A new DAVID IV 719N FM/HD Radio Broadcast Processor with Network Interface has been added to the lineup of tech products available from Inovonics.
The company says it provides eased internet access for set-up, control, and increased networking capabilities to the DAVID IV 719 processor.
There is no price increase for the new 719N processor model.
“Adding the Network Interface to our popular 719 processor really gives it two very important features,” Inovonics President/CEO Ben Barber says. “One, the Web GUI can be controlled from any web enabled device; and two, adding SNMP makes remote management and control a breeze.”
The 719 DAVID IV processor was originally launched in 2011.
The New DAVID IV 719N model adds an intuitive, menu-driven Web interface for remote set-up, monitoring, and control.
UPGRADE PROGRAM: Inovonics will provide Free upgrades to 719 users that purchased their processors from January 1, 2020 to May 2021 (transport not included). For those with 719 processors purchased before 2020, there will be a $500 upgrade fee + transport to convert their 719 units to the new 719N model.
For more information about price and availability, please contact Inovonics Sales Department a 831-458-0552 | Email: email@example.com
BOCA RATON, FLA. — Xytech, the facility management software maker serving broadcast media, has appointed Rob Evans as Product Manager for Broadcast and Transmission Products and Linda Staudenmaier to the role of Director of Professional Services for ScheduALL users.
The appointments follow the closing of Xytech’s acquisition of ScheduALL from Net Insight.
A veteran of ScheduALL, Evans has more than 25 years of experience in broadcast media. He transitions from ScheduALL, where Evans served as a Senior Product Architect, researching complex client environments, and designing contribution and distribution scheduling solutions for video transmission.
“I’m excited to put my industry knowledge at the service of the Xytech community and look forward to show ScheduALL customers our upgrade path,” Evans said. “The industry we serve continues to change rapidly and we have to be nimble and innovative to stay relevant.”
Staudenmaier joins Xytech from production platform The Switch, where she served as Vice President of Enterprise Applications, Software Development and IT. Before that, she spent more than 10 years as the Senior Implementation and Professional Services Manager at ScheduALL.
“I’m thrilled to join the Xytech team during such an exciting time of growth,” Staudenmaier said. “As the leader in its space, Xytech sets the pace when it comes to resource management for media and broadcasters. My extensive background in software and experience working with top-tier broadcasters will be put to good use. I look forward to continuing assisting users through their ScheduALL journey.”
Staudenmaier will be based at the Plantation, Fla. office, and report to Xytech’s Stefan Nied, ScheduALL’ s Managing Director.
In the British live TV show “Dancing on Ice”, a figure skater is skating among the dancers with a Sony HDC-P50 camera and Canon HJ14 lens. This broadcast camera is stabilized and remote-controlled through a NEWTON system and the results are unique in the broadcast world.
DANCING ON ICE
Dancing on Ice is a British television series that features celebrities figure skating with professional skating partners in front of a panel of judges. Each season has 10 shows that airs live on ITV from January to March and each show has around 6 million TV viewers. The series started in 2006 but was cancelled in 2014 and then revived in 2018 with a new TV studio at RAF Bovingdon. With the revival, the production hired Alan Wells Camera Services, which supplies a rail cam along the skating rink and since the 2019 season has helped introduce a new camera angle to the show, the Ice Cam.
THE ICE CAM
The Ice Cam consists of the figure skater Jordan Cowan, wearing a Ready Rig that holds a NEWTON stabilized remote head. The head features a Sony HDC-P50 broadcast camera and a Canon HJ14 lens that is remote controlled by cameraman Dominic Jackson, through the renowned NEWTON control panel at a normal operator’s desk.
JORDAN – THE SKATING CAMERA DOLLY
Jordan Cowan is an American figure skater who used to compete in the national team, and since a few years, he is bringing cameras onto the ice to film figure skaters under the name “On Ice Perspectives”. In mid-2018, Cowan heard through a friend that the producers of the reality show “Dancing on Ice” in London, UK were looking for a cameraman who could skate. Jordan explains: “I contacted the producer and showed them some of my recent video productions. They liked it and hired me for the 2019 season, making me the first ever skating camera operator for a live televised skating show.“
DEVELOPING THE ICE CAM
Cameraman Domenic Jackson had operated a Steadicam on “Dancing on Ice” for several seasons and he used to walk out on the ice, with spike shoes, to shoot links in and out of dance numbers. In October 2018, ITV asked Alan Wells to put together a rig that could move faster on the ice and replace the Steadicam. Alan Wells first thought of a push trolley featuring a remote stabilized camera head but soon abandoned it for a handheld solution. The outside broadcast company Telegenic supplies the cameras and lenses for “Dancing on Ice” and with their input, the team at Alan Wells customized a Ready Rig so it could control a Sony HDC-P1 camera and Canon HJ14 lens. This was achieved by adding carbon fiber brackets on the Ready Rig so it could hold a NEWTON stabilized remote head, which is rarely used handheld, but that Alan Wells use for broadcast on cable cams and rail systems. Unlike typical handheld gimbals, NEWTON has a control panel that features a standard broadcast setup for camera angle and lens, which is much more suitable for professional TV cameramen.
