TV Tech 508 - April 2025

Welcome to the April 2025 issue of

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Upping Their Game

How local TV is competing in today’s sports market

[Host] Featuring AI Speaker ID. Redefining Automated Captioning. Again.

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Upping Their Game

How local TV is competing in today’s sports market

[Host] Featuring AI Speaker ID. Redefining Automated Captioning. Again.

David Davies

Paulsen

Honoring a Digital TV Pioneer

When the history of digital television in the United States is written, the individuals involved will read like a who’s who of broadcast technology. Many of those have been honored by the NAB with its annual Broadcast Engineering Excellence Award, and this year’s honoree is no exception.

Dennis W. Wallace is managing partner at Meintel, Sgrignoli & Wallace, LLC, a broadcast engineering and technical consulting firm founded in 2004. He developed and implemented RF field test programs for the HDTV Model Station Project at the Advanced Television Test Center in Washington, D.C., and built and conducted studies and demonstrations at the ATSC 3.0 Test Station in Cleveland. Over the years his field-testing projects have included assessment of mobile DTV service, interference from unlicensed devices, effects of windmills on DTV reception, Distributed Transmission Systems, comparison of UHF and VHF spectrum for ATSC 3.0 and chairing the ATSC 3.0 Field Testing Task Force.

I got a chance to talk with Dennis recently and learned a bit more about what brought him to the industry.

As a kid growing up in Indianapolis, Dennis got involved in his high school’s 400W Class A radio station but “I quickly learned that I was more interested in the technical parts of it than I was necessarily being on the air,” he said. Jack Tiller, a professor at nearby Butler University, who taught mass media, helped Dennis get his start in actually getting paid for what he enjoyed going.

“He took me under his wing and actually employed me part time in the summers to rewire studios at the university and that sort of thing. So that was my foray into engineering.”

Although Dennis had plans to attend Butler full time, prior to entering college, he entered a competition on entrepreneurship and won at both the state and national level. The prize was a scholarship to ITT Technical University, which he decided to pursue instead.

He almost completed the course before being hired by WIIB, a new UHF station in Indianapolis, in 1989. By the mid-’90s, Dennis had landed at the ATTC, working alongside one his mentors, Charlie Rhodes, who also penned TV Tech’s Digital TV column for decades.

Dennis remembers how Charlie would urge his fellow engineers to always push for more. “He would cajole a few of us to stay late or work extra and work on whatever question he had, along with the Grand Alliance engineers, to try to explore something. Those became what we referred to as ‘the Charlie projects.’ And we always learned a lot.”

Asked about the high point of his career (so far!), Dennis points to his work with the ATTC. “I started off at analog broadcasting, did the lab testing for the RF side of DTV, helping stations transition, and then shutting down analog and now in the twilight of my career, on replacing the system that I helped build.”

Dennis’s entrepreneurial and technical skills have helped him and his colleagues create one of the leading consulting firms in the broadcast industry. “One of the unique things that I bring to broadcast engineering is an understanding of the business implications of the technical pieces of it,” he said. “And I’ve kind of built a career at the intersection of business, technology and regulatory policy matters. That’s really what I do.”

Congratulations Dennis on this well deserved honor! Dennis will be recognized along with this year’s Radio winner Paul S. Shulins, at the “We Are Broadcasters Awards,” held on the Main Stage of the 2025 NAB Show, Tuesday, April 8, in Las Vegas.

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Vol. 43 No. 4 | April 2025

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NAB Show Shines Spotlight on Sports Media, Content Creation

Renowned media personality Stephen A. Smith will headline the 2025 NAB Show, Monday, April 7 in Las Vegas, as part of the Welcome Session.

Smith, star of ESPN’s “First Take,” host of “The Stephen A. Smith Show” and author of the New York Times bestseller, “Straight Shooter,” will share insights on the evolving media landscape, sports entertainment and his journey to becoming one of television’s most influential voices. Mike McVay, president of McVay Media Consulting and a 40-year programming veteran with extensive experience in content creation, talent coaching and media strategy, will interview Smith.

Also in the sports world, WWE President Nick Khan and Chief Content Officer Paul “Triple H” Levesque will discuss the company’s continuing evolution—from global expansion and talent development to innovative storytelling and the integration of new technologies as part of the new “Business of Entertainment” track at NAB Show produced in partnership with The Ankler.

Jason McCourty, a 13-year NFL veteran and Super Bowl champion transitioned to broadcasting as co-host of the NFL Network’s “Good Morning Football,” game analyst for CBS Sports and contributor to ESPN programs like “NFL Live” and “SportsCenter.” In the session, “Engaging Audiences through On-Air Talent” on April 6, McCourty will discuss how engaging on-air talent

can elevate content, build loyal fan bases and drive deeper audience connections.

NAB Show will also spotlight entrepreneurs including Gotham Chopra, the award-winning filmmaker and co-founder of “Religion of Sports,” who will deliver keynote titled “PEAK HUMAN: Unleashing the Champion Within.” Kicking off the all-new Sports Summit on April 6, Chopra will delve into the deep cultural impact of sports narratives and the mythic pursuit of Human Potential.

Hollywood writer and producer David Goyer—known for “Blade,” “Foundation”

and his writing on Christopher Nolan’s “The Dark Knight” Trilogy—will explore the new formats of collaborative storytelling he’s developing that are bridging the gap between AI and filmed entertainment through his latest franchise project “Emergence” and the AI-powered platform Incention as part of the “Business of Entertainment” track.

Also in the film industry, Jeff Groth, ACE, BFE has edited a wide variety of film and television projects, earning nominations for an Oscar, a BAFTA and two ACE awards. His work includes “Joker,” “The Hangover Part III,” “Entourage” and “Community.” He’ll be hosting the workshop “The Cut: From Rough to Art,” on April 6.

Dhar Mann, recognized by Forbes as a Top Creator in 2024 will be a featured speaker on the Main Stage in the session “The Power of Positivity: Building the World’s Largest Digital Scripted Studio – Dhar Mann Studios,” April 8, 3-3:30 p.m.

Mann, the founder of Dhar Mann Studios and top digital scripted content creator, has captivated over 124 million followers with his mission-driven, brand-safe storytelling. In this session, Mann will be joined by DMS CEO Sean Atkins to reveal how DMS became a multi-million dollar powerhouse producing inspirational content viewed by billions annually. Following the session, Mann and Atkins will host an interactive “Ask Me Anything” Q&A at the Creator Lab in Theater A on the NAB Show floor.

Nexstar’s Jeff Moriarty to Receive 2025 Digital Leadership Award

NAB has named Jeff Moriarty, chief product officer for digital products at Nexstar Media Group, as the recipient of the 2025 Digital Leadership Award. He will receive the award at the We Are Broadcasters Awards Ceremony, at the NAB Show, Tuesday, April 8 in Las Vegas.

Created in 2015, the NAB Digital Leadership Award is presented to an individual at a broadcast station, group or network, who has had a sig-

nificant leadership role in the digital success of a broadcast business leveraging new and emerging technologies.

Moriarty joined Nexstar in 2021 and oversees digital technologies and product development across Nexstar Media Group. Over his career, he has been at the intersection of technology and news, leading digital products at some of the world’s most prominent media companies, including The New York

Times Company, Gannett and major newspaper groups across the United Kingdom. Moriarty’s launch of the first publication to utilize responsive design, BostonGlobe. com, contributed to Pulitzer Prize-winning coverage of the Boston Marathon bombings. Beyond his corporate leadership, Moriarty serves on the board of The Local, a Stockholm-based network of news sites operating in nine European countries.

Stephen A. Smith

Jason McCourty

Gotham Chopra Darr Mann

Trial Of AI-Generated Translation Hints a Brighter Future for Us All

AI has gained a lot of traction in the media & entertainment Industry with a new application seeming to appear every day.

For instance, AI-assisted compression and statmuxing are helping broadcasters make more efficient use of their spectrum. It is also identifying faces, objects and the written word in video frames to enrich metadata with payoffs ranging from more relevant news creation to increased revenue from content licensing fees.

AI is also making it easier to build replay lists for sports productions, create interpolated video frames for synthetic slow motion; auto-mix audio; unearth relevant content and make video shorts based on what’s found for social media distribution; make content recommendations to streaming service subscribers based on their preferences and thereby reduce churn; match ad inventory to content on a contextual basis; and optimize content delivery network traffic (CDN). The list goes on and on.

One GenAI application in particular recently caught my attention. Sinclair, working with generative AI language editing company Deeptune, ran a trial of real-time English-to-Spanish translation of newscasts from four of its stations for distribution via their YouTube channels.

Rafi Mamalian, vice president of the Sinclair Innovation Lab, told me during an in-

terview the station group’s initial intent was to ensure it could reach and warn more people during severe weather events like hurricanes in South Florida.

“Then it dawned on us. There are probably a lot of underserved audiences in a lot of our markets where we could potentially turn on the live broadcast and see if we could expand our audience,” he said.

My ears immediately perked up because I have written in this space before about this sort of thing. Broadcasters will have the opportunity to serve local viewers better, expand their audience and generate more ad revenue thanks to a future marriage of AI language translation and NextGen TV.

According to the U.S. Census Bureau, there are some 68 million people in the United States who speak a language other than English in their homes. While Spanish-language speakers by far outnumber speakers of other foreign languages in the United States, the number of Chinese, Tagalog, Vietnamese and Arabic speakers is significant. For instance, the bureau puts the number of Chinese speakers at nearly 3.5 million.

According to the bureau, about a third of those Chinese-speaking households are designated as “limited English-speaking,” meaning a household where no one over the age of 14 speaks only English or English very well.

In a 3.0 future with support for personalized audio and multiple channels, why wouldn’t a broadcaster in San Francisco, for example, simulcast an AI-generated Chinese-language audio translation of its English-language newscasts?

From where I sit, deploying AI foreign language translation and marrying it up with local newscasts transmitted as 3.0 signals will be a win for viewers, a win for broadcasters and, thanks to helping more people be better informed, a win for society at large.

NAB Asks FCC to Sunset 1.0 by 2030

The NAB has petitioned the Federal Communications Commission to establish dates to shut down the current ATSC 1.0 broadcast standard and switch to NextGen TV/ATSC 3.0 broadcasts.

The petition lays out NAB’s roadmap for the transition from the current standard to ATSC 3.0. It calls for the FCC to approve a Februart 2028 sunset for the top 55 markets and the remaining stations would make the transition by February 2030.

