Visual Radio 2017 (Radio World ebook) - Jan 2017

VISUAL RADIO

Sponsored by

2017

January 2017 From the Publishers of Radio World

Redefining Radio Automation for the last 25 years.

With over 25 years of innovation, ENCO continues to push the boundaries of what’s possible in radio automation. From advances in remote production and control to hardware virtualization, ENCO continues to provide stations with the best solutions to improve workflows and sound better. With our latest advances in Visual Radio Technology, DAD can help your station engage your audience like never before.

Visual Radio

Turn your radio station into a complete multimedia experience with automated camera switching, music video playout, and graphical overlays. Manually control every aspect of your production in real time, or let ENCO’s award-winning automation take care of everything, so you can focus on what really matters.

Voice-Controlled Camera Switching

Automatically switch cameras to focus on whoever is speaking. Create custom rules to display both camera feeds at once and assign a graphical overlay to frame the shots. Set and forget functionality that can handle every step of the live switching process. It’s like having a director in-studio.

User-Friendly Interface

The live assist interface is perfect for radio stations looking to start broadcasting video.

With Visual Radio from ENCO, you can produce a visually pleasing show from the intuitive Presenter Interface, with little to no workflow change from radio automation.

VISUAL RADIO

Sponsored by

2017

January 2017 From the Publishers of Radio World

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Leveraging Visual Radio for Fun and Profit

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Stations Grow Their Video Ambitions

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“Where It’s Headed for Everyone”

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Radio Learns to Build Its Video Palette Pow! Strong visual content makes a powerful impact not only on the viewer but on the listener. Is your radio operation delivering?

Video is no longer a novelty for a growing number of radio broadcast operations. These professionals use streaming and social media video tools to diversify their platforms and create new touch points with consumers.

How are they doing it and what can we learn from Paul McLane their experiences? What kind of tools are needed to help Editor in Chief a radio station bring live or automated video to their audiences? Are employers in radio now looking for video skills as a standard part of the hiring process? What else should prospective radio video creators know?

In this eBook, we talk to a range of experts and video users at the Cumulus NASH campus, CBS station WJFK(FM), Video Dads, Radio America, Townsquare Media’s “Free Beer & Hot Wings Morning Show,” public broadcasters KEXP(FM) and KCRW(FM), Jacobs Media, low-power FM station WDPE and Poland’s Radio Wrocław.

Share your own experiences with video. Email me at radioworld@nbmedia. com.

Radio Wrocław Takes Multi-Platform Approach

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No-Budget Radio Video for Social Media

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Courtesy Video Dads

7 Tips for Radio Stations Using Facebook Live

VISUAL RADIO 2017 Cover Art Credit: iStockPhoto.com/Ukususha

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Leveraging Visual Radio for Fun and Profit Radio professionals can learn from the experiences of these three organizations

by James Careless “Visual radio” is more than a webcam streaming live footage of a radio station’s morning show.

Properly executed, visual radio can be a compelling, multi-camera production that wows listeners and viewers and makes serious money both for its producers and the stations that stream visual radio content online.

Here are three examples of how broadcasters are putting this approach to work.

PAYING VIDEO SUBSCRIBERS

Despite its name, the syndicated “Free Beer & Hot Wings Morning Show,” heard on Townsquare Media station WGRD(FM) in Grand Rapids, Mich., provides listeners with neither free ale nor chicken flaps.

Hosts Gregg Daniels and Chris Michels chose the Four HD cameras feed a PC loaded with vMix switching software. Switching is name after deciding it would attract more listeners automatic using a customized Arduino micro-controller that follows audio and is sourced from the show’s Wheatstone console. than “The Gregg and Chris Show.”

But to fans who pay $5.95 a month (less with a tion complex, WLHT(FM) morning show hosts Connie and yearly or biyearly membership), “FB&HW” does deliver Curtis also are captured on camera for viewers. However, HD-quality multi-camera video of the show in action, because this footage is free, Townsquare Media shoots it both live and on-demand. Many fans are willing to pay to using lower-resolution USB cameras and posts their antics see this content. to a dedicated channel on YouTube.

Down the hall in the same Townsquare Media produc“Video is a pretty big deal for these programs,” said Market Engineering Manager Mike Maciejewski. “Both of them have thousands of followers, including paying viewers on the ‘Free Beer & Hot Wings’ site. Being able to see their favorite radio hosts in action really matters to our listeners, as the numbers clearly prove.”

The FB&HS morning show has higher-quality video production equipment due to the subscriber base, who are paying to see their broadcast heroes in action and expect quality akin to what they see on their home HDTVs. To do the job, WGRD installed four fixed, zoomable Marshall 1080pHD-SDI TV cameras in the FB&HW studio, each of which covers a different view of the studio. These replaced a pair of consumer-quality webcams.

The feeds from all four HD cameras go into a PC loaded Video infrastructure including lighting and cameras are visible in the with vMix switching software. The switching between “Free Beer & Hot Wings” studio.

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Closeup of one of the Marshall 1080 HD-SDI cameras.

cameras is controlled automatically using an Arduino micro-controller customized

by Maciejewski that follows the audio. It is sourced from the morning show’s Wheatstone LX-24 console.

“I wrote a program for the Arduino controller that allows it to cope with multiple audio sources intelligently,” said Maciejewski.

“For instance, if the two hosts are talking all over each other, the Arduino will call up side-by-side camera views of them both. If everyone is laughing, the software will select a wide-angle group shot.”

The video production system for the Connie and Curtis morning show is similar, except that the video is shot using three web-quality fixed USB cameras.

“Again, we control the switching with an Arduino micro-controller production, but because there are fewer cameras we use a program call xSplit Broadcaster for the switching software,” Maciejewski said. “The feeds are also stored during the broadcasts, with clips selected afterwards to post on YouTube.”

Gearing up for visual radio production wasn’t without its challenges for Townsquare Media. “Not only did I have to learn how to produce and stream/record live multi-camera TV automatically, but we also had to modify the FB&HS studio to improve its sightlines, so that the cameras had

unobstructed views,” said Maciejewski. “But the results have been well worth it, given how many people now watch both shows on video.”

At present, Townsquare Media has no plans to shoot video of its other radio shows in the Grand Rapids cluster. But the company clearly is serious at the corporate level about creating video content; it recently hired Andy Meyer as vice president of original programming and head of video. He is former VP of development/executive producer at Emmy-award winning Tremendous Entertainment and served as vice president of original programming for NBC Sports Network (formerly Versus) and Fuse Media.