During the development of the camera rig, the team at Alan Wells had conference calls with Jordan and when he arrived from USA, they could do the final customizing to Jordan’s body and arrange the balance of the gear to allow full movement. They also met up with the “Dancing on Ice” production at the Bovingdon studio, to do tests with camera supervisor Lincoln Abraham and director Nikki Parsons. The final wireless camera rig, the Ice Cam, weighed 15 kg and included an RF system for data communication, a Boxx Link for video, batteries and a monitor so Jordan could see the picture.
Jordan comments the weight:
“The rig could be lighter, but NEWTON was the only gimbal that could keep a steady horizon through all the twists and turns at high speeds on the ice, while carrying the standard 4.3-60 mm zoom lens. NEWTON also requires less clearance for the 3-axis motors which, while requiring counterweights, meant I could let the rig hang close to my body and thus keep it close to my center of balance.”
AT THE TV PRODUCTION
Dancing on Ice is rehearsed on Saturdays as they do a full camera run-through of all music numbers and this amounts to three rehearsals per dancing couple. Then on Sundays all the links are rehearsed with the presenters and there is a full dress run before the live show at 6 PM.
Since Dominic had been a camera operator on the show for several seasons, he knew the format well but controlling a skating camera was new. He soon realized that he needed line of sight to Jordan so he arranged his control desk so he always could see where the camera was in relation to the dancers. Apart from hearing production talkback, Dominic and Jordan have a radio system that allows them to talk to each other.
Jordan is an experienced skater, so he knows how skaters behave and to read their movement during the show. However, he had only filmed skaters with a DSLR gimbal before and never on a TV set, so he had a steep learning curve about live TV production; Technical sides and terms, to count bars and beats whilst listening to the director, the PA and Dominic, being aware of other cameras, what shots are before and after to keep out of the other cameras. Jordan elaborates: “Dominic has been an essential part of the show for me and his experience working with Nikki was invaluable. We work closely together on headset the entire weekend through rehearsals and the show. Dominic taught me everything I needed to know to work in a live multi-camera broadcast situation and taught me how to translate Nikki’s shot cards. He’s been a great mentor as well and I’m lucky to have learned so much from someone so experienced in live broadcast television.”
THE POSITIVE RECEPTION
The new perspective of the Ice Cam was well received by the UK TV viewers and after the first season in 2019, Dominic Jackson and Jordan Cowan were nominated for the GTC Awards for Excellence. The Guild of Television Camera Professionals stated the following reason for their nomination:
“A whole series of brilliant teamwork bringing some spectacular shots that fitted in seamlessly with the live performances and the rest of the camera coverage. The addition of the Ice Cam to the show helped audiences get closer to the action and feel as though they were on the ice with the skaters. I don’t believe anything like this has been done on an ice-rink on a live broadcast before and the skill and synchronization required of Dom and Jordan deserves an award.”
Jordan continues: “The Ice Cam revolutionized Dancing on Ice and gave audiences a new way to appreciate the real speed skaters experience on the ice. The 360 degree shots also let us see the back of the studio and audience for the first time, something the show’s set designer really appreciated because he always puts work into making a full 360 degree experience. In December 2020, another British show, The Real Full Monty on Ice, also brought in the Ice Cam with me skating and Alan Wells in person behind the NEWTON controller.“
MORE REMOTE CAMERAS ON THE SHOW
Apart from the Ice Cam, Alan Wells Camera Services also supplies another NEWTON stabilized remote head moving on a Ross Furio dolly on a completely bespoke track designed to follow the oval shape of the ice rink. The NEWTON stabilization helps transition between different radius curved track and the remote head controls another Sony HDC-P50 with Canon HJ14 lens which unlike the Ice Cam is cabled to the production. The company also supplies a hothead above the ice rink which offers shots of the skaters and the light projections on the ice.
After the 2021 season of Dancing on Ice, Jordan Cowan will continue to develop his “On Ice Perspectives”. He explains: “I want to keep pushing myself into the professional TV and movie world, because I believe that seeing skating in television, movies and on live TV shows is going to be so important for the future of this sport.
