One of the nation’s key advocacy groups for African American broadcasters has called on Members of Congress to support the Local Radio Freedom Act, a resolution that would “protect” AM and FM radio stations from “being forced to pay significant additional new performance royalties.”
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Educational Media Foundation has scooped up yet another station, as it solidifies its ranking as the No. 2 licensee of radio stations in the U.S. behind iHeartMedia.
It’s grabbing an Indiana Class B1 FM, bringing the cities of Normal and Bloomington into EMF’s expanding universe of Christian Contemporary Music networks.
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With a three-tower transmitter array putting a market-wide signal over the Kansas City metropolitan area, a Class B AM has been serving this Mid-America market with “Real Country” programming.
That’s poised to change, as a Hispanic-focused broadcast entity is purchasing this facility.
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Nearly half of Gen Zs aren’t old enough to drive a car, yet they are driving global marketing and retail strategies around the world.
It’s no wonder: Gen Z is poised to be the most influential generation in human history. The oldest members of Gen Z are just graduating from college, while its youngest members are still in grade school. Despite that, they account for 20% of all U.S. consumers, with an estimated direct buying power of $143 billion.
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He’s been the leader of the company he founded with the purchase of an AM radio station in Secaucus, N.J., in the early 1980s — a property that served as the foundation of Spanish Broadcasting System (SBS) instead of the one he really wanted, the FM that today is Z100.
Now, Raúl Alarcón Jr. is handing his Presidential title to the individual that serves as SBS’s Chief Operations Officer.
Adding the role of President is Albert Rodriguez.
He’ll retain his COO title, as Alarcón focuses on his role of Chairman/CEO.
As President, Rodriguez will manage all aspects of SBS’s operations and oversee the future growth and financial performance of SBS’s radio, TV, digital and experiential businesses and brands.
In addition to its broadcast radio stations, SBS’s assets include the Aire radio network; Hispanic streaming app LaMusica; the MegaTV operation; and concert promoter SBS Entertainment.
Alarcón said, “Albert has demonstrated an amazing ability to deliver industry-leading financial results for the company during the most extraordinarily challenging times in the history of electronic media. He has personally spearheaded a number of corporate initiatives which have been instrumental in establishing the Company’s leadership standing, while adroitly handpicking an executive team which is second-to-none in the industry.
“After nearly a quarter century of dedication and loyalty in building a track record of
stellar achievements, no one is more qualified than Albert Rodríguez to expand upon
this Company’s treasured legacy of nearly four decades of service to the nation’s Latino
community. I congratulate him on his many accomplishments and very much look
forward to his firebrand leadership of SBS in the future.”
Rodriguez commented, “I am honored that Raúl is entrusting me with these added
responsibilities, particularly at this time of universal recognition and acceptance of the awesome power of the Latino consumer. I look forward to continue executing our
Chairman’s vision, which has created extraordinary value for the Company and its
shareholders, and to working with our amazing team of content and sales professionals
as we together write the next exciting chapter in the history of SBS as the preeminent
entertainment destination for U.S. Latinos.”
SBS also notes that it will be implementing “additional management initiatives” in
the coming weeks “as part of its ongoing efforts at solidifying and expanding its
competitive standing in the U.S. media marketplace.”
The company did not elaborate on what that may entail.
The accelerative impact of COVID-19 on digital transformation has led to improvements in mobile marketing capabilities for advertisers. Growth in “m-commerce “and use of social media have provided brands with new opportunities to reach consumers, driving up mobile marketing budgets set to be worth $230 billion globally in 2021.
That’s the latest finding from WARC Data.
There’s just one caveat: privacy concerns could hamper mobile’s growth potential.
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Thanks to exceptional growth in its digital segment, Entravision Communications Corp. stock has enjoyed a six-month surge.
Entering Christmas Eve 2020, shares were priced at $2.70. As of midday trading on Tuesday (6/15), EVC is up 104% since then.
That has Zacks Equity Research asking if it is time for investors to cash out.
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Until now, it’s been mainly known for its conservative Talk radio stations, Christian-themed radio programming including music-oriented “The Fish,” and a publishing arm that finished 2020 strong.
Now, Salem Media Group‘s sales division has formed an entity focused on “connecting brands with the fans of leading Christian social media influencers.”
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The Radio Mercury Awards have announced the 2021 Final Round Jury.
The incoming panel of top-level agency creative leaders represents radio’s top advertising categories, including automotive, consumer packaged goods (CPG), communications, community service, education, financial services, nonprofits, quick-serve restaurants, retail, spirits, technology, travel and utilities.
