Part I discussed the current state of ENG and the move to mobile journalism 

Part II looked at Euronews’ adoption of smartphone newsgathering 

Part III

When NBC News International President Deborah Turness made her "cut-the-cord" declaration at the 2018 IBC Show in Amsterdam she provided scant details about what her network calls “iPhone Journalism.” Inquiring minds want to know. What smartphone-related hardware and applications are Euronews NBC using to replace conventional ENG cameras and live trucks?

According to Ilyas Kirmani, executive producer at NBC News International in London, Euronews is the largest network in the world to go all-in on smartphone newsgathering, aka video journalism, aka mobile journalism. Kirmani responded via email to a list of questions about the hardware and apps his network is using in lieu of conventional ENG camcorders and SNG trucks.

IPHONE VS. ANDROID

NBC apparently did not even look to European rival BBC for guidance. The British television news outlet began experimenting with one-man news teams in the early 2000s, long before Euronews took interest. BBC VJs first shot with small, prosumer, digital camcorders, then later with smartphones. But in the almost two decades since the BBC has kept VJs as supplements to, not replacements for conventional camera teams and ENG cameras. After putting a toe in the water, the BBC is now not much past the ankles, where Euronews is now up to its eyeballs despite being a video journalism latecomer.

The Lyon France-based network “supplies the entire kit including the phone, tripod, selfie sticks, Osmos, mikes, lights, Wi-Fi dongles, and laptop,” Kirmani said.

Kirmani said Euronews equips all video journalists with iPhone Xs (5.8-inch display, 12 MP dual rear/main wide-angle and telephoto cameras, 7 MP front/selfie camera.) Even though Android smartphones outsell iOS devices worldwide, the Apple camera phone is not just preferred by Euronews but by a majority of video journalists as well.

(Note: The iPhone is also the BBC’s camera phone choice. I personally use an iPhone. One drawback is Apple eliminating the 3.5 mm mic/headphone jack and providing only a single Lightning port for both charging and peripherals. As of last October the new iPads have a single USB-C jack instead of the Lightning connection. Go figure. Some day at least one smartphone manufacturer will offer a pro model with at least three ports, a bigger batter, a built-in lens adapter, and a heat sink for longer recording and streaming times. Heavier and a bit bulkier is no bad thing for news work. Current smartphones are too light to hold steady as it is.)

The Euronews iPhone Journalism kit includes two rigs: a one-handle Zacro brand (Japanese) and a two-handle Ulanzi (Chinese). The Zacro smartphone holder and tripod adapter is a very good buy, at about $13. Its clamp concept is quite secure—the tighter you twist the knob the tighter the grip.

The two-handle Ulanzi rig is also a great value, $20, delivered on Amazon. But, after testing one, I found the slider-style clamp does not hold a smartphone nearly as tightly as brands that use clamps similar to Zacro’s. It may be worth it to pay more if the rig is used for heavy duty news work, like the Shoulderpod X1 (Spanish)—$120 plus shipping and the iOgrapher (USA)—starting at $49.99 plus shipping. (There are lots of good rig choices on the market. (I built by own rig out of steel for about $20. It may not be pretty but it’s bulletproof.)

The Euronews kit’s Osmo-brand gimbal stabilizer works much its much larger Steadicam counterpart used with ENG cameras to smooth camera movement. Gimbals, though, may be overkill for most VJs.

Consider my experience with gimbals: Last year Euronews’s bonded cellular app provider, LiveU, was thinking about bringing back an updated version of its SmartGrip product which it had taken off the market. The company began testing two and three-axis gimbals to see if a gimbal function should be part of a new design.

I volunteered to runs tests and compare gimbal stabilizer performance with conventional, two-handle rigs. LiveU sent me the gimbals. For comparison I added a one-pound weight to a conventional rig to provide passive stabilization.

I concluded that gimbals are not well-suited for most news work, especially breaking news. They’re too expensive, too fragile, and too hard to set up. Besides, in most cases video reporters should be standing still while shooting, not moving, and only panning with purpose. Plus it’s not easy to pan gimbals.

Euronews seems to agree or, at least, may be having second thoughts about including gimbals in its kits. “When we first launched our shows, we wanted our correspondents to come live via Osmo or selfie stick,” Kirmani said. “We later determined this was not the best user experience for the correspondent or the viewer, so decided to have them all use tripods when coming live, unless there is something significant to show.”

