Tag: #sportsproduction

101, Best Practices, Editing, Mentoring, Project & Production Management, Technology

What Is Forking Edit Material?

Sounds like I’m trying to avoid cursing – right? Wellllll in a very adjacent way, I may be, but that’s not what I’m talking about.

Forking is a term used in video editing that refers to creating multiple versions or copies of a project or sequence as a way to save different versions of the same information. This is typically done to give editors the flexibility to experiment with different approaches to a project without losing any of their original work.

When forking information, an editor will create a new sequence or project that is a copy of the original. This allows them to make changes to the copy without affecting the original. They can then experiment with different edits, transitions, and effects in the copy, and compare the results to the original to see which approach works best.

Forking can also be used as a way to save different versions of a project at different stages of the editing process. For example, an editor may create a fork of a project when they are halfway through the editing process, and then create another fork when they are close to completing the project. This allows them to go back to earlier versions of the project if they need to make changes or try a different approach.

By forking information, editors can save time and avoid the risk of losing their work. They can experiment with different approaches to a project without affecting the original, and keep multiple versions of a project at different stages of the editing process. This can be particularly useful when working on complex projects with many different elements that need to be coordinated and integrated into the final product.

Okkkk. How do you successfully fork a project?

Since the Fork copy is often used for making changes or testing new edits without affecting the original project.

To successfully and efficiently perform forking in video editing, there are a few best practices to keep in mind:

  1. Choose the right video editing software: There are many video editing software tools available, such as Adobe Premiere Pro, Final Cut Pro, and DaVinci Resolve. Choose the software that best fits your needs and has the features you require.
  2. Keep forking to a minimum: While forking can be useful, it can also lead to confusion and version control issues. Only fork when necessary, and try to keep the number of forks to a minimum.
  3. Keep forks up-to-date: If you do create a fork, it’s important to keep it up-to-date with the original video project. This ensures that any changes made to the original video are reflected in the fork.
  4. Use duplicate sequences: Instead of forking, consider using duplicate sequences to make changes to your video project. Duplicate sequences allow you to work on a separate copy of the project without creating a new project file.
  5. Collaborate effectively: If you’re working with others on a forked video project, make sure you’re collaborating effectively. Use tools like shared project files and version control to ensure that changes are properly reviewed and tested before being merged back into the main project.

By following these best practices, forking can be a powerful tool for video editing. It allows editors to experiment with new edits and make changes without affecting the original project, while still maintaining an up-to-date copy of the project.

If you’d like more information, please reach out.

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Career, Collaboration, Employment, Life Choices, Training

Job Seeking in Broadcasting (this really applies to many industries)

Are you tired of seeing job postings that seem impossible to qualify for? You’re not alone. As someone who receives countless requests for help to break into the broadcasting industry, I’ve seen my fair share of job descriptions that require years of experience or advanced degrees for entry-level positions.

It’s frustrating and it doesn’t make sense. Entry-level should mean just that – a starting point for someone who is just beginning their career. These positions should be filled with individuals who are eager to learn and grow within the company. Instead, companies are expecting candidates to have years and years of experience for positions that are supposed to provide a pathway to success.

This is particularly problematic in the broadcasting industry, where there is a severe lack of crew around the world. The industry simply cannot afford to turn away talented individuals who are just starting out because they don’t have the years of experience that some job postings require. We need to be nurturing new talent, not pushing them away.

Of course, experience is important, and it’s understandable that companies want to hire individuals who have some level of expertise. But there has to be a balance. Entry-level positions should not require multiple years of experience or a master’s degree. That’s not reasonable or realistic.

Instead, we need to start thinking about entry-level positions as an opportunity to train and mentor new talent. Companies should be providing on-the-job training and investing in their employees’ professional development. This not only benefits the company, but it also benefits the industry as a whole by creating a pipeline of talented individuals who can take on more advanced roles in the future.

So, if you’re someone who is just starting out in their career and feeling discouraged by the unrealistic job postings out there, know that you’re not alone. It’s time for companies to rethink their approach to entry-level positions and start investing in the next generation of talent. And if you’re a company looking for new talent, consider taking a chance on someone who may not have years of experience, but who is eager to learn and grow with your organization. You might just be surprised at the results.

