by John C. Morley, Independent Producer
Whether you’re a seasoned video producer and director like myself or just starting, having the right tools is essential for creating high-quality content. I’ve been a long-time fan of both the free and pro versions of DaVinci Resolve, but sometimes, you need to convert video or audio formats quickly and may not have all your professional tools at your fingertips.
Managing video and audio assets is critical, even if you’re not behind the camera. Whether running a TV station, working full-time in production, or creating social media content, understanding frame rates is key. You may already be familiar with:
- 24fps for a cinematic feel
- 30fps for television, online videos, and live streams
- 60fps for high-definition videos, sports, fast motion, gaming, and YouTube
- 120fps for ultra-smooth slow-motion effects
- 240fps for extreme slow-motion and hyper-detailed motion analysis
Many cable stations, however, still request the classic 29.97fps format due to older equipment? In this article, I’ll explore frame rates in more detail and introduce some free video conversion tools—like HandBrake—that can help transcode videos into different formats while adding extra features to enhance your footage
24fps: Classic Cinematic Standard
Why Choose 24fps?
24 frames per second (fps) is the standard frame rate used in video production, particularly for cinematic film projects. This frame rate creates the classic movie effect that audiences have come to expect. It produces a natural, slightly motion-blurred look, which our eyes associate with films. Hollywood films are nearly always shot at 24fps because it preserves the traditional film aesthetic.
Many streaming platforms and digital cameras also adopt this frame rate to maintain storytelling consistency. One advantage of 24fps is that it reduces storage requirements compared to higher frame rates, making it a practical choice for long-form content.
60fps: Ultra-Smooth & Realistic Motion
Why Choose 60fps?
For fast-paced content, 60fps significantly reduces motion blur and delivers a fluid, lifelike viewing experience. It is commonly used in:
- Sports broadcasting to capture every detail of fast-moving action
- Gaming and eSports for immersive, seamless visuals
- Action-heavy scenes where clarity is critical
Storage Considerations for 60fps.
Shooting at 60fps requires significantly more storage. While H.265 compression helps reduce file sizes, 60fps still demands more processing power for recording, editing, and playback. Despite the extra storage and processing requirements, 60fps remains popular for sharp, smooth motion and enhanced clarity.
120fps: Capturing High-Speed Action
Why Choose 120fps?
120fps is a game-changer in video production, delivering exceptional smoothness and minimal motion blur. It is widely used for:
- Slow-motion cinematography to enhance detail in dramatic scenes
- Sports and action footage to keep fast-paced moments crisp
- Gaming and eSports content for ultra-fluid movement
Storage & Processing Demands.
Because of its increased frame count, 120fps requires significantly more storage and processing power.
When Should You Use 120fps?
Use 120fps when:
- Creating slow-motion footage with high clarity
- Shooting sports or action scenes where every detail matters
- Producing high-quality gaming or eSports content
Avoid 120fps when:
- Filming interviews, vlogs, or standard storytelling (24fps or 30fps is often better suited)
- Working with limited storage or processing power
- Not planning to use slow-motion playback; higher frame rates can be unnecessary for standard video
240fps: Extreme Slow Motion & Motion Analysis
Why Choose 240fps?
240fps takes smooth motion to the next level, allowing for ultra-slow-motion playback that captures intricate motion details. It is ideal for:
- High-speed sports analysis (e.g., tennis swings, golf swings, or martial arts movements)
- Scientific and industrial applications that require frame-by-frame precision
- Stunning cinematic slow-motion effects
Storage & Processing Considerations.
At 240fps, video files grow exponentially and post-production demands increase significantly. If working in 4K or higher resolutions, ensure you have the hardware to handle large file sizes and processing loads.
Why Do I Need 29.97fps?
29.97fps is a standard frame rate commonly used in video production, especially for television and broadcast. Many cable stations still utilize 29.97fps, slightly slower than the typical 30fps. This adjustment was initially made to maintain compatibility with color television broadcasts designed to work alongside black-and-white systems.
This change was first introduced in the 1950s when color television was rolled out in the United States. The slight frame rate adjustment helped prevent interference with the audio system.
Today, 29.97fps is still widely used for NTSC (National Television System Committee) video formats, primarily in countries like the U.S. and Japan. It’s especially common in broadcast television and streaming services that follow traditional broadcast standards. Submitting a video at 30fps to a system set to 29.97fps could cause problems.
While the two frame rates are very close, the slight difference in timing can lead to synchronization issues, affecting the overall playback experience.