That makes sense. VJ’s, working alone, have enough to do during a live shot without having the worry and strain of steadying a camera. Plus, jittery video makes encoders, like LiveU ‘s app, work harder, effectively reducing bandwidth and resolution.

PREFERRED APPS

Speaking of apps. Which ones are loaded on Euronews reporters’ iPhones?

“LiveU, Latakoo, Filmic Pro, Taggly, Gravie, Square fit, cut story, and facetime,” according to Kirmani.

Here’s what they do:

LiveU, of course, is the cellular bonding app. It’s their go-to app for all live shots. “Ninety-nine percent of our correspondent live shots come via LiveU on the iPhones,” Kirmani said. (For more about bonded cellular and 5G see upcoming part IV in this series.)

Latakoo is an Austin, Texas-developed app Euronews uses to transfer video files from the field to the station. As opposed to using something lighter duty, like Dropbox. That’s the so-called store & forward function. (Latakoo, at the moment, does not do live shots. But company president Jade Kurian, in an interview for this article, said they’re working on a live streaming app that should be available next year. “I think it will be a game changer,” she said.)

Tagg.ly is an app for quickly adding name, logo, location, and timestamp to videos prior to sharing on social media.

Gravie, in similar fashion, permits reporters to stick text and some editing and formatting, such as changing the frame format, on video clips in their iPhone’s camera roll. Another tool for use prior to uploading to social media.

Square Fit is a video app for whipping widescreen video clips into shape (literally) for posting on Instagram with its square-frame format.

CutStory. Again, another app to spruce up clips for social media. The reporter clicks on the social media choice (Instagram, Facebook What’s App etc.) and the app automatically trims it to a 1:1 or other social-compatible vertical aspect ratio and also meets the duration limit.

FiLMiC Pro is pretty much a consensus favorite shooting app among video journalists. Reporters can get by with iMovie, but FiLMiC Pro as its names suggests, enables VJs to shoot more like pro videographers. (If a VJ is shooting a piece just for social media FiLMiC Pro has a 1:1 aspect setting.)

GAINING EXPERIENCE

What about training? Euronews VJs needed to learn how to use the new hardware and apps.

It turns out that Euronews is not yet much into training, unlike some European stations— like the BBC in the UK and ARD-affiliated stations in Germany. They have comprehensive, ongoing employee training programs.) “They go through a two-day, in-person training course, and then the best training is practical, out in the field,” Kirmani wrote.

Euronews assumes many VJs already have some shooting and editing experience. Kimani says if a reporter has no proficiency there’s a Euronews team member to provide more training.

Even so, Euronews may need to substantially ramp up its training program if the network plans to pull off cutting the cord. At some point VJs need to learn how to film as well or better than videographers who only shoot and edit much better than editors who only edit. It’s a tall order. Instead of being jacks of all trades, masters of none, VJs need to become jacks of all trades, masters of all.

Less experienced VJs who don’t get sufficient in-house training should find their own online and in-person workshops, such as courses offered by mobile journalism professor Robb Montgomery, VJ guru Michael Rosenblum, (some online tips are free), and Mojocon founder Glen Mulcahy, among many others.

(Note: Rosenblum is in the process of training some 150 employees for the local tv station SoCal-1. “When we are done, SoCal-1 will be the biggest all VJ TV station in the world, and we expect, a model for the rest of the country,” Rosenblum says. “Many stations have one or two VJs, and play lip service to the concept. Here, it is all VJ all the time, and that is going to produce a very different on-air product.”)

(I also plan to offer advanced smartphone newsgathering workshops, especially in Germany for those who already have basic graining and some experience.)

GOING LIVE

Then there’s the matter of live reporting. It’s perhaps the main reason Euronews switched to iPhone journalism. The video news provider now has a substantial number of live-ready reporters dispersed across Europe giving the network far more opportunities to go live.

But danger lurks ahead. Giving a live-ready phone camera to a novice reporter is like handing Him or her a live grenade. There’s a substantial risk for serious technical and journalistic mistakes. Too many boo-boos could kill Euronews’s initiative.

Of course, most news stories are not covered live. Most of what VJs do is behind the camera, not in front of it. Besides live signals, cellular connections between the field and newsroom can transmit raw and edited footage. Which leads to another question I put to Kirmani: “How much/what percentage of iPhone journalists’ video is edited at the station?”