Now that we’ve identified the problem of unrealistic job postings and the need to invest in new talent, let’s take a look at some potential solutions.

1. Redefine entry-level positions: Companies need to redefine entry-level positions to better reflect what they actually are – starting points for people who are just beginning their careers. This means dropping unrealistic experience and education requirements and focusing on a candidate’s potential and willingness to learn.

2. Offer training and mentorship: Companies need to invest in their employees by offering on-the-job training and mentorship programs. This will not only help new hires develop their skills, but it will also create a supportive work environment that encourages growth and development.

3. Partner with educational institutions: Companies can partner with educational institutions to create pipelines of new talent. This can include internships, co-op programs, or apprenticeships that provide students with hands-on experience and a pathway to a career in the broadcasting industry.

4. Focus on diversity and inclusion: Companies need to focus on diversity and inclusion by actively seeking out and hiring candidates from underrepresented backgrounds. This will not only bring new perspectives and ideas to the table, but it will also help address the systemic issues that have led to a lack of diversity in the broadcasting industry.

5. Create entry-level job boards: Finally, companies can create entry-level job boards that are specifically designed for individuals who are just starting out in their careers. These job boards can help job seekers find opportunities that are more realistic and attainable, while also helping companies find new talent.

By implementing these solutions, companies can start to address the issue of unrealistic job postings and invest in the next generation of talent. This will not only benefit companies by creating a pipeline of skilled workers, but it will also benefit the broadcasting industry as a whole by creating a more diverse and inclusive workforce.

But wait there’s more! What can the job seeker do?

While companies have a responsibility to provide entry-level opportunities and invest in new talent, job seekers also have a role to play in their own career development. Here are some things that job seekers can do to enhance their skills and gain experience:

1. Attend local events: Job seekers can attend local events, such as industry conferences, workshops, and networking events, to meet professionals in the broadcasting industry and learn about new trends and technologies. This can also be an opportunity to ask questions and get advice from people who are already working in the industry.

2. Pursue internships or apprenticeships: Job seekers can pursue internships or apprenticeships to gain hands-on experience in the broadcasting industry. These programs provide opportunities to work alongside professionals and learn from their experiences.

3. Build a portfolio: Job seekers can build a portfolio of their work to showcase their skills and experience to potential employers. This can include samples of their writing, photography or videography work, or other projects that demonstrate their abilities.

4. Invest in their own education: Job seekers can invest in their own education by taking courses or pursuing certifications in areas related to broadcasting, such as journalism, media studies, or video production. This shows a commitment to their field and demonstrates a willingness to learn and develop new skills.

5. Seek out mentors: Job seekers can seek out mentors in the broadcasting industry who can provide guidance and advice on their career development. This can be a valuable resource for job seekers who are just starting out and looking for direction.

Ultimately, job seekers need to take an active role in their own career development. By seeking out opportunities for on-the-job training, attending local events, building a portfolio, investing in their education, and seeking out mentors, job seekers can enhance their skills and gain experience that can help them land their first job in the broadcasting industry.

101, Best Practices, Collaboration, Digital Platforms, Learning, Mentoring, Project & Production Management, Sports, Streaming, Technology

101: Troubleshooting SCTE-35 DAI A Quick Guide

Sometimes things just don’t work. You’ve rebooted, run reports, and you just need to pause. Here are some steps to troubleshoot SCTE-35 DAI issues:

1. Check for SCTE-35 markers: The first step in troubleshooting SCTE-35 DAI issues is to check if the SCTE-35 markers are being inserted into the video stream correctly. You can use a tool like SCTE-35 Analyzer to check if the markers are being sent at the appropriate times and if their contents are correct.

2. Check your ad server: If the SCTE-35 markers are being sent correctly, the next step is to check your ad server. Ensure that the ad server is sending ad inventory to the video player at the appropriate times and that the ad creative is correct.

3. Check your video player: If the ad server is sending ad inventory correctly, the issue may be with your video player. Ensure that your video player is configured correctly to receive SCTE-35 markers and that it is capable of processing them correctly. Check the video player logs for any errors or warnings related to SCTE-35 processing.