SPORTS SIMULCAST

Sports outlet 106.7 The Fan WJFK(FM) in Washington uses five broadcast-quality HD cameras and a professional video switcher — in this case, a NewTek TriCaster — to stream “The Sports Junkies” as visual radio online.

WJFK, owned and operated by CBS Radio, has gone one step further with visual radio. Since September 2016 the station has been simulcasting its video stream on cable television in the D.C., Maryland and Virginia region via Comcast SportsNet Mid-Atlantic (CSN), which now conContinued on page 6 ❱

CBS sports outlet 106.7 The Fan WJFK(FM) in Washington uses broadcast-quality HD cameras and a professional video switcher for “The Sports Junkies.” It is simulcast on Comcast SportsNet Mid-Atlantic as seen here; CSN controls the cameras remotely and adds graphics and b-roll. WJFK’s afternoon show stream is produced in-house.

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com,” Kinard said.

Generating multimedia content has changed WJFK’s approach to hiring. Rather than radio-only talent, “we look for a diverse set of multi-platform skills for all positions, including both on and off the air,” he said. “Job responsibilities and requirements are shifting as quickly as technology advances, and we look for people who are able to adapt to the changing needs and trends.”

The best part: Visual radio is making money for this CBS Radio sports station. “We have had success selling a presenting sponsor of the video streams that include on-air and on-screen recognition,” said Kinard. “We were also able to sell signage in our studio, and the visual element has allowed us to add value to food drops and product integrations.” The sign placements are designed to be swapped out easily, to change both show and advertiser identities on camera as needed.

The cluster’s success in achieving cable TV simulcast of a morning show, plus making money from presenting sponsors and signage in its video streams, is a model that many radio broadcasters might wish to emulate. For such stations, Kinard recommends developing a visual radio approach that is unique to their own content and formats rather than simply aping WJFK’s.

trols the cameras remotely and adds production elements.

Under the deal with CSN, “Sports Junkies” hosts John Auville, Eric Bickel, Jason Bishop and John-Paul Flaim are seen live weekday mornings and in replay weekday afternoons on CSN, CSNmidatlantic.com and the NBC Sports app. Video clips from the Sports Junkies are also being used on CSN’s TV, online, mobile and social media platforms including daily highlight episodes.

All of this comes from a WJFK radio studio that was rebuilt to look good on TV and mobile, as well as sound good on radio.

“Our CSN simulcast has grown our video reach not just

Production features on the Sports Junkies simulcast include professional graphics and a split screen showing two hosts.

With access to high-quality video clips, we have greatly increased our production of short clips of the show, which get a lot of traction on social media and our website.

in Washington, but in the mid-Atlantic region,” said Chris Kinard, program director for WJFK as well as a sister AM of the same call letters that goes by the moniker CBS Sports Radio 1580.

“It’s also raised the visibility of our overall brand and the morning show. And, with access to high-quality video clips, we have greatly increased our production of short clips of the show, which get a lot of traction on social media and our website.”

The TV simulcast of the Sports Junkies on CSN is in line with WJFK’s overall content strategy, which “is to make our content available on as many platforms as possible,” said Kinard. “(Even) before the CSN simulcast, our morning show was streamed live and then re-aired in full until the afternoon show. Then the afternoon show was streamed live.

We would (then) rotate the shows every evening and overnight.”

Today WJFK is as much a streaming visual radio station as it is a broadcast radio station. In addition to multi-camera coverage of its morning and afternoon drive shows, the station shoots and streams video from its DC Lottery Live performance space. This is where “celebrity guests and musical acts perform for live, intimate audiences, and we stream the performance on our website, TheFanDC.

— Chris Kinard, WJFK

“I think every station is different and should tailor its goals and strategies to the strengths of the station and talent,” he said. “Some shows are more visually compelling than others. Some talent is suited for a live video stream, while others may be great at producing post-show videos. Or perhaps there are specific benchmarks or segments that would translate well to video.”

As for WJFK’s plans? Having taken the Sports Junkies to CSN, Kinard sees no reason why the station’s other visual radio broadcasts shouldn’t turn up on TV as well. “I think our shows all have the potential to be simulcast on TV.” Better yet, “there could also be OTT opportunities down the road, either on our own or with partners looking for compelling, original, exclusive, local content.”

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PAINLESS ENTRY

For many radio broadcasters, the concept of “visual radio” can be unsettling. If they’d intended to work in television production, they’d be in that medium.

But wait a minute: Visual radio doesn’t have to be the same as television, even though it works with images.

That is because visual radio content can be grounded in the spoken word narrative style that is at the heart of radio story-telling, rather than the “visuals come first” approach of broadcast TV. This is a lesson that Slavik Boyechko and Travis Gilmour have been teaching to public radio broadcasters across the United States. As partners in the Emmyaward winning production company Video Dads (so named because both shoot video and change their children’s diapers) and in Gear Dads (an equipment The Video Dads pose with a group of students at WSKG in Binghamton, N.Y.

Cinema and DSLR cameras used by Video Dads.

Slavik Boyechko of Video Dads leads a class at WFYI in Indianapolis.

review website), these former PBS employees know how to “keep the radio” in online visual radio content. More importantly, they know how to teach these skills to nervous radio broadcasters who frankly might prefer to keep pictures out of their story-telling.

“Radio is a narrative-driven medium,” said Gilmour. “The good news is that you can add visuals to this medium — specifically in terms of short-form visual radio content aimed at YouTube and similar sites — without turning it into TV.” To prove this point and calm nerves, Boyechko and Gilmour lead their radio students through three levels of visual radio production.

“In the first stage, the radio person produces a conventional radio story in audio, and then takes it to a easy-touse video editing program like Final Cut Pro 10 to add slides that relate to the narrative,” said Boyechko. “In the second stage, we ask them to shoot B-roll/cover footage (shots not of the person talking) to illustrate that narrative further, without moving away from the story-telling radio format. In the third phase, the radio person starts

shooting their interviews on video, using them along with cover footage and stills to create a truly visual story.”

In the “visuals come first” world of conventional television, a lack of relevant footage can hamper what the story-teller can talk about. That’s a limit that radio producers don’t face, because the spoken word and natural sound can harness listeners’ imaginations to create pictures their minds.

So how can a radio producer transition to visual radio, without surrendering their narrative to available imagery and losing this advantage?

