2024 NAB Show Daily News - DAY3

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billion industry

57 Top Expert Offers Secrets of Podcast Success

‘The Adam Carolla Show’ Producer Chris Laxamana shares tips of the trade

58 Ask Hollywood Attorneys Anything

Entertainment lawyers address AI, the shrinking content market and when to bring one of them on board

60 Tech Advances Boost Adoption

CEO.

NAB Chief LeGeyt Urges Broadcasters to Partner on AI, Battling Misinformation

Robot Ameca makes a splash, gives attendees a unique glimpse of artificial intelligence

By Michael Malone BROADCASTING+CABLE

NAB Show Welcome session started with Shira Lazar, founder and CEO of What’s Trending, teasing the appearances of NAB President and CEO Curtis LeGeyt, Nexstar Media Group Chairman Perry Sook and AI robot Ameca, among others.

“She is ready to get into it with you all,” Lazar said of Ameca.

Sook saluted the nearly 1,300 companies at the show. “The NAB Show is all about storytelling, and broadcasters are the heart and soul of storytelling,” he said.

The industry “strives and thrives” on collaboration, Sook added, and NAB Show is a perfect opportunity for them to share ideas.

Adrienne Bankert, special

projects anchor at NewsNation, sat with LeGeyt. LeGeyt spoke about what makes local broadcasters unique, including being in the communities they report on. That allows them “to report in a way

stand how rapidly the marketplace has evolved,” he said.

The topic of artificial intelligence came up, and LeGeyt said no company can master its many nuances on their own. “We need to

NAB Show is all about storytelling, and broadcasters are the heart and soul of storytelling.”

PERRY SOOK

of Washington. “When you go out and see the profound impact stations are having in communities day in and day out, that is inspirational for me,” he said.

He also spoke about recent victories for a legacy technology: AM radio. When automakers said they would remove AM from new automobiles, listeners fought back, addressing lawmakers directly and sharing their experience with the medium.

that’s very relatable,” he said.

It is LeGeyt’s mission to help local broadcasters find the resources they need to successfully do their jobs, he said, battling against the likes of big tech and outdated regulations in Washington. “We’re delivering on that but we need to make sure that policymakers and regulatirs in Washington under-

share the best ideas,” he said.

LeGeyt called misinformation and disinformation “a massive, massive problem” and urged broadcasters to work together and “put democracy above the interests of any individual company.”

As much as he’s battling in the Beltway, LeGeyt said he learns the most about broadcasting outside

LeGeyt noted how Democrats and Republicans worked together on legislation designed to keep AM playing in automobiles. That prompted Bankert to say, “There’s hope in America, around AM radio, of all things.”

Bankert and LeGeyt stepped offstage, making room for Daniel Anstandig, CEO and co-founder,

Adrienne Bankert, special projects editor at NewsNation, interviews Curtis LeGeyt, NAB president and

Futuri Media, and robot Ameca. “Our audiences are not only ready for AI, but they’re expecting us to use AI,” he said.

He shared a study that revealed how people trust in AI more as they learn more about it.

“Humans and AI are actually better together,” he said. “Audiences expect that media companies are going to use AI.”

LeGeyt came back out to ask some questions, including one

O’Brien Productions and host of “Matter of Fact with Soledad O’Brien.”

“For decades, Soledad O’Brien has been a tireless truthseeker,” Goodman said.

“She sheds light on some stories that matter the most,” Raphael said.

O’Brien mentioned her 37 years in television. “I feel so lucky and so grateful to have a rewarding career,” she said. “I do not take this responsibility of educating people about the stories that matter — I do not take that responsibility lightly.”

After the presentation, Michael Smith, president and CEO of Bravo Mic Communications, said

LeGeyt’s words gave him confidence in broadcasting’s future.

“I’m very optimistic about the future and very optimistic about what Curtis is doing on Capitol Hill,” he said. “He’s very articulate and engages people very well.”

Dedrick Russell, WBTV Charlotte executive producer of community content, was struck by Ameca’s appearance — and by O’Brien’s. “I still have questions about what [AI] means for job security,” he said.

He was pleased to see O’Brien, who he called an inspiring journalist, get the Insight Award. “Can Ameca replace Soledad?” he asked. “No.” l

FROM THE SHOW FLOOR

about whether AI could lead to job loss. Ameca brought up the invention of the calculator and asked who in the room wanted to return to the days of no calculators.

“New jobs will also be created” as a result of AI, Anstandig said.

Next up were Jack Goodman and Heidi Raphael, co-chairs of the Library of American Broadcasting Foundation, presenting the 2024 Insight Award to Soledad O’Brien, founder of Soledad

Shira Lazar, CEO of What’s Tremding, with Soledad O’Brien. winner of the 2024 Insight Award.

The team at

(OWC) boast "incredibly fast offload times" to "take the

VIEWING LIVE EVENTS

Biggest Events Deserve the Biggest Screens, IMAX Says

Company is collaborating with NBC to bring Paris Olympics opening ceremony to theaters in 4K

By Tom Butts TV TECH

The Olympics is the world’s biggest sporting event, so doesn’t it deserve to be shown on the world’s biggest screens? That was the subject of “Going for Gold: How IMAX Will Stream an Awe-Inspiring Viewing Experience for the Olympics

Opening Ceremony” in the Connect Zone Theater yesterday.

NBC’s 4K broadcast of the opening ceremony of the 2024 Paris Olympics will be simulcast live in more than 150 IMAX theaters nationwide in 5.1 audio on July 26. Rick Young, senior vice president, head of global products at LTN, led a discussion with

IMAX representatives Greg Ciaccio, vice president, post production, Original Content and Image Capture, and Vikram Arumilli, senior vice president and general manager, Streaming and Consumer Technology, about the company’s work on the production.

IMAX has collaborated with NBCUniversal on a number of projects, including the film “Oppenheimer,” and Ciaccio said discussions about bringing the opening ceremony to IMAX theaters started “at the CEO level.”

“We try to pick very special events and this isn’t going to be your typical opening ceremony,” Ciaccio said. “It’s not going to be a bunch of athletes walking around

a track. It’s going to happen on the Seine, and it’s going to be an amazing visual spectacle, and we feel like it really fit in well with what IMAX stands for.”

Young discussed LTN’s work with NBC’s Olympics coverage, including the network’s “Friends and Family” features with the athletes and their relatives that arose during the past several games, when the pandemic prevented many family members from attending.

“The Olympics is always about a bigger story than just the competition at any given time,” he said.

Beyond the Olympics, IMAX is involved in a variety of projects bringing live events to theaters. Ciaccio discussed the impetus

behind its live concerts, such as IMAX’s presentation of a Brandi Carlile concert and its impact on audiences.

“We try to be pretty selective in the things that we do,” he said. “I think anybody in this room would love to be at events like the Olympics, right? So if you can’t actually be there in person, this is really the next best way to experience this.”

Arumilli emphasized the importance of IMAX’s industry partnerships in bringing more live events to its theaters.

“IMAX doesn’t have rights to content, so we work very closely with different partners,” he said. “The fundamental rationale behind live content in IMAX theaters is that there’s a ton of unutilized capacity in our theaters … In a good year, we’re maybe in the mid-teens on utilization of our seats, so even if you bring that up by a half-percent, there’s a significant dollar unlock that we have there. So we’re open to new ideas. We’re always talking to different partners, but it’s got to fit what IMAX stands for.”

Young noted that 4K has impacted viewer expectations, and expansion of the format is encouraging competition among media providers.

“The volume of 4K is growing and there are more and more experiences across a lot of different platforms,” he said. “A lot of platforms — whether on the virtual MVPD or the traditional pay-TV side or even on the streaming side — are looking to differentiate themselves with 4K.”

With the increasing desire to view live events beyond the living room, Ciaccio said IMAX is best positioned to bring immersive experiences to viewers.

“We don’t want to be like you’re watching it on a big TV,” he said. “People are getting bigger TVs at home and they’re getting better experiences at home, so we need to keep the theatrical side of it as big or bigger than it ever has been.” l

(Left to right): Greg Ciaccio and Vikram Arumilli, IMAX, and Rick Young, LTN.

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SONY ELECTRONICS CAMERAS, MONITORS AND AUDIO

C8201 | Sony’s booth is showcasing its expanded range of production solutions including cameras, monitors and audio, including the BRC-AM7 camera, an integrated-lens pan-tilt-zoom (PTZ) camera with built-in AI analytics, expected to be available in early 2025.

Sony is also exhibiting enhancements to its CinemaLine of cameras, with updates to its FX series alongside the high-end CineAlta digital cinema camera BURANO. Booth visitors can also check out Sony’s services of PVM pro monitors with Version 5.0 firmware, expected to be available this summer. Updates will include simultaneous high dynamic range (HDR) and standard dynamic range (SDR) video production, HDR-optimized functions including automatic 4K/HDI settings, detailed black brightness settings and support for interlace mode.

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Sony is also showing the BVMK-R10, a new monitor controller prototype with illuminated buttons and a small menu screen optimized for outside broadcast trucks and studios.

AVID ADA AI SOLUTION

SU2014 | Visitors to Avid’s booth can experience the company’s “Inspiration Station,” where it is laying out its vision for an AI-driven future vision for media production powered by its Avid Ada products.

Demos show how Avid Ada uses AI to automate speechto-text transcription, summarization and language translation. Avid will also show its AI-powered tools already in use, including PhraseFind and ScriptSyncAI in Avid Media Composer; facial detection and scene recognition in AvidMediaCentral; plus previews of transcription services and recommendation engines.

Avid is also showing how journalists editing in the web-based MediaCentral | CloudUX tool can write a script, record synced voice-overs and ask AI to identify relevant footage to match selected scenes from a story. Other improvements coming to the end-to-end news production solution NewsCentral include enhanced browser-based editing with audio waveforms, more powerful search tools, a Blueprint Builder for workflow planning, enhancements to the Rundown app and new AI capabilities powered by Avid Ada.

BOLIN NDI TECHNOLOGY INTEGRATION

C2434 | PTZ Cameras brand Bolin Technology and NDI, a global video-over-IP connectivity standard, have inked a new partnership that integrates NDI across Bolin’s product line. Under the deal, Bolin will license NDI’s newest and most-advanced technologies for its PTZ cameras, PTZ controller (KBD-1020N) and Decoder (EG40N).

The partnership lets Bolin offer NDI’s most up-to-date features, including the newly released NDI 6. Designed for both broadcasters and content creators, NDI 6 provides native support for High Dynamic Range (HDR) and expands the wide area network (WAN) connectivity of hardware, improving both visual quality and remote workflows. It offers a seamless experience for anyone sending or receiving video regardless of device, platform or location. NDI-enabled cameras that use the Bridge utility can also join remote networks with no need for additional software or tools.

ZIXI SDVP

W1401 | Provider of the Software-Defined Video Platform (SDVP), Zixi continues to innovate with AI, ML and advanced analytics and is demonstrating the ability to track telemetry metadata across the life of the live stream journey even as video leaves and comes back to the SDVP.

Coupled with Intelligent Data Platform (IDP) capabilities including Auto Incidents utilizing Multi-Object-Correlation-Analysis (MOCA), this not only strengthens Zixi’s ability to quickly perform root cause analysis (RCA) for the quick resolution of issues in minutes, but also to optimize workflows by replacing weak segments of the distribution with different networks or by replacing blind segments of the distribution with Zixi optimized delivery.

SHOW SHOTS

❶

Heather Pedersen of Skaarhoj highlights the company’s modularly built-up switching panel that is “agnosting to what it controls.”

❷

SteadyGum’s founder Pablo Carrasco Brioso and his skeleton counterpart pose with the company’s camera stabilizer — advertised to minimize user fatigue up to 80 percent.

At the CineCentral Theater in Central Hall, worldrenowned nature photographer Bob Poole of National Geographic speaks at the session “Wildlife Cinematography: Capturing Breathtaking Images.” ❸

❹

Richard Starr of Allen & Heath takes a spin on the company’s DLive 5500 audio-mixing console.

Matthew Montoya of Aputure demos the Electro Storm CS515 RGB LED Monolight for Chris Bazzoni, head lighting director for Fox.

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Generative AI Helps Sports Players Up Their Fan-Engagement Game

NFL, PGA Tour and AWS panelists spell out their playbook for best use of AI, machine learning

By Phil Kurz TV TECH

Generative artificial intelligence (Gen AI) and machine learning (ML) are transforming how sports leagues connect with existing fans, attract new ones and engage viewers more deeply in games.