How to Convert Frame Rates (e.g., 30fps to 29.97fps)
Great, now we know how important it is to be in the correct format, but how do I take my frame rate from 30fps to 29.97fps, for example, if I didn’t shoot it in that?
- Audio Video Sync. Ensure your audio is correctly synchronized with your footage before converting.
- Use DaVinci Resolve. Change the timeline frame rate to 29.97fps, import your clip, and drag it to the timeline. The system will ask if you want to convert it to the current timeline—click Yes.
- Use HandBrake (Free & Powerful). HandBrake lets you easily convert multiple video clips. Select the desired frame rate, apply any required filters, and add them to the queue. Hit Start to begin transcoding.
Choosing the Right Frame Rate for Your Project
While 240fps delivers unmatched clarity and motion precision, it’s not the best choice for every project. Due to its storage and processing demands, it excels in action-heavy scenes and slow-motion filmmaking but may not be practical for everyday use.
If you’re a filmmaker, sports videographer, or content creator specializing in high-speed visuals, 240fps is a must-have tool. But, for traditional storytelling, vlogs, or standard online content, 60fps or 30fps may be the better choice for balancing quality and efficiency. No matter which frame rate you choose, understanding the strengths and trade-offs of each will help you make the best decision for your content. Remember, whatever you do, it is all about the story you tell with your media that will captivate your audience.
Posted: April 22, 2025 by Doug Seidel
Behind the Pixels: The Rise of Virtual Sets in Broadcasting
by John C. Morley, Independent Producer
Virtual sets are revolutionizing media production and they’re changing how TV shows, films, and events are created. This article, explores virtual sets, how they differ from traditional production methods, and why they’re becoming essential for modern broadcasters and filmmakers.
What Is a Virtual Set?
A virtual set is a computer-generated environment used during live-action filming. It provides real-time virtual backgrounds and dynamic elements. Unlike traditional physical sets, which require tangible props and backdrops, virtual sets are created digitally. They offer unparalleled creative flexibility. Producers can switch between locations, times of day, and environments with a few clicks. In traditional green screen setups, actors perform in front of a solid green background, which is replaced with different imagery in post-production. Virtual sets take this concept a step further by rendering backgrounds live, allowing actors and crew to see the final scene while filming. This not only speeds up production, but also improves the realism of the final shot.
The Impact of StageCraft
An example of virtual set technology is The Mandalorian. This show used StageCraft, developed by Lucasfilm’s Industrial Light & Magic (ILM), to create realistic environments using large LED walls that display real-time digital landscapes. The LED walls adjust with the camera’s movements, ensuring the perspective and depth of the background match the shot. StageCraft’s benefits are clear: actors can interact with the set, lighting adjusts automatically, and scenes are filmed without traveling to distant locations. The technology allows for unprecedented realism and efficiency, reducing the time and costs associated with traditional filming.
Why Virtual Sets Matter
Virtual sets offer filmmakers and TV producers big advantages. Virtual sets enable them to create dynamic, immersive environments without expensive location shoots or intricate physical sets. Filming a scene in a desert, on another planet, or in a historical location is done without leaving the studio. In addition to film and TV production, virtual sets have begun to impact other industries. TV newsrooms use virtual studios with augmented reality (AR) graphics. Sports broadcasters are creating immersive pre-game shows and holographic replays. Corporate events and webinars use virtual sets to create customizable environments, saving time and money by eliminating elaborate physical setups.
Challenges and Considerations
Despite their advantages, virtual sets do come with challenges. Setting up a virtual set involves a significant investment in LED walls, powerful computing systems, and specialized staff. Directors and crews must invest time to become familiar with new technologies and techniques. Achieving the right balance between realism and stylized effects can be tricky. While virtual sets offer incredible flexibility, there’s the risk of digital environments feeling artificial or disconnected from live-action footage. With continued advancements, the line between digital and real is becoming harder to distinguish.
The Future of Virtual Sets
The future of virtual sets looks promising. AI integration makes it easier to create and render digital environments. VR and AR are pushing the boundaries of immersion. Offering the best of both worlds, hybrid sets combining physical elements with digital backdrops are becoming more common. As the technology evolves, even smaller studios and independent creators will have access to virtual set production. This wave of new technology may lead to more innovative uses of virtual production across different media. Chief Creative Officer at ILM, Rob Bredow, sums it up perfectly: “Virtual production is not just a tool—it’s a creative enabler that opens doors we never thought possible.” With examples like The Mandalorian, it’s clear that virtual sets are no longer a novelty—they’re a core part of modern filmmaking and broadcasting.