“The key is to use what you have,” said Boyechko. “It can be visually powerful just to show text of the words being spoken by the announcer, and bolster them with sound effects.”

Added Gilmour, “This means that you never have to compromise radio’s narrative approach when you go visual. You don’t have to conform to the norms of television production, even though you are producing audio-visual content for the web.”

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Modern Studio. On Air, On Camera.

Radio used to be the career choice for broadcasters who didn’t find the camera lens flattering. Not anymore.

Radio is very much in the public eye these days, thanks to YouTube, web streaming, podcasting and social media.

Even Facebook joined the video ranks with the launch of its live streaming feature recently.

“It’s a whole new perspective in radio that takes some getting used to,” says Jay Tyler, Sales Director for Wheatstone. Along with a more streamlined studio profile, radio broadcasters are now faced with how to manage cameras in a studio that was built for sound. “A large part of that can be taken up with technology,” advises Tyler, referring to the use of control logic built into the WheatNetIP audio network to trigger and switch cameras whenever a mic opens in the studio.

BUILT-IN LOGIC AND ROUTING MAKE IT HAPPEN With WheatNet-IP logic and routing, they’re able to switch studios from any seat, reconfigure control surfaces for multiple purposes, and even change audio processing settings automatically according to which mic is turned on.

And with ACI, they’re able to integrate camera switching into their busy studios – which are becoming more camera friendly, thanks to IP audio networking. Today’s modern studio is far cry from the old days of hardwired third party GPIO boxes.

A SLAVE TO FASHION By slaving cameras to microphones that are networked through WheatNet-IP, video starts to roll automatically whenever the host or a guest speaks into a live microphone. Studio cameras can be turned on or off and can be made to switch between guest positions or fade to a talent group when two or more mics are live.

Camera automation software such as multiCAM and radio automation software by WinMedia, ENCO, Zenon Media, and StudioCast integrate into the WheatNet-IP audio network through Wheatstone’s Automation Control Interface (ACI) to automatically control camera switching based on whether a mic is on, the mic fader is up, and audio from the mic is coming across as meter data.

Cameras can be slaved to mics based on all or just one or two of the criteria, and they can be switched via IP. Automating camera operation through the IP audio network relieves producers of yet one more thing they have to deal with during a busy show, and can be beneficial for editing packages after the show. “If you want to use bits from individual microphones for post-production, that same ACI that you used to route and move your camera can also be useful if you want to log, skim and track audio based on microphone,” explains Tyler.

AUTOMATION CONTROL INTERFACE MAKES IT HAPPEN ACI is Wheatstone’s control interface used by automation companies and other technology partners to tightly integrate WheatNet-IP audio networking with automation and other functions. This tight integration between IP audio routing and automation is becoming crucial in today’s busy, yet more visible studio. Broadcasters are sourcing more and more audio formats, producing podcasts on the fly for the website, and managing a variety of feeds for on-air, social media and the web – all as iPhones and cameras record every move.

READY FOR YOUR CLOSEUP...

Gone are the consoles with big, bulky meter bridges and the turrets that held all the audio I/O. Gone is outboard gear like CD players, delay units, EAS units, and other equipment that took up a large amount of space in the studio. That can now be routed in or embedded into the system. WheatNet-IP BLADE3 I/O access units include features like audio processing for codecs and podcasts, turning what used to be another box in the studio into routable functions on the network. Gone, too, is the mountain of wiring that used to tie it all together. Today’s modern studio is connected to the central rackroom and other studios via single CAT5e or CAT6 cables, which route audio, logic control, and in some cases, power.

Wheatstone’s TS-4 and TS-22 talent stations represent an example of how the IP audio form factor can transform a wired maze of buttons and panels into a compact workstation with microphone, headphone, timer and talkback functions, all connected to the main studio console through CAT6 cable.

“When you get into the IP audio world, you have a lot less furniture, a lot less wiring obstructing the view, and the studio just looks better all the way around,” comments Tyler. As for the studio console surface, he says that’s still the centerpiece of the studio —if not more so. “Today, I think people expect to see a modern console at the studio’s center. In fact, that’s probably a large part of the visual aspect of radio, watching the jock run the board,” he says.

“It’s like seeing all those cool surfaces on Star Trek. You can’t not stare at them in fascination...”

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Designed and built in the USA Phone +1-252-638-7000 wheatstone.com | sales@wheatstone.com

Stations Grow Their Video Ambitions Visual components play an increasingly important role across radio broadcasting

By Randy J. Stine

embracing video as a means to expand their listener base:

Radio broadcasters across the country are placing more emphasis on live and recorded video, in part to gain traction with their social media platforms.

Experts say webcams and digital video recorders are now common gear for radio broadcasters as they launch additional multimedia channels. Some radio stations are now training personnel as videographers and purchasing programs like Sony Vegas Pro, Final Cut Pro, MediaShout, Logic Pro and ProPresenter to edit video.

Radio stations also are developing video marketing strategies and campaigns for advertising clients in an effort to monetize video products and services.

Here are several examples of radio broadcasters

VIDEO IN EVERY FIBER

Public broadcaster KEXP(FM) in Seattle has found many ways to incorporate video into nearly every fiber of the alternative and indie music radio station.

KEXP video is everywhere on social media from Facebook and YouTube to Instagram and Vimeo. Its new state-of-the-art live performance studio, which opened in 2016, is tricked out with first-class video production facilities so performances by visiting bands can be captured live and later uploaded to YouTube.

Jim Beckmann, online content manager and senior video producer, says he is amazed at the level of the

Performance space at KEXP.

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lighting and access to a stable non-linear editing program, whatever it might be, are the most important tools,” Beckmann says. “That, and talented videographers with as much an ear for music as an eye for good framing.”

Beckmann says it is always a challenge to integrate radio and video effectively.

“We are continually looking for ways to bring our vast video viewing audience back to our station, to our website, the online radio stream, the great photographs, engaging events and everything else,” he says. “We are still trying to figure out ways to better connect our YouTube viewers to everything else that’s going on at KEXP.”

From the KEXP YouTube channel.

station’s in-house video distribution.

KEXP video began organically, he says, with no real strategy other than a desire to capture some of the bands who were already visiting KEXP to perform in its live room.

“Within several years though, we were filming regularly and noticed that our presence online, particularly on YouTube, was growing to a surprising degree,” Beckmann says.

Today the radio station sees video as a core method for expanding its mission, which is to champion music and promote discovery.

