TV Tech 500 - August 2024

Welcome to the August 2024 issue of

Ethics & Enablement

David Cohen

Fear and Loathing Over AI

I have a confession to make: I used AI in writing this column. Heck, we used AI to produce and print this magazine.

AI is everywhere these days and as broadcasters, we are very familiar with the concept, which used to be called “automation.” The more technical among us like to refer to it as “machine learning,” and while that does represent much of where the technology still is these days, the explosion of generative AI apps—the type characterized by ChatGPT and the variety of text-to-image or text-to-video apps saturating the market today—are making AI a reality for consumers worldwide.

We’ve seen a rapid acceleration of technology over the past decade with the cloud and IP revolutionizing how content is produced and distributed. The quick acceptance of remote production was accelerated by the pandemic, but because the development of AI technology is exponential, it blows away any previous experience the media and entertainment industry has had with integrating such technology into our professions. AI is forcing us to make decisions faster and with perhaps more impactful consequences than ever before.

There’s a certain amount of apprehension when it comes to using AI for content creation that comes from uncertainty. On the one hand, it’s a great catalyst and enabler of accelerating (there’s that word again) production and simplifying the process of adding new features (immersiveness, accessibility, etc.). On the other hand, it could threaten our very livelihoods unless we learn to use it responsibly. But who decides what’s a “responsible” use?

Back to my opening statement: Was your reaction to my admission negative? I hope not, since I’m assuming our readers are more tech savvy than the general public. But the negative response is instinctual, given that so many people still view AI in the guise of a “Terminator” type dystopian future.

In his column in this month’s issue, my colleague Phil Kurz discusses his reaction to a YouTube video narrated by an AI voice. I’ll admit that my first reaction upon viewing such videos was quite negative as well but perhaps it’s because it was so easy to spot. A year from now, Phil and I may very likely not be able to do so.

Like any market sector, M&E likes certainty and AI’s emergence threatens that certainty. Hollywood hit the picket lines last year over (among other things), AI, and organizations such as the NAB and SMPTE are working to both help protect copyrighted content and standardize processes. But they can only do so much when the threats are real and warrant immediate attention.

By the time you read this, the first AI-created movie from TCL Studios will make its debut online and on the TCLtv+ streaming app. Initial reviews are what you would expect, with one publication calling the trailer “embarrassingly bad,” and “soulless.” I’m sure TCL expected that but somone had to go first. The fear over AI comes with uncertainty, projects like this bring out the loathing.

But as with AI-generated YouTube videos, which will continue to improve, the ability to detect whether or not content is produced by AI will become more challenging. For our industry that still matters, but will the consumer care?

Tom Butts Content Director tom.butts@futurenet.com

P.S.: Last month, TV Tech and our sister brand TVBEurope collaborated with Caretta Research on a comprehensive online survey asking our readers about their thoughts on AI in M&E. Look for a special report on the results in an upcoming issue!

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Vol. 42 No. 8 | August 2024

“Next Stop Paris,” the first AI generated movie, hits the screens this summer.

NAB Challenges FCC Ownership Rule Changes

The National Association of Broadcasters last month filed its initial brief in its challenge to the Federal Communications Commission’s local radio and television ownership restrictions.

The NAB is challenging a FCC Order from December of 2023 that retained most existing ownership rules and tightened some others as part of the ownership rules in the FCC’s quadrennial review of ownership rules for 2018. The FCC is required to justify the ownership rules every four years. The 2022 review is ongoing.

“These consolidated petitions challenge the Federal Communications Commission’s broadcast ownership restrictions, including its decision to increase the regulatory burden on industry in what Congress intended to be a deregulatory exercise: the Commission’s periodic review of its broadcast ownership rules,” the brief filed by the NAB, Zimmer Radio, Beasley Media Group and Nextstar Media Group argued.

“The Local Television and Radio Rules retain and even tighten decades-old restrictions on which—and how many— television and radio stations broadcasters

may own in a particular geographic market,” the brief continued. “The rules are premised on the notion that broadcasters could exert disproportionate influence by shaping news and entertainment options. But that idea is a relic from a bygone era—before the emergence of the Internet, smart phones, social media, and streaming. In reality, broadcasters today struggle to keep pace with rapidly proliferating audio and video platforms that are steadily taking audience share and advertising dollars. Instead of making it harder for broadcasters to compete, the Commission should have modernized its outdated rules because they are no longer justified.”

In the December Order, the FCC retained existing ownership caps and clarified its approach to situations where one of the top four TV stations acquired the programming of another top four station in a market and moved it to a LPTV or a multicast channel. As a result of the Order, the FCC will no longer allow the programming to be transferred to an LPTV or multicast station.

Streaming Jumps to a Record 40% of TV Viewing in June

The shift to streaming passed a new milestone in June, when time spent streaming hit 40.3% of all TV viewing, a record according to Nielsen’s The Gauge. In sharp contrast to streaming, which gained 1.5 share points compared to May, broadcast slipped to a 20.5% share and cable fell to a 27.2% share of total TV viewing.

It’s typical for traditional linear TV to exhibit a lull in viewership during the summer months, and both broadcast and cable recorded fairly sharp declines in their share of TV usage in June, Nielsen reported. The broadcast category lost 1.8 share points and cable fell by 1.0 share points, bringing the two to a combined 47.7% of overall TV this month.

The wildcard for traditional TV as networks move into July and August is the Summer Olympics, whose widely covered quadrennial events have historically drawn

sizable audiences across both broadcast and cable networks, the researchers noted. Across streaming platforms, four notched double-digit usage growth including Disney+ (+14.8%), Tubi (+14.7%), Netflix (+11.8%) and Max (+11.0%), all with 20% or more attributable to younger viewers. Additionally, most streaming services exhibited shares that were near or equal to previous platformbests, while YouTube and Tubi both set high watermarks with 9.9% and 2.0% of TV, respectively, according to Nielsen.

study: Consumers

Hitting Spending Limits on Streaming

As streaming companies continue to ramp up prices, a new study from Hub Entertainment Research addresses an increasingly central issue: How much are consumers willing to pay for video services and what kinds of content might convince cost-conscious consumers to spend a little more money? With so many platforms and abundance of content from which to choose, what’s worth paying for?

One key takeaway of Hub’s annual “Monetization of Video” study is that consumers are already running up against the limits on what they are willing to spend and are already feeling the bite of inflation. Even so, the survey found that some features and content may drive additional spend from consumers.

The study found that consumers feel maxed out on the cost of TV, with the average respondent estimating they are spending $82 a month on TV content, very close to what they say is the maximum they’d be willing to pay ($87). That indicates that consumers have already cut back from their 2023 monthly spending of $85 a month.

But the survey also found that the more expensive ad-free services are “stickier” than cheaper (or free) ad-supported ones.

Despite the plateau in overall spend, people paying extra for ad-free services consider them more valuable and are more loyal. Cheaper ad-supported and FAST services like Pluto and Tubi have helped to fill the gaps for people tapped out on spending, but loyalties to those services may not be as strong. In comparison, subscribers to ad-free services are significantly more likely to say they’ll still be using that service a year from now.

In addition, the survey found that while price matters, consumers are willing to pay for the right features and content.

NAB President/CEO Curtis LeGeyt

Finding The ‘Boun-dairies’ For AI In Media

I was getting my dopamine rush the other day scrolling through some YouTube Shorts when the narrator clearly pronounced the word “boundaries” as “boun-dairies,” with the first syllable sounding like the word for a person, place or thing but beginning with “b” and the second sounding like the place where milk cows work.

It’s a pretty safe bet the narration was AI-generated with a textto-speech algorithm. But calling attention to the mispronunciation isn’t intended as a gotcha aimed at the technology or the creator of the content. Rather, it’s a sign of just how good this technology has become. If it were not for the exception my ear registered in the form of “dairies,” I would not have thought twice about the authenticity of the voice. YouTube itself has begun requiring content creators “to disclose content that is meaningfully altered or synthetically generated when it seems realistic.” It seems in this instance the synthetic voice made no meaningful difference to the content, so no harm, no foul and no warning label.

But what about television content, especially TV news? While many uses of AI promise great things in news, such as enriching metadata thereby making digitally stored content searchable on an unprecedented level, those that could directly touch viewers warrant careful consideration before committing to them.

AI-based closed captioning for live content like news—something that directly touches

viewers—has steadily improved over the years and is successfully deployed by stations ranging from the smallest groups to the largest.

Then there is Channel 1, which has demonstrated AI-generated anchors and reporters in a 22-minute promotional video and plans a streaming newscast this year. BBC’s Chris Stokel-Walker’s Jan. 26, 2024, article, “TV channels are using AI-generated presenters to read the news. The question is, will we trust them?” is an excellent summation. Indeed, will we trust them? At this point, the question is open, but I suspect many local news directors will resist using AI anchors and reports for the same reason many elected to step back from virtual news sets. Sure, there was concern about what to do if the engine driving the virtual set failed and left talent in front of a green screen. But what was of more concern was building a newscast of what was supposed to be the real thing—in other words, the reality of what is happening in their local markets to the best of their ability—in a computer-generated, i.e., “fake,” environment. That idea simply rubbed many news managers wrong.

I suspect the same news cultural bias—at least in many local U.S. newsrooms—will be a major obstacle to AI-generated anchors and reporters. The uncanny valley is real, and all it will take are a few “boun-dairies”type missteps—whether audio or video—to unleash the bull in the news china shop.

LABF to Honor Hearst With Broadcast Preservation Award

The Library of American Broadcasting Foundation has announced that Hearst Television will be honored with the 2nd Annual Library of American Broadcasting Foundation’s (LABF) Excellence in Broadcast Preservation Award in recognition of the company’s outstanding dedication and commitment to preserving broadcast history.

The presentation will take place during the Annual “Giants of Broadcasting” luncheon celebration, Nov. 12 at Gotham Hall in New York.

The honor is awarded to an individual, organization, or company, who exemplifies the essence of preservation and collection within the broadcast industry.

“Hearst is leading the way in preservation among media companies across the country,” said LABF co-chairs Heidi Raphael and Jack Goodman. “Their commitment and dedication to preserving important moments in local and national broadcast history across the entire company for future generations to follow for years to come is truly exceptional. It is truly a privilege to be able to honor them for this outstanding work.”