“Fifty percent is edited in the field vs station,” he replied.

Laptops loaded with Adobe Premiere or Final Cut Pro are included in the Euronews kit. But the high-end editing software seems like overkill for field editing. Programs like iMovie are much cheaper (some free), easier to learn and faster to use. Other lower cost, easier-to-use smartphone editing choices: Kinemaster, ViMoJo, and Lumafusion.

In any event, if half of Euronews’s packages are cut in the field, it’s a really good start for the network's cord-cutting initiative. The benefits of in-field over in-station editing are substantial. Above all, speed. No time is lost driving back to the station if the reporter edits at or near the news scene. It’s also much quicker and more bandwidth efficient to stream a 2.5-minute, edited package to the station than 20 minutes of raw footage/rushes. The goal—which mostly has old habits and traditions blocking the path—should be to edit almost all stories in the field.

Big question to Kirmani: “What are your biggest iPhone journalism hurdles yet to overcome?”

Interesting answer: “There are still interviews and stories that require traditional crews.”

Another oopsy!

Does that mean Euronews did not fully cut the cord, but merely stretched it?

At the very least NBC seems to have flipped the field, that is made ENG subservient to smartphone newsgathering. Made it second fiddle. Instead of video journalism being the backup, Euronews has at least put ENG under smartphone newsgathering’s shadow even if it’s not yet possible to completely cut the cord.

ENG will still not disappear overnight, especially given traditional television’s huge investment in legacy cameras and live trucks. In the late 70s, a at the birth of ENG, film did not vanish overnight either. But film’s demise was rather quick, at least in the states. In Europe it took about a decade.

But now Europe and Asia, arguably, are ahead of the U.S. transitioning away from ENG equipment and workflows. The fact NBC mostly cut the cord in Europe before doing in the states supports that perception.

SAN FRANCISCO—Newsrooms of all types may be wise to remember that more and more, consumers are running the show.

That may explain why today’s newsroom technology—be it a traditional broadcast or all-digital or a hybrid of the two—is evolving from single-silo technology operations into connected, software-centric systems that house multiple solutions in a streamlined platform.

The older model no longer works in today’s media environment. That version, in which a newsroom system managed a straightforward broadcast program, has evolved into one with a journalist creating a 10-second video tweet, an editor simultaneously building a 30-second segment to run on a proprietary app, followed by the news team organizing a complex 30-minute news segment with pre-packaged material flecked with curated social media feeds.

INSTANT ACCESS

Content creators are already aware of how their news philosophies have to realign based on shifting customer behaviors. The newest version of some solutions are keeping that reality in mind by integrating existing news and media asset management platforms with new components that address how people consume news today.

For example, a new web interface in the Avid MediaCentral platform allows reporters in the field who shoot their own video to tie into a system—say, either regional or in the cloud—to search for and find more media assets. That gives journalists access to user-generated content and offers the editorial team access to a map with incoming media feeds, said Ray Thompson, Avid director of broadcast and media solutions.

“[Content creators] are trying to enable mobile workflows—be a broadcast truck in a tablet, if you will—so they can get closer to the story while doing so at a lower cost,” Thompson said. “With basically just a tablet tied back into a centralized system, MediaCentral can leverage media to produce that run down.”

Attention in news has now squarely turned to mobile. “It’s not just millennials that are more reliant on mobile devices,” Thompson said. “Social media now plays such a huge role in how news is produced.”

As eyeballs move away from traditional TV and move toward an app or Facebook or Twitter, those advertisers are following, he said. So news organizations need tools to drive viewers back to their social media and Websites.

Broadcasters now actively competing with social media; it’s absolutely critical news technologies better help cover the story and get news out faster,” he said.

Solutions like MultiPath from Bitcentral follows that same “produce once, publish many” philosophy by targeting a social media and OTT audience. Integrating with Bitcentral news production tools, the system offers a structured interface that guides a user to select and manage multiple publishing output events after the media has been created. The system also offers an Integrated Authoring Pane that allows an editor to see a consolidate views of the content as its published across different platforms.

The company’s flagship news system, Core News, includes asset management tools and immediate access to video content as it arrives to enable proxy footage editing even during ingest.

