Radio+Television Business Report

With third-party “cookie depreciation,” there’s now greater emphasis on first party data. As such, Nielsen has unveiled a new approach to measuring authenticated and unauthenticated web traffic.

This will see Nielsen become the only platform to validate first party server data with real consumer behavior.

The move means Nielsen will eliminate its reliance on digital identifiers while ensuring that advertisers and publishers “can continue to measure confidently in a dynamic, privacy-first media environment.”

The result, says Nielsen, will allow it to become “the leading platform to validate first party server data with real consumer behavior.”

“If the industry has learned anything since the rise of cookies, it’s that digital media measurement must remain scalable, flexible and useful,” said Mainak Mazumdar, Chief Data Officer at Nielsen. “Nielsen’s new cookieless measurement approach will further position the company to deliver deduplication across linear and digital as part of Nielsen ONE. Our new approach to measuring authenticated and unauthenticated digital traffic will enable us to scale across channels and platforms to ensure a comprehensive view of success and uncover areas for optimization.”

In the new world order, digital traffic will ultimately move into two distinct categories for measurement following the deprecation of digital identifiers:

• Authenticated: Traffic with identifiers on properties which have logged in environments or consented devices. To measure authenticated traffic, Nielsen will leverage all available identifiers and first-party data from participating clients, such as hashed email addresses, Unified ID 2.0 and select, verified self-reported demographic labels. This will ensure interoperability in the ad ecosystem, including with walled gardens, and simplify measurement for clients by reducing reliance on third parties.

• Unauthenticated: Logged out traffic or traffic on properties that do not have logged in environments or where no alternative identifiers can be provided. To measure anonymous traffic, Nielsen has developed a machine learning technique with  additional contextual data signals including time, browser, content and device information, as well as FLoC groups.  The model is validated against the panel for accuracy. Demographics  of unauthenticated behavior are also modeled and validated with panel observations for both representation and accuracy.

Late last year, Nielsen announced its ID Resolution System, which serves to unify the identity data that Nielsen receives in an interoperable way across the media ecosystem.  As part of the Nielsen ID System, the Nielsen ID Graph is calibrated against and validated by Nielsen’s people-based panels.

Last week Xperi noted that it is celebrating the 15th anniversary of the launch in a U.S. vehicle of HD Radio. This came in 2006, with HD Radio available as an option in BMW 2006 7 Series and 6 Series models.

Today, there is still a perception that HD Radio is a product not fully fulfilled, or just now finding its stride. Some may even deride HD Radio as a failure compared to DAB’s exceptional growth in the U.K. and in Norway, where FM radio was silenced for good.

Where does HD Radio stands today? Jeff Jury, the Senior Vice President and General Manager for the Connected Car division of Xperi, offers his thoughts in a fresh InFOCUS Podcast, presented by dot.FM, hosted by RBR+TVBR Editor-in-Chief Adam R Jacobson.

Listen to “The InFOCUS Podcast: Jeff Jury, Xperi” on Spreaker.

In mid-January 2021, the owner of three FMs and an AM serving North Central Washington state decided to put the AM and two of the FMs it owns on the market. He inked a representation deal with a broker, and awaited bids.

An acceptable buyer has been found, putting in motion the transfer of control of an AM/FM combo and a second FM serving the eastern Washington cities of Chelan, Manson and Wenatchee.

Please Login to view this premium content. (Not a member? Join Today!)

Dielectric is coming to the 2021 NAB Show with NextGen TV on the mind – and a new product line that is ready to ship.

Announced last year, the Powerlite TFU-WB-LP Series is built with the unique parameters of NextGen TV in mind, with a series of elevation gains, azimuth patterns with high front to back ratios, and software tools to provide broadcasters maximum flexibility in designing and deploying ATSC 3.0 single-frequency networks (SFN).

Dielectric developed the series while working with consultants on theoretical plans for SFN deployments. Although its recently introduced antenna products were ATSC 3.0-ready, customers were requesting products specifically designed for the SFN business model.

“After extensive calculations and design process changes we launched our repack product portfolio with ATSC 3.0 power requirements in mind, but optimized for high-power broadcasting,” said Dielectric VP/GM Keith Pelletier. “There is more to the SFN than being robust enough to get the ATSC 3.0 signal out there. They require even bit distribution from two or more transmission sites throughout the broadcast market. That means supplying antennas with exceptional accuracy to ensure that coverage gaps between transmission sites are properly filled, and that signal strength is uniformly increased in the market.”