Hearst Television is a national multimedia company with 35 owned or operated TV stations, two radio stations, and digital properties in 27 markets. Reaching 24 million U.S. television households, Hearst Television delivers local and national news, weather, information, sports and entertainment programming via every available content-delivery platform. Hearst Television is a division of Hearst, one of the nation’s largest global, diversified information, services and media companies, whose diverse portfolio also includes ownership in cable television networks such as A&E, HISTORY, Lifetime and ESPN; 24 daily and 52 weekly newspapers; digital services businesses; and more than 200 magazines around the world.

For more information on purchasing tickets and sponsorship opportunities, please contact Event Producer BJ Corriveau at bjcorriveau@giantsofbroadcasting.org

Phil Kurz

Channel 1 AI-generated news avatar

AI Makes It a Whole New World

Will your next news anchor be an AI avatar?

By Bob Kovacs

Aldous Huxley’s classic novel “Brave New World” is a science fiction thriller set in a murky future with a highly ordered society. While Huxley and other sci-fi writers tended to focus on futuristic societies and novel personal interactions, they didn’t quite predict the mix of technology that we have today.

Yet the recent creation of artificial intelligence systems that can create new audiovisual content from just a written description is the brave new world that we face in the film and television industry. Like any other technology, it is used by people—some of whom are good, some are bad, and most are a mix in which it is hard to separate the difference.

People in the industry, from the smallest players to the biggest moguls, are watching AI and expecting big changes. One of the biggest is Jeffrey Katzenberg, co-founder of Dreamworks and the former chairman of Walt Disney Studio, who recently participated in a Bloomberg-sponsored forum.

“I don’t know of an industry that will be more impacted than any aspect of media, entertainment and creation,” Katzenberg said. “In the good old days, you might need 500 artists and years to make a worldclass animated movie. I don’t think it will take 10% of that three years from now.”

MULTIMEDIA BUILDING BLOCKS

One application that can create graphics— or a whole family of graphics—from written content is called Lore Machine. Although it is predominantly for graphics and not

moving images, it can create a graphical story based on a few sentences of description.

“Lore Machine is a web application that transforms story text into multimedia adventures,” said Thobey Campion, founder

“In the good old days, you might need 500 artists and years to make a world-class animated movie. I don’t think it will take 10% of that three years from now.”

JEFFREY KATZENBERG, DREAMWORKS

of the Los Angeles-based startup. “At the helm of Lore Machine, a writer can enter natural text like a novel, a screenplay, a resume, song lyrics or a blog post, and generate galleries of imagery, animation and audio all with persistent character, location and art styles. These multimedia building blocks can then be assembled into every audiovisual story format imaginable, including multimedia articles, graphic novels/manga, presentations,

children’s books, RPG games and video.”

Campion said that Lore Machine is the first AI system to achieve multimedia generation at story scale, and that it can transform still imagery into 5- to 10-second videos.

CONCERN OVER ETHICS

Ethics are a major concern regarding AI in the film and television industry. In other words, how do we prevent an AI system from creating content using the likeness of wellknown people, or using copyrighted content?

For example, with an AI system capable enough, it could create scenes from the latest Jack Reacher novel using an on-screen person that looks an awful lot like Tom Cruise. And that is just the tip of the iceberg that we can discuss in a respectable trade journal—let’s leave the 90% that’s below the surface unmentioned for the moment.

Lore Machine has safeguards in place to maintain originality and prevent ethical problems, Campion said.

“Lore Machine is BYOL: Bring Your Own Lore,” he said. “That means the first thing a user does is enter original text, which ensures original authorship. The ‘Preset Palace’ is filled with ethically trained image models that [prevent creation of certain content scenarios]. Over the course of the next several months, we are releasing some styles in partnership

Thobey Campion, founder of Lore Machine

Channel 1.ai will launch later this year with all AI-created talent and sets. This is one of the AIgenerated “anchors” who discusses Channel 1.ai in the network’s demo.

with artists that cost extra money. All of those proceeds go to the artists.”

Further, Lore Machine is not simply a one-click creation tool, Campion said.

“It’s a workflow that requires many decisions to get to your outputs, which in turn ensures sufficient transformation,” he said.

AI has already been visible to television viewers around the world, including in North America. However, it is entirely possible that you didn’t recognize that AI was at work.

“One visible way in which AI is being used in broadcasting, particularly during sports events, is through content enrichment features such as real-time statistics and graphic overlays,” said Alex Rouxel, senior project manager for data and AI at the European Broadcasting Union. “AI algorithms analyze the game in progress and provide instant statistics.”

GUIDING WHAT THE VIEWER SEES

Furthermore, broadcasters use AI behind the scenes in ways that ultimately guide what the viewer sees.

“AI is used in content recommendation systems that analyze viewing habits and metadata to personalize content suggestions for viewers,” Rouxel said. “This increases user engagement without being visible on the screen.”

It’s impossible to say where AI might take us several years from now, but Rouxel has some thoughts on broadcasters’ use of AI in the near future.

“Broadcasters are likely to increasingly use AI for automated video editing and enhancement, speeding up the production process by quickly sorting and editing footage,” he said. “Editing can be tailored to the audience on the social networks where the content is posted.”

This use of AI is treating it as though it is an assistant that will tirelessly work on projects that actual people could do. It is valuable work that frees up creative people to do more creative things, but it is not the sort of AI that might take creative work from creative people.

So is creative work by creative people safe from the challenge of AI?

“AI is going to bring on the greatest change in the history of the media industry,” said Roy Folkman, director of technical sales for CineSys.io, a Houstonbased systems integrator specializing in digital media. “The only way we are going to be able to navigate the overwhelming changes brought on by AI is through thoughtful and respectful exchange of ideas.”

“AI is going to bring on the greatest change in the history of the media industry.”

ROY FOLKMAN, CINESYS.IO

In an online presentation in March, Folkman made his point about changes in the film and television industries with a simple end title graphic that showed all the components of the film being created by AI. He went on to say that he and many others value human creativity, and that actual art created by actual humans will always have a place.

CHANNEL 1.AI

Later this year, a project called Channel 1.ai will begin news broadcasts using AIgathered information and delivered by AI-generated “talent.” Calling itself “a new personalized global news network, powered by generative AI,” Channel 1.ai has a demo that looks uncannily like a first-class news operation, using “talent” that mixes the right amount of attractiveness with the gravitas we expect from news anchors and reporters.

The lengthy Channel 1.ai demo shows off one of the benefits of AI: It can deliver the news with the same “on-camera talent” in any language. The demo has one of the anchors speaking in English, then what I assume is perfect Greek, Tamil and Filipino. Even Walter Cronkite couldn’t do that. It could be possible for the entire world

to consume the same news broadcast, in each country’s native language. I don’t know if that is wonderful or scary, but it is mind-blowing. Channel 1.ai promises that its news will be sourced and delivered in accordance with accepted news reporting standards and verified by real journalists. However, what is to stop some organization with more nefarious goals from delivering bogus news polished up with a pleasant AI sheen? It’s all too easy to imagine dozens of competing AI newscasts in every language, with “oncamera talent” racing to pander to the lowestcommon denominator.

To learn more about Channel 1.ai and form your own opinion, visit www.channel1.ai

As I write this, no one can predict exactly how AI will affect the industry. It is certain that any limitations put on it by corporations or governments will be quickly either ignored or bypassed. Clearly, any government or well-funded entity can create something along the lines of Channel 1.ai. And not every government or well-funded entity has the best intentions toward our fellow earth dwellers.

As a content creator myself, I am curious about how generative AI can help me visualize the stories I have in my head. I already use AI-powered software to improve resolution, and make videos and photos better looking. (In fact, I used AI-driven software to improve the clarity of a couple of the photos associated with this article.) Generative AI, if I could get a handle on it, could let me tell a story that I could not otherwise tell using the basic tools I have.

The next five years look to be very exciting—or nerve-wracking for some—with respect to the use of completely AI-generated content. I am convinced that it will be an eye-opening experience for all of us. l

Bob Kovacs is a long-time television engineer, video creator and writer. You can find him on YouTube at youtube.com/bob%20kovacs.

Roy Folkman

Alex Rouxel

M&E’s Embrace of AI Dampens Potential for Damage Mitigation

Amid the hype, industry struggles to establish guidance and guardrails

By Fred Dawson

As the disruptive forces unleashed by artificial intelligence engulf the media and entertainment industry, the prospects for minimizing the potential for harm are growing less certain by the day.

Not that there isn’t an immense amount of work going into mitigating the dangers on the part of station groups, networks, distribution affiliates and industry organizations. But those efforts parallel an exuberant industrywide embrace of AI that’s driving cost-saving efficiencies, enhanced user experiences and monetization to new heights at an accelerating pace.

No one among the many industry leaders calling for corporate policies, industry standards and government regulations that would establish guardrails against misuse of AI question the wisdom of maximizing the AI upside. “We certainly welcome AI innovations that enhance operational efficiencies and localism, enabling stations to better serve their communities,” says NAB president and CEO Curtis LeGeyt.

HYPE AND UNPROVEN EXPECTATIONS

of large language model (LLM) generative AI tools that exploded into prominence two years ago, is proceeding at “a pace that far exceeds the speed at which our societies and regulatory frameworks can adapt, creating significant gaps in our understanding and governance.” Making matters worse, Libin adds, the technology poses “profound ethical and societal dilemmas, from the creation of deepfakes to the inherent biases in AIgenerated outputs.”

When it comes to formulating laws relating to AI, those dilemmas are especially daunting for a Congress locked in electionyear combat. Unlike in Europe, where the EU Parliament has passed the “AI Act” with final approval expected by year’s end, Congress has made little headway beyond holding some

likenesses of radio and TV personalities that spread false information, and other uses of deepfakes that make it hard to distinguish between truth and fiction.

“I have seen the harm inflicted on local broadcasters and our audiences by Big Tech giants whose market power allows them to monetize our local content while siphoning away local ad dollars,” LeGeyt tells TV Tech.

“The sudden proliferation of generative AI tools risks exacerbating this harm. To address this, NAB is committed to protecting the unauthorized use of broadcast content and preventing the misuse of our local personalities by generative AI technologies.”

Along with pursuing Congressional action, NAB is deeply engaged in fostering self-governance.

AI dominated the 2024 NAB Show, bringing to light benefits impacting everything from creative to production, encoding, packaging, distribution, advertising, and anything else where data analytics comes into play. But with the guardrails coming together slowly on a learning curve impeded by hype and unproven expectations, the situation calls to mind scenes from old westerns that left moviegoers on the edges of their seats watching good guys trying to stop runaway trains.