That was the chief takeaway from yesterday’s “How Generative AI Is Changing the Game” panel session.

Aaron Amendolia, deputy chief information officer of the NFL, and Scott Gutterman, senior vice president of digital operations for the PGA Tour, discussed the many ways their leagues are putting

Gen AI to work to enhance the product. Joining them were Matt Wood, vice president of artificial intelligence products, Amazon Web Services (AWS), and Julie Souza, AWS global head of sports. Kaylee Hartung, sideline reporter for Prime Video’s “Thursday Night Football,” moderated.

Fans are excited about what AI brings to game production, Amendolia said. “I think that’s the important thing — meet your fans where they are and bring those experiences consistently, accurately [and in] real time,” he said. “Everybody wants everything to happen in real time today, so you’re bringing that data, that

overlay and that insight straight to where the fan is.”

Whether fans are watching TV at home, using an app on a digital device or they’re at the game with their smartphone, Amendolia said, the NFL wants to meet them where they are and enhance their experience.

“There’s just a step-function change in the type of problems you can solve using artificial intelligence and machine learning,” Wood said.

The sheer amount of data artificial intelligence can mine to find valuable insights is beyond what humans can do, according to Wood. When paired with the steps AWS

has taken to make machine learning easy to use — with no requirement for data-science expertise — the benefits of Gen AI are brought to many more users, he said.

“Generative AI makes managing those [media] assets far easier and far faster than ever before,” he said. “Whether you’re dealing with very complicated data, understanding data … that comes from different sensors [in] different locations [and] from cameras and sensors in the ball and [on] players. … You don’t necessarily want humans to have to sit and watch all of those in order to be able to understand what’s going on inside every single scene.”

The NFL began using Next Gen Stats running on the AWS infrastructure in 2017. The league collects the data from low-latency sensors worn by players.

“We use this, actually, to run the game and help describe the action on the field for everyone who’s making decisions around the game,” Amendolia said.

In 2019, Next Gen Stats helped power the NFL’s health-and-safety initiative. “AWS has been a trans-

Generative AI continued on 16 ❱

(From left): Moderator Kaylee Hartung of “Thursday Night Football”; Matt Wood, AWS; Aaron Amendiola, NFL; Scott Gutterman, PGA Tour; and Julie Souza, AWS.

SHOW SHOTS

❶

At the sprawling Blackmagicdesign booth is the Ultimate 12 8K, a real-time compositing processor designed for keying live action video with next generation broadcast graphics. April Swartz sits for the cameras.

❷

Marcus Ruoff of Rhode & Schwarz tells Kenneth Dammyr of Norwegian Broadcasting Corp. about Prismon, a software-based solution for monitoring and analysis of audio/ video content in real time.

❸

Over at the Yes Tech booth, attendees can get up close and personal with the MG Series, a multi-use LED video wall with many applications.

❹

In the Creator Lab in South Hall, neon lights and fluffy clouds encourage attendees to “Dream Big, Create Bigger.” From left to right are Rene Saint-Pierre of Envision.ai and Alyson Grant and Davidemetri Johnson of Prime Up Enterprises.

❺

Over at the Vizrt booth, Richard Evans, the company’s senior content producer, talks about live cloud production solutions like Tricaster, which is geared towards sports broadcasts.

❱ Generative AI continued from 14

formative aspect of our infrastructure and our data platforms and we keep building on top of that,” Amendolia said.

Gen AI will also play a key role in helping the PGA Tour scale up its audience, Gutterman said. At the Players Championship four years ago, he said, the tour launched “Every Shot Live,” an effort to “show every single shot from first drive to the last putt.”

To make that happen, the PGA Tour offers fans 48 commentary-free streams on Thursday and Friday, 24 of which are available simultaneously.

“They are basically the natural sound,” Gutterman said. “You can hear the players.”

The tour relies upon statistics from its AWS tech stack to keep fans informed between shots. “But what we would really love to be able to do is have commentary on every single shot,” he said.

There’s no desire to hire two commentators for each of the 24 streams, he said. “That’s just not achievable … [but] with the emerging Gen AI technology and AI commentary technique, [the tour can explore] what more … it can do to drive those individual streams,” Gutterman said.

Language-translation algorithms could also help the PGA serve its broadcast partners around the world. “If a network wants to see Hideki Matsuyama in Japan, we want to make sure we can deliver to them in Japanese as well, too,” he said.

The NHL last month broke new ground by producing a hockey telecast entirely on the AWS cloud. That virtual production workflow wasn’t just noteworthy from a technology point of view, Souza said.

“I love the fact [that] if that NHL game … had been produced terrestrially, it would have emitted 205 metric tons of carbon dioxide,” she said. “To counteract that, you would have to plant 34 trees and let them grow for 10 years. So, at scale, there’s a real impact environmentally.” l

ON THE MAIN STAGE

We Are Broadcasters

Today | 9:30–10:30 a.m.

Today’s session “We Are Broadcasters” includes the presentation of the TV Chairman’s Award, NAB Crystal Radio Awards, NAB Crystal Heritage Award and Engineering Achievement Award for Radio and Television.

The TV Chairman’s Award is being presented to Jennifer Hudson, EGOT winner, entertainment icon and host of “The Jennifer Hudson Show.” The award was established to recognize individuals for significant groundbreaking work in one or more specific art disciplines in television.

Consulting engineer Winston Caldwell is the recipient of the Television NAB Engineering Achievement Award. Hubbard Radio’s David Kolesar is the recipient of the Radio NAB Engineering Achievement Awards. They were nominated by their peers for significant contributions to advancing broadcast engineering. l

Crystal Radio Award Finalists

The NAB has named the finalists for the annual Crystal Radio Awards, a program that recognizes radio stations for their yearround commitment to community service. The 2024 finalists will be celebrated, and the winners announced during the “We Are Broadcasters” session.

SPOTLIGHT

Virtual production with incamera visual effects and LED walls continues to mature. We’re discovering new ways to leverage its power not just with massive stages but with clever use of more modest technology and generative AI among other groundbreaking filmmaking workflows.”

NOAH KADNER | VIRTUAL PRODUCTION EDITOR

NAB will also present Hubbard’s KSTP-FM, Minneapolis-St. Paul, Minnesota, with the esteemed Crystal Heritage Award during the ceremony. The Heritage Award recognizes radio stations that have won a total of five Crystal Radio Awards for exceptional year-round community service efforts. Only 11 other stations have received this honor.

Finalists for the 2024 Crystal Radio Awards are:

KBHP-FM Bemidji, Minn.

KCLR-FM Columbia, Mo.

KFI-AM Los Angeles, Calif.

KGLK-FM Houston, Texas

KIRO-FM Seattle-Tacoma, Wash.

KKBQ-FM Houston, Texas

KLTY-FM

Dallas-Fort Worth, Texas

KMVP-FM Phoenix, Ariz.

KNDE-FM College Station, Texas

KOIT-FM San Francisco, Calif.

KPNW-FM

Seattle-Tacoma, Wash.

KQMV-FM

Seattle-Tacoma, Wash.

KRAV-FM Tulsa, Okla.

KRMG-FM Tulsa, Okla.

KSL-FM Salt Lake City, Utah

KTMY-FM

Minneapolis-St. Paul, Minn.

KWEN-FM Tulsa, Okla.

KXKT-FM Omaha, Neb.

KYGO-FM Denver, Colo.

KYW-AM Philadelphia, Pa.

WBLM-FM Portland, Maine

WBZ-FM Boston, Mass.

WBZZ-FM Pittsburgh, Pa.

WCFB-FM Orlando, Fla.

WDAS-FM Philadelphia, Pa.

WDBR-FM Springfield, Ill.

WDUV-FM Tampa Bay, Fla.

WFLC-FM Miami, Fla.

WHJX-FM Jacksonville, Fla.

WHKO-FM Dayton, Ohio

WHPT-FM Tampa Bay, Fla.

WJJY-FM

Minneapolis-St. Paul, Minn.

WKML-FM Fayetteville, N.C.

WLBC-FM Muncie, Ind.

WMAG-FM Greensboro, N.C.

WMBX-FM

West Palm Beach, Fla.

WMMR-FM Philadelphia, Pa.

WMUN-AM Muncie, Ind.

WNIC-FM Detroit, Mich.

WNRP-AM Pensacola, Fla.

WOKV-FM Jacksonville, Fla.

WSB-FM Atlanta, Ga.

WTAW-AM College Station, Texas

WTIB-FM Greenville, N.C.

WTMX-FM Chicago, Ill.

WTOP-FM Washington, D.C.

WUBE-FM Cincinnati, Ohio

WWBX-FM Boston, Mass.

WYCT-FM Pensacola, Fla.

WYMG-FM Springfield, Ill.

David Kolesar

Winston Caldwell

Jennifer Hudson

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Vendors Aim to Solve ‘Hard’ Ad-Tech Issues for Programmers

Simplification, customization are key for profits

By Jon Lafayette BROADCASTING+CABLE

Television executives are looking for technology that can help them optimize ad revenue as the media landscape changes and viewing habits shift.

“I don’t think anybody feels they’ve totally solved the ‘making the money’ problem. The word that comes up over and over again is profitability,” said Steve Reynolds, president of Imagine Communications.

The increasing importance of advertising revenue has the business going back to the way things were before streaming growth. “They’ve realized they can’t build a business unless they build it on both pillars of subscription and advertising,” he said.

Products are being offered to simplify buying and selling through automation while reduc-

ing operating costs.

“We are looking for partners to continue to streamline our linear advertising operations and looking for tech that is interoperable and Television Interface Practices (TIP) compliant,” said Kurt Rao, chief technology officer at Tegna.

TIP is a standard designed by station owners to provide buyers with the broadest access to local television supply.

Another issue operators face as viewing shifts is having to share revenue between lower-priced streaming inventory and higher-priced linear inventory. Companies like Imagine are offering products to help sales organizations manage their inventory holistically, in order to optimize yields.

For example, Imagine acquired a product from Marketron that is rebranded as Crossflight. The product helps media sellers create

campaigns and proposals across multiple audience segments and multiple delivery platforms.

I don’t think anybody feels they’ve totally solved the ‘making the money’ problem.”

STEVE REYNOLDS

Imagine also has a product that helps sell linear inventory as if it were digital, based on impressions. Another product is a digital ad decision server, which enables programmers to sell digital inventory as if it were linear, using the quality of impression ability to sponsor a sporting event, get the first placement in the first ad break and provide competitive separa-

tion to boost prices.

“Ad operations are just fundamentally hard,” said Marty Roberts, senior vice president of Product Strategy & Marketing at Brightcove.

It was easier when most ads were sold directly, “but as soon as we tip into the programmatic world there are really hard problems to solve,” Roberts said.

Those include linking up with demand-side and sell-side platforms and making sure they’re configured correctly so that data passed through inventory is best represented to maximize CPMs and fill rates, he said.

Last year Brightcove launched an ad monetization service that dozens of customers have signed up for, Roberts said. At first the service worked with Magnite and recently PubMatic and Google have been added, increasing demand.

Don’t Get Stuck Behind the Eight Ball

When it comes to achieving state-of the art video production or archiving your most valuable assets, there are now dozens of leading companies who insist on employing nothing less than 8K technology.

Because only 8K delivers a truly amazing experience across every aspect of the creative process. From content capturing, rendering and editing to encoding, decoding and displaying. And all of these workflow e orts are supported by the 8K Association.

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More recently the company introduced Brightcove Ad Insights, which calculates how ad loads affect viewership, impressions and eventually revenue per minute watched. Turns out it’s better to run fewer ads during lunch hour, when people may be catching up on shows, than during primetime when they’re more settled in. Also, bigger screens support fuller ad loads.

With short form content “we find that most of our customers actually get more monetization if they don’t run pre-rolls and instead run one video, then an ad, another video then two ads.”

Tech company LTN has been preparing for some shift to streaming, helping customers create streams for multiple platforms. Built into its distribution products is LTN Connect, which customizes the ad inventory in that content depending on the platform, said

Rick Young, senior vice president, Head of Global Products.

Certain platforms tend to skew older, some skew younger. Others have a lot of sports fans, he said. “There are still too many examples of one feed for everybody.”

LTN takes the signals from upstream production equipment and traffic systems and separates them from the video stream. The signals can get to programmatic decisioning systems early, with more bidders for ad inventory when it comes in at unpredictable times in live sporting events.

“We can give the programmatic insertions a heads up that in six seconds you’re going to have a break coming. Now the system can go out and query multiple systems to find the right ad for particular viewers,” Young said.

