/* SPDX-License-Identifier: ((GPL-2.0 WITH Linux-syscall-note) AND MIT) */ /* * compress_params.h - codec types and parameters for compressed data * streaming interface * * Copyright (C) 2011 Intel Corporation * Authors: Pierre-Louis Bossart <pierre-louis.bossart@linux.intel.com> * Vinod Koul <vinod.koul@linux.intel.com> * * ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ * * This program is free software; you can redistribute it and/or modify * it under the terms of the GNU General Public License as published by * the Free Software Foundation; version 2 of the License. * * This program is distributed in the hope that it will be useful, but * WITHOUT ANY WARRANTY; without even the implied warranty of * MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU * General Public License for more details. * * You should have received a copy of the GNU General Public License along * with this program; if not, write to the Free Software Foundation, Inc., * 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA. * * ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ * * The definitions in this file are derived from the OpenMAX AL version 1.1 * and OpenMAX IL v 1.1.2 header files which contain the copyright notice below. * * Copyright (c) 2007-2010 The Khronos Group Inc. * * Permission is hereby granted, free of charge, to any person obtaining * a copy of this software and/or associated documentation files (the * "Materials "), to deal in the Materials without restriction, including * without limitation the rights to use, copy, modify, merge, publish, * distribute, sublicense, and/or sell copies of the Materials, and to * permit persons to whom the Materials are furnished to do so, subject to * the following conditions: * * The above copyright notice and this permission notice shall be included * in all copies or substantial portions of the Materials. * * THE MATERIALS ARE PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS * OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF * MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. * IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY * CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, * TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE * MATERIALS OR THE USE OR OTHER DEALINGS IN THE MATERIALS. * */ #ifndef __SND_COMPRESS_PARAMS_H #define __SND_COMPRESS_PARAMS_H #include <linux/types.h> /* AUDIO CODECS SUPPORTED */ #define MAX_NUM_CODECS 32 #define MAX_NUM_CODEC_DESCRIPTORS 32 #define MAX_NUM_BITRATES 32 #define MAX_NUM_SAMPLE_RATES 32 /* Codecs are listed linearly to allow for extensibility */ #define SND_AUDIOCODEC_PCM ((__u32) 0x00000001) #define SND_AUDIOCODEC_MP3 ((__u32) 0x00000002) #define SND_AUDIOCODEC_AMR ((__u32) 0x00000003) #define SND_AUDIOCODEC_AMRWB ((__u32) 0x00000004) #define SND_AUDIOCODEC_AMRWBPLUS ((__u32) 0x00000005) #define SND_AUDIOCODEC_AAC ((__u32) 0x00000006) #define SND_AUDIOCODEC_WMA ((__u32) 0x00000007) #define SND_AUDIOCODEC_REAL ((__u32) 0x00000008) #define SND_AUDIOCODEC_VORBIS ((__u32) 0x00000009) #define