie Brinkley and Lamar Odom are in the cast when Dancing with the Stars launches on ABC Sept. 16.
Spicer was White House press secretary. Brinkley is a supermodel and Odom a former NBA star.
The other dancing celebs are country star Lauren Alaina, pop star Ally Brooke, former Bachelorette Hannah Brown, Queer Eye star Karamo Brown, The Office cast member Kate Flannery, NFL Hall of Famer Ray Lewis, comedian Kel Mitchell, actor James Van Der Beek and Supremes singer Mary Wilson.
Tom Bergeron and Erin Andrews host Dancing with the Stars. Len Goodman is head judge.
Dancing with the Stars is produced by BBC Studios. Andrew Llinares is executive producer.
Hashi of Action Movie Kid demonstrates keying and compositing techniques to turn a live horse into a steed worthy of the Night King’s undead army in Red Giant Cheap Tricks episode 9.
Portland, OR - August 22, 2019 - Red Giant, creator of filmmaking, visual effects and motion graphics tools, today released the second installment of its multi-part Game of Thrones visual effects tutorial series: how to turn a live horse into a member of the Night King’s undead army. Daniel “Hashi” Hashimoto demonstrates keying and compositing techniques using tools including King Pin Tracker, Spot Clone Tracker and Supercomp from the new Red Giant VFX Suite, to add and track gory effects to a very much alive horse. Watch now and stay tuned for more Cheap Tricks Game of Thrones VFX tutorials.
Two weeks ago Hashi kicked off Red Giant’s Game of Thrones VFX series by showing fans how to recreate Game of Thrones magic fire effects, and then some. In episode nine of Cheap Tricks, he’s taking viewers further into the world of Ice and Fire. You’ll learn some great keying and compositing techniques, not to mention some great info on object removal and tracking. The VFX process is long and full of terrors - but Cheap Tricks is here to help you through it.
In this tutorial, Hashi uses the following tools from Red Giant:
- VFX King Pin Tracker: King Pin Tracker makes it simple to place signs or objects into a shot, even if they aren’t simple rectangles. With powerful “To” and “From” pins, and the ability to offset and rotate in planar space, artists can pin whatever they want, wherever they want it.
- VFX Spot Clone Tracker: Red Giant’s tool for lightning-fast, simple object removal with a built-in tracker for moving footage, Spot Clone Tracker easily fixes blemishes or remove small, unwanted items. Spot Clone Tracker is easy to use, and even matches your lighting automatically, with options for how it clones light, color and texture.
- VFX Primatte Keyer 6: Primatte Keyer is a powerful tool for fast, automatic chroma-keying. Whether using a green screen or blue screen, Primatte Keyer's auto-compute algorithms can often pull a perfect key automatically, with a new user interface and clean up tools that make it easy to select and separate the background and foreground.
- VFX Supercomp: Supercomp is a compositing environment that makes it easy to create complex, seamless composites. In Supercomp, light and atmospheric effects interact with all layers and elements of a scene in a far more natural way, and with far less pre-composing in After Effects than ever before.
- Magic Bullet Looks: Magic Bullet Looks is designed to give filmmakers powerful looks and color correction, with over 200 fully-customizable Look presets and over 40 tools to customize or build new Looks. Get the best, most-intuitive color correction experience in the industry.
- Magic Bullet Mojo II: Mojo gives footage a cinematic color grade in seconds. Accentuate and protect skin tones, cool off your backgrounds and more.
Request a Media Review Kit or Briefing
Members of the media are invited to review any individual tools or product suites from Red Giant. For more information or to request a product review kit or private press briefing with a Red Giant executive, please contact Nick Govoni at [email protected].
About Red Giant
Red Giant is a software company made up of talented artists and technologists who collaborate to create unique tools for filmmakers, editors, VFX artists, and motion designers. Our company culture is focused on finding balance between work and life – we call it “the double bottom line” – this philosophy helps us ignore complexity in favor of building simple tools that yield giant results. Over the last decade, our products (like Magic Bullet, Trapcode, Universe and PluralEyes) have become the standard in film and broadcast post-production. With over 200,000 users, it’s nearly impossible to watch 20 minutes of TV without seeing our software in use. From our experiences as artists and filmmakers, we aspire to not only provide tools for artists, but inspiration as well. Watch our films, learn from over 200 free tutorials, or try our software at www.redgiant.com.
Zazil Media Group
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Visit Riedel Communications at IBC2019, Stand 10.A31
WUPPERTAL, Germany — Aug. 22, 2019 — Riedel today announced that two of Hong Kong's leading providers of rental broadcast and production equipment — A-Team Plus and Show Bros — have invested in Riedel's industry-leading Bolero wireless intercom. The two companies, which have common customers and often work together on AV and broadcast projects, each purchased two complete Bolero systems including beltpacks and antennas.
Founded in 1990, A-Team Plus is an event consulting and management firm specializing in audio, video, lighting, and stage design for concerts, major celebrations, award ceremonies, private parties, and other events. The company has 30 dedicated team members with local knowledge and regional experience.
"In our live event environments, a broad range of coverage for each antenna and long beltpack battery life are key factors in ensuring a seamless production," said Ray Mok, Managing Director at A-Team Plus. "Riedel's Bolero has exceeded our performance expectations in both these areas — and when we saw how easily Bolero can be integrated with legacy 2-wire systems, we were sold. My team loves Bolero's plug-and-play capabilities, and we look forward to using Bolero in our upcoming projects."
Show Bros specializes in rental of professional lighting and audio equipment, with an inventory of carefully selected products, well-trained technicians, and a range of services that can be customized to the requirements of every client and every event.
"We had been on the lookout for a reliable and robust wireless intercom solution. We evaluated all of the major manufacturers, but after a demo of Riedel's Bolero, we made our decision in only two hours," said David Chan, Managing Director at Show Bros. "We know we made the right choice with Bolero because it provides exceptional benefits for our end users. The time that the Riedel team spent explaining the system to us validated our decision even more, and it's good to know that their support is only a phone call away."
Further information about Riedel and the company's products is available at www.riedel.net.
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About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Riedel is headquartered in Wuppertal, Germany, and employs early 600 people in 20 locations throughout Europe, Australia, Asia, and the Americas.
All trademarks appearing herein are the property of their respective owners.
Link to Word Doc: www.wallstcom.com/Riedel/190822Riedel.docx
Photo Link: www.wallstcom.com/Riedel/Riedel-A-Team_Plus_Show_Bros.JPG
Photo Caption: A-Team Plus and Show Bros have invested in Riedel's industry-leading Bolero wireless intercom.
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Is seeking input on concentrating EI programming in one place
The FCC has set comment dates for its proposal that TV stations be allowed to fulfill their educational/informational children's programming obligations by airing it on another station in the market.
A divided FCC adopted an order July 10 to give broadcasters more flexibility in how they air that E/I programming, but also voted on a Further Notice of Proposed Rulemaking (FNPRM) seeking comment on "a framework under which television broadcast stations could satisfy their children’s programming obligations by relying, in part, on special efforts to produce or support children’s educational and informational programming aired on other stations in their markets."
Broadcasters are all for that framework. The National Association of Broadcasters told the FCC in comments on the KidVid dereg proposal that was adopted that it should at least consider also consider allowing TV stations in the same market to get together to put their kids programming on the channel(s) most suitable to a younger audience and, at least, allow the owner of two stations in a market to air most or all of its E/I programming on one of them.
With the publication of the FNPRM in the Federal Register Aug. 16, the FCC's 30 and 60-day comment period now has dates applied: Comments are due by Sept. 16; reply comments by Oct. 15.
Big boost for ‘Big Brother’ on CBS
NBC and Fox had the top score in Wednesday prime ratings, with CBS just behind them. NBC and Fox scored a 0.7 in viewers 18-49, per the Nielsen overnights, and a 4 share. CBS did a 0.7/3.
NBC had an America’s Got Talent results show at 1.1 and Songland at 0.7, both flat, then Hollywood Game Night at 0.4.
Fox had MasterChef at 0.7 and BH90210 at 0.8, both down a tenth of a point.
CBS had Big Brother up 30% at 1.3 up, then repeats of SEAL Team and SWAT.
ABC, Univision and Telemundo all rated a 0.4/2 on the night.
ABC had repeats.
On Telemundo, Exatlon Estados Unidos did a 0.4, same as the night before, as did El Final Del Paraiso, which grew 25%. Preso No. 1 scored a level 0.3.
On Univision, La Reina Soy Yo got a flat 0.4 and Juntos, El Corazon Nunca Se Equivoca a flat 0.3, same as Sin Miedo a la Verdad posted. Sin Miedo lost a tenth from its last fresh airing.
The CW did a 0.1/1 with Bulletproof at 0.1 and Hypnotize Me at 0.2. Bulletproof was flat and Hypnotize Me went up a tenth.
Webinar to hit high points as October deadline approaches
The FCC has scheduled a webinar Aug. 28 on reimbursing LPTV's and translators in the incentive auction repack.
Those stations were not initially included in the relocation fund, but Congress updated its incentive auction framework to include payouts to those stations. The FCC voted to allocate $150 million.
The hour webinar (11 a.m. to noon) will be hosted by the Incentive Auction Task Force and Media Bureau and will cover a range of topics from certifying covered expenses and eligibility to how to submit invoices and an overview of the payment process.
The webinar follows the FCC's Aug. 15 publication of the reimbursement form, in which it set the deadline and procedures for filing LPTV's, translators and FM stations (radio stations co-located with TV's having to move also got money) that plan to seek reimbursement have to file the requisite form and expense estimates by 11:59 p.m. Oct. 15.
The money to pay LPTVs, translators and FMs was included in the RAY BAUMS Act FCC reauthorization legislation passed last year, which freed up as much as a billion more dollars, if/as needed, on top of the $1.75 billion that FCC had concluded would not quite cover it.
TORRANCE, CA, AUGUST 22, 2019 – Marshall Electronics, a leading provider of professional cameras, monitors, and accessories for broadcast production, introduces the new CV503-WP All-Weather HD Miniature Camera, a successor to the award-winning Marshall CV502-WPM, at IBC 2019 (Stand 12.D20).
Suitable for use in any outdoor environments where dust, dirt, and moisture become factors. The new CV503-WP utilizes a larger sensor and more powerful processors to offer better picture performance, true-color, reliability, and versatility. The CV503-WP features interchangeable prime lenses, remote adjustable settings, and protection from the elements in a compact IP67-rated housing.
The CV503-WP offers a flexible 10' (3m) weatherproof cable that carries HD video, control, and power to a full-sized 3G/HD-SDI (BNC) output, RS485 connection, and locking 12V power connector. Built around a next-generation 2.5-Megapixel, 1/2.86-inch sensor and ultra-low noise signal processors, the CV503-WP delivers ultra-crisp, clear progressive video up to 1920x1080p at 60fps and interlaced up to 1920x1080i at 60fps.
“We are very fortunate to work alongside some of the top broadcast engineers in the industry,” says Tod Musgrave, Director of Cameras at Marshall Electronics. “So, when they call with challenges, we listen very closely and incorporate those improvements on the next design. Incorporating and refining the latest sensor and processor technology is only the first step, but improving durability and flexibility is a key component that we took very seriously on the new CV503-WP.”
The CV503's threaded M12 lens mount with wider weatherproof cap offers a wide range of prime lens options for greater flexibility in obtaining the right shot in the field. The CV503-WP can capture clear and crisp shots from impossible angles, while maintaining an ultra-discreet presence.
Remote adjustment of a wide range of picture settings via RCP or Camera Control Software provide ease of matching other cameras in the workflow from back in the truck or control panel. Adjustments such as exposure, white balance, paint adjustments, gain control, pedestal (blacks), white clip, gamma, and many more, are delivered via common RS485 (Visca) commands, and can be made with or without manipulation of the On-Screen Display (OSD) menu.
Former Trump White House secretary to provide political commentary
Fox News has signed Sarah Huckabee Sanders, former White House press secretary, as a contributor. Sanders will provide political commentary and analysis across Fox News Channel, Fox Business Network, Fox Nation and other Fox properties.
She will make her debut on Fox & Friends Sept. 6th.
“Fox News has been the No. 1 news organization in the country for 17 years running and I am beyond proud to join their incredible stable of on-air contributors in providing political insights and analysis,” Huckabee Sanders said.
Sanders was White House press secretary from July 2017 to June 2019. She joined the Trump administration as deputy press secretary in January 2017.
Sanders is the daughter of former Arkansas Governor Mike Huckabee, who had hosted a show on Fox News.
Gift From Dobbins Family Fund Will Support Completion of Mobile Production Truck Outfitted as Professional Training Facility for U.S. Veterans
GRASS VALLEY, Calif. — Aug. 21, 2019 — Veterans-TV Inc. (VETV), a 501(c)(3) nonprofit organization dedicated to providing U.S. veterans with hands-on professional television production training courses, today announced that it has received a $7,500 donation from the Dobbins family's Charis Fund to support completion of its mobile training facility. The funds will aid in the outfitting of Denali Gold, a remote production truck donated by NEP to support training courses for veterans of the U.S. armed forces, law enforcement veterans, and firefighters who have lost their employment due to injury or attrition.
"As a former Grass Valley guy, Lou Dobbins appreciates the value that training and experience in broadcast production can bring to a person on a personal and professional level," said VETV President Bob Lefcovich. "He kindly guided us in crafting a VETV grant proposal and, along with his family, he very generously contributed funds that will help us see integration on Denali Gold through to completion. This gift from the Charis Fund brings us one step closer to launching our mobile classroom."