Dielectric has expanded its all-in-one Powerlite Series to provide customers with complete systems that help broadcasters maximize their NextGen TV investments. Like all Powerlite systems, the series brings antennas, transmission line, tunable filters and RF components into one affordable, all-inclusive package.

As ATSC 3.0 SFNs will comprise multiple low-power transmitter sites, Dielectric’s Proposal Generator software will help broadcasters configure systems that meet very specific network designs. Broadcasters can select the proper power level, directional pattern, height above ground level, and other pertinent design criteria for each location. These flexible parameters will help broadcasters make the most of their NextGen TV bit distribution, according to Pelletier.

“There are vast opportunities around how broadcasters can use their data bits, and this is completely novel compared to ATSC 1.0,” said Pelletier. “There is potential to support radio streams, enhanced emergency alerts, and additional TV and streaming services that together can communicate a stronger brand with local appeal. These new NextGen TV services will dramatically change and improve the over-the-air business model. We’re now introducing an expanded NextGen TV product line to help broadcasters maximize emerging opportunities that the ATSC 3.0 standard offers.”

The Powerlite TFU-WB-LP antennas are built in four-bay increments, with a maximum ERP of 100 kW for each antenna (higher power options are also available). The new series is adaptable to multi-frequency networks, and can serve both narrow-band and broadband RF configurations. The series can also work in concert with more traditional high-power high-tower antennas, which many broadcasters will want to keep in operation.

“Many broadcasters will leverage their primary antenna as the lighthouse, and will need to optimize their coverage by establishing higher power densities throughout the DMA,” said Jay Martin, Vice President of Sales, Dielectric. “Powerlite TFU-WB-LP antennas will operate seamlessly with the existing higher power antennas, but will be located near the perimeter of the DMA oriented back towards the main antenna. This antenna is designed specifically with that in mind, utilizing high front to back ratios. Also, the antennas are available in horizontal, elliptical or full CP versions. ”

Broadcasters can essentially design SFN antennas to optimize service within their respective DMAs, complementing the service provided by their primary antenna in these cases. “After they design systems using our intelligent configuration software, they can cleanly export the azimuth pattern files to a network planning software program, such as Progira Plan, to complete, evaluate and optimize the SFN system performance,” said Martin. “We will work with all customers to consider the best coverage and service options for their business models.”

Dielectric will demonstrate the Powerlite TFU-WB-LP Series at its 2021 NAB Booth (C7215) from October 10-13 at the Las Vegas Convention Center. 

PPDS, the exclusive global rights to Philips Professional Displays, is welcoming Bruce Wyrwitzke as its new Director of Digital Signage Sales.

Accelerating PPDS’ growth strategy and ambitions in North America, Wyrwitzke is the latest high-profile appointment to join the company this year, following the additions of Beth Donow (Manager, Supply Chain), Scott Adams (Director, Hospitality) and Osvaldo Velarde (Product Manager)

Based in Monument, Colo., Wyrwitzke joins PPDS equipped with almost 20-years of
pro AV experience, having worked for some of the world’s leading technology brands, during a successful and highly captivating career.

Highlights of his career include tenures as National Sales Manager for ASUS North America and, prior to that, as National Account Manager at Planar Systems.

His focus areas include dvLED & LCD Video Walls, Large Format Displays, Desk Top Monitors, and Touch Screens — technology of growing importance to broadcast TV companies.

He reports to Joe King, VP Commercial Displays for North America at PPDS.

As ATSC 3.0 deployments continue to expand, broadcast, cable and other MVPD providers are constantly looking for innovative new products to help them manage these new workflows.

As transmissions hit the airwaves, video delivery brand Sencore is responding with new product additions focused on NEXTGEN TV.

These new products include the following new additions to the Sencore family:

• ATSC 3.0 to TS Multi-Channel Transcoder – The TXS 3800 is a dense ATSC 3.0 transcoder, capable of transcoding up to 4 ATSC 3.0 services in a single chassis. Video can be transcoded to MPEG-2 and H.264, along with down-scaling, transrating and caption conversion. Audio is transcoded to either AC-3 or AAC and service names are mapped into standard TVCT format. Once transcoded, all elements are packaged into an MPEG transport stream and output as a traditional MPEG/IP transport stream for downstream use.
• ATSC 3.0 Signal Level Meter – A portable ATSC 3.0 handheld signal level meter (SLM 1530), used for broadcast professionals testing new ATSC 3.0 equipment and installations. Beyond ATSC 3.0, the meter includes full support for legacy ATSC
  1.0 and QAM-B cable signals, and can be used for testing, installation, and maintenance.
  This lightweight meter includes in-depth RF measurements, such as signal level, MER, BER, S/N, and constellation diagrams. The spectrum analyzer feature is available for a single channel or full spectrum view.
• ATSC 3.0 Receiver Decoder – Sencore’s ARD 3000 series of ATSC 3.0 receiver decoders enables users to decode a single channel (ARD 3100) or up to four channels (ARD 3400) in a 1RU platform. The ARD 3000 series includes an ATSC 3.0 RF input allowing the user to tune to an RF channel and decode up to four services. Decoded services are output via 4x3G-SDI for UHD services or 3G/HD/SD-SDI for HD and SD services. Unit configuration is done using the intuitive web GUI or through APIs like REST and SNMP.