SND_AUDIOCODEC_FLAC ((__u32) 0x0000000A) #define SND_AUDIOCODEC_IEC61937 ((__u32) 0x0000000B) #define SND_AUDIOCODEC_G723_1 ((__u32) 0x0000000C) #define SND_AUDIOCODEC_G729 ((__u32) 0x0000000D) #define SND_AUDIOCODEC_BESPOKE ((__u32) 0x0000000E) #define SND_AUDIOCODEC_MAX SND_AUDIOCODEC_BESPOKE /* * Profile and modes are listed with bit masks. This allows for a * more compact representation of fields that will not evolve * (in contrast to the list of codecs) */ #define SND_AUDIOPROFILE_PCM ((__u32) 0x00000001) /* MP3 modes are only useful for encoders */ #define SND_AUDIOCHANMODE_MP3_MONO ((__u32) 0x00000001) #define SND_AUDIOCHANMODE_MP3_STEREO ((__u32) 0x00000002) #define SND_AUDIOCHANMODE_MP3_JOINTSTEREO ((__u32) 0x00000004) #define SND_AUDIOCHANMODE_MP3_DUAL ((__u32) 0x00000008) #define SND_AUDIOPROFILE_AMR ((__u32) 0x00000001) /* AMR modes are only useful for encoders */ #define SND_AUDIOMODE_AMR_DTX_OFF ((__u32) 0x00000001) #define SND_AUDIOMODE_AMR_VAD1 ((__u32) 0x00000002) #define SND_AUDIOMODE_AMR_VAD2 ((__u32) 0x00000004) #define SND_AUDIOSTREAMFORMAT_UNDEFINED ((__u32) 0x00000000) #define SND_AUDIOSTREAMFORMAT_CONFORMANCE ((__u32) 0x00000001) #define SND_AUDIOSTREAMFORMAT_IF1 ((__u32) 0x00000002) #define SND_AUDIOSTREAMFORMAT_IF2 ((__u32) 0x00000004) #define SND_AUDIOSTREAMFORMAT_FSF ((__u32) 0x00000008) #define SND_AUDIOSTREAMFORMAT_RTPPAYLOAD ((__u32) 0x00000010) #define SND_AUDIOSTREAMFORMAT_ITU ((__u32) 0x00000020) #define SND_AUDIOPROFILE_AMRWB ((__u32) 0x00000001) /* AMRWB modes are only useful for encoders */ #define SND_AUDIOMODE_AMRWB_DTX_OFF ((__u32) 0x00000001) #define SND_AUDIOMODE_AMRWB_VAD1 ((__u32) 0x00000002) #define SND_AUDIOMODE_AMRWB_VAD2 ((__u32) 0x00000004) #define SND_AUDIOPROFILE_AMRWBPLUS ((__u32) 0x00000001) #define SND_AUDIOPROFILE_AAC ((__u32) 0x00000001) /* AAC modes are required for encoders and decoders */ #define SND_AUDIOMODE_AAC_MAIN ((__u32) 0x00000001) #define SND_AUDIOMODE_AAC_LC ((__u32) 0x00000002) #define SND_AUDIOMODE_AAC_SSR ((__u32) 0x00000004) #define SND_AUDIOMODE_AAC_LTP ((__u32) 0x00000008) #define SND_AUDIOMODE_AAC_HE ((__u32) 0x00000010) #define SND_AUDIOMODE_AAC_SCALABLE ((__u32) 0x00000020) #define SND_AUDIOMODE_AAC_ERLC ((__u32) 0x00000040) #define SND_AUDIOMODE_AAC_LD ((__u32) 0x00000080) #define SND_AUDIOMODE_AAC_HE_PS ((__u32) 0x00000100) #define SND_AUDIOMODE_AAC_HE_MPS ((__u32) 0x00000200) /* AAC formats are required for encoders and decoders */ #define SND_AUDIOSTREAMFORMAT_MP2ADTS ((__u32) 0x00000001) #define SND_AUDIOSTREAMFORMAT_MP4ADTS ((__u32) 0x00000002) #define SND_AUDIOSTREAMFORMAT_MP4LOAS ((__u32) 0x00000004) #define SND_AUDIOSTREAMFORMAT_MP4LATM ((__u32) 0x00000008) #define SND_AUDIOSTREAMFORMAT_ADIF ((__u32) 0x00000010) #define SND_AUDIOSTREAMFORMAT_MP4FF ((__u32) 0x00000020) #define SND_AUDIOSTREAMFORMAT_RAW ((__u32) 0x00000040) #define SND_AUDIOPROFILE_WMA7 ((__u32) 0x00000001) #define SND_AUDIOPROFILE_WMA8 ((__u32) 0x00000002) #define SND_AUDIOPROFILE_WMA9 ((__u32) 0x00000004) #define SND_AUDIOPROFILE_WMA10 ((__u32) 0x00000008) #define