The capability is especially valuable in the growing amount of live programing being streamed.

Searching for Solid Solutions

Marty Roberts, senior vice president of Product Strategy & Marketing at Brightcove, expects generative AI to be the talk of NAB Show. Amid all the buzz, the trick will be not to buy the hype.

“There’s so much frenzy around this stuff,” he said. “We’re really looking for good, solid solutions.”

Brightcove will be shopping for AI applications rather than trying to develop them on their own.

“You could lean in and go hire a whole bunch of data scientists to work on this stuff,” Roberts said. “But with so many startups in the space that are spending venture capital money, why would we spend our own?” It’s much better to take a portfolio approach and see what’s out there because there’s a lot of really interesting things happening on that show floor.”

Roberts compared generative AI today to the early days of the iPhone. “Everybody saw the potential, but nobody quite knew what the App Store was going to look like,” he said. “It’s going to absolutely transform the industry over the next 10 years, but we’re still not sure how that’s going to manifest yet.”

“Live really matters. Live is a differentiator. Live is a churn reducer,” he said.

Gary Dixon Director, Broadcast Business Development Audio-Technica U.S. Inc.

Artificial intelligence seems to be the buzzword lately. What technology trends will you be following most closely at NAB Show this year?

I’m not writing this response today with the help of AI, but it is quickly making our lives more efficient. Anything AI in broadcast is interesting right now — such as honing writing ideas to setting up equipment for a specific application — AI will improve our experience with technology. As A-T is focused on audio, I’ll also be looking for solutions for producing and delivering multichannel audio to the broadcast viewer.

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

Manufacturers like Audio-Technica are focused on professional broadcast markets and offer some very unique equipment and software solutions. NAB Shows are one of only a few places where a professional user can see this equipment in person and talk with staff who have deep knowledge of the functionality. Connecting with old friends and new products stimulates new workflows and progresses the creativity process. We feel this is essential as a brand.

Emmanuel Müller, managing director of Americas at Mediagenix said customers are revisiting their over-the-top strategies to become more business-oriented.

“A key element for customers is the ability to launch FAST and AVOD services efficiently and with existing resources to allow optimization of growing ad sales versus having to focus on the costs of the infrastructure or external third-party systems to manage their business,” he said.

To do that they need tools that allow for not only the management

of the content and commercials, but the tool to integrate data for direct ad sales possibilities, Müller said.

MGX is announcing the acquisition of an ad tech product and unveiling an automated content scheduling and management system that provides a framework to help broadcast networks expedite their monetization of FAST channels.

“We need NAB Show to provide the forum for this education to effect the change broadcasters need to diversify their business in a way that produces new revenue opportunities while extending reach to loyal viewers, Müller said. l

The industry is innovating at a blinding pace. If we want to remain sustainable and relevant, women leaders in media and technology are a core part of that future.”

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ON THE MAIN STAGE

NAB Show Amplified: Casey Neistat Is Not Afraid

Casey Neistat, digital creator and cofounder of BeMe, is joining NAB Show this year for “Do What You Can’t With Casey Neistat.” A self-taught filmmaker, producer and YouTuber, Neistat will be on NAB Show’s Main Stage Wednesday, 10:30 a.m., for a conversation with NAB Show host and What’s Trending founder/CEO Shira Lazar.

Here, he confers with NAB Amplify’s Emily M. Reigart about social media, spatial computing, success within the creator space… and, of course, sunglasses as a way of life.

You’re famous (infamous?) for wearing your sunglasses on camera in all sorts of situations. Can you share the backstory behind this signature look?

Casey Neistat: Great question! I started wearing glasses in my videos for a very practical reason

— so it would appear that I’m looking directly into the lens, but when in reality, I was watching the camera monitor to make sure the shot looked correct. After some time, people started to see it as “my look,” so I just went with it — now I even sleep with them on!

There is a great quote: “With my sunglasses on, I’m Jack Nicholson. Without them, I’m fat and 60.” While I’m not fat, 60, or Jack Nicholson, I do appreciate what he was saying here.

You’re active on a number of social media platforms. Do you have a personal favorite format, or one that you find more challenging to create content for?

Neistat: YouTube will forever be my favorite. I still think it’s the #1 place for creative expression. As social media has drifted towards monetizing influence, sharing hot

There is a great quote: “With my sunglasses on, I’m Jack Nicholson. Without them, I’m fat and 60.”

CASEY NEISTAT

takes and chasing likes, YouTube is the last bastion for storytelling.

If you were a creator trying to break through in 2024, how would you try to differentiate yourself?

Neistat: You have to be honest. There is a huge void of truth in the creator landscape — the temptation is to find someone who’s successful and copy them. The audience will always reject this.

SPOTLIGHT

Through the creative lens of XR and immersive technologies, we’re revolutionizing the fan experience in sports. By seamlessly blending AR, VR and Mixed Reality, we’re not just watching the game; we’re living it. Welcome to the future of sports entertainment, where every moment is an immersive journey.”

MATT COLEMAN | CEO, FANSXR

Instead, find your truth and tell it.

Your motto is “do the impossible.” What’s your next impossible project?

Neistat: I’m not sure that’s my motto. I’ve never been able to find any success in following the traditional route in life, the paths we’re told to take. Instead, I try to find my own.

When I think of the future, I point my compass at what’s the most rewarding. Currently, that’s being a dad to my two little girls.

Will spatial computing and technology like Apple’s Vision Pro change how you create content?

If so, how?

Neistat: Maybe, but I don’t know. I still fancy editing software to make straight cuts, the same style of editing that used to be done with scissors and tape. As technology continues to progress, telling a great story remains the same. It’s hard, it’s human and the technology is simply a tool to help communicate — not the story itself.

This interview first appeared on NAB Amplify. l

Virtual Reality Becomes the New Production Reality

VR holds the key to faster production times and new storytelling power

Virtual reality and its close relatives, such as extended reality, have been completely accepted into the workflow of high-end productions. Stepping into an LED volume, you can be transported anywhere from Antarctica to a planet embroiled in an imagined science fiction war. All it takes is a lot of pixels and a good imagination.

MO-SYS VFX SOLUTION FOR DR. WHO

ANNIVERSARY SPECIAL: Mo-Sys Engineering recently announced that NearTime, its automated re-rendering service for on-set virtual production, was used to deliver VFX scenes for the

XR STUDIOS “DANCING WITH THE STARS”: XR Studios, a Los Angeles-based facility with two LED volume studios, put together the season premiere opening for the Disney+ reality series “Dancing With the Stars” using a science fiction theme. Studio A has a 71-foot wide LED volume that is 20-foot tall and curved to provide a depth of 35 feet. Studio A also has an LED floor and a large movable LED panel that can be used to provide special lighting/background effects.

The overhead lighting grid uses many Kino Flo MIMIK light panels that can provide an LED ceiling. The MIMIK lights can also be put on stands to create lighting effects as needed in the production. For “Dancing With the Stars,” the LED volume was used to create an entirely fictional world, complete with spacecraft and hulking planets. The season premiere opening featured the two hosts of the show traveling in space through disco-themed planets.

“Dr. Who” 60th Anniversary Specials. In 2022, award-winning boutique studio Painting Practice, with CGI, animation and VFX specialists RealTime, approached Mo-Sys to develop a cost-efficient workflow for an episode of “Dr. Who” that required more than 250 VFX shots and was expected to be heavily VFX-dependent. Traditional VFX approaches would have been cost-prohibitive for this episode.

RealTime and Mo-Sys had previously collaborated on a Netflix production called “Dance Monsters,” which involved combining six cameras and eight monster characters in real time using the Unreal Engine and Mo-Sys VP Pro to create a live light-entertainment show. As part of this project, Mo-Sys and RealTime developed a pipeline for transferring precision camera and lens tracking data from Mo-Sys StarTracker through to post production to help automate and dramatically speed up the VFX workload.

By putting pre-visualization, on-set camera tracking, real-time pre-viz, NearTime rendering and automated VFX pipelines together, this VFX-heavy episode of “Dr. Who” was completed with stunning visuals at a fraction of the cost of traditional VFX.

“They really wanted to get people looking as if they’re traveling through hyperspace, so we put two Kino Flo lights on lowboy stands right beneath them tilted up at their faces,” said J. T. Rooney, virtual production supervisor at XR Studios. “The lights had hyperspace content that the talent could see and react to.” A little bit of realism in an unrealistic environment.

BEHIND THE SCENES OF THE INTEL EXTREME MASTERS — COLOGNE 2023: In August 2023, the Intel Extreme Masters (IEM) was held in Cologne, Germany. Extreme sports fans filled LANXESS Arena for the final three days of the competition, dubbed “The Cathedral of Counter-Strike.” This event drew a sizable live audience and more than 700,000 fans online to watch the world’s top Counter-Strike: Global Offensive (CS:GO) teams go head-to-head.

IEM entrusted Rocket Surgery Virtual Productions to enhance the video with augmented reality (AR) graphics, immersing the audience and fans at home deeper into the action. Rocket Surgery used a range Ross Video’s augmented-reality technology, including the Voyager Render Platform based on the Unreal Engine, Ultrix hyperconverged routers, a Carbonite Ultra production switcher and an OpenGear frame equipped with a range of signal processing cards. Complementing this array of production room technology was the use of the Spidercam cable-based camera system to provide unique visuals and feed the tracking data required to power the AR images.

To address the challenges presented by the rapid pace of online gameplay, Ross developed a tailored solution combining DashBoard and Datalinq to integrate all their video game APIs and devices directly into the production workflow. Rocket Surgery then programmed a custom DashBoard control panel using the RossTalk protocol, that allowed operators to automatically merge inputs and data with AR graphics in real time.

RESOLUTION STUDIOS IS VIRTUAL CENTER OF CHICAGO: Resolution Studios is an 86,000-square-foot production complex used for a variety of projects including TV commercials, TV episodes and feature films, located in Chicago’s Near West Side. Planar recently added 400 Planar Venue Pro VX Series indoor LED video wall displays with

WHISTLING WOODS EXPLORES INDIA’S CULTURE WITH VIRTUAL REALITY: Whistling Woods International, a film and creative arts institute nestled in the heart of Bollywood/ Mumbai Filmcity in India, is working on projects that combine the country’s rich cultural heritage with immersive storytelling. The Kumbh Mela, occurring every 12 years, is the world’s largest gathering of humanity, where more than 220 million people make their way to a specially constructed city on the banks of the Ganges River. The last Kumbh happened in 2019 and the Whistling Woods crew was there to shoot it.

“Kumbh Mela 2019” will surround viewers in a kaleidoscope of colors, culture and spiritual fervor, as millions of devotees converge for this extraordinary pilgrimage. Through the use of 360 video and virtual reality, this project promises to offer a unique perspective on the Kumbh Mela, highlighting its significance as a symbol of spiritual enlightenment and collective harmony.

a 1.9mm pixel pitch that, when fully assembled, form a curved, 80-foot-wide by 14-foot-high LED volume.

Designed for the demands of temporary LED video wall setups, the Planar Venue Pro VX features magnetically attachable cabinets and a quick-lock system for securing cabinets together. The full 80-foot by 14-foot volume can be reasonably reconfigured into an LED video wall that is 60-foot wide and 20-foot tall, or even broken up into multiple formations.

“We definitely have common configurations that we use over and over, but certain shoots require specific layouts,” said Todd Freese, senior vice president and chief technology officer with Resolution Productions Group. “For instance, the way we will set up an LED video wall for a car process shot is completely different than what we would do for a narrative. I don’t ever want to have the conversation of trying to convince a director to shoehorn their creative into a permanent installation that may not be right.”

With more than 100 hours of content banked, the outlines for what will go on to become the most comprehensive and immersive showcase of the Kumbh are ready and so is a 7-minute trailer. The entire comprehensive docu-series should be completed later this year.

SUCCESSFUL DEPLOYMENTS

Broadcasters Tout Milestones for NextGen TV

With 75 percent of the country covered, industry looks to new features with an emphasis on HDR

By Tom Butts TV TECH

NAB Show provides an annual opportunity for broadcasters to gather in person and assess the progress the industry has made in its transition to ATSC 3.0. At this year’s event, broadcasters have a lot to be proud of, having achieved a number of significant milestones towards market de-

ployments and new features.

In the past 12 months, ATSC 3.0 has been launched in New York, Chicago and Philadelphia, bringing at least 75 percent of U.S. households within reach of NextGen TV, a feat that deserves widespread recognition for the broadcast industry, according to Madeleine Noland, president of ATSC.