NextGen TV broadcasts cover about 76% of the country and have been used to launch a host of new services, including HDR feeds, Dolby Atmos and interactive services.

But most markets have limited spectrum for the full features of NextGen TV because one station typically broadcasts the 3.0 feed for the other stations in the market. That has made the switchover a particularly important issue for the future of 3.0 because it will free up spectrum for a much wider range of services, including datacasting that could produce significant new revenues.

As part of the transition, the NAB noted that “in addition to setting a timeline [for sunsetting ATSC 1.0], this transition requires updates to outdated rules. NAB is also calling on the FCC to modernize regulations governing television reception devices— ensuring consumers who buy new TVs can continue receiving broadcast programming—and to adjust MVPD carriage rules so that obligations remain fair and unchanged during the transition.”

Those changes include requiring that there be ATSC 3.0 receivers in all TV sets sold by Feb. 2028 in the U.S. and adjusting must-carry rules.

Phil Kurz

Local TV’s Role in Pro Sports Flashes Real Staying Power

How effective are local station groups in attracting fans?

By Fred Dawson

As pro sports teams’ engagements with TV station groups explode into a historic search for a successor to the pay-TV distribution model, they’re generating a wealth of promising options with one overarching question still unanswered: Will they last?

Can any of these efforts generate the robust returns pro sports leagues enjoyed during the golden decades of the regional sports network (RSN) era that came to a crashing halt when Diamond, the biggest player in the field, filed for bankruptcy in early 2023? And, if not, do streaming giants really offer the gold-plated payoff some OTT advocates are touting?

Two years into this grand experiment, the acceleration in deals between station owners, pro teams and their leagues, including engagements prompted by the surging popularity of women’s sports, attests to growing optimism that OTA broadcasters are the key to the way

forward. But as promising as the early results might be, it remains to be seen whether what’s happening translates into what Gray Media president and co-CEO Pat LaPlatney calls “needle-moving revenues” for the station groups, let alone for teams and leagues.

IT’S ALL ABOUT REACH

The good news is, so far, so good on all sides. Noting Gray’s expanding portfolio of alliances with NBA, WNBA, MLB, NHL and other pro sports leagues, LaPlatney asserts the combination of “tons of live sports” and local news offered through Gray’s regional station clusters harkens back to an earlier era in regional broadcast operations. “It’s a really good model,” he says.

And, he adds, it looks like a winning model for the teams as well. “Broader distribution leads to better marketing, better ad sales, selling more tickets and more merch,” he says. “It’s a virtuous cycle.”

Discussions with other station group exec-

utives elicit a similar perspective on what has turned the sports tide in their direction amid the nosedive in subscribers to Diamond’s 18 former Baily RSNs now operating under the FanDuel brand and the many other RSNs still dotting the landscape.

That collapse led to FanDuel exercising its rights to broadcast the games by cutting carriage deals with station groups while retaining control over production, which leaves open the question of how carriage and production will be worked out with the leagues once those deals expire.

“The regional sports network was a great business for decades,” says Scripps Sports president Brian Lawlor in a recently recorded segment from last month’s TV Tech Leadership Summit. “It reached 80% of all the households in a market. Today that number is less than 40 in most markets.”

But Brad Ramsey, senior vice president of media operations for Tegna, who heads up the company’s sports distribution efforts, says it’s not easy for station groups as they make their case for providing better reach to the sports leagues. “While audiences are significantly larger on broadcast and we have fantastic data points and case studies estimating and showing we’re achieving big audience growth,” he says, “it’s going to take time for advertising and sponsorship to catch up and match the way things have been done in recent years.”

NO QUICK FIXES FROM STREAMING

Still, broadcasters can forge ahead knowing there are no quick fixes for the leagues. Looking at MLB’s conundrum following its mutual agreement with ESPN to terminate the final two years of their seven-year contract, legal analyst Rob Rosenberg, founder and principal at Telluride Legal Strategies, cites the risks the league faces trying to fill or exceed the $550-million annual revenue gap with another big distribution deal.

“If you think about it realistically, if MLB is looking for a big payday for putting together a national rights deal in 2028, is Fox CBS, NBC or ABC going to be in a better financial situation than they are today?” Rosenberg asks. And given the volatility and audience fragmentation

Last month, Gray Media announced that it will broadcast 10 selected games from the St. Louis Cardinals MLB franchise on its local stations in the midwest. The new partnership marks the first time a package of Cardinals baseball games will be televised locally on a free and over-the-air channel as part of a non-national broadcast since 2010.

plaguing the streaming business, there are no easy answers on the streaming side either.

“MLB will have to balance getting maximum dollars in a big contract with the need to get the reach they need to regenerate audiences and fans in their local markets,” he says. “It’s not a long-term win if you leave reach out of the equation.”

THE NEW CONSENSUS ON A WAY FORWARD

The consensus now taking hold across the sports ecosystem is that the new business framework will have to be built on a well-conceived mix of local TV, national network broadcasting and streaming with the likelihood the returns on pay TV distribution will continue to slide. “It may take a while for them to phase down and out, but I think RSNs are a dying breed,” Rosenberg says.

HFS Research analyst Jason Dann, in a new report describing how “sports media is scrambling to meet consumer demands,” makes clear where he thinks they should place their bets: “The solution? A hybrid approach. Leaders must balance embracing digital innovation and ensuring accessibility for all audiences.”

Jeremy Goldman, senior director at Emarketer agrees. In another recent post describing research on the sports distribution situation, he says, “The shift to digital viewing represents a pivotal moment in sports media consumption, but the transition poses significant challenges. The fragmentation of rights across multiple platforms creates friction for consumers while driving up costs. Success in this new environment will require balancing traditional broadcast reach with digital innovation.”

Nobody is playing the pro sports broadcast and streaming arena more broadly than Scripps Sports, which has also taken a leading role in bringing women’s pro sports to broadcast (see sidebar). The unit works with the E.W. Scripps portfolio of 61 stations in 41 markets and the national ION broadcast network to provide distribution platforms for sports partners, including the WNBA, the National Women’s Soccer League, the NHL’s Florida Panthers, Vegas Golden Knights and Utah Hockey Club, and the NCAA’s Big Sky Conference.

On the streaming side, along with coordinating with outside streaming services, the company has partnered with sports streamer ViewLift to launch a free streaming outlet providing Panther fans online access to 70 Scripps broadcast games and a pay streaming service in Nevada covering roughly the same number of Golden Knights broadcasts.

“We really like the formula,” Lawlor says, noting the ratings for Scripps’ broadcast of Golden Knights games in the first year of the affiliation were double the previous year and ratings at the halfway mark in the first year with the Panthers are up 130%.

As for any perceived threat from pro teams’ affiliations with the major streaming services, Lawlor believes the broadcast and streaming domains are complementary and are likely to remain that way. “I don’t think it has to be either or,” he says. “It’s all about the visibility.”

STATIONS AND STREAMERS COLLABORATE

And, notes Gray’s LaPlatney, for broadcast

Coming to NAB 2025

Jeremy Goldman

ers it’s all about cooperating with the streamers. “In a lot of our deals, teams do the streaming deal in tandem with what they’re doing with us,” he says.

A particularly close relationship in this vein can be found in Gray’s groundbreaking April 2023 deal with the NBA’s Phoenix Suns and WNBA’s Mercury, which helped kick off pro sports’ teams moves away from RSNs. Along with locking in the Gray affiliations, which ignited statewide OTA broadcasts of all their home games, the teams’ ownership simultaneously signed on with the Kiswe streaming service to supply an AZ Family Sports Network cellphone app that gives residents free statewide online access to the games.

Ratings doubled for the Las Vegas Golden Knights NHL team the first year after Scripps inked a deal to broadcast all locally televised games ratings, the company said.

In September following the Phoenix deal, Gray signed another groundbreaking agreement with the New Orleans Pelicans, which replaced RSN coverage reaching about 250,000 households with free OTA and affiliated MVPD coverage over a new Gulf Coast Sports & Entertainment Network, reaching 4.1 million households on stations throughout Louisiana, much of Mississippi and Mobile, Ala. With stations serving 113 television markets nationwide, Gray is also racking up big successes with the likes of the Atlanta Braves, Texas Rangers and other MLB teams.

A similar story of ongoing expansion in a

HOW TO WIN IN WOMEN’S SPORTS

E.W. Scripps has become a leading outlet for women’s sports by leveraging the ION television broadcast network, affiliated TV stations and ION Plus FAST Channel to deliver large slates of WNBA and the National Women’s Soccer League (NWSL) games free of charge to the entire U.S. population.

Since Scripps contracted with the WNBA in April 2023 to broadcast Friday night twin-bills, game and wrap show viewership has soared with over 23 million viewers during the 2024 season coverage of 43 regular season games, more than doubling the 2023 total. And concluding what Scripps Sports president Brian Lawlor calls “an incredible first season,” the company reported the 50 NWSL games and related studio shows airing on ION reached 20.5 million viewers.

Lawlor could claim prescience with strategic insight that foresaw the ION

variety of dealmaking scenarios is unfolding at Tegna, which operates 64 television stations in 51 U.S. markets. Among a wide range of multisport affiliations described by Ramsey, Tegna is the primary rights holder with the Dallas Mavericks and the Seattle Kraken NHL franchise and has been working with the San Antonio Spurs since late 2023.

The company just agreed to carry most WNBA Dallas Wings games, and recently signed with Kroenke Sports & Entertainment, owner of the NBA’s Denver Nuggets and the NHL’s Avalanche, to carry 20 of each team’s

acquisition setting a world-class stage for women’s sports. But, he says, it was largely a matter of serial serendipity beginning with thoughts about bringing sports on to ION, then realizing the rising popularity of women’s sports called for a less fragmented distribution environment.

Summing up the company’s good fortune, Lawlor says, “I think it’s ‘if you build it, they will come.’ Well, we had it built so that the games were visible and available. And the next thing you know, you get Caitlin Clark and Angel Reese and Cameron Brink, this great freshman class that comes in.”

Now Scripps is hooked. “We believe the women’s sports space is a great place,” Lawlor says. “They’re amazing athletes. They shoot and pass better than the men.” Maybe that’s why men constituted 55% of the ION WNBA viewing audience last year.

games. There are also some OTA “carve outs” involving a handful of Indiana Pacer, Minnesota Timberwolves, and Milwaukee Bucks games, and Tegna is in discussions with five MLB teams weighing OTA partnerships.