4. Check for network issues: If the SCTE-35 markers, ad server, and video player are all working correctly, but the ads are still not showing up, there may be a network issue. Check for any network issues that may be preventing the video player from receiving the ad inventory correctly.

5. Test with different devices and platforms: If the issue is only occurring on certain devices or platforms, test with different devices and platforms to identify if it is a device-specific issue.

6. Contact your ad server or video player provider: If the above steps do not resolve the issue, contact your ad server or video player provider for further assistance. They may be able to provide more targeted troubleshooting steps or identify any issues specific to their platform.

101, Coding, Collaboration, Content Delivery Networks, Digital Platforms, Learning, Mentoring, Streaming, Technology

101: How to Create SCTE 35 & 224 Markers for HLS, JSON, XML, Python, JavaScript, & Ruby

To create SCTE markers for DAI (Dynamic Ad Insertion) for live streaming, you can use a variety of scripting languages and tools. Here are a few examples:

SCTE-35 is a standard for signaling ad insertion opportunities in live streams. It uses MPEG-2 Transport Stream packets to insert “cue” messages that indicate the start and end of ad breaks. To create SCTE-35 markers, you can use tools like SCTE-35 Commander or SCTE-35 Injector. These tools allow you to create SCTE-35 messages and insert them into your live stream.

1. HLS: HLS (HTTP Live Streaming) is a streaming protocol that allows for dynamic ad insertion in live streams. To create SCTE markers for HLS, you can use the EXT-X-CUE-OUT and EXT-X-CUE-IN tags. These tags indicate the start and end of an ad break and can be used to trigger the insertion of ad content. Here is an example of an HLS manifest with SCTE markers:

“`m3u8
#EXTM3U
#EXT-X-VERSION:3
#EXT-X-TARGETDURATION:10
#EXT-X-MEDIA-SEQUENCE:0
#EXT-X-CUE-OUT:DURATION=30
#EXTINF:10.0,
https://example.com/live/stream_720p/chunk_00001.ts
#EXTINF:10.0,
https://example.com/live/stream_720p/chunk_00002.ts
#EXT-X-CUE-IN
#EXTINF:10.0,
https://example.com/live/ad_720p/chunk_00001.ts
#EXTINF:10.0,
https://example.com/live/ad_720p/chunk_00002.ts
#EXT-X-CUE-OUT:DURATION=30
#EXTINF:10.0,
https://example.com/live/stream_720p/chunk_00003.ts
#EXTINF:10.0,
https://example.com/live/stream_720p/chunk_00004.ts
#EXT-X-CUE-IN
#EXTINF:10.0,
https://example.com/live/ad_720p/chunk_00003.ts
#EXTINF:10.0,
https://example.com/live/ad_720p/chunk_00004.ts
#EXT-X-ENDLIST
“`

In this example, the SCTE markers are represented by the EXT-X-CUE-OUT and EXT-X-CUE-IN tags. These tags indicate the start and end of an ad break, and the ad content is inserted between them.

2. JSON: SCTE-224 is a standard for signaling ad breaks in live streams using JSON metadata. To create SCTE markers using SCTE-224, you can use tools like the SCTE-224 Event Scheduler or the SCTE-224 Event Injector. These tools allow you to create JSON metadata that signals the start and end of ad breaks in your live stream.

3. XML: Like JSON, SCTE-224 also supports XML metadata for signaling ad breaks in live streams. You can use XML tags to specify the start and end of ad breaks and other metadata. For example:

“`xml
<ADI>
<Asset>
<Metadata>
<SCTE35>
<SpliceInfoSection>
<SpliceInsert>
<SpliceEvent>
<SpliceEventId>12345</SpliceEventId>
<SpliceOutOfNetworkIndicator>false</SpliceOutOfNetworkIndicator>
<SpliceImmediateFlag>true</SpliceImmediateFlag>
<BreakDuration>30000</BreakDuration>
</SpliceEvent>
</SpliceInsert>
</SpliceInfoSection>
</SCTE35>
</Metadata>
</Asset>
</ADI>
“`

In this example, an SCTE-35 splice event is specified using XML tags within an Asset Description and Metadata Interface (ADI) file.