Posted: April 22, 2025 by Doug Seidel
Spotlight: I’m an Independent Producer
by Richard Christopher Scuderi, 52 & Blue Productions
My name is Richard Christopher Scuderi. I fell in love with television at age 5 and always knew that’s what I wanted to do with my life. When it was time for college, I looked for a school that had a strong television program and its own station. Television production was much harder than I thought. Timing was crucial and there was a lot of pressure to be perfect
I graduated in 1987 from Montclair University in Broadcasting and Communications. It was great training and I have been asked back many times to speak about my work on television. My first job in television was a small role in a local soap opera on Suburban Cable. I then made training films for the EPA. I was an extra in a great deal of shows including the original Equalizer television show with Edward Woodward.
Fast forward to more recent years. In 2014, WHCR-DB in Flemington, New Jersey, was starting a live podcast channel and I was chosen to start a weekly series on interior design called Modern Design. It was way ahead of its time and I am now in my tenth year. It’s a live one hour show every Wednesday 3-4 pm with great guests and tips on interior design.
One day when I was in the studio one of the hosts said I should create a show for Princeton Community Television. She said I would be a natural. I came up with a concept and a great opening that really worked. I often was in the top 10 in the early years. As the show progressed, I decided to begin mentoring and bring in students from Hunterdon Central High School and Kean College. I taught teach them about creating, booking, directing, producing, and editing a half-hour weekly talk show.
At this point, I realized I needed to form a small production company. I called it 52 & Blue (it was my birthday). I had just written my first book on overcoming anxiety and depression called The Lonely Boy (its sequel is called The Enlightened Man). Barnes and Noble backed me and sent me on live book talks throughout New Jersey. My interns and I started producing live events and taping them for Comcast. We were really thriving and then Covid hit. Everything stopped and when we finally got back, Princeton Television lost their funding and shut down. It was a big disappointment.
It was at this time; I was diagnosed with blood cancer and began having treatments. I started to examine my life and made a list of the things I wanted to do most. At the top of the list was taking my two books and making them into a movie. The stories are told as a memoir and teach on how to overcome mental health issues in your life. They also speak to a return to kindness and inclusion in the world. Without a television program or podcast to focus on, I began sending my books to anyone in the film and television arenas. I first had some conversations with WABC in New York. I was then on Fox Five in New York who made a piece on my story. Most recently I was contacted by Paramount where we had several meetings. I realized I needed to get legal representation though so progress has stalled and I don’t know if anything will come of it.
I have joined JAG and Piscataway Community Television and am very excited about continuing Designed for the Times at a new station. George and his staff are very professional and accommodating. We are currently shooting in studio right now, but plan to shoot on location around the tri-state area. I am also doing book events and signings all over the NJ/NY area. I believe in education and mentoring and will be adding new interns back to 52& Blue now that we are ramping up again. If you know of anyone looking to learn the television/media business please have them call me @ 908-884-0770. We are currently working on a treatment for the movie and have a great deal of new projects going on.
Posted: March 24, 2025 by Doug Seidel
Spotlight: North Brunswick – New Era begins at North Brunswick TV with new and improved Control Room.
by Craig Yetsko, Station Manager, North Brunswick TV
A new era for North Brunswick TV began last summer with the completion of a project that included major improvements to the control room and a new sound system for the Municipal Building Courtroom and Council Meeting Room.
The origins of this transformation began in 2021 as the remnants of Hurricane Ida caused significant damage and closure of the Municipal Building. While the control room and meeting rooms were largely spared much damage, it became apparent that new and upgraded equipment would be needed.
In early 2023, the station began working with Varto Technologies on a plan to integrate high-quality video, audio and presentation display capabilities. Work on the project began in May 2024, with completion in late July. The new setup had its debut at the July 29 Township Council Meeting.
The control room also has six TV monitors connected to the TriCaster TC2 Elite, speakers and a utility computer, with two monitors used for Cablecast operations, audio control and video editing through DaVinci Resolve.
Feedback has been positive from viewers who tell us that video and audio quality is much improved. This improvement is due to the change from the previous analog composite video wiring to HD-SDI.
The components in the control room’s rack unit include new Cablecast VIO, live and VOD servers, TriCaster TC2 Elite server, Blackmagic Design Smart VideoHub Video, Router, Blue Stream Video Matrix, servers for the Shure wireless microphone system and two UPS battery backup systems.
The TriCaster2 Elite includes a Flex Control Surface. The control room also has six TV monitors connected to the TriCaster TC2 Elite, speakers and a utility computer, with two monitors used for Cablecast operations, audio control and video editing through DaVinci Resolve.