SND_AUDIOMODE_WMA_LEVEL1 ((__u32) 0x00000001) #define SND_AUDIOMODE_WMA_LEVEL2 ((__u32) 0x00000002) #define SND_AUDIOMODE_WMA_LEVEL3 ((__u32) 0x00000004) #define SND_AUDIOMODE_WMA_LEVEL4 ((__u32) 0x00000008) #define SND_AUDIOMODE_WMAPRO_LEVELM0 ((__u32) 0x00000010) #define SND_AUDIOMODE_WMAPRO_LEVELM1 ((__u32) 0x00000020) #define SND_AUDIOMODE_WMAPRO_LEVELM2 ((__u32) 0x00000040) #define SND_AUDIOMODE_WMAPRO_LEVELM3 ((__u32) 0x00000080) #define SND_AUDIOSTREAMFORMAT_WMA_ASF ((__u32) 0x00000001) /* * Some implementations strip the ASF header and only send ASF packets * to the DSP */ #define SND_AUDIOSTREAMFORMAT_WMA_NOASF_HDR ((__u32) 0x00000002) #define SND_AUDIOPROFILE_REALAUDIO ((__u32) 0x00000001) #define SND_AUDIOMODE_REALAUDIO_G2 ((__u32) 0x00000001) #define SND_AUDIOMODE_REALAUDIO_8 ((__u32) 0x00000002) #define SND_AUDIOMODE_REALAUDIO_10 ((__u32) 0x00000004) #define SND_AUDIOMODE_REALAUDIO_SURROUND ((__u32) 0x00000008) #define SND_AUDIOPROFILE_VORBIS ((__u32) 0x00000001) #define SND_AUDIOMODE_VORBIS ((__u32) 0x00000001) #define SND_AUDIOPROFILE_FLAC ((__u32) 0x00000001) /* * Define quality levels for FLAC encoders, from LEVEL0 (fast) * to LEVEL8 (best) */ #define SND_AUDIOMODE_FLAC_LEVEL0 ((__u32) 0x00000001) #define SND_AUDIOMODE_FLAC_LEVEL1 ((__u32) 0x00000002) #define SND_AUDIOMODE_FLAC_LEVEL2 ((__u32) 0x00000004) #define SND_AUDIOMODE_FLAC_LEVEL3 ((__u32) 0x00000008) #define SND_AUDIOMODE_FLAC_LEVEL4 ((__u32) 0x00000010) #define SND_AUDIOMODE_FLAC_LEVEL5 ((__u32) 0x00000020) #define SND_AUDIOMODE_FLAC_LEVEL6 ((__u32) 0x00000040) #define SND_AUDIOMODE_FLAC_LEVEL7 ((__u32) 0x00000080) #define SND_AUDIOMODE_FLAC_LEVEL8 ((__u32) 0x00000100) #define SND_AUDIOSTREAMFORMAT_FLAC ((__u32) 0x00000001) #define SND_AUDIOSTREAMFORMAT_FLAC_OGG ((__u32) 0x00000002) /* IEC61937 payloads without CUVP and preambles */ #define SND_AUDIOPROFILE_IEC61937 ((__u32) 0x00000001) /* IEC61937 with S/PDIF preambles+CUVP bits in 32-bit containers */ #define SND_AUDIOPROFILE_IEC61937_SPDIF ((__u32) 0x00000002) /* * IEC modes are mandatory for decoders. Format autodetection * will only happen on the DSP side with mode 0. The PCM mode should * not be used, the PCM codec should be used instead. */ #define SND_AUDIOMODE_IEC_REF_STREAM_HEADER ((__u32) 0x00000000) #define SND_AUDIOMODE_IEC_LPCM ((__u32) 0x00000001) #define SND_AUDIOMODE_IEC_AC3 ((__u32) 0x00000002) #define SND_AUDIOMODE_IEC_MPEG1 ((__u32) 0x00000004) #define SND_AUDIOMODE_IEC_MP3 ((__u32) 0x00000008) #define SND_AUDIOMODE_IEC_MPEG2 ((__u32) 0x00000010) #define SND_AUDIOMODE_IEC_AACLC ((__u32) 0x00000020) #define SND_AUDIOMODE_IEC_DTS ((__u32) 0x00000040) #define SND_AUDIOMODE_IEC_ATRAC ((__u32) 0x00000080) #define SND_AUDIOMODE_IEC_SACD ((__u32) 0x00000100) #define SND_AUDIOMODE_IEC_EAC3 ((__u32) 0x00000200) #define SND_AUDIOMODE_IEC_DTS_HD ((__u32) 0x00000400) #define SND_AUDIOMODE_IEC_MLP ((__u32) 0x00000800) #define SND_AUDIOMODE_IEC_DST ((__u32) 0x00001000) #define SND_AUDIOMODE_IEC_WMAPRO ((__u32) 0x00002000) #define SND_AUDIOMODE_IEC_REF_CXT ((__u32) 0x00004000) #define