4. Python: You can also use Python scripts to generate SCTE-35 messages for DAI. For example, the SCTE-35 Python library allows you to create SCTE-35 messages using Python code. Here’s an example Python script that creates an SCTE-35 message:

“`python
from scte35 import SpliceInfoSection, SpliceInsert

splice_event = SpliceInsert(
splice_event_id=12345,
out_of_network=False,
immediate=True,
break_duration=30
)

splice_info_section = SpliceInfoSection(
splice_insert=splice_event
)

scte35_message = splice_info_section.to_bytes()
“`

This script creates a splice event with ID 12345, a break duration of 30 seconds, and other parameters, and then generates an SCTE-35 message using the scte35 library.

5. JavaScript: If you’re working with web-based live streaming technologies like HLS or DASH, you can use JavaScript to manipulate the manifest files and insert SCTE markers. For example, you could use JavaScript to modify the EXT-X-CUE-OUT and EXT-X-CUE-IN tags in an HLS manifest file to indicate ad breaks.

6. Ruby: Ruby is another scripting language that can be used to generate SCTE-35 messages for DAI. The SCTE35 gem is a Ruby library that allows you to create and parse SCTE-35 messages. Here’s an example Ruby script that creates an SCTE-35 message:

“`ruby
require ‘scte35’

splice_event = SCTE35::SpliceInsert.new(
splice_event_id: 12345,
out_of_network: false,
immediate: true,
break_duration: 30
)

splice_info_section = SCTE35::SpliceInfoSection.new(
splice_insert: splice_event
)

scte35_message = splice_info_section.to_binary_s
“`

This script creates a splice event using the SCTE35 gem, sets its parameters, and generates an SCTE-35 binary message.

Overall, the choice of scripting language and tool depends on the specific requirements of your live streaming setup. These examples show some common options for creating SCTE markers for DAI in live streaming.

101, Best Practices, Coding, Content Delivery Networks, Digital Platforms, HLS Streaming, Project & Production Management, Streaming, Technology

101: What is ESAM Scripting for YouTube & SCTE DAI?

First, what is SCTE? (pronounced scut-e). The Society of Cable Telecommunications Engineers (SCTE) is a professional association that offers education, certification, and standards for the telecommunications industry. SCTE serves as a technical and applied science leader, providing training and certification programs in broadband, cable networks, and digital video. It has a diverse membership of professionals, including engineers and technicians, who work in the cable and telecommunications industries.

Next, what is ESAM? ESAM stands for Event Signaling and Management. It is a protocol used in cable networks to provide advanced notification and management of network events. ESAM allows for the delivery of messages that can be used to signal events such as program start and end times, emergency alerts, and other network events. It is an important component of the CableLabs Enhanced Content Specification, which is a set of technical specifications used in digital TV networks. ESAM is designed to enhance the functionality and interoperability of networks, improving the viewing experience for subscribers.

ESAM scripting for SCTE:

1. Identify the video content that needs to be marked up with SCTE markers. These could be ad breaks, chapter markers, or other significant events in the video.

2. Use an ESAM editor tool to create the ESAM script. There are several tools available, such as ESAM Creator and ESAM Builder. These tools allow you to create, edit, and validate the ESAM script.

3. Define the SCTE markers in the ESAM script. Each marker should include the timecode, duration, and type of event. For example, an ad break marker could be defined as a “cue-in” event with a duration of 30 seconds.

4. Validate the ESAM script to ensure that it is compliant with the SCTE specification. Use the ESAM editor tool to run the validation process and check for any errors or warnings.

5. Save the ESAM script and upload it to your YouTube account. You can do this by selecting the video content in your YouTube Studio dashboard, navigating to the “Advanced” tab, and uploading the ESAM script in the “Content ID” section.

6. Review the video content to ensure that the SCTE markers are working correctly. You can use the YouTube player to test the markers and make any necessary adjustments to the ESAM script.

By following these steps, you can create an ESAM script for YouTube SCTE that will help you manage and monetize your video content more effectively.

An ESAM script is an XML-based file that contains information about events or markers that occur in video content. These markers can be used for a variety of purposes, such as indicating ad breaks, chapter markers, or other significant events in the video.