As Deloitte managing director Judah Libin notes, AI adoption, including the use

hearings and taking a preliminary look at a handful of bills.

Nobody is more focused on the need for legislative action than LeGeyt, who has had a front-row seat at two Senate hearings on AI issues. During an appearance before a Senate Subcommittee in January, the NAB president highlighted examples of AI-related abuses in three major areas of broadcast industry concerns, including copyright infringement, misuse of AI-generated

“Our technology team is working closely with these new innovations to equip local stations with the best tools to integrate into their operations,” LeGeyt says.

Of course, with whatever help NAB and the various standards organizations can provide in developing tools and standards, it’s up to broadcasters to execute, notes Deloitte’s Libin. “The burden is on broadcasters to organize, monitor and regulate themselves, then focus on industry standardization,” he says. A “clear governance structure and ethical guidelines” are essential, as is “rigorous and continuous testing.”

IN THE NEWSROOMS

A big part of self-governance is centered in broadcast newsrooms. Fostering such efforts has been a top priority at the Radio Television Digital News Association, the first national journalistic association to issue guidelines on news outlets’ use of AI, according to RTDNA president and CEO Dan Shelley.

Issued a year ago, the guidelines focus

This chart from a SmithGeiger 2024 survey of 2,036 adults aged 18–64 representing the general population in the United States shows the demographic breakdown among respondents towards the use of AI in the media.

on how AI is used in newsgathering, editing and distribution with attention to ensuring accuracy through contextual and source validation, avoiding violations of privacy and maintaining clarity when AI is used to modify content. The association says newsroom policies should also keep faith with audiences, informing them of AI usage with assurances that everything is reviewed for adherence to journalistic principles by journalists.

Things are moving in the right direction. “There are infrastructures in place with experts thinking hard and acting very carefully when it comes to testing and implementing AI technology in local newsrooms,” Shelley says.

But staffing up with AI specialists is just part of the labor-intensive aspects of keeping AI on track. Everyone involved in news broadcasting has a role to play, underscoring the fact that, as Shelley stresses, “no matter how good AI becomes, it will never replace human intellect and the sensibilities to produce the best results obtainable.”

HUMANS IN THE LOOP

Such views pervade discussions about AI in industry leadership circles, leading many to suggest rank-and-file fears of job losses are overblown. Ironically, the hype factor is contributing to job security.

In this Wild West tableau, rampant hype is wreaking havoc with broadcasters’ and everyone else’s efforts to put AI to good use. “One thing that drives me nuts is the amount of hype we’ve seen in the past two years,” says Yves Bergquist, director of the AI & Neuroscience in Media Project at the Entertainment Technology Center (ETC). “Keeping humans in the loop is extremely important.”

Yves is co-chair with AMD fellow Fred Walls of the task force on AI standards and media mounted by ETC and the Society of Motion Picture and Television Engineers. Earlier this year the task force produced what SMPTE President Renard Jenkins calls “the most comprehensive document looking at both the technical side as well as the impact and the ethical and responsibility areas of this particular technology.”

Participating in a recent

egregious biases by using reference material in facial recognition, it’s also important to be transparent about the unavoidable biases that arise from cultural disparities.

The blending of ethical and performance issues in bias assessment is just one example of how addressing ethics and performance is really two sides of the same coin, Yves notes. “I have yet to see a requirement related to ethical AI that isn’t also a requirement of rigorous AI practice,” he says.

This is reflected in the dozens of standards and policy framework initiatives identified in the AI task force report that are underway at ISO-EPS, IEEE, ITU, W3C and other organizations. It’s an impressive list, but there’s obviously a long way to go, especially when it comes to setting the ethical frameworks on which performance standards must be built.

“One thing that drives me nuts is the amount of hype we’ve seen in the past two years. Keeping humans in the loop is extremely important.”

YVES BERGQUIST, ENTERTAINMENT TECHNOLOGY CENTER

webinar with Jenkins and Walls, Yves says research shows that the true capabilities of AI systems in the vast majority of cases “are a fraction of what they’re trying to advertise.’ When it comes to getting to the truth of what can be done, “not enough people talk about how hard this is.”.

Jenkins notes AI-assisted facial recognition is one example of where AI isn’t living up to a widely accepted 85% performance standard.

“People go into using AI thinking it’s going to save us a lot of money,” Jenkins says.

“Most of the time, the reason it fails to deliver is there isn’t enough time put into figuring out what it can really do.”

SOCIETAL AND ETHICAL CONSIDERATIONS

One of the most daunting tasks involves identifying biases that are inevitably built into LLM models. While part of the challenge involves eliminating the most

SMPTE’s report spells out the challenge: “While stakeholders in the development of this plan expressed broad agreement that societal and ethical considerations must factor into AI standards, it is not clear how that should be done and whether there is yet sufficient scientific and technical basis to develop those standards provisions. Moreover, legal, societal, and ethical considerations should be considered by specialists trained in law and ethics.”

How fast the industry gets to having real guardrails will greatly depend on how big the perceived risk becomes, which “will help to drive decision making about the need for specific AI standards and standards-related tools.” How much comfort can be gained from a realization that the scarier AI gets, the more likely we are to act is debatable.

But even that modicum of relief from anxiety is yet to be found when it comes to reducing the alarms generated by the threat posed by “deep fakes,” in which AI is used to create alternative audio and video that doesn’t represent reality. When asked about progress toward creating tools capable of identifying professional caliber deep fakes, Walls replies that while efforts to develop such tools abound, the pace of deep fake AI development is such that it “will be really hard to tell if something is a deep fake or not.”

Taking it all into account, we can only hope that the old Western analogy holds to reel’s end, when the sound of screeching brakes signals the good guys have saved the day. l

Yves Bergquist

Dan Shelley

Coverage of 2024 Campaigns Illustrate the Value of Local

Broadcasters aim to prove their reputation as the ‘most trusted’ source

By David Cohen

“I am excited about the idea that people really care about this… there seems to be a little less apathy. Maybe I’m hoping this election really does matter and I’m hopeful that we can also keep people focused on those down ticket races because that touches them even more than the presidential race does.”

Kim Saxon, news director at WANF in Atlanta, responsible for news programming at three local stations owned by Gray Television, along with the Atlanta News First streaming service, understands that the heightened interest during the 2024 election cycle represents an opportunity to have a big impact. Like any news pro during this season, she doesn’t intend to squander it.

“Everyone knows how important Atlanta and the state of Georgia were in the last presidential election, so the stakes are a little higher here,” Saxon said. In 2020, Georgia was the site of the historically controversial, tight presidential race and two U.S. Senate races that required runoff elections. “It’s really a needle we have to thread. If we cover the politics in the election, it can absolutely be a great way to build trust with viewers and give them information they need.”

HUMAN EXPERTISE

“The expectation from our viewers is they want the information they want and they’ll make their own analysis,” said Michael Fabac, vice president of content and station promotion for the News-Press & Gazette (NPG) Co. and its 10 stations in the Midwest and western U.S. “Leading up to the election, we’ll use an analyst more for explanation of complex topics, less so for a debate between ‘Opinion A’ and ‘Opinion B.’”

The path to the White House runs through Scripps country, according to Christina Hartman, vice president and head of Scripps News, the company’s global news

country’s standing on global issues. In fact, according to Insider Intelligence | eMarketer’s Forecast from January 2024 estimates that total spending this cycle will be up nearly 30% from 2020, eclipsing $12.3 billion nationally.

MULTIPLATFORM COVERAGE

One way local TV news outlets are looking to keep pace with demand for more and more insights—in local, state and federal races—is by increasing focus on their streaming platforms. Gray Television has stations in 113 markets, most of which have affiliated national networks that cover the federal races broadly.

“We have strong local news coverage in our 113 markets and we offer a 24/7 look at local news across the country via our Local News Live streaming platform,” said Lisa Allen, vice president of Gray’s Washington bureau. “On election night, you’re going to see what voters are thinking in Nevada, who’s on the ballot in Wisconsin, what people are thinking in Vermont. We’re using our national footprint to go back to the good old days focused on local reporters in every single pivotal market and swing state.”

To get a sense of how local broadcasters are covering this year’s campaigns, TV Tech talked to news producers and network news management from around the country. Almost universally, the theme was consistent—trust the experts on the team to provide the most complete, unbiased information possible.

Despite the enormous growth of softwarebased workflows, increased newsroom automation and use of the cloud to increase compute and distribution capabilities, it’s the human expertise that remains in the spotlight.

organization that combined Newsy with its local news organizations now covering a presidential election for the first time in 2024. “We not only have a significant geographic footprint, but a really meaningful presence from an expertise standpoint,” Hartman said. “We’re taking a real issues-based and people-based approach. Being present in these local markets with highly connected reporters means that we can bring to air the voices of real, connected authorities.”

This election cycle is sure to have heightened interest especially given last month’s shakeup that saw Vice President Kamala Harris replace President Biden as the potentia Democratic candidate—along with broad uncertainty about the economy and the

Technology advancements will surely play a part in how news organizations look to keep audiences informed and win eyeballs, wherever—and on whatever device they’re watching. Notable is the work being done to get more thorough and reliable polling data to accurately and efficiently project winners.

As a reaction to the growth in mail-in and absentee ballots, Scripps News will partner with Decision Desk HQ (DDHQ), which uses technology to lower the cost of collecting election data while also increasing the speed. DDHQ claims they were first to call both the 2016 and 2020 presidential races.

“The traditional method of race calling had relied on large teams of stringers positioned across the country,” Scripps’ Hartman explained. “I would never

NPG standardized its stations on the Inception newsroom solution from Ross that simplifies the sharing of content through its Horizon interconnection system.

prioritize being first over being right, but we think it’s possible to be both.”

THE TOOLS

Ensuring that even the smallest, local stations have access to breaking news of regional or national importance is also a growing priority for networks and station groups. No news outlet in the country wants viewers to have to hop to another station to hear about something big that’s blowing up social media. Cloud connectivity and digital communications ensure this type of content sharing is simple and instant, right? You might be surprised. Organizations we talked with have a wide range of solutions to this problem.

