Mike Budney

TDious Experiences volume II: The Remote Broadcast Production Technical Director [Part 1: Mobile Unit Setup] Ask any 5 Technical Directors (TDs) to describe their role leading up to a live broadcast production and you’ll get anywhere from 5 to 50 different answers. That’s because the role has a number of seemingly dissimilar responsibilities that, in any other occupation, might be split among several different people. For example, a concert pianist generally doesn’t have to tune their own piano, assign the notes to the keys, build the conductor’s podium, compose the transitions from movement to movement, then ultimately play a three hour concerto on that piano nonstop, simultaneously monitoring each note on the piano offline to ensure tonal quality while performing LIVE before an audience of millions! Actually, that’s probably not the best analogy; a piano only has 88 keys. The world’s most popular Video Production Switcher, the Grass Valley Kayenne panel & K-Frame, has 1,326 buttons (or “keys”), 6 knobs, 4 fader bars and a joystick. The pianist in this scenario has the luxury of concerning themselves only with their ultimate performance. Everything else is taken care of for them. Not so for a remote TD. If it’s going to be a visual element within the show, it ultimately passes through the TD in one way or another. Video that will be mixed into the production itself must pass through the TD’s video switcher, while other signals, such as video going to monitors in the control room, can pass directly via the router. The router of a television mobile unit is the signal distribution core for any production. Any video or audio source that is going to be part of the production must exist within the mobile unit’s router. The TD is responsible for ensuring the correct video lands in the appropriate place in production monitor wall, its layout determined by the producer & director, as well as video switcher and all router control points in the control room. This is the part of the engineering setup that takes the most time to accomplish. The Engineer in Charge (EIC) is the sole manager of the router grid. It is critical that all inputs to the router and outputs from the router be managed by one individual. From there, especially in the IP world of media transport, every department has the ability to manage their own routing needs. It’s at this point that the TD can finally begin to focus on building out their “piano.” This begins with switcher input & output (I/O) documentation. Traditionally this is generated by the EIC, but with the increased flexibility offered in the IP world, this becomes a joint effort between the EIC, the TD and a dynamic document, such as a shared Google Sheet. In Part II I’ll delve into the mindset of the TD as they begin laying out sources for the production on the video switcher’s panel, as well as some important things to keep in mind when doing so. If you have Qs, thoughts or ideas for future TDious posts, drop a DM!

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Technology can and will fail... I've been working as the TD for the Phillies broadcasts at the Giants this week. For those that don't know, many visiting sports broadcasts now run multiple positions remotely. They differ from show to show but in this case the Producer, Director, Graphics and lead replay were in Philadelphia. In a tie game at the bottom of the 9th, our connection and backup connection to their remote control room failed. The on-site crew immediately took over without hesitation. I began directing, our stage manager helped guide talent through breaks, our secondary replay op took the lead and our A1 worked to regain coms while continuing to mix. The game went to extra innings, eventually ended in a walkoff and the broadcast went off air without a restored connection. The audience never was the wiser. The live production industry, for good reason, will continue to utilize remote and cloud production. But as we geographically spread out the production footprint the need for technical backup solutions and high-quality, versatile labor becomes even more critical for production success. Technology will fail but that doesn't mean the production has to fail with it. #remoteproduction #cloudproduction #technicaldifficulties

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Very good insight! I agree, the landscape is shifting. Adapt or die. As a TV and movie production company we can align with the streaming platforms, and with half a dozen companies reach HALF of the entire world's population. By doing so we can also control our own destiny and costs. That is alluring. The media distribution marketplace will dramatically change in the next 36 months. Is there a place for cinema, theatres, streaming, and other alternative delivery methods to co-exist? Time will tell, we all adapt, we all evolve, that is the nature of business. Here is a prelude of things to come...