Here is an example of an ESAM script for a dynamic commercial SCTE marker in XML format:

“`xml
<?xml version=”1.0″ encoding=”UTF-8″?>
<ESAM xmlns=”urn:ietf:params:xml:ns:esam:1.0″>
<EventSignal Time=”00:05:00.000″ Duration=”00:00:30.000″ Type=”Commercial”>
<Metadata>
<MetadataItem Name=”AdType”>Dynamic</MetadataItem>
<MetadataItem Name=”AdID”>1234</MetadataItem>
<MetadataItem Name=”AdTitle”>Example Ad</MetadataItem>
<MetadataItem Name=”Advertiser”>Acme Corp</MetadataItem>
</Metadata>
</EventSignal>
</ESAM>
“`

In this example, the ESAM script includes a “Commercial” event signal that occurs at the 5-minute mark of the video and lasts for 30 seconds. The metadata associated with the event signal includes information about the ad type, ID, title, and advertiser.

By using ESAM scripts like this one, video content creators and distributors can manage and monetize their content more effectively, while providing a better experience for viewers.

More scripting tomorrow…. stay tuned!

101, Content Delivery Networks, Digital Platforms, Mentoring, publishing, SQL, Streaming

Streaming Strategies: 30 Popular Broadcasters -Who Do You Use?

There are several considerations that companies keep in mind when developing streaming strategies.

Some key factors:

•Content: The availability and quality of content is a critical factor in attracting and retaining subscribers. Companies must consider what type of content to offer, including original programming, movies, TV shows, and live events.

•Pricing: Companies must carefully consider their pricing strategy to remain competitive and attract subscribers. They may offer different subscription tiers with varying features and pricing options.

•Distribution: Companies must consider how to distribute their content, whether through their own website or app, through third-party platforms, or through partnerships with other companies.

•User Experience: The user experience is critical in retaining subscribers. Companies must ensure that their streaming service is easy to use, reliable, and offers high-quality video and audio.

•Marketing: Companies must develop effective marketing strategies to promote their streaming service and attract new subscribers. This may include social media advertising, influencer partnerships, or other tactics.

•Technology: Companies must consider the technology required to deliver their streaming service, including video encoding, content delivery networks, and other infrastructure.

•Competition: Companies must keep an eye on the competition and adapt their strategies accordingly. They may need to adjust their pricing, content, or marketing strategies to remain competitive in the market.

30 “Streamers”, and Their Strategies:

1. Netflix – Subscription-based streaming of movies and TV shows

2. Hulu – Subscription-based streaming of TV shows and movies, with live TV options

3. Amazon Prime Video – Subscription-based streaming of movies and TV shows, with additional perks for Amazon Prime members