The jury, curated with the help of 2021 Radio Mercury Awards Chief Judge Robin Fitzgerald, the Chief Creative Officer at BBDO Atlanta, is comprised of “thought leaders from across the country and represents all size markets with diverse audiences and cutting-edge creative work for advertising’s biggest brands,” the RAB says.
Listed below is the 2021 Radio Mercury Awards Final Round Jury:
To find out more information regarding the 2021 Radio Mercury Awards and enter, please visit www.radiomercuryawards.com.
He serves as the anchor and managing editor of NBC’s flagship news broadcast. He has also served as principal anchor of “Dateline NBC” since September 2011 and leads NBC News’ special reports, breaking news and primetime political coverage.
Lester Holt is now being recognized for those efforts with his induction into the NAB Broadcasting Hall of Fame.
The ceremony will be conducted during the 2021 NAB Show, scheduled for October 9–13 in Las Vegas. Holt will accept the honor at the NAB Show Welcome event on Monday, October 11 at 9am Pacific.
Holt joined NBC News in 2000 and served as an anchor of “Newsfront” and “Lester Holt Live,” a daily news show on MSNBC, before becoming co-anchor of “Weekend TODAY” in 2003 and anchored the weekend editions of “NBC Nightly News” beginning in 2007. During his time at NBC News, Holt has moderated presidential debates; reported from breaking news events in the U.S. and abroad including terrorist attacks, natural disasters and civil unrest; anchored numerous specials and investigative series; interviewed national and international newsmakers; and covered every Olympics since the 2002 Winter Olympics in Salt Lake City.
“Lester Holt’s integrity, gravitas and dedication make him one of the preeminent journalists in America today,” said NAB President/CEO Gordon Smith. “Millions of Americans turn to him every day to find out what is happening in their communities and deepen their understanding of the world. We are delighted to recognize his contributions to broadcast journalism by inducting him into the Broadcasting Hall of Fame.”
Before joining NBC News, Holt began his television journalism career at local broadcast stations WCBS-TV in New York, KCBS-TV (then KNXT) in Los Angeles and WBBM-TV in Chicago, where he worked for 14 years including as the afternoon and evening news anchor.
BOCA RATON, FLA. — Its roots are in newspapers, and its former dailies include the Naples Daily News and the Treasure Coast Newspapers that are now part of Gannett.
Now, The E.W. Scripps Co. is ready to bring local news to Floridians across some of the state’s biggest markets once again. Only, there’s no print involved. This time, it involves a screen, TV cameras, and internet connectivity.
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On June 3, RBR+TVBR first shared the news that Sinclair Broadcast Group had opted to sell its lone radio broadcasting stations — a pair of AM spoken-word stations, a heritage Hot Adult Contemporary FM, and an FM that simulcasts one of those big AM properties.
The buyer is Lotus Communications. Now, paperwork filed with the FCC offers new details on the deal — including a pending call-letter change for the AM/FM pair, and just how much cash Lotus will pay Sinclair.
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On Thursday (6/17), television industry executives will once again be gathering in a virtual manner. While COVID-19 pandemic concerns are rapidly melting away, the organizers of the annual Kagan Media Summit opted to forego traveling to New York just yet. The comfort level of participants will undoubtedly be higher, as the 2020 affair was a digital one, too.
With the Radio + Television Business Report again the official media partner for the summit, same-day coverage of key Kagan events produced by the S&P Global Market Intelligence group will be delivered to RBR+TVBR subscribers at RBR.com. What can participants expect this year?
S&P Global Market Intelligence Senior Research Analyst Justin Nielson spoke with RBR+TVBR Editor-in-Chief Adam R Jacobson to offer a preview of the event, and you can listen to what he says in the latest InFOCUS Podcast, presented by dot.FM.
Listen to “RBR+TVBR InFOCUS Podcast: Justin Nielson” on Spreaker.
A major television brand has surpassed a major milestone in the rollout of addressable televisions across the U.S. — bring more screens to life that are enabled with dynamic ad insertion technology.
The news from VIZIO comes on the heels of numerous successful ad campaigns from America’s top TV networks.
The number represents a significant milestone for members of Project OAR, the addressable advertising consortium founded by VIZIO and America’s top TV media companies.
How so? By expanding the footprint, programmers are able to deliver and manage addressable TV ad inventory inside of linear programming broadcast to homes across America.
“Addressable TV advertising has arrived,” said Adam Gaynor, VP Network Partnerships and Head of Addressable for VIZIO and OAR. “Today’s milestone pushes the consortium beyond a ‘Project’ and into an addressable business. We have worked to put standards in place in collaboration with top networks to deliver addressable campaigns at scale and enhance the TV experience for viewers at home. With the infrastructure in place and more campaigns going live in the market, we are making it possible to deploy, manage and sell dynamic ads for local and national inventory.”