One of the more interesting wrinkles in this multifaceted dealmaking quilt is Tegna’s arrangement with Amazon Prime in Seattle. “With Kraken, our linear feed is on Amazon Prime and our sales team is negotiating with advertisers based on how they want to use both the OTA and digital outlets to market their products,” Ramsey says, noting there’s nothing better than a win/win for everyone where teams can create a one-stop shop for marketers to reach all audiences on all screens.

“There are a number of ways linear and streaming can co-exist,” he adds. “In all cases teams are looking at the landscape thinking about how they can make their linear and digital rights complement each other and, at the end of the day, create the best financial outcomes.”

The resurgence in TV stations’ roles in sports broadcasting may just be getting underway, but it’s not too soon to think the hybrid approach to distribution could win out in the long run. ●

Angel Reese #5 drives against Satou Sabally #0 during the fourth quarter of a WNBA game at Wayfair Arena on Jan. 31, 2025 in Medley, Fla.

Standards: The Next Generation

While the roll-out of SMPTE ST 2110 has dominated technical standards discussion in recent years, there are plenty of new developments in the pipeline

By David Davies

The development and adoption of the SMPTE ST 2110 IP standards suite has been so prominent in both broadcast and pro AV that, in truth, the coverage of some other standards projects has sometimes suffered in comparison. So the aim here has been to cast the net as wide as possible and establish an overview of the current technical standards and specification initiatives set to have a major impact on the industry in the future.

Now that the ST 2110 standards are firmly embedded in broadcast and beyond, the organization is working on projects for virtual production (VP) and AI. The SMPTE On-Set Virtual Production (OSVP) initiative is part of SMPTE’s Rapid Industry Solutions program, one of the ambitions of which is “to be an on-ramp to the definition of new SMPTE standards by bringing together experts to determine where interoperability gaps exist that are getting in the way of using new techniques and technologies,” says Jim Helman, CTO MovieLabs and co-lead for OSVP.

At present, the OSVP’s working groups are focused on interoperability in the areas of camera and lens metadata, camera tracking metadata and color, as well as a group concentrated on education. In the interoperability areas, the groups are involved in documenting best practices, and providing metadata specifications and code to support them.

Already, notes Helman, “the interoperability working groups have published metadata specifications for camera and lens metadata and packaged supporting code as camdkit. Additions are underway that define a tracking protocol called OpenTrackIO, which was presented at the SMPTE MTS conference in October, in a version 0.9 form and should soon be in full release. The OpenTrackIO work could also lead to new SMPTE standards, such as carriage on SMPTE ST 2110.”

ADDRESSING AI

Also underway are three new standards concerned with various aspects of AI, including ST 2141 Metadata Generated by LLMs

(large language models), for the definition of metadata fields for LLM-generated context; ST 2142 Embeddings for Metadata: Contextual and Non-Human Readable Fields, which will define the metadata required for embeddings, including generation context and model parameters; and ST 2143 AI Model Metadata and Creation of Centralised Model Registry, which will define a standardized metadata scheme, and develop guidelines for metadata creation and management. SMPTE has also been collaborating with the ETC in a joint Taskforce on AI in Media, the latest report from which is entitled “SMPTE ER 1010:2023.”

Thomas Bause Mason, SMPTE director of standards development, explains: “Although we are still in the early stages of AI adoption, with many individuals

seeking to understand its implications, it is evident that AI will integrate into all facets of media creation, processing and distribution. As with previous major technological advancements, standards from organizations such as SMPTE and other Standards Development Organizations (SDOs) will play a crucial role in facilitating the adoption of interoperable and secure solutions within the media industry.”

Being mindful of the “ethical component” will continue to be a crucial element here: “It is imperative to ensure that AI applications are developed within ethical boundaries to protect consumers from biases, misinformation, and to guarantee equitable access to AI technologies,” Mason added. “Industry-wide frameworks established by standards organizations can Jim Helman

provide environments conducive to the development of ethical AI applications.”

AV1 AND IPMX UPDATES

The high efficiency and versatility of the AV1 video encoding standard generated plenty of headlines pre-Covid, so it seems like a timely moment to check in with the Alliance for Open Media about its current phase of adoption.

According to a spokesperson, “AV1 is becoming increasingly integral to daily life, reducing streaming and storage costs. [For example] approximately 95% of Netflix’s catalogue is encoded with AV1; over 50% of YouTube’s catalog (weighted by watch time) is available in AV1; and more than 70% of Meta Reels (by watch time) on iOS utilize AV1. The widespread adoption of AV1, supported by tens of millions of AV1-enabled Intel CPUs and GPUs, underscores the growing importance of this codec in delivering superior video experiences across platforms.”

Meanwhile, it’s important to note that the roll-out of ST 2110 continues apace—not

least through its manifestation as part of the IPMX standards, which are based on ST 2110 but add features and capabilities to address the specific needs of broadcast and pro AV, such as asynchronous audio and video support that suits AV and live production. At ISE in February, the Alliance for IP Media Solutions (AIMS) highlighted a host of new IPMX-compatible solutions, including an NMOS controller, AES67 speaker, and Danteto-IP adapter.

Andrew Starks, chair of the AIMS marketing work group is also closely involved with the IPMX roadmap, as well as being director of product management at Macnica. Starksconfirms that 2025 will be a big year for IPMX

“In March, the VSF [Video Services Forum] hosted an IPMX testing event focused on key standards, including timing, video and audio. This was the third round of testing for IPMX, but the first using an official test plan designed to serve as the technical framework for validating IPMX equipment. The goal was to finalize the standards documents and

refine the testing process so that by the next event in August, manufacturers will have everything they need to bring IPMX-compliant products to market.”

In particular, he highlights two current documents from the VSF: the IPMX Test Plan, or VSF TP-10-1, which outlines the tests manufacturers need to pass for their products to qualify as IPMX-compliant; and the recently-released VSF TR-10-9, which defines IPMX requirements for system environments and device behaviour, ensuring that IPMX devices interact properly with each other—as well as with ST 2110 and AES67 devices.

“From the outside, it can seem like open standards take forever to develop—especially compared to proprietary technologies,” says Starks. “So we get why some people are eager to see IPMX fully available. But when you consider the amount of testing, documentation and collaboration involved, things are actually moving fast with very few delays. We’re right where we expected to be, and the momentum is strong.”

That last sentiment, it seems, is one that can be applied to many areas of standards development at the moment. ●

Thomas Bause Mason

IReally Big Shows

The audio path from Ed Sullivan to FireAid

remember being glued to the television set every Sunday night to hear Ed Sullivan say “we have a really big show.” Those were really big shows for audio. The stage changes for the Ed Sullivan show were managed from stacks of analog radio and P.A. mixers feeding microphones and audio signals into each other. A musical act, stand-up, puppets, animals, and with Ed in front of a live audience, it sounded pretty good. The crew moved microphones around, made chalk marks on the audio mixer, unplugged and plugged in equipment and prayed that there were no failures or misspatches.

live broadcast music productions from Farm Aid and Live Aid, but help was on the way. By 1987 the audio world saw the commercial release of digital mixing consoles.

INSTANT RECALL

Complex changes in signal flow and processing are easily possible with digital consoles because of the ability to instantly recall a flow or setting. It is hard to imagine any music award show without the luxury of being able to retrieve an entire audio production from a rehearsal or sound check or even the drum sound from the studio.

and each act had a sound check during the couple of days before the event. The “soundcheck” was stored and recalled across four identical DiGiCo mixing desks for the day of the show.

Large-scale commercial audio mixers with more than 48 channels were not available until the early ‘70s and those extra audio channels required more electronics and physical space. Overweight equipment and miles of copper wire were not good for the developmental days of outside broadcast and it cannot be understated that digital technology has made possible the really big audio extravaganza’s like the Super Bowls, music, awards and live performance talent shows.

With the Ed Sullivan Show (aka “Toast of the Town”) there was only one musical act with basic instruments, but the future of big television shows has resoundingly come to mean big musical productions. Possibly 1985 was the year that stretched the analog resources almost to the breaking point with

Shows like Farm Aid and Live Aid had weeks of planning, but a recent music production accomplished a large-scale event with just a few days. The FireAid benefit concert, an event supporting the victims of the recent L.A. fires, had 30 different artists, each with a seven minute change-over goal between acts. There were over 300 audio channels available

Hundreds of audio channels are available in a manageable frame size because of the concept of shared space and the use of virtual layers under a single control surface. For example, a single channel strip with a volume fader and controls for equalization and dynamics could be designed/ programmed to control as many channels below the top surface as the processing power (DSP) would

Audio techs from Firehouse Productions set up DiGiCo desks as well as the JBL VTX V25-II P.A. seen here at the Intuit Dome in advance of FireAid.

DENNIS BAXTER EXPERTISE

allow. This means a top layer of 36 channels doubles to 72 by adding another layer and jumps to 108 with a third layer all contained in the same frame. It is not uncommon to see four- and eight-layers deep for 288 channels. For reference, a 36 fader mixing desk would be about four to five feet wide.

Channel density was a game changer, but to me, one of the most significant contributions from digital mixing consoles to high fidelity sound was that you can insert dynamic range options (compressor/ limiter) into any section of the gain stage. In the ‘80s I worked on a CBS OB van that had three compressor/limiters: basically one for the announcers, one for effects and one for replays. This clearly presented a compromise in settings particularly with three announcers. Current digital technology allows each audio source to have dynamic range controls making for a much smoother sounding show.

HAVE WE PEAKED?

Finally, the utility aspects of digitized audio can not be overstated. What used to take thousands of feet and hundreds of pounds of copper wire now uses a few strands of fiber.

Even though the contribution of digital audio to the audio practitioner is nothing short of a miracle, digital technology significantly reduced the operating cost of a production by reducing the weight to transport and the time needed for pulling cable and engineering setup.

The fastest, most consistent way to a big sound is through electronic manipulation of the audio.

Consider this: Perhaps broadcasting technology has peaked with its complete transformation from analog to digital! Perhaps the future of the big broadcast experience is producing big sounding entertainment and content.

That’s not hard—the fastest, most consistent way to a big sound is through digital

electronic manipulation of the audio. For example, a little reverb, delay and processing goes a long way to creating sonic space and interest. I am all for electronic up-processing of audio, which by the way gained acceptance by broadcasters in the early days of stereo and was used by NBC to enhance the entire stereo production of the 1988 Olympics. Even recently, Fox Sports upconverted/ processed its Super Bowl LIX production to 4K and Dolby Atmos.

