2023 NAB Show Daily News - DAY1

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BREAKTHROUGHS AND DEVELOPMENTS

Honoring the Convention’s Historic Legacy

Dear NAB Show Community,

As president and CEO of the National Association of Broadcasters (NAB), it is my honor to welcome you to Las Vegas as we mark a historic milestone — the centennial celebration of the very first NAB Show!

In 1923, almost two dozen representatives from 16 broadcast radio stations gathered in New York City for what would become an annual convention. Even in those early days of broadcasting, these attendees knew the importance of exploring new innovations and ideas, networking with peers and industry leaders and taking proactive steps to keep content relevant to audiences.

It would be an understatement to say NAB Show has grown significantly since that first meeting. This year, tens of thousands of media, entertainment and technology professionals from across the globe have flocked to Las Vegas to discover the latest breakthroughs and developments not just in broadcasting, but in the worlds of film, gaming, podcasting, streaming, satellite and more.

Curtis LeGeyt NAB President and CEO

More than 1,000 exhibitors — including 140+ first-time companies — are on-hand showcasing state-of-the-art equipment and groundbreaking products that are transforming media and entertainment. Through our conference sessions and networking opportunities, attendees will gain insight into the storytelling skills needed for today and tomorrow and forge connections that will change how our community creates, distributes and monetizes content. In addition, I hope you join us as we celebrate 100 years of innovation at NAB Show with plenty of parties, special events and activities.

We are continuing to reimagine NAB Show around four main pillars of the content lifecycle: Create, Connect, Capitalize and Intelligent Content. This puts attendees in the driver’s seat, allowing for better connections between buyers and sellers, aspiring storytellers and thought leaders, students and experts and like-minded professionals working in overlapping mediums.

We invite you to continue these conversations with your friends, peers and mentors on NAB Amplify once NAB Show concludes. This digital platform offers a year-round forum to discover emerging products and innovations, hear from the creative minds behind the most-buzzed-about content and learn new skills.

Throughout 2023, we are also celebrating the 100th anniversary of the founding of NAB as the leading advocate for America’s radio and television broadcasters. From the dawn of AM radio and the first television transmissions to today’s embrace of multiplatform delivery by radio and the ongoing transition to NextGen TV, NAB has worked to ensure our industry is able to evolve, innovate and grow in service to our millions of listeners and viewers.

Every day, NAB is focused on moving the needle on the issues shaping the future of broadcasting. Defending local journalism against the massive market power of our competitors, standing up for policies protecting a free and open press, working towards greater diversity of our workforce and ownership ranks and advocating for a bright future for broadcasters are just a few of our priorities in Washington, D.C. The incredible work of our NAB team is made even stronger by the grassroots support of broadcasters throughout our industry — from small markets to large, corporate executives to boots-on-theground journalists, national networks to mom-and-pop stations.

I am tremendously proud of the work of our NAB team on behalf of broadcasting and in creating an exceptional NAB Show this year that honors the convention’s historic legacy. I wish you all the best as you take full advantage of what the 2023 NAB Show has to offer while we set our eyes on the next 100 years.

Sincerely,

Curtis LeGeyt President and CEO

The Pulse of NAB Show

MISS RIGHT HERE — BREAKING NEWS, INDUSTRY TRENDS,

AT THE 2023 NAB SHOW.

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& Entertainment Brands Carmel King

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Contributors Susan Ashworth, Jim Beaugez, Tom Butts, Mark Hallinger, Steve Harvey, Craig Johnston, Paul Kaminski, Elle Kehres, Bob Kovacs, Phil Kurz, Jon Lafayette, Mike Malone, Deborah D. McAdams, David McGee, Paul J. McLane, Addie Morfoot, James E. O’Neal, Dustin Steiner, Randy Stine, Peter Suciu, George Winslow

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John Staley Photography & Phototechnik International

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Managing Design Director Nicole Cobban

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SVP Wealth, B2B and Events Sarah Rees

Head of Production US & UK Mark Constance

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SHOW OVERVIEW TECH INNOVATION

NAB Show — A Reflection of Change and a ‘Catalyst for Changes to Come’

The media and entertainment industry gathers as NAB Show turns 100

By Susan Ashworth TV TECH

As the media and entertainment community comes together to celebrate the NAB Show centennial, it does so around a set of curated

content pillars that not only reflect how the industry works but will also serve to help attendees better discover what is relevant to them — whether they are broadcasters, screenwriters, advertisers, streamers, producers or filmmakers.

Those pillars, which were unveiled at last year’s show, known as Create, Connect and Capitalize, work in conjunction with the fourth pillar — Intelligent Content — all of which represent the entirety of the industry’s content,

business and data lifecycle.

“The Intelligent Content area is also back and it’s all about data and the enormous influence it is having across the content creation and distribution chain,” said Chris Brown, NAB executive vice president and managing director, Global Connections and Events. Exhibitors include Amagi, Amazon Web Services, MediaKind, Microsoft, Telestream and Veritone.

INDUSTRY EVOLUTION

And just as it did a century ago, the convention mirrors the ongoing evolution of the media and entertainment industry. For industries such as TV, radio, streaming or film, this means a transformation of priorities across all levels of business operations, each designed to improve operations by reducing media chain costs and spurring innovation.

At this year’s show, that approach will be refined by shuffling locations so that categories are linked, and the show’s set of Experiential Zones are expanded — those zones that are intended to be focal points for each major area within the show.

“The zones provide focus by examining the pillars from three perspectives — one for inspiration, one for innovation and one

focused on implementation,” said Brown.

These are areas where attendees can take in free learning sessions, see technology briefings and demonstrations, meet with startups and network both informally and more formally with a series of open, peer-to-peer roundtables.

GROWING TRENDS

One focus at the show is the way that tools, traditionally leveraged exclusively for high-end cinema production, are now finding adoption with content creators across broadcast, enterprise and more creative communities. This is a focus of the new CineCentral area on the show floor. That area, located in the Central Hall, will feature workshops by the Society of Camera Operators, the International Cinematographers Guild Local 600 and a 16MM film loading workshop by KODAK.

Another spotlight is on the future of streaming. The show will center dialogue around everything from business models to content development to user and tech interfaces in areas such as the Streaming Summit conference, the OTT Demo Area, on-floor engagement and demonstrations of the FAST free streaming channel trend and its impact on the overall streaming and wider broadcast industry.

“It is a multiplatform world going-forward,” said Josh Stinehour, principal analyst of the market research firm Devoncroft Partners.

The show will also explore virtualization and the cloud. “I believe virtualization, generally, and cloud, specifically, are the salvation of the media technology sector,” Stinehour said, calling it a “once-in-a-career, fundamental transition.”

Other key technologies on display include workflow automation software, live IP video delivery, new remote production tools, advances in VFX technology via game engine technology and NextGen TV. When it comes to live events, 5G production techniques is another growth area, and when

combined with cloud workflows, it borders on revolutionary in terms of how the industry can source, produce and publish their content, NAB’s Brown said.

There is a lot of buzz about the Metaverse, Web3, AI and data-driven personalization. New immersive content experiences are also imminent, from pure AR/VR or mixed-reality variations to the full-blown promise of new digital worlds with users as the central character.

“Generative AI is certainly also ‘generating’ — pardon the pun — lots of attention these days,” said Brown. “As this technology is improved over the next few years, it has great promise for creating

efficiencies across various sides of the media workflow. You will see this topic addressed in several places within our formal programming.

“In general, it feels like the industry is on the doorstep of taking major strides toward delivering on truly immersive entertainment,” Brown said.

DEDICATED AREA

NAB Show is introducing the Broadcast District, an area dedicated to radio and TV broadcasting. It will feature educational sessions, networking and special events, and include conference sessions focused on radio and television.

Above all, this year’s NAB

Show is highlighting trends that impact the media marketplace as well as spotlighting new programs and services that deliver substantial direct value to the content creation community.

“This centennial year is more important than ever as it provides the perfect opportunity to celebrate how far we’ve come as an industry, but more importantly, where we are headed,” said Brown.

“Think about how far the industry has come in that time, from a strictly audio medium to the introduction of moving images to the dawn of film, TV, cable, satellite, streaming — and all the amazing technology that has driven those incredible advances,” he said. “NAB Show has both been a reflection of those changes and a catalyst for changes to come. This is a fantastic industry, built by generations of great and passionate storytellers, technicians and businesspeople. NAB Show is the industry’s showcase, its innovation launching pad, a celebration of the creative spirit and a homecoming for so many. You can experience it, but sometimes I am not sure you can fully explain it — there is magic in what happens at NAB Show.” l

In general, it feels like the industry is on the doorstep of taking major strides toward delivering on truly immersive entertainment.”

CHRIS BROWN

NAB EXECUTIVE VICE PRESIDENT AND MANAGING DIRECTOR, GLOBAL CONNECTIONS AND EVENTS

ON THE MAIN STAGE

A Case Study: Color and Finishing in the Cloud

Today | 12:45–1:30 p.m.

Jesse Kobayashi, VFX producer on “The Lord of the Rings: The Rings of Power,” will showcase how Blackmagic Design, Company 3 and AWS collaborated to create an entirely cloud-based infrastructure for conform, color-grading and delivery on one of the largest television shows in history and how these learnings and values are leading to new use cases and opportunities for productions across the industry.

The session will detail this collaboration and explore how learnings and values from the production are leading to new use cases and opportunities for pro-

ductions across the industry.

Kobayashi is a visual effects producer with more than two decades of experience in the industry. In addition to “The Rings

of Power” for Amazon Studios, his credits in visual effects include “Kong: Skull Island” and “Warcraft” for Legendary Pictures and “Krampus” for Universal Pictures. Kobayashi has also served as director of visual effects at Legend-

ary Pictures and as a post producer at both Warner Bros. and Laser Pacific.

The session is part of the P|PW, produced by Future Media Concepts. Being held on the Main Stage, the session is open to all. l

Jesse Kobayashi

From left: Cynthia Addai-Robinson as Queen Regent Miriel, Ismael Cruz Córdova as Arondir and Charlie Vickers as Halbrand in “Lord of the Rings: The Rings of Power.”

REMEMBERING RICH HISTORY

NAB Show Marks 100 Years With Celebration

A look at some of the convention’s past events and technology firsts

By James E. O’Neal TV TECH

As NAB Show crosses the century mark, it’s interesting to look back to that first-ever 1923 event that took place just a few months after the National Association of Broadcasters itself was founded. Twenty-first century attendees would find things vastly different from what they now experience and expect.

That 1923 October show was a single-day affair, held in a New York City hotel. Few records exist, but the focus was likely centered on copyright and performance-rights issues, spectrum shortage (yes, even then a problem) and regulation of the nascent industry. It’s reported that the event attracted fewer than 30 broadcasters, the first-generation of NAB members.

Exhibits as we know them didn’t exist. The few displays

that were evident at very early shows were limited to promotional efforts from NAB and its member stations. This began to change in the 1930s, with booths from manufacturers of transmitter tubes and other hardware, as well as those of suppliers of syndicated programming (supplied on 16-inch “electrical transcriptions”) as the demand for high-quality and more diverse programming followed radio’s rise to prominence.

THE SHOW GOES ON THE ROAD

After five years in New York, show organizers began trying out other locales, such as the nation’s capital, Cleveland, Cincinnati, Chicago, Detroit and St. Louis. These early shows were quite “laid back,” including scheduled golf tournaments and other non-business activities.

This relaxed atmosphere at early NAB Show conventions was very evident in the venues selected, with the 1929 gathering hosted by a resort hotel in West Baden, Ind., and the attendees at the 1933 conference experiencing the amenities offered up at the elegant Greenbrier Hotel in White Sulfur Springs, W.Va. (It was very easy to accommodate early shows at such facilities as attendance was numbered in the hundreds, only topping the 1,000 mark during the 1940s.)

The 1940 show was especially notable as it was touted as a combined business and vacation event, being held in San Francisco and timed to coincide with the closing months of the Golden Gate International Exposition, the twoyear-long West Coast equivalent of the New York World’s Fair. Pre-show publicity encouraged broadcasters to bring their families and included information about Bay Area tourist attractions.

TECHNOLOGY FIRSTS

NAB Show has a rich history as an opportunity to expose broadcasters to technological firsts, including television at the 1939 Atlantic City show. (Attendees were encouraged to pose before the cameras, with a photographer hired to make “screen shot” photos they could take home and show off to friends.) The 1939 show also is notable as it marks the first time

The 1940 San Francisco NAB Show was billed as both a broadcaster’s conference and a super vacation opportunity.

VISIT

US IN BOOTH C6920

that a convention daily publication was made available to attendees. The publication made use of the latest technological marvels for getting show news in print in a timely manner.

As described by its sponsor, Broadcasting magazine: “The facsimile newspaper was delivered to hotel rooms each morning after being first set up on ‘vari-typer’ the evening before, then transmitted over RCA facsimile apparatus in its exhibit room, then rushed to Camden, 70 miles away, for multiple reproduction by offset process.”

Other techno “firsts” premiering at shows over the years have included FM, magnetic recording, UHF broadcasting, color television, HDTV, 3D video, digital technology, image processing, satellite communications, handheld video cameras and ENG, digital broadcasting … the list goes on.

Perhaps the most profound technology introduction came at the 1956 event when Ampex unveiled the world’s first practical videotape recorder. The machine not only astounded attendees, but also revolutionized television workflows and paved the way for widespread sociological changes. Who knows where the new tech premiering at the 2023 show will lead? l

NAB Show Through the Years

During the past century, NAB Shows have been held in 17 locations, ranging from major cities such as New York and Los Angeles to the tiny municipalities of West Baden, Ind., and White Sulphur Springs, W. Va.

The show has taken place in every month of the year except December and January. (The 1932 November event was nearly snowed out and even an end-of-March 1987 show in Dallas greeted attendees with bitterly cold temperatures and snow showers.)

NAB Show didn’t arrive in Las Vegas until 1975 and didn’t become a “regular” here until 1991.

After Las Vegas, the second-most visited city for the show is Chicago, with that city hosting the event 24 times.

The large floorspace “tech” exhibits, which began arriving in the 1970s, eventually forced the show out of hotel ballroom and exhibit spaces and into big city convention centers. (The final Washington, D.C. show (1977) was spread across three large hotels connected by shuttle busses.)