Beckmann says the radio station considers YouTube as its main digital video platform. KEXP currently has nearly 1 million YouTube subscribers, and this is still where KEXP sees the long tail, “where people continue to discover artists through archived videos that may even be 7 or 8 years old.”

But the station also shares live music sessions through Facebook Live; even without much promotion, a session there will get thousands of views.

KEXP, which has a video staff of four employees, uses BlackMagic gear to film and live stream video, Beckmann says. Video editing is done with Adobe Premiere. The non-commercial radio station also relies on a handful of volunteers Using the green screen at Radio to help with video projects.

America is News Technical tools, though, are Director Greg only part of what make for good Corombos. video, he says.

“Matching cameras, good

VERSATILE SPACE

Radio America, a broadcast network based in Arlington, Va., has built its own video arm of the company. Its hybrid “Video Studio 66” studio consists of two rooms.

The studio half includes a green screen, two Sony NXHD cameras and professional lighting while a control booth includes several Mac editors, a Newtek TriCaster video switcher and a Telos Axia control board.

“It’s really a radio studio and video studio. It’s a versatile space that also allows us to do a new community Continued on page 14 ❱

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LiveShot Delivers For Radio In Living Color

“We wanted to allow our audience not only to hear what was going on at WMMR, but also to see it.”

By Rodney Byrd Assistant Chief Engineer Philadelphia, Beasley Media Group, Inc.

93.3 WMMR Philadelphia, owned by Beasley Broadcast Group, is one of the oldest rock radio stations in the country. It has been the same format continually for the past 48 years, which is more or less unheard of. Even more unheard of is the longevity of its on-air staff. One of our DJs, Pierre Robert, has just celebrated his 35th year at WMMR. Because of the unique styles of this station, and the people who work here, we’ve had a loyal following of listeners for nearly 50 years.

When the Preston & Steve Show came over to WMMR, we wanted to allow our audience not only to hear what was going on at WMMR, but also see it. The Preston & Steve Show was the driving force behind WMMR starting to stream video.

When we started, we had a single web cam plugged into a laptop. It could only support 25-50 viewers at a time, before someone would get kicked off. Over the years, we made improvements, but our setup always

involved a lot of outboard hardware for a simple video stream. It also required a decent internet connection and a power source.

In 2013, we upgraded our video facilities from two simple handy cams to a multi-input digital switcher with several hardwired PTZ cameras on tripods.

We decided we would also like to have wireless capabilities. We purchased a LiveShot Rack for the studio, and a LiveShot Portable for our roving camera system. With the introduction of LiveShot to the Preston & Steve Show, we can take our audience on their adventures.

Recently, we took our program director, our overnight DJ, a former intern, and a friend of the show to Escape The Room, an interactive puzzle

Learn more about LiveShot at www.comrex.com/products/liveshot

in which participants need to solve clues to get out of a locked room. The facility had some CCTV monitors that they use to monitor the participants in the room. By using an outboard switcher and a hand held camera, the members of the Preston & Steve Show in the studio

We used one LiveShot to connect from the field back to the studio; the feed from this unit was then streamed online. Additional LiveShot units were attached to roving cameras that we used for a number of stunts and games to entice people to come down and donate.

LiveShot has definitely changed how we do our live shows.

The continuing improvements and updates to the Comrex LiveShot, including CrossLock and bonding technology, has introduced endless possibilities for our station.

were able to watch the group go through the puzzles. We even had 2-way audio hooked up, so the show could hear the group at all times and talk to them at the press of a button. The switched output from our studio was also streamed to our listeners, in a way that still preserved the secrets of the room.

We also used LiveShot to stream the largest food drive in the country, the Preston & Steve Show’s “Camp Out For Hunger”. This is a weeklong event that we broadcast from a very large tent located at the sports complex in Philadelphia. We collect non-perishable foods to benefit Philabundance, a local food bank.

This year we collected over 683 tons of food, and raised over $74,870!

Want to demo or purchase?

Contact an authorized Comrex dealer, like Broadcasters General Store! www.BGS.cc sales@BGS.cc (p) 352-622-7700 (f) 352-629-7000

Learn more about LiveShot at www.comrex.com/products/liveshot

❱ Continued from page 11

outreach project for our military veterans,” said Rich McFadden, director of operations for Radio America.

The radio network, in cooperation with its sister organization The American Veterans Center, preserves the stories and legacy of vets by telling their stories in video form, McFadden says.

“We have veterans in for tapings with a studio host that are edited down to four- or five-minute-long oral histories that end up being shared on YouTube and the website www.americanveteranscenter.org,” he said.

Radio America, which serves approximately 500 affiliates as well as American Forces Radio Network and Sirius/XM, also produces a video project for Newsmax TV called “Behind the Curtain” with host Jack Burkman, a registered lobbyist in Washington.

“We try to use video across several different platforms.

Our daily shows that we own, including the ‘Chad Benson Show’ and ‘The Dana Show,’ are also in video form. We repurpose nearly all of our radio content for video to be used on Facebook Live, YouTube or Periscope. It’s an easy way to reach a new audience and it’s another outlet for our advertisers. It really builds value for advertisers.”

McFadden, who has used Skype and chat rooms with video for the network’s programming through the years, calls the production of video a big step for radio broadcasters.

“The best tip I can give anyone is to get a Lynda.com account. The online training service has just about any video editing software program or video production training you can think of. Then learn a basic video editing program, whether its Apple’s Final Cut or Adobe Premiere.

And learn Photoshop,” McFadden says.

Monetization of video is the next big step for radio, according to McFadden. “We make some money by charging clients for production time. And video is an add-on for our advertisers, but you have to try and create a revenue stream outside of the number of YouTube views.”

And future employment in the radio business might soon also depend on a person’s video skills, he said.

“I will tell you that anyone with video skills has their résumé go to the top of the pile here,” McFadden says.

AUDIENCE DIVERSIFICATION

KCRW(FM) in southern California has been at the forefront of using multimedia. The public broadcaster, located in Santa Monica, Calif., started producing video as early as 2000 and launched a YouTube channel 10 years ago. The station has added much more complimentary video since then, including virtual reality film of concerts in its performance space.

Joey Caroni, creative director, strategy and audience development for KCRW, says the station views video as a means to diversify its non-terrestrial listening audience.

“Our video production is quite robust. We are producing content for video and using it as a marketing tool in an effort to drive listening. We have added a lot of video capabilities, like virtual reality, with all new distribution channels to reach a more global audience and introduce the KCRW brand,” Caroni says.