“We have sort of a golden

number right now: 75 markets on air in 75 percent of the country,” she said, adding that transitioning the rest of the country will become more of a challenge. “What’s left is very hard to do and requires some additional thinking,” Noland said, adding that spectrum constraints and issues with determining host stations in smaller markets will be more difficult.

We’re not going to get to 100 percent overnight, and that’s what the “Future of TV” initiative is studying.”

MADELEINE NOLAND

“We’re not going to get to 100 percent overnight, and that’s what the “Future of TV” initiative is studying,” she said, referring to a consortium of industry, government and public advocates that has been meeting under the guidance of the FCC to accelerate the transition. The group’s first report is expected to be released this summer or fall.

Noland noted several recent product announcements that could help spur further development of auxiliary devices for NextGen TV, as well as the announcement from TCL that it will begin offering ATSC 3.0 support in certain smart TV sets by the end of this year.

A number of new ATSC 3.0 consumer devices have hit the market over the past 12 months, including the introduction of the first set-top box certified to carry the NEXTGEN TV logo — the ADTH NextGen TV receiver from Atlanta DTH. At around $90, the device is among the most affordable of its kind on

PHOTO CREDIT: Malte Mueller/Getty Images

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Titanium ST2110/IPMX SDK for Windows & Linux with CPU/GPU, optimized for regular 1G/2.5/10G NIC and minimal latency.

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the market, a trend we need to see more of, according to Kerry Oslund, vice president, strategy and business development for EW Scripps and a new member of the ATSC board.

“The more receivers we have, the more business that we’re going to have — that is probably the biggest challenge to be solved,” he said. “And not only do we need receivers; we need affordable receivers.”

Those receivers also need security to help protect broadcasters’ content so the recent announcement of a new security protocol from the A3SA that will make it possible for CE companies to develop new 3.0 recording devices for home networks was welcome.

“This is very good news,” Noland said. “The A3SA is working to make sure that all

different use cases that people might want to employ in a consumer device can be handled in such a way that is respectful of the protection content producers expect.”

The latest devices from ADTH, Zapperbox, Zinwell and others will be on display at the ATSC’s booth in the West Hall, which will again provide a one-stop shop for all discussions ATSC 3.0-related.

Combining broadcast with IP, ATSC 3.0 offers an array of advanced features that consumers are eager to experience, including 4K, customized programming, DVR functionality, etc., but many broadcasters believe the current “killer app” to be HDR, an image-enhancing feature that Sinclair offers on its approximately 40 stations broadcasting 3.0.

Deployments in some of the nation’s largest cities over the past 12 months now bring NextGen TV to more than 75 percent of U.S. households.

Oslund is also focusing on the standard at the Show as well. “We will be very interested in all efforts in advancing adoption of HDR as the next step — change in improved picture quality — particularly as more and more live sports move back to broadcast television,” Oslund said.

Anne Schelle, managing director for Pearl TV agrees that HDR is “huge,” comparing broadcasters’ rollout of HDR with Max, which earlier this year became

the first live-streaming platform to offer live sports in HDR10 or Dolby Vision.

“3.0 broadcasters already reach 24 million households in HDR right now,” she said. “We’ll be at 80 million by this summer in preparation for the Olympics.”

Schelle also expects an announcement on an initiative to use 3.0 to enhance audience measurement so broadcasters can better compete in an increasingly connected TV world. l

SPOTLIGHT

As AI evolves and permeates the broadcasting industry, it becomes imperative to establish guardrails, and to develop and employ best practices in its usage. This is not to take away from the incredible ways that AI can streamline and accelerate workflows. But with documentaries, specifically, we stand to lose the trust that our audiences inherently have in our work. Incorporating AI-generated content without proper disclosure or transparency has greater implications beyond the immediate entertainment value — we erode the accuracy of our historical record as this begins to feed the machines learning from our work.”

MEGAN

CHAO | VP, DEVELOPMENT AND PRODUCTION, BIRMAN PRODUCTIONS INC.

Kerry Oslund

Anne Shelle

NAB Show Amplified: Jameela Jamil Is Asking Creators for Authenticity

Jameela Jamil, activist, actress, host and founder of the I Weigh movement and community, will share tips for “Maintaining Authenticity Across Platforms.” She will address the importance of authenticity for content creators today on the Main Stage at 3 p.m., during a conversation with Really Famous host Kara Mayer. Here, she answers questions from NAB Amplify’s Emily M. Reigart about showing up on a plethora of platforms, breaking through in the Creator Economy, the impact of AI on self-image and her work in podcasting.

Tell us about your social media philosophy. How do you approach creating content and balance the need to “show up” on so many different platforms?

Jameela Jamil: I make and post content that I would want to watch. That way I create a community online of people who have similar interests to me. This makes it far less draining to be consistent. When you’re not being yourself, it is far more taxing.

Regarding showing up across all the platforms, I mostly am able to use the same content, so it’s a low lift. These apps all have such different users and audiences that it has not drawn fatigue from my followers yet!

What advice would you give to someone who wants to work in the Creator Economy?

Jamil: Find something sustainable and honest. People are sick of over-produced, empty content. This is constant work; it requires planning, thought and vulnerability. Do not fake it, or it will feel like swimming upstream all the time.

Also ask your audience what they like and don’t like. Doing so for me, has helped me grow my podcast, and my online following, because it makes my page feel like a community, rather than a stage just for me. I thrive on honest feedback.

Q. You’ve long been outspoken about the impact of edited photos and Facetuned social media. Now, with the popularization of generative AI tools, we’re facing new conversations around content authentication and personal authenticity. How are you thinking about this?

Jamil: I’m just terrified of it all. Terrified that now people won’t know that they’re comparing themselves to literal AI digital perfection. This is a crisis beyond our understanding. It also opens the doors for so much hostility online, rumors, deep fake incriminating videos, revenge pornography. It’s a nightmare.

Q. You have recorded more than 200 episodes of your podcast, “I Weigh.” What have you learned from working on this project consistently for four years?

Jamil: I have learned that I have

This is constant work; it requires planning, thought and vulnerability. Do not fake it, or it will feel like swimming upstream all the time.”

JAMEELA JAMIL

so much still to learn!!!

The arrogance of our current society when we look down on others who are openly learning is something that really concerns me. There are so many fascinating subjects and outlooks on this planet. We cannot possibly expect to know it all. Learning is so much fun and can be such a bonding communal experience.

This podcast has repeatedly blown my mind and expanded my horizons. I’m a more tolerant, humane, humble and thoughtful person for it.

Q. Does your background as a presenter and actor impact how you function as a podcast host?

Jamil: Absolutely, because my job is to zoom out and think about the show at large. Not just myself. I am constantly producing in my head while I’m interviewing. I’m carving a full picture of someone with my questions, which makes for hopefully a multi-dimensional and thorough conversation.

This interview first appeared on NAB Amplify. l

WOHLER MAVRIC REMOTE MONITORING SOFTWARE APPLICATION SUITE

SU1051 | Wohler is introducing MAVRIC, a remote monitoring software application suite licensed to run with signal probes installed on any of their current iSeries or eSeries monitors, or their new openGear card. With three main software components (Remote Monitoring, Alerts and Conferencing), MAVRIC enables many users across diverse global locations to simultaneously view and listen to information from signal probes. In essence, MAVRIC enables customers to architect their own customized, scalable and integrated monitoring solutions across multiple global locations.

MAVRIC leverages Wohler‘s current generation iSeries and eSeries in-rack monitors that their customers may already have purchased (or plan to), and which now offer integrated software probes that enable continuous two-channel audio remote signal-monitoring (of up to 16 enabled on the unit) via a freely available software upgrade. These audio signal monitoring probes are complemented by a hardware option card that adds video signal monitoring to the mix, along with a full 16 channels of audio.

BIRDDOG X SERIES PTZ CAMERAS

C2626 | BirdDog is launching the X Series PTZ cameras. The first products to be released in the X Series are the BirdDog X1 and X1 Ultra, engineered to simplify video production workflows with unparalleled versatility, reliability and performance. The PTZ cameras offer an array of features that address the evolving needs of content creators, broadcasters and production teams worldwide.

The company says the BirdDog X1 and X1 Ultra deliver category-defining smooth, controllable movement and outstanding image quality, with X1 Ultra supporting up to 4K UHD resolution. Both models feature two cornerstone features for seamless operation. Built-in Wi-Fi eliminates the need for tangled wires, enabling users to capture shots from challenging locations. AI tracking technology allows the BirdDog X1 and X1 Ultra to follow subjects’ movements in real time, ensuring focused shots without complex controller setups.

SOLID STATE LOGIC MODULE8 PLUG-IN

C6307 | Solid State Logic is introducing its latest plug-in, Module8. The plug-in combines classic modulation effects with modern functionality, all delivered via SSL‘s advanced workflow. Module8 enhances vocals, adds movement to instruments and creates unique soundscapes. Module8 includes six modulation-based effects driven by LFOs, along with two additional effects on FX returns, resulting in a total of eight processors within Module8. Individual Phaser, Flanger, Chorus, Tremolo, Vibrato and Pan effects are available, each with dedicated controls over LFO rate, depth and shape. To encourage experimentation, users can easily customize the order of effects processing via drag-and-drop reordering. To complement Module8’s modulation effects, “Lo-Fi” and “Space” processing modules are available on two dedicated FX returns expanding Module8’s creative potential even further.

Module8 is available now in several formats including VST2, VST3, AAX and AU as part of the ever-growing SSL Complete subscription.

NXTEDITION PLATFORM

SU2057 | In the advancing world of media production, nxtedition says the company stands out with its innovative platform, acclaimed for transforming the efficiency and creativity of storytelling. Having made inroads in newsrooms around the globe, its user-friendly nature holds potential for a range of applications in various sectors.

The nxtedition platform is designed with a focus on functionality and user experience. It handles the diverse and demanding requirements of production, including story-centric authoring, archiving and multiplatform delivery. The platform‘s architecture is built on microservices, ensuring a high degree of QOS, flexibility and scalability. This architecture allows for seamless integration with a range of third-party tools and systems. According to the company, one of the key features of nxtedition is its ability to provide rapid and accurate content production tools. This includes advanced functionalities like automatic transcription of incoming media in multiple languages, facilitated by the integration of OpenAI‘s Whisper speech recognition system.

CLEAR-COM GEN-IC, EQUIP INTERCOM SOLUTIONS

C6007 | Clear-Com is spotlighting its Gen-IC virtual intercom service and EQUIP wireless intercom system prominently in a wide-ranging showcase of communications solutions. Available as monthly or yearly subscriptions, Gen-IC provides cloud-powered intercom to content creators and productions with unmatched versatility and scalability. Gen-IC Essential supports Clear-Com‘s intuitive and familiar virtual intercom clients, Agent-IC mobile app and Station-IC virtual desktop client provide dedicated talk, listen and level controls per channel enabling virtual intercom deployments without dedicated hardware.

The EQUIP wireless intercom system eases communication in industrial settings. According to the company, with outstanding audio quality and hands-free operation, EQUIP ensures seamless connectivity for up to 40 headsets per system using up to four remote transceivers that can be placed for capacity and coverage. Its full-duplex communication capability allows simultaneous two-way conversations, enhancing productivity without interruption and delays.

MILLER TRIPODS SOLO-Q POD

C6925 | Miller Tripods is unveiling its Solo-Q Pod monopod. The Professional Solo-Q Pod is designed to be robust and long-lasting. It employs the same technology and materials used in Miller‘s popular Solo-Q tripod but in a monopod configuration. The Solo-Q Pod weighs just 2.2 pounds (1kg) and features a height range between 23 inches (59cm) and 69 inches (173cm).

The swivel rubber foot, which delivers smooth stable action, can be interchanged with an optional Miller monopod base stand for additional flexibility. The camera can be mounted directly onto the monopod or via a Miller AirV head.

The new Solo-Q Pod will be shipping immediately after NAB Show.

Q. What products or services are you showcasing?

CALIFORNIA MEDIA ENGINEERING INC.

Keith Schindler, President

SU4063 | Cal Media Engineering announces

the Model 5100 A/V

Profanity Delay openGear card, the successor to its widely popular Model 5000 A/V Delay. Supporting single or dual-channel 1080p/60 SDI with up to 25.6 seconds of delay, two cards may be synced supporting 4K/60 quad link in an openGear chassis.