Attendance has climbed over the years from the relative handful of registrants in 1923 to crowds topping 100,000 by 1997.

Since the first NAB Show in 1923, the event has only been cancelled three times. The most recent of these occurred in 2020 and 2021 due to the pandemic. The 1945 wartime show was halted by an edict banning gatherings of more than 50 people to clear badly needed hotel accommodations and travel for military and defense industry personnel.

—

James E. O’Neal

NAB Show has a rich history as an opportunity to expose broadcasters to technological firsts, including television at the 1939 Atlantic City show.

1985 Control Room Demo

1963 NAB Show

ARTIFICIAL INTELLIGENCE AND DATA

The Many Paths on the Road to Personalization

Personalized content can take many roads, but AI is the vehicle to each destination

By Phil Kurz TV TECH

NAB Show once again is helping attendees push the creative envelope with focus on content personalization, automated production and using data to engage viewers more deeply in entertainment, all of which fall under the umbrella of Intelligent Content being highlighted in the Intelligent Content Experiential Zone in the West Hall.

It’s easy to understand why intelligent content is turning heads. With the assistance of the cloud and artificial intelligence/machine learning (AI/ML) tools, broadcasters, producers and others are finding new paths to creativity and more opportunities to monetize content.

“AI for intelligent search is

becoming almost table stakes for content creators across the board,” said Sean King, senior vice president and general manager for Media, Entertainment and Advertising at Veritone.

“Regardless of the media type, these groups are creating so much content on a daily basis and have such large content libraries that having the ability to find what’s needed gets harder and harder without AI. It’s all about extracting value from content.”

PERSONALIZATION

Whether it’s a recommendation engine that presents viewers with possible content of interest, a TV reporter trying to find a specific piece of raw or stored footage or a documentarian wishing to buy historical footage, the gas in the engine of these searches is

enriched metadata.

“The key—the very first thing—to [enabling] personalization is to enrich the metadata, whether it’s on-demand or live,” said Julien Signes, executive vice president and general manager of Video Network at Synamedia.

An AI natural language engine can extract meaningful metadata for each frame of video from speech, text and subtitles. Similarly, AI tools enabling facial and object recognition can create relevant

metadata for each frame. Together, these and other AI algorithms bring a new level of precision and visibility into content repositories, said Signes.

“You need to have a rich data set,” he said. “Otherwise, AI is useless.”

The good news for M&E companies is that “search” and “recommendation” are among the more mature AI-based media applications. “Some areas of M&E are advancing more quickly

PHOTO CREDIT: Witthaya Prasongsin/Getty Images

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than others in adopting cloudbased workflows,” said Francesco Venturini, corporate vice president, Communications Media Industry at Microsoft. “For example, data analytics and recommendation engines are more mature and widely used in cloud environments, as they leverage big data and AI capabilities to deliver personalized and engaging content to customers.”

TV NEWS

While personalization is often thought of in the context of SVOD subscribers and recommendation engines, it also pertains to television news — whether it’s a reporter searching a MAM for specific historical footage, a news director looking to review the work of specific reporters on a given topic or a

CEO and founder of TVU Networks.

“In the past, you could spend two hours to produce a story. Now, you can do that within minutes. Not only can AI discover content, but it also can be used to feed reporters clips relevant to their stories.”

Helping reporters create stories extends beyond finding relevant content in an instant, however.

“We’re in a place where you could leverage existing AI models and do a first pass on the creative side, writing a story comparing, for instance, today’s banking world to the mortgage crisis of 2008,” said Veritone’s King. “You will still want a human in the loop, but this can really accelerate the process.”

broadcasters. The cloud will likely be an important enabler of this personalization, and AI could be used to unearth viewer preferences to enable better targeting of ads and content.

“ATSC 3.0 is a segmented broadcast/IP hybrid approach, where personalized ads or content can be downloaded over the consumer’s internet connection and then triggered by ad insertion markers in the main video stream. This is akin to how OTT providers use SCTE-35 to signal an opportunity for an ad server to deliver an ad for that user,” said Evan Statton, senior principal architect, M&E, at Amazon Web Services (AWS).

“In the case of ATSC 3.0, the broadcaster or playback client would likewise maintain information about a viewer, then use that data to query the ad server to determine the best advertisement for that user. The advertisement would then either be scheduled into the main output via the ATSC 3.0 non-real-time (NRT) subsystem or delivered via the internet to the viewer’s device.”

Why This Matters

Look no further than Netflix, Amazon Prime or Hulu for a firsthand experience with personalized content. Recommendation engines play critical roles, serving up content choices of interest to individuals, establishing relevancy, building engagement and — it is hoped — reducing churn.

But recommendation engines are only the tip of the iceberg when it comes to intelligent content. Below the surface is an array of AI tools powering the metadata generation and search that helps to surface relevant content for individuals, whether those people are viewers, content producers, reporters or news managers.

Personalization can make content that airs more relevant because reporters can surface just the right clips for their stories, ultimately building the news or station brand.

news producer looking to unearth societal trends to put stories into better context.

“AI is able to source content automatically, based on a search,” said Philippe Petitpont, CEO and co-founder of Newsbridge. “A reporter can say, ‘I want a baseball stadium at night in California,’ and automatically AI can search footage and show in the search engine, relevant content that will be useful. In a second, the reporter can have all the images, and that can be done over a thousand, over a million hours of video.”

In the news marketplace, speed to air is one important element of staying competitive — another way AI is well-suited to the newsroom.

“AI speeds up the discovery of raw material,” said Paul Shen,

AI also will play a role in personalizing stories for distribution on various social media platforms — not simply conforming to aspect ratio requirements but best practices when it comes to story length.

“A generative AI [artificial intelligence that generates content, such as ChatGPT,] workflow can take an existing story and generate a 30- or 60-second summary [for distribution via social media],” said King.

MONETIZATION

One important capability of NextGen TV is the ability to support content personalization. With ATSC 3.0’s internet back channel from smart TVs and other devices, two-way connectivity with viewers can happen, bringing personalization to viewers and new revenue to

Beyond commercials delivered to individuals based on their interests, personalization could drive new program packaging options for linear broadcast. One centers on marrying recommendation engine tech with the Electronic Program Guide (EPG) in a 3.0 world.

“[There’s interest in a] personalized EPG experience. This would prioritize the most relevant and interesting [programs] to you [across linear TV channels] where they might be ranked from one to 30, and your one through 30 will be different from mine,” said Greg Riker, chief revenue officer at ThinkAnalytic.

While exceedingly capable for a variety of applications, AI has an important limitation, said Synamedia’s Signes. “Don’t assume AI is a magic wand,” he said. “It’s something that needs to be [deployed on] a case-by-case basis and with patience. Over time it improves; it gets better progressively; so be patient.” l

Metadata enriched by AI algorithms enables enhanced relevancy, making it possible to find desired clips from an ocean of live and archived footage in mere seconds.

The visibility it gives into content archives also means news organizations, studios and other M&E organizations can develop new monetization opportunities, licensing previously inaccessible content to third parties like documentarians, film producers and news organizations.

For broadcasters rolling out NextGen TV and looking to program locally originated channels, AI may soon play a role. Near-real-time language translation could make it possible for a station to serve a local audience segment in its native tongue either on subchannels or as a selectable personalized audio stream.

—Phil Kurz

Top row (l-r) Evan Statton, Julien Signes, Paul Shen, Phillipe Petitpont Bottom row (l-r) Sean King, Greg Riker, Francesco Venturini

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When it comes to HDR at the NAB Show, one ecosystem is at the center of it all.

The Media and Entertainment World Shines Spotlight on Sustainability

By Peter Suciu TV TECH

Even in the best of times, there are plenty of short-term reasons not to consider the greenest option, such as the expense of replacing legacy hardware that is doing the job. In today’s economic climate, going green is even harder.

“Times of inflation, low growth and recession are notoriously difficult times to convince customers to go with more sustainable options,” said Tom Kirby, marketing manager at Altadena, Calif.-based Nila Inc. “People tend to think more in terms of short-term gains than long-term ones. It can be hard to get them to see just how much more money they’ll save in five years or more with sustainable options. It can also be hard to get them to look past their own needs and see the greater needs of the planet.”

Nila has carved out a niche in the market by developing and manufacturing environmentally sustainable, high-brightness LED lighting systems that can serve customers well beyond the present

day. But challenges remain.

“We know our customers depend on us for reliability and sustainability, so we can’t hedge on either. The result has been that we’ve been much later getting our new Arina-400 and Zaila-50 products to market than we expected, but we’d rather have delays than compromise the quality of our products,” said Kirby.

There also remains a lot more “churn” as the market continues to be driven by the hunt for new products yet too much hardware isn’t repairable or upgradable, said Kirby. “It’s considered disposable, and it’s largely made from materials that aren’t recyclable. That’s frankly unacceptable. Lighting is a great place to start with sustainable practices because smart purchases can often be utilized for decades.”

OFF THE SHELF

Utilizing ready-made equipment can help sustainability efforts, said Barbara H. Lange, principal and CEO of Kibo121, and moderator of the today’s panel discussion as part of the NAB

Show’s Excellence in Sustainability Awards ceremony, “The more you work with off-the-shelf products — as opposed to customizable offerings — you are helping to reduce unnecessary waste. We have to look at energy consumption as an industry across the entire workflow, even if changing habits can be challenging.”

waste, or “e-waste,” problem for tomorrow.

“We’ve seen a trend for everyone to have as small a carbon footprint as possible,” said Linda Tadic, founder of archival storage firm Digital Bedrock, which to date has preserved 3 PB (parabytes) of data for media and entertainment companies, as well as for museums, law firms and nonprofits.

“We think the discussion needs to turn to the storage waste — and that includes how water is used to cool the data centers, but also how everything doesn’t need to spin in the cloud if it doesn’t need to be readily accessible,” Tadic explained.

A common misconception in the production space is that lessening energy consumption is the only method of going “green.” In fact, that is just one component of it. So, too, are other factors, including reducing water usage and ensuring that today’s racks of equipment aren’t an electronic

Digital Bedrock utilizes LTO data tape, which isn’t just a form of storage but also provides longterm preservation. In addition to less energy consumption, it also means there are fewer servers that require rare earth minerals.

“We can do everything on two racks, while we might upgrade to three,” said Tadic. “But the goal is to consume less. The cloud isn’t light; it is very heavy.”

Developing tools and practices to promote conservation and reusability

A common misconception in the production space is that lessening energy consumption is the only method of going “green.”

PHOTO CREDIT: Surasak Suwanmake/Getty Images

Industry EXPERTS Say...

“Sustainability usually results in minor short-term deficits, which are far outweighed by long-term gains, but when resources are in short supply, it can be difficult for customers to be objective.”

VIRTUAL PRODUCTION

One positive side effect of the pandemic — which forced productions to scale back, do more with less and notably work remotely — is that those efforts could result in leaner and, more importantly, greener productions.

“We’re finding that most visual houses are just a server, and no one is working there,” said A.J. Wedding, director and co-founder of Orbital Virtual Studios. “But this also means that we learned that everyone doesn’t need to be in the office.”

That can not only mean fewer cars on the road in major urban centers like Los Angeles, but it can also open up a worldwide talent pool, added Wedding, who will discuss the opportunities for the industry in the Tuesday session “The Economic and Sustainable Wins of Virtual Production.” “The biggest hurdle is going to be education, but it will save productions money and, in the process, use fewer resources.”

Wedding will be joined in the session by Erik Weaver,

director of adaptive and virtual production at Entertainment Technology Center, and Addy Ghani, vice president of virtual production for disguise.

Weaver said, “OSVP [or on-set virtual production] allows teams to work anywhere without flying large crews to remote locations and saving all types of carbon footprint. Picture a team going to Nepal one week, and south of France next month. All of this could be done in a single location.”

Virtualization is part of the new normal for remote production, as it can also utilize remote teams from around the world for asset creation and post production.

“For example, a team from Europe will remotely collaborate with a team from India to build a photoreal environment for a shoot that will happen in Los Angeles,” said Ghani. “Decentralized artist teams will be managed by small overhead teams. By digitizing

your production, or a portion of it, you will now have the flexibility to take that content to any virtual production stage.”

Also on Tuesday, the session “Changing the Climate of Hollywood” will address whether Hollywood is doing enough to battle the climate crisis, and it will include industry insiders who are leading the efforts to make it a greener business. l

TO LEARN MORE

Why Sustainability in Media Matters

Today | 3–4 p.m. Main Stage Panelists will discuss the state of sustainability in media today and what it means for the future. Join Pat Chandler of Creative Visions, Bleuenn Le Goffic of Accedo, Lewis Smithingham of MediaMonks and moderator Barbara

of Kibo121 for this session. It will be followed by the NAB Show Excellence in Sustainability Awards ceremony.

“The other part of sustainability is preservation. Not everything needs to be on the cloud.”

“We need to be more aware of the topic and take action. It doesn’t have to be terribly difficult, as small things can make a big difference.”

TOM KIRBY MARKETING MANAGER AT NILA INC.

LINDA TADIC FOUNDER OF DIGITAL BEDROCK

BARBARA H. LANGE PRINCIPAL AND CEO, KIBO121

ERIK WEAVER , DIR. OF ADAPTIVE AND VIRTUAL PRODUCTION AT ETC “Centralized and controlled locations fostered by OSVP halt the massive movement of gear and people.”

We’ve seen a trend for everyone to have as small a carbon footprint as possible.”

LINDA TADIC FOUNDER, DIGITAL BEDROCK

PHOTO CREDIT: sarayut Thaneerat/Getty Images

Lange

Scan the QR code for more information about sustainability at the show.

DSPK-4 (DIGITAL SPEAKER STATION)

Introducing the new member of the RTS Digital Partyline family

The DSPK-4 is an IP-based wired speaker station providing nextlevel versatility and functionality, including four channels of talk/ listen via microphone and speaker or headset – all with high-quality digital audio and the use of standard Ethernet for easy integration

VERSATILITY

Available in desktop, flush-mount and wall-mount versions, each with an unmatched variety of power options and headset connectors.

into existing IT infrastructure. It adapts the unique hybrid IP/digital/ analog functionality, ergonomic design and intuitive UX of the bestselling DBP (Digital Beltpack) into a sleek new form factor that is available in compact desktop, flush-mount and wall-mount versions.