The agenda for the new virtually delivered ANGA COM is now available.
Dubbed ANGA COM DIGITAL, the online convention will take place June 8-10 on an AI-powered digital event platform that offers online-optimized showrooms and networking options.
More than 60 international companies from the broadband and media industry are involved as digital partners and will present themselves to congress participants in interactive digital showrooms.
Registration is free of charge for congress participants and is now open at www.angacom.de.
Highlights of the strategy program are five summit events with German media industry companies.
“Media Summit – How to win the Streaming Battle?” and the “International Content Summit – Strategies to win the OTT Competition” are among the sessions on the lineup.
The key topics for the technology panels and digital showrooms include Fiber Optics, DOCSIS for 10G, FTTH, WiFi, 5G, Fixed Mobile Convergence, Trenching, Cloud Services, IPTV, OTT, App TV, Video Streaming and Measurement. From the U.S., the industry association SCTE is a partner.
ANGA COM is Europe’s Exhibition and Conference for Broadband, Television & Online. Most recently, ANGA COM counted more than 500 exhibitors from 35 countries and 20,000 participants from 83 countries. Amongst the participants were 540 network and platform operators serving more than 200 million households all over Europe, as well as 370 media companies. Some 44 percent of the participants belonged to the senior level.
— RBR+TVBR European News Desk, Kaiserslautern DE
Quicklink is now a part of the SRT Alliance, the open-source initiative dedicated to overcoming the challenges of low-latency video streaming.
The SRT open-source video transport protocol has initially been adopted in Quicklink’s STS410, a hybrid switcher.
The SRT Alliance, founded by Haivision in April 2017, already has more than 450 members. Its mission is to overcome the challenges of low-latency live streaming by supporting the collaborative development of SRT (Secure Reliable Transport), the open source streaming project.
“Quicklink are extremely excited and proud to join the SRT Alliance and adopt SRT as a protocol within our solutions,” said Richard Rees, CEO of Quicklink. “We are seeing SRT gaining huge momentum as a video transport protocol within the industry. As a result of this growth, we have received a huge number of requests from customers to integrate SRT within the Quicklink solutions.”
Quicklink also plans to roll-out SRT adoption across the entire range of Quicklink’s award-winning video and audio contribution solutions.
“We’re pleased to see the SRT protocol being actively implemented by some of the world’s biggest broadcast and enterprise streaming workflows as its adoption and industry-wide recognition continues to grow, becoming the defacto standard for low latency internet streaming.” said Jesús (Suso) Carrillo, Director of SRT Alliance at Haivision.
It’s an upsized debt offering from a company pivoting from direct broadcast satellite-delivered cable TV services to a major 5G wireless internet connectivity conveyor.
DISH Network on Monday priced an offering of an aggregate principal amount of its Senior Notes due 2029. It is higher than what DISH thought it would be when it announced the offering.
Uniontown, Pa., station WMBS, has made local content a priority since its founding in 1937. It goes so far as to cover local high school sports.
To polish that offering the station purchased a JVC Professional GY-HC500SPC Connected Cam. The sports content-focused digital video camera can produce 4K video along with offering unusual features supporting sports score services and overlays along with native streaming capability. The camera feed is routed to the station’s website and Facebook page. Some local businesses have also picked up the stream and the station has posted final cuts of games on YouTube.
WMBS General Manager Brian Mroziak said, “Some people watch on the web or Facebook, while others are listening on the radio, so the announcers have to be as descriptive as possible. However, since there’s now a visual side to the broadcast, we want to appeal to the people who are watching the picture itself.”
He added, “A big part of that is being able to display the game score, like one might find in a professional sports broadcast. The fact that JVC has a partnership with ScoreHub makes it possible for us to connect directly to the live scoreboard and instantly showcase the information in our broadcast.”
“The JVC camera is so much easier than any other type of camera because the team can use the camera itself to go direct to Facebook; you don’t have to worry about bringing laptops or any graphics software.” Camera set-up is easy for a radio staff that isn’t video savvy.
WMBS is owned by Fayette Broadcasting Corp.
Send news for Who’s Buying What to firstname.lastname@example.org.
The Media Rating Council (MRC) has released a statement indicating that, in its opinion, the Total Usage of Television (TUT) by Persons 18-49 was understated by approximately 2 to 6 percent for the February 2021 measurement period by Nielsen.
The finding, MRC says, is based on Nielsen’s analyses of the potential impacts of the changes to its panel procedures.
In addition, MRC believes that Persons Using Television (PUT) estimates among the Persons 18-49 group was understated by a range of 1 to 5 percent in February 2021.