SND_AUDIOMODE_IEC_HE_AAC ((__u32) 0x00008000) #define SND_AUDIOMODE_IEC_HE_AAC2 ((__u32) 0x00010000) #define SND_AUDIOMODE_IEC_MPEG_SURROUND ((__u32) 0x00020000) #define SND_AUDIOPROFILE_G723_1 ((__u32) 0x00000001) #define SND_AUDIOMODE_G723_1_ANNEX_A ((__u32) 0x00000001) #define SND_AUDIOMODE_G723_1_ANNEX_B ((__u32) 0x00000002) #define SND_AUDIOMODE_G723_1_ANNEX_C ((__u32) 0x00000004) #define SND_AUDIOPROFILE_G729 ((__u32) 0x00000001) #define SND_AUDIOMODE_G729_ANNEX_A ((__u32) 0x00000001) #define SND_AUDIOMODE_G729_ANNEX_B ((__u32) 0x00000002) /* <FIXME: multichannel encoders aren't supported for now. Would need an additional definition of channel arrangement> */ /* VBR/CBR definitions */ #define SND_RATECONTROLMODE_CONSTANTBITRATE ((__u32) 0x00000001) #define SND_RATECONTROLMODE_VARIABLEBITRATE ((__u32) 0x00000002) /* Encoder options */ struct snd_enc_wma { __u32 super_block_align; /* WMA Type-specific data */ }; /** * struct snd_enc_vorbis * @quality: Sets encoding quality to n, between -1 (low) and 10 (high). * In the default mode of operation, the quality level is 3. * Normal quality range is 0 - 10. * @managed: Boolean. Set bitrate management mode. This turns off the * normal VBR encoding, but allows hard or soft bitrate constraints to be * enforced by the encoder. This mode can be slower, and may also be * lower quality. It is primarily useful for streaming. * @max_bit_rate: Enabled only if managed is TRUE * @min_bit_rate: Enabled only if managed is TRUE * @downmix: Boolean. Downmix input from stereo to mono (has no effect on * non-stereo streams). Useful for lower-bitrate encoding. * * These options were extracted from the OpenMAX IL spec and Gstreamer vorbisenc * properties * * For best quality users should specify VBR mode and set quality levels. */ struct snd_enc_vorbis { __s32 quality; __u32 managed; __u32 max_bit_rate; __u32 min_bit_rate; __u32 downmix; } __attribute__((packed, aligned(4))); /** * struct snd_enc_real * @quant_bits: number of coupling quantization bits in the stream * @start_region: coupling start region in the stream * @num_regions: number of regions value * * These options were extracted from the OpenMAX IL spec */ struct snd_enc_real { __u32 quant_bits; __u32 start_region; __u32 num_regions; } __attribute__((packed, aligned(4))); /** * struct snd_enc_flac * @num: serial number, valid only for OGG formats * needs to be set by application * @gain: Add replay gain tags * * These options were extracted from the FLAC online documentation * at http://flac.sourceforge.net/documentation_tools_flac.html * * To make the API simpler, it is assumed that the user will select quality * profiles. Additional options that affect encoding quality and speed can * be added at a later stage if needed. * * By default the Subset format is used by encoders. * * TAGS such as pictures, etc, cannot be handled by an offloaded encoder and are * not supported in this API. */ struct snd_enc_flac { __u32 num; __u32 gain; } __attribute__((packed, aligned(4))); struct snd_enc_generic { __u32 bw; /* encoder bandwidth */ __s32 