HYBRID FUNCTIONALITY

USER FRIENDLY

Operate DSPK-4 in partyline mode with OMS (OMNEO Main Station) or in portable keypanel mode with an RTS matrix (ODIN/ ADAM) – one device covers it all.

Compact and ergonomic design with full-color icon-based menu navigation for quick setup and intuitive operation.

OPENING DOORS DIVERSE COMMUNITY

DEI Efforts Foster Needed Industry Talent Pool

Breaking into and advancing careers in media and technology

By Deborah D. McAdams NAB SHOW DAILY

At a time when young people can trade crypto, become influencers or work in IT for six figures, fewer are seeking careers in media production and news. The customary talent pool is shrinking. But the organizations and individuals opening doors for women, people of color and others not traditionally well-represented in TV, film and radio are bringing fresh talent into that void.

“Broadcasters are facing a highly competitive job market that is challenging our ability to recruit and retain top-level talent. There are more options for young people looking to start or grow their careers in media and technology,” said Michelle Duke, NAB chief diversity officer and president of the NAB Leadership Foundation (NABLF).

NABLF is hosting the Diversity Symposium today and tomorrow, “designed to help hiring managers open doors for the next generation of broadcast leaders,” Duke said. “This conference will look at how we can attract young talent — particularly women, people of color,

military veterans, persons with disabilities and other communities that have traditionally had a hard time breaking into and advancing in our industry.”

INCLUDING

This year’s symposium theme is “Inclusion.” Featured topics include attracting and retaining diverse talent with chief diversity executives from iHeartMedia, The E.W. Scripps Co., Nexstar and Tegna. The business case for diversity, equity and inclusion (DEI) as a means of creating value will

also be examined, as well as the experiences of military veterans and individuals with disabilities in the media business.

The intention toward inclusion in media tech and production harkens back to the handful of women who, finding themselves in a 95-percent male workforce, started to connect. It was in this spirit that media veteran Amy DeLouise started #GALSNGEAR, a “movement” focused on elevating women working in media and entertainment.

“So, at first, we began as a networking group and informal

speakers’ bureau to help ensure women are visible and connected at industry events,” DeLouise said. “We have since expanded into leadership development and a student program to help address different ‘pipeline’ issues in STEM-related careers.”

#GALSNGEAR is co-producing this year’s #GALSNGEAR Connect Women’s Leadership Summit on Tuesday. This halfday event will jump right into a “master class” on negotiating techniques, followed by a “speed networking” session, a leadership panel and lunch hosted by Sports Video Group.

RISING

Rise, started in 2017 by PR veteran Sadie Groom, followed a similar path that started with connecting.

“There was no group for women in the technical side of broadcast — our focus is on noncraft roles such as engineers, sales, marketing, operations, business and much more,” Groom said.

Within six years including a pandemic, Rise went from an idea to a global training network with mentoring programs in the United Kingdom, Europe, North America, Australia, New Zealand and the Asian Pacific region. The group has mentored approximately 300 women and has about 1,500 mem-

This year’s Diversity Symposium is focused on “Inclusion” and developing talent from underrepresented groups.

Danyelle Wright, vice president of Employment and Labor Law and chief diversity officer for The E.W. Scripps Co., will be on hand for today’s Diversity Symposium.

DeShuna Spencer, CEO of kweliTV leading a media and entertainment trend panel in 2022.

bers. Rise mentorships are free and continue for six months. The organization recently launched its latest round of mentorships and announced two dozen partnering companies for 2023–24.

BELONGING

In the evolution of DEI, #GALSNGEAR’s DeLouise adds a “B” for “belonging.” It’s crucial,” she said. “Women — including LGBTQ+, AAPI and women of color — belong at every level of our industry, and part of that is sharing experiences and connections with colleagues. In every TV technology company, from production to distribution to the software and tech manufacturing side, we have an increasing number of jobs to fill as new technologies arise, and also as the baby boomers retire. So, expanding our networks becomes even more important to the sustainability of individual businesses and our industry as a whole.” l

What Women Want, the Business Needs

A good deal of what women in the industry want is to find each other, share ideas and grow. Here’s Amy DeLouise, founder of GALSNGEAR, co-producer of the NAB Show Women’s Leadership Summit.

“I will just tell you what one of our #GALSNGEAR attendees wrote in our post-event survey of last year’s [summit]: ‘I loved the inviting atmosphere, which was one of open dialogue coupled with purposeful work, creating a safe space for empowered women to explore their potential.’ That says it all!”

Ultimately, the industry as a whole benefits from inclusive practices, DeLouise said.

“There is no question that the diverse lived experiences, viewpoints and backgrounds of content creators and the entire production team from the writers’ room to the board room brings more rich and diverse content to the screen,” she said.

“Just look at the evolution of content at Netflix, which has been intentional about their DEIB work, and released their first inclusion report just two years ago. In my own nonfiction production company, DeLouise Enterprises, we have more women of color, indigenous and LGBTQ+ involved in our projects, which I think makes our work better. And our clients benefit from that, too.” l

Media Ownership Still Matters

pathways for entrepreneurs to enter the world of media ownership, broadcast station ownership is still the gold standard for many people.

A

conversation with

Michelle Duke, NAB Chief Diversity Officer and President, NAB Leadership Foundation

NAB Show Daily: It appears by the 2021 FCC Ownership Report that little has changed in that area in the last 25 years. It’s been noted that underrepresentation of POC and women in media ownership is due to lack of access to capital. Has anything changed in that regard?

Duke: Access to capital has always been one of the primary barriers to entrepreneurship for underrepresented communities, not just in broadcasting but for industries. Over the past few years, as financial institutions have turned their focus to issues of [DEI], there may be an opportunity for women and people of color who aspire for station ownership to find the financing that will make their dreams possible. Still, we need to educate lenders about the importance of these loans.

We know that without proper financing, or

access to deal flow station ownership is just a pipe dream. That’s why NABLF prioritizes educating students in our Broadcast Leadership Training program — which prepares broadcast executives and aspiring owners for the next stage of their careers — about the business of broadcasting. We want them to be able to walk into a lending agent’s office and make the strong argument that broadcast station ownership is a sound and solid investment.

Daily: Broadcasting has been eclipsed by the internet. Has the migration to streaming reinforced the entrenched status quo of broadcast ownership?

Duke: The growth of online and mobile platforms might make broadcast station ownership even more important today as audiences fragment and there is more competition for people’s attention. While the internet has opened new

Radio and television stations are pillars of their local communities. Their focus on public service garners the respect and admiration of the people they serve. During times of emergency, listeners and viewers turn to them for lifesaving and lifeline information. That is not something that is easily replicated on online platforms, and it is why broadcast ownership remains highly sought after.

Daily: Media content creates a constant subliminal idea of ourselves that is often unrecognizable. How does minority and female underrepresentation in media ownership play into how those groups are presented in media? What are we missing because of this?

Duke: That’s the thing when there is a lack of diversity — we don’t know what we are missing. Having a diverse workforce doesn’t just help create a more equitable society. It also helps companies be more creative, more effective and have a better understanding of the needs of their customers.

Employees from different walks of life bring with them a broader range of experiences from which to draw inspiration. They have unique perspectives that help them look at issues from innovate ways. l

Amy DeLouise

Michelle Duke

CINEMATIC PRODUCTION

CineCentral Explores Craftsmanship of Production

Attendees gain training and guidance on gear and techniques that are the cornerstone of cinematic production

By Susan Ashworth TV TECH

Central Hall is host to a new location dedicated to the craftsmanship of Hollywood filmmaking.

The CineCentral serves as a landing spot for those professionals looking to deepen their creative and technical knowledge of cinematic production by exploring new trends and techniques for production and post production.

The area offers attendees the opportunity to attend workshops on topics such as 16mm film

loading, tools for digital imaging technology, and cranes, motion and movement gear, hosted by the Society of Camera Operators, the International Cinematographers Guild Local 600 and Kodak, several of which will offer hands-on training and share stories of on-set technology successes.

GETTING HANDS-ON

For Kristin Petrovich, producer of CineCentral and founder of the consulting firm Createasphere, the goal is to give attendees hands-on training and guidance on some of

the gear and techniques that are the cornerstone of cinema production.

“NAB Show is perfectly positioned for the broadcast and cinema industries [because they] are overlapping skills and technology right now,” she said. “There’s this relatively new area being seen where cinema gear is being used in broadcast and live entertainment with these groups needing to be trained on the gear. All one has to do is watch the Super Bowl halftime show or any sports event to see how cinematic technology and storytelling is being used in

KEY TAKEAWAY

Much like a global training ground, CineCentral will offer attendees the opportunity to get hands on training with notable Hollywood professional in the workshops and garner technical know-how in the “craft clinics” offered daily with topics ranging from film loading, DIT skills, using cranes, dollies and camera heads. Included in the lineup are session focused on Cine+Live, the integration of cinematic tools and techniques in broadcast content.

this new area, cine live.

Much like a global training ground, CineCentral will offer attendees the opportunity to get hands-on training with notable Hollywood professional in the workshops and garner technical know-how in the “craft clinics” offered daily with topics ranging from film loading, DIT skills,

CineCentral is for professionals looking to gain knowledge of cinematic production, whether for indy films or top-grossing productions like “Top Gun: Maverick,” which has earned nearly $1.5 billion worldwide and brought back the movie business.

PHOTO CREDIT: Photo courtesy of Paramount+

using cranes, dollies and camera heads. Included in the lineup are sessions focused on Cine+Live, the integration of cinematic tools and techniques in broadcast content.

LIVE PRODUCTIONS AND BROADCAST

“Another growing [industry] trend is the way that tools, tradi tionally leveraged exclusively for high-end cinema production, are now finding adoption with content creators,” said Chris Brown, NAB executive vice president and man aging director, Global Connections and Events. Workshops and demos will explore how and why cinema techniques are being employed more often in traditional live production and broadcast projects.

Complimentary group “Craft Clinics” and hands-on instruction are being offered on a first-come, first-served basis and presented by

EXHIBITOR SPOTLIGHTS

companies such as Chapman Leonard, Cinema Devices, DJI, Fujinon, Sony, Adorama and others.

Other educational partners include Hollywood organizations such as the American Society of Cinematographers, American Cinema Editors, ICG Local 600, and Society of Camera Operators.

“These organizations will be producing hands-on workshops where creatives can receive instruction by notable professional with the equipment in current use,” Brown said, and will also feature a range of cinema technology suppliers. “Real-world, on-set examples of technology applications allow you to see the gear in action,” he said.

Petrovich is leading the Cine Consortium, which pulled together equipment manufacturers, studios, unions and guilds to identify opportunities to serve, educate and unite the global cinema, production, post and broader content creation communities.

The 2023 NAB Show seemed the ideal location to set up a training ground. “[We wanted to] create more of an immersive place, engaging attendees to learn from notable professionals,” she said. l

TO LEARN MORE

A sampling of sessions in CineCentral includes:

DJI’s Ronin 4D for the Solo Shooter Today | 3–4 p.m.

Motion Picture Film 101 — Everything You Need to Know to Start Shooting Film NOW Monday | 2–6 p.m.

Mix Your Secret Sauce with Digital Imaging Technicians

Tuesday | 9:30 a.m.–1:30 p.m.

PHABRIX QXP HYBRID IP/SDI WAVEFORM MONITOR

C4920 | PHABRIX is launching its QxP hybrd IP/ SDI waveform monitor. Inheriting the flexible architecture of the company’s QxL rasterizer, the QxP offers an integral 3U multitouch LCD screen with integral V-Mount or G-mount battery plates for portability. Designed for all production workflows, whether HD, UHD, SDR, HDR, SDI or IP, remote or conventional, the QxP’s combined waveform monitor, generator and analyzer toolsets are designed to meet the ever-changing demands of today’s hybrid environments.

The QxP offers the latest in PHABRIX’s patented waveform technology, featuring a high-resolution image processing pipeline with support for deep color sources up to 12-bits, delivering the fine detail needed for camera shading or image grading. Users can access a choice of overlay, stacked and parade display modes, with the option of multicolored, highlighted, green or monochrome traces. Nits scales and operation user-controlled nits markers are provided for SDR, HLG, PQ, S-Log3 and SR-live HDR formats.

MAGEWELL PRO CONVERT AUDIO DX

C5031 | Magewell is launching its flexible Pro Convert Audio DX multiformat IP audio encoder, decoder and capture device. The company’s first solution with integrated support for Audinate’s Dante audio networking, the

new hardware lets users convert audio between Dante, NDI and SRT transport technologies while also seamlessly bridging analog audio, software and IP networks.

By enabling conversion between Dante, NDI and SRT, Pro Convert Audio DX enables mixed-technology local and remote production workflows that combine products supporting different standards and formats. It can also encode analog audio into Dante, NDI or SRT streams as an “on-ramp” to IP networks, as well as decoding IP audio streams in any of these formats and protocols for analog output.

The flexible virtual audio matrix in Pro Convert Audio DX’s browser-based interface allows users to route or mix any analog or IP-based input channel to any analog, IP or UAC output.

PLIANT TECHNOLOGIES CCU-08 CREWCOME CONTROL UNIT

C7521 | Pliant Technologies is introducing its CCU-08 CrewCom Control Unit. The CCU-08 is the latest addition to the CrewCom intercom system and gives users the ability to use up to eight four-wire ports while retaining all the same features of the existing companion CCU-22 and CCU-44 products.

Like the current control units, the new CCU-08 Control Unit contains no radio and is frequency-agnostic and can control and monitor any device across CrewNet regardless of radio frequency bands being utilized. With the combination of CrewCom Radio Transceivers, the CCU-08 supports up to 82 Radio Packs, 18 in Normal mode and 64 in the recently released High Density mode, across all RF bands.

The latest CrewCom firmware update (V1.12) includes the recently released High Density mode feature, which is a selectable mode of operation that increases user densities, as well as support for the CCU-08.

Kristin Petrovich

Streamline Your Workflow with IP KVM

How to Win an Oscar With a Fully Remote Creative Team

Today | 2–3 p.m.

