Wendy McMahon

The Meaning of vinyl outselling CDs • Physical sales keep growing but there is a hidden problem about streaming music that labels are about to address. • 3 strategic ideas music radio stations can employ to get in on the trend. • How young consumers are in the midst of changing the way they enjoy music (again). • The user-generated tools that will soon become available to allow music fans to control the speed of the music they hear and these other factors. • TikTok and Instagram Reels have forced a new approach that will make sure labels get paid. https://lnkd.in/eX4aKwQc

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The stage was set at the NAB Show 2024. Hundreds of products battled for supremacy in the ever-evolving streaming video arena. Tensions were high as the industry's elite judging panel meticulously evaluated each offering. Then, a true champion emerged from the fray. Vimond's VIA App Builder captivated the experts with a perfect fusion of power and elegance. Features that dazzled: - Lightning-fast development capabilities that make deploying streaming services across devices a mere formality. - An interface so intuitive even a novice could wield its might. - Unparalleled content management that monetises like never before. In an epic clash of innovation, the VIA App Builder reigned supreme – conquering the "Next TV" category to seize the coveted Best of Show honour. A thousand competitors stood in awe. This was more than just an award. It was a statement of Vimond's unwavering commitment to streamlining video streaming for the modern era. An undisputed mark of quality that will shatter industry conventions. The victory horn has sounded. All others have been put on notice. Brace yourselves for the VIA App Builder's continued dominance, as it leads content creators to a new era of broadcast supremacy. https://lnkd.in/gssvefKG

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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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Perception versus reality

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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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How does a TV News Network look and feel during the elections? The energy, enthusiasm, and enterprise are palpable everwhere — from the newsroom, the Production Control Room, Outdoor Broadcast, Field Reporting, and the backroom. You can feel it here in this behind-the-scenes CNN-News18 video. After all, Elections=CNN-News18.

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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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"Cable TV-style streaming bundling" Comcast, the No. 2 (and once No. 1) cable TV in the U.S., has turned to streaming as a way out of the crisis. You're offering a discounted streaming bundle to Xumo internet subscribers (TV). Comcast CEO Brian Roberts said at an event that internet subscribers can now get discounts on core streaming, including "Peacock, AppleTV+, and Netflix. Comcast called this product "Streamsaver". But now that the viewing trend has shifted to streaming, the product could be a "cable saver." Of course, bundles are also important for streaming providers, who can only compete with Netflix if they band together. The timing of the service is also exquisite. At the end of July, when Peacock will be broadcasting the Paris Olympics, Stream Saver will also be launching. #Comcast, #streaming #netflix #peacock #cable TV #directmedialab https://lnkd.in/dggG68HX

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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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Radio ad demand is shrinking • How the major radio groups are privately dealing with declining advertising. • What market managers are doing to save the day (and their jobs). • The non-radio solutions being teed up by radio groups. • What some radio groups have turned to quarter by quarter to offset ad revenue declines with artificial cash infusions. • Typical market manager response to shrinking ad demand. https://lnkd.in/eXGHPhTM

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When Beasley will file for bankruptcy • Take out your calculator, based on the Cumulus and Audacy bankruptcies that proceeded Beasley, here’s what could extend their lifeline or abruptly throw them into bankruptcy sooner. • The efficacy of a potential reverse stock split that they are considering, • The one telltale move to watch for – when Beasley does this, no question they’re going down. • How long before Beasley initiates another round of deep layoffs like last week. • Why they are firing programming and content people above others. • My calculation of “B” date (so far, we’ve called 3 radio bankruptcies scarily on target).

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The media industry is moving into an era of SHARING. The article below is an example of my theory. Charter – “America’s New Cable King,” as the Wall Street Journal called it – became the biggest pay-TV company by subscribers in the US. Here’s how: • They’re partnering with Disney+ to give all their TV subscribers access. • Charter is using the Xumo box to facilitate that streaming. The box is owned by Comcast. To stay relevant, everybody is lifting each other up. Evan Shapiro’s version of the sharing economy is “Collabor-gators” — you have to collaborate and compete simultaneously. Do you see other examples like this out there? #media #entertainment 

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Broadcast codecs in dog years: *MP2: 217, MP4: 161, HEVC: 77, VVC: 28

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I had to read this line a few times.... "Audio is a key part of the daily lives of all Americans, and this is true for sports fans, as well. In fact, sports fans spend six hours and 26 minutes with audio content each day—that’s over two hours more than the average American spends listening to audio." On first read I was trying to figure out how anybody has 6 hours and 26 minutes a day to consume sports content. Then eventually I understood this to mean that sports fans spend 6 hours and 26 minutes with ANY audio content. Essentially, sports fans are listening to music as well and have other interests beyond sports. But, being a sports fan skews your appetite for more audio consumption up. There is big opportunity here. But, there is also a lot of competition. #podcasting #sports #audio #radio

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Are Radio Advertising Costs Worth It? How to Define Success and Drive ROI - Before you invest in radio, read this. Some strategy upfront can help you produce successful radio ads – and prove it. https://hubs.ly/Q02tbBBZ0

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FCC: TV Stations Can Team Up for Broadcast Internet https://lnkd.in/eB2pHUKt FCC "This decision would help ensure that broadcasters and other innovators have the flexibility to generate the scale and geographic footprint—both locally and nationally—that may be necessary to support certain Broadcast Internet services without being subject to regulations unrelated to the provision of such services," For the last several years I have been working to create a new Innovative Broadcast Services that can Complement the Nations' 5G wireless networks. https://lnkd.in/eNK5Q7xb On December 10, 2020, the Commission released a Report and Order in its proceeding to encourage the provision of new and innovative Broadcast Internet services enabled by ATSC 3.0 — the “Next Generation” broadcast television standard often referred to as Next Gen TV — that can complement the nation’s 5G wireless networks.  The rule revisions clarify and update the regulatory landscape in order to foster the efficient and robust use of broadcast spectrum capacity for the provision of Broadcast Internet services consistent with statutory directives.  #FCC #ATSC #D2X #4F #Complement #Spectrum #Sharing

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