reserved[15]; /* Can be used for SND_AUDIOCODEC_BESPOKE */ } __attribute__((packed, aligned(4))); union snd_codec_options { struct snd_enc_wma wma; struct snd_enc_vorbis vorbis; struct snd_enc_real real; struct snd_enc_flac flac; struct snd_enc_generic generic; } __attribute__((packed, aligned(4))); /** struct snd_codec_desc - description of codec capabilities * @max_ch: Maximum number of audio channels * @sample_rates: Sampling rates in Hz, use values like 48000 for this * @num_sample_rates: Number of valid values in sample_rates array * @bit_rate: Indexed array containing supported bit rates * @num_bitrates: Number of valid values in bit_rate array * @rate_control: value is specified by SND_RATECONTROLMODE defines. * @profiles: Supported profiles. See SND_AUDIOPROFILE defines. * @modes: Supported modes. See SND_AUDIOMODE defines * @formats: Supported formats. See SND_AUDIOSTREAMFORMAT defines * @min_buffer: Minimum buffer size handled by codec implementation * @reserved: reserved for future use * * This structure provides a scalar value for profiles, modes and stream * format fields. * If an implementation supports multiple combinations, they will be listed as * codecs with different descriptors, for example there would be 2 descriptors * for AAC-RAW and AAC-ADTS. * This entails some redundancy but makes it easier to avoid invalid * configurations. * */ struct snd_codec_desc { __u32 max_ch; __u32 sample_rates[MAX_NUM_SAMPLE_RATES]; __u32 num_sample_rates; __u32 bit_rate[MAX_NUM_BITRATES]; __u32 num_bitrates; __u32 rate_control; __u32 profiles; __u32 modes; __u32 formats; __u32 min_buffer; __u32 reserved[15]; } __attribute__((packed, aligned(4))); /** struct snd_codec * @id: Identifies the supported audio encoder/decoder. * See SND_AUDIOCODEC macros. * @ch_in: Number of input audio channels * @ch_out: Number of output channels. In case of contradiction between * this field and the channelMode field, the channelMode field * overrides. * @sample_rate: Audio sample rate of input data in Hz, use values like 48000 * for this. * @bit_rate: Bitrate of encoded data. May be ignored by decoders * @rate_control: Encoding rate control. See SND_RATECONTROLMODE defines. * Encoders may rely on profiles for quality levels. * May be ignored by decoders. * @profile: Mandatory for encoders, can be mandatory for specific * decoders as well. See SND_AUDIOPROFILE defines. * @level: Supported level (Only used by WMA at the moment) * @ch_mode: Channel mode for encoder. See SND_AUDIOCHANMODE defines * @format: Format of encoded bistream. Mandatory when defined. * See SND_AUDIOSTREAMFORMAT defines. * @align: Block alignment in bytes of an audio sample. * Only required for PCM or IEC formats. * @options: encoder-specific settings * @reserved: reserved for future use */ struct snd_codec { __u32 id; __u32 ch_in; __u32 ch_out; __u32 sample_rate; __u32 bit_rate; __u32 rate_control; __u32 profile; __u32 level; __u32 ch_mode; __u32 format; __u32 align; union snd_codec_options options; __u32 reserved[3]; } __attribute__((packed, aligned(4))); #endif