The creative team behind the Academy Award-winning animated short film, “The Boy, the Mole, the Fox, and the Horse,” will take part in an intimate conversation today on the Main Stage.

The session “How to Win an Oscar With a Fully Remote Creative Team” will feature visual artists for the production, which first aired in Dec. 2022, on the BBC, to more than seven million live viewers.

Join Art Director Mike McCain and Animation Senior Support Specialist Ben Wood, with host Dave Leopold, Strategic Development Director at LucidLink, to discuss

how cloud workflows enabled the film’s creatives to collaborate in bringing the award-winning production to life while spread across more than 15 countries.

The session is open to all attendees. l

Many of the world’s leading media and entertainment professionals already use Adder’s IP KVM technology in their production workflows.

Enabling improved productivity, enhanced IT efficiency, seamless switching and pixel-perfect visualization, the ADDERLink® INFINITY high performance IP KVM range puts you in complete control in any demanding environment.

The Boy (voiced by Jude Coward Nicoll) and The Mole (voiced by Tom Hollander) in “The Boy, the Mole, the Fox and the Horse,” now streaming on Apple TV+.

Ben Wood

David Leopold

Mike McCain

RADIO HAPPENINGS

Radio Finds a New Home in the West Hall

Exhibits, technical sessions and recognizing excellence are in store for attendees

By Elle Kehres RADIO WORLD

NAB Show returned in 2022, drawing an energetic 53,458 attendees to the Las Vegas Convention Center. This year NAB Show officials are expecting an even stronger event.

“By and large, trade shows are coming back strong as pandemic concerns subside and people get back to doing business in person. We are encouraged about what’s to come,” said Chris Brown, executive vice president and managing director of NAB Global Connections and Events. “We are expecting the total attendance number to jump to 70,000 or more this year.”

Radio broadcasters will find relevant industry exhibitors, educational sessions and networking events all in one, centralized location. The Broadcast District, a new home for the TV and radio

community, is located in the West Hall. (See page 49 for more on the Broadcast District.)

EDUCATIONAL SESSIONS

The Broadcast District is also home to the Broadcast Engineering and IT Conference (BEITC), produced in partnership with the Society of Broadcast Engineers, the Society of Cable Telecommunications Engineers and the North American Broadcasters Association.

BEITC is featuring technical presentations on the evolution of next-generation content delivery systems. Sessions of note for radio broadcasters include hybrid radio and the connected car, Xperi’s HD Radio services and ongoing advocacy efforts for an increase in FM digital power.

The session “‘Generative AI:’ Supercharging Humans, Trans-

forming Creativity” dives into the artificial intelligence technology. Another session focuses on live video streaming and how radio broadcasters can improve their

stage. On Monday, attendees can join a roundtable discussion on AI solutions for broadcasters or attend another session to hear more about the “Next Generation of Radio Superstars.”

Relevant sessions for radio broadcasters continue into Tuesday’s programming with information on podcasting’s continued growth and “Community Building Strategies for Broadcasters,” a topic that is especially relevant for hyperlocal, community radio stations that are helping to keep

programming using a particular tool for less than $1,000.

Other session topics include cybersecurity for broadcast IT systems, remote work and virtualization, and how AI can drive sustainability in FM broadcasting.

More radio-related sessions will be held in NAB Show’s Capitalize Experimental Zone. Today, sessions such as “Positioning Radio in 2023” and “Maximizing Radio Revenues” will take the

the medium strongly rooted in an ever-changing media landscape.

HONORS

On Monday, during the “NAB Broadcasting Hall of Fame,” Adrian “Stretch Armstrong” Bartos and Bobbito García will be inducted for radio.

On Tuesday, during the “We Are Broadcasters Awards,” the presentation of the NAB Crystal Radio Awards, NAB Crystal

PHOTO CREDIT: Inti St Clair/Getty Images

Radio broadcasters will find relevant industry exhibitors, educational sessions and networking all in one, centralized location.

LET’S DO IT UP CENTENNIAL-STYLE

So happy you’re here!!! This year is all the more meaningful as we celebrate the storied history of NAB Show and usher in the next era of innovation, together. There’s tons of parties, special events and activities planned so be on the lookout…

Looking for SWAG?

Play the game. Earn a commemorative digital badge and/or win cool prizes including T-shirts, pins, photos and more!

Looking to celebrate?

Most definitely. Join us at the opening party at Marquee Nightclub on Sunday, April 16. Also check out the full list of happy hours, receptions and more!

Looking to time travel?

So possible. Visit a Centennial Celebration Center—located in the Central or West Hall Lobby—to journey through the last 100 years. And be sure to snap some instaworthy pics in the 360 Photo Booth!

Looking for a memento? Right on. Whether you’re a first-timer or a 30+ year loyalist, come grab a ribbon from a Centennial Celebration Center to commemorate your attendance history. ‘Cause you were here. And that’s all that matters.

Heritage Award and Engineering Achievement Awards will take place. Finalists for the NAB Crystal Radio Awards have been announced, but which stations will be the winners? Receiving the 2023 NAB Engineering Achievement Award for Radio is Beasley Media Group’s Michael Cooney.

LIVE PODCAST

Today, for NAB Show Conference badge holders, Bob Pittman, iHeartMedia co-founder, chairman and CEO, will sit down with Premiere Networks personality Angela Yee for “Math & Magic: Stories From the Frontiers of Marketing With Bob Pittman.”

“Bob and Angela are powerhouses in the world of audio because they are both dynamic, forward-looking thinkers who know how to connect with audiences,”

EXECUTIVE Q&A

Dan May President Blackmagic Design

said NAB President and CEO Curtis LeGeyt. “This is a great opportunity to hear these industry leaders in conversation, sharing valuable marketing insights and professional wisdom — and undoubtedly some fantastic stories from their remarkable careers.”

Pittman heads iHeartMedia by reach, delivering audio content, programming and personalities to a quarter of a billion listeners every month across broadcast radio, streaming digital radio and podcasting. Yee is an influencer and award-winning host of the

nationally syndicated “Way Up With Angela Yee” broadcast radio show and the “Lip Service” podcast.

Bringing their diverse experiences to the table, Pittman and Yee will discuss ways that the smartest marketers in radio can cut through the noise, time after time.

NETWORKING

Roundtable discussions will be held in the NAB Discussion Den, with more in-depth conversations and solutions to day-to-day challenges. Presentations also will take place in the NAB Sip-and-Speak Corner and offer direct solutions to specific needs radio stations have. The Discussion Den and NAB Sipand-Speak Corner are both located in the TV and Radio HQ, which is the premier networking destination for television and radio broadcasters and is presented by Comscore. l

TO LEARNMORE

How My Song Appears and Sounds on the Radio

Monday | 10:30–11:20 a.m.

W2052C Capitalize Inspiration Theater

What technology trends will you be following most closely at NAB Show this year?

Virtual production and virtual sets will again be paramount as our customers look for the best technologies and practices to implement. It’s important that these workflows become even more accessible to studios of all sizes, which will only happen with new technological innovations. For example, our Ultimatte 12 real-time compositing processors are helping even more broadcasters handle local and remote greenscreen studios, while also being used as part of Disney’s “Pinocchio” virtual production workflow.

Blackmagic Design is a long-time exhibitor at NAB Show. What brings the company back to this event each year?

NAB Show gathers the industry’s content creators and tech innovators all in one spot, which creates a forum for sharing ideas and information, ultimately helping to advance our industry forward. The conversations and knowledge we receive from being able to meet face-to-face with customers, partners, peers and more are truly invaluable, as we use this feedback to help drive our product innovation at Blackmagic Design.

Xperi’s HD Radio and DTS AutoStage are creating new opportunities for artists to foster deeper connections with in-vehicle radio listeners. Join songwriter Marshall Altman, Beasley Media Group’s Chief Content Officer Justin Chase, and Xperi’s Senior Vice President of Global Radio & Digital Audio Joe D’Angelo for an exclusive look at how Xperi’s connected car technologies are bridging the gap between artists and radio listeners in modern, consumer-first ways.

Cracking the Radio Code With Connected Cars

Tuesday | 10:30–11:10 a.m.

W1143C: Intelligent Content Inspiration

Harvesting in-car data for audience ratings has long been a dream of the radio industry. But in-car data capabilities go far beyond traditional ratings measurement, allowing radio stations to build better listener personas while also providing enhanced insights on consumer behavior and campaign performance. Join us to learn key findings for the radio industry from recent testing of in-car data and what it means for executives throughout the media industry.

Amateur Radio Operators Reception

Tuesday | 6–8 p.m.

W317-W319

A relaxed evening talking shop, enjoying the fellowship of the radio amateur community and winning great door prizes.

Sponsored Content

Adrian “Stretch Armstrong” Bartos and Bobbito García will be inducted into the NAB Broadcasting Hall of Fame.

SPOTLIGHT ON: Wallonia Export and Investment Office Pavilion

DREAMWALL

C6637

ON-HERTZ

C6537

TINKERLIST

CREWBOOKING

C6535

Crewbooking creates useful interactions among professionals in the audiovisual, film and event industry. Its user-friendly platform and app will help users find the qualified people and resources, anywhere at any moment.

DreamWall is a graphic design and animation studio focused on the “2D/3D” animation market for TV series, feature films, documentaries or web industries. It offers a complete channel of production from virtual set and AR graphic design to production in a virtual studio, in a real set or in an outside environment.

On-Hertz allows creators to go from idea to content faster, live or pre-recorded, from niche shows to those with millions of fans. We build solutions and apps that are easy to adopt, a breeze to use and offer full control over your production. On-Hertz says it is where the digital transformation of your media brand starts.

C6336

TinkerList is an online platform where the editorial team and production crew can collaboratively create and adapt content during all stages of the television production process for maximum productivity. Content is stored in one location, and accessible for all team members to annotate, review and collaborate.

CYANVIEW

C6635

CyanView designs and manufactures a universal mini-camera system for broadcast and cinema under the name Cy-Stem. Its affordable IP technology brings improvements in performance and image quality while simplifying installation and operation. CyanView’s solutions consist of small hardware modules that address some stages of broadcast acquisition depending on customer’s needs.

INTOPIX

C6335

intoPIX is an image technology company with expertise in image processing, cryptography, micro-electronics and software acceleration. Solutions feature JPEG 2000 codecs, TICO lightweight compression (SMPTE RDD35), JPEG XS compression, TICO-RAW for image sensors, video solutions and AV streaming (MPEG2-TS for SMPTE ST 2022, SMPTE 2110, AV over IP), multimedia and encryption functions (AES, RSA, SHA), memory controllers and more.

SOUNDNODES/OPNS

C6435

OPNS delivers:

• Implementation of Identity and Access Management (IAM) solutions

• The development of tailor-made applications in the context of IT security

• The development of tailor-made applications in the areas of radio/audio management, VOIP

• IT infrastructure systems for small and medium enterprises, using a mix of Linux, Microsoft, SAN, VoIP, virtualization and other technologies.

WNM

C6337

WMN specializes in TV sound for multicamera recording and ENG, intercom systems and analog and digital RF transmission systems. It provides consulting services and operational services for major events such as the football World Cup and the Olympic Games. WNM is active in engineering for radio and TV studios both electronically and for the acoustic management of buildings. l

Here’s

a short rundown of what visitors to the Belgium Pavilion will find and can learn more about through the exhibitors there.

EXPERIENTIAL ZONE CREATE

All Things Pre-Production to Post: Explore implementation strategies with curated education, networking and product discovery for the Create community.

Central Hall IMPLEMENTATION

10:30–11 a.m. Solving Problems With After Effects

11–11:30 a.m. Solving Problems With Photoshop

11:30 a.m.–12 p.m. Solving Problems With After Effects

12–12:30 p.m. Solving Problems With Photoshop

12:30–1 p.m. Solving Problems With After Effects

1–1:30 p.m. Solving Problems With Photoshop

2–2:30 p.m. Fixing Color in Final Cut Pro

2–2:30 p.m. Animating Text in After Effects

2:30–3 p.m. Fixing Color in Final Cut Pro

3–3:30 p.m. Animating Text in After Effects

3:30–4 p.m. Fixing Color in Resolve

4–4:30 p.m. Speed Up After Effects

4:30–5 p.m. Fixing Color in Resolve

5–5:30 p.m. Speed Up After Effects

Post Production Corner

Scan for current online schedule

HEADLINER SPONSOR PRESENTING SPONSORS

EXPERIENTIAL ZONE CREATE

All Things Pre-Production to Post: Explore innovation with curated education, networking and product discovery for the Create community.

North Hall INNOVATION

AWS Learning Lounge

9:30 a.m.–6 p.m. M&E Direct-to-Consumer and Broadcast Foundations Learning Plan Knowledge Testing

9:30 a.m.–12 p.m. AWS Jams

12:30–1:30 p.m. AWS M&E Workshop: Amagi FAST Workshop

2–2:30 p.m. AWS M&E Workshop: Live Production With VizRT

4–6 p.m. AWS M&E Workshop: Edit in Cloud With Qumulo

NABiQ

1–2 p.m. NABiQ: Develop a Creator-led Nextgen Approach for Cine Live Productions

2:30–3:30 p.m. NABiQ: Develop a Creator-led Nextgen Approach for Cine Live Productions

Scan for current online schedule

EXPERIENTIAL ZONE CREATE

All Things Pre-Production to Post: Get ready to be inspired with curated education and networking for the Create community. Features Magicbox Gen 2, the world’s first mobile virtual production super studio.