The Court Room and Council Meeting Room have Panasonic AW-UE80 PTZ cameras (4 in the Court Room, 2 in the Council Meeting Room) with a joystick controller in the control room. Two 55 inch TV monitors were installed in each room.
The township moved to a wireless microphone system in the two meeting rooms. A Shure Microflex wireless system was installed, which included 12 microphones in each room, two handheld microphones and charging bays in the control room. Previously, the Court Room had wired microphones while the Council Meeting Room had drop microphones from the ceiling.
An enhancement that really elevated the station’s live meeting production is the ability to control the audio levels in each room and the volume of each microphone. Through the Symextrix’s SymVue control screen, the speakers in each of the room’s zones (three zones in the Court Room, two in the Council Meeting Room) can easily be adjusted or muted.
Another item which will enhance presentation in both meeting rooms is the addition of two T-10 Glass touch screens. The touch screen is plugged into a HDBT port while a laptop is plugged into an HDMI port. The T-10 Glass has a control screen, just like the utility computer, that routes the laptop’s screen to project on to monitors in either room.
Since the return to the Municipal Building, the station has also worked with North Brunswick Township High School to receive videos of athletic games and a semi-monthly news show for broadcast. Another initiative that is around the corner is a video podcast with Mayor Francis ‘Mac’ Womack. The station is currently researching equipment to purchase for the setup. Last year, the township received a $10,000 grant from Altice for the podcast project.
With the upgrades to the control room as well as new equipment in the coming months, the future looks very bright for North Brunswick TV to deliver quality programming to the community.
Posted: March 24, 2025 by Doug Seidel
Essential Guide to Video Frame Rates and Conversion Tools
by John C. Morley, Independent Producer
Whether you’re a seasoned video producer and director like myself or just starting, having the right tools is essential for creating high-quality content. I’ve been a long-time fan of both the free and pro versions of DaVinci Resolve, but sometimes, you need to convert video or audio formats quickly and may not have all your professional tools at your fingertips.
Managing video and audio assets is critical, even if you’re not behind the camera. Whether running a TV station, working full-time in production, or creating social media content, understanding frame rates is key. You may already be familiar with:
Many cable stations, however, still request the classic 29.97fps format due to older equipment? In this article, I’ll explore frame rates in more detail and introduce some free video conversion tools—like HandBrake—that can help transcode videos into different formats while adding extra features to enhance your footage
24fps: Classic Cinematic Standard
Why Choose 24fps?
24 frames per second (fps) is the standard frame rate used in video production, particularly for cinematic film projects. This frame rate creates the classic movie effect that audiences have come to expect. It produces a natural, slightly motion-blurred look, which our eyes associate with films. Hollywood films are nearly always shot at 24fps because it preserves the traditional film aesthetic.
Many streaming platforms and digital cameras also adopt this frame rate to maintain storytelling consistency. One advantage of 24fps is that it reduces storage requirements compared to higher frame rates, making it a practical choice for long-form content.
60fps: Ultra-Smooth & Realistic Motion
Why Choose 60fps?
For fast-paced content, 60fps significantly reduces motion blur and delivers a fluid, lifelike viewing experience. It is commonly used in:
Storage Considerations for 60fps.
Shooting at 60fps requires significantly more storage. While H.265 compression helps reduce file sizes, 60fps still demands more processing power for recording, editing, and playback. Despite the extra storage and processing requirements, 60fps remains popular for sharp, smooth motion and enhanced clarity.
120fps: Capturing High-Speed Action
Why Choose 120fps?
120fps is a game-changer in video production, delivering exceptional smoothness and minimal motion blur. It is widely used for:
Storage & Processing Demands.
Because of its increased frame count, 120fps requires significantly more storage and processing power.
When Should You Use 120fps?
Use 120fps when:
Avoid 120fps when:
240fps: Extreme Slow Motion & Motion Analysis
Why Choose 240fps?
240fps takes smooth motion to the next level, allowing for ultra-slow-motion playback that captures intricate motion details. It is ideal for:
Storage & Processing Considerations.
At 240fps, video files grow exponentially and post-production demands increase significantly. If working in 4K or higher resolutions, ensure you have the hardware to handle large file sizes and processing loads.
Why Do I Need 29.97fps?
29.97fps is a standard frame rate commonly used in video production, especially for television and broadcast. Many cable stations still utilize 29.97fps, slightly slower than the typical 30fps. This adjustment was initially made to maintain compatibility with color television broadcasts designed to work alongside black-and-white systems.