GTA ELECTRONICS/BUZZ TV

Mike Murrell, Director Compliance

W3478 | The BuzzTV PowerStation 6, the world’s most advanced Android streaming media player ever, is set to conquer the home streaming media hardware category. Incorporating the latest specifications, it is packaged within its state-of-the-art design look. Powerful and distinctive, welcome to the BuzzTV PowerStation 6.

Mediaproxy_Ad_NAB_Daily_Half_2024_Print.pdf 1 18/03/2024 1:51:48 PM

CERBERUS TECH

Chris Clarke, Chief Revenue Officer

W2441 | Livelink is a cloud platform for receiving, processing and delivering professional broadcast video in the cloud. Alongside on-demand resource provisioning, encoding, transcoding, scheduling and real-time monitoring capabilities already built-in, we have recently added cloud-based standards conversion functionality making Livelink the ultimate tool for global content management in the cloud.

RAUBAY

Pan Tiancheng, Founder C2948 | Raubay focuses on video content creating accessories. Our newest ‘360° Spinner - Cine Version’ is released this time. It differs from our lite and standard versions by having a better payload for both the item and camera parts and smoother motion. Making your creation easier is our mission!

SPOTLIGHT ON: Bavarian Pavilion

Exhibitors in the Bavarian Pavilion share what they want attendees know about them when visiting the pavilion.

AMILY GMBH

C6931

amily is the company behind the leading fully integrated software solution for the advertising business in electronic media (radio, online audio, display, TV). It manages more than 75% of the advertising revenue of all private radio stations in Germany, Switzerland and Austria and is increasingly active internationally.

BEBOB FACTORY GMBH

C6732

For almost 30 years, bebob has stood for premium camera accessories and proven quality made in Germany. The product portfolio includes V-Mount-, B-Mount- and Gold-Mount-compatible batteries, chargers, adapters and hot swap adapters. Innovative solutions such as the micro batteries, the CUBE 1200 or the B-Mount support bebob’s excellent reputation.

CAMADEUS FILM TECHNOLOGIES

C7032

are dedicated to delivering the best customer service. From sales, rentals and technical support, we work hard to keep you working.

CHROSZIEL GMBH

C6733

Chrosziel remains one of the leading manufacturers of fine mechanical, optical and electronic products in the industry. Our products support the professional camera operators in production and ensure reliable operation, as well as robust technology. We are the market leader in the industry with many of our products.

CMOTION GMBH

C6832

With 21 years’ experience in developing quality lens and camera control solutions to the global film and broadcast industry, cmotion is one of the world’s most respected lens control innovators. With a dynamic range of ergonomic lens control systems and professional accessories, focused service and support, cmotion keeps you rolling.

for 50 focusing Dedolights enhance output over 500%, making Dedolight Lightstream the widest choice in reflected lighting tools. Powerful “infinity lighting” essential for virtual production. Lightstream Lite and Tabletop offer unprecedented creativity.

[E³] ENGSTLER ELEKTRONIK ENTWICKLUNG GMBH

C6833

[E³] programmable RGB-backlit LCD switches create dynamic operator interfaces for routers, master controls and intercom systems. The allnew SC6432 supports our installed base. SE6432 switches introduce Multi-Segment Color MSC allowing for two different colors in the upper and lower display segments.

PANTHER GMBH

C7032

PANTHER known worldwide as the leader in development and manufacturing of camera support equipment such as dollies and cranes. PANTHER products have made significant contributions to the film industry.

POMFORT GMBH C6831

Pomfort specializes in developing professional software for high-quality and consistent camera workflows. From set to post production, Pomfort‘s well-designed software applications Silverstack and LiveGrade enable users to efficiently manage source clips, looks, audio and transcoded clips in all kinds of film production environments.

PRÄZISIONSENTWICKLUNG DENZ GMBH C6733

DENZ has manufactured high-end camera accessories for the video and film industry for more than 50 years. DENZ presents its highlights: PLC III – Portable Lens Controller with interchangeable mount system, Director‘s Viewfinder OIC FF for anamorphic and spherical lenses, FDC – Flange Depth Controller with adapter rings for different formats.

YAMDU C6933

The company specializes in supplying industry leading camera control, support and power solutions to the film and television industry. We offer a range of high-quality products from innovative manufacturers such as cmotion, PANTHER, bebob, ARRI and Betz Tools. We

DEDO WEIGERT FILM GMBH

C6731

Dedo Weigert Film GmbH (founded in 1965) offers Academy-awarded precision lighting tools. New optical accessories

PLURA

C7031

Plura timing and synchronization solutions are engineered for the future. Digital broadcast and professional video production applications are based on more than 45 years of timecode technology experience.

Yamdu is your single source of truth for all productions. The intuitive software coordinates workflows and consolidates all production data into one cloud-based platform to save precious time, bind teams together, and bring a project to life on the screen. Learn more about the leading pre-production hub and visit us here or online at Yamdu.com. l

Honoring 25 Years of Service

The National Association of Broadcasters congratulates Chris Brown for 25 years of leadership at the helm of NAB Show. He leaves a legacy of creating world-class global events that showcase innovation within the media and entertainment business and prepare broadcasters for the world of tomorrow.

To view photos and submit your note of congratulations, visit nab.org/ChrisBrown or scan the QR code below.

CREATE ZONE

Want to deliver content quicker without compromising quality? Want to streamline your workflows and remote production processes? Then the Create Zone is for you. This is the ultimate hub to hang with your community and get all your burning questions answered. Talk shop with peers. Hear from innovative brands. Access all-new techniques and solutions. And of course, simply find a spot to chill.

Create Zone Theater TUESDAY, APRIL 16

10–10:30 a.m. How Is Generative AI and Utility AI Impacting Entertainment Media Today?

10:45–11:15 a.m. Find Everything Using AI Content Understanding Without Metadata

11:30 a.m.–Noon Discover How JPEG-XS Reshapes Your KVM Over IP Experience

12:10–1 p.m. AI in the Newsroom: The Good, Bad, and What’s Ahead for the Industry

2–3:15 p.m. Extra! Extra! AI to Stand Trial for Crimes Against Creativity!

4:15–5 p.m. Mastering Filmmaking With ACES: Your Secret Weapon for Color Management

South Hall Upper – SU4087

Create Conversation Corner

TUESDAY, APR 16

11 a.m.–11:50 a.m. Revolutionizing the Entertainment Landscape: Legion M’s Leadership in Equity Crowdfunding

3:30–4:30 p.m. Mingle With Blue Collar Post Collective at NAB Show!

WEDNESDAY, APRIL 17

11–11:45 a.m. Catch a Global Star: Unveiling the Rise of Non-English Entertainment

Create Post-Production Corner

TUESDAY, APRIL 16

10:40–11:10 a.m. Stream Live Anywhere

11:20–11:50 a.m. Work Faster in Adobe Premiere Pro

Noon–12:30 p.m. Work Faster in Final Cut Pro X

2–2:30 p.m. Enhancing Photos With AI

2:40–3:10 p.m. Understanding AI

3:20–3:50 p.m. Using Animated 3D Models in After Effects

4–4:30 p.m. Essential Color Correction Techniques for DaVinci Resolve

4:40–5:10 p.m. Essential Color Correction Techniques in Adobe Premiere Pro

5:20–5:50 p.m. Essential Photoshop Techniques - Smart Object Color Change

WEDNESDAY, APRIL 17

10–10:30 a.m. Advanced Timelapse Stabilization and Processing Techniques in DaVinci Resolve Studio

10:40–11:10 a.m. Work Faster in Adobe Premiere Pro

11:20–11:50 a.m. Work Faster in Final Cut Pro X

Noon–12:30 p.m. Essential Photoshop Techniques - Smart Object Color Change

CONNECT ZONE

Want to leverage emerging tech to reach new audiences? Want to get hands-on with the right tools to make your content distribution easier? Then the Connect Zone is for you. This is the ultimate hub to hang with your community and get all your burning questions answered. Talk shop with peers. Hear from innovative brands. Access all-new techniques and solutions. And of course, simply find a spot to chill.

West Hall – W3943

Connect Conversation Corner TUESDAY, APRIL 16

11 a.m.–Noon Virtual Production Town Hall: Using VP Tools to Create Big Budget Ideas With an Indie Pocketbook

3:30–4:30 p.m. FCC Enforcement - New Self-Inspection Guides

Can Help Your Station Avoid Fines

5–6 p.m. Cocktails & Conversations Happy Hour With Pure Storage

WEDNESDAY, APR 17

11–11:45 a.m. Getting Real About Real-Time Streaming Town Hall

Connect Tech Chat Theater

TUESDAY, APRIL 16

11–11:20 a.m. The Changing Terrain of IP Protection in the Broadcasting Industry

11:30–11:50 a.m. Game On: Enhancing Broadcast Workflows Through Network Slicing

WEDNESDAY, APRIL 17

10–10:30 a.m. Transform Editing With Powerful AI Innovations in Video Post-production. PRESENTING SPONSORS

Connect Zone Theater

TUESDAY, APRIL 16

10–10:30 a.m. Fostering Community Defense – Cybersecurity Joining Forces With Infrastructure, Broadcast Operations, Engineering and Strategic Partners for Collective Cyber Resilience

10:45–11:15 a.m. The Recipe for Broadcasters to Unleash the Power of 5G Standalone (SA) From T-Mobile for Business

11:30 a.m.–Noon “Take Your Fingers Off That!” Automating Video Configuration and Connectivity at Scale for Feeds and Channel Distribution

12:15–12:45 p.m. SMPTE RIS-OSA: Tackling the Control Plane and Live Streaming

2–2:30 p.m. Streaming 3D Movies to Apple Vision Pro With MV-HEVC

3–3:30 p.m. Secrets of the Media Giants: Unifying Digital Content Operations

4–4:30 p.m. Getting Ready for Ultra HD on All Devices

CAPITALIZE ZONE

Want to experiment with new digital tech to enhance your reach and retain your audience? Want insider intel on how business models are changing due to market disruption? Then the Capitalize Zone is for you. This is the ultimate hub to hang with your community and get all your burning questions answered. Talk shop with peers. Hear from innovative brands. Access all-new techniques and solutions. And of course, simply find a spot to chill.

West Hall – W2149

Capitalize Zone Theater

TUESDAY, APRIL 16

10–10:30 a.m. Entertainment Evolved: Cultural Shifts and Monetization Through Gaming

10:45–11:15 a.m. The Opportunities and Challenges of Free Ad-Supported Streaming TV (FAST)

12:15–12:45 p.m. How Can We Make Broadcast TV More Successful?

2–2:30 p.m. Keeping Listeners Engaged Through Stopsets

4:30–6 p.m. NABiQ: Pitch Session and Happy Hour

WEDNESDAY, APRIL 17

10–10:30 a.m. Beyond Fake News: How Deepfakes Are Transforming the Media Ecosystem

10:45–11:15 a.m. Audio & Video Quality Monitoring With AI

12:30–1 p.m. The Case For Digital Humans

Capitalize Conversation Corner

TUESDAY, APRIL 16

11 a.m.–Noon Shoppable TV Ads (As Performance Channels!) Town Hall

3–3:30 p.m. Optimize Streaming and Video Processing With Cutting-Edge Solutions

WEDNESDAY, APRIL 17

11–11:45 a.m. The Economics of AI for Creators and Filmmakers

CAPTIONING SOLUTIONS IN AI-POWERED WORLD LEADER

VISIT BOOTH #W1813

Experience our solutions in action at NAB!

AI-Media continuously pushes the boundaries of innovation to tailor our captioning solutions to the market's changing needs and enhance customer satisfaction.

We’re excited to unveil two new solutions at NAB Show 2024 that will revolutionize the captioning workflow: LEXI Recorded and LEXI DR (Disaster Recovery).

SNAPSHOTS

AD SIGNAL

Roisi Proven, Chief Product Officer

Makes captioning recorded content quick, easy and economical – perfect for time sensitive news clips, highlights and promos.

Fast turnaround

Integrate with your workflow

Bulk processing

Accuracy above 98% NER

Your captions will always remain on air with minimal interruption. Our system switches to LEXI DR mode if your primary cloud-based LEXI captioning service goes down. LEXI Recorded LEXI DR

99.99% caption uptime

Workflow integration options

On-premises redundant servers

Scalable – 10 x instances/unit

Q. What products or services are you showcasing?

W2446 | Match reduces the time it takes to find content, while also reducing cost and carbon. It rapidly identifies duplicates ensuring you only keep unique content of the highest quality. Match can also optimize for AI services, allowing savings up to 75 percent on AI processing for your content.