Central Hall INSPIRATION

HEADLINER SPONSOR PRESENTING SPONSORS

Networking

1:30–2:15 p.m. Roundtable: AI Tools for Generative Media: Getting Started With AI for Your Content Strategy

Inspiration Theater

1–1:40 p.m. Break Through The Static Film & Video Series Presented by The Telly Awards

1:40–2:20 p.m. Ross Video

2:40–3:20 p.m. CineLive - How New Tools and Workflow Techniques Are Influencing Sports Production

3:30–4:10 p.m. Sports Broadcasting and the Metaverse

4:20–5 p.m. NABiQ: Pitch Session and Happy Hour Scan for current online schedule

4:20–5 p.m. #GALSNGEAR and the Sports Video Group Networking Event

EXPERIENTIAL ZONE CONNECT

Where content moves next — Here you’ll find cloud computing and media infrastructure pushing the boundaries of content delivery anytime, anywhere. This is the place for people who want to boost their productivity. Inspiration, innovation and implementation tips await you with curated education, networking and product discovery for the Connect community. Remote

West Hall

Innovation Theater

1:30–1:50 p.m. Best Practice Live Streaming at Scale With Unmatched Quality

2:30–2:50 p.m. makalu - Playout Unlimited

3–3:20 p.m. Operational Telemetry in Media Networks

3:30–3:50 p.m. Technical Overview of First MPEG-5 LCEVC-Enhanced Experimental Broadcast Channel During FIFA World Cup

PRESENTING SPONSOR

12:30–1 p.m. Producing Hybrid Events

1–1:30 p.m. Goodbye Logsheet, Hello Frame.io

1:30–2 p.m. Collaborative Post Production

2:30–3 p.m. Collaborative Post Production

3:30–4 p.m. Build a Home Studio

4–4:30 p.m. Building a Compact Remote Production Kit

4:30–5 p.m. Build a Home Studio

5–5:30 p.m. Building a Compact Remote Production Kit

NABiQ

2:30–3:30 p.m. NABIQ: Design the Future of Sustainable Streaming

Inspiration Theater

1–1:30 p.m. SMPTE: Color Grading in the Cloud

2:40–3:10 p.m. SMPTE Floor Session: Pioneering the Virtual Production WorkflowA Student’s Perspective

OTT Demo Area: Featuring hardware from Amazon, Apple, Roku, Google, LG, TCL, Vizio and Samsung – all showcasing dozens of streaming services including: Apple TV+, Amazon Prime Video, Discovery+, Disney+, HBO Max, Hulu+ Live TV, Sling TV, Netflix, Paramount+, Peacock TV, YouTube TV, Tubi, Pluto TV, ESPN+, Freevee, AMC+, fuboTV, DAZN and many others.

Networking

5–6 p.m. CONNECT Experiential Zone Happy Hour

4:15–4:50 p.m. AMG’S TECHNOLOGY for Everyone: LOCAL NOW

Scan for current online schedule

EXPERIENTIAL ZONE CAPITALIZE

Where content meets commerce — Here you’ll find strategic solutions and next-gen technologies creating new revenue streams and fueling the content economy. This is the place for people who want to perfect their go-to-market and monetization strategies. Inspiration, innovation and implementation tips await you with curated education, networking and product discovery for the Capitalize community.

West Hall

NABiQ

2:30–3:30 p.m. NABiQ: Create an Enhanced Immersive Ad Experience

Innovation Theater

3–3:20 p.m. An Evolutionary Path to the Future of TV Advertising

Inspiration Theater

Inspiration Theater

1–1:40 p.m. The Independent Age in the Creator Economy

2:40–3:20 p.m. Maximizing Radio Revenues –Monetizing Everything You Create

4:20–5 p.m. The New Production Partner, Generative AI

1–2 p.m.

EXPERIENTIAL ZONE INTELLIGENT CONTENT

Where content gets personal — Here you’ll find industry-wide transformation enabling customized, immersive content. This is the place for people who want to automate production, harness data to enrich user experience and engage new business models to drive reach. Inspiration, innovation and implementation tips await you with curated education, networking and product discovery for the IC community.

West Hall

NABiQ

NABiQ: Invent a Personalized Viewing Experience That’s Pure Magic

Innovation Theater

1:30–1:50 p.m. Best Practice Live Streaming at Scale With Unmatched Quality

3–3:20 p.m. Creating Efficient Content

Workflows for Broadcasters

Inspiration Theater

Inspiration Theater

4:20–5 p.m. Digital: What Now, What Next?

Are Voice Assistants and Subscriptions the Future of the Car Dashboard?

Xperi’s DTS AutoStage unifies the connected car in-dash experience

By Randy J. Stine RADIO WORLD

Changes lie ahead for the entertainment space of the connected car. But where does radio fit with the so-called “screenification” of new cars?

The seamless experience of broadcast radio and IP that defines hybrid radio continues to be implemented in an increasing number of connected vehicles

globally, and radio remains a dominant force when it comes to in-car listening.

Traditional AM/FM is used by most as an in-car audiosource but has ceded some ground to digital audio sources, according to the recently released 2023 Infinite Dial study from Edison Research. AM/FM radio continues to be the default choice in-car with 75 percent of the population, but that’s down from 81 percent in

2020. Meanwhile the number of people listening to online audio through a cell phone has jumped to 53 percent.

SURVEY SAYS…

The survey found the number of people with an in-dash integrated entertainment platform in their vehicle is growing slowly — up to 26 percent of Americans from 22 percent last year, led by Apple Car Play at 16 percent and then

Android Automotive at 14 percent. Clearly the car cabin space has become very competitive.

The National Association of Broadcasters (NAB) has aggressively pursued an adaptive process for broadcast radio to remain relevant in the infotainment dashboard.

PILOT, the technology arm of NAB, has reported good progress on an initiative to make sure Android Automotive, a built-in operating system that is different from an Android App on someone’s phone, fully supports broadcast radio and RDS. PILOT has been working with Google, Xperi, auto manufacturers and radio broadcasters across the globe in this work.

John Clark, executive director of NAB PILOT, said the documentation detailing the proposed extensions for the Android

PHOTO CREDIT: metamorworks/Getty Images

Open Source Project — used by third-party developers to enable apps for Android Automotive — was delivered to Google last fall.

“We have had some ongoing conversations but nothing definitive to report at this point. I do remain optimistic about the work and what may come of it,” said Clark.

HD Radio developer Xperi is banking on its DTS AutoStage platform in the connected car cabin.

The company’s Connected Car division, which includes HD Radio, DTS AutoStage, DTS AutoSense and Music Metadata, expects to have more than $300 million of revenue to be recognized over the next several years, according to Xperi CEO John Kirchner.

Radio advocates keep pushing the importance of metadata. In fact, the North American Broadcasters Association (NABA) is unveiling a new report at NAB Show focusing on this valuable information in the car.

“Each manufacturer takes their own approach to user experience, but a common fundamental is relying on radio broadcasters to produce high-quality metadata and content to go alongside their audio broadcasts,” said Nick Piggott, project director for RadioDNS. “It’s about really maximizing the benefits of linking IP with broadcast.”

VOICE ASSISTANTS

Voice assistants will be a key feature in future designs, accord-

TO LEARN MORE

How My Song Appears and Sounds on the Radio Today | 10:30–11:20 a.m.

W205

ing to observers, with Alexa, Siri and other voice assistants hitching a ride in the car.

“Voice in the car is like the car’s search engine — so that means enabling search for things like gas stations and restaurants,” said Roger Lanctot, director, automotive connected mobility for TechInsights. “Ultimately, voice will allow for greater discoverability of content — types of music, specific artists or tracks, or particular programs or just traffic or weather information — tuned to the vehicle’s location.”

There’s also the new idea of delivering radio content using the NextGen TV signal standard now

Why This Matters

With new technology and systems driving how broadcast radio looks and functions in the vehicle dashboard, radio industry experts predict legacy media will be challenged by the growing list of infotainment options in the dash. And there’s a new twist: Car makers appear poised to monetize the dash through subscription digital services that could include traditional radio service.

that some ATSC 3.0 developers say there will be room for radio in the digital pipeline. Some of them believe ATSC 3.0 could give automakers a direct over-the-air data pipeline into new electric vehicles for things such as software and firmware upgrades along with enhanced GPS capabilities. What are the next steps? It’ll be worth watching.

Radio is facing other challenges when it comes to in-car developments. Fred Jacobs of Jacobs Media was one of the first to alert radio broadcasters of the auto industry’s plans to monetize the dashboard by rolling out subscription digital services that

Capitalize Inspiration Zone Xperi’s HD Radio and DTS AutoStage are creating new opportunities for artists to foster deeper connections with in-vehicle radio listeners. Join songwriter Marshall Altman, Justin Chase, chief content officer at Beasley Media Group, and Xperi’s Senior Vice President, Broadcast Radio & Digital Audio, Joe D’Angelo, for an exclusive look at how Xperi’s connected car technologies are bridging the gap between artists and radio listeners in modern, consumer-first ways.

could someday include AM/FM radio service. And much has been written about how electric cars might not include AM radio in some models in the future.

Industry experts say the dashboard is in constant refresh mode. l

John Clark

Nick Piggott

Roger Lanctot

PHOTO CREDIT: Chesky_W/Getty Images

PRODUCTS & SERVICES SHOWCASE

New innovations from exhibitors on the show floor ADVERTISEMENTS

MONITOR BROADCAST, OTT, HLS, VOD & FAST STREAMS

Comprehensive compliance monitoring and logging solutions that include an extensive set of multiviewers, verification of SCTE and HLS ad triggers, tools for newsroom and ad sales workflows, and much more. On-prem, VM & Cloud Solutions.

NEW PRODUCT: ACTUS OTT STREAMWATCH

Actus unveils NEW Actus OTT StreamWatch, an incredibly powerful new OTT Monitoring and QoS/QoE Quality Assurance solution. Ingesting all renditions of native HLS streams, it probes many points and CDNs to perform analysis of QoS and SCTE details to maintain the highest quality of FAST/IPTV distribution.

REVOLUTIONIZE VIRTUAL PRODUCTION WITH ABSEN’S AWARD-WINNING PR SERIES: UNMATCHED COLOR AND DURABILITY

Absen’s award-winning PR series is developed for virtual production, which can be used as backdrops or ceilings. It is a revolutionary product with a cinematic color gamut and higher CRI. This product is also more durable and reliable due to its composite structure. https://www.usabsen.com/products/rental_stage/pr-series. html?utm_source=magazine

Ecreso FM AiO Series New! 100W & 300W

WorldCast Systems launches low power transmitters, 100W and 300W, within Ecreso FM AiO series. A software-oriented design enables users to replace outdated hardware at transmission sites via software integration of Audemat RDS Encoder, multiband processing, and APT IP Decoder. The Ecreso AiO series enable radios to achieve the lowest Total Cost of Ownership.

BLACK BOX EMERALD® DESKVUE REDEFINES THE USER EXPERIENCE

Personalize your workspace with Emerald® DESKVUE. Monitor and interact with up to 16 physical and virtual systems right from your user desk on up to four screens. Experience a live demo of DESKVUE and more KVM solutions, and register for our Blackstone Grill Giveaway at Black Box Booth #W1322.

www.blackbox.com

PRODUCTS & SERVICES SHOWCASE

New innovations from exhibitors on the show floor

ADVERTISEMENTS

PLANAR VENUE PRO VX SERIES LED VIDEO WALLS

Planar® Venue™ Pro VX Series LED video walls deliver exceptional visual properties for Virtual Production & XR. With mechanical features to suit temporary & fixed installations, they feature fine pixel pitches, high-performing scan and fast refresh, high brightness, variety of frame rates & magnetically-attachable cabinets with quick locks.

https://www.planar.com/VenueProVX

CANON EOS R5 C NOW APPROVED FOR NETFLIX 4K ORIGINAL PRODUCTIONS

A new firmware update for the EOS R5 C has elevated the operation of the camera, landing it on Netflix’s approved list of cameras for filmmakers to capture 4K Original Productions.

A separate upcoming firmware update provides improved AF performance, Clear Scan enhancements when shooting LED walls, reduced switching time between photo and video mode, and a power save mode.

https://www.usa.canon.com/

FOR BROADCASTERS

NAB Show Establishes ‘Broadcast District’

Exhibitors relevant to radio and TV can be found here

By Mark Hallinger TV TECH

Attendees returned to NAB Show in 2022 to discover the opening of the West Hall. This year attendees will find the West Hall is now home to NAB Show’s new Broadcast District, which features exhibitors, premium educational sessions, networking and special events, all relevant to radio and TV.

The Broadcast District hosts the Broadcast Engineering and IT Con-

Exhibits in the West Hall are organized around three of the four NAB Show pillars of curated destinations built around the content lifecycle: Connect, Capitalize and Intelligent Content. The fourth pillar, Create, is located in the North and Central Halls.

The Connect pillar explores content distribution and delivery, while Capitalize refers to the sector where content meets commerce. Intelligent Content is all about content personalization

said Zivanovic. “The most intriguing solutions will be the ones that can keep the costs low and remove all the heavy lifting for the clients and their brands so that they can focus on creation.”

Another vendor seeking to lower the cost and complexity of delivering content is Haivision. “5G, IP and cloud all continue to transform the way live broadcasts are being produced and delivered,” said Mark Horchler, Haivision’s marketing director. “The internet

workflows will likely dominate the “Capitalize” section of the West Hall at NAB Show this year.”

Button expects to see a range of cloud-based storage and MAM technologies that streamline media file and metadata management, as well as gateway devices that act as a bridge between on-premises equipment and the cloud. “With multiplatform content distribution an ideal avenue to maximize revenue, and more industries embracing streaming, we also anticipate streaming and transcoding solutions that simplify live multiplatform video delivery spanning a range of codecs and protocols.”

INTELLIGENT CONTENT

The Intelligent Content section of the hall involves several subject areas that have come to the fore-

ference. It is also home to the TV and Radio HQ, a prime networking destination for broadcasters open today through Tuesday. TV and Radio HQ includes the NAB Member Lounge, a Sip-and-Speak Series of quick Q&As with industry leaders, a “Discussion Den” of deeper conversations and workshops, happy hour events and more.

“We are excited to enhance the experience for broadcasters with a centralized location that emphasizes community building and makes it easy to navigate the Show,” said NAB Executive Vice President of Industry Affairs April Carty-Sipp. “TV and radio broadcasters will receive tangible takeaways to help them generate revenue, streamline expenses and innovate.”

using data, AI and automation tools that enable customized and immersive content. Create focuses on content creation from pre-production to post.

DISTRIBUTION AND DELIVERY

One of the exhibitors located in the Connect section of the West Hall is Nextologies. CEO Sasha Zivanovic said that television currently straddles a challenging chasm between traditional broadcast delivery and OTT.

“In this hall, you’re going to see all of the companies that are dedicated to satisfying the demands of what the new world broadcaster needs to reach its market for both live and non-live environments,”

and mobile networks are proving to be more versatile and cost-effective than satellite and fiber for broadcast contribution, while the cloud is enabling decentralized remote production and real-time collaboration between camera operators, talent and production staff across multiple sites.”