4. Disney+ – Subscription-based streaming of Disney, Pixar, Marvel, and Star Wars content

5. HBO Max – Subscription-based streaming of HBO and other content, including original programming

6. Apple TV+ – Subscription-based streaming of original programming and movies

7. YouTube TV – Subscription-based streaming of live TV channels

8. Sling TV – Subscription-based streaming of live TV channels

9. FuboTV – Subscription-based streaming of live TV channels, with a focus on sports

10. ESPN+ – Subscription-based streaming of sports events and original programming

11. CBS All Access – Subscription-based streaming of CBS content, including live TV options

12. NBC Universal Peacock – Subscription-based streaming of NBC and Universal content, including live TV options

13. Showtime – Subscription-based streaming of Showtime content, including original programming

14. Starz – Subscription-based streaming of Starz content, including original programming

15. Crunchyroll – Subscription-based streaming of anime and manga

16. Funimation – Subscription-based streaming of anime and manga

17. VRV – Subscription-based streaming of anime, gaming, and other pop culture content

18. Twitch – Free streaming of live gaming and other content, with subscription options for additional perks

19. Mixer – Free streaming of live gaming and other content, with subscription options for additional perks

20. Facebook Watch – Free streaming of original programming and other content

21. Instagram Live – Free streaming of live events and other content

22. Twitter Live – Free streaming of live events and other content

23. Periscope – Free streaming of live events and other content

24. Vimeo – Subscription-based streaming of original programming and other content

25. Dailymotion – Free streaming of user-generated and original programming

26. Kanopy – Free streaming of movies and TV shows, with access through public libraries and universities

27. Crave – Subscription-based streaming of movies and TV shows in Canada

28. BBC iPlayer – Free streaming of BBC content in the UK

29. ITV Hub – Free streaming of ITV content in the UK

30. Sky Go – Subscription-based streaming of Sky content in the UK

These companies are major players in the streaming industry(this is not an exhaustive list), each with their own unique strategies and considerations. They offer a range of content, from movies and TV shows to live events and original programming, and use different pricing models and distribution methods to attract and retain subscribers. User experience, marketing, technology, and competition are all key factors that they must consider when developing their streaming strategies. As the streaming market continues to grow, these companies will need to remain agile and adapt their strategies to remain competitive and meet the changing needs of their audiences.

101, Best Practices, Digital Platforms, gaming, Learning, Mentoring, Streaming

Broadcasting: Mux or Demux? What The Heck Is That About?

In broadcasting, muxing and demuxing are essential processes that allow for the transmission and distribution of audio and video streams.

Muxing, or multiplexing, is the process of combining multiple audio and video streams into a single stream. This combined stream can be transmitted over a network or broadcast through traditional media channels like television or radio. Muxing is commonly used in live streaming, video editing, video conferencing, and IPTV.

A mux works by taking multiple input streams and interleaving them into a single output stream, which can be encoded and transmitted over a network using a specific protocol. The output stream is typically optimized for transmission efficiency, so that it can be transmitted with minimal delay and bandwidth requirements.

10 use cases for a mux:

1. Live streaming: A mux can be used to combine multiple live audio and video feeds into a single stream for real-time broadcast.

2. Video editing: A mux can be used to combine multiple video tracks into a single output file for editing or post-production.

3. Video surveillance: A mux can combine multiple video feeds from surveillance cameras into a single stream for monitoring and recording.

4. IPTV: A mux can be used by IPTV providers to combine multiple TV channels into a single stream for distribution over the internet.

5. VoIP: A mux can be used to combine multiple voice streams into a single output stream for voice over IP (VoIP) applications.

6. Music production: A mux can be used to combine multiple audio tracks into a single output file for music production or mixing.

7. Video conferencing: A mux can be used to combine multiple audio and video feeds from participants in a video conference into a single output stream.

8. Digital signage: A mux can be used to combine multiple video feeds for display on digital signage screens.

9. Sports broadcasting: A mux can be used to combine multiple audio and video feeds from different cameras and microphones at a sports event into a single broadcast stream.

10. Online gaming: A mux can be used to combine multiple audio and video streams from players in an online multiplayer game into a single stream for spectators to watch.

Conversely….

Demuxing, or demultiplexing, is the opposite process of separating the combined stream back into its individual audio and video streams. This allows for the decoding and processing of the individual streams separately. Demuxing is commonly used in media playback, video editing, audio processing, and network monitoring.

A demux works by analyzing the input stream and separating it into its constituent parts based on the underlying format and structure of the stream. The output streams can then be decoded or processed separately using appropriate software or hardware.

10 use cases for demuxing:

1. Media playback: A media player uses a demux to separate the audio and video tracks of a media file, so that they can be decoded and played back separately.

2. Video editing: A demux can be used to separate multiple video tracks from a single media file for editing or post-production.

3. Audio processing: A demux can be used to separate multiple audio tracks from a media file for processing or analysis.

4. Closed captioning: A demux can be used to separate the closed captioning data from a video file, so that it can be displayed separately.

5. Subtitles: A demux can be used to separate the subtitle data from a video file, so that it can be displayed separately.

6. Video transcoding: A demux can be used to separate the audio and video tracks of a media file for transcoding into a different format or resolution.

7. Network monitoring: A demux can be used to analyze network traffic and separate different types of data packets for monitoring or analysis.

8. Digital forensics: A demux can be used to extract individual files or data streams from a larger disk image or data file for forensic analysis.

9. Compression: A demux can be used to separate different data streams for compression or archiving purposes.

10. Streaming: A demux can be used to separate audio and video streams from a network broadcast for playback on different devices, or for further processing and analysis.

Both muxing and demuxing are critical processes in broadcasting that allow for efficient transmission and distribution of audio and video streams. These processes are used in a wide range of applications, from live sports broadcasting to online gaming, and are essential for ensuring high-quality audio and video transmission.