The NPR affiliate is now producing Parallax videos, including companion video for an audio series called Radio America produces a video project for Newsmax TV called “Behind the Curtain” with host Jack Burkman, a registered lobbyist in Washington.

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KCRW is producing Parallax videos, including a series called “Below the Ten,” which examines life for folks in south L.A. Parallax videos create motion in images from still photographs that are then combined with audio.

video and not just having people come find videos on our website. That’s a big difference. A big chunk of my job is to think about format types and ways to distribute video.”

Caroni said the AAA format station is expecting to push more video through Periscope this year, not just live events but also produced content.

“We are also looking to get KCRW into the mix of video content producers used by other distribution channels that aggregate content for audiences. I think that is the next step for us. We have a wealth of culture and music content to share on video,” Caroni says.

The radio station, which employs two full-time video producers/editors, uses a range of video editing tools, including Final Cut Pro, Adobe Premiere, Adobe After Effects, Adobe Illustrator and PluralEyes.

Caroni says he encourages radio broadcasters interested in venturing into video to invest in some lowtier hardware first, such as placing GoPro cameras in master control to simply “pull back the curtain” on radio.

“There are those who want to watch radio to see how it works. That’s very low hanging fruit that’s easy to pick.

You start there and then you develop projects by maybe partnering with a local production house that has video expertise. They might very well be interested in the access you can grant them,” he says.

“Also reach out to local artists who work in video and leverage the exposure you can give them. There are people with video cameras who have the desire to build their portfolio and are interested in working with other media creators.”

The best tip I can give anyone is to get a Lynda.com account. The online training service has just about any video editing software program or video production training you can think of.

— Rich McFadden, Radio America

“Below the Ten” that examines life for folks in south L.A., Caroni said. Parallax videos use a special effect, utilizing Photoshop, to create motion in images from still photographs that are then combined with audio. (View previous KCRW Parallax videos here.)

“We created a whole new experience that took those audio stories and placed them into a whole new video format. Then we distributed the video to a new audience group via channels like Facebook, YouTube and Instagram, though Instagram is mostly used for shortformat video content. Video is much more sharable than just audio on most platforms,” Caroni said.

KCRW began pushing more live video to Facebook in 2016, Caroni says, which resulted in nearly 600,000 live stream views last year.

“We plan on focusing on more duel-format content this year including more episodic podcasts and episodic video series. And we will focus more on distributing

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A ChyronHego Case Study: Turning Listeners into Viewers at Go Media Customer: Go Media Location: Minneapolis, Minnesota Solution: Visual Radio from ChyronHego As one of Minneapolis’ most popular radio broadcasters and the voice of Major League Baseball’s Minnesota Twins, Go Media has undergone a significant transformation.

Its flagship station, 96.3, was re-branded as Go 96 with a modern alternative rock format — and in 2016, the station launched a sister hip-hop station, Go 95. Go Media is now the city’s only radio company that can boast both formats, giving it a solid advantage for attracting millennial listeners. The company has also added BringMeTheNews, an online digital news service that produces local and regional news and distributes it to more than 46 radio stations throughout Minnesota.

said. “ChyronHego’s Visual Radio tool is the premiere offering in this space because it offers sophisticated and robust technology, and yet it’s easy to deploy and work with.”

A Fully Automated Solution Designed for content delivery to web, mobile, and TV platforms, Visual Radio from ChyronHego is a fully automated software solution that turns radio listeners into viewers. By analyzing audio signals and XML data from the station’s existing automation system, the solution automatically switches cameras, generates dynamic digital video effects, and plays graphics to air. In this manner, Visual Radio plays the role of a live director, freeing up presenters to do what they do best – putting on entertaining radio shows.

Re-thinking Live Radio For Go Media, this transition is all about staying on top in a highly competitive radio market where listeners’ attention is not only divided among several other stations, but also a growing array of digital options for enjoying music and accessing news. “In order to be successful, we knew we had to be different and modern,” said Sam Elliot Gagliardi, President and Chief Operating Officer at Go Media. “We needed to be much more than just a terrestrial radio station — we had to find new ways to connect with our core audience of millennials who are accustomed to consuming media on many different types of platforms and online channels.”

One key strategy that caught Go Media’s attention is visual radio from ChyronHego — a tool that enriches audio content with synced video to transform a radio broadcast into an entertaining and compelling visual show.

“When we first saw Visual Radio, we thought it had a cool factor of 10. We could see right away that adding a video component to our broadcasts would be a great way to engage listeners and keep them tuned in. And we also saw additional revenue potential from the product,” Gagliardi

Under the control of Visual Radio, Go Media viewers are able to access the Go 96 website at any time and watch a live stream of the current radio program. In-studio cameras highlight the DJs as well as guest presenters and visiting bands. When a DJ cues a song for playout, Visual Radio matches the audio file with XML data for the corresponding music video and syncs the two together for playout. The experience is especially effective when Go Media can pair locally shot videos of Minnesota landmarks

to accompany music tracks from local artists.

Through integration with ChyronHego’s SHOUT social media editor, Go Media is adding the ability to display Facebook, Twitter, and Instagram feeds from the audience in the “lower third” area of the currently playing video.

“Once we’ve done the upfront work of syncing a new music track with its video counterpart and creating the graphics we want to use, Visual Radio takes care of the rest,” Gagliardi said. “And with social media integrated into the live stream we’ll have one more powerful way of engaging and connecting with the audience.”

Winning With the “Cool Factor” After the deployment of Visual Radio-enhanced broadcasts, Go Media has seen significant participation from its audience. Gagliardi estimates that up to 5,500 viewers access the Go Media video site every day, and up to 50,000 people watch the channel every month. With this success, the company is now exploring new ways to monetize the service and develop new revenues.

“The ‘cool’ factor of Visual Radio is off the charts, and

we’re just beginning to scratch the surface of what it can do for us,” Gagliardi said.

About ChyronHego ChyronHego, a portfolio company of Vector Capital, is a global leader in products, services, and solutions for the broadcast and sports industries. Specializing in live television, news, and sports production, ChyronHego offers some of the industry’s most widely deployed solutions — including Lyric®, the world’s most popular broadcast graphics creation and playout offering; the all-new CAMIO® Universe newsroom workflow; and TRACAB® Optical Tracking, the global leader in optical sports tracking systems as well as Click Effects, the most proven and versatile stadium broadcast family of graphics products. Headquartered in Melville, New York, ChyronHego also has offices in the Czech Republic, Denmark, Finland, Germany, Mexico, the Netherlands, Norway, Singapore, Slovak Republic, Sweden, and the United Kingdom. For more information on ChyronHego, visit www.chyronhego.com.