AJA Video Systems Director of Product Marketing Bryce Button said that between a steady consumer appetite for content, the growth of the creator economy, and the evolution of 4K/Ultra HD and HDR workflows, massive volumes of high-quality content are being created, stored and delivered every day.

“With these developments and the continued advancement of video-over-IP, camera-to-cloud

front in recent years.

Stephane Guez, co-founder and principal at Dalet, said that what makes anything intelligent is its ability to adapt to various situations or requirements. When applied to large collections of content, intelligence is the combination of rich data and the processes that will identify the content that best responds to a query or to a requirement.

“Intelligence makes use of that content so it can be integrated in a new program, made accessible to a producer, presented as an option to a consumer, or transformed to create new content automatically,” said Guez.

Hiren Hindocha, CEO of Digital Nirvana, said he expects to see

Left to right: Bryce Button, Geoff Stedman, Hiren Hindocha, Mark Horchler, Sasha Zivanovic, Stephane Guez

ONLINE BUSINESS SOCIAL MEDIA

Creator Economy Powers Home-Grown Content Generation

A camera and creativity is all it takes to find an audience online

By Bob Kovacs TV TECH

The internet and social media have enabled individuals to turn their knowledge, talents and hobbies into an online business and income stream — all you need is a camera, creativity and internet service. Known as a “creator economy,” people with an idea and modest video skills and equipment can turn their ideas and actions into money.

It used to be that equipment to make television programming was relatively expensive and complicated to use. While production costs decreased over time, the real problem for content creators to get the world to see their videos became finding an outlet for their programming.

With the launch of YouTube in 2005, a dedicated destination was now available for people to upload and watch videos from anyone … anywhere. YouTube caught on quickly and the site now has 2.5 billion monthly users that collectively watch more than 1 billion hours of videos every day. Google — and now its parent company Alphabet — has been YouTube’s owner since 2006.

Other outlets that encourage videos have come on strongly since then, including Instagram (owned by Meta), Vimeo and TikTok. Vimeo caters to a more professional video-oriented crowd, but YouTube, Instagram and TikTok are the favorites of users who want to share their talents — and their thoughts — with the world.

TO LEARN MORE

The following sessions are open to all attendees with an Exhibits Pass.

The Independent Age in the Creator Economy

Today | 1–1:40 p.m.

W2051 | CAPITALIZE Inspiration

ning — it can happen, but it is infrequent. And raking in the cash doesn’t happen unless you have very special content or circumstances.

SIGNIFICANT REQUIREMENTS

The sites themselves generally have requirements before a video creator can begin earning money. For example, users must get 1,000 people to subscribe to you’re their YouTube channel before they can begin to earn money on videos. It’s a high hurdle that weeds out the serious from the casual.

From Zero to Influencer: Stories of Success in the Creator Economy

Monday | 10:30–11:10 a.m.

C2133 | CREATE Inspiration

series of high-quality tutorial videos about maintenance. Or you have knowledge about how to cook in an air fryer and make videos of the recipes you create. If an audience finds you, your videos could make a decent income, especially if you sell a product or use the Patreon membership platform.

Many creators are on multiple sites and use add-on sites like Patreon to amplify their earnings.

Patreon is a membership platform that provides business tools for content creators to run a subscription service.

Making money online through social media is not as simple as it seems. And a video going viral doesn’t always mean the creator will make a lot of money. Going viral is like being hit by light-

If you have unusual content or are unique in some way, an audience may beat a path to your YouTube channel and you may be able to begin earning quickly. If you are like most of creators, it’s hard work to join the creator economy.

While YouTube audiences tend to favor youth, creativity and celebrity, an expert making clear and easy-to-digest videos about a popular topic can draw a crowd.

Maybe you know everything about Toyota Corollas and make a

If you are a celebrity with a following, an audience is at your fingertips. James Taylor has a series of videos on playing guitar, and you can bet that he gets lots of viewers.

If you can give the world something it wants in a unique presentation, you can build an audience. Some people do this for a living. They find a niche that lets them be creative and reach an audience. That is the power and lure of the creator economy. And while many won’t see much revenue, there are many success stories. l

the use of generative AI to create content — be it text, images or video: “The Intelligent Content section will be the place to see solutions incorporating, based on or inspired by products from Stable Diffusion or DALL-E 2; audio content based on celebrity voices; or articles based on large language models like GPT-3,

ChatGPT or similar. We also expect to see technologies that make it easier to auto-generate chapter markers and show notes for podcasts using AI.”

Geoff Stedman, chief marketing officer of SDVI, noted that SDVI is located very close to where the three themes of the West Hall all come together. To him, a key part of personalizing

content is making that content relevant and accessible to the audience, and this drives a tremendous amount of localization and content versioning. “A key theme will be how intelligent automation and the application of AI/ML tools can assist with the creation of all these versions as part of a faster, higher-capacity media supply chain.” l

Nick Urbom will lead a presentation on the creator economy. He is the founder and CEO of Nowbase.

❱ Broadcast District continued from 49

Content Creators Are Finding Success on Social Media

A father/daughter singing duo is taking top spots on Billboard, iTunes and Apple Music

By Terry Scutt NAB SHOW DAILY

NAB Show is taking attendees into the creator economy, an online business run by content creators who monetize their audiences through paid partnerships, ad revenue and product sales.

A father/daughter singing duo from Utah who share their music on various social media platforms is an example of success. Mat and Savanna Shaw joined the NAB Show Daily for a quick Q&A.

NAB Show Daily: Can you tell our readers a little bit about your backstory? Why and how did you get started on YouTube?

Mat Shaw: Savanna was always very shy. Some of her best friends

didn’t even know she sang. She was able to gain some confidence in a children’s choir she joined, but sadly it was cancelled with the start of the pandemic. She started a singing social media account mainly to share with those choir friends. She wanted to share a song that she felt had a timely message for her friends given the anxiety around the pandemic but was so nervous to sing alone. She ended up asking me to join her in singing the timeless hit “The Prayer.”

After that video went viral (10 million views on YouTube alone), and after all the incredible messages of how much the music meant to people, we decided to continue making music, and haven’t stopped since.

Really, it wasn’t meant to go viral, or to go beyond just friends

and family, but we found a niche and we found a purpose. It has since become our mission to “Share Hope and Spread Joy” with everything we do in music.

Daily: After three years, how many followers does your channel have and how quickly did the community grow?

Shaw: YouTube — 650,000+, Facebook — 540,000+, Instagram — 140,000+ and TikTok — 70,000+.

The accounts saw a big bump in the early days, likely from the appearances on multiple national shows like “Good Morning America,” “Inside Edition,” “The Kelly Clarkson Show,” “The Today Show,” etc. Once that leveled off, it was simply work. And we

worked hard on releasing consistent quality content.

We saw the algorithms shift from long-form content to short form. Some artists have complained about this shift and the world’s “tightening attention spans.” But I see it as a shift towards authenticity and accessibility. Realizing the amount of content being produced every day, we knew the content had to be interesting from the first few seconds, and it had to feel real. It forced us to be more creative and find new ways of reaching our audience. And to be honest, we have seen more growth with this shift in the algorithms than we have seen since our early days.

Daily: Who are some of the musicians and entertainers you have worked with since you began your channel?

Shaw: The first artist that reached out early on in our music career was Peter Hollens. He truly lives the idea of “a rising tide raises all boats.” He offered so much help and guidance in those early days, with really no expectation of anything in return. He has become a close and trusted mentor.

We were lucky to collaborate with Jim Brickman, who also reached out to us. We did a national Christmas tour with him last year and have written and recorded several songs with him. I have been a huge fan of his since my younger years and remain so today. We consider him a close family friend now.

There are local artists to Utah and surrounding areas that we have had the pleasure of collaborating with, like BYU Vocal Point, GENTRI, One Voice Children’s Choir, Rise Up Children’s Choir, Claire and Dave Crosby, and many more.

I feel like collaborations are a brilliant way for both parties to be introduced to new audiences in a special and unique way! Collab-

Mat and Savanna Shaw

orating with other like-minded artists is one of the most rewarding parts of our music journey!

Daily: What impact has your YouTube channel had on your lives, as well as the lives of your family?

Shaw: When we started, we knew nothing about the music business, or the social media business. We had to simply put in the work. An example of our naivete was the release of our first album. We bought 10K CDs fully expecting them to take a year or two to sell out. We also thought it would be cute if we shipped and personally hand-addressed each sale we got.

By the actual release date, we had sold out of all 10K of those CDs and we were committed to addressing and shipping each one of those ourselves! Our entire family pitched in and after turning our house into a full-blown shipping and distribution company for a short time, we were able to ship each one of those albums. We now, gratefully, have a shipping company handle our distribution. But we look back fondly on those days. The entire family pitched in, and we were all left with some fun memories (albeit stressful memories, too).

We have now released a total of six albums, all of which have hit #1 on various Billboard, iTunes,

STREAMING LIVE

and Amazon Music charts worldwide. This has caused an interest in performing live and touring. We are a family of six, and in an effort to stay close as a family, we all come along for the ride when we tour. Our fans know our family and are just as excited to see the kids selling merchandise at the

The StreamGeeks Join NAB Show Live

The team is reporting from the show floor

Joining the 100th anniversary celebration of NAB Show, the StreamGeeks join NAB Show Live. Reporting from the show floor during the official NAB Show Live stream will be StreamGeeks’ Paul Richards, chief streaming officer, and Tess Protes-

to, marketing manager.

Throughout the event, Richards and Protesto will tour the exhibition hall and interview NAB Show attendees. They’ll also interact with audiences on social media throughout the livestream and give away video production gear from manu-

merch tables as they are to see us perform our music. We have even included the rest of the family when appropriate. Our youngest, Pennie Jean, was featured on a Christmas song “Where Are You Christmas/When Christmas Comes to Town.”

Brooke (mom and wife) sings

backup vocals and appears in several music videos. Easton (brother and son) has played ukulele for a song, and Eric has provided some fun dance routines for several concerts. We absolutely love including the entire family when they want to be included.

Daily: Can you share some favorite moments along this journey?

Shaw: There are so many. Music is so powerful in creating a shared experience that connects us on a deeper level. It gives us opportunities to connect with people that the spoken word simply can’t provide. It can create deep bonds with fellow creators and artists, and it can create moments that are imprinted in the minds of fans for life.

Some of our favorite moments were packing and shipping those CDs at home for our first album release; our first big Christmas concert at home here in the beautiful Eccles Theater; Savanna getting to meet Kelly Clarkson in our first interview with her; seeing all the phone lights in a concert for the first time; and for me, seeing my daughter going from the shy girl in the back of the classroom to singing in front of thousands with confidence, seeing Savanna live her dream of using her voice to share hope and spread joy. l

facturers exhibiting at the show.

“We’re excited to be part of such an important milestone for broadcasting as NAB celebrates its centennial year,” said Richards. “We’re looking forward to connecting with our audience in new ways through this live broadcast and learning

about all of the amazing innovations taking place in broadcasting today.”

Protesto added: “We’ve seen firsthand how streaming technology has changed over time and we can’t wait to share our insights with everyone at home who tunes into our live broadcast.” l

Shipping their first CD from their living room was a family affair.

PLAYBOX NEO & SNEWS BROADCAST SOLUTIONS INTEGRATION PARTNERSHIP

C2437 | N1975 | PlayBox Neo is expanding the software connectivity of its television channel branding and studio playout servers with support now provided for the Arion newsroom system from SNews Broadcast Solutions. SNews develops software-based newsroom production systems for an international clientele.

SNews Arion is designed to give newsroom teams all the facilities they need to monitor, search and filter incoming and archived news. Newsroom teams can create their own rundown including a count of surpluses or overruns. View layouts and colors can be customized to match a channel-preferred design. Arion also allows configuration of subsections, expected length and video clip duration. Externally sourced news can be verified through channels such as RSS, Twitter and Facebook. Shared across the entire newsroom, Arion gives authorized users access to the broadcaster’s registered sources via a structured agenda augmented by the ability to make a direct query via their mobile phone.

ProductionAirBox Neo-20 is equipped with features designed specifically for live production. These include the ability to trim or reposition every clip in a playout while the scheduled session is on-air. Commands such as next, jump or shuttle allow playout order to be modified without interrupting the current playout session. Up to four inde-

SPOTLIGHTS

pendent players can be configured on a single ProductionAirBox Neo-20 server. Each player can be controlled via its own playlist. Each of the four SDI/NDI interfaces can be assigned as program or preview outputs. Single-channel or multichannel user interfaces are available to streamline the operation. Content manipulation and delivery can be performed with the near-zero latency demanded for the fast-paced work environment of broadcast news, sports and live production.

HAIVISION MAKITO X4 VIDEO ENCODER UPDATE

W3020 | Haivision is spotlighting the latest features added to its ultra-low latency Makito X4 video encoder series, including a newly designed user experience, as well as the Pro series of mobile transmitters. Thanks to the Haivision-pioneered SRT transport protocol and SST IP bonding technology, the company’s comprehensive suite of live video contribution solutions gives broadcasters the flexibility to contribute over any network, including internet, satellite, 4G and 5G.

Haivision also is demonstrating how its StreamHub and SRT Gateway platforms can receive, decode and distribute live video streams to support a range of workflows including SDI, NDI, ST 2110, SRT and even social media networks.

Also on exhibit is the Haivision Command 360 video wall solution for operation and command centers with a focus on mission-critical applications for government and enterprise customers.

Broadcasting is Here to Stay

For over a century, America’s local television and radio broadcasters have provided the most trusted news, emergency updates, weather, sports and entertainment to our communities.

We are evolving with the needs of our viewers and listeners, innovating to deliver our critical services anywhere you are on every device.

Our enduring legacy is our commitment to serve our communities – to inform, entertain and keep you safe. We are America’s broadcasters, and we are here to stay.

LAWO V10.6 MC2 AND A__UHD CORE PLATFORM

C4111 | Lawo is exhibiting more than 10 new products and updates to its existing audio, video, control and monitoring portfolio. For the audio production community, Lawo is officially launching version 10.6 for its mc2 and A__UHD Core platform, which delivers a new level of immersive audio mixing and advancements for multichannel processing and downmixing. Version 10.6 supports the new, optional Pooling 8 license designed to share the 1,024 DSP channels of a A__UHD Core among up to eight independent mixing surfaces.