The consortium, which is composed of America’s leading television networks and operators and VIZIO, “have worked hard to create open standards that anyone in the ecosystem can use to increase the relevancy of advertising and improve linear viewing for consumers,” the TV set manufacturer noted.
AMC Networks, FOX and WarnerMedia are among several of the companies that have executed national addressable campaigns using the OAR standard.
“WarnerMedia has run national addressable campaigns across linear and VOD since 2020, while expanding our capacity and footprint through direct integrations with multiple distributors, and partnering with brands across an array of categories,” said JP Colaco, head of advertising sales at WarnerMedia. “As pioneers in the addressable industry for nearly a decade with DirecTV, we are excited to collaborate with other industry leaders like OAR to continue to drive awareness, education and enablement, while advocating for standards, in addressable TV.”
Colaco was the President of Radio Disney from 1998-2006. He would go on to serve as SVP of Advertising Sales and Operations at Hulu, from 2007-2013.
CHICAGO — A broadcast technology integration firm that’s gaining national recognition for its efforts has added a Partner as it prepares to welcome a Systems Engineer to their team.
Taking up a leadership position at Inrush Broadcast Services is Shaun Dolan.
He was formerly a Product Manager at Telos Alliance, where Dolan’s team developed and launched Telos VXs, a virtual voice over IP talk show system. He also managed the Telos VX product family of broadcast telephony systems.
Meanwhile, Sam Reiman takes the engineering role following a tenure at Weigel Broadcasting, which is based in Chicago.
Brian Sapp (pictured), a Partner at Inrush, saluted Reiman for his “deep knowledge of media workflows, paired with his innate ability to take a deep dive into new topics and become a subject matter expert in short order.”
The NBC Sports Group’s Olympics arm has selected Telestream to provide media capture and automated processing workflows for its production of the Games of the XXXII Olympiad, which remain on schedule for July 23-August 8 in Tokyo.
NBC Olympics will use Telestream’s Lightspeed Live Capture and Vantage media processing platform to perform a unique, mixed HDR/SDR workflow.
The Lightspeed Live Capture systems will receive 1080p59.94 HDR signals from the events and create media simultaneously to two different formats.
As the 1080p59.94 HDR is recorded in XAVC Class 100 HDR (Hybrid Log Gamma or HLG) format, Telestream’s Vantage software, running on an array of Lightspeed G6 servers will process the media as it is growing. SDR versions will be created in XDCAMHD 422 at 1080i59.94. The HDR to SDR conversion will be done through a new advanced color processing pipeline in Vantage utilizing color processing Look Up Table filters (LUTs) that translate HDR (HLG) to SDR (Rec. 709). In real time, while Lightspeed Live Capture is under record, Vantage will check both HDR and SDR assets into Avid Interplay. The Vantage system provides frame chase editing capabilities of both the HDR and SDR product, allowing Avid operators to edit on the fly from the live files as they are being recorded.
The HDR/SDR workflow takes advantage of Avid’s new cross-rate dynamic relink capability. Avid operators focus on editing the 1080i59.94 SDR-based content, which will be consumed by the majority of viewers, and then simply re-link/conform to the HDR assets to finish edits against the 1080p59.94 HDR product.
The complexity of producing Olympic Games coverage requires testing and monitoring solutions with the highest level of performance and reliability to ensure high-quality content is being delivered to viewers. To handle this task, NBC Olympics will leverage the complete suite of UHD/4K Waveform Monitors from Telestream’s Tektronix Video product family supporting UHD/HDR formats and ITU-R BT.2020 wide color gamut (WCG), Master Sync and Master Clock Reference Generators, and more to support its coverage.
The equipment, along with Sentry OTT monitoring solutions from Telestream, will be used to monitor and test the quality of video and audio content used in NBC Olympics’ production, post production, transmission, and distribution workflows in NBC Olympics’ facilities supporting a record level of content.
SANTA MONICA, CALIF. —In addition to serving as the Los Angeles home for HC2 Holdings-owned Spanish-language broadcast television network Azteca America, KJLA-TV owns and operates two greenscreen stages and production studios at its westside L.A. facility.
With growing demand from its studio rental clients for higher-resolution video acquisition and production, KJLA purchased four SK-UHD4000 cameras from Hitachi Kokusai Electric America, Ltd. (Hitachi Kokusai) to meet these requests and set the stage for future growth.