“ Where It’s Headed for Everyone” At the NASH campus, video is a regular daily feature

Up on a hill just south of downtown Nashville, the “NASH Campus” of Cumulus Media has been demonstrating the future of radio and video integration for more than three years now.

The former home of two local FM stations, WKDF(FM) and WGFX(FM), the building was gutted and extensively rebuilt in 2013 as the new national headquarters for the company’s country music programming.

Three studios were purpose-built to house the national “America’s Morning Show” (recently renamed “Ty, Kelly and Chuck”), “NASH Nights Live” and country star Kix Brooks’ “Kickin’ it with Kix” and “American Country Countdown.” Each was built from the start not only to handle the radio broadcast but to be future-proofed for video.

“Every studio is equipped with five stationary video cameras,” says NASH Program Director John Shomby.

“Anyone who comes in knows there’s always video being taken. When the mic’s open, the video’s running.”

Scott Fybush

By Scott Fybush

A comfy vibe for “Kickin’ It With Kix.”

room and office, with comfortable sofas and chairs in the center of the room, guitars along the walls ready to be grabbed and played, and a desk and table in the corner adorned with Brooks’ music memorabilia.

Down the hall, the morning show studio puts the hosts and guest on a small stage with audience seating in front of them. And just off the lobby, the “NASH Nights” studio looks most like a traditional radio studio but with plenty

“PART OF THEIR DNA”

Each of the three studios at NASH was designed to project a specific image on video.

Brooks’ corner studio was built to look like a living

Scott Fybush

The NASH campus.

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Scott Fybush

of custom lighting and fun visual details such as guitar bodies in place of the usual legs that support the console and desk.

The ORAD camera system at NASH depends on voice activation to direct most of the video switching, automatically choosing video shots based on who’s speaking in front of which mic in each studio.

For Shomby, though, what matters about the visual radio aspect of the NASH campus isn’t the technology but the programming. The veteran programmer says he’s seen a big change in just a few years in how “radio” talent adapt to performing for video. Today, he says, being video-friendly is an essential part of being on the air at a national level.

Show hosts Ty Bentli and Chuck Wicks get ready to leave their morning show studio after a long day.

Scott Fybush

your ratings. In the old days, a personality came in and did the show, maybe they answered request lines, but not much else. Now you’re a multifaceted personality.”

Shomby says this means being comfortable in front of hundreds of thousands of people on a daily basis, which comes more naturally to today’s younger talent.

“You have to be comfortable with it, and those are the ones who succeed,” he said, “but those are also the ones who grew up in front of cameras. The generation that’s coming up now, my 18-year-old is the IT person at home. People are so used to the technology that it’s a part of their life. If we threw them in a studio and took everything away and told them just do a (radio) show, they’d be lost. The older people like me know they’ll be left behind if they don’t learn it.”

That’s changed what Shomby looks for when he’s seeking out new talent for NASH, too.

“You have to think about what someone’s going to look like in front of a camera, how they act, how they communicate socially, all of those things wrapped into one,” he says. “That’s all part of the package. You’re not just doing bits anymore.”

It has also affected another kind of talent: the musicians who make regular treks up the hill to the NASH campus to perform and talk about their work. Shomby says there’s something special about the country format

Control room for “Ty, Kelly and Chuck.”

“I don’t think I have to do anything (to train them),” he says. “Today’s talent is already in that mode. I don’t have to remind them to do video; they just do it. They’re on Facebook Live, they’re on Snapchat, it’s just part of their DNA. Maybe five years ago I would have had an issue with it but not now. The talent that’s at a network level has already been through that change. When we brought Ty Bentli on for the ‘Ty, Kelly and Chuck’ show, (his video skills) were very important.”

In the radio world of 2017, Shomby says it’s no longer a question of whether video and other digital content helps the bottom line; it’s simply a part of doing business in today’s media environment for talent and management.

“They’ve all been schooled very well in this on the way up,” he says. “They know it’s part of the job description now. What goes on the radio is always first priority, after that comes everything else, but it’s all a part of it.

It all supports what you’re doing on the air and helps

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producers edit shorter bits of content that appear on each show’s social media outlets and can be used by affiliate stations. Shomby says that will change soon, with live streaming in the works.

Later this year, he’s planning to roll out podcasts, which he says will be more than just replays of live show content. “It has to be more than just putting show stuff up on a podcast,” he says. “It’s showing other things that person can do, too.”

❱ Continued from page 19

that’s made it easy for those performers to work well with the video aspects of NASH programming.

“They’re very media-savvy,” he says. “It’s part of the process for them to become an artist in Nashville, learning how to be natural, because they make the personalities feel like they’re friends. We’ve had guys over here doing cornhole tournaments.”

As an example, Shomby mentions country star Lee Brice, who played college football for Clemson. Before Clemson’s national championship game, Brice stopped by the NASH campus to make a bet with morning co-host Chuck Wicks. With the cameras rolling, Brice picked Clemson to win, while Wicks picked Alabama. If Alabama had won, Wicks challenged Brice to come back to the show wearing an Alabama jersey and sing “Sweet Home Alabama.” (Alas, Clemson won.)

“I can guarantee you right now, Rihanna wouldn’t do that,” Shomby says. “The country artists definitely have a spirit of cooperation, and there’s a spirit of camaraderie between the labels and the artists that doesn’t exist in other formats.”

When the mic’s open, the video’s running.

— John Shomby

Also expect to see some views from above. “I’ve got a drone sitting in my office right now with a GoPro camera sitting on top of it,” Shomby says. “I don’t know yet what we’re going to do with that.”

It’s all part of a future that’s much more than just radio, as Shomby sees it.

“When people walk in here, I try to tell them it’s not a radio station, but what you’re seeing here is really the future of radio,” he says. He arrived at NASH in 2016, after the campus was completed, and praises the facility designers. “They had the vision of what radio is going to be 10 years from now, cameras in every studio, very expensive lighting, that’s where I think it’s headed for everyone,” he says.

MORE TO COME

The NASH campus makes it easy for artists to get ready for the video spotlight with some features that weren’t part of traditional radio studio design. Down the hall from the studios, there’s not only a green room but a makeup area where visiting performers can make sure they’re camera-ready.

