Will Greenwald

How to move AVID bins including metadata to DaVinci Resolve Moving bins and metadata from one application to another can be difficult sometimes. In this tutorial I will explain how to move bins including metadata from AVID Media Composer to DaVinci Resolve. https://lnkd.in/dWw7eKY9 And I have written a small freeware application, MetadataConverter which you can find here: https://lnkd.in/dKK5NBhN It helps you convert the .txt file from AVID to a .csv file for Resolve as described in the tutorial.

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Not so super Frank C. seems to never get the facts straight. Let''s take the time to review his latest 'drivel' 🧱 FACT CHECK: Setting the Record Straight on “5G Broadcast vs ATSC 3.0” 1️⃣ “5G Broadcast is advancing globally while ATSC 3.0 struggles.” ❌False. ATSC 3.0 is deployed in more countries and more receiver types than 5G Broadcast. Fact: ATSC 3.0 is on-air across the U.S., South Korea, Jamaica, and Brazil (TV 3.0), with additional trials in Canada, India, Mexico, and multiple European markets. Meanwhile, there are no nationwide 5G Broadcast deployments anywhere—only isolated MNO pilots in Germany, Austria, and China. 2️⃣ “ATSC 3.0 can’t be received on phones.” ❌Completely outdated. Fact: ATSC 3.0 reception is active on feature phones, smartphones, tablets, USB-C dongles, gateways, and TVs from multiple vendors. The ecosystem includes Saankhya/Tejas, MediaTek, SiliconDust, and others—commercial hardware, not prototypes. 3️⃣ “5G Broadcast is the only global standard (3GPP).” ❌ Misleading. Fact: ATSC 3.0 is an ITU-recognized international broadcast standard (BT.2037, BT.1877)—same global recognition level as DVB-T2 or ISDB-T. ATSC 3.0 is also natively IP, fully interoperable with 3GPP systems (that’s the foundation of B2X – Broadcast-to-Everything). 4️⃣ “Release 18 feMBMS is a game-changer.” ❌Hardly. Fact: Release 18 adds incremental improvements—larger guard intervals, extended SFN support, and optional return path—but it remains dependent on operator spectrum and core integration. ATSC 3.0 already exceeds feMBMS throughput, spectral efficiency, and modulation flexibility, operating independently in broadcast bands and enabling one-to-many delivery without network load. 5️⃣ “Brazil will also implement 5G Broadcast to complement TV 3.0.” ❌ Blatantly false. Fact: Brazil’s SBTVD Forum explicitly rejected 5G Broadcast for terrestrial TV services. TV 3.0 is based on ATSC 3.0 physical layer technology. The separate MNO-led study on mobile use cases is not part of TV 3.0 and has no official adoption. 6️⃣ “India is aligning with 5G Broadcast.” ❌ Misrepresented. Fact: India’s D2M (Direct-to-Mobile) initiative is ATSC 3.0-centric, jointly developed by Prasar Bharati, IIT Kanpur, and Saankhya Labs. Government agencies recognize ATSC 3.0 as the technical basis for large-scale D2M deployment. 7️⃣ “ATSC 3.0 is its own worst enemy.” ❌Wrong again. Fact: ATSC 3.0 is the only broadcast system proven to deliver UHD, HDR, datacasting, emergency alerts, and IP services at scale—while converging with telecom and satellite systems in real deployments. The global momentum speaks for itself—ATSC 3.0 is the broadcast foundation for the connected world. 🔧 Bottom Line feMBMS is a network feature. ATSC 3.0 is a full system. ATSC 3.0 delivers broadcast-grade performance today—independent, interoperable, and global. The world isn’t “swimming against the current.” It’s following the current—and that current flows through ATSC 3.0.

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30 years in broadcast: Why people matter more than technology I began my career as a broadcast engineer believing success was straightforward: master every cable, every feed, every fix, and progression would follow. In those early years, I focused entirely on delivering perfect results — understanding technology inside out, staying curious to learn more, and solving problems quickly. As time passed, and as I worked across cities and countries, a deeper realisation took shape. Technical skills open doors, but people carry you through them. Behind every major event — Olympics, FIFA, or the IPL — it wasn't technology that kept things running. It was the people. The producer who trusted me with a critical transmission. The foreign technician who stepped in when problems hit. The colleague who recommended me for a new opportunity. The competitor who became a teammate during tight deadlines. These relationships mattered as much as any system we built. Working across cultures, languages, and time zones taught me that broadcast engineering demands precision and agility, but collaboration often decides success. Over 30 years, I kept learning and adapting — from analogue to digital, from manual rigs to cloud setups. Yet when pressure mounted, it was trust, teamwork, and clear communication that kept projects alive. Broadcast engineering means embracing a nomadic existence. Work took me to 67 countries. Airports, control rooms, hotel lobbies, and cities blurred over time. Each project felt like building a life from scratch. Home, I learned, is not a place. It is the people you work beside. Friendships and professional bonds form a network that outlasts jobs, projects, and borders. Time taught me is that people change. The engineer you disagreed with early on may return as a trusted partner later. The manager you misunderstood may become a strong supporter. Time, shared pressure, and common goals reshape perspectives. They teach patience, respect, and the importance of leaving relationships intact — even when things do not go perfectly. Here is what experience taught me: Stay curious about people as much as technology. Greet everyone with respect, especially when the pressure runs high. Stay open to new cultures, new ideas, and different ways of working. Forgive quickly, because careers are long and paths cross often. Protect your reputation carefully. It travels faster than any signal you will ever send. Some of my proudest moments did not happen during perfect transmissions or flawless shows. They happened quietly — during long nights troubleshooting problems, during recoveries when teamwork averted disasters, and during successful live broadcasts that only a close team knew almost did not happen. It was never just the shows or the signals that mattered most. Technology changes. Projects end. Cities blur. But the relationships will shape every step of your journey. #BroadcastLife #CareerAdvice #GlobalNomad #BroadcastEngineering