This change was first introduced in the 1950s when color television was rolled out in the United States. The slight frame rate adjustment helped prevent interference with the audio system.
Today, 29.97fps is still widely used for NTSC (National Television System Committee) video formats, primarily in countries like the U.S. and Japan. It’s especially common in broadcast television and streaming services that follow traditional broadcast standards. Submitting a video at 30fps to a system set to 29.97fps could cause problems.
While the two frame rates are very close, the slight difference in timing can lead to synchronization issues, affecting the overall playback experience.
How to Convert Frame Rates (e.g., 30fps to 29.97fps)
Great, now we know how important it is to be in the correct format, but how do I take my frame rate from 30fps to 29.97fps, for example, if I didn’t shoot it in that?
Choosing the Right Frame Rate for Your Project
While 240fps delivers unmatched clarity and motion precision, it’s not the best choice for every project. Due to its storage and processing demands, it excels in action-heavy scenes and slow-motion filmmaking but may not be practical for everyday use.
If you’re a filmmaker, sports videographer, or content creator specializing in high-speed visuals, 240fps is a must-have tool. But, for traditional storytelling, vlogs, or standard online content, 60fps or 30fps may be the better choice for balancing quality and efficiency. No matter which frame rate you choose, understanding the strengths and trade-offs of each will help you make the best decision for your content. Remember, whatever you do, it is all about the story you tell with your media that will captivate your audience.
Posted: March 24, 2025 by Doug Seidel
JAG’s Annual Conference 2025: Sessions & Roundtables
by Rich Desimone, Conference Coordinator
The JAG Conference Committee has finalizing eight sessions for the Production/Management Symposium on the second day of the conference. Four of these will be panel presentations by industry professional and four will be roundtables that include both JAG members and vendors.
Preview of the Sessions
New Jersey’s Film Industry: A Renaissance in the Garden State. Panelists
Storytelling. Guest Speaker: George Roy
Grants for PEG and Community Stations. Panelists:
How to Conduct a Great Interview: Interviewing Skills and Tips. Panelists:
Preview of the Roundtables
Using College Interns and How to Find Them. Participants:
A Legislative Discussion on What Is Currently Happening Nationally at the FCC, and in New Jersey. Participants:
Beyond Cable: New Ways to Communicate w/Your Citizens. Participants:
New Programming Ideas and Best Practices. Participants:
Exhibit Hall: The current list of participating vendors includes TelVue Corporation, Planet Network, LiveU, Varto Technologies, Vizrt-TriCaster, G&G Technologies, Cologna Productions, Swit Electronics, JVC Cameras, Tightrope, PTZ Optics, Datavideo, Best, Best & Krieger, NJ Motion Picture and TV Commission. For details and updates on these and all the other events visit: https://jagconference.com
Registration open
Conference schedule
Scholarships available for members
Call for vendors
Hotel Reservations
Live Link: https://tinyurl.com/4u7t3ams
Posted: March 24, 2025 by Doug Seidel
Legislative Update March 2025: News from Trenton & Washington, DC – Changes in the FCC
by Dave Garb, Legislative Committee Chair
Last month became an active one for us, but now Congress is dealing with other issues and everything else has slowed down a-bit. So, instead of discussing actions being taken in either our federal or state governments, we are turning our attention to New Jersey for a more in-depth discussion and perspective on what is going on with all legislation and broadband deployment in the Garden State, along with technology backed by acts to aid in emergency situations.
Legislative Highlights at the 2025 JAG Conference
On May 14-15, 2025, JAG – The Jersey Access Group with be hosting its annual conference at the Crown Plaza Hotel in Edison. The conference is aimed at fostering collaboration and knowledge-sharing among community media staff and independent filmmakers, government officials, educators, and manufacturers to support the growth, opportunities, and challenges affecting our state, communities, and within our industry.
On Wednesday, May 14th, we are presenting Real-time Video Updates and Information During Critical Situations. This session can help you to respond faster and make informed tactical decisions. This is critical for police, fire, and OEM situations. A panel of experts will discuss mission-critical elements such as real-time video surveillance, bonded cellular technology, using drones in the field. The panel will discuss:
On Thursday, May 15th, we will present a Legislative Roundtable Discussion on what is currently happening nationally at the FCC and here in New Jersey.Topics include:
Also on Thursday, May 15th, don’t miss our Legislative Luncheon where Broadband Deployment in New Jersey and The Federal Incentives Funding Them will be discussed. Clearly broadband access is not just necessary but required for so many things: information, education, employment, and entertainment. Now that federal money is being distributed to municipalities to provide broadband service to everyone, JAG members need to understand how this money is used at the local level and what it means for our stations:
To attend these sessions and other at this year’s conference please visitjagconference.com/ to register.