MICRO-STAR INTERNATIONAL CO., LTD. (MSI)

Fenny Chen, Marketing Manager

SL9137 | Enterprise Platform Solutions MSI’s G4101 rackmounted GPU workstation with a liquid cooling module, specifically designed for video post production, boasts impressive computing power and performance. This GPU workstation is tailored to meet the demands of the industry, ensuring optimal results for tasks that require substantial computational capabilities.

SUPER HI-FI

Ryan Taylor, Chief Commercial Officer

Wynn/Encore Hospitality Suites | Super Hi-Fi is sharing its story of powerful transformation tools for radio with HLS+, a new streaming technology designed to bring interactivity and personalization to radio. Other featured products include Stream Player 1, a broadcast playout device, and Voice Flow, an entirely new way to voice track a radio station.

SATCUBE

Anne-Sophie Lefèvre, Global Marketing Manager

W4317 | Satcube is a disruptive satellite communications company that develops game-changing terminals and data services to enable high-performance broadband — any time, quickly and cost-effectively. Our portable Satcube Ku is a highly compact and intuitive device that delivers seamless connectivity anywhere in the world, empowering people to communicate at any time.

NAB MEMBER SERVICES

From advocacy tools and educational resources to exclusive cost-saving benefits, NAB provides members with valuable resources to strengthen their business.

Visit the NAB Member Lounge in the TV and Radio HQ in West Hall to learn how you can become an NAB Member.

Experience MORE with an NAB membership!

Visit nab.org/membership

YOUR SPACE WITH ABSEN’S JUPITER SERIES: THE ULTIMATE IN TRANSPARENCY AND LIGHTNESS

Actus is our industry’s most-deployed solution for affordable ComplianceLogging/QA Monitoring. Additional value is added when combining up to ve additional use-cases: Actus MV (interactive intelligent multiviewers), Actus AI (media insight extraction), Clip Factory Pro (automated content repurposing), OTT StreamWatch (OTT analysis), and Actus RVM (remote post-STB monitoring).

https://actusdigital.com/

Absen’s Jupiter Series, the zenith of transparent display technology, marries ultra-lightweight construction with high transparency. Designed for both indoor and outdoor use, it offers up to 45% transparency, 5000 nits brightness, and a striking 10000:1 contrast ratio, perfect for creating immersive environments and spectacular visual experiences.

https://www.usabsen.com/product/jp-pro-series/

CANON CJ27E×7.3BPORTABLE BROADCAST ZOOM LENS

The CJ27ex7.3B is Canon’s first 2/3” portable lens with a 27x optical zoom and a new DriveUnit.

Despite its powerful 27x zoom, this lens has the mobility of a conventional ENG lens, witha versatile focal length that is equally at home in hand-held news, sports applications, and broadcast studios.

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

C3825

ADVANCES

Audio Over IP Is Not the Future — It Is the Present

IP technology puzzle pieces have fallen into place

By Steve Harvey PRO SOUND NEWS

The big news in audio at this year’s NAB Show is that we are no longer talking about an all-AoIP future — it’s here. What’s more, high-capacity virtualized audio processing is now becoming a reality.

The standards and protocols for IP audio transport and control and the associated metadata have finally fallen into place over the last couple of years. Now, the conversation has shifted to the demands of each individual project, said Dave Letson, Calrec’s vice president of sales. “Anytime we enter into an IP project, we know ST 2110 is involved; we know

SDN is involved; and then we’re into the nitty-gritty and minutiae of how each client’s network is going to work and how we’re going to sit on that network.”

The upshot is that planning is more intensive and time-consuming, he reports, with Calrec’s IP team typically engaging with clients at the start of the manufacturing process. On more complex projects, they may start talking during the sales process. An all-IP project, such as an OB truck, can take several times longer to commission than the baseband equivalent, he said: “Every single connection needs building in software, whether it’s cloud or IP.”

The component parts of a networked plant are no longer

siloed but must work together. “So now we’re talking to all the other vendors to see how they’re doing things,” Letson said. “But ultimately, it’s the client who’s pulling everything together and making those things happen.”

Working remotely became a necessity during the pandemic. As the IP technology puzzle pieces, including better, more accessible high-speed links, have fallen into place, broadcasters now plan for remote operation as a matter of course, reports Dee McVicker, Wheatstone’s marketing director.

For example, she said, “We are joining AoIP with cloud and RIST connectivity in ways that uniquely target the issues of combining studios and sharing resources across

distances.” RIST connectivity, offering high-quality, low-latency, robust media transport, overcomes the limitations of enterprise IT protocols, she noted.

“We’ve extended into the cloud and server realm with our Layers Software Suite, which includes mixing, streaming and FM software hosted on a local server or running on cloud data centers,” said McVicker. “This NAB Show, we’re demonstrating Layers streaming on Amazon Web Services [AWS]. Specifically, we’ll be running our server/cloud software on AWS Global Accelerator, which is essentially AWS’ network service made for media and therefore designed to deliver video and audio at low latency.”

Wheatstone can now transport the entire FM MPX signal out of the Layers FM processor from the cloud data center using reliable internet stream transport (RIST) as part of the company’s new SystemLink MPX-over-IP transporter, McVicker added.

Virtualized audio processing

athima tongloom/Getty Images

products of varying complexity have emerged in recent years, but while some offer only limited I/O and DSP, Solid State Logic has raised the bar with the launch of a high-capacity, cloud-based audio engine supporting 256 fully processed paths. “Software-based control and software-based processing gives you a cloud product that goes hand in hand with our entire System T ecosystem,” said Berny Carpenter, SSL’s broadcast product manager. The new virtualized product was developed in conjunction with Calrec under the umbrella of group parent company Audiotonix.

Like System T, the virtualized audio mixing platform natively incorporates Dante and supports 256 channels of I/O. “Using Dante Connect, you can have sources either in the cloud or on the ground and, crucially, it’s all synchronized,” Carpenter said.

SSL’s virtualized processing could be hardware-controlled one day, then fully cloud-based the next, as needed. For instance, he says, the cloud engine could be fully software-controlled or driven by a System T console or compact Fader Tile. There is no getting around the speed of light, Carpenter noted, so certain applications may require

some local hardware, perhaps for IFBs, to manage latency.

A software-centric approach has freed broadcast facilities from the constraints imposed by the fixed functionality of hardware devices, according to Frank Foti, founder of Omnia Audio and executive chairman of the board at Telos Alliance, and Scott Stiefel,

SPOTLIGHT

Experiential and immersive entertainment platforms are here to stay and evolving at an accelerated pace. How do you invest in this critical, consumer-facing vertical without becoming passé as soon as you enter the playing field?”

4 KEY TAKEAWAYS

1 With AoIP standards and protocols now in place, manufacturers are spending more time on sales engineering and commissioning than before.

2 Remote operation became a necessity during the pandemic but, enabled by maturing AoIP, has become standard practice.

3 High-capacity virtualized audio mixing is now available and can significantly augment or even replace studio-based hardware.

4 Cloud-based audio signal processing will develop even greater capabilities, flexibility and adaptability with the application of AI and machine learning.

Telos Alliance CEO. The brave new world of virtualization, containers, micro-services and so on allows for much greater flexibility, adaptability and creativity.

For starters, cloud-based audio processing components — AGC, EQ, limiting — may be rearranged or replaced much more cost-effectively with higher-quality, all-IPbased digital audio. Further, in a virtual workflow every component in the chain can be made aware of every other component in the system, Foti and Stiefel agreed.

According to them, this means the audio processor doesn’t have to analyze or guess what is happening upstream, but it can be told explicitly what is happening; the processor will know and can adapt to these dynamic conditions. Furthermore, with AI and machine learning, the processor of the future will learn how to react, reconfigure or retune itself based on these conditions.” l

Dave Letson Berny Carpenter

Frank Foti

Scott Stiefel

Dee McVicker

Sean Evans and His ‘Hot’ Celebrity Interviews

Sean Evans, Emmy-nominated host and co-creator of “Hot Ones,” joins NAB Show for “Heating Up the Zeitgeist With Sean Evans,” on the Main Stage today, 11 a.m., for a conversation with Josh Miely, NAB’s vice president, Content Design and Development. The session is hosted by What’s Trending founder/CEO Shira Lazar.

The NAB Show Daily caught up with Evans just before the start of NAB Show.

What inspired you to create “Hot Ones,” and did you anticipate its immense popularity and cultural impact?

Sean Evans: “Hot Ones” is really just an effort to subvert or disrupt the celebrity interview. Oftentimes, talk show guests are stuck in a PR-driven flight pattern. Hot sauce is our remedy for that. We never in a million years dreamed it would become a cultural phenomenon, but we take very seriously our responsibility to deliver to the audience that’s supported us for the last 9+ years.

Can you share some insights into the selection process for your guests? How do you choose celebrities for the show?

Evans: At this point in the show’s evolution, the guests are a 50/50 mix of incoming and outgoing pitches. So, sometimes we choose them and sometimes they choose us. We like to have a variety of personalities and for each episode to serve as an extension of the guest’s personality. The challenge is in matching up schedules, having enough lead time to flip an edit on

the episode, and deliver it near the peg of whatever creative endeavor our guest is promoting. Each season snaps into place like an impossible-to-solve Rubik’s Cube.

What have been some of the most memorable moments or reactions from guests during their time on the show?

Evans: Every once in a while, there’s a moment on the show that breaks containment and almost becomes bigger than the show itself. From the Shaq face on Da Bomb, to Paul Rudd’s “Look at us” meme, to Idrid Elba’s coughing fit, and the tour de force episodes of Dave Grohl, Conan O’Brien and Gordon Ramsay. The whole experience of making this show is a chaotic spice dream in my memory.

What are some of the core creative choices you’ve made in producing “Hot Ones,” and how do these contribute to the show’s success?

Evans: At its foundation, we just try to create a thoughtful, career spanning interview. It all starts with that, and every creative choice must serve that end goal. The interview is the oldest construct in the history of media, it’s not going anywhere. If you create interesting conversations with interesting people, then people will watch.

Beyond the interviews, “Hot Ones” has expanded into merchandise and its own line of hot sauces. Can you tell us more about this aspect of the brand and its significance?

Evans: The product side of what we do is a way to feed the fans, lit-

erally. “Hot Ones” is unique in that it’s a show that the audience wants to taste while watching. You can’t help but to wonder if you could handle the wings better than, say, Shaq. Almost since the moment we began making the show, fans have been clamoring for a way that they can do the hot sauce gauntlet at home. Making hot sauce is just another way of trying to give the people what they want and keep up.

What advice would you give to aspiring creators looking to develop their own hit intellectual property based on your experiences with “Hot Ones?”

Evans: You should not do this if the end goal is being rich and famous. The only reason to devote your life to a creative endeavor is if you can’t imagine living any other way. Creative work is difficult and embarrassing. There’s a lot of failure along the way, and those failures are public and forever when you’re in the publishing game. I love what I do. I’m obsessed with “Hot Ones.” I live and breathe the brand every day of my life. If I didn’t care so profoundly, I would be absolutely miserable. If you can’t prioritize the audience over yourself, get a normal job. l

SHOW SHOTS

Jacky Lee of Selens gives Fleetwood Entertainment’s Tony Goss a close look at a handheld smoke machine.

❶ Atom One has teamed up with Movicom to create an integrated camera that is used at many major sporting events, whether it be hockey, basketball or even at the Super Bowl.

Jamie Peer of NASA (left) and Steve Rudolph of Gyro-Stabilized Systems with the GSS Broadcast Gimbal, designed to keep cameras stable during electronic newsgathering and other live broadcast shoots.

Timothy Hogan of Timothy Hogan Studio meets “Bob the Robot,” also known as the Camerabiotics CRX 1810 Cinema Robot, primarily used for high-speed cinematography.

Skyglass is a virtual production app for iphones and ipads. Here, local actors Alexis Dominguez and Jake Noble are placed in one of the 100 built-in, virtual environments.

Sean Evans and His ‘Hot’ Celebrity Interviews

Sean Evans, Emmy-nominated host and co-creator of “Hot Ones,” joins NAB Show for “Heating Up the Zeitgeist With Sean Evans,” on the Main Stage today, 11 a.m., for a conversation with Josh Miely, NAB’s vice president, Content Design and Development. The session is hosted by What’s Trending founder/CEO Shira Lazar.

the episode, and deliver it near the peg of whatever creative endeavor our guest is promoting. Each season snaps into place like an impossible-to-solve Rubik’s Cube.

What have been some of the most memorable moments or reactions from guests during their time on the show?