THINK LIKE A STARTUP

Today’s newsroom software solutions are also allowing content creators to think like a lithe, quick-adapting startup.

“If you wanted to do a true digital workflow with just mobile devices, you can do that,” Thompson said. “We see a lot of startup-type news organizations as well as traditional broadcasters developing a digital group. As they start to grow that audience—which is giving them a great opportunity to reach new revenue—it also allows them to form a direct relationship [with viewers].

The software systems powering these newly revamped editorial rundowns are giving content creators the ability to build a bespoke solution to fit the environment they’re thriving in, according to Arnaud Elnecave, vice president of marketing for Dalet Digital Media Systems.

Based on the stories the newsroom is scheduling and the stories you are trying to build, today’s newsroom systems can aggregate material and suggest what is relevant for the topic. “Based on an assignment, a set of tags can be used as you start building the content,” he said of the Dalet Unified News Operations solution. “You are scripting, editing, building the story [and the system] is able to extract key phrases and forward searches in your inventory.”

The company’s newsroom software solution was designed to be a single enterprise platform with a list of modules that allow journalists, editors and producers to collaboratively plan, create and deliver news. It addresses media asset management for gathering, distributing and delivery; newsroom features for planning, scheduling and assignments; and studio automation.

In that same vein, the company has also introduced “Dalet OnePlay” that leverages MAM and NRCS capabilities automating the control of devices.

“The value is that while you’re conducting your show, you can broker secondary events—such as controlling devices in the studio and triggering automated posts,” Elnecave said. “OTT is a growing trend [so] now it’s not only about putting assets together for on demand stories but it’s also about how you connect with the audience via real-time orchestration within the stream.”

Aveco is addressing newsroom efficiencies through automation and integration. “The most prominent trends in news production revolve around story-production efficiency and increasing the quality of on-air presentations,” said Jim O’Brien, president of Aveco.

Aveco’s Astra Studio includes automation for breaking news, built-in media asset management to quickly find clips, integrated equipment-pool management to share resources efficiently, and integration with production equipment such as switchers, camera robotics and graphics.

For live on-air news automation, the sophistication of production has grown beyond what is practical to verbally cue, O’Brien said. Using live-assist automation allows reliable high-end looks, and accomplishes them efficiently. “With more station groups sharing resources, the impact of this superior design steadily increases in importance,” he said.

When it comes to security, Aveco runs on the operating system QNX, which has an excellent track record when it comes to protecting from virus, O’Brien said. “To have a so-far perfectly safe control core is growing in importance as IT vulnerabilities exponentially expand, from more extensive live field IP infrastructure, multi-site networking connections, increased audience engagement and more online interaction,” he said. “Broadcasters are top hacker targets.”

MORE CONTROL

Newsroom technology is also putting more control into journalists’ hands. “Sometimes the commute times are too long back to the newsroom or [you’re using content] from sources that are not your reporters—say if you’re using social media as a source of content,” Elnecave said. “The workforce in the field wants a more fluid experience. So newsgathering is evolving.

“We are building a digital experience so you remove the borders of the newsrooms that people in the field are working in as they collaborate,” he added.

For example, Euronews, based in Lyon, France, installed a Dalet solution last year to revamp its news channel solution for multiple audiences in multiple languages. Previously, the media company relied on a more traditional broadcast approach to provide a single channel of news programming with language voiceovers dubbed in 12 different languages over the same media.

Now it uses a Dalet newsroom and media management system to tailor programming in those 12 languages to adapt local stories for local audiences. Instead of reinventing the wheel each time a story develops, the company said, journalists can access video, graphics and script on matching topics media on the Dalet OneCut media editor timeline.

“Because we have been able to synchronize, we’ve been able to free up resources,” said Duncan Hooper, digital editor in chief of Euronews when the technology was first installed. “That’s allowed us to increase by about 20 percent the amount of content that we can produce but with the same staff numbers.”

In Part I, the author discussed the current state of ENG and the move to mobile journalism. In Part II, he looks at Euronews’ adoption of smartphone newsgathering.

For journalism’s sake, Euronews’ pulling the ENG/SNG plug in favor of smartphone newsgathering needs to succeed and set an example for news outlets around the world. NBC is acquiring valuable technical and workflow experience that could smooth the path for other video news providers to vastly cut video production costs while providing more, faster and better reporting—live and on-demand—direct from news venues.