KJLA rents its studios to premium media and entertainment clientele for projects ranging from network TV shows and motion pictures to music videos and corporate video productions. Clients can use the studios’ in-house equipment or choose to bring in their own gear. KJLA also uses the studios to produce its own original content for its sister company LATV Networks, a bilingual media enterprise.
KJLA was equipped with 1080i HDTV camera systems but received increasing requests for 1080p “full HD” production, and also saw growing client interest in 4K acquisition.
“We considered upgrading to 1080p cameras, but looking forward, that would only buy us a couple of years before we would need to go all the way to 4K,” said Tony Solano, chief engineer at KJLA-TV. “People were already starting to ask for 4K, so we decided to upgrade all the way.”
KJLA took delivery of the SK-UHD4000s at the beginning of February. Three of the cameras are deployed on Cartoni pedestals, with the fourth on a Jimmy Jib Triangle.
“The quality of the Z-HD6000s was great but the SK-UHD4000s are even better, even when we’re using them to shoot HD,” Solano said. “I also love the depth of picture controls that we have access to, not only through the controller but also through the cameras’ integration with the Ross Dashboard software.”
While KJLA often provides camera operators with their full-service studio and equipment rentals, other times clients bring their own crew and simply use KJLA’s gear and space. Solano notes that both their own operators and client users have found it simple to get up to speed with the new 4K cameras. “The learning curve on the SK-UHD4000s is very quick,” he said. “While our clients’ crews are professionals, the cameras are so easy that I feel like almost anybody could use them.”
The exceptional sensitivity of the SK-UHD4000s has also been beneficial for productions’ lighting requirements. “The stage manager for our LATV Networks productions noted that they don’t need to do as much lighting as they previously did,” Solano explained.
Overall, the Hitachi 4K cameras have positioned KJLA to meet the evolving needs of themselves and their clients both today and in the future. “The upgrade was very smooth, and it has been a great experience,” Solano summarized. “The SK-UHD4000s let us better serve our existing clients, while giving us the ability to take on a greater breadth of new customers and projects.”
— RBR+TVBR West Coast Bureau, with reporting by Brian Galante
Sinclair Broadcast Group continues to lead the industry’s transition to the future of television, developing innovative solutions to meet its requirements for channel playout and live broadcasting.
These include a new 25,000-square-foot, SMPTE ST 2110 media operations center for Sinclair’s regional sports networks (RSNs) with cloud-hosted disaster recovery channels, and a large-scale ST 2110 production facility for its Tennis Channel featuring a cloud-based environment for pop-up live special events.
All were built around Imagine Communications infrastructure and playout platforms.
Don Roberts, VP of sports engineering and production systems at Sinclair Broadcast Group, makes the point that both business and technical requirements are driving Sinclair’s transition to IP connectivity and software-defined architectures ― and particularly cloud deployment. “This transition cannot be a simple lift and shift of legacy systems; it is the opportunity to take a fresh look at the way a broadcaster operates,” Roberts said. “We have to start from good user engagement, to understand what will change at each step. The transition to IP and the cloud is transformative. We can’t just flip a switch ― we have to redefine how the business works. This is change management as much as technology.”
A powerful advocate of the SMPTE ST 2110 family of standards, Sinclair has a long history in collaborating with Imagine Communications to develop IP playout and production systems. Following its 2019 acquisition of regional sports networks from Fox/Disney, Sinclair had to quickly develop a new playout strategy and decided to build an IP-based facility from the ground up to serve as a future-proof hub for the new RSNs.
“Armed with our experience with IP and our strong technical relationship with Imagine, we decided that our first step was to develop an on-premises solution for the RSNs,” Roberts said. “We also developed options to put some functionality ― like the archive and disaster recovery playout ― into the cloud. This enables us to use the Atlanta facility as a stepping-stone, continually refining the workflows and business cases that will help us transition to a hybrid approach that balances capability and cost.”
At the same time, Sinclair was developing a platform for its Tennis Channel, a service that features comprehensive coverage of the top 100 tournaments in the sport and more. The channel has a master control center in Santa Monica, Calif., which uses the flexible Versio platform, both on-premises for primary origination with Imagine’s ADC automation, and as software instances hosted in the AWS cloud for pop-up special events under the control of the cloud-optimized Version Automation system. IP connectivity allows simplification of the hardware architecture, for instance, through use of the virtual re-entry software features of Imagine’s Magellan SDNO to create virtual patch panels, router paths and workflows.