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Anyone who has ever set foot on the historic Paramount Pictures lot, must be disturbed by William Cohan 's reporting in Puck about Sony and Apollo Global Management, Inc. teaming up to buy the studio's parent company, Paramount Global (formerly Viacom). Gone will be hundreds of jobs in "marketing, distribution, business affairs, digital programming, etcetera. That might generate $3 billion in savings. " If that isn't bad enough.... the " extraordinary Paramount lot, near Hancock Park, would get sold for as much as another $1 billion." Is there a more iconic image of Hollywood and movie magic than the Paramount gate? (see below) Cohan also reports that "Paramount’s films would go to Sony Pictures, and any projects in production, on the shelf, or that need a turnaround, would also go to Sony." The consolidation of media continues to be troubling. Apollo's hand in the Gannett | USA TODAY NETWORK merger hasn't been a home run for journalists or consumers. As for Sony, government regulations prohibit foreign companies from owning TV networks & stations so what would that mean for CBS. So Apollo likely would fold CBS with its majority stake in the Cox stations. But that will likely exceed the limit the government permits any one company to own. So some stations may be sold. Does any of this sound good for journalism? Consumers? The entertainment business? Probably not, but read Bill Cohan 's work because it is good for shareholders of Paramount. There is an alternative that might not be great for shareholders but has proven pros like Jeff Zucker ready to right the Paramount ship. https://lnkd.in/eNTVaNYs

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Use the right tools for the right reasons. 🧰 I put together this illustration as a way to oversimplify the current digital toolbox available to broadcast media companies today. While the real world is way more complex than what I can fit into a single illustration, I believe this can help guide intentions when thinking about all of the tools we have. If you are building a plan to better utilize a tool in the toolbox I think it's important to start with a plan of "why". What does this tool/platform truly do for you? Does it fall into an area of control, monetization and direct relationships with your true customers? Or does it fit in an area of little control and little monetization, but is good for reaching potential new customers? Again, I know this is an oversimplification. Would love to get all of your thoughts and continue to modify this. #media #broadcasting #radio #news #digital

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Music Business Association Music Biz 2024 coming up in May. Find out more about Reactional Music and what we are delivering across interactive music, music personalisation, in-game economies, generative composable music and the possibilities for creators, composers, artists and developers

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Having long been on the FCP side of the "which software" debate, the availability and uptake of AI tools within the different video editing softwares has given me reason to question this as of late. I must admit that I've started to view the others with envious eyes.... This article from fxguide breaks down what I mean by this: https://lnkd.in/ev65F_G8 p.s. the generative AI banner could have done with a second look. #videoediting #software #AI

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Deepna Devkar, Ph.D. what a treat having you on the podcast! If you’ve ever wondered what goes into building your personalised experience on Max, this is the episode for you. Tune in to hear from one of the minds leading the build of the platform experience!

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#DataProviders - especially those still building their expertise in CTV and Programmatic: this explainer by Paul Gubbins from Publica by IAS may not be directed at you, but he outlines those business challenges we discuss in a clear, concise way. My question to you, how does your data contribute to solutions that further efficiencies in CTV?

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🔔 Don't miss Episode 8 of The Balancing Act Podcast! 🔔 Join me as I delve into an engaging conversation with James Clark, Co-Founder and President of Rave On Sports. Discover how Rave On Sports is revolutionizing fan engagement through innovative mobile solutions. Episode Highlights: ♦ The origin story of Rave On Sports and its mission ♦ Overcoming obstacles during the initial launch ♦ Innovative features for enhancing fan interaction ♦ The impact of COVID-19 on their strategy and growth ♦ Insights into the future of fan engagement technology Whether you're a sports enthusiast, a tech innovator, or someone interested in entrepreneurial journeys, this episode is packed with valuable insights and inspiration. 🌐 If you haven't already, check out Episode 8 of The Balancing Act Podcast here https://lnkd.in/gNeEn4ch Don’t miss out on this deep dive into the world of sports technology! Subscribe and stay tuned for more inspiring episodes. #TheBalancingAct #RaveOnSports #FanEngagement #SportsTechnology #Entrepreneurship #CaryShields #JamesClark #Innovation #Inspiration #YouTubePodcast