Lefcovich and the VETV advisory board have so far raised more than $2 million in donations of state-of-the-art TV production and postproduction equipment, with NEP and Grass Valley, a Belden Brand, offering extensive support in terms of equipment donations and integration. Almost all the equipment being installed in Denali Gold for training purposes has been donated new by broadcasters and manufacturers including AJA Video Systems, Blackmagic Design, Calrec Audio, Ensemble Designs, EVS, Kramer, Plura, Renegade Labs, Riedel, Ross Video, Telestream, and many more.
Integration started at the end of 2018, and VETV is seeking additional financial support to help the organization put the finishing touches on its Denali Gold mobile classroom. More information on donating to VETV is available at www.veterans-tv.org/donate.html.
VETV training courses will be held in cities across the U.S. Led by industry professionals on a volunteer basis, the courses are open to all veterans, their spouses, and dependents over 18, regardless of race, gender, ethnicity, religion, or sexual orientation. As students are certified within the program, the industry professionals working with VETV will put their connections to work in helping trained veterans find employment. Several broadcast stations already have reached out to VETV to express interest in hiring program graduates.
Further information about VETV is available at www.veterans-tv.org.
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About Veterans-TV Inc. (VETV)
VETV is a nonprofit corporation dedicated to offering hands-on professional training to veterans of the U.S. armed forces, law enforcement veterans, and firefighters who have lost their employment due to injury or attrition, as well as to their family members. Information about VETV, its training courses, and opportunities to volunteer or donate is available at www.veterans-tv.org.
All trademarks appearing herein are the property of their respective owners.
Link to Photos:
Bob Lefcovich and the VETV Remote Truck
Photo Caption: Robert Lefcovich, president and founder of Veteran's TV with the VETV remote truck. Lefcovich has worked in Remote Trucks for VTE (Video Tape Enterprises), Trans American Video, and ABC Wide World of Sports.
VETV Remote Truck
Photo Caption: VETV Remote Truck
Truck Inside With Mixer and Calrec Setup
Photo Caption: Inside VETV Remote Truck
Grass Valley Kayenne Switcher
Photo Caption: Grass Valley donated a Kayenne Switcher to the VETV remote truck.
Exec spent 11 years at Google
Melanie Hamilton has been named VP, national sales, at Comcast Spotlight, the ad sales division of Comcast Cable.
Hamilton, who spent 11 years at Google, will set national sales strategy across media buying agencies and work with management on growing the business and building relationships with new and existing clients.
She joins the company next month and reports to Brendan Condon, chief revenue officer at Spotlight. She replaces John Tierney, who left the company.
“We were looking for someone who has a strong track record of sales success, but who is also equally committed to – and passionate about – developing and leading workplace talent, cultivating relationships and approaching new opportunities and challenges with an entrepreneurial spirit,” Condon said. “Melanie embodies all of these traits, as evidenced through her impressive career and we are very excited that she is joining Comcast Spotlight.”
At Google, Hamilton most recently led a bicoastal, cross-functional team that worked to find new opportunities for AT&T across Google’s marketing, ad tech and cloud products. Before that she headed Google’s retail sector.
She started her career at NBCUniversal in the sales associate program. She served as sales account manager for KNTV in San Francisco and became director, strategic sales & marketing for the company’s local media division.
“I’m very much looking forward to joining Comcast Spotlight. It’s a coming home of sorts for me,” Hamilton said. (Comcast owns NBCU). “There’s a lot going on there – from the launch of timely research such as the ‘New TV’ report to new industry solutions like Instant Impact. I’m drawn to the energy and passion of the team there and look forward to doing more.”
Outline 12-point plan for tech policy
Tech groups including ITI, CCIA and The App Association have published their tech policy wish list in an open letter to the G7 countries (Canada, France, Germany, Italy, Japan, the UK and the United States) headed to a Leader's Summit in Biarritz, France, at the end of the month.
They outlined a 12-point plan for "enabling digital technologies that power growth, development, entrepreneurship, job creation, and innovation..." That includes targeted deregulation of data flows and pro-growth and innovation policies on AI.
"Businesses across all sectors now rely on digital technologies to produce, move, market, and sell products and services. The flow of data across borders underpins all of these activities and has created economic opportunities for billions of people," they said in the letter. "This Summit is an opportunity to capitalize on this moment by reducing discriminatory and other problematic regulatory measures and by crafting high-standard trade rules that promote inclusive innovation, growth, and development."
The 12-point plan is as follows:
1. "Reach early agreement on the WTO Joint Statement Initiative on E-Commerce through promoting ambitious and inclusive international digital trade rules;
2."Make permanent the WTO Moratorium on customs duties on electronic transmissions;
3. "Facilitate the free flow of data across borders and refrain from imposing measures requiring the local storage or processing of data or the use of local computer facilities;
4. "Commit to achieving a multilateral approach to tax policy issues arising from digitalization and refrain from pursuing unilateral digital tax measures;
5. "Extend high levels of privacy protection that ensure international interoperability and conform with OECD Guidelines on the Protection of Privacy and Transborder Flows of Personal Data;
6. "Enhance cybersecurity by using risk-based approaches grounded in global, consensus-based, industry-led standards and best practices;
7. "Protect consumers from fraudulent or deceptive commercial activities on the internet through cooperation among national consumer protection bodies;
8. "Continue to expand participation in WTO agreements, such as the Government Procurement Agreement (GPA) and Information Technology Agreement (ITA);
9. "Oppose measures that force disclosure of source code, algorithms, encryption keys, or other sensitive information as a condition of doing business;
10. "Encourage the responsible and ethical design and deployment of AI systems, including addressing safety mechanisms, using robust and representative data, promoting transparency, and enabling greater interoperability;
11. "Support the development of AI standards through global, consensus-based, industry-led processes to enable technical interoperability, non-discriminatory market access, and innovation; and
12. "Facilitate open format and machine-readable data sets to foster innovation and competitiveness in AI technologies and enhance and generate business opportunities for small and medium-sized enterprises."
HEBDEN BRIDGE, UK, AUGUST 22, 2019 — Calrec’s powerful Assist and Connect applications are both taking center stage at IBC 2019 (Stand 8.C91). As the industry embraces new standards and workflows, Calrec has expanded its suite of applications to give broadcasters more efficient tools without the requirement to purchase more hardware.
Calrec’s Assist is a browser-based interface that allows users to set up shows, memories, fader layouts, patching, bus setup, labeling, input and output levels, input channel parameters (including mic gains), routing, and more, without needing to be in front of the console.
Assist is the interface for controlling Calrec’s VP2 and Type R virtual consoles, and for setup and local control of Calrec’s Remote Production, RP1. Virtual operations enable stations to reap the benefits of Calrec consoles without a physical control surface.
Assist can be accessed from multiple locations via a web-browser. Different access levels can be granted to different users; an operator can be given basic control functions whereas an engineer can delve deeper to fine tune the setup or recall different setups as needed.
As the industry continues to unlock the benefits of IP infrastructures, Calrec’s Connect application is a user-friendly stream manager that manages the discovery and connection of IP streams. Connect turns complex IT infrastructure planning into a simple interface; connection discovery is automatic, meaning networks can be quickly built and managed with little IT knowledge.
Calrec’s browser-based Connect app can be accessed anywhere and includes built-in broadcast features like input controls; network diagnostics; GPIO-style logic connections; and make, break and change stream connections. Crucially, unlike many other stream managers, it recognizes all accepted registration/discovery protocols, including NMOS IS-04 and IS-05, to provide in-depth configuration in a simple way across the whole facility.
Both apps join a range of products that reflect broadcasters’ evolving requirements. As viewers change how they consume content, broadcasters are adopting new workflows to help them engage and retain more viewers. Calrec is helping its customers through virtual, remote and IP production models; radio; and a range of IP-enabled consoles from the flexible Type R console to the powerful Apollo. This full range of products will be on show at IBC.
About Calrec Audio Ltd.
Calrec Audio is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 50 years, Calrec has developed a range of digital consoles relied on by the world's most successful broadcasters. Increasingly consoles are integral components on a facility-wide networks, giving rise to adaptable workflows, shareable resources and the ability to be easily expanded. From the very beginning, Calrec has created innovative solutions that have allowed broadcasters to develop their working methods and get greater value from their equipment. For premium audio solutions, broadcasters put their trust in Calrec. More information is available at calrec.com.
Follow Calrec Audio: https://www.facebook.com/calrecaudio
Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is pleased to announce a new array of products which will debut at IBC 2019 (booth 12.E30).
Rome, Italy (August 22, 2019) – Cartoni, the Italian leader in premium camera supports for the broadcast, film and pro-video industries, is pleased to announce a new array of products which will debut at IBC 2019 (booth 12.E30).
The newest release in the Cartoni Tripod range is the RED LOCK.
Designed for camera operators on the go, the RED LOCK tripod is a lightweight and extremely robust two-stage aluminum tripod capable of achieving extremely high and extremely low shots, reducing the need for baby leg tripods. Surprisingly affordable, the RED LOCK tripod was designed with speed and ease of use in mind for camera operators who know that every second counts! The RED LOCK tripod can also accommodate 75mm and 100mm set-ups by simply changing the inner composite ring.
Rubber feet have a new design for maximum stability, and the Smart Spreader allows you to set up & fold the tripod in an instant.
The new MAXIMA 5.0 is the ultimate answer for digital cinematography with heavy-duty packages.
Featuring Cartoni’s patented counterbalance, the MAXIMA 5.0 handles payloads from zero to 50 kg, with “perfect balance” throughout the 180° tilt range. The patented continuous fluid drag system allows almost freewheeling to extremely consistent drag for maximum versatility and perfect diagonal shots.
The MAXIMA 5.0 knobs and levers are ergonomically placed to ensure camera operators complete ease-of-use in any situation, whether in the studio, location, or during outside shooting. The large sliding camera plate is compatible with ARRI, Sony, and O’Connor. The head comes with a telescopic pan bar and a short front pan bar. Optional 150mm bowl base can be easily applied.
Making its IBC debut will be the Sport 200 (S200). The new Sport 200 are a revolutionary set of tripod legs, designed specifically to meet the rigorous demands of sports and outside broadcast (OB) production. It continues Cartoni’s legacy of delivering cutting-edge solutions for content creators.
“The new Sport 200 is a game-changer. It features an extremely innovative aluminum profile and angular structure, which gives camera operators a sturdiness you simply cannot get from standard tripod tubes. The rigidity allows camera operators to be extremely precise in their movements – from whip pans to tracking players or objects,” explains Elisabetta Cartoni, President and CEO of Cartoni.
The new Sport 200 is built with duralumin as used in the aircraft industry and offers outstanding torsional rigidity with camera packages, up to 200 kg (441 pounds), in all possible large camera/lens configuration. Its innovative profile is angled and shaped to ensure maximum strength while weighing only 10.5 kg (23 lbs). Designed to withstand even the harshest weather conditions, the Sport 200 can endure severe weather conditions, rain, dust, moisture, and extreme temperatures.
The Master 25 is a robust, yet lightweight fluid head designed to support the latest cameras complete with long lens, viewfinders, prompters and pan bar controls for new studio production as well as OB/ENG/EFP applications, with a payload capacity of up to 30 kg (66 lbs).
“The new Master 25 is the ultimate do-it-all head for ENG/EFP, studios and OB” explains Elisabetta Cartoni, President and CEO of Cartoni Professional Camera Supports. “Not only is the Master 25 completely compatible with competitor legs and even camera plates, but it is also perfectly suited for the camera operators needs. That means the head can precisely track slow-moving objects and whip pan in an instant. The new Master 25 will be displayed in the classy Black & Gold design of the famed Cartoni C20/C40 heads of yesteryear and is also available in grey anodized aluminum.
For more information on these products, join Cartoni at IBC 2019, Booth 12.E30.
National teams from 17 countries compete in seven-a-side rugby
NBC Sports has inked a four-year deal to air the HSBC World Rugby Sevens Series on its platforms through 2023. The World Rugby Sevens is an annual series of seven-a-side tournaments featuring the national teams from 17 countries. The deal will provide more than 300 hours of programming on NBCSN, Olympic Channel, NBCSports.com, the NBC Sports app, OlympicChannel.com and the Olympic Channel app. It will also be available with a subscription to streaming platform NBC Sports Gold.
“We are excited to welcome back the HSBC World Rugby Sevens Series to the NBC Sports family,” said Jon Miller, president of programming for NBC Sports and NBCSN. “As we head into an Olympic year, this partnership with World Rugby allows us to add to our portfolio of the most marquee rugby events in the world and help grow the sport both domestically and internationally.”
NBC Sports held the rights to World Rugby Sevens from 2010-2016. It also has the rights to the 2019 Rugby World Cup in Japan, which begins in September and features 15 players per side.
The Women’s Sevens Series begins this October while the Men’s starts in December.
“After a hugely successful Rugby World Cup Sevens in San Francisco last year, attended by over 100,000 fans, the popularity of rugby sevens is growing rapidly in the United States,” said World Rugby CEO Brett Gosper, “and we look forward to the opportunities that working with NBC Sports Group will bring in continuing to reach new audiences in this important market over the next four years.”