The MRC statement’s late Monday release (5/10) came after its Television Committee met with Nielsen management to review the results of a series of analyses Nielsen conducted in response to requests from MRC and its members.
The analyses were designed to determine the impact (if any) to national television viewing estimates that may have resulted from certain changes made to Nielsen panel-related procedures because of COVID-related matters.
These changes included adjustments to Nielsen’s standard meter maintenance procedures, a curtailment of the recruitment of new panel homes, and extending the time limits at which panelists are forced to turnover from participation in the panels.
Nielsen’s analyses indicated that 93% of simulated Persons 18-49 C3 program ratings
estimates for February were within +/- .02 points of the estimates originally reported.
While certain programs showed no change in their rating, and some even had lower ratings in the simulated results, MRC believes these may have been partly a function of the analytical approach used, where homes were removed for the purpose of the simulation, resulting in greater variability, as well as the fact that the analyses were conducted prior to the completion of maintenance procedures for all suspect panel homes.
In short, MRC believes changes to program estimates are “largely one-directional,” and that there was some degree of understatement overall in the C3 Persons 18-49 estimates that were originally reported by Nielsen in the February 2021 period.
While the MRC MRC also notes, “and users of the data should keep in mind,” that this range of impact, as well as the originally reported ratings themselves, are estimates with standard errors associated with them, “we believe the directional impact noted above is appropriate to consider in assessing the estimates originally reported by Nielsen.”
It is difficult to estimate the impact, if any, to reported estimates that may have been attributable to the changes in panel recruitment and turnover processes, the MRC says.
What are some of the next steps?
The MRC plans to continue to work with Nielsen and its members to further analyze the impact that panel disruptions may have had on the viewing estimates Nielsen reported over the affected period. These efforts will include investigating any impacts to Nielsen’s reporting in local markets, as well as further exploration of the role that certain zero-tuning households may have played in reported viewing estimates. Beyond the general numerical ranges that are noted in this statement, customers are encouraged to seek further detailed information on possible impacts from Nielsen, and how these may relate to their specific audiences.
The MRC also plans to continue to work with Nielsen in its ongoing audit and accreditation process for the National Television service as Nielsen more fully returns to a pre-COVID, business-as- usual state in regard to its field visitation practices and the systems it uses to detect potential metering and other issues that could negatively affect its ability to collect full and accurate viewing data from its panel homes.
To view the MRC’s entire statement in full, please click here:
Salem Media Group has just named a new General Manager of its Orlando group of radio stations and for its related Salem Surround Orlando operation.
It’s an individual who was most recently the Las Vegas-based West Coast Market Manager for The Media Audit, and spent the majority of his career in Kansas City.
On Dec. 6, 2020, the sole owner of an AM/FM combo and an FM translator serving a portion of the Norfolk DMA passed away.
Now, paperwork is being filed with the Commission that will formally transfer ownership of the facilities to the executrix of his estate.
BIA Advisory Services has conducted research focused on the “Economic Impact of Big Tech Platforms on the Viability of Local Broadcast News.” It found that each year broadcasters lose nearly $2 billion in value that they generate for two of the largest technology platforms through publication of their valuable content — particularly local news.
It’s an issue the NAB is bringing to the forefront.
The superb work of the Broadcasters Foundation of America can continue only when money is coming in; however, the process has been badly disrupted by COVID-19. Now the foundation is asking for our help.
It said it is in need of donations “to counter the loss of funds from major fundraising events that were cancelled due to the pandemic.”
The organization provides help to broadcasters and their families to help them cope with serious illness, accident or catastrophe. Over the years it has put $13 million into the hands of broadcasters who really needed that help.
The group hasn’t been able to hold its Celebrity Golf Tournament, Golden Mike Award or the Philip J. Lombardo Charity Golf Tournament.
A request for aid comes from Chairman Scott Herman and President Jim Thompson. “These men and women are our colleagues, and unthinkable tragedy has left them unable to work. We cannot turn our backs on them,” Herman said in an announcement.
Personal and corporate donations can be made at www.broadcastersfoundation.org/donate. Personal donations can be made to the Guardian Fund, corporate contributions are accepted through the Angel Initiative, and bequests can be arranged through the Legacy Society.
There’s a new VP/GM at a onetime NBC affiliates that’s seen a particular resurgence in recent years as an unaffiliated news-focused free-to-air property serving the San Francisco Bay Area.
He takes his new duties at the Nexstar Media Group property on May 17.
It’s always a vote of confidence to longterm investors when an officer of a company purchases a big chunk of its own publicly traded shares.