NJ Legislative Actions
For 25 years, JAG has always tried to keep a watchful eye on bills both nationally and state wide that might be an issue for our municipalities and PEG channels in New Jersey. But JAG really started to be legislatively aware in 2011 when JAG mobilizes its membership within 24 hours to combat state legislation that would eliminate the requirements for telecom providers to care or support community media.
While the bill was fast tracked through the NJ Assembly it still needed to be introduced into the NJ Senate. JAG membership met with their state senators to explain the damage the bill would have on local community television. JAG was able to get enough no votes in place so that the bill never was presented before the NJ Senate for a vote. This marked a major victory in what continues to be an ongoing effort by telecommunication providers to remove any support for community media in NJ. Other notable actions on JAG’S due diligence included:
Though not legislative, but notable, on our 20th anniversary during the pandemic of 2020, PEG became a spark for allowing communications to flow from leadership down to the residents who needed the information the most. Our member stations found new ways to reach their communities. PEG carried virtual town council meetings, the Governor’s entire daily press conferences, and health crisis related updates from their local officials, and other informational programming desperately needed through the ordeal. This gave our municipal members and PEG channels a chance to prove just how valuable they were to citizens.
In our 25th year, JAG continues to represent the interests of municipal and community television channels in both Trenton and Washington. Our efforts on behalf of our members have never been more important.JAG (Jersey Access Group) is an organization that advocates, promotes, and preserves the right to media production, distribution, civic engagement, and education in support of diverse community voices, through Public, Educational and Government access facilities and other forms of media.
Posted: February 25, 2025 by Doug Seidel
A JAG Parable
by Geoffrey Belinfante, External Relations, Chair
Most of you know that we in West Milford are a very small operation run by an all-volunteer staff. As you might expect, we also have a very small budget. As a result, we truly count every penny. When JAG announced a dues increase this year several of our TV Commission member questioned whether we should continue our membership. I’m happy to report that we have decided to re-up for 2025, and that’s what this article is really all about—the advantages of JAG membership and how we in West Milford have grown to depend on it.
I know that the membership committee and our President, Bob Duthaler have often touted the advantages of JAG membership in this newsletter, so you all my have hear this before, but I think it’s worth discussing again. When considering whether to rejoin JAG, the TV Commission Chairman, Bob Nicholson (a gentleman many of you know) asked me to make a presentation to the commissioners on the benefits of JAG membership. Coincidentally, the mayor had requested a chance to speak to our committee and she was schedule to speak at the same meeting.
This was the first time any West Milford Mayor had requested to speak at one our meetings so it was a big deal. The mayor is aware of JAG and always comes by our booth at the NJ League of Municipalities Conference, but I was surprised that she wanted me to do my presentation before she spoke to the commissioners.
I began by suggesting that our relationship with JAG had changed over the years. Twelve years ago when the township decided to create a municipal channel, JAG was instrumental in helping the committee put together policies and procedures, and an equipment list. Then they gave us the support we needed to get the channel on the air. Now that we have been broadcasting for over 10 years, our relationship with JAG has changed, but it is none-the-less important to the day-to-day operation of the station.
First, I mentioned the cloud-based server that allows us to access programming from other PEG and community access channels across the nation. This allows us to supplement our locally-generated content with programming that appeals to a broad group of citizens from children to seniors. This allows us to take a hyperlocal channel with government programming and turn it into a general interest channel with wide appeal.
In addition, since many of us who work on the channel are retired, our day-to-day experience with television technology has changed. We need the insights that JAG and its organizational members provide to guide us through changes in production technology (that seem to come every month) and what we might consider for our next purchase to make our station look more professional and run more smoothy.
Next, I mentioned all the information we get from our Washington partners (NATOA and ACM) that keeps us aware of changes in legislation that might affect our operation. For example, we keep track of legislation that mandates that we add captions to our public meeting. Perhaps more importantly, JAG helps us monitor the legislative initiatives that might affect the funding we all get from our cable franchisee.
At this point, I was continuing on my laundry list of other benefits (which, incidentally are all available on our website), when the mayor stopped me and said, “Okay, okay, don’t over sell. I’m convinced! Do you want me to pay for the membership?”
Those words represent quite a turnaround from an elected official who normally is looking to cut anywhere she can. It reaffirmed the towns commitment to the station and made us all feel appreciated in a way that had never really been expressed by a mayor before.