To download datasheets, view features and product specifications or request demos, visit
www.sencore.com

Digital Nirvana, a provider of media monitoring and metadata generation services, is now shipping MetadataIQ, a SaaS product that offers a new metadata automation tool for content producers using the Avid media platform.

MetadataIQ offers off-the-shelf integration with Avid Interplay to automate the end-to-end process of generating speech-to-text and video intelligence metadata for Avid-based assets while automatically submitting media for transcription, captioning, and translations from within the existing workflow.

MetadataIQ allows operators to create and ingest different types of metadata — including speech-to-text, facial recognition, OCR, logos, and objects, each with customizable marker durations and color codes for easy identification — that can be accessed via the Avid MediaCentral environment. Editors may type a search term within Interplay or MediaCentral, identify the relevant clip, and start creating content. For VOD and content repurposing, video intelligence metadata aids in product placement/replacement and accurately identifying ad spots.

The platform is the first to offer on-premises transcoding and intelligent extraction of audio files to generate speech-to-text transcripts. Users aren’t required to create a low-res proxy or manually import files into Avid MediaCentral. MetadataIQ automatically generates speech-to-text transcripts for file-based assets in addition to streaming speech-to-text transcripts from growing audio assets in real time. Operators have the option of sending transcripts to Digital Nirvana’s processing centers for high-quality, human-curated output, which is returned within Interplay.

MetadataIQ integrates directly with the company’s Trance platform for the generation of transcripts, captions, and translations in all industry-supported formats. In-house teams can submit files directly from their existing workflow and receive the output as sidecar files or ingest them directly back into Interplay as markers.

“By delivering complete automation over the generation and ingestion of relevant metadata as locators into Avid, MetadataIQ helps editors accurately identify relevant content to save time and effort. For example, we’ve had users report that the process of creating new content has been reduced from 15 hours to two hours,” said Hiren Hindocha, CEO, Digital Nirvana. “In addition, our platform replaces several traditional manual processes — from creating low-res proxies to submitting files to third parties for transcripts, captions, and translations — to increase the efficiency of production, preproduction, and live content creation processes.”

The MetadataIQ software can be installed on-site on a dedicated server or virtual machine with Digital Nirvana providing complete support for deployment.

More information about Digital Nirvana and its products and services is available at www.digital-nirvana.com.

It has made a name for itself for its products used for live event productions. Now, CP Communications is gaining notice for its RF coordination and complement of equipment used by ESPN, FOX, and MLB Network during Major League Baseball’s All-Star Game and related events.

The Major League Baseball events were held earlier this month at Coors Field in Denver. The RF Coordination strategy for the All-Star Game included pre-planning and acquisition of 1108 frequencies, covering RF video systems, audio, return video, paint control, intercoms and two-way radios.

Operating from its flagship HD21 mobile production unit, the CP Communications crew provided support for the Home Run Derby on July 12 (ESPN), the Red Carpet All-Star Show at McGregor Square on July 13 (MLB Network), the All-Star Game on July 13 (FOX), and the three-day MLB Draft at the Bellco Theatre in Denver that started on July 11 (ESPN and MLB Network).

CP also assisted with on-site studio shows for all three networks, including ESPN’s Baseball Tonight and FOX’s pregame show, which were setup in various locations across Coors Field.

Other key clients serviced include ESPN Radio, Sirius XM Radio and the MLB Commissioner’s Office.

“We had our own all-star crew of 23 on site that was truly second to none,” said Michael Mason, president of CP Communications. “Over four days, we coordinated between three networks in multiple venues producing event coverage plus regularly scheduled network programming. Coordination was an essential part of our game plan. The All-Star Game is one of the most high-profile events in professional sports, and we delivered high-quality support for all of our clients.”

CP’s support included 16 RF handheld cameras, including two FlyCam systems, two “Megalodon” Sony cameras (with shallow depth of field), a Sony HDC-P50 compact POV on a MōVI camera rig, a SteadiCam, and batting cage POVs. CP added 60 wireless microphones that were used throughout the events by reporters and other on-air talent, plus umpires, coaches, and players. Some mics were even planted in the ground to capture game audio and effects.