On Booth 2.B59 at IBC 2019 Crystal Vision will be rolling out the latest software apps for its flexible MARBLE-V1 media processor hardware, with MARBLE's mixed SDI and IP I/O making it easy to transition between SDI, ST 2022 and ST 2110. Each software app can work with IP, with SDI or with both IP and SDI at the same time, giving the easiest possible SDI to IP upgrade as well as being perfect for mixed SDI and IP installations. The apps – which can be replaced as needs change – offer functionality such as video delay, synchronization, color correction, IP to IP processing and gateways. The rest of the interface and keying product range – including the Cleanit profanity delays and Safire 3 real-time chroma keyer – will all be available for demonstration at Crystal Vision's new front of Hall 2 location.
A card housed in the Vision frame, the flexible MARBLE-V1 media processor features a powerful CPU/GPU processor, six bi-directional SDI connections, four 10GbE SFP+ network interface ports and eight bi-directional discrete AES stereo channels. MARBLE-V1's functionality comes from the installation of a software app, with apps that are bought with the hardware able to be replaced with different apps as needs change – helping broadcast engineers to make the most of their budgets. The initial apps for MARBLE-V1 were IP gateways and IP to IP translators for making adjustments to IP flows. These are now joined by an additional four apps providing extremely powerful solutions for a wide range of IP and SDI video delay and color correction requirements.
Crystal Vision is launching two video delay software apps at IBC – the single channel VIVID1-IPSDI and the dual channel VIVID2-IPSDI. Both software apps can work with IP, with SDI or with both IP and SDI at the same time. This makes them equally suitable for IP environments, for SDI installations that will soon change to IP, and for mixed SDI and IP installations where the video delays can connect to both the SDI section and the IP section in any combination of SDI and IP inputs and outputs. The apps work with both SMPTE ST 2022 and ST 2110 video. They are ideal for matching any 3Gb/s, HD or SD extended system delays, such as those caused by virtual studio graphics, MPEG encoders and decoders, audio processing, HD radio links and satellite links. VIVID1-IPSDI provides up to 800 frames of video delay, which is 16 seconds in 3Gb/s and 32 seconds in HD and SD. VIVID2-IPSDI provides up to 200 frames of video delay per channel, therefore four seconds in 3Gb/s and eight seconds in HD and SD. Both apps include a framestore synchronizer allowing engineers to delay and synchronize at the same time. Not only are these are the industry's first video delays to offer IP connectivity, they also introduce an SDI video delay to the Vision frame system for the first time (with the easiest possible upgrade path), and also include IP to SDI and SDI to IP gateway functionality.
Also making their debut on Stand 2.B59 are two color corrector software apps – the single channel COCO1-IPSDI and the dual channel COCO2-IPSDI. Like the video delays, the color corrector software apps can work with IP, with SDI or with both IP and SDI at the same time – giving the easiest possible SDI to IP upgrade as well as being perfect for mixed SDI and IP installations in addition to exclusively IP environments. The apps work with both SMPTE ST 2022 and ST 2110 video. Ideal for manipulating colors to correct for camera or lighting problems or to standardize pictures shot at different times, uses include adjusting the colors on in-shot monitors, being placed before an encoder to set the range of colors to be transmitted and the correction of computer-generated or post production outputs. The apps offer an extensive range of color correction tools including RGB gain, RGB lift, YUV gain, YUV lift, Video gain, Chroma gain, Chroma hue and both overall and individual RGB Gamma adjustment, while they also include a legalizer. The COCO1-IP and COCO2-IP are the broadcast industry's first IP color correctors, give the Vision frame system an SDI color corrector for the first time (with support for even more SDI video standards – 31 – than the Indigo frame version) and also include IP to SDI and SDI to IP gateway functionality.
Other products on the Crystal Vision booth will include the new Cleanit video and audio profanity delay system, which allows a live content stream to be delayed by up to 20 seconds (in HD), giving the operator time to react and prevent the broadcast of unwanted or offensive video or audio material. Available either to buy or for short-term hire, Cleanit has already been used for protecting a diverse range of applications, from television broadcasts to the Internet transmission of eGaming events. IBC also gives visitors an opportunity to try out the Safire 3 real-time chroma keyer, with its simple intuitive workflow for setting up a key, support for resolutions from SD to 1080p and features such as lighting compensation, color correction and video delay to help solve common real world issues.
Based at Whittlesford near Cambridge in the UK and with an office in the USA, Crystal Vision provides a full range of interface and keyers and helps people transition through a range of technologies – from SD to HD, from HD to IP and from IP to IP.
Blackmagic Design today announced that GlobeStream Media live streamed USA Softball’s GOLD National Championships using a variety of Blackmagic Design products, including URSA Broadcast cameras and an ATEM Television Studio Pro 4K live production switcher, to capture more than 500 hours of fiber channel broadcasts across nine softball fields.
Fremont, CA - August 22, 2019 - Blackmagic Design today announced that GlobeStream Media live streamed USA Softball’s GOLD National Championships using a variety of Blackmagic Design products, including URSA Broadcast cameras and an ATEM Television Studio Pro 4K live production switcher, to capture more than 500 hours of fiber channel broadcasts across nine softball fields.
Held at the Heritage Yards softball complex in Plano, Texas, the six day long tournament featured more than 70 softball teams from across the United States competing in both the 18 and under (18u) and 16 and under (16u) age divisions. GlobeStream Media, a Texas based global provider of broadcast live streaming production services, used a full range of Blackmagic Design products to live stream 247 softball games over the course of the tournament.
The complete Blackmagic Design workflow included URSA Broadcasts and Micro Studio Camera 4K; Blackmagic Camera Fiber Converters and Blackmagic Studio Fiber Converters; ATEM Television Studio Pro 4K and ATEM 1 M/E Production Studio 4K; ATEM 1 M/E Advanced Panel and ATEM Camera Control Panel; Smart Videohub routers; HyperDeck Studio Mini and HyperDeck Studio Pro recorders; SmartScope Duo and SmartView 4K monitors; Teranex Mini Audio to SDI converters; Blackmagic Audio Monitor; MultiView 4; and DeckLink capture and playback cards, including DeckLink 8K Pro.
To stream individual games during pool play and early bracket rounds, GlobeStream Media relied on a Micro Studio Camera 4K mounted behind home plate. "When USA Softball and the City of Plano approached us about live streaming the tournament, one of the initial discussions was about where the cameras were going to be. On each of the nine softball fields at Heritage Yards, they wanted a single camera mounted on the backstop to provide an elevated wide shot of the field from behind home plate. We knew right away that the camera needed to be small and lightweight, yet still provide a high quality image, so our attention immediately turned to the Micro Studio Camera 4K,” explained President and Cofounder of GlobeStream Media Brett Casadonte.
For each division’s consolation and championship games, GlobeStream Media switched to a four camera setup, using three URSA Broadcasts with Camera Fiber Converters and Studio Fiber Converters to capture the action, along with the Micro Studio Camera 4K.
“We went with Blackmagic Design cameras because first and foremost, they produce a very good quality image. Equally import, however, is workflow. Using the Camera Fiber Converters and Studio Fiber Converters, we were able to take a standard SMPTE fiber cable and deliver camera control, tally and talkback, plus power and return program feed to our camera operators over a single cable,” noted Casadonte. “The time and cost savings in setup were tremendous and allowed us to easily convert a softball field setup for a single camera live stream in the morning to a four camera multi cam broadcast in the afternoon. If we had to run separate power cables, XLR cables for crew comms, tally cables and a pair of SDI cables for video in and out, the conversion simply wouldn’t have been possible.”
Temperatures were also top of mind for Casadonte, with Texas summers known for their heat. “Whatever cameras we used for this production quite literally had to be able to take the heat,” said Casadonte. “They had to run for 10 to 12 hours straight each day in 95ºF and above temperatures. The build quality and reliability of Blackmagic Design’s cameras gave us confidence that the Micro Studio Camera 4K could be the workhorse camera we needed and wouldn’t wilt in the hot Texas sun.”
For the rest of its live streaming setup, GlobeStream Media connected the Studio Fiber Converters to a Smart Videohub 20x20 that sent the camera feeds to an ATEM Television Studio Pro 4K for switching. The team also relied on a SmartView 4K, HyperDeck Studio Minis for recording primary and backup versions of the program, SmartScope Duo for signal monitoring, ATEM Camera Control Panel to manage color for the cameras, and several DeckLinks.
“ATEM switchers have been a main stay on all of our productions, and it’s not a stretch to say we’ve built our business on them. When the ATEM Camera Control Panel came out, it was a great addition that made outdoor live sporting events so much easier,” said Casadonte. “With it, we’re quickly able to fine tune color and exposure on our cameras so that the look is consistent and seamless across our production.”
With consolation and championship games for each age division taking place simultaneously on two fields, GlobeStream Media relied on an ATEM 1 M/E Production Studio 4K, ATEM 1 M/E Advanced Panel, Smart Videohub 40x40, SmartScope Duo, HyperDeck Studio Minis, HyperDeck Studio Pros, MultiView 4, Teranex Minis Audio to SDI and a Blackmagic Audio Monitor.
“What really sets Blackmagic Design apart from other solutions is its holistic approach to production. When you make the full range of products from cameras to switchers, you’re able to create solutions that are greater than the sum of their parts. Blackmagic Design has created an integrated production workflow that is not only straight forward, easy to setup and fun to work with, but more importantly, allows us to get the job done efficiently and cost effectively,” noted Casadonte.
“The Blackmagic Design broadcast ecosystem, with built in tally, talkback, and camera control capabilities; integrated standards conversion; and intuitive, easy to use software makes broadcast productions truly plug and play. That was critical for us during this tournament because we only had a few short hours on the last day of the tournament to convert a softball field from a single camera live stream for semifinal matches in the morning, to a multi cam broadcast setup for consolation games and the championships in the late afternoon. With Blackmagic Design, we were easily able to pull it off,” concluded Casadonte. “There are no do overs in live production, so you really need to have gear that is rock solid, reliable and that you trust to deliver time and time again.”
Product photos of URSA Broadcast, Micro Studio Camera 4K, Blackmagic Camera Fiber Converter, Blackmagic Studio Fiber Converter, ATEM Television Studio Pro 4K, ATEM Camera Control Panel, ATEM 1 M/E Production Studio 4K, ATEM 1 M/E Advanced Panel, Smart Videohub 20x20, Smart Videohub 40x40, SmartView 4K, HyperDeck Studio Mini, HyperDeck Studio Pro, SmartScope Duo, DeckLink 8K Pro, MultiView 4, Teranex Mini Audio to SDI, Blackmagic Audio Monitor and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com
Marc Cherry drama has Lucy Liu, Ginnifer Goodwin
CBS All Access has put the premiere episode of drama Why Women Kill on YouTube for all to access. The show is about a house in Pasadena, where a trio of couples lives in the ‘60s, the ‘80s and in present day. Each couple sees the woman dealing with her husband’s infidelity.
Lucy Liu, Ginnifer Goodwin and Kirby Howell-Baptiste play the cheated upon wives.
The show premiered on CBS All Access Aug. 15. There are 10 episodes.
Marc Cherry created Why Women Kill. He executive produces along with Brian Grazer and Francie Calfo of Imagine and Michael Hanel and Mindy Schultheis of Acme Productions. Marc Webb also executive produces Why Women Kill and directs the pilot and another episode.
Imagine Television Studios and CBS Television Studios produce the show.
Said it makes suicide seem predictable response to stress
The Parents Television Council earlier this year praised Netflix for editing out Hannah's suicide scene from the first season of 13 Reasons Why, but it still said the show, which deals with a teen suicide and the reasons she left behind, should not air at all.
Netflix added content warnings in response to concerns about the show's content, a move PTC has also praised.
But on the eve of the Aug. 23 release of season three, PTC has called on Netflix Reed Hastings to pull the plug on the show.
In a letter to Hastings, PTC president Tim Winter branded the show "a lengthy tutorial for young viewers on how suicide could be a predictable or even expected consequence of common stressful life events. The show presents suicide as a way to get revenge and sends a message that seeking help is pointless. Removing one shocking scene won’t change that message.”
Pointing to reports that Netflix subs are decreasing while debt it increasing, Winter said: "Maybe it’s not the content that you’re losing -- or about to lose -- that is driving-off subscribers. Maybe it’s the content you choose to hold on to." Winter suggested some strategies for holding on to those subs, including dropping shows that sexualize children and adopt content-filtering.
AUGUST 22, 2019 – DPA Microphones presents a new addition to its microphone lineup, the 2028 Vocal Microphone. The 2028 delivers DPA’s renowned natural sound, which allows all types of vocals to shine. Perfect for everyone from indie artists to international touring singers, the 2028 mic is ideally suited for live stage performances, broadcast and pro AV applications.
On a live stage, the 2028 delivers the same sonic qualities as DPA’s other great solutions. In fact, the 2028 needs no (or very little) EQ to sound just like you are standing next to the singer listening to their performance. This allows the artist to hone-in on their vocals as if not using a microphone, which puts less strain on the voice. In addition, the transparency of the 2028 allows engineers to spend their time shaping the sound experience rather than covering up issues caused by artifacts.
The 2028 has been cohesively designed to provide the same amazing sound as the brand’s flagship handheld mic, the 4018 VL. It has also been optimized, like the 4018, for the unique challenges of the live stage. “We have seen a need for an excellent vocal microphone that has the sonic qualities of our d:facto 4018 Series, but at a lower price-point,” says René Mørch, product manager, DPA Microphones. “At only $700 USD, this mic is an overachiever – it performs significantly better than anything else in its price range.”
The 2028 features a brand-new fixed-position capsule, as well as a specially designed shock-mount and pop filter. It exhibits a supercardioid polar pattern, with the famous DPA uniform off-axis response. This gives the microphone a very high-gain-before-feedback and makes it easier to handle bleed from other instruments in close proximity, picking up sound in a natural way.