NPG standardized its stations on the Inception newsroom solution from Ross that simplifies the sharing of content through its Horizon interconnection system. Gray stations use BitCentral’s Oasis platform in its stations to facilitate simplified content sharing. Scripps and Gray have also supplemented vendor systems with homegrown solutions, specific to their unique needs, such as realtime alerts from each market’s coverage. Still, sometimes doing things the

old-fashioned way through word of mouth or email is the most effective.

Such tactics may not work so well when dealing with one of the biggest potential threats to election coverage: disinformation or misinformation created by Generative AI.

“The rising prevalence of deepfakes

Insider Intelligence | eMarketer’s Forecast from January 2024 estimates that total spending this cycle will be up nearly 30% from 2020, eclipsing $12.3 billion nationally.

make it increasingly burdensome for both our newsrooms and users to identify and distinguish legitimate, copyrighted broadcast content, from the unvetted and potentially inaccurate content being generated by AI,” NAB President/CEO Curtis LeGeyt told Congress earlier this year.

Everyone agreed that specific workflows and policies were either developed or in development to ensure they’re eliminating the likelihood of so called “deepfakes” from making it on their air.

Scripps’ Hartman, who co-chairs her company’s AI governance committee said, “We stood up a disinformation desk to be really well-positioned to debunk disinformation—in other words we want to look at what appears to be intentional misinformation. And we have to very transparently illustrate how we know what we know. We’re looking for technology partners in deepfake detection.”

In a campaign and election cycle that’s so important to TV news professionals and the entire country, it seems that getting the best information on the air is a more complex puzzle than ever. l

IBC Show to Focus on AI, Business and Tech Innovation

IBC President Michael Crimp previews the upcoming gathering

By Jenny Priestley, TVBEurope

The 2024 IBC Show runs Sept. 13–16 at the RAI Amsterdam. TVBEurope Content Director Jenny Priestley recently talked with IBC President Michael Crimp about what to expect.

TVBEurope: What are the key themes of IBC2024, and why have you chosen them?

Michael Crimp: We have three core themes which form a thread that runs through all aspects of IBC2024, including the IBC Conference, the show floor theatres, new show features and partner initiatives taking place at the RAI. They are: Transformative Technology, Shifting Business Models, and People and Purpose.

We’ve kept these key pillars in place to maintain a structure and help visitors navigate their show experience, with each theme representing a critical focus area for the industry. Transformative Technology has always been at the core of IBC and is exemplified by the innovation on display across our exhibition halls and through the IBC Innovation Awards, Technical Papers Programme and the Accelerator Media Innovation Programme.

in media and entertainment. As AI rapidly evolves, and technology pioneers and media companies move beyond the experimentation stages to real-world applications, we are providing a central hub to showcase how AI is impacting our sector’s future. We know that media brands and tech providers are looking to step beyond hype cycles and talk about real, proven use cases.

TVBE: What will we see in the AI Tech Zone?

MC: The AI Tech Zone, powered by European Broadcasting Union, will act as a focal point for AI providers, content creators and solution vendors showcasing how AI can meet specific industry needs. On the AI Tech Zone Stage,

three project streams: Generative AI in Action, AI Audience Validation Assistant, and Changing the Game: Predictive Generative AI, which set out to pioneer new, real-world use cases of AI within media production. The aims include improving creativity in storytelling, deepening audience engagement, and harnessing real-time predictive analytics to personalize live sports viewing. The projects are being powered by world-leading innovators including Verizon, the RAI, ITV and Vodafone, among many others.

TVBE: How are new technologies like AI bringing new exhibitors and attendees to IBC?

Similarly, IBC has always championed industry evolution as the media technology sector has had to adapt amid changing consumer behaviors, new ways of working, and challenging economic conditions—making Shifting Business Models an essential theme that impacts every conversation at the show. The People and Purpose pillar is just as pivotal, enabling the entire IBC community to play an active role in positive change, including attracting and retaining the next generation of talent and fostering skills development, improving sustainability and promoting diversity, equality and inclusion.

TVBE: This year’s show features an AI Tech Zone. Why did you choose to highlight AI in that way?

MC: AI is everywhere in the industry, and is demonstrating hugely exciting potential

its sponsor, Wasabi Technologies, will lead a session which will look at how advanced AI algorithms automatically tag content libraries with rich metadata for a range of uses. Over at the AI Networking Zone, sponsored by DOT Group, the media and entertainment community can connect and engage around AI issues and meet some of the most innovative players championing AI in media.

TVBE: Tell us more about IBC’s first AI Media Production Lab.

MC: Alongside showcasing new products and pioneering AI thought leaders at IBC2024, we want to play an active role in fuelling its development via our hugely successful Accelerator Media Innovation Programme. The AI Media Production Lab project covers

MC: Leading-edge innovation across areas such as cloud, AI, 5G, XR and immersive tech are expanding both IBC’s exhibitor and visitor bases, as media and entertainment draws on new and emerging technology segments. Over 150 first-time exhibitors will be in attendance at this year’s show. With continued convergence between broadcast and pro AV sectors, we’re also hosting a new AV Speed Pitch Event—in partnership with the AV User Group—to enable technology providers to showcase their latest innovations with non-media audiences across retail, finance and other sectors.

TVBE: The immersive tech space has expanded into two halls this year. How will that be reflected in the Conference program?

MC: Immersive tech is one of six essential topics covered in the content program at IBC2024, with Conference sessions from industry leaders including, “How are games impacting the media ecosystem?” and “What does human-machine collaboration mean for the future of content and creativity?” These sessions will cover the evolution of immersive technologies like AR, VR and metaverse while exploring cutting-edge interactive content experiences of the future.

TVBE: What are the aims of the Conference this year?

MC: The IBC Conference provides an exclusive deep-dive into the most pressing market issues and trends in media, entertainment, and

More than 43,000 attendees visited the 2023 IBC Show at the RAI Amsterdam.

technology—sharing fresh insights, sparking change, and connecting people. This year, we have a hugely exciting line-up of speakers and key thinkers from major organizations, including Sky, Orange, Virgin Media O2, BBC Studios, WPP, BEIN Media, Olympic Channel, Viaplay, Paramount and ITV.

TVBE: What are some notable speakers?

MC: We have over 325 speakers lined up across an expanded content offering so there really will be a session for everybody. The IBC Conference kicks off with Benedict Evans, the internationally renowned media and technology analyst who has worked with Orange, Channel 4 and NBCUniversal, giving a keynote on “Navigating a Changing Media Landscape.” For those interested in sports entertinament in this year of huge sporting events, “Olympics 2024: Technology to broadcast beyond expectations” will look at tech developments that are transforming coverage of the Olympics and raising the bar in live sport production and distribution.

TVBE: Why are the Accelerator Projects that have been running over the past few months so

important to IBC?

MC: Bringing together dynamic media and technology pioneers to address the critical industry challenges of today and tomorrow is at the core of everything IBC stands for. The IBC Accelerator Media Innovation Programme has built huge momentum since its inception in 2019, and we have seen more major media players from around the globe than ever

coming to pitch ideas this year.

One particularly exciting project within such a major global election year is “Design Your Weapons in the Fight Against Disinformation,” championed by the BBC, CBS News, Associated Press, Channel 4 and Al Jazeera amongst other leading media companies. The project aims to help news organisations address the challenges and abuses of disinformation and misrepresentation in media—working to establish real-world solutions and effective interventions to combat fake news and strengthen content authentication processes.

TVBE: What do you hope attendees and exhibitors will take away from IBC2024?

MC: IBC2024 is an opportunity for attendees and exhibitors alike to play an active role in redefining the future of media technology, and experience new innovations coming to life. Business models and consumer trends are evolving at breakneck speed—IBC2024 is the place to be if you want to stay ahead of the curve and seize new opportunities. l

For more information, visit www.ibc.org.

Michael Crimp

eye on tech | product and services

Blackmagic Design Blackmagic URSA Cine Immersive

The new Blackmagic URSA Cine Immersive is being billed as the world’s first commercial camera system designed to capture Apple Immersive Video, a new storytelling format for Apple Vision Pro that leverages 8K, 3D video with a 180-degree field of view, and Spatial Audio. Blackmagic URSA Cine Immersive and a new version of DaVinci Resolve that supports Apple Immersive Video for Apple Vision Pro will be released later this year.

Canon PTZ Firmware Upgrade

Blackmagic URSA Cine Immersive features a fixed, custom lens system pre-installed on the body, which is designed specifically for Apple Immersive Video. The sensor delivers 8160 x 7200 resolution per eye with pixel level synchronization and an incredible 16 stops of dynamic range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file.

z www.blackmagicdesign.com/

AI-Media LEXI Captioning/ Transcription Tool

Mediaproxy has integrated AI-Media Technologies’ recently launched LEXI Recorded self-service captioning and transcription platform into its LogServer compliance monitoring system. Previously Mediaproxy’s LogServer was integrated with AI-Media’s iCap cloud network.

The LEXI Recorded cloud service—the latest addition to AI Media’s suite of tools launched earlier this year—is file based and designed to deliver fast turn-around captions for VOD along with transcriptions and translations of broadcast output. LogServer now works with LEXI Recorded, providing outputs from its logger/recorder that are taken into the AI-Media system for captioning, translation and transcription purposes.

z www.ai-media.tv/

Bitcentral Fusion Gateway

Fusion Gateway, a new bestin-class cloud offering from Bitcentral, bridges the gap between media asset management and artificial intelligence tools, enabling Bitcentral customers to harness new opportunities for content discovery, automation, and increased efficiency and sets the table for more creativity.

As media libraries grow larger, managing them has become more complex, expensive and time-consuming. Fusion Gateway’s cloudbased solution overcomes those hurdles by seamlessly integrating third-party AI tools with Bitcentral’s ecosystem, unlocking new possibilities for customers to improve speed and productivity, allowing them to rapidly create, distribute, and monetize high-quality video.

Key features and benefits include: AI-driven content enrichment; customizable workflows; scalability and flexibility; and seamless integration with Bitcentral’s Core News system.

z https://bitcentral.com/

Canon’s new firmware update for its PTZ cameras offers new features and improvements for the CR-N700, CR-N500, CR-N300, CR-N100, CR-X300 PTZ cameras, RC-IP1000 controller, and the Remote Camera Control Application. Enhancements to the Auto Tracking Add-On Application result in smoother, more natural pan tilt movement, and algorithm improvements to help maintain tracking of the desired subject even when crossing paths with others.