But where could Euronews’s technical innovation go wrong?

At the same time that Deborah Turness, the new president of NBC News International at NBC News, pulled the plug on legacy cameras and live trucks she also changed the way Euronews is presented on air and online. She introduced a studio-based, linear news show format with live anchors. Similar to what NBC’s TODAY and Nightly News have been doing for decades. As she explained at IBC:

“Previously Euronews was a post-produced platform delivering a video playlist of edited packages with no live studios, no live anchors, and without a network of journalists on the ground. That’s been all changed. We’re effectively launching a startup within a legacy news operation.”

So now Euronews’s live anchors interact with iPhone journalists who report live from the field. Turness calls it “real time journalism.” Euronews promos say its reporters are “fast and untethered.”

But has Euronews taken one step forward and another back? While its reporters are now disconnected from live trucks, they have become tethered to Turness’s newly introduced, scheduled news shows.

News shows require viewers to watch and wait for stories they’re interested in. It’s a dying format that instead of liberating mobile journalists with their smartphones, forces them to go live at certain times, often, perhaps usually, after the news event has died down or is over.

Even worse, a "black-hole" live shot plague has infected television news reporting worldwide. It’s a common, anti-journalistic practice brought about by the very technology whose cord Euronews cut.

'SENSELESS LIVE SHOTS'

To justify the high cost of ENG crews and live trucks, journalists often report live from scenes of stories that occurred hours before and no longer unfold. Reporters are seen standing in front of empty buildings or at inactive news scenes, often at night. Thus, the expression black hole live shot. Google it.

Media critic John McManus’s opinion is shared by hundreds if not thousands of journalism educators, critics and reporters:

“It’s a gimmick that tricks viewers into thinking a story is worthy of special attention; why else would the station go live? The capability to broadcast live diverts dollars—that might have been spent hiring more journalists--into the purchase of hugely expensive live vans. Stations are buying live background—wallpaper—at the expense of substantive reporting. Because those trucks must be used to justify their cost, newscasts become shallower—more oriented toward visual, location-specific events and less about issues.”

The central feature of all black hole lives shots is a “talking head” reporter in standup position with no action in the background. The live reporters usually do what the live anchor could have done without tying up the reporter and crew: introduce edited inserts with interviews and video of the long-ended event.

Euronews’s broadcast news shows—they’re also carried online and in social media—only air valid live shots of breaking stories if they happen to occur during a scheduled news show. So, for Turness to fulfill her promise of live reporters interacting with live, studio-based anchors, she has to stuff the linear broadcasts with senseless live shots. Euronews presenters are seen sitting at an anchor desk, interacting with reporters who appear on a huge videowall. With nothing going on in the background.

That the focal point of most black hole live shots is talking heads adds insult to injury. A talking head is defined as “a person on television or in a film who is shown merely speaking, as in an interview, a term suggesting a dull or unimaginative presentation.”

Broadcasters are slow to concede that reporter standups are talking heads, just like lengthy interviews. In the case of live shots, instead of viewers first seeing dynamic video of a news event they see a talking head holding a mic. 

(It’s worth mentioning that it was NBC news that broadcast perhaps the greatest and fully legitimate talking head live shots of all time, NBC News coverage of the fall of the Berlin Wall hosted by Tom Brokaw at the Brandenburg Gate in November 1989. American viewers saw live what German viewers did not. German television was caught flat footed after dragging out its transition from film to ENG and delayed buying mobile live trucks that could be set up in minutes rather than days.)

With Euronews it’s a matter of “The Lord giveth, and the Lord taketh away.” Turness frees reporters to go live any time then shackles them to the obsolete news show format.

WORKING OUT THE BUGS

Few lament the demise of the news show format more than I. Much of my consulting work for German television stations SAT.1, DSF, 1A (see photo) and N24 involved the construction of American-style sets and improving the stations’ news show formats. (I also conducted Germany’s first live shot workshops in the early 90s but advised against senseless live reporting that was so common in the states at the time.)

Even if there’s no journalism justification for Euronews’ senseless live shots, the network is still working out technical bugs that will inevitably pop up when completely transitioning from ENG to smartphone newsgathering. Fingers crossed, that experience may lead to Euronews making better use of its mojo army for its online news delivery.