“We've designed this mic so that it sounds like the singer isn’t actually using a mic,” adds Mørch. “You get the full, natural sound of the artist’s voice, not what the microphone ‘thinks’ the artist sounds like. This gives the sound engineer a lot of freedom to be creative – and instead work on crafting a unique sound for the performance based on a clean, natural vocal track.”
With the expected wear-and-tear that comes with live performances, both the outer grille and the inner pop filter of the 2028 can be detached and rinsed. The 2028 is offered in three variants; a wired XLR with handle and two wireless mic configurations that are compatible with the industry’s most widely used wireless microphone systems. This includes the SL1 adapter, compatible with Shure, Sony and Lectrosonics; and the SE2 adapter, compatible with Sennheiser.
ABOUT DPA MICROPHONES:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound. For more information, please visit .
In “Delivering the Future,” Vijayakumar’s customer-centric insights will articulate how powerful new technologies – enabled by cable’s 10G initiative – are unlocking new opportunities for FedEx delivery systems.
AUGUST 22, 2019 (Exton, PA)—Preetha Vijayakumar, vice president, Enterprise Network and Communications Services for FedEx, will zero in on how telecommunications innovation can transform business success when she keynotes SCTE•ISBE Cable-Tec Expo 2019 in New Orleans, the Society of Cable Telecommunications Engineers (SCTE) and its global arm, the International Society of Broadband Experts (ISBE), announced today.
In “Delivering the Future,” Vijayakumar’s customer-centric insights will articulate how powerful new technologies – enabled by cable’s 10G initiative – are unlocking new opportunities for FedEx delivery systems. Vijayakumar’s operational area is responsible for optimizing capabilities of the data centers, networks and field service organizations that connect FedEx’s vast web of transportation services.
The keynote remarks will take place at the Cable-Tec Expo Opening General Session on Tuesday morning, Oct. 1 at the Ernest N. Morial Convention Center. Following breakfast at 8:15 AM outside of the convention center’s Grand Hall, Vijayakumar and an all-star cast of technology visionaries will articulate their expectations for the future beginning at 9:00 AM.
The premier and largest cable industry event in the Americas, SCTE•ISBE Cable-Tec Expo 2019 will take place Monday through Thursday, Sept. 30 through Oct. 3. Tom Adams, executive vice president, Field Operations for Charter Communications and Bill Warga, vice president, Technology for Liberty Global, co-chair the Cable-Tec Expo 2019 Program Committee.
“When it comes to product innovation, cable and FedEx appear to moving on similar tracks,” said Vijayakumar. “At the same time that cable is moving toward a future of 10G services, we’re seeking reliable high bandwidth and low latency connectivity to move ever-richer volumes of data. We see opportunities in the future to explore how 10G networks can serve as the foundation for a new round of FedEx product innovation.”
“FedEx’s keen grasp of the connective power of telecommunications has played a pivotal role as it has revolutioned essential delivery of goods,” said Mark Dzuban, president and CEO of SCTE•ISBE. “Today’s cable technology and the transformative capabilities of our 10G networks are unparalleled in enabling high-speed, robust, low latency and highly secure communications backbones that can drive service excellence and business results for companies such as FedEx.”
During almost two decades with FedEx, Vijayakumar has gained a breadth of IT Infrastructure experience – from management of FedEx’s Internet systems and Data Center management to Platform Architecture and Cloud Transformation.
Expo is renowned as the pre-eminent venue that combines the thought leadership, engineering innovation, and deal-making that power the technological future of broadband telecommunications. As a nexus for content and service providers, technology partners, and industry experts, Cable-Tec Expo provides rich insights into technologies, products, and services that can generate revenue, streamline operations, and increase customer satisfaction.
Calls on government to adopt it
USTelecom has completed its pilot broadband mapping project, says it has been proven to deliver on fast, cost-effective*, and accurate data-collection program.
Now, it said, it is time for the government--the FCC, Congress--to get with the program.
USTelecom developed a geolocation database combined with provider info.
According to the results from tests in Missouri and Virginia, the FCC's current Form 477 data collection showed 38% of pilot participants that showed up as "served" were not, with some incorrect counts in almost half of rural census blocks.
The FCC has proposed using a cable-suggested "shapefile" approach to collecting better data, but has yet to decide whether it will also employ the USTelecom mapping approach as well.
USTelecom president Jonathan Spalter signaled the test should have provided the evidence the government needs to adopt its proposal.
“In just four months, our broadband mapping initiative has completely flipped the national mapping conversation and proven we can now do better than the inaccurate and outdated maps that have prevented homes and businesses in rural areas from getting reliable service," he said. "This new mapping solution is a game-changer for rural Americans. We are ready to hand it off to our government partners to ensure agencies, policymakers and providers are empowered with good data to connect more communities to the power and promise of broadband, while ensuring every single dollar of federal broadband support finally can now be accurately targeted and effectively deployed where it needs to go most urgently and quickly.”
The FCC has conceded its data-collection process needs improving, both to better serve rural areas and to insure broadband subsidy money is going to those who lack it.
The commission voted unanimously, with two partial dissents by the Democrats, on a Report & Order Thursday (Aug. 1) to create a new Digital Opportunity Data Collection regime based on geospatial broadband coverage maps provided by fixed Internet service providers--it does not apply to mobile broadband, at least not yet.
The Universal Service Administrative Company (USAC) will be charged with the new data collection, and will have to create a portal for collecting the carrier data and allow for crowdsourced challenges to the maps.
For the time being, the FCC will also continue to collect form 477 data based on census blocks, but at the same time will require fixed broadband suppliers to also provide coverage maps based on shapefiles (in this case the shape is a polygon), which NCTA-The Internet & Television Association had proposed.
NCTA had also suggested retaining the census block-based 477 reporting in the interim so the FCC could still do an apples-to-apples comparison of deployment trends "not associated with the shift in reporting methods."
*USTelecom says a national dataset of all broadband serviceable locations can be ready in 12-15 months for $8.5 million and $11 million in upfront costs, plus $3 million-$4 million in ongoing annual expenditures.
Behind-the-scenes data provides biggest edge
"From reducing acquisition costs to increasing the number of viewing minutes per day, the subscriber experience is shaped end-to-end by performance across such metrics." -Shay David, Kaltura
Netflix, Hulu, and Amazon are closing numerous nine-figure deals with acclaimed show creators like Shonda Rhimes to secure the future of their original content funnels. The approach appears successful so far, but the battle isn’t just about content — it’s about keeping churn rates low and customer lifetime value (LTV) high, driven by listening to data.
The average over-the-top (OTT) video service churn rate has hovered around 18% for years. Keeping customers around equates to greater lifetime value and, ultimately, building long-term profitability. It’s a challenge faced by all Cloud TV providers. So, what are streaming giants doing to hold onto subscribers?
THE RIGHT KIND OF DATA
One of the biggest debates centers around the introduction of ads. Netflix relies on product placement, while Hulu and other services offer cheap or free ad-supported versions with commercial breaks. The choice comes down to the type of data that a company prioritizes — striking a delicate balance between financial metrics and user experience.
This trend is prevalent among other content-based platforms as well. Spotify’s free version relies heavily on ads to generate value from listeners, while the influx of advertising across Instagram is sending it down the same path as mother company Facebook (much to the chagrin of users).
Recent Cloud TV deployments like Vodafone TV and Beeline TV are quickly gaining momentum in the international markets they serve — leveraging data for both targeted viewing and to create a highly personalized experience for each and every user. Rather than a one-size-fits-all approach, these services are introducing flexible options to keep customers happy.
The question is whether or not platforms can increase customer lifetime value and decrease subscriber churn during such rapid convergence and scale of media. Advertising dollars can be a boon for OTT and Cloud TV platforms, but, most importantly, they need people who are willing to pay, and continue paying, for their service.
THE OPTIMAL EXPERIENCE
Most companies look at the same categories of business outcomes to drive strategy — acquisition, retention, engagement, and monetization. These are the data points behind the scenes of the Streaming Wars. The different strategies between each platform come down to how this information is collected, interpreted, and prioritized.
From reducing acquisition costs to increasing the number of viewing minutes per day, the subscriber experience is shaped end-to-end by performance across such metrics. How many seconds is the optimal length before the next episode auto-plays? Should recently-viewed content appear at the top after log-in? Streaming giants surely know the answers to these questions and much, much more.
The challenge is creating a unified big data infrastructure that allows services to track and easily interpret key performance indicators, and then take appropriate action in response to the learnings. Herein lies a leading edge for service providers.
Top platforms like Amazon and Netflix use predictive analytics and machine learning to outpace the competition. While a hot new series with A-list celebrities may drum up publicity, the real secret to success is less visible. Their most powerful weapons-of-mass-subscription are hidden inside algorithms.
Now, Beeline TV, Vodafone TV, and other major providers are seeing results from similar data-driven personalization — indicating that the entire telecom industry is inching closer to advanced data infrastructure. By continuing to optimize the user experience, telecommunications companies will likely unearth new opportunities for growth in the near future.
A BIG CHURN OFF
The landscape for streaming services is shifting. There will soon be more content, more data, and more options for customers to choose from. The fight to find and keep subscribers will only intensify.
In the end, staying relevant will mean staying vigilant. Consumer expectations for convenient, seamless access to entertaining (and personalized) content are getting higher and higher. The companies that provide the best solution at the right price point will win out.
To stop churn in its tracks, Cloud TV services will need to tune in to customer data more closely than ever. This approach has allowed a number of platforms to grow quickly thus far, but the Streaming Wars are far from over.
Kaltura is a leading video technology provider; it’s award-winning Cloud TV Platform helps major global media companies and mobile operators like Vodafone, Turner and Viacom, among others stand out in today’s crowded streaming space.
Exec had been with LendingHome
Entertainment platform Fandom said it named Adil Ajmal as chief technology and product officer.
Ajmal had been CTO at online mortgage company LendingHome and will be responsible for leading all technology, product and data functions at Fandom and its network of properties. He will focus on increasing fan engagement and the development of new subscription product, gaming tools and data services.
“Fandom is changing the way people connect with the games, films and shows they love," said Fandom CEO Perkins Miller. "With 200 million users around the world, we’re innovating our tools and platforms every day to find new ways to honor every form of fandom. Adil will be instrumental in scaling our tech and data platform as well as refining our product vision. He will further cement Fandom as the go-to resource for fans and business partners.”
Ajmal, who reports to Miller, was with Posterous (which was acquired by Twitter), TenMarks Education (acquired by Amazon) and Homestead Technologies (acquired by Intuit) before joining LendingHome.
“As a huge sci-fi fan, and someone who consumes way more content than I probably should, I'm extremely excited to join the Fandom team and work on a product that I, along with millions of other fans, enjoy every day,” Ajmal said. “In this new role, I am eager to develop new models and innovative new product offerings that will deepen fan engagement across Fandom's platforms."
Company will showcase new and established solutions in dual presence at the show – a dedicated exhibit pod plus demonstrations at the Amazon Web Services stand
August 22, 2019 — Dübendorf, Switzerland: Over-the-top (OTT) video solutions innovator Insys Video Technologies is heading to the IBC2019 exhibition in Amsterdam in September with a powerful new cloud-based video recording solution and a two-pronged exhibit strategy. In addition to its own standalone presence in pod P03 (located in the walkway between IBC Halls 7 and 8), the company will highlight its collaborations with Amazon Web Services (AWS) in demonstrations at the AWS stand (5.C80).
Making its world debut at IBC2019 will be the new Insys Cloud Video Recorder, which expands the scope of Insys’ offerings beyond commercial OTT media services into broader applications and markets. Targeting educational institutions and public sector organizations such as governments, the cloud-based Insys Cloud Video Recorder is designed to enable customers to record live video streams; store, analyze and catalog the recordings; and play out the content whenever and wherever viewers want.
Leveraging proven technology from Insys’ enterprise-class OTT video platform, the elastic Insys Cloud Video Recorder is well-suited to any live-stream archiving needs, but particularly ideal for recording content such as Parliamentary Assembly meetings, conference sessions and university lectures. Live streams and recordings can be viewed online through an embeddable player, while on-demand clips can be downloaded in a wide variety of output formats. Other key features include advance scheduling of recordings and automated audio transcription.
Insys will also demonstrate the latest enhancements in its flexible, white-label OTT solutions, which allow media enterprises to easily manage, monetize, distribute, and promote their content through branded, full-featured websites and apps. InsysGO lets MVPDs and service providers launch compelling OTT offerings spanning many channels in as little as 30 days, while Insys OneChannel delivers similar functionality with a streamlined viewer experience tailored for presenting a smaller number of channels. Last but not least, Insys VoD allows content providers to easily offer their video libraries for on-demand viewing across a broad range of devices.
Product demos will highlight Insys’ API integration with AWS Media Services, a family of fully-managed services that make it fast and easy to transport, prepare, process, and deliver broadcast and OTT video. Insys solutions feature API integration with the AWS Elemental MediaLive broadcast-grade live video processing service; the AWS Elemental MediaConvert file-based video transcoding service with broadcast-grade features; the AWS Elemental MediaConnect high-quality transport service for live video; and the AWS Elemental MediaPackage service, which reliably prepares and protects video for delivery over the Internet.