Also available is “Auto Tracking Lite,” a free version of Canon’s Auto Tracking application that provides the same smooth and precise auto tracking experience as the paid version, but without some of the advanced customizations in the full licensed version.

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

Avid Avid Huddle

Avid’s new Avid Huddle is an SaaS solution that gives post-production teams the ability to collaborate and accelerate content review and approvals.

Editors using Media Composer | Ultimate, Media Composer | Enterprise or Avid | Edit On Demand in a hybrid environment can now easily share high-quality media during a live Microsoft Teams meeting with Avid Huddle. Remote reviewers can collectively view, discuss and comment in real time from anywhere as if they were working in the same room. Editors can launch a Teams meeting safely from Avid Huddle without leaving Media Composer. This enables Teams participants to review content with full confidence that it is secure and protected z www.avid.com/

Imagine Communications xG Linear

New features and improvements to xG Linear v2,6—Imagine’s ad management platform for MVPDs in North America— include xG PlacerPlus, which is designed to help the many media organizations that rely on xG Linear to reduce ad placement times by up to 90% and utilize inventory more effectively to boost revenue and profits.

xG Linear is an enterprise-level ad management solution that empowers MPVD operations with proven ad placement tools, copy management, schedule optimization, and real-time visibility. Deployable as an on-prem or cloud-hosted platform, xG Linear easily integrates leading ad tech partners through open APIs and scales seamlessly to 10,000 headends to match the volume and complexity of any growing sales operation.

z https://imaginecommunications.com

Pixotope Software Release v24.1.0

Pixotope’s new 24.1.0 software release includes the full integration of Unreal Engine 5.4, which opens up the ability to design motion and production graphics directly in Pixotope. With this integration Pixotope now offers a full broadcast graphics solution for simplified and streamlined augmented reality (AR), virtual studio, extended reality (XR) and character generator (CG) workflows with Unreal Motion Design.

In addition, this release features an arsenal of innovative updates designed to empower broadcasters with the tools to enhance creativity and reduce complexity in virtual production workflows. The result is that it is easier and more efficient than ever for broadcasters of all sizes to push the boundaries of immersive storytelling to grow and retain their audience to drive new revenue opportunities.

z www.pixotope.com

Vizrt Viz Trio Go

eye on tech | product and services

Viz Trio Go is a new out-of-the-box 3D graphics creation and control tool that combines compact hardware with the Viz Trio graphics control application and Viz Engine,Vizrt’s graphics platform that enables complete graphics production via NDI workflows. Viz Trio Go enables broadcasters to create high-quality visuals easily regardless of budget and technical expertise. The plug-and-play solution accelerates time to air and seamlessly integrates with existing workflows, reducing the need for extensive training or additional personnel.

It comes with free customizable graphics packages modeled on the graphics of top sports and news broadcasters. Templates are easy to modify using the Viz Artist 3D motion graphics design tool. For news, Viz Trio Go comes with a free course created by Viz University that’s accessible the minute the machine is turned on and covers Viz Trio software, Viz Engine and Viz Artist.

z www.vizrt.com

ARRI Hi5 SX Wireless Camera/Lens Control Hand Unit

ARRI’s new single-axis Hi-5 SX wireless camera and lens control hand unit can be upgraded with greater functionality via an optional software license. Joining the company’s three-axis Hi-5 unit, Hi-5 SX shares the same form factor, offering an ergonomic design that makes it comfortable to operate. The weatherproof, hard-wearing Hi-5 SX brings the company’s dependable control of most lenses on any camera and is priced affordably, ARRI said.

The Hi-5 SX’s large display is easy-toread and its intuitive touchscreen interface is based on the camera in use. ARRI offers swappable radio modules, enabling crews to select the right one for any shooting location or to conform to different regional RF regulations. The new control unit is compatible with all existing Hi-5 licenses, such as the Cinefade, RED camera control and Focusbug licenses.

z www.arri.com/en

A New Take on Reflectors: Cine Reflect Lighting Systems

Much like Darwin’s natural selection, the world of lighting occasionally introduces new variations to existing tools and practices. One such evolutionary step has updated the humble reflector.

Using lighting modifiers, like reflectors, is as old as photography itself. Everything from bedsheets to scraps of aluminum foil have been used to redirect light. Reflected light remains an extremely useful tool.

can be fitted onto standard light stands and grip equipment.

In the era of slow film stocks and insensitive video cameras, using reflectors was all about getting an exposure on shadowed faces. On-camera talent probably felt like they were being assaulted, rather than illuminated, by light. But today our imaging tools are more sensitive, and lighting techniques have been refined.

REFLECTED, RATHER THAN DIRECT

As with many advances in the industry, necessity, along with frustration, are often the mothers of invention. This desire for better tools has inspired an innovation in reflective lighting.

Award-winning Austrian Cinematographer Christian Berger AAC, and his gaffer, Jakob Ballinger, wanted a less-confining method of lighting; one that was efficient and permitted more freedom of movement for the actors within a scene. Out of this desire grew a method of lighting that used reflected, rather than the usual direct lighting. This was the genesis for new reflective lighting tools. Gaffer Jakob Ballinger went on to refine the resulting reflectors and bring them to market as the founder and CEO of The Lightbridge. There are now several manufacturers (including Dedolights Lightstream, Godox LiteFlow, and others) that have emulated the kits offered by The Lightbridge. Reflective lighting kits typically consist of an assortment of reflector sizes with varying degrees of diffusion. The reflectors have specialized mounting hardware that

The current reflector sizes range from 7 cm X 7 cm (2.75 inches), best suited for tabletop work, up to 100 cm X 100 cm (39.37 inches), which is roughly the same size as legacy reflectors. Levels of diffusion range from a mirror-like reflection to a “super white” in five graduated steps. Reflectors can be used alone or in combination for the desired effect. Reflective lighting systems provide several real advantages over more conventional direct lighting methods in some situations, but the technique does takes some getting used to.

Anyone around large windows has witnessed the natural flow of light throughout a room. Light bounces off the floor, ceiling, walls and objects in a way that suffuses the space with light well-beyond the area near the window itself. That’s the nature of actual sunlight.

Sunlight and sky light originate from a great distance away, so that the light

that reaches us is relatively unaffected by the inverse-square law. The result is that the exposure remains consistent over a large area. That imparts an even brightness that close-in lights can’t match.

INVERSE-SQUARE LAW

Without delving too deeply into the inverse-square law (which states that the intensity of light is inversely proportional to the square of the distance), brightness changes dramatically when you move towards or away from a nearby light source. Reflectors make the inverse-square law work to our advantage by increasing the throw distance from light to subject, thereby reducing unwanted changes in exposure.

Light rays become more parallel the farther away the light source is. The more parallel the light beams are, the less impact the inverse-square law has on changing the exposure over distances. That makes reflected lighting behave more like natural light, allowing it to spread throughout a space with a more consistent intensity. And in doing so, the production lighting looks and acts more like natural light.

That ability to nudge the inverse-square

Using only reflected lighting from outside a confined area, this demonstration room appears naturally illuminated.

law is a major advantage when working in small spaces, where conventional lights have to be relatively close. Therein lies the advantage provided by these reflectors.

SMALLER FOOTPRINT

The process of lighting with reflectors is more additive than subtractive, compared to direct lighting. In practice, you tap into the beam of light with a reflector to diffuse and redirect the light where desired. The reflected beam of light, even when diffused, holds a relatively tight pattern. That, in turn, reduces the number of flags needed to contain the spill light. The result is that using reflected light results in a smaller footprint of equipment because there’s less spill to “clean up” with flags.

Although any focusing lighting fixtures can be brought into play with these reflectors, parallel beam fixtures are particularly well-suited to the purpose. Among them are The Orbiter Beam by Arri, Dedolight’s Parallel Beam Intensifier, Mole-Richardson’s Molebeam, PANI’s Panibeam and Godox’s BeamLight. All of these have extremely narrow (roughly 5°) beams of light.

Cinema Reflect Lighting Systems (CRLS) reflectors come in various sizes with varying degrees of diffused reflection.

While parallel beam fixtures are often quite large, using them in conjunction with reflectors actually takes up less space than conventional lights. The large lights can be set up out of the way (even outside of the rooms), while their beams are focused on the slim reflectors that actually light the scene.

The reflectors themselves have a small footprint, so they can fit into spaces that wouldn’t accommodate a conventional

lighting technology

fixture. Because light levels remain more consistent throughout a broader area, less time is spent adjusting the lighting to compensate for movement within the set.

Reflected lighting systems provide a useful solution that works in places where direct lighting can come up short. This approach may not lend itself to large TV studio sets or “man on the street” news pops, but for maximum flexibility in locations where you want a low equipment profile, this is a great tool to have in your kit.

In the right hands, using reflectors imparts a quality of light that doesn’t appear so obviously lit by artificial means. It’s almost like a magic trick, enabled by finagling the inverse-square law with a look that appears to arise naturally.

As with any new technique, working with reflectors may feel a bit odd at first— but the natural quality and consistency of usable exposure provided by this style of lighting make it worth exploring. l

Bruce Aleksander invites comments from those interested in lighting at TVLightingguy@hotmail.com

Cloud Maturity in the Organization

Risks in a cloud service for 2023 are identified and summarized in this month’s installment

Many organizations still operate without a defined cloud strategy or even a cloud skills plan to follow. This, among others, poses challenges to the users who wish to take the best advantages of the newest emerging trends of cloud and multi-cloud services.

According to Pluralsight, as many as 70% of organizations struggle to drive “customer value” in the cloud. Of those 70%, more than 50% say they have half or more of their infrastructure in the cloud. And ironically, another 49% say they are “actively moving more of their data” into the cloud.

The question becomes, without the needed resources that are essential to keeping the wheels on the bus going round and round, how long will it be before a potential head on collision with cloud and business can be expected? And what can, should or must we be doing to cut the potential risk down?

This isn’t any longer about “migration” (to the cloud), it’s about the “rapid acceleration of and the adoption of many new services” that depend on and leverage the cloud. But a surprising percentage of these leaders don’t have a strategy, plan or approach on how to achieve these targets.

MOVING FROM TACTICAL TO STRATEGIC

Cloud maturity is a hypothesis that takes the steps of implementing the “mechanics” of cloud and moves it to a more focused, lean and effective methodology of making the cloud work without overtaxing the team or the budget. Using an ad hoc tactical approach may resolve short-term issues, but it doesn’t work for the long term. In some circumstances, leaders have become so focused on the technology of the tactical approach that they forgot to see the forest for the trees. Prioritization was lost, struc-

ture was fragile, and the outcomes were minuscule, if any.