That’s just happened at Beasley Media Group. And, while financial blog Simply Wall St. says “it may not be a huge deal,” it is good to see.
But, just who acquired the shares?
To recognize outstanding community service among local broadcasters, the National Association of Broadcasters Leadership Foundation announced the finalists for the 2021 Celebration of Service to America Awards.
The 2021 awards will be broadcast on television and radio stations across the country in the form of a one-hour award ceremony featuring celebrity guests, past honorees and policymakers. Those awards will premiere on July 10, and run through Aug. 14.
During 2020, the finalists devoted a total of 3,528 hours of airtime to public service and provided more $43.4 million in funds and donations. The 2021 award finalists represent 20 states and 28 cities.
“America’s local broadcasters’ fundamental commitment to public service continues to shine brighter than ever, and this year’s finalists embody the close bond between stations and their communities,” said NAB Leadership Foundation President Michelle Duke. “We look forward to celebrating these outstanding stations and honoring their critical work informing, supporting and strengthening the public in a year of unparalleled difficulties.”
There are eight separate categories and the 28 finalists represent a broad swath of community voices. For example the Service to Community Award for Radio in a large market includes the WBAL Kids Campaign from AM station WBAL. This campaign, which is designed to help children around the greater Baltimore area through education, experiences and donations, this year campaign raised more than $193,000 for various partner charities.
Small market radio campaigns were recognized too. For example, FM station KLQL in Luverne, Minn., worked with the local chamber of commerce and newspaper to launch the “Share the Luv” campaign that invited listeners to call in and purchase gift certificates for local businesses. The station matched $25 for every $100 purchased to give local businesses an extra boost, the station said.
The awards recognize small-, medium- and large-market radio and TV stations in the following categories.
Service to Community Award for Radio — Ownership Group
Service to Community Award for TV — Ownership Group
Service to Community Award for Radio — Large Market
Service to Community Award for TV — Large Market
Service to Community Award for Radio — Medium Market
Service to Community Award for TV — Medium Market
Service to Community Award for Radio — Small Market
Service to Community Award for TV — Small Market
The post 2021 Service to America Award Honors Stations for Community Work appeared first on Radio World.
Inovonics is about to begin shipping a new version of the DAVID IV broadcast processor, one that adds important remote and networking features.
The DAVID IV 719N FM/HD Radio Broadcast Processor With Network Interface adds web access for setup, control and increased networking capabilities.
The retail price is the same as the current model 719, which is $3,150. Users who purchased a 719 processor since the beginning of 2020 can receive an upgrade that is free except for the cost of shipping. Users of older units can upgrade for $500.
President/CEO Ben Barber said in the press release, “Adding the Network Interface to our popular 719 processor really gives it two very important features. One, the Web GUI can be controlled from any web enabled device; and two, adding SNMP makes remote management and control a breeze.”
When the members of Townsquare Media‘s C-Suite look back on some of the company’s key achievements and pivot points, 2020 will certainly be recalled as the year of change.
Yes, radio is very much an integral — and important — revenue source for the company. That said, Townsquare became a digital first company in 2020. The result? It is among the first media companies to dare to compare the first three months of 2021 with that of Q1 2019.
That’s a good thing, as live events are already coming back while Townsquare Interactive is igniting, no pun intended, the entire company.
For advertisers seeking to reach audiences via “live radio,” streaming music and podcasting, there’s a new solution — courtesy of a company built on siphoning in-car audio consumers away from AM and FM stations.
As is the case with nearly all of the media companies in the MoffettNathanson coverage universe, AMC Networks is in the midst of what Senior Analyst Michael Nathanson and analyst Robert Fishman call “a pivot from legacy linear networks businesses to direct-to-consumer platforms.”
Yet, as the respected financial research house has emphasized in the past, “the economics of this pivot are vastly different for each company.”
What does this mean for AMC? “All-in-one mass streaming services” aren’t in AMC’s best interests.
DISH Network Corporation on Monday announced that its DISH DBS Corporation subsidiary plans to offer, subject to market and other conditions, approximately $1.25 billion aggregate principal amount of its senior notes.
The net proceeds of the offering are intended to be used for general corporate purposes, including refinancing of indebtedness.
The notes will only be offered and sold to persons reasonably believed to be qualified institutional buyers in accordance with Rule 144A under the Securities Act of 1933, as amended, and in offshore transactions in accordance with Regulation S under the Securities Act.
The offering is more good news for a company with its stock price at its highest levels since January 2018. Ahead of the Opening Bell on the Nasdaq GlobalSelect market, DISH was trading at $46.60, up 7 cents in pre-market trading on Monday.