Insys solutions also incorporate API integration with Amazon Rekognition Video, a deep learning-powered video analysis service that detects activities; understands the movement of people in frame; and recognizes people, objects, celebrities, and inappropriate content. Insys’ OTT platform and the Insys Cloud Video Recorder use the API integration with Amazon Rekognition Video to automatically identify people such as celebrities and politicians within recorded content, while the OTT solutions can also detect and blur out viewer-sensitive content such as nudity and violence. Meanwhile, the audio transcription feature in Insys Cloud Video Recorder is powered by API integration with the Amazon Transcribe automatic speech recognition service.
“While we continue to expand the capabilities of our renowned solutions for OTT service providers, we are excited to bring our proven technology and expertise to a wider range of customers with the launch of Insys Cloud Video Recorder,” said Insys CEO Krzysztof Bartkowski. “We look forward to unveiling it to IBC attendees, and to showcasing our ongoing relationship with AWS in demonstrations both at their stand and our own.”
Visitors wishing to schedule a meeting with Insys at IBC can do so by emailing [email protected].
About Insys Video Technologies GmbH – Insys Video Technologies (www.insysvt.com) is one of the fastest-developing video integration companies in Europe, offering comprehensive implementation of OTT projects from strategy and design through to development, deployment and maintenance. For over a decade, Insys has implemented online video projects for satellite providers, telecommunications operators, television broadcasters and motion picture distributors. More than four million consumers use video services powered by Insys solutions.
Lets radio broadcasters keep pace with shifting needs, says firm
At IBC2019 Calrec is showing its Type R modular, expandable, IP-based radio system.
Type R makes use of standard networking technology and combines it with configurable soft panels that can be tailored to operator needs. Type R’s physical control system consists of three slimline panels: a fader panel, a large soft panel and a small soft panel. Each is compatible with COTS hardware and powered over Ethernet to keep cabling to a minimum.
At the heart of Type R is a simple 2U core with integrated I/O resources to get customers up and running immediately. A single core can power up to three independent mixing environments, with no sharing of DSP resources.
“Whether used as independent studio consoles, microphone processors or utility mixing, the ability to use multiple mixing engines combined with the versatility of an AES67 compatible network, allows users to keep pace with radio’s changing requirements,” explains the company.
IBC Stand: 8.C61
National Radio Day should be every day
Commercial and noncommercial stations alike recently celebrated National Radio Day. Where we in radio sometimes get sectioned off into our own little silos — community radio, commercial radio, sports radio, college radio, religious broadcasting and music stations, among them — National Radio Day is our annual day to unite, and to tell a great story.
This year, National Radio Day was Tuesday, Aug. 20. The annual recognition is not really a holiday in the Labor Day or Fourth of July tradition. Rather, National Radio Day is among those days that gives us all a chance to pause and appreciate the art form of radio and its impact on our communities.
Just as people played the funeral dirge for broadcast television when VHS came along, so have naysayers been predicting radio’s passing for decades. Nevertheless, radio still enjoys massive listenership, and trust from audiences. Radio today sees tremendous reach, with some 200 million Americans listening anytime any given week. Its penetration into U.S homes is why it is the go-to for emergency preparedness and a host of other services. As the Federal Emergency Management Administration tweeted, “Radios are a great resource during disasters. When cell towers and internet are down, radios will continue to receive emergency alerts and weather alerts.”
Beyond the urgent moments, National Radio Day is a yearly chance to highlight our medium’s other value propositions. For instance, there are the journalistic, musical and cultural services that radio provides. For some, radio is the first place where they discovered any number of musical genres or heard music in another language. For other Americans, radio informs them on their commutes about the matters of the day. For still other people, radio provides a little bit of home, no matter where that home may be anywhere around the planet. These explorations provide our intellects and imaginations fertile grounds upon which to grow ideas and engagement. Because the voices we hear allow us to conjure up our own visuals, radio taps into a mental space no other medium can.
Radio has been a launchpad for many famous names. A few of them took a moment to appreciate the influence of the medium, in cities and towns everywhere as well as in their own lives. Sportscaster and media personality Joy Taylor tweeted, “Radio was my first love in media, I always wanted to host a radio show, ‘theater of the mind.’” Television host Janice Dean added, “I started out in radio, and so … I look back fondly on the place where my broadcasting career began. I never thought I would end up in television, but I wouldn’t be where I am today without the experience I had behind just a microphone.” British radio host Sean Goldsmith called radio “a wonderful medium that’s given me 27 years of doing something I never thought I’d actually do. I used to sit there in a factory in Leicester putting stickers on beer trays listening to the radio wanting to be [U.K. radio legend] Simon Mayo.”
Radio has also been a message-based medium, giving people with ideas a place to share them with many people. Franklin Graham tweeted, “My father, Billy Graham, used radio as a way to share the Gospel w/millions worldwide.”
If your station did not take advantage of National Radio Day this year to talk up all your station brings to your city or town, check out the National Radio Day hashtag across social media for ideas to use next year. Or, better yet, make National Radio Day every day and testify to your local voices and community service right now.
Engineering consultant says the system remains open to abuse and isn’t fairly balanced
An FCC order that took effect in August provides for non-adjacent channel changes for FM translators that are experiencing interference issues caused or received.
This will be very helpful in smaller markets to resolve interference complaints and where excessive incoming interference seriously limits coverage. Unfortunately, there are no available frequencies in most medium and large markets.
On the other hand, the final rules provide protection from translator interference to existing facilities out to their 45 dBµ contour, an increase beyond their defined maximum class protected contours from 17.6 miles to 35.2 miles for a Class A, 40.4 miles to 53.6 miles for a Class B and 57.1 to 83.5 miles for a Class C.
When combined with the procedures whereby complaints may not be challenged, as few as six determined complainants at the edge of those contours (and only three for an LPFM) can cripple or kill a translator — a powerful weapon in the hands of overzealous stations seeking to protect the “owner’s contour” or eliminate competition.
BIG RADIO SPOKE UP
In its original Notice of Proposed Rulemaking, the commission presented a very well reasoned and balanced proposal to limit interference complaints to the 54 dBµ contour, which appeared to recognize the changed role of FM translators in the modern broadcast radio landscape, where some 8,000 FM translators are operating or authorized, many serving to sustain local service of AM stations.
The commission stated in that proposal that its goal was to “provide translator licensees [with] additional investment clarity.” The commission asserted that it was (emphasis added):
[c]larifying the process and balancing the interests of the various services involved … we must not only balance the needs of translator, low-power FM and full-service licensees, but also [the technical integrity of the FM band]. We believe that the measures adopted herein strike a balance between managing FM band spectrum, providing greater certainty for translator operators, and preserving existing protections for full-service stations … .
However, like the cattle barons of the Old West defending grazing rights to the open range and opposing homesteads, Big Radio once again came forward in full turf protection mode, opposing the commission’s proposal (just as they have opposed and stalled the FCC’s very reasonable and rational proposed modification of AM daytime allocations, which were supported by some of the industry’s most respected engineers).
They advocated an incredible 39 dBµ contour limit, citing interference concerns for audiences well beyond their protected contours with purported radio listening data. It is noteworthy that their audience data was based on “cume” (five minutes listening per week) and ZIP code centroids for “panelists home addresses” (see Beasley Media Corp., et al, comments at footnote 13).
Such data is at best exaggerated and misleading given the size of ZIP code areas, many extending across a 6 dB contour span, and the presumption that the home address represented the location of a significant portion of their listening. Since these data are from the larger PPM markets, it seems reasonable to expect that much of the five-minute “cume” listening is spent in transit to those markets at contours far greater than 45 dBµ.
The commission relied heavily on this data, and in doing so failed to achieve its stated goal of balancing the interests of translator audiences.
GAMING THE SYSTEM
To actually effectuate the balancing that the NPRM proclaimed was taking place between the interests of FM translator listeners and other station listeners, it would have been necessary for the commission to do a comprehensive engineering study of all authorized FM translators determining the impact of limiting their interference contours (25 dBµ co-channel and 39 dBµ first-adjacent channel) to the new 45 dBµ protected contours for FM stations.
That data could have informed a fair and balanced evaluation of the alternatives weighing the relative impacts on translators and FM stations, something the current FCC decision failed to do.
I studied the potential impact of the new rules on the Louisville, Ky., market. The 45 dBµ limit would put into jeopardy the continued, viable service from nine of the 10 currently authorized Louisville market FM translator stations.
If interference complaints were pursued under the FCC’s strict, no-recourse procedures, six would be ordered to discontinue operations. Three would be forced to power levels ranging from 5 to 21 watts ERP. Only one would not be in jeopardy from a full-service station interference complaint (see my ex parte comments in docket 18-119). I have since evaluated a number of small- and medium-market translators with similar results.
Under the combined effects of the extreme 45 dBµ contour limit and the new non-recourse complaint procedures, some full-service stations will “game” the system to obtain complaints that once established are not subject to challenge.
Now, a full-service station or existing translator or LPFM wishing to eliminate an FM translator for any reason will be able to work backwards by first identifying the area in which there will be, as an engineering matter, predicted interference. Then the full-service station simply identifies listeners who, at least twice a month, drive or travel through that predicted interference area, and obtains from such listeners the required signed form.
If, after signing the form the listeners are instructed to say nothing more and accept no interference remediation, then under the FCC’s new strict procedures, the only interference remediation possible where alternate frequencies are not available is a substantial facility impairment or cessation in operations for the besieged FM translator.
Allocated service areas have been clearly differentiated in the longstanding processes developing the FM allocations system. The dramatic extension of those service areas out to 45 dBµ is clearly inconsistent with the dictates of §307(b) of the Communications Act, which requires that the FCC “provide a fair, efficient and equitable distribution of radio service” to each of the states and communities. It could be argued that translators also represent an efficient use of the spectrum for communities using the unallocated, open grazing areas of the FM band.
The 45 dBµ contour is neither fair nor balanced. After all, authorized LPFMs only have to protect stations’ 70 dBµ or in some cases the 60 dBµ contour, and are effectively immune from interference complaints. LPFMs may defend their 45 dBµ contour from translator interference but are themselves de jure exempt from the reverse.
The 45 dBµ limit is also at odds with the Local Community Radio Act, which requires equal treatment of translators and LPFMs. Since translators are clearly not intended to be “secondary” to LPFMs, it does not seem defensible to extend 45 dBµ protection to them or currently operating translators for that matter.
It all comes down to what is best overall for today’s radio listeners. The FCC only considered a discrete, small number of radio listeners well outside the allocated coverage contours of existing stations in its decision. It wholly ignored FM translator radio listeners. Perhaps there was a compromise contour that was fair and balanced; 45 dBµ is neither, nor supportable as such as the commission lacked the data with which to make a reasoned decision. As shown with the Louisville example above, the new interference rules have the potential for dramatic and unintended consequences.
Charles M. “Chuck” Anderson is a broadcast engineering consultant with more than 35 years experience. He owns FM stations and FM translators.
Comment on this or any story. Email [email protected] with “Letter to the Editor” in the subject field.
IP audio console offers 64 channels and latest IP audio innovation in a 40-inch frame
Wheatstone’s new Strata 32 audio console features 64 channels and IP technology in a 40-inch frame. The compact IP audio console has dedicated faders for eight subgroups and two masters along with 32 physical faders that can be layered for 64 channels.
The company says Strata 32 integrates with all the major production automation systems and comes with IP audio mix engine and optional stagebox.
It is the latest in a family of consoles powered by Wheatstone’s WheatNet-IP audio network, an AES67 compatible IP audio ecosystem with online mixing, audio processing and virtual development tools as well as SIP/VoIP and codec appliances.
Strata 32 provides access to all resources in the network through a touchscreen interface with a menu for adjusting EQ dynamics, setting talkback, configuring mix-minus feeds and bus matrices, muting mic groups and managing sources and destinations. Per-channel OLEDs display all relevant editing and operating functions at a glance.
In addition, Strata 32 has access to all sources in the network and any channel can connect to any audio source or destination, using any preferred audio format at any time, whether it’s HD/SDI, AES, MADI, AoIP, Analog or TDM.
The console’s Gibraltar IP Mix Engine is capable of 1,024 channels of simultaneous digital signal processing and provides features, such as a new automixer with four separate automix groups and onscreen weight control.
The optional 4RU StageBox One extends console I/O, providing 32 mic/line inputs, 16 analog line outputs and eight AES3 inputs and eight AES3 outputs as well as 12 logic ports and two Ethernet ports. StageBox One works with all WheatNet-IP audio-networked consoles.
IBC Stand: 8.C91
“I expect virtualization and even more IP-centric solutions will be in the spotlight at IBC2019”
The post IBC Exhibitor Viewpoint: Christophe Poulain, WorldCast Systems appeared first on Radio World.
IBC2019 is almost here. Between now and then Radio World will conduct several short Q&As with manufacturers about their plans and offerings, to help you get the most out of the big annual trade show. Christophe Poulain is co-president at WorldCast Systems.
Radio World: How has business been for the company since IBC2018?
Christophe Poulain: 2018 has been a successful year and the best ever year for our Ecreso FM transmitter line with many new projects and tenders worldwide. Our main achievement was with network operator, UpLink Network in Germany for the supply of around 800 FM transmitters, including high power. Germany has the reputation of being a very demanding market when it comes to performance, quality, and reliability. We are obviously very proud.
Radio World: What are you hearing from your customers about their business outlook this year? In what areas should we expect growth or the most interesting projects?
Poulain: Our clients still aim to deliver the best audio quality to their listeners but with less resources and budget. Therefore, our focus is to develop high quality and innovative products easy to use and operate, which can help lowering operating expenses.
Radio World: You’ve been active in the broadcast market for over 60 years. What’s the biggest problem or challenge facing users in this segment right now?