CULTURALISM

Your organization is likely very good at what it does, but sees and hears about the cloud, about AI or ML, and yet can’t see how or why it might be advantageous for the team—likely because no one on the team knows about those terms or how they might fit into their own structure or day-to-day life.

Well, my friends, get ready for a change because those previous three terms (AI, ML and cloud) are well-integrated into this new world and are making huge inroads into the next generation of tactics, strategies and operations right now (not next year or the next quarter, but right now!).

One of the first steps in approaching cloud maturity is to change/shift the culture in the organization. Many (around twothirds) of these organizations put an emphasis on technical training of their teams, ignoring the elements associated around “cloud native” learning company-wide.

Cloud is a culture with its own language,

its own “speak,” its own management, and its own sales approach. Perhaps this is why the whole concept of artificial intelligence is so challenging. The public is asking our government to place limits on things that even they (the rule makers) don’t live, breath or speak about daily. This has got to change, starting on the ground floor.

CLOUD LITERACY

According to findings used in the research of this article, only about 15% of most organizations’ team members understand or know much about cloud terminology. However, more than 40% of the IT team members of those organizations surveyed have a sufficient technical understanding of cloud to aid in supporting a transition to the “new world.” A surprising amount of the IT staff and leadership staff possess a high degree of cloud understanding, with almost 75% of the IT staff being either cloud-certified or are learning cloud. This puts the burden clearly on the educator’s communities and in getting everyone up to speed, just like learning reading, writing and arithmetic. This is priority one!

POLICIES, TACTICS AND ISSUES

Fig. 1: Tactics and issues in cloud implementation as described in the “Policies, Tactics and Issues” section.

Last year (2023) security was described as the “the number one challenge” and the area with “the largest skills gap.” Most searches on cloud needs will start with security being the top issue. The other positions cloud users and administrators should look to include (see Fig. 1):

• Compliance: ISO 27001 is the international gold standard for information security management. It proves the strength of your security posture to prospects and customers in global markets. Achieving ISO 27001 certification can be time-consuming and expensive.

• Performance: Cloud performance tuning is the process of optimizing the speed, efficiency and reliability of cloud-based applications and services. It requires a combination of technical

KARL PAULSEN

EXPERTISE

skills, analytical tools and best practices to identify and resolve bottlenecks, errors and resource wastage.

• Reliability and Availability: Availability in cloud computing is a crucial aspect of reliability, focusing on the accessibility of services to users. It indicates the percentage of time that a cloud service is operational and reachable.

• Data Breaches: Are numerous, avoidable and can be mitigated by following suggested practices in this and other documents related to security and best practices. The largest (top) in the amount of exposed data was the Indian Council of Medical Research (ICMR) in October 2023, where a threat actor using the alias “pwn0001” posted a thread on Breach Forums brokering access to identification and passport details (including names, addresses and phone numbers) of 81.5 million citizens of India.

• Lack of Expertise: Covered in part in this article, the cloud and IT skills shortage is apparently damaging organizational land-

scapes and is expected to impact businesses in critical areas such as not meeting financial targets, increased exposure to security risks and digital transformation delays.

• Security: Four top areas of concern include (1) Unmanaged Attack Surface; (2) Human Error; (3) Misconfiguration; (4) and Data Breach.

• Multiple Cloud Management: A set of tools and procedures that allows a business to monitor and secure applications and workloads across multiple public clouds. Ideally, a multi-cloud management solution allows IT teams to manage multiple clouds from a single interface and supports multiple cloud platforms (such as AWS and Azure) as well as new tools like Kubernetes.

• Portability: Portability and interoperability relate to the ability to build systems from re-usable components that will work together “out of the box.” A particular concern for cloud computing is cloud onboarding—the deployment or migration of systems to a cloud service or set of cloud services.

• Control and Governance: Is a set of rules and policies adopted by companies that run services in the cloud. The goal of cloud governance is to enhance data security, manage risk and enable the smooth operation of cloud systems.

As one can tell, cloud management tools for success are not unlike those found in many IT administration practices. The topics are broad, and the tool sets available from service providers are vast. The best advice this can provide will be to ensure the organization has a structure and an aligned forum inside the leadership to start today on a foundation and a plan to be ready for the “now” in cloud. Seek a consultant or a professional who understands the prospects, needs and has the capabilities to drive forward the cloud maturity needs for the entire organization. l

Karl Paulsen is the retired CTO from One Diversified LLC. He has 50 some years of experience in broadcast media technologies and is a regular contributor to TV Tech in the fields of cloud, media, IP and AI. He can be reached at karl@ivideoserver.tv.

LSU Covers Sports Action With Hitachi Kokusai Cameras

USER REPORT

By Lee Scioneaux Director of Broadcast Operations & Live Events LSU Athletics

BATON ROUGE, La.—As a top public research university, Louisiana State University is also well-known for sports, especially NCAA Division I football. As a member of the NCAA’s Southeastern Conference (SEC), our LSU Tigers consistently rank high among college football teams. We have also won recent national championships in baseball (2023), women’s basketball (2023) and gymnastics (2024).

SEC schools like LSU that want their athletic events carried on ESPN’s digital SEC Network platform must contribute their own live video streams to the network. Since ESPN wants the flexibility to put the games on either their digital or linear platforms, SEC schools must utilize video facilities—such as cameras and video control rooms—that meet ESPN’s strict broadcast quality standards.

THE HITACHI KOKUSAI LEGACY

Since the launch of the ESPN SEC Network in August 2014, we’ve continually upgraded our video facilities, centrally located in the campus administration building, to produce broadcast quality live sports. We recently bought two new Hitachi Kokusai Z-HD6500 multiformat HD cameras, each packaged with a CU-HD650 camera control unit (CCU) for shading. We also plan to acquire a few more Z-HD6500 camera systems this summer as our budget allows.

We now use 19 Hitachi Kokusai camera systems equipped with Canon lenses for our various events and plan to buy more as our budget allows.

Our confidence in the Hitachi brand is buoyed by our 10 years of experience with their older camera systems, including nine SK-HD1300’s and eight SK-HD1200’s that remain in use. We now have 19 Hitachi Kokusai camera systems equipped with Canon lenses. Our Hitachi cameras have given us tremendous peace of mind because they’ve just been incredibly rock-solid, despite Louisiana’s typical heat, humidity and rain.

We also built four control rooms, which are regularly in use, and often have two or more control rooms running in tandem. One produces the SEC network feed, while the others produce video for the venue’s big screen displays.

The control rooms can share the same camera sources, and they’re directly connected via fiber—using MultiDyne fiber network components—to our sports venues across this expansive campus. These include our 102,000-seat Tiger Stadium for football, Alex Box Stadium for baseball, Maravich Assembly

Center for basketball, gymnastics and volleyball events, and Tiger Park for softball

EASY TO MIX

We like that we can easily mix footage shot by our different Hitachi camera models, especially for replays and highlights. Once our shaders set a certain video look, all three camera models can maintain those settings without drift.

The cross-compatibility of our Hitachi cameras with CU-HD650 CCUs gives us the operational flexibility we need to rapidly reconfigure our equipment complement according to our production requirements.

All of our Hitachi cameras produce vivid imagery and the Z-HD6500s especially provide excellent light sensitivity, which is beneficial when moving between different indoor and outdoor lighting conditions. Hitachi’s Global Shutter feature, available in our Z-HD6500 and SK-HD1200 cameras, is also something we often leverage to accurately capture fast-paced sports action.

Considering the speed of a baseball from the pitcher to the catcher or being hit by the bat, the global shutter produces artifact- and flicker-free imagery that holds up well, especially for slo-mos and replays.

I work with my colleague, John Schiebe, director of television operations for the SEC Network, to coordinate production schedules and juggle resources to effectively produce hundreds of LSU sports broadcasts and events annually. The reliability, flexibility and performance of our Hitachi camera configurations help our pretty lean staff save time, maximize resources and handle a bigger workload. l

Lee Scioneaux is director of broadcast operations and live events at LSU Athletics. Reach Lee Scioneaux at scioneaux@lsu.edu and John Schiebe at jschieb@lsu.edu

For more informtion about Hitachi Kokusai products, contact Kenneth Cyr at kenneth.cyr@hitachikokusai.us or visit www.hitachikokusai.com.

equipment guide | cameras & lenses

Filmscape Chicago Livestreams With JVC PTZ Cameras

By Gary Adcock Executive Director Filmscape

CHICAGO—Filmscape is an educational, not-for-profit organization focused on helping residents in the Chicago metro and surrounding areas who want to pursue careers in film and television. With such a broad market in the Midwest, our goal is to grow and benefit the film and television community through engaging conferences that provide knowledge for working behind the scenes in the industry. We specialize in educational content covering all things production and film.

To livestream our Filmscape 2024 sessions in June to viewers at home through our YouTube channel, we utilized three JVC PTZ cameras–one KY-PZ510WU and two KY-PZ400NWUs, which were managed by the RMLP100U camera controller.

LOW PROFILE, HIGH QUALITY

The three PTZ cameras were spread out on opposite parts of the room. The KY-PZ510 was used as the primary camera to zoom in on the individual speaker, while the two KYPZ400 cameras were positioned on opposite sides of the stage for panel discussions. The low profile of the JVC PTZ cameras made it ideal for placing them in environments we might not have been able to with a traditional camera setup.

The compact construction of the cameras allowed us to mount one on a wall, put another on a large stand and suspend the third from the ceiling. This enabled us to bring our livestream

to remote viewers and provide the necessary impact through a sharp, clean image with the best possible technology—which is what Filmscape is all about.

One thing we were fascinated by was JVC’s auto-tracking feature in the 510 Series cameras, which we utilized throughout our presentations. The speaker was able to walk around the stage and speak to attendees without having to worry about whether or not they were in the shot.

We found that the auto-tracking feature simplified the process for the film crew, as they did not have to manually track an individual speaker on stage—the tracking system on the camera efficiently followed the presenter. This provided a more-intimate connection that gave our livestream viewers a more in-person experience.

MORE PRODUCTION SPACE

Having PTZs placed strate-

gically around the room, out of the way of traffic, gave us a much larger space to work from. We no longer had to lose those seating positions for the cameras; we were actually able to add seats in this environment.

