… for Random Weirdness

Tip #1397: Shure Requests Dedicated Wireless Mic Channel

Larry Jordan – LarryJordan.com

Shure asks FCC to reconsider & dedicate channel to wireless mics.

Shure Inc. has filed a petition with the Federal Communications Commission asking the agency to reverse its decision and guarantee that at least one 6 MHz UHF channel in each market be reserved for wireless mic use.

The company told the FCC that now more than ever wireless mic users need clear spectrum. On one hand, reallocation of 600 MHz spectrum for mobile phones and the repack of stations into 500 MHz spectrum has reduced available spectrum. On the other, continued growth of broadcast, performance and sports production is requiring more wireless mic channels than ever, Shure said.

Without clear spectrum for wireless mic use, the integrity of a variety of productions, ranging from professional sports and concerts to live TV and theater, will suffer, Shure said.

More information is available on the Shure website.

… for Random Weirdness

Tip #1399: DPP: Predictions for Media in 2021

Larry Jordan – LarryJordan.com

The media industry continues under heavy pressure. This report outlines key drivers.

The DPP, a London-based think-tank focused on media, published its annual predictions for 2021. The DPP 2021 Predictions, enabled by DPP member company Zixi, were drawn up by more than 30 senior leaders from across the DPP membership. They paint a picture of an industry focused on survival and redefinition.

The full report is available – free – to anyone interested. Here’s the link.

The top eight predictions are, in order:

1. The purpose of the workplace will be redefined
2. There will be market disruption and consolidation
3. Unpredictability will be the new normal
4. Security will become distributed
5. Businesses will better assess both sides of the risk equation
6. AI and automation will become pervasive across the supply chain
7. Global will impact local
8. Businesses will understand and manage data through the value chain

These are some key take-aways:

It is difficult to overstate the extent to which new ways of working currently dominate the thinking of senior media executives.

The elephant in the room is that some companies won’t survive this year

“I think where we are right now is quite difficult to predict as well. For me the only predictability is that there’s big changes coming up.”

“It’s hard to understand what we need to do, because I don’t know what consumers want. And that’s tied up with not knowing what COVID is going to do to us, right? But the point is, it’s going to change what we all have to do. Because when the floodgates are open, consumers are going to stop watching your network and my network, and they’re going to be just desperate to get out of that house. So then how do we adapt to that?”

Things are risky – but not doing anything is also risky.

What was striking about the views expressed this year was the observation that 2021 will be the year in which we see AI beginning to impact the whole media supply chain – including production.

:While our technology has accelerated, the cyber threats have also increased at speed. We are way more at risk now we have these remote workforces. We had an incident recently and it was just the craziest two weeks watching that unfold and dealing with how we responded. We just weren’t set up to do it. And the effect of that is that we know we’ve got to up our approach and response.”

What perhaps was most striking about this year’s discussion was the degree of unanimity. This may in part come from every company, of every kind, sharing the common experience of the pandemic – and every company, of course, being obliged to work remotely.

But that remote working has not only brought extraordinary changes to work culture. It has also led almost all companies to turn to virtualisation and the cloud. Technology and operations have been abstracted from physical locations, and companies
– whether content providers or suppliers – have become much clearer about the opportunities and challenges this change represents.

The entire report is free and well worth reading.

… for Random Weirdness

Tip #1378: Faster Ways to Edit Audio Files

Larry Jordan – LarryJordan.com

Editing sound bites using text transcripts is faster and more accurate.

The big problem with editing a documentary is the VAST amount of material you need to sift through. Or, perhaps you are a podcaster or creating oral history projects. You have the same problem – tracking your content across an almost unlimited number of files. There’s only so much you can keep in your head.

The team at Lumberjack System has created a tutorial on some dynamic features in Lumberjack that can improve your editing and speed finding the right clip. For example, live logging to help you get organized by combining Builder NLE with Premiere or Final Cut, etc.

The key is using Builder NLE. This allows you to put together an entire project from transcripts to finished audio file. There are tools for trimming and fine-tuning an edit within Builder’s Story mode, and it would be entirely feasible (and frankly quite feasible) to finish an audio-only project there.

However, they recommend assembling the story (or “Radio Cut” as they call it) in Builder NLE and then use the many trimming tools available in Final Cut Pro X, or Premiere Pro to make your edits.

Learn more.

… for Random Weirdness

Tip #1360: Tips for Filming Undercover

Larry Jordan – LarryJordan.com

Plan what you are going to do – then leave yourself options.

This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is a summary.

Just as in great investigative journalism, documentary filmmaking is about filming the very things that powerful people and subjects want to have filmed the least. That means, for those interested in careers as documentarians, that you’ll need to get used to filming undercover and undetected.

Research and Have a Plan. From my own experience working in documentary filmmaking—usually as a one man “Shreditor” (shooter, producer, editor)—you’ll often find yourself in situations that can be best described as “gray areas” in regards to whether you should be filming or not. Regardless of how you find yourself in one of these incognito or gray areas, your best bet is simply to do your research and have a plan.

The Right Tools for the Job. The trick is to find a camera, gear, and setup that will allow you the most flexibility to record with as little impact as possible, while still striving for quality footage, solid recording time, and enough dynamic range to work in a variety of lighting situations.

Inconspicuous Filming Techniques. Another popular technique for many documentary filmmakers looking to remain undercover is to shoot with many of the popular DSLR or mirrorless cameras that can often pass as simple photography cameras.

DIY Equipment and Hidden Cameras. I wouldn’t recommend using any of these cameras or methods as your primary means of documentary filmmaking. But, if you’re ever in a pinch and want to really stretch just how undercover you can go, these will certainly help you remain undetected.

Be Ready to Record and Improvise. I’ve personally found that the best shots come from spontaneous situations and from simply being quick on-the-draw, so to speak. Working on projects where you need to remain out of sight will stretch you even further to really push what your focus, gear, and expertise can handle.

EXTRA CREDIT

This article has several videos illustrating its points, additional links for more resources and lots of additional detail.