Poulain: I would say the competition of non-linear media and advertising revenue. Our company offers some solutions to help radio stations stay live and local while providing the best user experience for their listeners. This is the case with our APT Mobile SureStreamer, a mobile network access point bringing zero packet loss and very low latency for outside broadcast. One of our main focuses is also the reduction of operating expenses. Our new Smart FM technology aims to address this topic by significantly lowering power consumption of Ecreso FM transmitters.
Radio World: What new goodies will your company be showing? Why should attendees visit your booth?
Poulain: At our stand 8.C58, visitors will discover a range of advanced and innovative radio and TV broadcast solutions and will benefit from our team’s expertise across the entire broadcast chain.
We have been on the market for decades delivering codecs, FM transmission, RDS encoding, QoS/QoE measurement, monitoring and telemetry solutions. At IBC2019, our highlights include SmartFM, the only worldwide patented AI for FM radio, the Ecreso FM 3 kW transmitter delivering the best total cost of ownership through 76% efficiency and a host of onboard functions, the APT Mobile SureStreamer, a mobile network access solution for high quality remote broadcasting, the Audemat RDS Encoder with its MPX/Composite over AES capability and RDS2-readiness, and the new Audemat DAB Probe.
Radio World: What do you anticipate will be the most significant technology trend at IBC2019?
Poulain: Virtualization, more and more IP centric solutions. More software and less hardware…nothing really new per say.
Radio World: How do your international sales and marketing efforts differ from your U.S. efforts?
Poulain: We opened our United States subsidiary in 1999. It’s been 20 years already! And it is true we have a dedicated and great team focusing on the U.S. That’s probably the main difference with other areas. So far, they are being taken care of from France and our headquarters. However, we are planning to open an office in Taiwan this year to be closer to our clients in Asia. Otherwise, same recipe, lots of visits and tours to help our local distributors and meet with prospects.
Radio World: You’re a show veteran, how has the show changed since your first visit?
Poulain: Not sure if the show has really changed. It’s still pretty busy with lots of visitors, excitement about new products, a good atmosphere, and usually wet weather.
Radio World: What’s your favorite thing about this show?
Poulain: Cycling in the morning and in the evening and meeting with our distributors, partners and clients. Being busy!
The post IBC Exhibitor Viewpoint: Christophe Poulain, WorldCast Systems appeared first on Radio World.
Calls rejecting that proposal have been loud and clear from radio, TV, religious groups and internet providers
The post Media Companies and Others Argue Loudly Against Fiber Replacement for C-Band appeared first on Radio World.
As the industry continues to clarify importance of C-band satellite delivery to radio and TV broadcasters, one alternative proposal in particular is drawing a great deal of ire.
In July 2019 the ACA Connects Coalition submitted a proposal to the Federal Communications Commission proposing to change some users of the C-band spectrum to a terrestrial fiber video delivery network. That proposal would clear 370 MHz of C-band spectrum and transition broadcasters and earth station users from C-band delivery to fiber.
While there has been support in some corners for the ACA proposal, a far greater number of organizations have called on the FCC to flatly reject any such proposal. The National Association of Broadcasters has weighed in as have key U.S. broadcasting networks and two large radio broadcasters.
The joint broadcast commenters, which include ABC, CBS, NBC and Fox, called the ACA proposal “ill-conceived and untenable” because it would force content providers to give up the precision and reliability that are hallmarks of fixed satellite service usage in C-band in exchange for what they say is complex, expensive and less-reliable fiber distribution. The ACA proposal risks breaking a ubiquitous video delivery system that does not need fixing, the broadcasters said.
Radio broadcasters have expressed their concerns as well. On Aug. 5, National Public Radio met with FCC staff to clarify the importance of C-band satellite spectrum to distribute public radio programming and emergency alerting information. “C-band satellite service is essential for public radio because of its availability across the country, including in rural and extremely remote areas; its reliability for live radio programming; and its affordability for reaching hundreds of local communities across the continent and beyond,” NPR said in a filing with the commission.
Other radio organizations, like Cumulus Media and Westwood One, have weighed in to express concerns about the ACA proposal both from a timing and reliability standpoint. The groups say that the 18-month time frame that the ACA proposal for installing a reliable fiber optional is unrealistic. A second issue: fiber cannot replicate the 99.99% reliability rating that C-band uplinks provide. “Fiber does not have the same combination of efficiency and reliability as the C-band for content delivery,” said Cumulus and Westwood in their FCC filing. “In order to ensure the necessary degree of reliability, redundancy of fiber lines would be required in most instances, which would multiply the expense.”
Other media organizations, like the North American Broadcasters Association, have called on the FCC to reject the proposal by the ACA Connects Coalition, calling it inapposite to the preservation of cross-border trade in North America. The NABA tracks technical, operational and regulatory issues affecting broadcasters in the U.S., Canada and Mexico.
The NABA said that not only is C-band the most important mechanism for distribution of programming to MPVDs in those three countries, but the spectrum is necessary for daily cross-border content delivery to individual broadcast stations when those countries’ broadcasters purchase rights for content. The organization said the “deeply flawed” ACA proposal to redirect that distribution to fiber will be highly diminutive to U.S. studios who will bear unnecessary cost and lose flexibility in product delivery to foreign customers, the organization said.
Beyond radio and TV media companies, the importance of C-band is being echoed by houses of worship and internet companies.
Alaska Communications Internet called the proposal from ACA Connects Coalition “simply unworkable in Alaska, as the proponents themselves acknowledge.” Alaska lacks terrestrial alternatives to the C-band satellite communications platform to connect Alaska’s rural and remote communities, the organization said. Of one concern is the cost. The other is the vast distances between some of Alaska’s rural villages.
Religious organizations have also weighed in. The Church of Jesus Christ of Latter-Day Saints filed comments with the FCC to say that it uses C-band extensively as part of its religious mission. The church uses its more than 3,000 C-band downlinks to broadcast live meetings, conferences, worship services and trainings around the country.
However the ACA is not alone in its support to migrate operators from C-band to fiber. NTCA – The Rural Broadband Association said it is generally supportive of the ACA proposal to gradually transition the operators from C-band to fiber video delivery, though the organization said the transition should occur cautiously to ensure no disruption of video programming to consumers. Others, like the broadband wireless equipment supplier Airspan Networks, told the FCC that it too encourages thoughtful approaches that provide incentives to transition multichannel video programming distributors to fiber distribution.
The post Media Companies and Others Argue Loudly Against Fiber Replacement for C-Band appeared first on Radio World.
Seeking papers on topics that will drive future of radio, TV and media technology
The post NAB Show 2020 BEIT Conference Accepting Paper Proposals appeared first on Radio World.
If you have an interesting insight into some of the major technology trends in the radio, TV or general broadcast industry, then the NAB wants to hear them as the organization has announced that it is now accepting technical paper proposals for the 2020 NAB Show’s Broadcast Engineering and Information Technology Conference.
The BEIT Conference, which is designed for all involved in the development, manufacture or implementation of broadcast technology, will feature many technical papers that address the latest opportunities and challenges facing broadcast engineering and media industry IT professionals.
Topics of interest that the NAB is eyeing focus on trends and technologies that will help drive the future of broadcast. Possible topics could include all-digital AM and FM HD radio; audio over IP; podcasting; Next Gen TV technologies; OTT technologies; content and signal security; 5G effects on broadcast; C-band satellite issues; smart speaker applications in broadcasting; and others.
All proposals will be subject to peer review. All content proposed should be presented in a tutorial, non-promotional form.
The deadline for proposals is going to be Nov. 1. Selected papers will be announced in December.
The 2020 NAB Show will take place in Las Vegas from April 18–22.
For more information, click here.
The post NAB Show 2020 BEIT Conference Accepting Paper Proposals appeared first on Radio World.
The software solution monitors and inspects standard AES67 audio streams
The post IBC Sneak Peek: Lawo Introduces AES67 Stream Monitor appeared first on Radio World.
Lawo says it’ll introduce an essential new tool for broadcasters with AoIP facilities at IBC2019: AES67 Stream Monitor, a software solution for monitoring and inspecting standard AES67 audio streams.
According to the company, AES67 Stream Monitor gives engineers complete status information for 16 user-definable AES67 streams (each of which can contain multiple audio channels).
The software adheres to the ST2022-7 standard and can monitor two dual-redundant NICs simultaneously. Information displays include LUFS metering to help ensure compliance with loudness standards, a Stream Health monitor that keeps track of jitter and packet loss over time, user-definable per-stream over- or under-level alerts, and an SDP interrogator with stream addressing information.
AES67 Stream Monitor runs on standard Windows 10 PCs, and is VMWare compatible, allowing multi-instance deployment on virtual machines.
IBC Stand: 8.B50
The post IBC Sneak Peek: Lawo Introduces AES67 Stream Monitor appeared first on Radio World.
Tech advances enable stations to broadcast from almost anywhere, preserving the medium’s live nature
One of the magical things about radio is its “100% live” nature. Radio is in sync with its listeners all day long and transmits news and information as it happens. Not just global news but also, depending on where you are tuned into, hyperlocal updates about what’s going on in your village.
Radio doesn’t ask you to pause what you are doing. It accompanies you during your daily routine. No other communication medium can succeed in fitting around your neck like a comfortable cushion, delivering you feelings and emotions from your unique world, like radio can.
RADIO IS DEMOCRACY
The ability to broadcast live from any location at any time is key to this magic, no matter whether you are covering a scheduled sporting event from a major venue or unexpected breaking news.
As Graham Dixon, the European Broadcasting Union’s head of radio, says: “Radio is democracy.” Live reporting on breaking news has always been a clear example of that, being able to bring all broadcasters to the same level. When something unexpected happens in a rural location, there typically is no way to have a radio link van and crew in place and ready to immediately cover the event. Under these conditions, all broadcasters are on equal terms.
In the analog era, a phone box was the common hardware reporters could rely on. Today, also thanks to the availability of wideband connectivity, codecs are a brick of this democracy. They are also able to unleash the creative potential of a radio station.
Manufacturers are continuously improving the performance and the versatility of their solutions for high-quality nomadic broadcasting. Vibrant sound quality is now achievable from virtually anywhere, and the market offers a range of solutions to fit almost any application.
The increasing availability of coding formats like Opus is one of the latest steps toward being able to high-quality music and speech, even when only tiny bitrates are available, preserving the low latency required to run real-time interactive shows.
THE OPUS FORMAT
Opus requires few computational resources, so it is now included in a wide range of codec products, including the AEQ Phoenix Alio, Comrex Access NX, Tieline ViA, as well as the pocket-sized Barix MA400 SIP Opus.
Opus encoding is also common in studio-based equipment like AEQ Venus 3 and 2Wcom MM04C, and in STLs, ranging from the no-compromise 2Wcom IP-4c, Tieline Genie STL and Intraplex IP Link Series to budget-wise models like Tieline Bridge-IT and Comrex Bric Link II.
When available, a wired LAN connection is by far the preferred choice [see last year’s Radio World ebook of technologists for remote broadcasting solutions. Robustness to RF interference as well as to potential traffic overloads or jamming attacks in crowded locations are key advantages of wired connections, so no surprise all the mentioned, OB-specialized models [AEQ Phoenix Alio, Comrex Access NX, Tieline ViA, and the Barix MA400 SIP Opus include at least an Ethernet port as a standard.
The Comrex and the Tieline products also feature built-in Wi-Fi connectivity, while the ViA can also be equipped with up to two internal 3G/LTE modems. Any of the other products can easily be connected to Wi-Fi networks as well as to mobile broadband 3G/LTE networks through external adapters, to be connected to a USB or RJ-45 port (according to the considered device).
VISUAL RADIO ON THE MOVE
Visual radio can add a special flavor to radio broadcasts, and it is therefore gaining momentum all over the world. Solutions like the Comrex LiveShot Portable enable visual radio broadcasters to deliver a seamless video experience also when broadcasting from remote.
Relying on bonded cellular technology, LiveShot delivers live, two-way, HD video and audio over a range of IP and cellular networks at latencies as low as 200 ms.
Especially when dealing with studio-to-studio and STL connections, reliable connections are needed. Self-managed redundant systems can make a difference by sending multiple streams across the public internet and reconstituting the packets at the receiving end.
Manufacturers have developed several turnkey solutions. To this purpose, Barix Redundix combines two mechanisms. The first is time-delay routing, where the same audio stream is sent twice over the same link with a slight delay for the second system. The second is path-divergent routing, where two streams are sent using separate networks.
Comrex Access MultiRack debuted at the NAB Show. It is equivalent to five codecs, and in CrossLock mode it sends two identical streams over different networks.
The WorldCast SureStream technology, typically adopted within the firm’s AoIP STLs, has recently been ported to remote broadcasting with the APT Mobile SureStreamer. Compatible with Tieline, Comrex and other portable codecs, it uses two separate LTE or 3/4G carriers to raise the resilience of remote connections while keeping latency at very low levels, ideal for bidirectional interactive broadcasting.
REDUNDANCY AND MORE
Intraplex IPConnect manages multiple streams employing a combination of packet protection schemes with network/time diversity and packet-level forward error correction. Additionally, IPConnect can bridge local area network (LAN) segments across wide-area networks with seamless tunneling to enhance reliability of program and signal transport across large geographical regions with multiple receiving and transmitting sites.
SmartStream PLUS is a solution by Tieline capable of streaming simultaneous redundant data streams from both Ethernet ports of any Genie STL, Genie Distribution, Merlin and Merlin PLUS codec.