“The TV transmitters installed on mountains around Coors Field can create challenges for wireless productions,” Mason added. “Before the action, we performed accurate site surveys and current spectrum scans so we could deliver reliable wireless video and audio signals for all clients.”

— Brian Galante

The FCC has adopted a Further Notice of Proposed Rulemaking seeking to refresh the existing record regarding the statutorily mandated collection of data on FCC Form 395-B.

That’s the form used for EEO data collection by the Commission until the D.C. Circuit asked it to stop doing so — 20 years ago.

Please Login to view this premium content. (Not a member? Join Today!)

There’s a nice mix of returning advertisers and big brands that are revving up their back-to-school ad campaigns at spot television.

It’s good news for broadcast TV, as soccer attracts viewers to FOX, and the Olympics dominate the NBC and Telemundo schedules.

Among the brands making big moves this week: Walmart.

Please Login to view this premium content. (Not a member? Join Today!)

The Lakeland-Winter Haven-Auburndale area of Central Florida continues to grow, and given its locale between Tampa and Orlando, there are few local media choices.

Among them are AM radio stations licensed to WALCO Enterprises, led by Ferris Waller.

Add another property to that kHz-band mix of properties in Waller’s stable.

Please Login to view this premium content. (Not a member? Join Today!)

An Abilene, Tex., operator has agreed to acquire the assets of a Class C3 FM serving the Lubbock, Tex., market with a unique Texas-flavored “Red Dirt Country” presentation.

The deal, which awaits FCC approval, brings an end to ownership of a company that in April voluntarily filed for Chapter 11 bankruptcy protection. Rather than emerge, its lone asset — the FM — was auctioned off.

Please Login to view this premium content. (Not a member? Join Today!)

She served as the General Sales Manager of pioneering Sports Talker WFAN in New York from January 2006 until August 2014 and, from October 2000 through the end of 2005, was VP/GM of Univision three radio stations serving the market.

Her resume also includes a role as GSM of WAXQ-FM “Q104.3” in New York.

Now, this radio industry veteran is spending the next 15 months in federal prison for using a credit card designated for business expenses for personal use exceeding $300,000 in payments.

Stephanie McNamara Bitis on Friday was sentenced to 15 months in a federal prison facility and has been ordered to pay $302,585.01 in restitution for using a credit card associated with her former role at Long Island Radio Broadcasting in order to pay for various personal expenses.

According to court documents, they include expenses tied to a boat used by her and her family, and for a trip to the Caribbean.

As reported by Newsday, Bitis tearfully apologized for her actions conducted while GM of Top 40 WBEA-FM 101.7, Adult Contemporary WBAZ-FM 102.5 and heritage Adult Alternative WEHM-FM at 92.9 and 96.9 MHz, which serve the Riverhead-Sag Harbor portion of the Nassau-Suffolk region of New York, or Long Island.

The sentencing of Bitis by United States District Judge Gary Brown, following her guilty plea to “felony access device fraud” in November 2020, includes one year of supervised release.

The sentencing hearing was originally scheduled for March 26 but was pushed back to work out restitution.

Bitis ran the Long Island Radio Broadcasting stations from 2015 to 2017.

As reported by Newsday, Bitis read a prepared apology to the court, tearfully reading, “Because of the tremendous mistake I made, 58 years of any good I’ve done has been totally erased and this defines me, your honor. I’m sorry we’re all here. I apologize for the time and expense of everyone involved.”

The daily newspaper also notes that $125,000 of the restitution has been paid, with $52,585.01 going to Long Island Radio Broadcasting; to do so, Newsday says, Bitis mortgaged her home.

As of November 2020, Bitis served as VP/Sales of Dan’s Papers, a Schneps Media local marketing company and newspaper publisher serving the Hamptons and East End communities in Suffolk County, N.Y.

Bitis’ unauthorized charges first came to public light after the Federal Bureau of Investigation and the U.S. Attorney’s Office in the Eastern District of New York were brought in after an attorney was hired to look into credit card fraud triggered by “a suspicious wire transfer” detected by the owner of Long Island Radio Broadcasting, Lauren Stone. This led Stone to review LIRB’s American Express statements for the preceding six months. The result? Stone noticed several charges that appeared fraudulent.

Outside legal help was brought on by Stone to take a closer look at LIRB’s books. The third-party agency determined that Bitis had placed “hundreds of thousands of dollars of personal charges on LIRB’s corporate American Express card.”