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Employment, Golf, Life Choices, Mentoring, Project & Production Management, Social Media

Broadcasting from: Baltusrol Golf Course, Springfield, NJ

The US Open golf tournament has been held at Baltusrol Golf Club in Springfield, New Jersey, on seven occasions. Here is the list of years, winners, and their scores:

1. 1903 – Willie Anderson (307)
2. 1915 – Jerome Travers (297)
3. 1936 – Tony Manero (282)
4. 1954 – Ed Furgol (284)
5. 1967 – Jack Nicklaus (275)
6. 1980 – Jack Nicklaus (272)
7. 1993 – Lee Janzen (272)

ABC Network has covered several golf events at Baltusrol Golf Club in Springfield, New Jersey, including the US Open and PGA Championship tournaments. Here is a list of the events, winners, and some additional details:

1. 1980 US Open: Jack Nicklaus won his fourth US Open Championship, shooting a final round of 68 to finish at 8-under-par for the tournament.

2. 1985 US Women’s Open: Kathy Baker won her only major championship, shooting a final round of 68 to finish at 4-under-par for the tournament.

3. 1993 PGA Championship: Paul Azinger won his first and only major championship, shooting a final round of 68 to finish at 8-under-par for the tournament.

4. 2005 PGA Championship: Phil Mickelson won his second major championship, shooting a final round of 72 to finish at 4-under-par for the tournament.

5. 2016 PGA Championship: Jimmy Walker won his first major championship, shooting a final round of 67 to finish at 14-under-par for the tournament.

ABC Network provided comprehensive coverage of these events, with experienced broadcasters and producers bringing the action to viewers around the world. Some of the notable names on the broadcast team included Jim McKay, Chris Schenkel, Jack Whitaker, and Mike Tirico. The production was led by ABC Sports Executive Producer Roone Arledge, and the Director of the broadcast was Craig Janoff.

Overall, these events produced some thrilling golf and unforgettable moments, making Baltusrol Golf Club a true showcase for the sport.

I was the Production & Technical Assistant for the 1993 event held at Baltusrol Golf Club in Springfield, New Jersey, from August 12-15, 1993. It was an exciting event, with some of the best golfers in the world competing for the championship title.

As a Production Assistant, my role was to assist the Production & Technical Manager in various aspects of the production. This included coordinating logistics, setting up equipment, and ensuring that everything ran smoothly throughout the event.

The 1993 PGA Championship was covered by ABC Network, with a team of talented broadcasters and producers bringing the action to viewers around the world.

Paul Azinger emerged as the winner of the tournament, shooting a final round of 68 to finish at 8-under-par for the tournament. It was his first and only major championship victory, and it was a moment that I will never forget. The excitement and energy of the event were palpable, and it was a privilege to be a part of such an incredible production.

Overall, the 1993 PGA Championship was a tremendous success, and I was proud to have played a small role in making it happen.

What are you’re experiences? Please share!

101, Collaboration, Content Delivery Networks, Digital Platforms, Learning, Mentoring, Technology, Training

Short Tutorial: UNC Paths in Broadcasting & Digital Streaming

Who May Need Them in Broadcasting & Digital Streaming?

UNC paths are commonly used in broadcasting to facilitate the transfer of large video or audio files between production facilities. This is because broadcasting often involves collaboration between multiple teams and locations, and UNC paths provide a standardized method of accessing shared resources on a network.

In broadcasting, UNC paths may be created by various professionals, including video editors, audio engineers, and IT staff. For example, a video editor may use a UNC path to access a shared folder containing footage that another editor has uploaded from a remote location. Meanwhile, an IT staff member may use a UNC path to connect broadcasting equipment to a shared storage device or backup system.

Overall, UNC paths are an essential tool for broadcasting professionals who need to collaborate on media production across a network.

What’s An UNC Path?

Creating an UNC (Universal Naming Convention) path is a method of identifying a network resource, such as a shared folder or printer, on a computer network. It uses a format that starts with two backslashes followed by the name of the computer and the name of the shared resource.

For Example:

For example, if a computer named “FILESERVER01” has a shared folder named “SharedDocs”, the UNC path to access it would be: \\FILESERVER01\SharedDocs

UNC paths are used when accessing network resources across different operating systems, such as Windows and Linux. They are also used in web addresses to access shared resources using a web browser. 