Digital audio allows for instantaneous changing and sculpting of the sonic qualities of a sound mix, including dynamic spatialization. Digital technology offers the benefits of a creative audio pallet to create sonic Nirvana—however the generative process.

Spend a little time on the sonic qualities of your mix. A great sounding show gets attention, someone is listening. ●

Dennis Baxter is the author of “A Practical Guide to Television Sound Engineering” and the publication “Immersive Sound Production – A Practical Guide” on Focal Press. He can be reached at dbaxter@dennisbaxtersound.com or at dennisbaxtersound.com

UnCorking AI

Separating fact from fiction about the defining technology of our time

Using Artificial Intelligence (AI) for practical purposes is gradually making it into the mainstream public world, despite the fact that it has been in regular use for many “business & industry” purposes for probably a decade. While the media seems to be adding the term “AI” as the resolute action for many things such as graphics, text creation, false or misleading anything, sadly AI is getting a bad wrap in many circles.

KARL PAULSEN EXPERTISE

This may, indeed, be because AI is so misunderstood—which, frankly, is why my TV Tech colleague John Footen and I created these monthly columns on this rapidly advancing and maturing technology.

This month—in the first of two parts— I’m going to go back to some fundamentals about what it takes to use AI (specifically “generative AI”) by providing some overviews graphically and textually to kickstart “what you need to know about AI” to uncork the genie into practical use and applications. We need to go back a few years and start to interleave other sets of terms to place the bigger picture into a better perspective.

FOR THE FIRST TIME IN FOREVER

For the first time, we can now actually “ask data a question” in human speak/text and get an “original” answer as complete content, returned in human text as speech or as a visual interaction. However, these changes are not without a price—in power, real estate and infrastructure change. Some examples follow.

For perspective, “a single Google search can power a 100W lightbulb for 11 seconds,” says Bill Kleyman, CEO of Apolo, an AI platform and infrastructure

company. When you shift to new AI solutions like ChatGPT, this multiplies by many fold— which means the computer is 600-800x more powerful than Google search, leading to as much as a 600-800-power draw increase. Thus, it takes a lot of data to get AI to function, which is why we hear that the prominent players (Google, Oracle, Amazon, Microsoft, etc.) are building gigantic warehouse-like data centers—the scale of multiple sport stadiums—in areas where megawatts of power are available and land is spacious enough for extended growth well into the future.

BIG DATA

You’ve likely heard the term “big data” for quite some time but only wondered what it really means or how the term is applied. In the early days, not many realized the value and importance of “big data” to the concepts and principles of AI. Even today, the mention of “big data” is not applied much when speaking about AI in the general sense. But without “big data” and its associated corollaries (see the glossary sidebar)—we could not have effective, consistent, believable, and trustworthy AI. AI needs lots of data to train its systems on, which is how large language models leverage massive data collections to build a “model” on which to train the systems. An LLM will be used to generate a “consensus” from which to output an answer, but this takes much more in infrastructure than what we’ve seen in the past.

POWER DENSITY

According to the 2024 AFCOM data center report and presentations “KeyTrends-and-Technologies-ImpactingData-Centers-in-2024-and-Beyond,” based on data from 2021, a datacenter rackhousing “IT-centric” equipment averaged around 7kW per rack; but we have already arrived at average rack densities of 12 kW equipment.

For an AI-complex, that is nowhere near enough power to contain the kinds and types of compute systems that AI demands. According to the report, “the upward trajectory to [will] continue with 20 kW averages likely by 2030.”

LANDSCAPE

The Generative AI (GenAI) application landscape is a moving target, constantly growing and shifting across all industries but specifically in areas relative to: (a) imaging, (b) video; (c) text; (d) research; (e) 3D: mod-

eling/manufacturing and medical; (f) speech: translation; and (g) code: i.e., documentation, web app building, text to SQL (like) databased, actual self-created code-generation. Fig 1 in the sidebar outlines areas where AI is being applied in everything from research to manufacturing to communications.

AI CAPABILITIES

GenAI can be used to alter the “tone” of a segment of content, based on the audience it is to address. In essence, by altering the phrasing and the content, the text, visual details or audio can be adjusted (slanted or enhanced) to fit the audience it is being supplied to. Such alterations may include “setting your voice” i.e., adjusting your generated text to sound. Prompts may include (a) suggest and construct counterarguments, (b) improve the emphasis on a certain section, or (c) to regenerate new text for an audience that has not previously used a new or differing experiential design.

Fig. 2: Example where AI “hallucinated” and added irregular components (addition thumb, in circle right). This was created by a well-known graphics software app that recently added GenAI capabilities, and—in this case—the AI prompt purposely instructed the program to simply “add an additional thumb.”

teractive elements” (Fig. 1), can be used tp automatically generate and create “user-specific” pages that fit the both the sponsor/advertiser objectives and the expected needs of that user. This is an important part of how AI is pushed into modern media.

VISUALIZATION

Web design is one which can be dynamically changed based upon the “user experience” or by leveraging the data secured from previous searches that the web user has looked at or searched for. This is very common on search engines whereby the user is “pushed” into sponsored areas of a document (webpage) that would be attractive to the user and promotional for the advertiser.

Heretofore, this was not possible without GenAI technology, but now features such as “intuitive navigation” or “responsive design” or “visual hierarchy” which include new “in-

Visual hierarchy is a technique whereby graphic elements are resized or adjusted to drive the user’s attention to more important elements on a webpage. By capturing user data from previous searches or by leveraging “big data” from a machine learning process, the tone of the content may be “swayed” to best fit the specific user-type or perspective.

Gen AI is used to make the user “want” to look deeper or find a media element more pleasing—including altering the audio (musical tones, speed, intensity, softness, etc.,) or speeding up or better emphasize the verbal rates of the text or by creating art which is typically desired (or found) by similar users

as a particular type of said art or video content.

This became more emphasized by changes which the original owners of the 007-franchises, whose IP is now owned by Amazon. One of the expected “values” to be created by Amazon will be the use of GenAI technologies to create new stories, new content, and/ or the selection of new talent who will attract more and consistent “Bond-Enthusiasts.” All of this, despite Amazon’s CEO Andy Jassy’s denials that “he does not envision that AI is going to write a Bond movie any time soon.”

GREATER DEPTH

By continuing to improve or elaborate on the content, users may then add more questions or comments to those replies created by the prompts. However, one should be cautious: Users could “overcompensate” the GenAI bot replies with too many follow up inquiries. The results could be what is known as “hallucinations,” whereby the bot begins to make up artificial answers which may go off base in both topic and reaction (see the forced additional element in Fig. 2).

Users will then learn just how far to push the GenAI bot, and where the answer has received enough iteration or depth to “call it quits.” This is one of the areas where researchers are worried that much greater time with AI will be necessary for complete confidence to be achieved.

Watch for the conclusion of this topic in the September issue of TV Tech. ●

CURRENT RESEARCH & PRACTICES EMPLOYING AI:

• Game theory and AI, human behavior, evolutionary dynamics, health data science;

• Biomedical informatics, machine learning, AI for healthcare, medical imaging, digital pathology;

• Video understanding, computer vision, machine learning, multimodal learning, cognitive science;

• Human-AI interaction, computational health, data science, natural language processing, conversational assistants, deep learning;

• Complex systems, machine learning, networks,

computational harmonic analysis;

• Ethical AI; AI and society; large language models (“LLMs”); generative AI (“gen AI bots”); natural language processing; computational social science;

• Graph/data mining, graph neural networks, interpretable machine learning, program understanding and synthesis, and

• 3D point clouds, statistical physics, loss landscape, neuralnetwork weight analysis, information theory, coded computing—diagnosing and mitigating failures in machine learning models.

Fig. 1: Components whereby design uses gen AI to dynamically change specific elements based upon evaluated and models “user experience(s)” relative to findings collected from other webpages (visited by the user) or user search parameter data.

eye on tech | product and services

Sony E-Mount Lens

The 400-800mm F6.3-8 G OSS (SEL400800G), is Sony’s longest-range full-frame E-Mount lens to date, setting a new benchmark in focal length reach for the Sony mirrorless system. The Sony E-Mount lens lineup previously peaked at 600mm, but the 400-800mm F6.3-8 G OSS extends the focal length to 800mm for specialty shooting. The additional reach is especially beneficial for birding, wildlife, aerial, and sports photographers seeking long-range lens capabilities.

Moments Lab MXT-2

The 400-800mm F6.3-8 G OSS is designed to provide exceptional image quality and lens control across the entire ultra telephoto zoom range. Its internal zoom mechanism ensures stable handling, while its advanced optical design delivers creamy bokeh and sharp, detailed images. https://electronics.sony.com/imaging/c/lenses

Interra Systems

Baton 9.2

Baton 9.2 now features enhanced autoscaling, enhanced video quality checks for 4K files, and new support for video quality, such as blank bars check and CIE color gamut check. It accommodates ITU-R BT.1702 2023 PSE video flash guidelines and contains algorithm improvements in QR code, freeze frames, duplicate frames, media offline, blockiness, defective pixels, video dropout, burnt-in text, shot transition, and more. Baton 9.2 also supports Sony 360 Reality Audio, LZW compression in TIFF files, AV1 video format, BW64 audio, 24-bit LPCM audio in an MP4 container, sidecar Dolby Vision metadata files, an integrated Whisper model for audio language identification, and more.

The latest Baton release also features significant installation process improvements for enhanced usability and resilience, www.interrasystems.com

Actus Digital

Actus

X

Actus X, the 10th generation of Actus Digital’s Intelligent Monitoring Platform, includes new capabilities for AI content analysis within Actus AI Media Insight. Actus X features next-generation Quality Assurance (QA) compliance logging with improved access and control over alerts and threshold settings via its browser-based GUI. Alerts can now be categorized into Problems, Errors, Quality of Experience (QoE) and Quality of Service (QoS) issues with dynamically adjusting notification workflows for more precise control and improved Quality Assurance.

Moments Lab’s MXT-2, the latest version of its AI indexing technology is a multimodal and generative AI that understands what’s happening in every moment of a video and describes it like a human, saving creative teams hours of manual searching or scrubbing through videos. Through AI-generated, time-coded metadata, MXT not only enhances video search but can also generate customizable indexing that recognizes specific people, places, and logos and detects relevant moments depending on the content type.