As reported in the Patch newspaper’s Southampton, N.Y., edition, these charges included a family vacation to Aruba, personal visits to the orthodontist, boat maintenance and boat fuel and tax services for delinquent personal income tax payments.

At the time, Stone concluded that McNamara Bitis concealed the fraud by submitting falsified documents to LIRB’s accountant. In fact, the radio industry veteran allegedly created fraudulent American Express statements by removing vendors such as her orthodontist to hide the personal charges, Stone added.

Bitis’ legal representative had acknowledged some level of fraud, but greatly disputed the extent of it.

Following the sentencing, Stone told Streamline Publishing’s Radio Ink she’s pleased justice was served.

“Although LIRB is still picking up the pieces of the mess that was left as a result of the defendant’s fraud and embezzlement, we are hopeful that we can overcome these obstacles and continue to serve the needs of Long Island’s East End.”

— Additional reporting by Ed Ryan and Rob Dumke

It may have just 80 watts of power, but this FM translator emits a signal that covers nearly all of central Atlanta, thanks to its presence on a tower structure located in the industrial Reynoldstown neighborhood east of downtown.

Since the start of 2021, it has emulated a now-defunct Classic Hits station by using its former branding, “The Fox.”

Now, to borrow the title of a 1970s hit, is this Fox on the Run?

A change in ownership has been consummated.

Please Login to view this premium content. (Not a member? Join Today!)

In late March, Keith Stover — also known to a generation of Pittsburgh radio listeners as Keith Clark — moved forward in filing paperwork with the FCC that would make him a majority owner of a pair of FM radio stations serving the Columbia, S.C., market.

Late last week, that transaction formally closed.

Please Login to view this premium content. (Not a member? Join Today!)

In February 1993, another of the FCC’s Docket 80/90 Class A additions to the FM radio dial began serving a portion of the Mid-Hudson Valley. Seven months later, it would come under the ownership of Will Stanley.

Together with his wife, the Stanleys created a heralded and unique offering replete with Adult Alternative, Americana and folk music — most of it produced at the station’s Northern Dutchess County offices and studios.

On June 22, Stanley passed away at the age of 73.

But, WKZE-FM 98.1, licensed to Salisbury, Conn., and based in Red Hook, N.Y., will live on.

Please Login to view this premium content. (Not a member? Join Today!)

In September 2018, a forlorn AM radio station that had been serving Brazilians with Portuguese-language fare became the latest station to capitalize on the massive growth of the Spanish-speaking population in Central Florida. Only, it didn’t adopt another music format.

Instead, iHeartMedia gave birth to a spoken word format, today an anomaly in the Latin media world.

It now appears the decision was a savvy one.

Please Login to view this premium content. (Not a member? Join Today!)

As of August 9, the nation’s largest broadcast TV station owner will have its news EVP/CFO.

The appointment comes following the promotion in October 2020 of Tom Carter to President/COO, a move that saw him retain his financial role.

Please Login to view this premium content. (Not a member? Join Today!)

Workflow automation, media processing, quality monitoring, and test and measurement product manufacturer Telestream says its Vantage Media Processing Platform now supports Dolby Atmos immersive audio and Dolby Vision HDR.

Dolby Vision and Dolby Atmos content is now available worldwide from the leading streaming and broadcast service providers and can be experienced on millions of devices. With Dolby Vision and Dolby Atmos encoding, content owners, producers, and distributors using Vantage will be able to meet their customers’ demands for incredible picture and sound quality.

Dolby Vision transforms viewing experiences with ultra-vivid picture quality — incredible brightness, contrast, color, and detail that bring entertainment to life. When compared to a standard picture, Dolby Vision can deliver colors never-before seen on a screen, highlights that are up to 40 times brighter, and blacks that are 10 times darker. With Dolby Vision, Vantage customers will be able to automate and efficiently process their content while also ensuring that their creative intent is maintained throughout the entire creative process — from post-production to distribution.

Dolby Atmos is an immersive audio technology that transforms entertainment with moving audio that flows above and around the listener. It brings people inside the action as the sounds of people, places, things, and music come alive with breathtaking realism. Dolby Atmos is now widely available across film and TV streaming, gaming, live sports broadcast, and music streaming platforms. Having Dolby Atmos support in Vantage gives content creators and distributors the ability to automate the creation, processing, and delivery of media assets that are available in this powerful audio technology.

— Doug Hansel

He’s been at Comscore for four years, and in that time saw a lot of changes in the C-Suite.

Now, he’s opting to “pursue new interests” in five weeks’ time.

Please Login to view this premium content. (Not a member? Join Today!)