RE-INVENTING THE TELEVISION NEWS BUSINESS*

A revolution in video storytelling

Creating entirely new & cost-effective production methods

From the world leaders in video production training and the creators of Character Driven Storytelling™

*and every other business that uses video

WHAT WE DO

Over the past 35 years, we have designed, built or restructured some of the most powerful news and journalism companies in the world.

We replace the traditional TV news ‘crew’ with one highly trained journalist, working alone with nothing but an iPhone.

No more TV news ‘crews’, no editors and no field producers.

This is television news done the way newspaper journalism is done – one reporter with their electronic pad and pencil.

In doing this, we can cut the cost of production by as much as 75% while increasing ratings and audience engagement.

In the place of conventional TV news ‘packages’ – ie, reporter stand up, interview, b-roll, man on the street, we marry great journalism with Netflix and Hollywood storytelling.

It’s a combination that works.

We have taken most of our clients to #1 in their respective markets.

And it’s not just for news. Any company, any profit, any NGO and anyone else who is online needs to tell their story in compelling yet cost-effective video. We can teach you to do that. Either in person or virtually.

EXAMPLES OF WHAT WE CAN TEACH YOUR STAFF TO PRODUCE

ITAY HOD

Itay Hod, MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2018.

Because he works alone, with only an iPhone, he was able to embed himself with a homeless family.

Here’s the story he produced in a one-day turn.

KIET DO

Kiet Do, an MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2021.

Here is a story he produced, all on his own, with only an iPhone and in a one-day turn.

TAYLOR SCHAUB

Taylor Schaub, an MMJ with Spectrum News 1 in LA, took the 5-Day Intensive Video Storytelling Bootcamp in 2023.

Here is a story he turned in only one day, using only an iPhone. It was the first video story he ever did and it was nominated for an Emmy.

THE BOOTCAMP

How do we convert stations and whole networks to working in this way?

Since 1988, we have run intensive 5-Day Video Storytelling Bootcamps

We have done these all over the world.

These are hands-on bootcamps, and participants learn an entirely new way of creating TV news stories.

-We shoot at a 3:1 ratio or lower, so turnaround times are fast.

-We go directly from camera to timelilne and edit – no written scripts. We work in the medium of pictures and sound.

-We are entirely character-driven.

-We are driven by pictures and real events.

-We are focused almost entirely on ’the viewer experience’.

Since 1988, more than 70,000 journalists around the world have taken our bootcamps, either in person on virtualy.

Case Studies

CBS News

We have started to work with CBS News, bringing our ideas of character-driven storytelling to one of the most successful and biggest networks in the United States. Since beginning to work with them ratings have climbed and more importantly, audience engagement is through the ceiling.

Learn More

New York Times Television

We started New York Times Television in 1990 and it was the first paper to be brought into the world of TV. It quickly became one of the most successful non-fiction production companies in the United States. The series and documentaries we produced won many awards including multiple Emmys.

Learn More

The BBC

We have been working with the BBC since the year 2000 helping to convert their national news network to our visual storytelling technique. Most recently we have trained teams from their sports, documentaries, and comedy divisions to make character-driven stories using only smartphones.

Learn More

Spectrum News

For the past five years we have worked with Spectrum News to introduce and train their journalists on visual, character driven storytelling using smartphones helping to create a different kind of local news for their network of 24-Hour News Stations across the United States.

Learn More

The United Nations

In 2006, we were approached by the United Nations. Rather than rely on news outlets, it would be much easier to train the field operatives to produce their own stories. We spent two years working with the UN, training more than 100 of their staff in bootcamps in Geneva and Nairobi.

Learn More

The Newark Star-Ledger

We trained 50 print reporters at the paper to shoot and tell their own stories, in conjunction with their print work. We built a TV newsroom in their existing print newsroom – you could not ask for a better set and they began to live stream their stories in conjunction with their print work.

Learn More

Mcgraw Hill

We spent two years with McGraw Hill, training more than 150 of their staffers, making them completely video literate. McGraw/Hill media properties we transit included Business Week, Aviation Week, (what was the name of the architecture magazine), and JD Power and Associates.