The Tennis Channel project presented Sinclair with a new set of technical, operational, and business challenges. “Tennis is live and unpredictable, so we need our playout capabilities to be agile and responsive,” Roberts explained. “Software solutions like Versio give us that agility ― the ability to make a decision and have it on air virtually instantly. And because it can be hosted in the cloud, we simply spin it up at the beginning of each tournament and close the software when it ends.”
Central to the architecture at the Santa Monica center is Imagine’s Selenio Network Processor, which Roberts defines as “a broadcast Swiss Army Knife ― if you have a problem with a signal, throw an SNP at it.” Each 1RU SNP device hosts four independent, software-defined processing channels. At the Tennis Channel facility, the SNPs act as IP gateways and support format conversion, which allows the facility to be primarily 1080p, but accommodate 4K and HDR UHD when needed, such as for the French Open Tennis from Roland Garros in Paris. The facility also uses the new SNP-MV multiviewer personality, allowing for tactical multiview displays to be quickly established wherever they are needed in the workflow.
The new Tennis Channel ST 2110 infrastructure debuted in December 2020. Sinclair then went live to and from the cloud during coverage of the 2021 Miami Open in March, marking the first time that any broadcaster had supported such a high-profile live sporting event via live cloud playout. The innovative combination of cloud playout and on-the-ground master control provided a solution that was particularly powerful in a time of COVID, which has challenged media companies to continue producing quality broadcasts, while ensuring a safe work environment for operational staff. The unique capabilities and integration of Imagine’s IP-enabled playout and core infrastructure products created a cutting-edge architecture and workflow that helped make this possible.
Digital Nirvana, a provider of media-monitoring and metadata generation services, has brought to market Trance 3.2, the latest version of its cloud-based application for closed captioning and transcription.
Trance 3.2 has several new features that the company says ‘will enable faster, more efficient production of publishable closed captions and translations.”
New features include upgrades to the tool’s natural language processing (NLP) capabilities that make it possible to identify grammar and style regulations and configure Trance to follow them. And thanks to advancements in machine learning, there are improvements to the machine translation model that satisfy captioners’ increased need for localization in multiple languages, quickly translating the content frame by frame while retaining the entire context.
“Our latest changes to Trance add a new level of completeness to the product in terms of covering the entire caption generation and localization workflow. Trance not only brings large-scale efficiency to each part of the process, but it also provides a platform where users can do everything related to transcription, captioning, and text localization in just about every imaginable use case,” said Russell Vijayan, director of business development at Digital Nirvana. “There’s no need for users to review the entire set of content in order to adhere to strict grammar and style guidelines. Instead, now grammar rules can be set as a standard instruction to the system. A 90-minute piece of content can now be captioned in a couple of hours versus a week or so.”
Trance is designed to use machine learning and AI capabilities to enhance the process of generating transcripts, closed captions, and translations for media content. Production houses, OTT platforms, broadcast networks, closed captioning companies, and any content producer that publishes content over broadcast outlets or the internet with closed captions and translations enabled will benefit from the following major improvements:
• The transcription window now uses an advanced speech-to-text engine that generates accurate, machine-transcribed text, which is displayed in a user-friendly UI through which users can quickly make changes.
• Users can now export the transcript, if required, and the time-coded transcripts can be used as metadata to make the video content readable by machines.
• While previous versions of Trance allowed users to input various parameters to tell the system how to split transcripts and present them in the captioning window, the latest update also uses NLP technology to enable transcript splitting based on grammar rules and styles. Every streaming platform has its own, ever-evolving grammar and captioning style, and adhering to those rules has been a challenge for captioners. The new change ensures users spend less time correcting things when splitting the transcripts for generating captions/subtitles.
• Now, all users with permission can upload media from their logins instead of waiting for administrators to do it.
• Workflow enhancements ensure users can access jobs directly from the list of available work items in their dashboard.
Trance can be a critical tool in a variety of use cases, such as generating transcripts for audio content, importing an existing transcript and syncing it with video, or importing existing captions and opting for a caption QC service that compares the captions against streaming-platform guidelines and flags any nonconformance. Users can generate machine translations after the captioning process is done. They can also import an existing-caption sidecar file, retain the timecodes, and generate a high-quality machine translation that would help with the localization process. Trance also makes it possible to change the frame rate, apply timecode references, and export sidecar outputs in various formats.
Because Trance is a cloud-based application, the upgrades are available to Trance users immediately.
The “premium” connected TV/OTT advertising platform designed for regional and local advertisers launched by TEGNA that as of 2020 sees Gray Television as a minority stakeholder has widened its partnership with IHS Markit.
The move is designed to bring Polk data to Connected TV and OTT campaigns for automotive advertisers — something broadcast TV should very much take note of.
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