Self-Inspection Guide Update

The NAB and Society of Broadcast Engineers are releasing updated self-inspection guides for FM radio and television stations.

The guides provide up-todate, standardized guidance to help comply with FCC rules and policies. The FCC stopped publishing self-inspection checklists in 2003, but rules and policies have continued to change since then. Guides for AM, low-power and translator stations are expected to be released soon.

Triple Helix

The NAB Show Daily caught up with Evans just before the start of NAB Show.

The three broadcast technology professionals behind Triple Helix Technologies made the formal announcement about the merger of Angry Audio, Logitek and MaxxKonnect during a media opportunity. Tag Borland of Logitek (left), Josh Bohn (center) of MaxxKonnect and Michael “Catfish” Dosch (right) of Angry Audio outlined the reasons behind the merger and their expectations going forward. Bohn will serve as CEO; Dosch will supervise product development, and Borland will work with technology. Each company will be a wholly owned subsidiary of Triple Helix.

What inspired you to create “Hot Ones,” and did you anticipate its immense popularity and cultural impact?

Evans: Every once in a while, there’s a moment on the show that breaks containment and almost becomes bigger than the show itself. From the Shaq face on Da Bomb, to Paul Rudd’s “Look at us” meme, to Idrid Elba’s coughing fit, and the tour de force episodes of Dave Grohl, Conan O’Brien and Gordon Ramsay. The whole experience of making this show is a chaotic spice dream in my memory.

The guides will be formally introduced April 16, during a joint NAB/SBE session “FCC Enforcement – New Self-Inspection Guides Can Help Your Station Avoid Fines.”

STAY IN THE KNOW BETWEEN SHOWS

What are some of the core creative choices you’ve made in producing “Hot Ones,” and how do these contribute to the show’s success?

Fueled, inspired, and driven by you. An interactive, online community for the world of broadcast, media and entertainment. Meaningful connections. Curated content. Webinars, product demos and exclusive interviews. It’s all yours.

Sean Evans: “Hot Ones” is really just an effort to subvert or disrupt the celebrity interview. Oftentimes, talk show guests are stuck in a PR-driven flight pattern. Hot sauce is our remedy for that. We never in a million years dreamed it would become a cultural phenomenon, but we take very seriously our responsibility to deliver to the audience that’s supported us for the last 9+ years.

Can you share some insights into the selection process for your guests? How do you choose celebrities for the show?

Evans: At this point in the show’s evolution, the guests are a 50/50 mix of incoming and outgoing pitches. So, sometimes we choose them and sometimes they choose us. We like to have a variety of personalities and for each episode to serve as an extension of the guest’s personality. The challenge is in matching up schedules, having enough lead time to flip an edit on

Evans: At its foundation, we just try to create a thoughtful, career spanning interview. It all starts with that, and every creative choice must serve that end goal. The interview is the oldest construct in the history of media, it’s not going anywhere. If you create interesting conversations with interesting people, then people will watch.

Beyond the interviews, “Hot Ones” has expanded into merchandise and its own line of hot sauces. Can you tell us more about this aspect of the brand and its significance?

Evans: The product side of what we do is a way to feed the fans, lit-

erally. “Hot Ones” is unique in that it’s a show that the audience wants to taste while watching. You can’t help but to wonder if you could handle the wings better than, say, Shaq. Almost since the moment we began making the show, fans have been clamoring for a way that they can do the hot sauce gauntlet at home. Making hot sauce is just another way of trying to give the people what they want and keep up.

What advice would you give to aspiring creators looking to develop their own hit intellectual property based on your experiences with “Hot Ones?”

Evans: You should not do this if the end goal is being rich and famous. The only reason to devote your life to a creative endeavor is if you can’t imagine living any other way. Creative work is difficult and embarrassing. There’s a lot of failure along the way, and those failures are public and forever when you’re in the publishing game. I love what I do. I’m obsessed with “Hot Ones.” I live and breathe the brand every day of my life. If I didn’t care so profoundly, I would be absolutely miserable. If you can’t prioritize the audience over yourself, get a normal job. l

EXPECTED GROWTH

The Creator Economy Matures

Goldman Sachs says content creators are a $250 billion industry

By Mark Hallinger TV TECH

The creator economy — roughly defined as content creators and influencers who earn revenue from their creations — is still growing strong as it matures. But in 2024, it faces challenges and opportunities related to AI and the business needs of the platforms where all that creativity is digested.

That was the theme of the session “The State of the Creator Economy,” moderated by Jim Louderback, editor and publisher at weekly newsletter Inside the Creator Economy on LinkedIn and recognized as a thought leader on media as it evolves.

Panelist Avi Gandhi, founder of the newsletter Creator Logic and owner of a consulting firm that helps businesses connect with creators, said the demographics of the creators themselves had changed from being largely teens and 20-somethings to an older cohort that expects greater professionalism in both content and business practices. “The audience is growing up, so the content has to mature with them.”

Goldman Sachs says the creator economy is a $250 billion

industry, perhaps heading to $480 billion by 2027, but how many people are relying on it for a fulltime income? Numbers are hard to come by, at least in part because of the old-fashioned way employment data is gathered, but Louderback mentioned a possible figure of 11.6 million people operating in the arena as a full-time job.

How much can an individual make? Drew Baldwin, founder and CEO at Tubefilter and an advocate for original video programming online, said it is not uncommon for full-time creators to bring in $150,000 to $180,000 per year: “It’s not playtime anymore.”

Fellow panelist Renee Teeley, executive vice president, business development at Changer, cautioned that the $150,000-$180,000 figure is self-selecting, as creators will not quit a full-time job until they are making enough to replace that income. The majority of creators are doing it as a hobby or side gig.

Teeley, who helps creators build long-term careers, said the best advice she gives to creators is to go multiplatform and multiformat.

Multiplatform is obvious: Don’t get tied to just YouTube or just Facebook. Diversify platforms to

better manage what falls out of or into fashion, or to better manage a platform if its rules, practices or support become untenable. Many of the platforms are now starting to think about making money rather than just growth, said Gandhi. This had led to a lot of high-profile layoffs and far less support for content creators.

Multiformat refers to the length of content. Some, like Baldwin, really see short videos as just a driver to long-form content. Others are cautious of the fact that short-form content often has no inherent cash income unless it is tied to newsletters, courses or merchandise.

Tyler Chou, founder and CEO at Tyler Chou Law for Creators, a law firm whose mission is to protect and support big creators on YouTube, and also the “Creators’ Attorney” on YouTube, said that there is less engagement in short-form content, and this often leads big-brands to favor longer form content. “A 10-minute video is a much deeper connection, the kind that brand sponsors seek,” she added.

For her part, Chou sees the human element (as opposed to AI) as very important for the creation

of the connection a big sponsoring brand craves.

Indeed, AI is the big pink elephant in the room for many things, including the creator economy. While there are lots of questions and concerns about it taking over the creation of content and replacing people, it is already an amazing tool to help creators do things like quickly edit video content and more.

Teeley said she uses AI for exploration and brainstorming, and also sometimes to get over a creative roadblock. She also uses it to cut the “fluff” out of masses of video content.

Gandhi said that AI will clearly make the barrier to entry easier for new creatives, but within a few years very generic AI content might become the norm. This will lead to a greater appreciation for human-made content because “human experiences matter.”

Gandhi opined that in the near future the distinction between AI-generated and human-made content will be similar to how we currently look at mass-produced machine-made physical products and a handmade product. “Human-made will be a marker of quality in the near future.” l

(From left): Jim Louderback, Inside the Creator Economy; Drew Baldwin, Tubefilter; Tyler Chou, Tyler Chou Law for Creators; Avi Gandhi, Creator Logic; and Renee Teeley, Changer.

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SBE Elevates Three Members to SBE Fellow

The Society of Broadcast Engineers (SBE) has ele vated SBE members Andrea Cummis of Orange, New Jersey; Robert “RJ” Russell of Magnolia, Delaware; and Conrad Trautmann of Trumbull, Connecticut; to the membership rank of Fellow. The SBE Board of Directors elected them at its meeting on April 13.

The Fellow honor is the highest membership level in the SBE. Members must have made significant contributions to the broadcast engineering field or the SBE. Candidates are nominated by their peers. Since the SBE’s founding 60 years ago, 89 members have been honored with the Fellow rank.

All three were recognized during the SBE Membership Meeting held on April 15 during NAB Show. They will also be recognized at the SBE National Meeting, which will be held in September in Madison, Wisconsin. l

FROM THE SHOW FLOOR

FOR-A’s RDS Conductor Harmonizes Multivendor Systems

FOR-A introduced RDS Conductor, the first-ever unique RDS (Registration and Discovery System) solution that enables multivendor RDS to access shared resources in a manner that is highly organized.

Users have found it difficult to add new systems to an existing media-over-internet protocol (MoIP) system because the new system’s RDS must have the same specs as the initial design or an extensive redesign of the existing broadcast controllers and RDS.

Adding new systems to an existing MoIP has been difficult to date, because the new systems’ RDS must have the same specs as the initial design, or it requires extensive redesign of the existing broadcast controllers and RDS.

“Being able to add a new MoIP system only when and where it is needed, while still using the existing system, means that the MoIP system can be expanded in stages, making it easier to use,” FOR-A America President Satoshi Kanemura said.

Separately, FOR-A and Aveco have joined forces on an automated production package aimed at news broadcasters. FOR-A HVS Series production switchers, Insight video servers and ClassX graphics systems are tightly integrated with Aveco ASTRA Studio production automation and GEMINI media management systems in the package, aimed at midsized, small-market and public stations.

FOR-A’s products are being exhibited at booth C4507. l

— Jenny Priestley, TVBEurope

SPOTLIGHT

Virtual production is the next-gen workflow that has emerged from the evolution of immersive media. A strong technical know-how of its underlying architecture and smart decision-making in the judicious use of virtual production will ensure that it proliferates as deep and wide as we all hope it will.”

At the Astera booth, distributor Craig Singer holds up LED tubes covered in stickers called “tattoos.”

Top Expert Offers Secrets of Podcast Success

‘The Adam Carolla Show’ Producer Chris Laxamana shares tips of the trade

By Kent Gibbons BROADCASTING+CABLE

Adam Carolla, the TV and radio host (“The Man Show” and “Loveline,” among others), hosts a daily comedy podcast talk show that has staked a spot in the “Guinness Book of World Records” for the most downloaded podcast. He’s been doing “The Adam Carolla Show” since 2010, so executive producer and co-host Chris Laxamana, who’s been there from the beginning, had a lot he could share with Jim Louderback, publisher of Inside the Creator Economy, about the show’s evolution in a chat at the Creator Lab Theater.

At the start, Laxamana said, there was no established formula

for podcast success. “We tried whatever we could to see what our audience would be receptive to.”

At first, guests were on a sofa with lavalier mics attached to them, but the guests were “almost a little too relaxed” and the audio was spotty. So, they switched to higher chairs and table mics. The current studio setup opened in 2012 and Carolla, who had a construction background, helped with the assembly, Laxamana said. “We get compliments on it all the time, which is really nice.”

The session was sponsored by Blackmagic Design and Laxamana praised the company’s cameras several times. It was important to get to a point where the equipment used is so reliable that a producer doesn’t have to worry about something

Prepare yourself for success to where you can focus just strictly on your message, your content, your voice, and not have to worry about what’s happening technically.”

CHRIS LAXAMANA

technical going wrong, he said.

“Prepare yourself for success to where you can focus just strictly on your message, your content, your voice, and not have to worry about what’s happening technically,” Laxamana said. “You’re going to

get a much better podcast, video, performance. Especially comedy. You’ve got to be 100 percent into it while you’re doing it. If [worry is] in the back of your head, the audience will sniff that out.”

Asked what gear advice he would give to a podcaster starting out, Laxamana praised the RØDECaster Pro portable production studio with a pair of Shure SM58 wired microphones attached.

Carolla’s radio background enables him to typically go “live to tape” with a minimum of editing required, the producer said. The show records in Los Angeles at 1 p.m. and is published (on the PodcastOne network) at 9 p.m. PT that evening.

Asked by an audience member at the session if it’s hard to keep the show fresh, Laxamana said recording every day means there’s always something new to discuss. “When you listen to our show, something that just happened is being talked about every day, and people kind of like that.”

Guests who are recorded outside of the studio use the Zoom platform, which the show switched to when the studio shut down during COVID-19. Though there are now alternatives to Zoom, more so than at that time, it’s still the platform most celebrities find easiest to use, so the show has not switched, Laxamana said.