For now, the video that’s generated from the NASH shows and studios isn’t seen in real time; instead, digital

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Radio Wrocław Takes Multi-Platform Approach Miroslaw Ostrowski at work.

Mirosław Ostrowski is technical director of Radio Wrocław in Poland. He answered via email.

video materials (video podcasts) that are presented on our web portal.

Radio World: What is your video strategy?

Mirosław Ostrowski: Radio Wrocław is a pioneering station. We ran the first stereo transmission; we were transmitting regular quadraphonic programs in the 1970s as one of two stations in Europe (a German station in Cologne was the second). We also run regular RDS services in Poland, and some years later we started the first DAB+ trial transmission in the country.

We try to see what’s happening outside and where our listeners might be. And we try to follow them — or be in some places before them :). That was the foundation upon which we built our new platform — video streaming, where we deliver live video broadcasts from our two studios. We also use our video system to prepare

RW: Are your strategies generating revenue?

Ostrowski: Our activities in this field are not focused on the money. We, as a public radio station, want to deliver our listeners attractive services on various platforms — radio, analog and digital, as well as video streaming, video podcasts, mobile applications and an attractive portal with fresh, good and verified news; which makes us a source for our local newspapers. [We’re] a must-listen by newspaper journalists every morning.

RW: What kind of technical tools are needed to help a station bring live or automated video to their audiences?

Ostrowski: We use intelligent automated video systems made by French company MultiCAM Systems. They are

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Lighting control devices are now part of many studios.

in use in two of our studios, which broadcast two 24/7 programs. The system is user friendly and fully automated so there’s no need to employ a technician. Of course, we can take control over the system and manage it manually, but thanks to its features and capabilities, we generally use the automatic mode.

to do that.

Critically, the MultiCAM system works with the digital mixing consoles in the studios and knows which microphones are open and which person is speaking. The video system then prepares the cameras and changes the on-air video shots according to its pre-programmed setup. There might be many such shots, which makes the video output signal attractive from the viewers’ point of view.

The video system is integrated with all the tools needed to stream a video signal; it also makes it possible to record some video extracts for later use or publication on the radio station’s website. MultiCAM also allows us to carry out live broadcasts on Facebook.

In addition, I have to pay particular attention to proper lighting of the people in the studio. We consulted on that with a specialist from the film and TV industry.

RW: What terms and technologies should prospective radio video creators know?

Ostrowski: We’ve seen many stations where technicians or video engineers are needed to control video tools and cameras, but because of the expense, they are employed only on occasion, like for example when significant and notable guests appear in the studio. It resembles bad television rather than improved radio.

We try to see what’s happening outside and where our listeners might be. And we try to follow them — or be in some places before them.

RW: Describe your video facility or projects.

Ostrowski: We use the two MultiCAM video systems in two studios. One is installed in our new broadcast studio for Radio Wrocław, the main regional program. Here is a link to a live video stream and some pictures of the studio.

The second installation was placed in the new studio for digital-only programs being broadcast in DAB+. The name of the program is Radio Wrocław Kultura. Here is the live video stream and pictures of the studio.

We run both video systems in automatic mode and they work with DHD 52 digital mixing consoles.

— Mirosław Ostrowski We prefer smart automation of such transmissions or recordings, even if the system makes some framing mistakes when the guest changes position. It is possible to correct this manually, but sometimes there’s no time

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No-Budget Radio Video for Social Media

By Dan Slentz Low-power FM station WDPE in Dover, Ohio, has enjoyed significant promotional value out of social media.

Facebook, in particular, has been excellent for brand enhancement and show promotion.

Within two weeks of our launch, the station was tracking data (available free to non-profits through Facebook) indicating that hundreds to perhaps 1,000 people were following Steve Slentz and Robert Bray on the “DNP 102.3 Morning Blitz” via Facebook Live. and seeing messages. Posts and comments from listeners grew from this. (The natural “transmitted audience” could be as many as about 40,000 AFFORDABLE EXPERIMENT if every single radio in the area was tuned in … though of The station found that using Facebook Live quickly course, that isn’t what happens in real life.) started bringing in viewers, despite minimal notification The setup at the station includes an on-air computer to the audience via the on-air signal. It was amazing to running BSI Simian and a production computer for web see the count go up. There were numerous listeners from surfing/social media, Adobe Audition editing, music prep, around the state beyond our signal area; we even saw etc. and received comments from “a shadow audience” of For the grand investment of $40 for a HD Microsoft listeners in France and Germany.

USB camera (with beautiful quality), the station was able There was a drawback. The morning announcer quickly to go “Live” on Facebook with studio video. found his attention being pulled away from the on-air A benefit of the production computer running the audience by the Facebook Live audience. They were video stream is that the station audition buss was also far more “interactive,” asking questions and seeking feeding that computer. The PD put his main studio mics feedback from the on-air jock. Certainly, one reason is the in both program and audition, thus providing crystalnovelty of the whole thing. But to limit this loss of “focus” clear DJ audio to the Facebook Live stream. by the air talent, station management determined that, To make sure things wouldn’t go silent during the for now, our Facebook Live exploits will be limited to just music, he took a fourth mic (turning off the auto-mute Fridays. function), and left it on but only feeding audition, thus This experiment in providing video to audio and using providing listeners with the ability to hear background social media for promotional reinforcement was done chat and a lower-quality, off-mic version of the studio with a $40 investment. It’s fun, and it gives the audience monitors. a much stronger feeling of participation in the show and Note that the station does not put the Simian the station. automation output in audition, as that would constitute Some of WDPE’s programming includes a “live and streaming of audio (and the station, at this point, is local” music show and a fun one-hour kids’ interview not providing web streaming of audio as a standalone show, “Gimme That Shu,” hosted by a local middle school service). That said, there have been times when the audio teacher, Steve Shumaker. The station sees the live social was clear enough that Facebook did shut down the media video experiment as having a great future in stream indicating the “lack of right to use material.” helping built the audience.

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VISUAL RADIO FULLY AUTOMATED

MULTI-ANGLE SHOOTING

SMART AUTO SWITCHING

AUTO TITLES & GRAPHICS

LIVE STREAMING & PODCASTING

SUPPORTED AUDIO CONSOLES :

SUPPORTED AUTOMATION SOFTWARES :

MAIN REFERENCES :

STAND D6 www.multicam-systems.com

7 Tips for Radio Stations Using Facebook Live Facebook Live is a tool, not a strategy. Treat it accordingly.

by Seth Resler

Facebook Live, so we have to, too.”