Lawo’s line-up of on-air/radio solutions is expanding with a new processing core, a new software version for its radio portfolio, an additional I/O card for the Power Core’s rear-panel bays and an extension for its R3LAY radio software.

ROHDE & SCHWARZ R&S SPYCERNODE2

N1949 | In a showcase of advances across its product range, Rohde & Schwarz is unveiling R&S SpycerNode2, which it says is a radical re-architecting of the popular storage appliance, now offering more agility and connectivity including media caching, and offering yet more power at the heart of modern workflows.

Also featured: R&S Clipster 6 Mark 2, the industry standard for creating deliverables, now sees a 100-percent speed boost, making it faster to create all the versions required for today’s media supply chain; and R&S Venice, the ingest-to-playout content store, also has new functionality, including simplifying the ingest of threatened VT libraries.

Rohde & Schwarz says these continuing developments show the company’s commitment to meeting industry expectations for advanced functionality, high availability, reliability and support, highlighting how content flows from ingest through the content chain to delivery and transmission.

BLACKMAGIC DESIGN DAVINCI RESOLVE FOR IPAD

N2601| Optimized for MultiTouch technology and Apple Pencil, Blackmagic Design’s new DaVinci Resolve for iPad features support for cut and color pages providing access to DaVinci’s award-winning image technology, color finishing tools and latest HDR workflows. And Blackmagic Cloud support allows creators to collaborate with multiple users around the world.

With optimized performance for Apple Silicon, DaVinci Resolve delivers 4x faster Ultra HD ProRes render performance on the new iPad Pro with M2. HDR is also supported for customers using a 12.9-inch iPad Pro with the M1 chip. Creators can send a clean feed grading monitor output to an Apple Studio Display, Pro Display XDR or an AirPlay-compatible display.

DaVinci Resolve for iPad was available in Q4 2022 from the Apple App Store as a free download, with an upgrade to DaVinci Resolve Studio for iPad also available as an in-app purchase.

WORLDCAST SYSTEMS ECRESO AIO LOW-POWER TRANSMITTERS

W2321 | WorldCast Systems is extending its new Ecreso AiO portfolio to include the Ecreso FM 100W and Ecreso FM 300W transmitters. The launch of these low-power transmitters at NAB Show follows the 2022 release of the award-winning Ecreso FM 1kW.

The expanded AiO series is designed to meet the needs of modern broadcasters who must align rising costs while adapting to increasingly complex infrastructures with non-extensible resources. The 100W and 300W AiO series are compact 2U FM transmitters that enable radio stations to achieve the lowest Total Cost of Ownership while delivering audio quality.

Built using a software-oriented design, Ecreso enables seamless performance while limiting costs associated with peripheral equipment such as sound processors or decoders. AiO Series products enable users to replace outdated hardware at transmission sites via software integration of Audemat RDS Encoder, multiband processing and APT IP Decoder.

G&D NORTH AMERICA PERSONALWORKPLACE-CONTROLLER

N1967 | G&D North America is unveiling its PersonalWorkplace-Controller, a flexible multiviewing tool that displays multiple video signals on a single large monitor or multiple displays and highlight the company’s KVM expertise.

The new multiviewing tool enables broadcast professionals to display multiple video signals on just one large monitor or multiple displays and therefore individually designing their workplaces. Previously, a separate monitor was required for each process.

In addition to getting a clearly arranged overview of all processes on just one monitor, users can simultaneously and flexibly access all the data they need. Providing latency-free operation of multiple computers from a single console facilitates everyday work, whereas high-image quality as well as unlimited flexibility in arranging the sources provides added value.

ACTUS DIGITAL OTT STREAMWATCH

W1767 | Actus Digital is unveiling its latest solutions for TV, radio and MVPD (multichannel video programming distributors), including the new OTT StreamWatch.

Available via SaaS and on-premises solutions, OTT StreamWatch provides 24x7 OTT stream monitoring and recording of native HLS streams. It makes it easy for engineers to monitor and maintain the quality of linear FAST/IPTV channels through the workflow from encoding through delivery. OTT StreamWatch handles a range of resolutions and speeds returning from various CDNs across unmanaged networks.

Live OTT video streams can be displayed on multiviewers at various probe-points in their workflow and combined with traditional TV station/broadcast content. This approach highlights affected probe-points as issues occur, demonstrating how widespread those issues are, and immediately identifying where they began so engineers can quickly remedy them.

With the addition of OTT StreamWatch to a traditional Actus Intelligent Monitoring Platform, detailed OTT Quality-of-Service (QoS) information is added to transport stream analysis.

SPOTLIGHT ON: The Great Britain and Northern Ireland Pavilion

Features include automation, SD/ HD/UHD playout, SDI, NDI, H264 or MPEG-2 transport stream I/O, video server, switcher, DVE, graphics, subtitling scaling, SCTE, loudness normalization and many other functions.

CUBE STUDIO

N2968

CHRISTY MEDIA SOLUTIONS

N2966A

BLUE LUCY

W1379

BLAM closes the expensive technology gaps in production and content supply chain operations, providing a single, unified and highly automated management system to streamline production and fulfilment operations. BLAM is in operation with some of the biggest names in the media industry including A+E Networks, BBC Studios and Banijay Rights.

Christy Media Solutions is a broadcast media and entertainment recruitment organization operating worldwide for broadcasters, content creators and distributors, creative digital agencies, esports, live production, OTT/VOD platforms, post-production, sports media, system integrators, technology solution providers and telco operators.

CORALBAY.TV

N2964A

coralbay.tv develops and supplies cloud native, microservices-based linear playout solutions that can be hosted on premises or in the cloud.

CUBE Studio is a virtual production studio providing a full-service solution for advertising agencies, production companies, enterprise businesses and film and TV. Its premium facility combines the latest LED technology, game engines, camera-tracking and graphic servers to provide a versatile platform for users to create their reality.

DIZPLAI

N2967 Dizplai makes it easy to add real-time audience engagement and

interactivity to live news, sports or entertainment. With the platform, producers can easily and effortlessly gather information from social media, messaging apps, user-generated content or sports data and display it in real time with graphics or on a presenter device.

GB LABS

N2961

GB Labs is demonstrating its range of intelligent, fast and flexible shared storage solutions, alongside our powerful set of tools within its CORE.OS. Additionally, the company is releasing our latest technology, Unify Hub Generation 2, on-premise, remote and cloud, working together as one.

GRABYO

N2873

Grabyo is featuring live demos of updates to Grabyo Producer, which is a cloud-native production and distribution platform. Its PCR is accessible through just a browser and also includes video switcher, multiviewer, audio mixer, instant replay and remote contribution features. Grabyo Studio and Editor are its live clipping and VOD editing tools.

Here’s a short rundown of what visitors to the pavilion will find and can learn more about through the exhibitors there.

HITOMI BROADCAST

N2860

ORTANA MEDIA GROUP

N2969

tery units, designed with re-usable modules for greater sustainability. PAG is also showing its USB-C Adaptor for powering laptops using Mini PAGlink batteries.

QUICKLINK

Hitomi MatchBox says it is recognized as the industry standard in lip sync and latency. Whether from camera to truck or multiple contribution circuits across the globe, with one simple process users can very quickly measure end-to-end latency across the circuit, then ensure that pictures and sound are perfectly aligned.

OBJECT MATRIX

N2965A

Object Matrix specializes in best-of-breed, on-prem, hybrid and cloud-based storage, designed for the media industry. Its solutions bridge the gap between creatives and content, delivering the highest levels of content protection and operational efficiency. Access media from any location, and at every stage of its lifecycle — from ingest to archive.

EXECUTIVE Q&A

Ortana’s Cubix offers a range of content-centric use cases tailored for the global media, entertainment and broadcast industries. Built on a highly modular architecture that’s easily configurable and reconfigurable, to meet the demands of your current and future workflow needs — bringing everything together into one highly orchestrated platform.

PAG LTD.

C4925

N2867

analysis and telestration to newsroom integration and AR graphics. At the heart of all the products is a modular, scalable graphics engine, which delivers cost-effective solutions in NDI, SDI, or ST2110 / HD, UHD or HDR.

TELLYO

Quicklink is demonstrating the Quicklink Studio and Quicklink Manager, the world’s best remote guest solution, according to the company. Quicklink Studio allows you to easily and professionally introduce remote guests into your workflows. The STS420 with Cre8 is also being demonstrated, an all-in-one AI-enabled solution for creating virtual, in-person and hybrid events.

RT SOFTWARE

N2861

N2973

Tellyo is demonstrating the latest version of Stream Studio, its flagship solution for live video production in the cloud. Used by broadcasters, production houses and sports federations around the word, Tellyo is greener, more efficient and more cost-effective — that’s #smarterproduction!

TRINT LTD.

N2872

PAG is showing its latest intelligent linking batteries for broadcast cameras and accessories — Mini PAGlink. The patented battery-linking feature provides super-high-capacity power from smaller, lighter, flight-friendly bat-

RT Software is showing broadcast graphics for news, sports and channel branding. Its Tactic and Swift products cover AI-powered sports

Trint is an AI-powered SaaS platform that allows teams to quickly craft narratives from transcribed audio or video. The company has a live demo set up at the booth showcasing the power of its new mobile app and the robust suite of secure transcription, translation and content editing tools. l

What technology trends will you be following most closely at NAB Show this year?

The exciting topic at this year’s NAB Show could be the pace at which paradigms are shifting. Lawo is curious how the industry is responding to the need to deliver more content with a shrinking budget. Purchasing ever more hardware to prepare for large events seems costly moving forward. Yet, lifting and shifting existing workflows to the cloud would only scratch the surface of what is possible with software. Plus, not all operators are ready for the cloud yet.

Chris Scheck Marketing Content Manager Lawo

Lawo is a long-time exhibitor at NAB Show. What brings the company back to this event each year?

NAB Show has been a lighthouse show for Lawo for a very long time. Announcing new products at NAB Show is the best way to ensure that the entire industry is aware of what Lawo is up to. Furthermore, the team welcomes the opportunity to meet partners, customers and friends in person, to learn about their requirements and workflows and tailor future developments to their needs.

BLACK BOX EMERALD DESKVUE

W1322 | Black Box is introducing and demonstrating its new Emerald DESKVUE KVM-over-IP receiver. Emerald DESKVUE eliminates the traditional one-to-one relationship with a transmitter or virtual system and allows users to create a personalized workspace where they can simultaneously view and interact with up to 16 different systems.

Users can now tailor their workspace as best suits their needs by connecting a single keyboard, mouse, USB 3/2 devices, audio and up to four 4K/5K monitors. Emerald DESKVUE connects to physical systems via Emerald transmitters; VMs using RDP, PCoIP, PCoIP ultra and H.264/265 sources; and Virtual Network Computing (VNC).

All systems can be positioned across the screens as freely movable windows. Interacting with each system is as simple as moving the mouse onto the window. This model enables the user to maintain complete situational awareness and full control within easy reach.

PLANAR VENUE PRO VX SERIES

W2633 | Planar is launching the Planar Venue Pro VX Series, a family of indoor fine pixel pitch LED video wall displays delivering what the company says is exceptional in-camera visual performance for virtual production and extended reality, as well as on-camera visual performance for broadcasters.

The series combines high-performing scan and refresh rates with high brightness and narrow pixel pitches, making it well-suited for LED XR stages in markets as diverse as film and video production, corporate, broadcast, rental and staging and live events.

The Planar Venue Pro VX Series is designed to reduce the complexity of setup and teardown, featuring magnetically attachable cabinets with quick locks for single-person installation. The series also includes mechanical features to suit both temporary applications and fixed installations.

The series is available in 1.9 and 2.5 millimeter pixel pitches and compatible with Brompton LED processors and LED controllers from Colorlight.

WOHLER TECHNOLOGIES IAM-SUM AUDIO MONITOR

N3239 | Wohler Technologies is introducing the iAM range of audio monitors that offer a choice of up to 32 channels of audio metering on a single 7-inch wide screen. Available with a choice of 8, 16 or 32 channels, the iAM also benefits from a row of virtual rotary dials to adjust trim levels of individual channels or pairs.

These units also display loudness, phase for stereo pairs, and the channel name, which can be manually edited or automatically read from a network connected router — a feature familiar to users of the company’s MIX8 and MIX16.

Whether monitoring 8,16 or 32 channels, the unit can be configured to operate in either single-channel or pair mode. Standard features include 3G-SDI and a pair of analog inputs and outputs. Upgrade/license other signal formats and processing options, as and when needed, either initially or after purchase. iAM is equally at home in QC, fast-paced OB and live-to-air production environments.

RTS DSPK-4 DIGITAL SPEAKER STATION

C3811 | RTS is featuring the global introduction of the DSPK-4 Digital Speaker Station — the latest addition to the brand’s RTS Digital Partyline product family, which also includes the OMS (OMNEO Main Station) and DBP (Digital Beltpack).

The DSPK-4 is an IP-based wired speaker station providing next-level versatility and functionality, including four channels of talk/listen via microphone and speaker or headset, all with high-quality digital audio and the use of standard Ethernet for easy integration into existing IT infrastructure.

It adapts the hybrid IP/digital/analog functionality, ergonomic design and intuitive UX of the DBP into a sleek new form factor that is available in compact desktop, flushmount and wall-mount versions, each with a variety of power options and headset connectors. As with the DBP, the DSPK-4’s IP technology allows for hybrid use, supporting both digital partyline and matrix keypanel modes.

JVC PROFESSIONAL VIDEO NDI-COMPATIBLE BROADCAST CAMERAS

C4218 | JVC Professional Video is introducing its first NDI-compatible broadcast cameras — the GY-HC500UN, GY-HC550UN and GY-HC500SPCN. The cameras join JVC’s previous HC500 Series handheld camcorders, which feature optimized image processing and IP performance.

The NDI-compatible versions ensure that broadcast studios, schools, churches and other facilities can incorporate the cameras within their existing IP infrastructure as a source for live video with tally and IP remote control capability. Current HC500 Series users can also have their cameras upgraded by JVC to implement the new NDI capabilities.