Learn More

Voice of America

In 1990, we were approached by The Voice of America, the official broadcasting agency for the United States Government. When we met with VOA, they were only a short wave radio broadcaster, but working with them, we took them into television, launching VOA-TV.

Learn More

Oyster Yachts

British based Oyster Yachts makes some of the finest yachts in the world. Like every other company, they had to find a way to feed the never-ending video demands of social media – sites like Instagram and TikTok. We trained the Oyster staff to tell their own stories, using only iPhones.

Learn More

Scottish Environmental Protection Agency

We were approached by SEPA, the Scottish Environmental Protection Agency because they had to continually find a way to ‘feed the media beast’. The result was that SEPA was able to tell their own stories, whenever they wanted, and at almost no additional cost.

Learn More

Michael on Media

Michael Rosenblum has been writing about the media since 1988. His work and ideas have appeared in The Guardian, The Huffington Post, Ilkeston Life and many other publications.

He has been blogging regularly for the past 35 years on this subject. Having taught media studies at Columbia University, NYU and now the University of Oxford, he is considered an expert on this subject.

Continue reading this post or look back at previous posts.

Do You Have Questions About Learning Video Skills?

If you would like to know more about our courses contact us and one of our training advisors will be happy to call you.

Your IP : 216.73.216.209

RE-INVENTING THE TELEVISION NEWS BUSINESS*

A revolution in video storytelling

Creating entirely new & cost-effective production methods

From the world leaders in video production training and the creators of Character Driven Storytelling™

*and every other business that uses video

WHAT WE DO

Over the past 35 years, we have designed, built or restructured some of the most powerful news and journalism companies in the world.

We replace the traditional TV news ‘crew’ with one highly trained journalist, working alone with nothing but an iPhone.

No more TV news ‘crews’, no editors and no field producers.

This is television news done the way newspaper journalism is done – one reporter with their electronic pad and pencil.

In doing this, we can cut the cost of production by as much as 75% while increasing ratings and audience engagement.

In the place of conventional TV news ‘packages’ – ie, reporter stand up, interview, b-roll, man on the street, we marry great journalism with Netflix and Hollywood storytelling.

It’s a combination that works.

We have taken most of our clients to #1 in their respective markets.

And it’s not just for news. Any company, any profit, any NGO and anyone else who is online needs to tell their story in compelling yet cost-effective video. We can teach you to do that. Either in person or virtually.

EXAMPLES OF WHAT WE CAN TEACH YOUR STAFF TO PRODUCE

ITAY HOD

Itay Hod, MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2018.

Because he works alone, with only an iPhone, he was able to embed himself with a homeless family.

Here’s the story he produced in a one-day turn.

KIET DO

Kiet Do, an MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2021.

Here is a story he produced, all on his own, with only an iPhone and in a one-day turn.

TAYLOR SCHAUB

Taylor Schaub, an MMJ with Spectrum News 1 in LA, took the 5-Day Intensive Video Storytelling Bootcamp in 2023.

Here is a story he turned in only one day, using only an iPhone. It was the first video story he ever did and it was nominated for an Emmy.

THE BOOTCAMP

How do we convert stations and whole networks to working in this way?

Since 1988, we have run intensive 5-Day Video Storytelling Bootcamps

We have done these all over the world.

These are hands-on bootcamps, and participants learn an entirely new way of creating TV news stories.

-We shoot at a 3:1 ratio or lower, so turnaround times are fast.

-We go directly from camera to timelilne and edit – no written scripts. We work in the medium of pictures and sound.

-We are entirely character-driven.

-We are driven by pictures and real events.

-We are focused almost entirely on ’the viewer experience’.

Since 1988, more than 70,000 journalists around the world have taken our bootcamps, either in person on virtualy.

Case Studies

CBS News

New York Times Television

The BBC

Spectrum News

The United Nations

The Newark Star-Ledger

Mcgraw Hill

Voice of America

Oyster Yachts

Scottish Environmental Protection Agency

Michael on Media