Here’s an example: Suppose your station has decided that a key goal of your digital strategy is to sell more tickets to your radio station’s summer concert, the Big Lawn Party. You’ve determined that the key metrics you need to monitor are:

The author is digital dots connector at Jacobs Media.

Facebook has recently unrolled Facebook Live, a feature that allows you to broadcast live video to your followers with a click of a button. There are lots of helpful tips for using this new feature from trusted sources like Social Media Examiner, Mashable and even Facebook itself.

Here are some tips to help you incorporate Facebook Live into your radio station’s digital strategy…

1. The number of tickets sold 2. The number of visitors to your website (because that’s where people go to buy the tickers) The key question you’ve got to ask is, “How can Facebook Live help my station sell more tickets?” Maybe it can and maybe it can’t. In all likelihood, it’s not a matter of “if” but of “how much?” But the crucial thing is that we’re keeping our eye on the larger picture.

Having said that, it is wise to experiment with Facebook Live so that your station can gain a better understanding of the tool. You may discover a way in which it helps you achieve your goals that you didn’t foresee. So while you may not want to make Facebook Live the lynchpin of your big summer promotion, it may be useful to have your night jock dabble with it a few times.

1

Know the Goals of Your Digital Strategy and Understand Facebook Live’s Role Facebook Live is a tool, not a strategy. Treat it accordingly: Define your digital goals, develop a strategy for achieving those goals, and then select the right tools to execute that strategy. This may or may not include Facebook Live. A jackhammer is a wonderful tool, but if my goal is to hang a picture up on my living room wall, it’s not the right one for the job. In other words, don’t fall into the trap of thinking, “Everybody else is using

An image from the Facebook Live page.

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2

Set Yourself Up to Measure Before you begin an experiment, make sure that you’re set up to measure the results. “Gut feelings” are a great way to guess if a new song will be a hit, but it’s not a sound digital strategy. Make sure that everybody agrees on the what you’re measuring — in our case, concert tickets sold — and how you’re measuring it. You may need some tools for this second part. For example, you could create a dedicated landing page at wkrp.com/ biglawnpartysecrets. You can promote that URL exclusively in your Facebook Live videos and track anyone who buys tickets through that page. It might sound like this: “Hey, this is DJ Bob on Facebook Live, where every day at noon I’m giving you the behind-the-scenes scoop on the bands playing this year’s Big Lawn Party. You can find an archive of all of our Facebook Live videos and buy tickets at wkrp-dot-com-slash-biglawn-party-secrets.”

Now, if people buy tickets because they saw your station’s Facebook Live videos, you’ll know.

Call to Action — As you can see, this means that you’ll want your Facebook Live broadcasts to have a very clear call to action. Don’t broadcast without knowing what you want to encourage viewers to do.

Sample videos as shown on Facebook’s Facebook Live page.

4

Have a Well-Defined Focus Don’t start broadcasting live just for the sake of broadcasting live. Have clear focus for your broadcasts.

Here are some situations where radio stations may want to take advantage of Facebook Live:

3

Decide Which Facebook Profile or Page You’re Broadcasting From Radio stations may have multiple pages that they could broadcast from.

For example, will Lisa from the “Rick and Lisa Morning Show” on WKRP broadcast live from her personal profile, her DJ Lisa Facebook page, the “Rick and Lisa Show” page or the WKRP page?

As a general rule, use the station’s page to broadcast live so people don’t have to follow many different people to catch your broadcasts. The exception to this rule would be a syndicated show that appears on multiple stations.

1. B ackstage Interviews at Concerts 2. A coustic Performances 3. M orning Show Stunts 4. S tation Events Any time your broadcast may include a musical performance, clear any rights issues with your station’s attorneys in advance.

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❱ Continued from page 27

assume that once the broadcast ends, your work is done. In fact, your video may get more views after the initial broadcast. Optimize your video after the fact by adding or editing the thumbnail image, the description, the date, and the time. Add a question that encourages further comments, and add a clear call to action (“If you want to see more Facebook Live videos, go to wkrp.com/ biglawndaysecrets.”) You may want to embed this video on your radio station’s website and promote it on your other social media accounts.

5

Promote Your Broadcast in Advance Promote your broadcast as destination viewing. Use all of the promotional channels at your disposal, including: • Social media • Email blasts • Live on-air reads • Recorded production elements.

For example, “All day Saturday, we’ll be broadcasting live from backstage at the Warped Tour. Follow us on Facebook to watch live interviews with the artists.”

7

Carve Out Time to Review and Discuss the Results with Your Staff Gather the appropriate staff members and review the results of your Facebook Live broadcasts together. Set aside a specific time to do this — ideally in your weekly Web Meeting; don’t relegate this to a passing hallway conversation. People may look at the same stats and draw different conclusions, so it’s important to discuss them as a group.

Facebook offers metrics for Live videos, but make sure you’re coupling these from other important sources, like Google Analytics. In our example, we not only want to see how many people watched our Facebook Live broadcast, but how many people went to the landing page at wkrp. com/biglawnpartysecrets, and — most importantly — how many of those people bought tickets to the concert.

You may not find clear-cut answers. Remember, this is a new technology and you’re experimenting. “This had a minor effect” or “We need to do some more experimenting to see what works best” are perfectly reasonable conclusions.

This article originally appeared on the Jacobs Media Blog at Jacobsmedia.com/blog in summer 2016. Seth Resler is “Digital Dot Connector” at Jacobs Media Strategies. He is a 20-year broadcasting veteran who has worked behind the mic and the programming desk in major markets, including New York City, Boston, Seattle, St. Louis, Providence and San Jose.

6

Understand the Difference Between Live Video and Archived Video There’s a difference between how people consume and interact with live video and archived video. Think about how you consume breaking CNN coverage of a national disaster and how that differs from the way you watch the latest episode of “Empire.” You may put CNN on in the background for six hours while you do other things, but you set aside an hour to watch “Empire” with a glass of wine. These types of differences will play a role when you produce video.

Live Video — With Facebook Live, you will produce a video that can both be consumed live and as an archive.

Because it’s live, you want to make your broadcasts longer than if it were just archived; this gives people time to tune in. Live video also gives you the opportunity to interact with viewers. For example, if you are interviewing a band that’s playing at Big Lawn Day, you may want to encourage people to submit questions that you can ask them on the spot.

Archived Video — But unlike your radio show, don’t

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