How-To Create One:

You can input a UNC path in various ways depending on the task you are trying to accomplish. Here are a few examples:

1. To access a shared folder on a network: Open File Explorer and type or paste the UNC path in the address bar at the top of the window. Press Enter to access the shared folder.

2. To map a network drive: Open File Explorer and click on “Map network drive” in the ribbon at the top of the window. In the “Drive” drop-down menu, choose a drive letter to assign to the mapped drive. In the “Folder” field, enter the UNC path of the shared folder you want to map. Click “Finish” to create the mapped network drive.

3. To reference a file in a UNC path in a script or program: Use the UNC path as you would any other file path, but include the double backslash at the beginning. For example, to reference a file named “Data.txt” in a shared folder named “Data” on a computer named “Server1”, the UNC path would be: \\Server1\Data\Data.txt

It’s important to note that UNC paths require proper permissions and authentication to access the shared resources.

Why You Need Them

UNC paths are necessary because they provide a standardized and consistent way of identifying and accessing network resources on a computer network. They allow users to access shared resources from any computer on the network, regardless of the computer’s operating system or location.

Without UNC paths, users would have to manually navigate to the network resource by IP address or hard-coded network path, which can be difficult and error-prone. UNC paths simplify the process by providing a unified naming convention that is easy to remember and use. They also provide security features that limit access to shared resources, ensuring that unauthorized users cannot access sensitive information.

How Do You Use Them? Please Comment.

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LPGA Cognizant Founders’ Cup 2023 ReCap

To my surprise after working the event I actually found a picture of Ashleigh Buhai putting with me in the background as her score bearer (I stood where I wouldn’t be in her putting site-line).

The LPGA’s Cognizant Founders’ Cup was an incredible experience. I was a standard bearer for 2 days, and 3 separate pairings. The Third Round: Ryan O’Toole & Gemma Dryburgh were both spectacular. For the Fourth (Final) Round Pairings I worked with: Yu-Sang Hou & Annie Park, then Ashleigh Buhai & Hae Ran Ryu, I had the opportunity to witness some of the world’s best golfers in action.

The event was held at The Upper Montclair Country Club, in Clifton, NJ. The weather was perfect, and the atmosphere was electric from start to finish. The tournament was played over four days, and the level of competition was intense. The golfers were all focused on winning the tournament, and it was clear that every shot mattered.

As a standard bearer, my job was to carry a sign displaying the players’ scores and walk with them around the golf course. It was an honor to be so close to the action, and I was amazed by the skill and precision of the golfers.

All are/were fantastic players, but Ashleigh Buhai and Hae Ran Ryu both finished in the top 4.  It was a privilege to be a standard bearer for all 6 players.  They were gracious and kind.  I was truly moved at how much time they all gave to the young ladies’ golfing “clinic” held right there on the grounds. 

The event production was well done.   Was it perfect?  – no, there were many pain points, but the attendees did not seem to notice. The organizers had put much effort into making sure that everything ran relatively smoothly, and it showed. The course was in great condition, and the facilities were top-notch. There were plenty of food and drink options available, and the staff were all friendly and helpful.

One of the highlights of the tournament was the Pro-Am event, which took place on the Wednesday before the tournament started. This gave amateur players the chance to play with the professionals and experience what it’s like to compete at the highest level. It was great to see so many people getting involved and enjoying the game of golf.

Another highlight was the closing ceremony, which of course took place on the final day of the tournament. The atmosphere was electric as the golfers made their way to the 18th hole, and the crowd cheered them on every step of the way.

In the end, it was Jin Young Ko who came out on top in a sudden death round with the amazing Minjee Lee. An impressive match-up to say the least.

Ashleigh Buhai finished in third place, and Hae Ran Ryu in fourth, both with strong performances throughout the tournament. Both “burned” many of the hole rims throughout the competition.  Those misses were so so close, it could break your heart.

Overall, the LPGA’s Cognizant Founders Cup was an amazing experience. It was a honor and a privilege to be so close to the action to the end.  I witnessed some of the world’s best golfers live in action. 

Thank you Ladies!