Asked for general advice he’d give a novice podcaster, Laxamana focused on the content not the technology, which was the priority he stressed throughout the session. “Have a voice, have an opinion, have something to say, that’s probably the biggest thing.

“Also, video is huge now, I would say almost more important than audio,” he added. “Make things that people can share. Nobody wants to send somebody an audio clip.” Instead, produce the podcast in video and include captions to generate shareable content, he advised. l

Chris Laxamana (left), executive producer, “The Adam Carolla Show,” with Jim Louderback of Inside the Creator Economy,

ASKING FOR LEGAL ADVICE

Ask Hollywood Attorneys Anything

Entertainment lawyers address AI, the shrinking content market and when to bring one of them on board

By Michael Malone BROADCASTING+CABLE

“Ask Me Anything: Lightning Round with Hollywood’s Top Attorneys” took place yesterday in the Create Zone Theater. The panel offered attendees free legal advice after they posed a question by scanning a QR code.

Topics touched upon included deployment of AI in film, the shrinking amount of movies and television being made and an attorney’s most important role in a film.

Yvonne Shay of Yvonne Shay Consulting hosted the panel. Kate A. O’Connor, independent; Sophia Yen of Manatt, Phelps & Phillips; Jonathan Handel, independent; and Rozanna Tesler Fried of DME Law took part.

O’Connor said the tonnage of film and TV produced in recent years won’t likely be seen again. Part of that is the younger generation that’s more comfortable with

shorter content than feature-length films or extended series, she said. “I don’t think it will go back anywhere close to where it was.”

The panelists discussed a pending market correction in which talent gets paid less

FROM THE SHOW FLOOR

Ryan Bolen and Freddia Gateley of VocalBooth.com stand inside their Platinum Series VocalBooth, an 8-by10-foot sound recording studio that can be built from the ground up in 3 to 4 hours!

because there is simply less demand for their services. “There obviously needs to be a market correction and I think there will be,” said Tesler Fried.

As it has been throughout NAB Show, artificial intelligence

was a key theme of the panel.   Handel said last year’s strikes by writers and actors elicited “strong protections but with large loopholes” when it comes to AI. “Directors realized that AI is not a director — a director has to be a human being, end of story,” he said.

O’Connor said actors want “contractual protections” as to how AI is used on their project. She summed it up as: “Don’t use AI without my permission. I want to know in advance.”

The panelists were asked which single service an attorney should provide on an independent film. Yen answered, “making sure the waterfall makes sense,” the waterfall relating to the payment structure behind the film. As she put it, “Who gets what money at what time.”

Asked about when a writer should hire an attorney, O’Connor said: “I would sign on with an attorney before anything is sold. It would be wise to have somebody knowledgeable in the space” before a deal is closed.

Tesler Fried agreed. “Having a lawyer from the onset is much more important than having an agent or manager from the onset,” she said. l

From left: Yvonne Shay (standing), Kate A. O’Connor, Sophia Yen, Jonathan Handel, Rozanna Tesler Fried

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ULTRA HD UPDATE

Tech Advances Boost Adoption of 8K Production

Panelists cite significant advances in content capture, encoding, mastering and distribution

By George Winslow TV TECH

Technologists working on all aspects of the 8K media production chain offered an optimistic update on the state of 8K in video production, indicating that significant advances are being made in capture, encoding, mastering and distribution.

“We are seeing 8K being used further and further into the production process,” said Juan Reyes, director of operations, 8K Association, and moderator of yesterday’s “8K Technology and Its Impact on the Production Process” panel.

Those developments have been accompanied by newer consumer experiences including 8K displays on VR headsets, like the Apple Vision Pro, and more content from live events.

“If you look at the new types of displays like headsets coming into

the market, 8K content is already being delivered to headsets for live events,” RED Digital Cinema Chief Technology Officer Uday Mathur said. “Some of our customers are already doing 8K for NBA games. Others are doing it for other types of live events and concerts. Those events are happening live, with [internet protocol video] delivered over the top, live out of the venue. So it’s not a large leap to think that 8K will be pervasive within a few years as hardware costs come down for televisions.”

Streamlined workflows for 8K live productions and improvements in codecs and video encoding have made it easier to deliver content over the public internet, panelists noted. “We did a concert a couple of months ago in 8K with [Japanese broadcaster] NHK,” Spin Digital CEO and Co-Founder Mauricio Alvarez-Mesa said. “It was streamed live in 8K to several

locations … over the open internet. That shows we can do it now with the current technology.”

Ravi Velhal, technology policy and standards, Intel Research agreed. “In terms of events, we have shown the end-to-end capability, glass-to-glass, with less than 2-second latency,” he said.

Added Reyes: “Some of the bit rates and the advancements in the encoding capabilities that we have today are down to the level of what we’re experiencing with 4K content. You know, historically, that was a big concern. How are we going to put so many pixels and what kind of bandwidth is everybody going to be needing to get it into the home?”

In addition to providing several examples of how encoding advances have reduced bandwidth requirements, Intel’s Velhal also pointed to similar improvements that have made 8K production

much more economically viable. “Camera prices are coming down,” as are the costs for VFX and other parts of the production process, he said.

IMAX Chief Product Officer Abdul Rehman stressed the importance of creating an end-to-end 8K ecosystem. “We believe that producing 8K is really important in this day and age, and controlling the pipeline from content creation to playback is important to the experience,” he said.

Though panelists acknowledged a lack of devices and the cost of producing and distributing content as ongoing roadblocks to 8K adoption, they also stressed the importance of further tech advances that allow producers to create new 8K experiences.

“We need to give the masses a reason to yearn for and look for an 8K experience,” IMAX’s Rehman said. “Achieving that will be a win for creators, a win for the folks who are providing the technology and a win for the consumers and display manufacturers. Once you start that loop and build that snowball effect, it will accelerate the whole process.” l

(From left): Uday Mathur, RED Digital Cinema; Mauricio Alvarez-Mesa, Spin Digital; Abdul Rehman; IMAX; and Ravi Velhal, Intel Research.

AI Generates Tricky Issues for Reality-Based Programming

Technology can generate a greater volume of content, but ways to differentiate AI video from archival footage are needed

By Jon Lafayette BROADCASTING+CABLE

Artificial intelligence might not be as scary as some people think. But while the tech can certainly create more content more quickly, safeguards have to be used, particularly when creating unscripted and documentary programming.

A Monday panel titled “Unscripted Evolution: How AI Is Reshaping Reality and Documentaries” looked at the issues being created by the new technology.

Irad Eyal, producer of shows including “Southern Charm” and “The Floor Is Lava,” and the CEO of Quickture, said AI can be very

useful in editing down the hours of content shot for a reality show into 15-minute scenes that will eventually become 2 minutes within a finished show.

“We’ve been forced to become computers to wrangle all this footage,” Eyal said. “With Quickture, the computer can help and understand the story, find the best footage and do a rough assembly,” leaving the task of further editing and polishing to skilled people.

AI also does a good job at creating recaps, sizzle reels and social-media content, Eyal said.

Megan Chao, vice president, development and production for Birman Productions, noted that

documentarians are also journalists and must be concerned with generative AI creating images that could be mistaken for real historical artifacts.

Younger editors may not know that a drone shot of prospectors looking for gold in a clear blue stream in the 1880s might not be actual footage.

“We feel there is a need to establish best practices with generative AI,” she said. “It’s the Wild West out there,” and on-screen warnings might be required.

Chao noted an open letter recently published by the Archival Producer Alliance concerned with images and audio that can be

“indistinguishable from the true historical material.”

Once that material starts getting into productions, it can “muddy the waters” for future producers, she noted.

Andy Beach, chief technology officer, media and entertainment at Microsoft, started a group called Responsible AI in 2010. A process is in the works to create a “birth certificate” to document the provenance of content and show where AI was used, what tools were used and when it was opened and changed, Beach said.

Oz Krakowski, chief business officer of dubbing and voiceover platform Deepdub.ai, said his company originally used AI technology to translate content into different languages, but it quickly saw how the technology could be used to create content. With a voice sample, it can produce narration.

He noted that linguists and experts at languages and culture are still needed to review the computer’s work.

“Think of AI as another tool that opens the door for things you couldn’t do before,” Krakowski said. l

(From left): Irad Eyal, Quickture and Haymaker West; Oz Krakowski, Deepdub. ai; Megan Chao, Birman Productions; and Andy Beach, Microsoft.

Brompton Unveils Processing Technologies, Partner Program

Brompton Technology came to Las Vegas with broadcasting in mind, unveiling LED video processing technologies and its Panel Manufacturer Partner Program.

“We have a position in broadcast applications, and that’s the real focus for us at NAB Show this year,” Brompton CEO Richard Mead said at a Monday press conference. “At our booth, we are demonstrating on-camera workflow using our framing-mapping technology as well as our custom markers feature.”

But it was the new “Gen 3 range,” built on the latest Agilex 7 FPGA technology from Intel, that captured the attention of attendees. Mead introduced the first product in the Gen 3 range, the 8K Tessera SQ200 processor. Built off the SX40, the SQ200 (200 is the output bandwidth, making it 20 times more powerful than its predecessor) delivers the same core features and is backwards-compatible with existing Brompton-powered LED panels, but now supports 8K and 4x4K workflows with native support for AV-over-IP protocols such as SMPTE ST2110 and IPMX. The

EXHIBITOR SPOTLIGHTS

G&D PERSONALWORKPLACE-CONTROLLER

C282 | G&D is spotlighting its PersonalWorkplace-Controller, which enhances workplace flexibility by integrating multiple video signals on a single large monitor or multiple displays. Resolutions of up to 5K60 are supported, allowing users to configure their workplace according to their individual requirements, resulting in increased productivity and ergonomics. In addition to the clear display of all processes on just one monitor or multiple monitors, all required data can be accessed simultaneously and flexibly.

Compatibility with traditional broadcast setups is ensured by the integration of HD-SDI through the PersonalWorkplace-CPU. This allows users to maintain their current infrastructure while expanding their capabilities with modern digital video and streaming sources. This flexibility is particularly valuable for broadcasters who rely on established workflows and equipment, as their operations can be improved without the need for costly upgrades or overhauls.

SQ200 is just the first of several planned products in the Gen 3 range.

“We’re very excited about our new Gen 3 processing,” Mead said, “but processing is not much use without high-quality panels to use it with. Our business model is to build long-lasting, mutually beneficial relationships with panel manufacturers.” Mead went on to introduce the Panel Manufacturer Partner Program, welcoming the first Diamond Parter, founding member of the program, and longtime collaborator Roe Visual to the stage.

“Together, we set the standard in live-event production and broadcast and I’m sure we’ll continue to do so.” l

—Wayne Cavadi, Systems Contractor News

PRONOLOGY STREAMFILE CORE UPDATES

SU3058 | Pronology is introducing its latest updates to StreamFile Core, including 2110 support and a new Shot list Player. StreamFile Core is a platform for distributing and receiving IP video protocols and encoding them into editor-friendly formats such as ProRes, DNx, XDCam, H.264 and others. It can write media files directly to local or cloud-based storage such as Amazon S3.

StreamFile Core integrates both NDI and Haivison SRT, providing increased IP and streaming capabilities. It supports SMPTE 2110 utilizing off-the-shelf hardware for a cost-efficient solution. With support for SMPTE 2022-7 and NMOS discovery or manual stream entries, StreamFile Core has the ability to record ProRes, DNx and other video codecs allowing users to work from home, on location or anywhere.

The software’s Shot List player allows customers to sub clip multiple angles with timecode accuracy, which is suitable for social teams who require access to VOD media from live environments.

VIDOVATION CELONA

PRIVATE 5G WIRELESS LAN

W2230 | VidOvation’s Celona private 5G solution combines VidOvation’s bonded-cellular technology with Celona’s 5G LAN system using shared cellular spectrum. The demonstration in the booth shows how Celona technology integrates with Haivision’s Pro and Air mobile encoders to deliver more reliable video transport and video transmission over private 5G. Attendees can see how public 5G and private 5G can work together using bonded cellular.

In addition to the Celona technology, components of the solution include:

• Haivision Pro460 reliable 4K UHD and four-channel HD bonded cellular and IP encoder and transmitter for remote production and REMI

• Haivision Air320 field HEVC encoder for on-the-go live streaming

• Haivision StreamHub advanced receiver, distribution server and cloud platform

• VidOvation multicarrier SIMs for bonded-cellular applications. The Haivision mobile encoders VidOvation provides come with VidOvation multicarrier SIMs that connect to the best available public cellular networks.