MXT-2 uses a smarter, larger AI model than the previous version and is powered by more carefully curated data points for even more accurate, human-like descriptions. MXT-2 is available on the Moments Lab platform or via its public API. www.momentslab.com

Triveni Digital StreamScope MT-70

StreamScope analyzers troubleshoot and monitor all aspects of MPEG-2/4 transport streams, real-time over all layers, ensuring your DTV services meet the latest performance, compliance, and QoS standards.

The latest model—StreamScope MT-70—eliminates dependence on Java and simplifies compliance with corporate security requirements, offering integrated SCTE-35 logging and Continuous Transport Stream recording to enhance MPEG transport stream troubleshooting. Remote video and audio viewing capabilities simplify ease of use for TV station and cable operator engineering teams. Using StreamScope MT-70, TV providers can ensure that DTV services meet all of the latest performance, compliance and quality-of-service standards. Triveni will also offer a StreamScope XM ATSC 3.0 analyzer option. www.trivenidigital.com/products/streamscope-mpeg-analyzers.php

Evergent AI Monetization Tools

The Actus MV multiviewer now includes reduced latency, expanded data-overlay options, such as SCTE trigger details, Nielsen SID data, and TS analysis. These enhancements complement existing features, such as round-robin channel-cycling and penalty-box reporting. https://actusdigital.com

Evergent has expanded its range of monetization technologies and value-generating AI tools to now include new AI-powered revenue and retention tools including cancel deflection technology, dynamic pricing models for live events, promotion targeting and churn prediction algorithms with 97% accuracy. Features include dynamic bundling and aggregation capabilities, including multi-regional deployments, advanced partner management, and tools to reduce time to market and fuel revenues through new partner services; data-driven customer acquisition and engagement tools to captivate new global audiences, drive renewals, and boost retention through automated, behavior-based campaigns; and comprehensive global payment enhancements to simplify every transaction, offering better rates and support for diverse payment systems while eliminating revenue gaps and optimizing growth.

https://evergent.com

Atomos Shinobi GO

Shinobi GO is a slim, lightweight, high-brightness (1500-nit) 5-inch high dynamic range (HDR) monitor designed for content creators and photographers. It offers some of the same high-quality monitoring tools as its EL ZONE sister product but without camera control, touch-to-focus and other pro monitoring features. Shinobi GO offers professional monitoring features, such as: false color, zebra, histogram, waveform and vectorscope. Shinobi GO can be powered with Sony NP-F type batteries (purchased separately) power or via a USB-C port using a power bank.

eye on tech | product and services

QuickLink StudioPro

QuickLink StudioPro delivers a true-to-life ultra-low latency production experience without the complexity of legacy systems. To complement its existing 12G-SDI and ST 2110 models, the StudioPro product line is now available with 3G-SDI and NDI models, fitting a range of different workflows and applications. These customized StudioPro models create high-quality live video productions with an easy-to-use interface. The StudioPro suite, including StudioPro-NDI, comes officially NDI Certified, guaranteed to connect seamlessly and perform up to the NDI standards of efficiency, interoperability and quality in any setup.

The monitor includes a locking connector adaptor for the HDMI and USB-C ports. When used with Atomos locking cables (purchased separately) it prevents accidental disconnections during shoots. Both Shinobi GO and Shinobi II share the same size sun hood and other accessories. www.atomos.com/explore/shinobi/#shinobi-comparison

Bitcentral Fusion Insights

Fusion Insights is an AI-powered solution designed to enable media production teams to maximize the value of their media assets. As content archives grow exponentially, media professionals face increasing challenges in efficiently locating, repurposing, and monetizing their assets. Fusion Insights solves this problem by applying next-generation AI to streamline discovery, automate metadata generation, and uncover meaningful connections within media repositories.

Key benefits include: AI-powered content ciscovery—automatically surfaces hidden relationships between assets, enabling content teams to quickly find, repurpose, and monetize their media; intelligent search beyond metadata—Fusion Insights analyzes visual, contextual, and narrative connections to deliver highly relevant results; and seamless integration; and workflow optimization—designed to work within existing media production ecosystems, Fusion Insights eliminates time-consuming asset searches, allowing teams to focus on content creation. https://bitcentral.com/core-news/oasis/#fusion

Vubiquity Catalog Intelligence

Catalog Intelligence, an AI-powered solution designed to assist media organizations manage and monetize their content libraries, simplifies traditionally complex and fragmented workflows by unifying disparate data sources, offering actionable insights and leveraging advanced natural language processing to deliver an easy-to-use chat-based user interface. The result is faster decision-making, reduced manual effort and accelerated time to market, empowering media companies to achieve greater efficiency and profitability. It saves teams time by automating readiness-related tasks, allowing them to focus on marketing their content rather than the timely task of determining what’s ready. Catalog Intelligence shortens the timeline from asset assessment to market availability. www.vubiquity.com

QuickLink StudioPro features one-frame delay, which ensures flawless synchronization between stage speakers and large projected screens or video walls for live presentations. StudioPro functions similarly to a video-based Microsoft PowerPoint. Each scene is like a slide, allowing users to add multiple layers, easily switching between scenes. www.quicklink.tv/products/studiopro

NVerzion Web Hybrid Utility

Web Hybrid Utility redefines broadcast automation by seamlessly blending remote accessibility with NVerzion’s on-premise control. As the industry moves toward cloud-based operations and remote workflows, NVerzion’s Web Hybrid Utility provides an intuitive web-based platform that allows users to manage multiple channels, oversee playout automation, schedule events, and handle media assets—all from any location with an internet connection. By eliminating traditional software limitations, the Web Hybrid Utility ensures that broadcasters are no longer confined to on-site workstations. With its secure, browser-based access, broadcasters can adapt, scale, and streamline operations without compromising reliability or security.

www.nverzion.com/nverzion-web-hybrid

Tightrope Media Cablecast v7.9

Cablecast v7.9 delivers a new Bulk Actions feature to make changes to multiple shows at the same time, reducing duplicated effort. For example, users can delete VOD files, assets or metadata associated with selected shows without deleting the actual shows) Users can also use Bulk Action to update metadata, such as show title or producer information, across multiple shows.

It also offers support for video streaming portals that comply with Web Content Accessibility Guidelines (WCAG) recommendations for Americans with Disability Act (ADA) compliance. Designed to make web content more inclusive for people with disabilities, Cablecast’s turnkey video portals offer customizable features that enable accessible streaming of live and on-demand meetings. These features include closed captions, translations, audio descriptions and screen reader-friendly navigation and more. .

https://www.trms.com

Anton/Bauer’s EDEN Keeps Motion Clubhouse Running

Chris Ray Co-founder Motion Clubhouse

ORANGE COUNTY, Calif. — As a filmmaker and co-founder of Motion Clubhouse, I know firsthand the demands of highpaced production environments. Based in Southern California, our agency handles everything from post-production to directing, photography, and full-scale video production. At Motion Clubhouse, we work on some of the biggest podcasts in the world, including Andrew Huberman’s and Andy Galpin’s.

While we don’t do live broadcasting, our work often requires rapid turnaround times that can feel just as urgent as a live event. We’re on the move constantly, working in unpredictable locations, and in those situations, power is everything. That’s why Anton/Bauer’s new EDEN power system has become an essential tool in our workflow.

CHOOSING

EDEN

In the fast-moving world of content creation, you can never take power for granted. We’re often shooting in remote locations, where access to outlets is non-existent, or in high-stakes environments where a power failure could set us back hours. With EDEN, we’ve found a portable, high-capacity solution that allows us to operate at full efficiency no matter where we are.

A real-world example? We were filming a major horse event, and just as we were working on a fast turnaround edit, the entire media tent—housing around 100 people—lost power. We were the

only ones still running, thanks to the EDEN unit. While everyone else scrambled to figure out a solution, we kept working as if nothing had happened. That experience taught us that EDEN wasn’t just a backup plan—it was an essential part of our setup.

Instead of using EDEN only as a safety net, we made it our primary power source. For the rest of that event, we ran everything through the unit. It powered our entire edit station, keeping us operational while the venue’s main power grid was still struggling to recover.

We’ve also relied on EDEN in less extreme but equally critical situations.

Recently, we were working on a series of podcast episodes

when wildfires in Southern California left our studio without power. Instead of delaying production, we set up EDEN to power our podcast mics, lighting rigs, and other essential equipment. The system held up flawlessly, delivering clean power with no audio interference—something we’ve had issues with when using other power solutions in the past. We were able to record for a full week, charging the unit overnight at our hotel.

For a mobile production team like ours, durability is a big deal. We’ve used other power solutions in the past, and they didn’t hold up. Some failed on us after minimal use, with buttons breaking off or power output failing unexpectedly. That’s not a risk

we can afford to take on a professional shoot.

PORTABLE POWER

EDEN is built differently. I keep ours in the back of my truck, alongside my camera gear and skateboard, and it’s taken the beating of daily transport without any issues. It feels solid and well-built, which gives me confidence that it will last.

One of the lesser-known issues with portable power systems is how they interact with sensitive equipment like audio gear. Many brands claim to offer pure sine wave output, but in reality, we’ve seen units cause interference on set, especially when placed near talent. That’s a dealbreaker for us.

With EDEN, we’ve had zero issues. Whether powering studio lights, cameras, or podcast setups, the output is clean and reliable. We even had it placed directly next to talent during a podcast recording, running mics and lighting without any interference.

EDEN has saved us in high-pressure situations and proven its reliability time and again. Whether we’re filming on location, editing in a remote setting, or producing content in a powerless studio, this system delivers. For any production team that needs dependable, mobile power, Anton/Bauer’s EDEN is an absolute game-changer. ●

Chris Ray is a filmmaker and co-founder of Motion Clubhouse, a Southern California-based agency specializing in video production, post-production, directing, and photography. He can be reached at www.motionclubhouse.com and chris@motionclubhouse.com

More information is available at www.antonbauer.com/en.

With the Anton/Bauer EDEN, we’ve found a portable, high-capacity solution that allows us to operate at full efficiency no matter where we are.

equipment guide | camera support/lighting

Autoscript Voice

Autoscript Voice for WinPlus-IP revolutionizes prompting with advanced speech recognition technology. Voice advances the script as the presenter speaks the words, pausing for adlibs and resuming scrolling when they return to the script.