All HC500 Series cameras feature a one-inch 4K CMOS imager and integrated 20x zoom lens with built-in ND filters and manual zoom, focus and iris control rings. In addition to the standard capabilities of the HC500 Series, the GY-HC500SPCN model includes the unique ability to provide sports graphic overlay with real-time updates via the Sportzcast/Genius Sports SCORELINK devices.

COBALT DIGITAL 9992-ENC/DEC ENCODERS/DECODERS

C2419 | Cobalt Digital continues to add capabilities to its software-defined family of 9992-ENC/DEC encoders/decoders.

The 9992 series offers traditional broadcast features combined with advanced network options to provide a solution for sports, news gathering, video contribution and affiliate distribution.

The series is getting a boost of agility and reliability with the addition of RIST Source Adaptation (VSF TR-06-4 Part 1). This recently approved specification defines a protocol for the stream receiver to provide feedback information to the source to trigger an appropriate action. RIST Source Adaptation allows the 9992-ENC encoder to adapt its output data rate to match network conditions based on feedback from the decoder. If network traffic conditions deteriorate beyond the correction capabilities of the ARQ (Automatic Repeat reQuest) error control and packet recovery method, the encoder reduces the bit rate without any interruption in operation. Once the network improves, the encoder adjusts to the restored capacity.

TIELINE MPX I, MPX II CODECS

C3008 | Tieline is unveiling two new MPX codecs. Tieline’s MPX I and MPX II codecs deliver composite FM multiplex (MPX) codec solutions for real-time network distribution of FM-MPX or MicroMPX (µMPX) signals to transmitter sites. The MPX I is suitable for transmitting a composite STL signal from a single station with return monitoring, whereas the Tieline MPX II can transport two discrete composite FM-MPX signals from the studio to transmitters with return monitoring. Both units support analog MPX on BNC, MPX over AES192 and multipoint signal distribution, to deliver a range of flexible composite encoder and decoder solutions for different applications.

The MPX I and MPX II support sending the full uncompressed FM signal, or high-quality compressed µMPX at much lower bit rates. An optional satellite tuner card with MPEG-TS and MPE support can receive DVB-S or DVB-S2 signals.

The MPX I and MPX II are expected to ship later this year.

RADIO.CLOUD LIVE STUDIO SOFTWARE

W1773 | Radio.Cloud has partnered with Wheatstone to introduce a fully integrated cloud environment combining program automation with AoIP control and routing. Together, the two offer a platform that integrates native AoIP with cloud-native automation for a large installed base of Wheatstone studios around the globe. By integrating Radio.Cloud’s Live Studio software with Wheatstone’s WheatNet-IP AoIP control and routing, broadcasters can control automation and studio functions (manipulating faders and other console controls) from either the Radio.Cloud interface or WheatNet-IP control surfaces. This means users will get a response either in the browser with a virtual console such as the Glass LXE and Remote LXE or on the hardware itself.

Currently, the two companies are working on integrating Radio.Cloud with Wheatstone’s new cloud Layers Software Suite to bring high-quality audio processing software to cloud data centers.

DELTACAST IP VIRTUAL CARD 2.1

C3012 | DELTACAST is releasing the IP Virtual Card 2.1 software stack and SDK solution for ST 2110 video streaming. This release offers OEMs and developers the same level of performance as SDI under Windows and Linux. The IP Virtual Card is a video capture and streaming solution that delivers high-quality video transport on standard network cards, with support for a range of formats, including SD, HD, and UHD.

In a world where software is increasingly dominant, the IP Virtual Card offers a software-based alternative to traditional hardware-based video capture and playout systems. Designed to be independent of hardware constraints, this solution relies on the same VideoMaster SDK as DELTACAST’s video I/O cards, ensuring the quality and the low latency for even the most demanding applications.

The IP Virtual Card has an optimized network stack that ensures accurate, PTPlocked media streams, delivering performance comparable to SDI. ART

TEDIAL SMARTWORK SMARTPACKAGES

W3959 | Tedial is featuring an enhanced version of its smartWork cloud-native NoCode Media Integration Platform with smartPackages, a set of PBC modules capable of streamlining the processes of different business units including, but not limited to: news, content delivery, post production, archive and IMF.

PBCs are reusable software components that provide the key building blocks of a composable enterprise, used to create best-of-breed solutions in many verticals. In the M&E industry PBCs represent self-contained units that solve a specific problem: localization, content delivery, post production, etc. PBCs function without external dependencies, or the need for direct external access to data.

According to the company, the enhancement is the M&E’s industry’s first PBC solution and was designed to bring broadcasters closer to the cloud and enable the composable enterprise. Composability increases agility in digital transformation, relieves pressure on the IT team and frees up time for innovation.

MEDIA LINKS XSCEND IP MEDIA PLATFORM

W1421 | Now celebrating its 30th anniversary year, Media Links is introducing the Xscend IP Media Platform. Designed for the network edge as a reconfigurable, versatile IP media migration gateway, Xscend transports up to 128 high-quality media and data services across both managed and unmanaged (open internet) networks. Its adaptable, media-tuned architecture supports software-defined upgrades, accommodating evolving network protocols, user workflows, physical interfaces, codec algorithms and video formats.

The company says the Xscend’s uniqueness lies in its density and flexibility to accommodate ever-changing industry advances. Through its hardware modularity, software upgradeability and license configurability, flexible workflows can be adapted to support a variety of use cases, in particular the proliferation of content requirements in sports production. Xscend addresses today’s standards, including ST 2022-2/6, ST 211020/22/30/40, JPEG2000, JPEG-XS and VSF TR-01/07/08 along with the capability to implement future recommendations.

TELEMETRICS WIRELESS OMNIGLIDE ROBOTIC CAMERA PEDESTAL

C4425 | Telemetrics is showcasing its new wireless video transmission and battery system for its OmniGlide Robotic Roving Platform that allows users to freely move the OmniGlide studio camera pedestal and avoid obstacles virtually anywhere in the studio without cables.

The new option for the OmniGlide consists of a field-proven wireless transmitter and battery system configured to the rover’s specifications, while maintaining the rover’s esthetics and precise, preprogrammed or manual movements.

Going wireless with the rover still provides the same functionality customers are used to including camera power and control, teleprompter power and video, confidence monitor power and video and full robotic control. Also, at any time, the system can run on a standard cable loom providing a full backup solution. The wireless system is designed so that OmniGlides currently in the field can be upgraded to support wireless.

Math and Magic: Stories From the Frontiers of Marketing With Bob Pittman

Today | 3–3:45 p.m.

West Hall Meeting Rooms

W213-W215

How do the smartest marketers cut through the noise time after time? Join iHeartMedia Chairman and CEO Bob Pittman as he analyzes the math and magic of audio and marketing and visits NAB Show for a live podcast conversation with iconic award-winning radio personality and influencer Angela Yee, host of Premiere Networks’ nationally syndicated “Way Up With Angela Yee” broadcast radio show, creator of “Angela Yee’s Lip Service” podcast and former co-host of “The Breakfast Club.” An NAB Show Conference pass is required to attend. l

Bob Pittman

Angella Yee

IMAGINE COMMUNICATIONS SELENIO NETWORK PROCESSOR WITH MAGELLAN CONTROL SYSTEM

W2775 | Imagine Communications is showcasing the latest innovations in its portfolio, including the Selenio Network Processor paired with its Magellan Control System and the Imagine Aviator platform.

Attendees looking for video processing and routing systems that can span from SDI to IP, HD to UHD, SDR to HDR or on-prem to cloud can experience demonstrations of the Selenio Network Processor (SNP), including the HDR-capable SNP production multiviewer personality. The latest SNP release features JPEG XS support, enabling connectivity for remote production workflows and ground-to-cloud links. The 1RU SNP pairs with Imagine’s Magellan Control System in a combination that can support customers navigating any technology transition — including providing an on-ramp to the cloud.

Also being shown, Imagine Aviator, a cloud-native platform that enables media companies to plan, make and monetize premium-quality, ad-supported linear and connected TV (CTV) content from a single, unified solution.

LIVEU LIVE VIDEO SERVICES

N3058 | LiveU is at NAB

Showfor the 14th year to share tangible ways that customers can reduce production costs, meet the increased demand for quality content and optimize the monetization of their content assets by leveraging cloud-based workflows.

The company is demonstrating its complete suite of live video services — from contribution and production to distribution — as part of an enhanced live video production ecosystem. This is all built on LiveU’s LiveU Reliable Transport (LRT) protocol for low latency, high quality and rock-solid resiliency.

LiveU also is presenting what the company describes as a world-first production approach, leveraging LRT across the entire workflow.

Putting the customer in control, LiveU’s on-demand subscription solutions encompass seamless cloud, on-prem and hybrid workflows, saving money by lowering costs, reducing time to air, increasing audience engagement and distributing to multiple channels.

LEADER INSTRUMENTS LV5600 SDI/IP WAVEFORM MONITOR

C4920 | Leader is showcasing a complete IP solution ranging from the LT4610 and LT4611 PTP generators plus the award-winning ZEN Series LV5600 true hybrid IP/SDI waveform monitor and its LV7600 equivalent rasterizer to the LVB440 IP traffic analyzer.

Leader’s LV5600 is a mains-powered SDI/IP waveform monitor in a half-rack width 3U desktop chassis with a touchscreen front panel display. It provides all the facilities needed to monitor UHD/HD/SD SDI as well as video-over-IP signals seamlessly in a hybrid operating environment. Engineering-related features include test pattern generation, eye pattern display, closed-caption monitoring, CIE color chart, HDR measurement, focus assist, adjustable screen layout, tally interface, 4K/UHD operation, 25 gigabit/s IP input and 12G-SDI interfaces. SMPTE 2022-6, 2022-7 and 2110 protocols are all supported.

CLEAR-COM ECLIPSE HX, ARCADIA CENTRAL STATION

C5507 | Clear-Com is showcasing new product features of its flagship Eclipse HX Digital Matrix Intercom System including Dynam-EC real-time production assignment software, IP-based V-Series IrisX user panels and role-based workflows. Eclipse HX is a scalable, extensible and programmable advanced digital matrix intercom platform for enabling nonblocking, bidirectional communication for small to large collaborative work teams. The system enables up to thousands of direct (point-to-point) and one-to-many (group and partyline or conference) audio and data signal distributions/connections.

Additionally, Clear-Com is featuring the latest update to its Arcadia Central Station that combines new features with expanded capacity for both wired and wireless systems. Arcadia Central Station is a scalable IP intercom platform integrating FreeSpeak wireless and HelixNet wired intercom user stations with Dante, two-wire and four-wire interfaces in a compact 1RU device.

NEUTRIK XX SERIES CABLE CONNECTORS

C4917 | Neutrik Americas, part of the Neutrik Group, is introducing enhancements to its powerCON and speakON product lines. The XX series powerCON blue/grey and speakON 2- and 4-pole cable connectors feature new functionality, easier assembly, improved power handling capabilities, new certifications to all relevant modern safety standards and a next-generation design language.

Significant internal upgrades ensure conformance to current safety regulations. powerCON XX series connectors carry IEC EN 60320-1/UL 60320-1/CSA C22.2 No. 60320-1 certifications suitable to cordsets and devices certified to IEC 60799, UL817 and IEC/UL 62368-1. Unique to Neutrik, these new powerCON cable connectors are rated for circuit-breaking capacity (CBC) when mated to powerCON XX series receptacles NAC3FXXA(B). This CBC capability is a breakthrough for powerCON blue/grey connectors, which have never before carried this certification.

The speakON XX series connectors are certified to IEC 61984, UL 1977, and CSA C22.2 No.182.3 with current rated to 37 A RMS.

APPEAR X PLATFORM

W2512 | Appear is launching its hardware accelerated video transport technology over the SRT (Secure Reliable Transport) protocol, the open standard that enables media and entertainment organizations to transport high-quality video over cost-efficient internet links. Appear’s hardware accelerated SRT technology will be launched on its X Platform.

In a single 1RU chassis, Appear’s X Platform as an SRT Gateway can handle more than 192 SRT connections and 18 Gbps throughput, saving space and power consumption at a much lower cost base. SRT also enables organizations to change the economics of migration to the cloud in their favor.

Appear’s X Platform is used around the world for live contribution, remote production and distribution. The X Platform offers the ability to blend encapsulation formats such as MPEG TS, ST2022-6, ST2110, Zixi and now high-capacity SRT, with an equally impressive array of codecs and video processing functions.

NAB MEMBER SERVICES

Whether it’s advocacy tools, industry updates, educational offerings, professional development programs or networking opportunities, NAB provides members with MORE valuable benefits.

Take advantage of exclusive cost-saving benefits and resources for NAB members that support your business and strengthen your ability to serve your community.

Experience MORE with an NAB membership!

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Self Contained Broadcast Quality Switcher!

ATEM Television Studio HD combines a switcher and control panel into the same unit, so it’s extremely portable. The front panel includes buttons for selecting sources, triggering transitions and setting up video effects. You also get a built in t-bar for manual transition control! The front panel even has aninnovative audio mixer control area with live metering on a dedicated LCD.

Record to Internal Network Storage!

ATEM Television Studio HD8 ISO supports recording all video inputs to optional M.2 internal flash storage! The internal storage will then be available to share over the local Ethernet network so you get a whole post production workflow! This means people can work on post production tasks such as editing, color correction and graphics preparation while recording new live shows!

Built In Fairlight Audio Mixer!

With a built in Fairlight audio mixer, ATEM Television Studio HD makes it possible to do complex live sound mixing. The internal mixer features enough channels for all SDI inputs, as well as extra channels for the XLR, RCA and MADI inputs! Each input channel features the highest quality 6 band parametric EQ, compressor, limiter, expander and noise gate as well as level and pan controls.

Bring Multi Camera Live Production to any Location!

The new ATEM Television Studio HD is a professional live production switcher built into a broadcast control panel so it can be used for high end work while being extremely portable. You get a powerful switcher with 8 standards converted SDI inputs, 2 aux outputs, 4 chroma keyers, 2 downstream keyers, Super Source, 2 media players and lots of transitions! There’s even an ISO model that records all 8 inputs for editing!

ATEM Television Studio Bellyband_FA.indd 3-4