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Paramount - WTAF is going on? "I have tremendous confidence in George, Chris and Brian... I am extremely excited for what their combined leadership means for Paramount Global and for the opportunities that lie ahead..." writes Shari Redstone to all Paramount Employees. Yet she knows, and they know, and she knows that they know, that she sees no future for their combined leadership. You're looking at three of the greatest leaders in the business being played as the Three Stooges. Despite tanking the Paramount share price from $55 to $12 a share, Bob Bakish did a tremendous job following Redstone's bidding to go headlong into the world of streaming with Paramount+. It's a great brand, brilliantly executed with world class content, and sits well alongside flanker FAST brand Pluto TV. It's all a bit 2021, when the Wall Street Ponzi Scheme opportunists were pushing all the Studios to do, to hell with sustainable profit models and theatrical, when there's easy money to be made through blowing their own bubbles. Turned out the only people to boost the Paramount Global share price were the Reddit activists, who propelled the share price to almost $100, making holding (and divesting) Paramount shares quite interesting for a few weeks. Since then it's been downhill all the way, but Redstone is still holding out like Captain Ahab with the promises of a pot of gold at the end of the streaming rainbow. It's hard to the value in the Skydance deal for anyone but Redstone's pride and her own shareholding, given she'll get a huge premium on her shareholding which will be mostly denied to the commoners holding non-voting stock. David Ellison is an insanely smart guy, so there's clear value for Skydance here, although given Skydance are a major supplier to Paramount it'd be challenging to make savings there. Maybe there's a plan to feed the whole Paramount library into an Oracle AI and make trillions, or maybe it's simply a ruse to try and heat up a bidding war? Sony and Apollo offering $26bn make the most sense, given the clear duplications and synergies to be made, with Paramount being a great production label with world class IP. Removing the Office of the CEO alone would save tens of millions right away, and that's just the tip of the iceberg. I can't see why Sony would want to go near streaming, but they'd be well placed to offload P+ onto the highest bidder, and those 71m customers would add scale to WB's Max or Comcast's Peacock or maybe even Apple+. Worth a couple of billion dollars to someone else, rather than being a share price drag as it currently stands. Or maybe Comcast would come all-in, and outbid Sony to get their hands on the bigger prize? I can't speak for the TV business, but given the standout performer on the last earning call was CBS' Superbowl, it goes to show there's huge potential for TV - maybe without, rather than with, the trappings of the broader group? Or is it simply a case of "The Centre cannot hold, things fall apart..."

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Discover how to transform passive viewers into year-round, engaged superfans with Dolby Millicast. Our sub-second latency streaming technology empowers sports brands to gamify and create unparalleled fan experiences with real-time interactions, social sharing, chat, and polls. Follow Dolby.io to keep up with the latest live sports and interactive fan engagement trends. Learn more in our eBook: bit.ly/3wRvvpB #livesports #fanengagement #interactivity #sportsmedia #gamification #livesportsbetting

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To bundle or not to bundle?   The answer from TV & video industry leaders at the Digital TV Group (DTG)'s #BiggerPicture 2024 summit was a resounding "bundle - and then some".   Senior execs from NBCUniversal, Warner Bros. Discovery, SkyShowtime, and BritBox International all spoke of how packaging online video with pay TV, broadband, mobile, and - increasingly - digital lifestyle services will be key to streaming's future.   Naturally, we at Omdia agree.   The chart below shows how such strategies are already paying off for #Amazon, WBD's #Max, #Netflix, #Disney+, and #AppleTV+ by mapping subscriptions by bundle type.   It's drawn from an extensive Omdia report, Bundling’s Impact on the Global Streaming Market: https://lnkd.in/d5c-Ajr6   Kudos to the report authors for once again being ahead of the curve: Sarah Henschel, Max Signorelli, Juan D. Villegas Leyba, Tony Gunnarsson, Adam Thomas, Jun Wen Woo, Samuel Nkwam, Daoud Jackson, Rob Moyser, and of course, the leader of the team, Maria Rua Aguete. If you'd like to learn more about our key findings, please drop me a line.

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And so it begins. Cable 2.0 is here.

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Mobile Wireless Data Over TV Signals. https://lnkd.in/eFeWtJ6U

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