The reality was that the mayor didn’t really have to pay for the membership, we just had to allocate an additional $50 from our budget which, I am happy to report, was unanimously approved by the commissioners. I guess the point of this article/parable is that we all need to remember how important JAG is to all of us.
We also need to keep in mind that the organization can only be as good as its members. Get involved, volunteer for committees, make you needs known. The JAG Community is here to help. With hard work and some help from your friends, you too can impress your mayor by giving them programming they can’t live without. Thanks for indulging me in this little soap opera, but if it weren’t for JAG, WM77 would look a lot different and not for the better.
Posted: February 25, 2025 by Doug Seidel
Oakland, NJ: Leading the Way in Fiber Infrastructure
by John Morley, Independent Producer
If you don’t know me, I’m John C. Morley, a serial entrepreneur, engineer, video producer, and certified journalist. I’m excited to introduce my new monthly feature: Tech Trends Unplugged
In today’s digital age, connectivity and communication are essential for the vitality of municipalities. Oakland, NJ, is taking significant strides to establish a robust standard for future growth while reducing costs. In this article, I’ll explore how, why, and specific locations where Oakland has unleashed this innovative flexibility. Additionally, I’ll explore the unique advantages that give Oakland the edge to accomplish this ambitious undertaking.
No great ballpark—now referred to as a stadium—has ever come to fruition without countless hours of planning, engineering, and fundraising initiated well in advance. Crucially, these projects also require a dedicated team of individuals who not only grasp the intricacies of the endeavor, but are also committed to delivering the best possible outcome at the lowest achievable cost without compromising on quality.
Like many successful projects, Oakland, NJ’s project journey started early in the late teens to give it a head start that would ultimately benefit the borough. The town’s foresight was spearheaded by Councilman Eric Kulmala, who brought a unique combination of insight and technical expertise. After over a decade of experience in telecommunications and broadcast engineering at Verizon, Kulmala developed a deep understanding of the significance of owning and deploying infrastructure to achieve cost savings.
His early planning and strategic decisions positioned the borough for future growth and economic benefits. Since transitioning to the role of Mayor, Kulmala has worked diligently to ensure that the town’s initial investments continue to yield positive results, fostering an environment conducive to sustainable development and community prosperity. Mayor Kulmala’s leadership has maintained the momentum of those early efforts and introduced innovative initiatives to enhance the success of the Borough of Oakland, NJ.
Mayor Kulmala’s background helped him understand the benefits of installing a fiber infrastructure and how to reduce costs. If your town or borough lacks knowledgeable individuals in this field, don’t let that be a showstopper. Seek experts who can assist you—the cost savings will show a significant ROI within a few years.
About ten years ago, Councilman Kulmala foresaw the potential for future infrastructure improvements when he noticed that the Oakland Recreation Field was digging trenches for new lighting. Recognizing that a significant portion of the investment outlay is in trenching and conduit, they decided to also lay conduit for a future fiber installation, which was later approved by the governing body.
Oakland Borough completed the fiber installation project around the fall of 2024. This initiative stemmed from a recommendation made by Mayor Kulmala in 2022, who urged the council to secure funding to start installing their fiber infrastructure. Recently, they began using the conduits laid years earlier, with plans to connect various municipal buildings, including the Municipal Hall, Library, Department of Public Works (DPW), Police Department, Senior Center, and First Aid Squad.
Even though I have shared why, when, and where Oakland is deploying this cost-effective infrastructure, you may wonder why your town should consider doing the same. First, having fiber connectivity allows for direct network linking of any municipal buildings or resources. This results in significant savings by eliminating the need for separate payments for each building or venue’s internet, phone, and cable utilities.
Additionally, this connectivity facilitates the integration of essential systems directly to many buildings (including within the police station), such as phone services, IP cameras, security systems, and monitoring systems (for pumps, etc). It also enables the installation of broadcast cameras for local access TV stations, which enhances community engagement and improves communications.
Bergen County and many other locations offer programs that allow towns to purchase internet services, helping them cut costs on connectivity. With a simple purchase order (PO), municipalities can secure internet access for essential services, including fire departments, police stations, and other critical operations.
Lastly, I’d like to address how to get started. It’s crucial to stay informed about upcoming construction projects on your town or borough’s property, such as new lighting installations or other initiatives. You can issue a change order to install conduits for fiber, even if you don’t immediately install or activate the fiber. The key is to future-proof your town, enabling growth and potential cost savings when you’re ready.