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OMT (Open Media Transport) works today. OMT and NDI can even co-exist in OBS. Here's where I believe OMT will shine. OMT is an 80% product. 80% of OBS, StreamYard, vMix users needs to get 2-4 cameras into their switcher. That's it, no multicast.... not hundreds of sources... Just a handful of sources over IP for your live stream or podcast. OBS can send/receive OMT today...and that's the big advantage. ...and it can also be setup in a cloud environment with the discovery server. NDI still has a place...especially for pro setups and more than a handful of sources. ...and competition is a good thing.

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Should you use a broadcast audio processor on your online streams? Here's what Jeffrey Keith of Wheatstone Corporation has to say about that: "On-air processors are the worst processors for streaming because they trick the codec into mistaking its normal processing artifacts for audio; clipping distortion byproducts and non-audio signals are treated just like audio by the codec and often even amplified by it. Still, you’re going to need to process your internet streams for all of the same reasons you use processing for your on-air signals. Just like your on-air signal, those streams need to be processed for level consistency, spectral balance and absolute peak control too and to keep the codec’s input level below 0 dBFS (above that point you’re 'out of bits')." Jeff and other audio experts shared tips and best practices about audio processing with me in this free Radio World ebook. https://lnkd.in/eRGg4-R8

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Thanks to tools like vMix, OBS, and compact capture cards, what used to require massive control rooms can now fit into smaller setups. As a broadcast engineer, it’s key to keep up with these evolving trends technology is moving fast, don’t get left behind!

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Incidents like this are a strong reminder of how essential real, human QC is — even on rush jobs. A proper review on both sides would have caught this instantly. But in an age of automation and AI-driven workflows, mistakes like these can slip right through and derail all the hard work that should be the focus. Instead of celebrating the restoration or the quality of the show, everyone ends up talking about what should never have been visible in the first place. https://lnkd.in/gkX9SaPf

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What Happens When AI Takes the Boring VO Jobs? Voice Artists Thrive. AI voices are everywhere now. They’re smoother, cheaper, and getting pretty convincing. So it’s no surprise that some people are wondering: Is this the beginning of the end for real voiceover artists? Not even close. Yes, AI has a place in the industry - but it's not where the good stuff happens. In fact, I think it might actually make real voice talent more valuable. Let’s be honest: there’s plenty of voice work out there that no one’s passionate about. Endless phone menu prompts. Dry e-learning. Fifty variations of “Now on sale.” AI is perfect for that. Let it take those jobs. Most voiceover artists aren’t crying out to spend their day reading 37 versions of a product disclaimer. Let the bots handle the boring stuff. Because when it comes to real performance - telling a story, getting someone to feel something, hitting just the right tone shift - AI can’t compete. A human voice carries meaning, experience, and emotion in a way no algorithm can replicate. A good VO doesn’t just read lines - they live them. And listeners can tell. You can just feel it when it's real. There's also one other thing that an AI voice doesn't understand, and that's silence. A lot of people overlook it, but any seasoned voiceover pro knows how powerful a pause can be. It’s not dead air - it’s drama. It’s pacing. It’s breathing space. A human voice uses silence on purpose. AI? Not so much. It often treats it like a glitch - awkward, empty, or just plain weird. But a well-placed pause? That’s part of the performance. And even if one day AI does learn to hit those little human nuances on command - how much work will that actually take? Will it need multiple rounds of direction, endless prompts, technical tweaks? At what point does the “quick and cheap” option become slow, fiddly, and frustrating? The balance can tip easily. I think it’ll just be quicker (and better) to get a real human to nail it first time. Clients say they want voices that are warm, natural, trustworthy. Those aren’t technical specs or prompts - they’re feelings. They come from instinct, not from programming. If you're telling a powerful story, selling a dream, or trying to move someone emotionally, you need a human touch. No synthetic voice is pulling that off - at least not yet. Here at Transmission, we work with brilliant voice artists all the time, and I think their craft has never been more relevant. Let the tech take the robotic reads - that just makes more space for the human stuff that really matters. Because in the end, people don’t connect with perfection. They connect with people. #Voiceovers #Performance #Humans #AI

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