Devices featuring the 2WCom Stream4Sure technology can encode/decode up to four AoIP streams with different codecs and qualities. This does not necessarily imply the use of four different lines; users can adjust their audio over IP streams to the available bandwidth on a certain IP connection. The encoder generates the streams with different qualities, while the decoder can seamlessly switch between the four streams.
Advanced codec technology is now allowing streaming of MPX feeds directly from the studio to various transmitters. Sophisticated audio processing mechanisms can be applied in the studio, eliminating the need for sound processors, stereo generators or RDS encoders at each transmitter site.
Direct IP delivery offers two major advantages: lower expenses and the possibility to broadcast the same high quality listening experience from every transmitter site.
One step further we find the Intraplex Synchrocast 3, a simulcasting solution for single-frequency networks of overlapping transmitters. The precision of GPS digital timing enables a network of transmitters to work together to increase coverage areas and reduce interference.
For digital radio broadcasting, the 2WCom DAB+ over IP solution allow the distribution of complete DAB+ ensembles to the various transmitting sites of a digital radio network.
Tech managers have to analyze and configure the specific performance and features best suiting their workflow. Technology can do the rest.
ACA suggests FCC transition some earth station operators to fiber
The post NAB Calls ACA Connects’ C-Band Proposal “Ill-Conceived” appeared first on Radio World.
Comments and concerns continue to pour in about the potential impact on radio and TV stations from proposed reallocation of C-band spectrum to wireless carriers.
In an August 2019 filing, the National Association of Broadcasters urged the Federal Communications Commission to reject what it calls “ill-conceived and self-interested proposals” that would impact the delivery of content to millions of radio and TV viewers and listeners via C-band spectrum.
The NAB specifically pointed out what it called a “self-serving and anticompetitive proposal” submitted by ACA Connects Coalition. That organization submitted a proposal to the commission in July 2019 that proposes to clear at least 370 MHz of C-band spectrum in an expedited time frame for use by wireless services and transition broadcasters and earth station users from C-band delivery to terrestrial fiber video delivery.
The coalition, which represents both incumbent C-band earth station users and wireless providers, also proposed creation of an auction that would award new terrestrial licenses and assign obligations for transition costs, and proposed a plan that would repack remaining earth station users to the upper portion of the band.
In its current filing, NAB most specifically objects to portions of the ACA Connect proposal that say that fiber is the answer.
“The ACA proposal simply cannot achieve sufficient reliability in any immediately foreseeable timeframe because they cannot replicate the simplicity of C-band satellite’s one-to-many network topology,” the NAB said in its filing. The association pointed to C-band’s reliability, saying that “the “99.999 percent reliability [that] C-band distribution provides translates to just minutes per year of potential C-band delivery outages, which can be significantly exceeded by a single fiber failure.”
The NAB also expressed concern that the ACA Proposal is not for a single point-to-point fiber connection but rather for hundreds of individual fiber connections, thereby frustrating end-to-end service agreements. The loss of connected networks like fiber, including those that occurred in New York City in September 2001, illustrate the pressing need to maintain sufficient C-band spectrum for content delivery.
“The commission should not further indulge ACA’s nakedly self-interested proposal to use auction funds to pay ACA’s members to install fiber to displace their competition,” the NAB said. “Instead, the commission should speed the 5G transition at C-band by focusing its attention on reallocating 200 MHz of spectrum immediately while preserving flexibility to evaluate additional opportunities as they become warranted.”
The comments are being submitted as part of the commission’s proposal to make some of the of the 3.7–4.2 GHz band, known as C-band, available for terrestrial use. The commission specifically requested comments on those proposals suggested by ACA Connects as well as those submitted by Google, Microsoft and the Wireless Internet Service Providers Association (WISPA) and separately by AT&T.
The post NAB Calls ACA Connects’ C-Band Proposal “Ill-Conceived” appeared first on Radio World.
Company to use latest study numbers and more at Radio Show session
What are the best ways to maximize listenership in today’s market? Attendees to the upcoming Radio Show in September may find an answer.
Edison Research will present new research on driving audience engagement and leveraging audio trends at the 2019 Radio Show, which is to be held September 24–26 at the Hilton Anatole in Dallas.
While radio’s reach remains strong across all ages, time spent listening to radio has fallen much faster among younger listeners than among older ones, according to Edison. The session titled “The Secret to Longer TSL” will focus on the best means of attracting and retaining listeners and will delve into best practices to optimize advertising.
As part of its research, Edison’s qualitative team conducted one-on-one interviews with young radio listeners to understand their attitudes about commercials, different audio platforms, interest in and engagement with radio programs, and what they would like from radio.
Led by Megan Lazovick, Edison Research vice president, the session will unveil new analysis on audio listening trends and content preferences as well as offer insight on how radio can effectively compete with and embrace other platforms. In her role, Lazovick’s observations on consumer attitudes and behavior have shaped custom research studies such as Edison’s Share of Speech as well as NPR and Edison Research’s Smart Audio Report.
“These interviews helped to inform a new national survey of radio listeners and quantify listener sentiments,” said Lazovick. “Our survey results have been eye-opening.”
More information on the Radio Show, which is produced by the National Association of Broadcasters and the Radio Advertising Bureau, can be found at www.radioshowweb.com.
Will study radio distribution strategies for a connected world
The post IBC Sneak Peek: WorldDAB Studies Digital Broadcast Migration appeared first on Radio World.
WorldDAB is getting set to attend IBC2019. A major focus for the organization during the show will be the transition to digital radio in a connected world and how to adopt a sound radio distribution strategy.
“Migration to broadcast digital offers radio broadcasters opportunities and challenges,” says WorldDAB. “Hybrid radio — combining broadcast with connectivity — enables an enhanced experience to the listener. The challenge, however, is to develop a radio distribution strategy that will balance the budget and safeguard audience and business models in the face of digital giants.”
To address this issue, the organization will hold a conference entitled “Radio Distribution Strategies for a Connected World,” which takes place on Monday Sept. 16 from 9 to 10:30 a.m. The session will discuss radio’s migration to digital and look at broadcast digital radio’s place in the distribution mix. It will also offer recommendations and advice on how broadcasters can assess all digital distribution platforms to make informed investment choices today to safeguard broadcast radio for tomorrow.
WorldDAB and many of its members will be present at the show on stand 10.F23 to offer information to those interested in finding out more about DAB+ developments worldwide.
IBC Stand: 10.F23
The post IBC Sneak Peek: WorldDAB Studies Digital Broadcast Migration appeared first on Radio World.
Has taken delivery of 20 Optimod 8700i units for use across three channels
Westdeutsche Rundfunk, the public broadcaster of North Rhine-Westphalia in Germany has recently taken delivery of 20 Orban 8700i audio processors.
Broadcasting on FM, DAB+ and via the internet, the media house is using the new Optimod 8700i audio processors for use at its WDR2, WDR5 and WDRcosmo channels.
As part of the deal, Orban offered tech support and handled set up of the units, creating pre-sets according to the requirements of each program and format.
The Optimod 8700i, Orban’s flagship product, features include a Xponential LoudnessTM algorithm and dual redundant power supplies and safety bypass relays.
The consent agreements by ABC, Discovery and others include financial penalty and a compliance plan
The post Media Companies Pay $600,000 in Civil Penalties for EAS Misuse appeared first on Radio World.
Misuse of the codes associated with the nation’s emergency alert system can lead to hefty fines — just ask Meruelo Radio Holdings, ABC, AMC and Discovery, who agreed to a series of civil consent decrees ranging from $67,000 to $395,000.
Last week the commission announced it had reached significant financial settlements with a radio group owner, TV broadcaster and a cable TV network for using actual or simulated EAS tones during a broadcast. FCC rules prohibit broadcasting of EAS tones except during an actual emergency, test or public service announcements, and this includes simulations of those tones.
Programs that aired an EAS code without authority included ABC’s “Jimmy Kimmel Live!,” AMC’s “The Walking Dead,” and Discovery’s “Lone Star Law,” as well as promos aired by Meruelo Radio Holdings’ Los Angeles-area KDAY(FM) and KDEY(FM)’s morning radio show.
As part of the agreements, the media companies agreed to pay more than $600,000 in civil penalties and agreed to follow a compliance plan that would help to ensure such actions do not recur.
“The use of actual or simulated EAS tones during non-emergencies and outside of proper testing or public service announcements is a serious public safety concern,” the FCC said in its announcement. “These rules aim to protect the integrity of the alert system by helping to avoid confusion when the tones are used, [avoid] alert fatigue among listeners and [avoid] false activation of the EAS by the operative data elements contained in the alert tones.”
As part of its investigation, the FCC Enforcement Bureau found the following programs had violated its rules.
- In the fall of 2017, Meruelo’s KDAY and KDEY included a simulation of an EAS attention signal in a promotion for its morning show. The promotion was broadcast 106 times on KDAY and 33 times on KDEY’s simulcast of KDAY. The company admitted to the violation, agreed to pay a $67,000 civil penalty and committed to a compliance plan.
- During a Oct. 3, 2018, episode of ABC’s “Jimmy Kimmel Live!” ABC broadcast an episode that used a simulated WEA tone three times during a comedic sketch. ABC transmitted the episode nationwide to 250 TV stations, including eight of its owned and operated stations, which in turn broadcast the episode in their markets. ABC admitted to the violation, agreed to pay a $395,000 civil penalty and committed to a compliance plan.
- In February 2019, AMC Networks twice included EAS tones in the “Omega Episode” of its television program “The Walking Dead.” This was transmitted on eight separate instances across cable and satellite systems nationwide. AMC admitted to the violation, agreed to pay a $104,000 civil penalty and committed to a compliance plan.
- In early 2018, Discovery’s Animal Planet network broadcast an episode of “Lone Star Law” titled “Thousand Year Flood” that included an actual WEA signal. The crew was filming Texas Game Wardens following Hurricane Harvey and caught the tone of a real wireless alert received by phones during filming. Discovery transmitted the episode eight times to cable and satellite systems nationwide from January to March 2018. Discovery admitted to the violation, agreed to pay a $68,000 civil penalty and committed to a compliance plan.
The Enforcement Bureau also released an Enforcement Advisory that reiterates the current law as it applies to EAS tones.
The post Media Companies Pay $600,000 in Civil Penalties for EAS Misuse appeared first on Radio World.
Cloud-native portal lets rights holders and content creators access, manage, and deliver content centrally
The post IBC Sneak Peek: AI Powers Veritone’s Digital Media Hub appeared first on Radio World.
Veritone Digital Media Hub is a cloud-native, white-label portal specifically designed for rights holders and content creators to access, manage, and deliver content centrally. It also offers users the option to monetize content to a global partner and customer network.
According to the company, the intuitive user interface gives a clean, organized SaaS portal where users can display assets such as video, images, poster art, and more. Digital Media Hub is configurable, so you can tailor it to your brand.
Recently, Digital Media Hub was enhanced with the power of Veritone aiWARE, an operating system for Artificial Intelligence for cognitive processing and a broad extension of the portal’s asset search functionality. These enhancements, explains Veritone, enable content rights holders or content creators to take advantage of robust metadata management, packaged delivery of multiple files, automated creation of rich metadata, and exponentially greater search and discovery capabilities.
Backed by the media workflow and orchestration components of Veritone Core asset management system, Digital Media Hub offers an increasing array of digital asset management capabilities.
Once content is captured and ingested into Core, Digital Media Hub allows that content to be accessed centrally, analyzed with select cognitive engines through aiWARE, and made immediately available to global stakeholders, such as media, partners, and sponsors.
IBC Stand: 5.C24
The post IBC Sneak Peek: AI Powers Veritone’s Digital Media Hub appeared first on Radio World.
In search of the most efficient way to digitally cover a territory
The author is chairman of Digital Radio Mondiale.
In one of my drawers I recently found several plug adaptors, used over the years in various parts of the world. Some have three pins, some have two, a few are square others are round. The one I choose to travel with is always determined by my destination because most countries connect to electricity in their own way, according to their own standard.
I know the routine but still I can’t help wondering each time I pack my bag why there isn’t a single plug that is suitable for use in this global village. And then I ask myself why there isn’t simply one digital radio standard that can be easily deployed anywhere with one or several receiver models that will work no matter where you are, in the kitchen or car?
For digital radio, the choice is infinitely simpler than for electricity plugs, as there are only three major digital audio broadcasting standards to choose from (DRM, DAB/DAB+ and HD radio). Each standard does different things, in different parts of the spectrum and the world. They can be used to offer different and sometimes similar benefits.
DRM, the latest digital radio standard, can be deployed in all frequency bands (AM as well as FM). This means it can give more content with lower power consumption and better audio quality in FM but very clearly in AM (shortwave and medium wave) using the current analog frequencies in use. The standard also needs more receivers than its over 1.5 million cars in India, to be appreciated for its clear audio, text and emergency warning benefits.
DAB/DAB+, an open standard, like DRM, works in the liberated analog TV Band III, giving more space on multiplexes to stations that want to cover and compete in the same areas, like very congested cities for example in Europe.
HD Radio is a United States-based proprietorial in-band solution mainly designed for the FM band. It meets U.S. requirements and uses a generous spectrum allocation. Nowadays its owners are also promoting a digital-only medium wave solution.
Three standards, three sets of technical specifications that compete and, in some cases, complement each other.
MIX AND MATCH
DRM and DAB/DAB+, both born in Europe, can present a comprehensive and complete solution for a country. DRM can futureproof the medium wave and shortwave bands and infrastructure, while DAB/DAB+ can offer savings and opportunities in large or congested cities.