Our staff was also impressed with the fact that JVC cameras made it possible for the operator to connect to a computer and livestream directly to our YouTube channel. The information was also preserved for on demand viewing. The simplicity of the built-in technologies of the JVC cameras, such as the ability to connect over Ethernet and control them in multiple ways, is amazing to me. These features allowed the camera operators to perform at a higher level, and that’s important. Creating a seamless livestream can become very complicated when you have more than 1,000 people around you while at the same time trying to run sim-

ple, efficient camera workflows with non-traditional camera placements. We are proud and honored to have the JVC PTZs to capture this event, and to join us in building our community (not only locally in Chicago, but across the Midwest); bringing film and television education right into homes. l

Gary Adcock is the executive director of Filmscape. His capabilities and knowledge keep him in demand as an industry consultant and reaffirm his passion and dedication to educating a new generation of artists, technicians, and filmmakers for trade associations like NAB and PERG. He has also participated in the semi-annual TV Tech Summit. He can be reached at gary@filmscapechicago.com

More information is available at www.jvc.com/in/pro/professional-camcorders/ptz-cameras

Placing the JVC PTZs strategically around the room gave us a much larger space to work from

equipment guide | cameras & lenses

Canon EOS C400 Creates ‘Scary Good’ Images for Filmmaker

By Christine Ng Cinematographer

NEW YORK—As a cinematogra pher, visual storytelling, leading a team, staying on schedule, ex ecuting, and elevating my Direc tor’s vision are some of the many things I do everyday. My problem solving skills are always working in the background. I love finding ways to maximize my resources, which was especially relevant in the production of “Scary Good,” which I shot on the new Canon EOS C400 camera, in collabo ration with Canon.  Problem solving is present in all my work.

“Scary Good” is a mystery/ thriller “whodunit” short film that can be seen on YouTube. I had a unique perspective on the overall workflow, since I work in both narrative and documentary background and this time around I got to shoot, direct and help conceive the concept from the beginning.

fortunate to have access to the EOS C400 camera and Canon senior technical specialist and sales engineer Paul Hawxhurt’s expertise. He helped me shoot some tests during our tech scout to see which ISO would give us the best latitude in that space.

6K RAW FILES

As the camera stalks and chases a box office attendant, veteran actress, maintenance worker and backstage tech, through the historic United Palace Theatre in New York City, this two-minute film fills audiences with a level of anxiety. Culminating in ultimate relief as the group bursts out of a top floor balcony into the sunlight, it illustrates just how much storytelling relies on sound and visual cues.

THE `SCARY GOOD’ PUZZLE

The first part of the “Scary Good” puzzle was understanding how far we could push the camera. There are many features included in the EOS C400 camera that I didn’t know could exist at its price point;

and it’s also very light and small for the power that it holds.

The crew is always a huge part of the success of every project.

My gimbal operator, Nadine Martinez; my ACs, Thom Cameron, Cheryn Park, Lisa Chin; my DIT, George Robert Morse; my lighting designer Alexa Mignon; my key grip, Vinny Davino; and my costume designer, Pamela Shepherd, are all people I’ve worked with before. I’ve developed so much trust and a shorthand with this team. Pam and I met while working on Ziwe (Showtime) and I was always impressed with how she elevated the characters.

My camera and lighting team helped me execute every frame and every camera move. The lighting Alexa helped me create on screen really pushed the element of suspense. Lighting cues motivated sound design and

gave the actors something to respond to. Like every production, we had limited time and limited resources. The triple base ISO really allowed us to maximize the dynamic range in the camera given the existing lighting parameters at the theater.

I wanted the theater to look as elegant as it appears in person by being strategic with my exposure and adding lighting to accentuate what was already there. I was really

Ultimately, we decided setting the base ISO to 3200 and rating the ISO at 1600 was the best way to create more details in the shadows without causing additional noise. The ways we utilized lighting and camera movements to introduce our characters made the audience feel a bit unsettled. This played into building the dramatic tension throughout, creating almost an extraterrestrial presence, which was amplified by the frenetic energy of the edit, led by our editor, Emily Spiegelman-Noel. The EOS C400 camera’s ability to record proxies in real-time while recording in-camera 6K RAW files was really helpful for the tight turn-around in post. Our editor, Emily, was able to walk away with a hard drive of proxies to get started on the edit right away. The LUT we chose was the Canon CMT 709. We used this for our on-set monitors and this was the starting point for my DIT, George Robert, and I to create a few CDL’s for our colorist. While we were in the color grade, we made minor adjustments to help accentuate the look and feel of our film. l

Christine Ng is a Hong Kongborn, New York City based cinematographer. She can be reached at ms.christineng@gmail.com and at www.christineng.com.

More information is available at www.usa.canon.com.

With the Canon EOS C400 camera we were able to use many features that we didn’t know could exist at its price point.

equipment guide | cameras & lenses

buyers briefs

Sony HXC-FZ90 Studio Camera

Sony’s new HXCFZ90 Studio Camera System combines 4K image quality with seamless integration and streamlined live workflows. Ready for today’s live productions, the HXC-FZ90 supports HD HDR out-of-thebox and has an easy path to accommodate those looking towards a 4K (HDR) future, when needed. For ultimate flexibility, 4K capability on the HXC-FZ90 is available as weekly, monthly or permanent licenses.

The HXC-FZ90’s 4K, ⅔-inch CMOS imager and wide color gamut helps create immersive experiences; newly developed video processing techniques and high sensitivity/low noise specifications enable the HXC-FZ90 to capture high-quality images even in low light conditions. The HXC-FZ90 also inherits multiple focus assist features passed down from Sony’s HDC-series cameras, which help camera operators easily capture clear, crisp images.

https://pro.sony/ue_US

Panasonic AK-PLV100GJ 4K PLMount Studio Camera

Panasonic’s new AK-PLV100GSJ is a PL-mount 4K studio camera with a 5.7K Super 35 mm image sensor, cinema color science and the capability to be powerfully expressive thanks to its shallow depth of field and cine color science.

The AK-PLV100GSJ provides the visual beauty of a cinema camera without sacrificing live studio-camera operability.

It is fully compatible with Panasonic’ s AKUCU700/HCU250 Camera Control Unit (CCU), the AK-HRP1010/HRP250 Remote Operation Panels and AK-HVF75/AK-HVF100 studio viewfinders—users can simply replace the camera head of an existing system with the AKPLV100GSJ.

https://na.panasonic.com/us

Fujifilm FUJINON Duvo HZK251000mm F2.8-5.0 CineBox PL Lens

The FUJINON Duvo HZK251000mm F2.8-5.0 CineBox PL Lens (Duvo 25-1000) is a native PL-mount box lens that combines broadcast functionality with beautiful bokeh, delivering a cinematic look to live, as well as scripted, productions. The Duvo 25-1000 utilizes innovative optical design technology to achieve a maximum aperture of F2.8 and 40x zoom ratio. This ultra-high zoom ratio lens is compatible with the large sensors of digital cinema cameras yet provides a brightness of F2.8 at the wide angle. Not only does it enable filming in lowlight environments such as indoor concerts or night-time events, but the shallow depth of field creates the bokeh that delivers the highly sought-after cinematic look.

www.fujifilm.com/us

equipment guide | cameras &

CDC Broadcast & Multimedia Upgrades to Ikegami Cameras

USER REPORT

By Chad Heupel Broadcast Branch Chief Centers for Disease Control and Prevention

ATLANTA—The Centers for Disease Control & Prevention (CDC) is the nation’s leading science-based, data-driven, service organization that protects the public’s health. It has put science into action for more than 70 years, helping children stay healthy as well as helping families, businesses and communities fight disease and stay strong.

CDC works 24/7 to protect America from health, safety and security threats, both foreign and domestic. To accomplish its mission, CDC conducts critical science and provides health information that protects the nation against expensive and dangerous health threats and responds when these arise.

We recently upgraded the technical facilities at our Broadcast & Multimedia division to Ikegami UHK-X700 cameras as part of CDC’s ongoing efforts to refine and modernize its structures, systems and processes. We needed a camera system that could easily go from studio pedestal to tripod to over-the-shoulder operations, because the CDC does such a wide variety of programs where such flexibility is required.

4K HDR READY

We selected Ikegami cameras for their high video quality, operational versatility and robust build. These models fully support our current high-definition mode of production and enable us to advance to 4K UHD/HDR.

Developed for studio, stage,

outside broadcast and fully mobile applications, the Ikegami UHK-X700 incorporates a 3-CMOS optical system using a 2/3-inch sensor with a 62 dB signal to noise ratio and a sensitivity of F10 at 2160/59.94p in 4K. The CMOS sensors incorporate a global shutter pixel architecture, enabling the camera to capture natural images even under challenging situations. Still-frame replay of fast-moving objects is free from geometric distortion. The camera remains free of flash bands when shooting under strobe lights or flashes from still cameras.

Integral to the UHK-X700

is a video processor providing full support for 4K. Supported video formats and frame rates include 3840 x 2160p, 1920 x 1080p, 1920 x 1080i and 1280 x 720p, for both 59.94 and 50 Hz.

A color matrix function allows precise color adjustment within the UHK-X700 with 16 axes of the color gamut that can be fine-tuned in both hue and saturation. This function works in real time and is extremely beneficial for live multicamera applications. The UHK-X700 supports the BT.2020 color space specification in 4K mode and the BT. 709 color space in both 4K and HD modes. Gamma setting is selectable and can be customized to create a specific tone.

FLEXIBLE & USER-FRIENDLY

Those capabilities are important for our operations. The CDC studio performs a wide variety of video productions over the course of a standard week, from standard multi-camera studio shoots, to single camera interviews to large audience

All-Hands meetings. So we need a camera system that is easily adapted from a fixed studio camera to a shoulder-held configuration that allows for quick audience interaction shots. The Ikegami camera system adapts very quickly, and can easily be moved from studio to studio to support our productions. No matter what the situation we use these cameras in, they reliably produce very rich, natural colors that are true to life.

The Ikegami operator control panels provide very quick access for the most used features, with a very logical layout. When training new staff this layout and user-friendly menu structure allow for operators to come up to speed very quickly on the functions of the panel, as well as the advanced features that really show the power of the camera system.