The intelligent control system handles various script and show formats, supports multiple presenters, and understands regional accents.

Using IP technology, Voice handles the complexities of live broadcasting, combining speech recognition and advanced algorithms for a seamless, in-sync experience.

https://autoscript.tv

Litepanels Astra IP Range

Developed from Litepanels’ best-selling Astra bi-color LED panel, the new Astra IP range is tough and water-resistant, delivering intense output in lightweight 1x1, half size and 2x1 fixtures. Built for outdoor reliability, Astra IP features an IP65 rating, protecting it from dust, rain, and humidity. With an integrated power supply, and optional Gold Mount, V-Mount and BP-U battery plates, Astra IP is fast to set up. It offers color-accurate lighting from 2,700K to 6,500K, easily controlled using an LCD display, Bluetooth, or optional DMX connectivity.

Whether lighting interviews, live broadcasts, or studio productions, Astra IP delivers consistent, high-quality lighting for even the toughest assignments. www.litepanels.com

PAG MPL 150

The PAG MPL150 is a 14.8V 10Ah 150Wh battery available in Gold Mount and V-Mount formats and is a versatile tool for powering cameras, accessories and personal devices; no other broadcast camera battery boasts as many output options. It features USB type C for 5V, 9V or 12V accessories, and provides up to 30W; USB-A 5V 2.4A, and D-Tap 12V. In addition, it has a plug-in USB-C PD 36W output unit, which can be swapped for Hirose, Lemo and 2.1-2.5mm DC (available separately). The MPL150 can be linked with other PAG MPL batteries, of any rated capacity, for discharge or charging.

The MPL150 has a robust construction with impact-protection features designed to endure the harshest working conditions. It features a two-year warranty, with no limit on the number of cycles during that period. .

https://paguk.com

Cracker Barrel Studio Renovation Meets Challenges, Stays on Budget with Lupo Lighting

Jimmy Patterson Owner Jimmy Patterson DP

NASHVILLE, Tenn. — Forty years as a DP behind the lens has taught me one thing: not all LED lights are created equal. The broadcast world has been revolutionized by this technology, but sifting through the options has been a challenge.

Navigating the world of LED lighting market requires time and rigorous testing. After a ton of research and side-by-side comparisons, I’ve learned that manufacturers’ claims often differ from the real-world we shoot in. All of us scrutinize the minutia of color accuracy, output, and build quality of whatever lighting gear we’re using.

That was particularly important when Cracker Barrel contacted me with an exciting yet demanding project: to design and implement two different lighting setups in their newly renovated studio space in Lebanon, Tenn. The newly renovated building on their campus needed two sets: a 30x30 green screen and 30x30 white cyclorama.

LIGHTING TWO SETS

The project sounded super exciting, but my first on-site visit revealed two significant challenges that immediately demanded creative solutions. First, the studio had a fixed ceiling height of 11’6”  and ductwork that was over both sets that imposed limitations on light placement, requiring the right fixtures to avoid compromising the smooth even spread of light for the green screen and white cyc.

Second, as is typical in a corporate environment, a fixed

budget was established for the entire project. This meant finding lighting solutions that not only met the technical specs needed for the green screen and white cycloramas but also didn’t break the bank. This project sent me on a journey searching for lighting gear that could keep up with the daily demands of a busy studio.

Earlier in the year, I’d had the chance to demo Lupo’s Super Panel 60 and their Movie Light 300 at Take One Film and Video in Hendersonville, Tenn., and I have to say I was genuinely impressed. What really stood out with the Super Panel 60 was the exceptional color accuracy, especially when it came to flesh tones.

balance of performance and affordability—a true “bang for the buck” scenario.

To be fair, I had similar results with the other brand of lights I’d tested, and honestly, I could’ve used either of them but, when it came down to it, budget was the key factor. After that demo, I was confident I could deliver the quality Cracker Barrel needed, while staying inside the budget.

DAYLED PRO 3000

sculpts the scene.

Jimmy Patterson is a seasoned director of photography and lighting designer based in Nashville, Tenn., with a career spanning over 40 years in video production and 30 years specifically as a DP. He can be reached at jimmypattersondp@gmail.com More information is available at: https://lupo.it/en USER REPORT

For the Cracker Barrel job, I set up a side-by-side test with two other major brands to see how they compared Lupo’s lights. Without going into great detail I found that Lupo’s Super Panel and Movie Light 300s provided a consistent and exceptional

Since wrapping up the Cracker Barrel studio project—a project that truly showcased the capabilities of Lupo’s gear—I’ve made it a point to incorporate their entire lineup into my lighting arsenal. I have to single out the Dayled Pro 3000, though; that light really impressed me with its ability to focus light with the kind of control you’d expect from a classic Fresnel. It’s not just about the intensity; it’s the quality of the beam, the way it

Overall, my experience with Lupo and their products has been nothing short of outstanding. It’s more than just the quality of the lights; it’s the peace of mind knowing you have a company that stands behind their products. Their customer service team has consistently gone above and beyond to assist me, and when I’ve needed technical support, their response time has been remarkably fast. In this industry, where time is money and reliability is paramount, that level of support is invaluable. ●

For the Cracker Barrel job, I set up a side-by-side test with two other major brands to see how they compared Lupo’s lights and selected Lupo.

Redwood Light Relies on BB&S To Light Up KION and KWTV

BEND, Ore. – Redwood Light is a lighting design and integration company with over 20 years of experience utilizing and installing a broad scope of lighting products in both live and produced entertainment applications.

We’ve been working with BB&S products since they first hit the market, installing Area 48s and Force 7 lekos in dozens of studios over the years—often alongside other lighting systems. BB&S has always stood out for its exceptional reliability, consistent high-quality light output, and thoughtful design.

In the past year, we’ve transitioned to outfitting entire studios exclusively with BB&S fixtures, including Reflect Bi-Color lights and Compact Fresnel (CFL) Bi-Colors. These products have been integral to recent installations for Novi City Government, Southwest Airlines, AIG, KION-TV in Monterey, Calif. and KWTV in Oklahoma City— delivering the performance and efficiency our clients need for broadcast and content creation.

LOW-PROFILE DESIGN

The low profile of BB&S fixtures make them perfect for smaller spaces with low overhead grids, while also providing a clean, open aesthetic in larger studios. Their compact size makes them ideal for fitting into tight or unconventional spaces— giving us, as lighting designers, more flexibility and creative options.

We love the beautifully soft,

diffuse light that the BB&S Reflect Bi-Color system delivers—it’s perfect for broadcast environments. Its slim form factor is particularly well-suited for desk lighting, offering superior wrap and coverage compared to traditional 1x1 panels. We frequently use the 4-foot Singles as soft backlights in dynamic areas with multiple talent positions or where talent needs freedom to move, like green screens, touch screen monitors, or interview setups.

The Compact Fresnels (CFLs) measure just 5.5 inches in diameter but pack a punch. They’ve become our go-to for key and backlighting for fixed positions, such as seated desks; and their small size allows for discreet placement in even the trickiest spots.

But what truly sets BB&S apart is how their lights render skin tones. Every time we install Reflect systems, anchors and producers comment on how natural and flattering they look on camera. With high CRI and a color spectrum that complements all skin tones—whether warm or

cool—the results are consistently outstanding.

LIGHTING KWTV

One notable use case is our work with KWTV in Oklahoma City. KWTV’s studio was a large, multipurpose space designed for maximum versatility—requiring multiple camera positions for nearly every set, from the anchor desk to interview and lounge areas. The BB&S Reflect Bi-Color units allowed us to create broad, soft lighting that looked great from every angle. Their even, diffuse output made it easy to maintain a polished look across the entire studio, no matter where the cameras were positioned.

Because the studio used a mix of lighting brands, the superior quality of the BB&S fixtures stood out. Every BB&S light delivered identical color, tone, and quality—ensuring a cohesive, professional appearance across every shot.

Another client of ours, KION-TV in Monterey, had a studio that presented a different challenge with low ceilings and a

more compact layout. The BB&S Reflect fixtures were the perfect solution—keeping the space open and uncluttered while delivering high-quality light. Their slim design allowed us to maximize headroom, making wide shots easier and helping the set feel more spacious on camera.

As always, the exceptional light quality from BB&S impressed both the production team and on-air talent, resulting in a final broadcast image that looked clean, natural, and professional. ●

Erik Rodgers is Redwood Light’s principal designer and co-owner. With over 25 years of industry experience, Erik has honed his skills in live events, film, and broadcast television. In 2014, he joined the Redwood Media group as a freelancer, ultimately taking over as director of lighting operations and founded Redwood Light in 2022. He can be reached at erikrodgers@redwoodlight.com and at www.redwoodlight.com

More information is available at https://brothers-sonsamerica. com

Erik Rodgers Lighting Designer

Redwood Light

We found that the BB&S Reflect fixtures were the perfect solution for the challenges of lighting the KION-TV’s studio with low ceilings and a compact layout.

equipment guide | camera support/lighting & batteries

Game-Changing Stability: My Experience with the Vinten Versine 36

Steve Cole Owner

The Sailing Cameraman

IPSWICH, England — As a freelance sports camera operator, I’ve worked on everything from the FA Cup to motorsports, tennis, netball, the Olympics, and horse racing. No two shoots are ever the same, and each brings its own set of challenges. That’s why when I was introduced to the Vinten Versine 360, I was both excited and intrigued. Vinten has long been the leading name in our industry, and when I was invited to test out the Versine 360, I knew it was going to be something special.

One thing that stood out to me immediately was how much thought had gone into the design. Vinten didn’t just release a new tripod head; they made something better. They listened to operators like me—people on the ground who deal with real-world problems daily. The result? A system that not only improves my setup but also enhances my ability to capture the action with precision and ease.

DESIGNED FOR USERS

From the first time I set up a camera on the Versine 360, I noticed the difference. Its adaptability is one of its biggest strengths—working across multiple venues means encountering different gantries, tight spaces, and unique mounting requirements. The ability to quickly change between a 150mm bowl and flat base or even 100mm bowl has made my life so much easier.

The multistandard bowl system eliminates the need for

multiple heads and gives me the flexibility to adapt to any shoot, whether it’s a tight football gantry, a horse racing event, or a motorsport setup. There’s no scrambling for adapters or struggling with incompatible gear—it just works.