In addition, since the multiplexes are really at their best when full, for smaller places, DRM in the FM band could be easily deployed. That is unless of course the regulator has set its heart on solving the small area, small broadcaster challenge by using a miniature DAB+ solution.
On the other hand, there are some who think that DRM for AM could be complemented by HD Radio in FM, thus creating full coverage and a full in-band solution with simulcasting in the mix.
With their eyes fixed on the digital conversion of the same lucrative FM market, DAB+ and HD do not mix, really, unless they make alliances for various “hybrid” car solutions.
So, is only the competition or perceived competition, among these three standards stopping a “mix and match” approach? The answer is, as always, a bit more complicated.
In a few cases, some feel that because they chose DAB/DAB+, it’s possible to bend and stretch this local digital solution in a way that allows it to cover an entire country (like Norway) without filling the edges and higher frequencies with DRM.
In larger countries, such as that of India where DRM is now being rolled out, it makes sense to employ just one standard (the DRM standard) to FM, rather than start messing with and adding other standards.
As mentioned, DRM and DAB+ share a lot of the technical DNA and, rightly so, some countries in other parts of the world, for example in the Southern hemisphere, are exploring the possibility of deploying DRM and DAB+. HD Radio on the other hand doesn’t fit easily with any of the open standards.
At the end of the day, the one-standard choice or the mix and match approach are dictated by size of the country, legacy and infrastructure of the broadcasting industry and general goals.
Do you really want to give up international broadcasting in pursuit of other platforms, with some of the known consequences? Or would you prefer to strengthen your international voice (like Indonesia)? Do you want to give a digital voice to local communities or stimulate competition among commercial stations?
There is also the all-important question regarding cost. Introducing one standard rather than two will always be cheaper for transmitter and, especially, receiver manufacturers, as well as for the listeners. A DRM-DAB+ receiver is a distinct possibility and probably much cheaper to manufacture now than a couple of years back. A DRM-HD receiver would be prohibitively expensive because of all the IP and other associated costs.
And while digital radio tests continue, commissions formed, secret and not so secret conversations conducted, the big boys in the chipset industry are forging ahead with a pragmatic and comprehensive digital solution, the all-standards chipset.
This is meant especially for the car industry, so any one standard, or combination of standards, can be supported in cars, in any country, no matter which standard or standards are chosen, but always at a cost.
A common digital platform showcasing all three standards ready to satisfy all needs is now a reality. It is the multi-standard chipset able to be produced in great volumes and used according to geographic and industry needs.
So, the multi-standard “adaptor” (or rather the chipset) can be deployed now but it will always cost more, in some combinations much more, than one single, humble plug.
Sends a post-processor composite signal from the studio directly to the transmitter site via IP
An oft-ignored area where IP technology is looming as a transformative presence that will rewrite work practices is the STL.
With that in mind, The Telos Alliance’s Omnia Audio brand has developed the MPX Node, a pair of IP devices that send a post-processor composite signal from the studio directly to the transmitter site via IP.
The pair are configured as an encoder, to be placed at the studio after the processor, and a decoder, waiting at the transmitter site, ahead of the transmitter itself. In between them is likely to be the public wired internet but it could be a wireless IP radio link.
Omnia helpfully explains, “The Omnia MPX Node preserves all the complex peak limiting, stereo generation, and RDS (if provided), as if your FM processor were at the transmitter. The result is less equipment, fewer steps, and fewer points of failure between your processed signal and your transmitter.”
A single MPX Node encoder can send its signal to multiple MPX Node decoders simultaneously. According to Omnia the pair can work as low as 320 kbps.
Keeping within the Omnia family, the Omnia.9, using the µMPX codec, can send the processed composite signal directly to the MPX Node decoder.
However, the encoder is processor-agnostic, so long as the processor outputs a composite signal.
IBC Stand: 8.D47
Increasing infotainment features in the dash can cause more harm than good
The post Letters: Adding Gas to the Distracted Driver Fire? appeared first on Radio World.
The comment made by Mr. James B. Potter in the Aug. 1 Radio World Reader’s Forum regarding driver distraction from new vehicle electronic dashboard designs is well taken and should be on the minds of both auto manufacturers and broadcasters as well. And the front page article in the same issue, “A Peek at Tomorrow’s Car Radios,” exemplifies what is happening to promote driver distraction even further.
If we can recall, the original purpose of the automobile was to provide transportation, which requires full-time attention to operating, not turn the car into a habitat where the driving is low priority and, instead, the driver’s attention is flooded with unrelated and often distracting trivial functions. This was borne out years ago when states started passing laws making it unlawful to have a television set in the vehicle where it was visible to the driver. And with the new LCD dash screens showing all sorts unrelated vehicle data now how does this differentiate from a TV display of years’ past?
Secondarily, I ask the question, is radio driving dashboard technology or is industry driving it? It seems that there is a continual “feature creep” underway by manufacturers to add more “bells and whistles” to a vehicle that the consumer doesn’t necessarily use or even want. This not only adds to the overall cost of the vehicle but, in relation to radio also causes the broadcaster to expend more money in an effort to keep up with what the electronics industry comes up with.
Most of my life and profession has involved electronic design engineering with a brief branch off into the world of broadcast engineering as I neared retirement (which still hasn’t happened). In prior time I had worked for one hardware manufacturer where I had to attend the marketing meetings when developing new products for consumers. In these meetings it was often asked what the company was going to give the consumer, not necessarily what they wanted. Had more consumer focus groups been established they would have found out that simple was more often desired than complicated thereby creating more favorable — and less expensive — products.
Most of us are already aware that distracted driving has become an important issue related to cellphone usage. But how is this going to play out with the addition of large colorful dashboard displays with constantly changing and sometimes complex information? The National Highway Traffic Safety Administration has not yet started to realize this aspect but I am sure that we will soon start to see these statistics arise as more and more vehicles are equipped with more and more trappings of our unwired civilization.
Wolfram Engineering Inc.
Great Falls, Mt.
Radio World invites industry-oriented commentaries and responses. Send to Radio World.
The post Letters: Adding Gas to the Distracted Driver Fire? appeared first on Radio World.
“Since radio’s creation, the medium has always successfully fought for its space among consumers”
IBC2019 is almost here. Between now and then Radio World will conduct several short Q&As with manufacturers about their plans and offerings, to help you get the most out of the big annual trade show. Gustavo Robles is sales director for AEQ.
Radio World: How has business been for the company since IBC2018?
Gustavo Robles: The last year has been a very positive for the company. We completed many projects in 2018 and have followed path in 2019. Furthermore, we have also signed contracts in new markets such as Papua, Senegal and Costa Rica. As a result, AEQ equipment is now present in more than 95 different countries. In 2019 we are celebrating our 40th anniversary and this is a great reward after many years of international activity. To celebrate our birthday, we modernized our logo and website. We’ll also be celebrating it in Amsterdam with all our friends, partners, customers and distributors who visit us at the annual event.
Radio World: What are you hearing from your customers about their business outlook this year? In what areas should we expect growth or the most interesting projects?
Robles: Not all of the geographical areas we currently work in have the same economic or political situation, nor are they at the same level of development. But as a general guideline, customers are focusing on digital renewal and where possible always seek to have AoIP as a tool for broadcast facilities. We’re increasingly seeing the use of AoIP in projects. This shows how the technology is becoming increasingly popular despite the socio-economic or political situation of a specific country. In addition, most of our projects include integration of our clients’ equipment and systems. We offer a wide range of products, such as mixing consoles, audio codecs, automation systems and intercoms. And whenever the application calls for it, our customers ask us to interconnect and integrate as much equipment as possible. This has been a pleasure for us since it’s an area where our company excels. We produce lots of equipment and we endeavor to integrate our solutions with the highest of standards. This is because we believe this has a huge impact on the overall installation, operation and future growth of our clients’ radio studios.
Radio World: Stepping away from your particular segment, what is your feeling for the overall health of the radio industry?
Robles: It’s clear that the most talked about technologies are always those associated with the world of IP and video, especially OTT, streaming, VOD, 4K and 8K, etc. But since radio’s creation, the medium has always struggled and fought for its space among consumers, and in our opinion it has done so with great success. Evidently, early radio has little to do with current radio, but its essence remains the same: A communicator in front of a microphone with listeners on the other side of the communication channel. Based on that foundation, we have recently added more applications (remote control, internet, podcast, visual radio) to fit the changing needs. But content remains at the heart of the radio. As a business, AEQ has links within the radio and television world. We can tell that the future of radio is relatively strong, as demonstrated by the growing number of radio installations we have completed, and our ever-increasing customer base.
Radio World: AEQ has been active in the manufacture of broadcast studio gear for 40 years. What’s the biggest problem or challenge facing users in this segment right now?
Robles: System integration, particularly with the most recent generation of radio gear that uses advanced IP technology. For the digital part, it seems that AES3 is a standard nobody discusses, or MADi fiber optics like AES10. But in the IP world there are still many names and acronyms that appear to confuse end users. And, many questions remain. Proprietary Solutions? Open standards? which will be imposed? Are the seconds mature? Is it worth moving toward relative technological uncertainty with this IP mode, or is it necessary to wait a little longer? Our commitment is clear and we demonstrate this with each project, IP technology has arrived and it will stay as it provides better performance, greater simplicity of installation, increased flexibility of operation. And more of this type of equipment is available on the market each day. There is still a long way to go, but at AEQ we believe that no major radio project today should consider moving forward without having the IP part as its core.
Radio World: What new goodies will your company be showing? Why should attendees visit your booth?
Robles: This year on stand 8.C55 we’ll feature our new AEQ ATRIUM large digital audio console and our XPLORER wireless intercom beltpack. Both of these will be shown for the first time at the European exhibition and will be fully operational at the disposal of visitors who want to explore and use them. Also, on Sunday at 3 p.m. we’ll have our typical Spanish party at our booth, where we’ll have Spanish music, wine and Spanish food. We usually have about 100 attendees but there is always room for more!
Radio World: What do you anticipate will be the most significant technology trend at IBC2019?
Robles: In the world of radio we think that’ll be the convergence of many proprietary AoIP technologies finally present on the market. AES67 is one clear and unequivocal path forward. Another trend is that of visual radio. It’s increasingly clear that more stations want to add the visual aspect to radio. Finally, for the communications segment, we believe that the arrival of 5G will be an essential new change in the way we understand outdoor radio. For TV, from our humble point of view and with the reference of the Tokyo 2020 Olympic Games in the horizon, we believe that 8K and immersive sound will be a hot topic.
Radio World: How do your sales and marketing efforts differ from region to region?
Robles: Currently AEQ products can be found in more than 95 different countries through our own offices in Europe, America and Asia, or through our 145 dealers and distributors. There is no unique way to publicize our news or reach customers and projects. In general, we place a lot of importance on our physical presence at shows like NAB, IBC, BroadcastAsia and CABSAT. To give you an idea, last year 2018 we participated in 23 events! We also think it’s important to have a presence in broadcast trade publications and platforms and we also publish or own newsletter. In addition, social networks are extremely important for us, as is WhatsApp and skype. However, there is nothing like being on the ground to meet and discuss with our clients and partners face to face. This allows them to discover our new products and upgrades and to study the various possibilities for collaboration.
Radio World: Will you be attending any sessions or looking forward to any events?
Robles: Of course, IBC is the most important conference in European broadcast industry and one of the most important worldwide. It’s a spectacular meeting point for all the actors in this industry — manufacturers, integrators, broadcasters, consultants, distributors, etc. Obviously, for a manufacturer of broadcast gear, like us, the first objective of the event is to be able to see all our partners and analyze our competition in person as many new projects are usually announced. But I always block a couple days or at least a whole morning to attend conferences at the RAI convention center or post-show events in the city. It’s a very good opportunity to know where the sector is going for both our customers and our competitors.
Radio World: You’re a show veteran, how has the show changed since your first visit?
Robles: The informatics and broadcast at the beginning of my professional career were very different from today. Now they are now fully integrated whereas this wasn’t the case before. It’s becoming increasingly difficult to find any application, client, or product where both fields are not integrated. This has greatly enriched the sector and offers great opportunities for future growth and development. What will be coming our way this time around? As always at the IBC there is something that surprises me and in the long run it can evolve into a major trend. So, we always walk in with open minds and eyes to spot these potential future developments. Also, the exhibition seems to expand each year with the organizers adding more halls to the show floor.
Radio World: What’s your favorite thing about this show?
Robles: I live near the AEQ headquarters in Madrid so attending an exhibition in the Netherlands (compared to other broadcast shows in destinations like Las Vegas for example) makes me feel like I’m almost at home, specially with no jetlag. But… I must admit that for someone like me quite Mediterranean, the climate is not always ideal. Having said that, Amsterdam is an excellent host city that has always welcomes IBC delegates, and the RAI is a very good convention center.
DDS technology promises improved stability and audio quality, says firm
The post IBC Sneak Peek: DB Elettronica Introduces DDS EVO Transmitters appeared first on Radio World.
DB Elettronica’s Mozart new DDS EVO line of compact FM transmitters features Direct Digital Synthesis technology.
The company says this line of transmitters, which is the latest development in DB’s Mozart range, promises users “high audio quality and improved frequency stability in FM broadcasting,” thanks to the integrated DDS technology.
In addition, Mozart DDS EVO FM transmitters and exciters, adds DB, offer optimal SFN integration.
NAB Booth: 8.B46
The post IBC Sneak Peek: DB Elettronica Introduces DDS EVO Transmitters appeared first on Radio World.