Finally, the ability to output 4k video directly from the camera head is very useful in those single-camera interview situations, when a Shogun recorder can not only serve as another viewfinder, but also a backup recorder for those critical interviews that can’t be reshot. l

Chad Heupel is a broadcast television engineer specializing in facility design, installation and operation. He directed six major facility rebuilding projects for the federal government, building broadcast studios and control rooms, and upgrading analog facilities digital, HD and UHD. He has also served as a freelance technical director on network broadcasts for Fox, CNBC, NBC, BET and EWTN. He can be reached at CHeupel@cdc.gov

For more information, visit www.ikegami.com.

We deployed Ikegami cameras to fully support our current HD production and enable us to advance into 4K UHD HDR.

V1 Productions ‘Chopper Cops’ Shot With Marshall Cameras

USER REPORT

By W. Hulsey Smith Founder, President & Executive Producer V1 Productions

FORT WORTH, Texas “Chopper Cops,” an all-new docuseries produced by SEE IT NOW Studios and V1 Productions, recently debuted on CBS/Paramount+. The 10-episode series offers an unprecedented look at the Marion County Sheriff’s Department’s state-of-the-art helicopters, operated by elite police pilots known as “Air One.” Throughout each half-hour episode, the series showcases these “chopper cops” as they utilize high-tech infrared cameras and augmented-reality mapping to support ground units in locating and apprehending suspects, providing a critical “eye in the sky.”

V1 Productions, a Texas-based, full-service production house that offers television and film production, live broadcast and post-production services, has built a reputation for delivering compelling, humanistic stories through its unscripted and live productions as well as breathtaking cinematography.

relied on a selection of POV cameras from Marshall Electronics, including eight CV506 Miniature Full-HD Cameras, two CV568 Miniature HD Cameras with Global Shutter with Genlock and two CV504-WP All-Weather Micro Cameras.

The cutting-edge technology of these cameras allowed us to provide an immersive and authentic viewing experience without interfering with police work in the air or on the ground. The camera’s compact size and robust capabilities are essential for

ing ground resources.

The Marshall cameras were also used to capture some footage from the dashboard of the Sheriff helicopter looking back at the Pilot and TFO. The CV506 can capture detailed shots while maintaining an ultra-discreet miniature POV perspective without sacrificing versatility or convenience.

MINIATURE POV

In addition to being used in a similar capacity to the CV506, Marshall’s CV568 miniature

the deputy squad cars. Footage captured from the exterior squad cars depict the cars in motion and highlights the sheriff decals. Footage captured from the exterior sheriff helicopters includes POV from the skids that show the helicopters flying over the city, and shots of the infrared camera on the belly of the helicopter.

The CV504-WP delivers exceptional 10-bit 4:2:2 video performance from a durable aluminum alloy body through weatherproof breakout cable and flexible, interchangeable lenses. The new Sony sensors offer rich color, accurate video with improved low-light sensitivity and refined remote adjust-andmatch capability.

capturing the intense and often unpredictable nature of police aviation operations.

UNIQUE CAMERAS, UNIQUE ANGLES

For “Chopper Cops,” the production needed to capture content from various sources, including helicopters and the deputy police cars. To achieve these unique angles in extremely space-conscious locations, we

Marshall’s CV506 camera was used in the interior of deputies’ cars and helicopters, including scenes captured from the dashboard of the squad cars, as well as the footage that was filmed over the shoulder of the pilot and Tactical Flight Officer (TFO). For these aerial police applications, the pilot is responsible for the safe operation of the helicopter, and the TFO is responsible for law enforcement and coordinat-

global camera with genlock delivered synchronized, HD footage critical for capturing coordinated movements and actions within the vehicles and aircraft. The CV568 is built around an impressive 1/1.8-inch Sony global sensor with 25% larger pixels and interchangeable M12 lens mount, making this the most capable POV camera in the miniature camera lineup.

In addition to the exterior of the sheriff helicopters, the Marshall CV504-WP camera was used to film from the exterior of

This series would not have been possible without Marshall. They were able to have several cameras on board without interfering with the actual mission of the aircraft and real police work being done. We have used Marshall cameras across a number of productions, and we will continue to use them to capture unique perspectives as we push the envelope in documentary filmmaking by combining compelling storytelling with innovative technology to bring audiences closer to the action than ever before. l

W. Hulsey Smith is the founder, president & executive producer, V1 Productions. More information about the company is available at https://v1.live/ He can be reached at Hulsey@v1.live.

More information is available at https://marshall-usa.com.

For the “Chopper Cops” Paramount+ streaming series we used a dozen different cameras from Marshall to capture unique angles and footage in tight spaces.

Blackmagic Design URSA Cine 12K

The Blackmagic URSA Cine digital film camera is billed as the first digital film camera with fast high capability storage built in, plus high speed networking for on set media sync. Its new large format RGBW 36 x 24mm image sensor, which offers all resolutions from 4K-12K, provides 16 stops of dynamic range.

Users can swap between PL, LPL, EF and Hasselblad lens mounts; WiFi with SRT streaming is available for remote client viewing; plus the industry standard Lemo and Fischer connections make it ideal for high end cinema production.

www.blackmagicdesign.com

DJI Ronin 4D-8K camera

The Ronin 4D-8K camera, is an all-in-one 8K cinema camera that integrates DJI’s revolutionary 4-axis stabilization and delivers a new pinnacle for imaging excellence. With full frame 8K/60fps & 4K/120fps capabilities and groundbreaking DJI Cinema Color Science (DCCS), this camera ensures exceptional image quality.

Natural skin tones can be captured accurately and in an aesthetically pleasing way even in complex lighting conditions. It also includes builtin 9-stop physical ND filters for precise exposure control, DL/E/L/PL/M interchangeable lens mounts for creative freedom, autofocus on manual lenses, and Automated Manual Focus (AMF) with the innovative LiDAR focusing system. www.dji.com

RED Digital Cinema V-RAPTOR [X] and V-RAPTOR [X] XL

RED Digital Cinema’s V-RAPTOR [X] 8K VV and V-RAPTOR XL [X] 8K VV feature the acclaimed low-light performance, dynamic range, resolutions, high frame rates and form factor of its V-RAPTOR predecessor. The V-RAPTOR [X] introduces RED Global Vision, which includes an all new 8K VV global shutter sensor, enabling innovative features including Extended Highlights and Phantom Track.

ARRI ALEXA 35 Live - Multicam System

The ALEXA 35 LiveMulticam System is designed to bring the cinematic image quality of its flagship ALEXA 35 camera to live productions. It combines the new ALEXA 35 Live camera, the new Live Production System LPS-1 (comprising a Fiber Camera Adapter and Fiber Base Station), the Skaarhoj RCP, and a slew of bespoke accessories.

These include the new ARRI Touchdown base and receiver plates, an adjustable monitor yoke, an extra-long camera handle, a tally light with camera ID display, rain cover, and a new, quick-fit ARRI Large Lens Adapter for unprecedentedly rapid setup with box lenses.  www.arri.com.

The V-RAPTOR [X] and V-RAPTOR XL [X] systems also offer increased exposure times, a further optimized optical cavity and improved audio performance. With the Extended Highlights mode, the camera can see color and detail into extreme highlights like never before, providing an overall dynamic range of over 20 stops. www.RED.com

products & services marketplace

people on the move

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

DONNIE GILLIAM

Vislink

Vislink has appointed Donnie Gilliam vice president of operation with responsibility for driving customer satisfaction, cost reduction and working capital improvements. He joins Vislink with experience in operations and service at high-growth companies, leading operations at HM Electronics as well as serving as senior director of supply chain and materials at Clear-Com. More recently he was vice president of global operations at Spectralink.

TOM FOCHETTA

Dish Network

EchoStar’s Dish Network has appointed Tom Fochetta senior vice president of Dish Media, the advertising and sales division of Dish, where he will be responsible for leading the media sales organization and strategy. He brings more than 20 years of experience in the advertising and media industry. Previously he was senior vice president of North American sales and operations for Samsung Ads, and held advanced ad sales positions at Amazon and Google.

JOHN EARNEST Wohler Technologies

Wohler Technologies has appointed John Earnest vice president of global sales and marketing. He joins the company’s executive management team after spending nearly 30 years collaborating with some of the world’s largest broadcasters, MSOs, DTH providers and telecom companies. His industry experience includes global sales and marketing positions focused on the IP networking, outside plant/GIS and broadcast and media sectors.

JARED GRUSD

Gracenote

Nielsen has named Jared Grusd CEO of Gracenote. Most recently, he served as the co-founder of Ethiqly AI, a venture-backed educational technology company that leverages AI to elevate human expression and empowerment. He previously served as chief strategy officer at Snapchat, Chime and AOL, as well as chief legal officer at Spotify and CEO at HuffPost. In addition, Grusd also held senior executive roles at Google, among others.

JAMIE DUNN

Lawo

Lawo has announced that Jamie Dunn is taking on additional responsibility as “Vorstand” (member of the executive board) and deputy CEO, sharing in legal responsibility for the company. He joined Lawo in 2011. Since 2019, he held the position of chief commercial officer. The promotion means he assumes legal responsibility alongside CEO Philipp Lawo and Claus Gärtner, who joined the company as chief financial officer (CFO) and Vorstand last Novem-

BRAD SMITH

Cox Media Group

Cox Media Group (CMG) has promoted Brad Smith to chief financial officer. He joined CMG in 2020 as the senior vice president of finance & FP&A and has been the interim co-CFO for the last six months. He spent the last 20 years of his career in the media space at the crossroads of finance, strategy and operations, co-founding Videa, a media technology start-up. His experience also includes stints at Four Points Media Group and NBC Universal.

LLOYD BUCHER

Nexstar Media Group Inc.

Nexstar has promoted Lloyd Bucher to vice president and general manager of its broadcast and digital operations in Philadelphia, Pa., managing WPHL-TV (CW), phl17.com and their mobile and social media channels. He brings nearly 30 years of experience in broadcast management, marketing and sales to the position, having served as the VP and GM of the company’s broadcast and digital operations in Charlotte, N.C., and of WPTV-TV in West Palm Beach, Fla.

DON DURAND

Imagine Communications

Imagine Communications has appointed Don Durand senior vice president of global sales for its ad tech business. He will lead the worldwide sales strategy and customer engagement initiatives for Imagine’s ad tech portfolio. Durand brings more than 20 years of experience in domestic and international media software and expertise in both global sales leadership and product management. Previously, he held positions at Pilat Media (now Operative) and WideOrbit.