If you have any further questions about this technology, please don’t hesitate to contact me. As an engineer with expertise in LANs, WANs, and data center implementations, I am currently working on lighting up a business complex to enable fiber access for one of our clients. Fiber is a reliable alternative to cable, which many residents find unsatisfactory, and the potential savings are significant. I encourage you to remain open to this idea. It could be precisely what your town needs to save money.
Posted: February 25, 2025 by Doug Seidel
Sharing the TelVue 2025 Vision with JAG
by Jesse Lerman, President/CEO, TelVue & Denise Rolfe, Director, Community Broadcasting Sales
It’s a new year. TelVue continues to be excited about our long-time partnership with JAG as we integrate the latest technologies to help you save time, expand your audience, increase accessibility, and generate new sources of revenue. Two letters have revolutionized the way we think now about technology: AI (artificial intelligence).
TelVue previously integrated AI into its broadcast products for automatic captioning and translation. Now we’re leveraging AI for meeting summaries and agenda generation to save time on transcript reviews and manual metadata entry. This allows faster meeting prep and streamlined communication. Agendas are displayed as chapters in your video library and are fully searchable along with the captioning—so your viewers can quickly find and watch specific topics of interest across your government meetings.
TelVue’s accurate and affordable SmartCaption automatic captioning service makes live and on-demand programming accessible to hearing impaired and multi-language audiences. Captions improve viewing in noisy environments or with muted audio. SmartCaption and CloudCast help you achieve Web Content Accessibility Guidelines (WCAG) compliance for your website and apps which is crucial for government compliance. AI is quickly progressing to be able to generate audio description tracks for further accessibility compliance.
Automatic Government Meeting Agenda Generation & Summarization
Social media is vital for community channels, fostering real-time audience engagement and expanded reach (especially among younger audiences) while providing powerful promotional tools beyond traditional TV. Engaging directly with viewers also offers insights to tailor content and increase viral potential. The HyperCaster already automates live programming distribution to platforms like YouTube and Facebook Live, and now we’re adding automatic video files exporting to YouTube playlists. Our InfoVue Community Bulletin Board simplifies integrating social media feeds into your custom screens. For ready-made screens, the Screenfeed Social Apps package supports Facebook, Twitter/X, Instagram, and LinkedIn with moderation options to approve posts before they air.
TelVue Social Media Integration
HyperCaster V8.6 supports motion logos and backgrounds to enhance on-air graphics and branding. Upload motion graphics as bugs (motion logos) or backgrounds for tickers, snipes, clocks, and program guides to draw more attention to your channels through creative, dynamic branding.
NDI is a high-quality, low-latency protocol designed for live production. HyperCaster AIO models now offer NDI output as a new license option to expand output formats along with SDI, Transport Stream, RTMP, and HLS. While the HyperCaster AIO has long supported NDI input for live and recordings, NDI output adds utility for channel monitoring and NDI-centric workflows.
TelVue also launched an affordable, enterprise-grade cloud storage service for secure video archiving. This expands HyperCaster’s integration beyond NAS and Archive.org. Workflow rules allow automatic archive and retrieval of content to the cloud. It includes a browser-based interface for managing users, files, and folders. TelVue Cloud Storage eliminates the complexities of servers, hard drives, RAID, and backups, which results in a reliable, long-term archiving solution for municipalities and organizations preserving historical programming.
New TelVue Cloud Storage Service for Secure Archiving
The TelVue CloudCast Paywall option empowers JAG stations to generate new revenue with flexible subscription and pay-per-view models (ideal for sports programming). Initially launched for websites, we are now extending Paywall to OTT and mobile apps for a seamless, TV-everywhere experience—purchase once, watch anywhere. CloudCast Paywall supports 24×7 live channels, live event-only, and VOD programming. It has nDVR for rewinding within live events, cloud recording, and live-to-VOD.
CloudCast Video Ads enable JAG stations to monetize live and VOD streams with pre-/mid-/post-roll ads, creating new platform revenue opportunities through local business advertising partnerships.
Generate Revenue with Paywall & Video Ads
OTT and streaming have driven the rise of free ad-supported streaming television (FAST) channels. TelVue now offers cloud channels for FAST, with advanced automation features that can benefit community media stations too. Tools like program segmentation, bumpers, and trailers help fill schedules to standard durations (e.g., 30 minutes, 1 hour) with promos and sponsorship spots to create a more consistent viewer experience.
We look forward to seeing you, presenting these latest developments, and getting your valuable feedback for our roadmap at the next JAG meeting, Feb. 26, 2025 at Bloomfield TV!