In live sports, reaction time is everything. Whether it’s a sudden sprint down the pitch in football, a crash in motorsport, or an unexpected fall in horse racing, I need to be able to move quickly and smoothly. With other systems, there’s often a slight delay or a jerk at the start of a pan, but with the Versine 360, it’s like the head anticipates my movement. I can follow a player, horse, or car seamlessly without that initial stiffness or hesitation.

A great example of this happened at Gillingham’s football stadium—a venue with an extremely challenging gantry setup. There, I had to mount my camera on a railing using a Hague clamp system. Without the Versine 360’s ability to adapt to different mounting standards,

I wouldn’t have been able to secure my setup properly. That day, it genuinely saved the shoot. The multistandard bowl meant I could make the switch seamlessly, ensuring I could get the shot without delays.

COMPACT BUT STRONG

I’ve had the opportunity to use the Versine 360 across various sporting events, from EFL football matches to horse racing. No matter what camera setup I throw at it—from OB-style sports cameras with heavy lenses to my Fujinon UA24—it handles everything effortlessly.

The increased payload capacity is another remarkable achievement. Despite being in a smaller, more compact form, it can take on even heavier setups with ease. In an industry where efficiency, precision, and adaptability are paramount, the Versine 360 has set a new benchmark.

Vinten’s commitment to real-world operator feedback is evident in every detail of the Versine 360. They didn’t just de-

sign a product—they engineered a solution that improves the daily lives of camera operators like me. Whether it’s the perfect balance, the superior TF drag, or the sheer adaptability, this system allows me to focus on capturing the best possible shots without worrying about my gear holding me back.

It’s rare that a piece of equipment changes the game for sports broadcasting, but the Versine 360 has done exactly that. I can’t imagine going back to anything else. ●

For more than 14 years Steve Cole has been enjoying life in live broadcast; he covers music festivals and large concerts, FIFA World Cup, Premier League and Championship Football, Olympic and Wimbledon, and other sports for such companies as NEP, Gravity Media, Cloudbass, ITV, BBC, and Sky Sports. He can be reached at steve@thesailingcameraman. com and www.thesailingcameraman.com.

More information is available at www.vinten.com

With the Versine 360, it’s like the head anticipates my movement. I can follow a player, horse, or car seamlessly without that initial stiffness or hesitation.

equipment guide | camera support/lighting

Ease of Use and Interoperability Make CueScript a Perfect Fit at UTA

USER

REPORT

Julian Rodriguez Broadcast Journalism Specialist University of Texas at Arlington

ARLINGTON, Texas – The University of Texas at Arlington is a prestigious research, teaching, and public service institution whose mission is the advancement of knowledge and the pursuit of excellence. Our 41,000 students engage in in-person and online coursework supported by real-world experiences throughout our academic, internship and research programs. The Department of Communication at UTA offers a broadcast major where students learn to craft stories that engage and inform.

I’m not only an alumnus of UTA, having earned a master’s degree in communication and media studies, I also joined the

faculty in 2008. I have since been developing a bilingual broadcast journalism program that, to this day, has a 100% graduation and job placement rate. I work with Hispanic students under the umbrella of the Hispanic Media Initiative (HMI), a program focusing exclusively on the advancement of Hispanic media Education, journalism, and research.

As a broadcast specialist in the department, I enjoy researching new and emerging media technologies that affect journalism and content-driven industries. My responsibilities at UTA include teaching TV production, broadcast news, and I make recommendations to ensure our state-of-the-art broadcast environments mirror workflows and systems used by the media industry.

NEWS PRODUCTION

Our television studio is used

to produce Arlington Sentinel News (ASN) and Arlington Sentinel News en Español (ASNE). Given that we work closely with the NBC, Telemundo, Univision, and CBS 11 stations in the Dallas-Fort Worth market, we can’t compromise on the quality of our content and production equipment. We also produce corporate, sports, and entertainment shows, all of which use CueScript for teleprompting as part of our control room converged spaces.

Our studio is powered by Ross Video live production technologies; our Ross Inception News content management system works in concert with CueScript to teleprompt rundowns and bring stories to life. Given CueScript’s ease of integration, students don’t have to worry about how to send content to the teleprompter as it automatically and seamlessly syncs content in real time.

We discovered CueScript in 2014 through a strong recommendation from our systems integrator, Digital Resources Incorporated (DRI). We were looking for a robust prompting system that could be synced and operated directly with Inception News from a dedicated production station. CueScript fit the bill perfectly on both counts.

We focused on having a system that seamlessly

integrates with Inception News. We’re able to simply add it to the workflow through IP and content is pushed directly to CueScript. Operationally, one of my favorite features is the prompter’s peripheral wheel, which gives the student control over prompting speed and story lines. This is only amplified by the user-friendly graphic interface.

PLUG & PLAY

Training was minimal—it mainly consisted of configuring the prompter to the operators’ preferences, such as color, aspect ratio, and use of peripherals. The interface made it so straightforward, like plug-and-play or set-it-and-forget-it. It’s a very simple and reliable product. CueScript has everything ready to go. CueScript is known for their service, and they don’t disappoint. They are consistent and they give us the confidence we need to focus on other projects that require more time and attention. The overall experience has been very positive, and we intend to expand the system going forward.

We’re considering including CueScript pedals and handheld devices, and we’re also looking into SayiT, their voice-activated feature that scrolls text in synchronization with speech, both in English and Spanish. ●

Julian Rodriguez is the recipient of numerous awards and honors including a National Emmy Nomination from the National Academy of Television Arts and Sciences in 2024, and The President’s Volunteer Service Award, Bronze Medallion, AmeriCorps: Presidential Recognition. He can be reached at julian.rodriguez@uta.edu

More information is available at www.cuescript.tv

Wide+Close x ARRI Equals Live Cinematic Multicam for Streaming

USER REPORT

Kenny Stoff Live Cinema Director Wide+Close

LOS ANGELES — I founded Wide+Close with my partner and Eastside Camera Rental Owner, Ryley Fogg, in 2019 after successfully integrating ARRI Cinema cameras with DTS fiber conversion systems into a traditional TV broadcast infrastructure. At the time, it was cutting-edge technology—risky but groundbreaking.

Ryley and I have collaborated on documentary, commercial, and live music projects for over a decade. After numerous music documentaries and live performances, we decided to bring our approach for Live-to-Tape productions into the Live-Live space.

Thus, Wide+Close was born, with the philosophy that there is a better way to visualize live performances. We reimagined livestream production, moving beyond a coverage-based approach to an artistic, cinematic interpretation of music based on look and feel. Image quality, color, and composition are our guiding principles. We call this approach “Live Cinema.”

LIVE CINEMA WITH ARRI

Live Cinema merges the talent, tools, and techniques of the filmmaking world and integrates them into a streaming pipeline. We believe Live Cinema bridges the gap between being at a concert and watching from home. But it requires a complete shift in thinking.

We chose ARRI because it is the gold standard in film imaging. Coachella has been our test-

ing ground, allowing us to refine our approach and fully harness ARRI camera, lens, and stabilization systems.

The biggest shift for us is that technology is no longer an obstacle but a facilitator. Each year, we have implemented new advancements: wireless technology, real-time live color grading, and IP-connected multicamera workflows. This evolution has allowed us to focus entirely on elevating the creative aspect

and cinema.

Over the years, we have upgraded our live truck to keep up with the increasing scale and complexity of live productions. Initially, we started with two stacked 40x40 routers, then upgraded to two stacked 80x80, and now, we are running two stacked 120x120 routers, giving us 240 I/O capable of handling two stages and up to 40 cameras. This upgrade allows us to support large-scale productions

rather than making the technology function.

What once felt like an uneasy handshake between cinema and broadcast has now become seamless. Traditional broadcast elements like graphics, transmission, and encoding have been integrated smoothly into our cinematic live workflow. Our custom-built truck is no longer just a broadcast vehicle—it’s a creative hub designed for live music

with artists who demand up to 24 cameras per performance.

ALEXA 35 SYSTEM

For 2025, we are integrating ARRI’s latest and greatest ALEXA 35 system into Coachella’s main stage. Using the ALEXA 35 system, ARRI TRINITY and ARRI Signature Zooms and Primes, we have made a significant leap in dynamic range and highlight retention, surpassing even the

Sony Venice. The ALEXA 35 brings an unmatched cinematic feel, perfectly replicating the organic texture of film. We are also expanding our stabilized remote systems, including TRINITY and SRH-360 EVOs.

We’re particularly excited about the dynamic range improvements, especially in highlight retention. The ALEXA 35 doesn’t just avoid clipping; it retains detail in the brightest areas better than any camera we’ve ever used—ARRIs maintain a smoother highlight roll-off.

We can now craft bespoke images at the highest level, rivaling high-end feature films or even the likes of major half-time shows. The seamless integration of our workflow allows us to concentrate on what matters most: the art of the live show.

What excites me most about our 2025 setup is that we are no longer constrained by technology. The entire field is now connected via IP, allowing us to communicate with every single camera system and make real-time creative changes to the look of a show.

We are no longer just adjusting iris and exposure; we are live color grading and crafting images in real time, at a level that matches the biggest productions in cinema.

This hybrid model blends the best of broadcast and film, with a seamless workflow that allows directors and artists to focus solely on creativity. ●

Kenny Stoff is the “Live Cinema Director” for YouTube’s Coachella Livestream and co-founder of Wide+Close. He can be reached at kenny@wide-close.com and at www.wide-close.com

More information is available at www.arri.com/en.

ARRI camera, lens, and stabilization systems, including TRINITY and SRH360 EVOs, play a central role in our “Live Cinema” approach to live music streaming productions.

PrimeTime Lighting Niagara

American broadcast studio lighting manufacturer, PrimeTime Lighting Systems, has launched its Niagara series, a bold, cascading light for cyclorama walls and green screen for broadcast productions, news stations and streaming video studios. The Niagara presents a downward wash of high-indexing light.

Niagara cyc wall lights are distinctively engineered lighting instruments— Niagara 40’s can be spaced 8-10 ft. apart for an even wash top to bottom and side to side. The light stays close to the wall, allowing talent to be lit separately. PrimeTime builds a longer-lasting professional-grade LED studio light with a five-year warranty. Lights are developed with the highest engineering standards and are built to last. Constructed with 100% passive cooling enhances the longevity of its complete line of studio lights. Niagara lights are built to order in Dallas, with materials primarily sourced in the U.S. https://primetimelighting.com

ENCO VDESK Multi-Camera PTZ & PTX Production System

ENCO’s VDESK Integrated PTZ & PTX Production System is a multifunctional solution for multicamera switching, recording, and streaming—all with intuitive robotic camera control that a single operator can manage with ease and simplicity.

Featuring automated camera control, VDESK lets users seamlessly switch between multiple PTZ cameras, including the RUSHWORKS PTX Model 3 PRO pan/tilt head. It supports 4, 8, or 12 SDI, HDMI, or NDI inputs and outputs, includes a 24-inch touchscreen, and offers two UIs for customized operation. With VDESK, you can run your production wirelessly with an iPad, Android, or Windows tablet, or enhance hands-on control with the VDX T-Bar Control Surface for quick access to transitions, PiP, and Chroma key effects. www.enco.com/products/rushworks/home

Cartoni e-Master 30

Cartoni’s e-Master 30 is designed to be the ultimate encoded fluid head for a wide range of broadcast applications with a payload capacity from 3 kg (7 lbs) to 40 kg (88 lbs). The Cartoni encoded heads for VR and AR applications are equipped with 4 Million Count/Revolution absolute encoders for both Pan and Tilt. There is no need for calibration.

Cartoni encoded heads are designed to be used with the Cartoni Virtual Box (ordered separately), but their extreme flexibility allows them to be easily integrated into any system, by connecting directly to the encoder via the Lemo connectors on the panel.

The e-Master 30 patented counterbalance and the patented Cartoni “Planetary” fluid mechanism make the Master 30 the ideal support for todays’ sophisticated 4k EFP, Studio and OB applications. www.cartoni.com

Frezzi Pocket Light LED Light Kit for the DJI Osmo Pocket 3 Camera

The DJI Osmo Pocket 3 is rapidly gaining popularity among TV stations and new networks for its high-quality and efficiency in capturing quick stand-ups and footage in tight spaces. However, its compact design lacks a builtin solution for mounting professional video lights for lowlight and challenging lighting situations.

The Frezzi Pocket Light Kit addresses this with a pro fessional LED with quick-release magnetic mount, providing a seamless and efficient lighting solution for the DJI Osmo Pocket 3. The mount supports seamless transitions between front-facing and selfie-mode filming, making it perfect for dynamic shooting environments. .

www.frezzi.com

Miller. SFX 9 Fluid Head

The 1152 SFX 9 provides users with precise pan and tilt coordinates through separate outputs, featuring high-resolution digital coordinate outputs of pan and tilt positions. With no resolution lag when changing pan/tilt direction, it ensures seamless transitions. The pan resolution of 2.1 million counts per 360° and tilt resolution of 1.05 million counts per 360° guarantee accuracy and detail in every movement.

Designed to accommodate a wide range of cameras, lenses, and accessories required by ENG, EFP, Studio, and Field OB setups, the SFX 9 boasts a robust design and construction for maximum stability, accuracy, and durability. It features a precision ball bearing-mounted fluid drag plate system in the pan and tilt assembly, ensuring true fluid drag performance across various temperatures and payload ranges.

www.millertripods.com

Beverly Hills Aerials Elevates Video Production with DJI’s Inspire 3 Drone

USER REPORT

USER

Michael Izquierdo Chief Drone Pilot & Founder Beverly Hills Aerials

LOS ANGELES — Thirteen years ago, I set off to turn my dual-fascination with flying drones and filmmaking into a career. But as I started to fully explore the potential of this idea, the FAA started doubling down on regulations surrounding drone use, including making it mandatory to possess a “333 exemption” for commercial drone operation—which requires a full pilot’s license.

Unwilling to give up on my ultimate dream, I began flying for about a dozen drone companies a little over a year later. What I learned from that experience, combined with my own creative thinking for close proximity flying, led to what today is Beverly Hills Aerials—where we push the boundaries of aerial cinematography through innovation, efficiency and our unique talent.

When it comes to the cinema drones themselves, DJI has always been our preferred manufacturer. The brand not only provides reliable and accessible products, but each generation of their Inspire series drone includes substantial upgrades to the camera quality, sensors, and features that improve our workflow efficiency.

My experience with DJI dates all the way back to the first generation of DJI’s Phantom drone— the Phantom 1. These drones have played a substantial role in my journey to becoming Beverly Hills Aerials’ Chief Pilot, along with developing our business and our filmmaking practices

and processes today. Our company has truly grown with DJI as they release new and improved cinema drones.

DJI INSPIRE 3

We use DJI’s latest iteration, the Inspire 3, for production most often right now—it’s both the most capable and versatile drone here at Beverly Hills Aerials. One of the most important upgrades of the DJI Inspire 3 for us is its camera sensors. With nine visual sensors, it provides a robust omnidirectional sensing system and comprehensive protection for flying.

Additionally, the DJI Inspire 3’s dual native ISO is extremely helpful for filming during the night or in darker settings. It

allows our footage to be sharper than before, making for really beautiful low-light video. Its custom lens adapters also make it compatible with several lenses for different landscapes and conditions to capture a variety of settings.

The drone’s larger field of view is also particularly helpful for filmmaking, as it lets the pilot get closer to the subject, allowing for increased precision and confidence. The DJI Inspire 3’s O3 Pro video transmission system also lets the drone fly further without losing signal, getting shots we haven’t been able to before like unique air-toground clips. The drone is also compact and we can travel with it in a single case—ideal for when

we have jobs outside of the Los Angeles area.

The DJI Inspire 3 has been instrumental when a smaller footprint matters for flying through tight spaces, around talent or when there are multiple location changes. For example, it’s been particularly useful when shooting content centered around automotives, and we’ve used it to produce several car commercials, including for Audi.

SPIDER-MAN NOIR

When filming longer-form productions including TV series and movies, the DJI Inspire 3 remains a top choice for us—you just can’t beat it. In fact, we use DJI’s Inspire 3 in nearly every TV show we shoot, including recently for Sony’s “Spider-Man Noir” and “9-1-1.”

Perhaps our most exciting use of the DJI Inspire 3 has been for the production of “Happy Gilmore 2”, which is set to release this year. We used it filming for the movie last fall, and its adaptability and ability to travel well made it a great choice for the New Jersey-based set.

DJI drones have truly been a game-changer throughout my journey and allowed me to bring my visions to life through exceptional footage. Due to their versatility and advanced features, they’ve been a dependable choice and will continue to be a key asset for us. ●

Michael Izquierdo is the chief drone pilot and founder of Beverly Hills Aerials, where he blends his lifelong passion for aviation with cutting-edge drone technology. He has won three Emmys and can be reached at michael@beverlyhillsaerials.com. More information is available at www.dji.com

The drone we use for production most often right now is DJI’s Inspire 3, which is the most capable and versatile drone we have at Beverly Hills Aerials.

people on the move

For possible inclusion, send information to tvtech@futurenet.com with People News in the subject line.

GREGORY COX TMT Insights

After nearly 15 years at the helm of the NCTA, Michael K. Powell plans to retire later this year from the cable industry-backed group. During his tenure, Powell strengthened NCTA’s role in shaping public policy and guiding the broadband and entertainment industries through rapid transformation. Under his leadership, NCTA championed policies that expanded broadband access, encouraged technological innovation, and advanced a competitive digital marketplace. Powell is the former chairman of the FCC.

BENJAMIN DESBOIS

Telestream

Telestream has appointed Benjamin Desbois its new Chief Growth and Strategy Officer. Desbois comes to Telestream after serving as chief operating officer for Backlight, a provider of media production and analysis software. Before leaving Telstream as its Chief Revenue Officer in 2023, Debois had also held leadership roles at Avid Technology, and Dalet. Desbois’ addition marks a continued retooling of Telestream’s leadership team after founder Dan Castles returned as its CEO in 2024.

NPAW has appointed industry veteran Gary Hunsberger GM for the U.S. Hunsberger has more than 30 years of experience at major tech firms, including AWS and Bitmovin, during which he has acquired a rich background in streaming video data and intelligence. “Gary’s acumen, leadership, and extensive experience within the video and media sectors make him an invaluable addition to our team. His experience and knowledge adds to the strength of NPAW,” said NPAW CEO Ferran Gutierrez.

TONY LAMERATO EW Scripps

E.W. Scripps Company has tapped veteran sales executive Tony Lamerato to lead all revenue strategy and business development efforts across Scripps’ more than 60 local television stations as vice president of local media sales. Lamerato joined Scripps in 2016 and most recently served as VP of sports revenue and sponsorships, where he led the revenue and sponsorship strategy for Scripps Sports, helping to model and value sports rights and advertising opportunities for Scripps’ local sports partnerships.

Fox has named Pete Distad CEO of the company’s recently announced Fox direct-to-consumer streaming platform. Distad, who served as an executive at Apple for a decade following six years at Hulu, comes to Fox from his most recent role as CEO of Venu Sports, which was shut down earlier this year by its joint venture partners, Fox, Disney and Warner Bros. Discovery. Distad will report to Paul Cheesbrough, CEO of Tubi Media Group, and will assume oversight of all aspects of the upcoming platform.

KERN DANT

Standard Media Group

Standard Media Group LLC has appointed Kern Dant to the newly created role of Chief Revenue Officer. Dant will oversee sales and revenue growth strategies across Standard Media’s local broadcast, connected TV, and digital media portfolios. Dant is currently GM of KLKN, the Lincoln, Neb. ABC affiliate for the station group and will continue as GM until a successor is named. Dant previously led KLKNTV’s operations, sales, and community engagement efforts since joining Standard Media in 2019.

TMT Insights has appointed Gregory Cox VP of Sales and Business Development for the Americas. He will be responsible for the growth and expansion of TMT’s footprint across the Americas as well as focusing on providing strategic guidance and innovative solutions to TMT’s clients. Cox has over 20 years of experience in Media & Entertainment, working with top clients across studios, broadcasting, streaming platforms and technology companies, including Deluxe, Codemill and ThinkAnalytics.

Spectrum Business

Charter Communication’s Spectrum operating brand has promoted Keith Dardis to EVP, Spectrum Business, the company’s new business operation that combined Charter’s legacy SMB and Enterprise groups and serves commercial customers of all sizes, from local small businesses to mid-market and large-scale companies. Dardis will oversee all sales and business operations, including customer service, product, human resources and business planning for Spectrum Business.

PETE DISTAD Fox

GARY HUNSBERGER NPAW

MICHAEL POWELL NCTA

KEITH DARDIS