If NBC has money to burn there’s nothing wrong with providing the network’s dwindling number of TV watchers using a format they’re familiar with. As long as the money and attention are not diverted from hiring more reporters or improving its online, nonlinear offerings. Even if Euronews prioritizes its broadcast news delivery it is still free to maximize the use of its iPhone journalists online.

Oops! It may be free to maximize. But so far, it’s not.

To see an uncluttered website mess with more text stories than video and with obvious clickbait stories, visit www.euronews.com, click on "live" at the top of the screen to watch the live newscast and black-hole live shots. 

Some reports are “narrated” with video Chryon text. Others were just video, nothing else, remnants from pre-Turness days when such reports were labeled No Comment. “Get the picture without the commentary,” it said. And Euronews is still experimenting with 360 video. (Type 360 in the search box.)

In 2014 Harvard University’s Nieman lab reported on how Turness was working with online streaming video when she headed all of NBC news:

Television networks are good at producing video for broadcast. They haven’t always proven good at producing video for the web and mobile devices. What works on a big screen at 6:30 p.m. isn’t the same as what works on an iPhone. NBC News is expanding its efforts in the original digital video arena and trying to bridge that divide. “We wanted to build a site that doesn’t feel like TV content chopped up for the web, but born for the digital age,” said NBC News president Deborah Turness on a conference call on Tuesday. The network relaunched its website today with the goal of merging its television programming more fluidly with digital production, while simultaneously creating content for a digital-only audience.

NBC’s U.S. website is cleaner with more video, so maybe Euronews just needs more time. Still, both are plagued with long, pre-roll ads that can’t be skipped, too few reporter packages, and no apparent method for accessing legitimate live shots. In short, neither puts digital first.

Contrast Euronews’s website with one I’m much more familiar with, one for Germany’s most watched national newscast, tagesschau. News consumers can watch the main newscast live at 8 pm or watch the same news show on demand shortly after it airs. Below the main screen viewers can select and watch only the key stories they want to see without wading through the rest. Tagesschau online, however, is still just a version of the regular TV broadcast. 

Turness may well find out that her ENG camera/live truck cord-cutting is a bridge too far. She may fail. But for the sake of journalism’s future, she needs to succeed. Or the nose dive may go on.

Note: The next two parts will deal with 5G and bonded cellular as it relates to smartphone newsgathering and with technical details about Euronews’s iPhone Journalism initiative. 

Part 1

Journalism, worldwide, is in crisis. The bottom of its nosedive is not yet in sight. There are far more reporter layoffs than hires. Numerous technologies—the internet for one—and revenue-sucking behemoths—like the Google/Facebook duopoly—are shaking up legacy means of newsgathering and distribution. Digital disruption is harming journalism far more than benefiting.

News delivery via newsprint is on death watch. On the TV side, linear news delivery via the news show format is dying more slowly, but surely. A dwindling number of airwave, cable and satellite news consumers are willing to tune in at a certain time, at a certain place, on a certain screen and patiently wait to get the news and entertainment they really want. No wonder internet/IP-centric technologies like video-on-demand, next-gen, over-the top (OTT) television will soon overtake certain-time TV. No surprise that broadcast giants are scrambling to deliver their information and entertainment wares through OTT.

Even though most news publishers and broadcasters have long been online, many of their web offerings are merely rehashed versions of their offline products. Being there is not the same as succeeding there. “Digital first” has really meant “print first” and “video last.”

The “pivot to video” has been a colossal failure for most newspapers. “Those who pivoted to video didn’t really understand how expensive it is to produce high-quality video if you don’t have the infrastructure necessary to support it,” said Trevor Fellows, vice president of digital strategy for NBC.

Of course, television news outlets already had infrastructures in place to produce online video—no pivot needed. But, pretty much across the board, that infrastructure consists of outmoded, ponderous, expensive equipment and workflows. Bottom line: neither publishers nor broadcasters, generally, are very good at producing online news video.

Because the web is 24/7, its news outlets need cheaper, more mobile newsgathering equipment and much faster, less expensive video production systems and methods. Legacy television stations can’t come close to meeting a demand for online news by taking reporters off the street. Some are laid off, others converted to so-called "multimedia reporters" who spend more time in the newsroom than in the field. Resorting to shameless aggregating and clickbaiting isn’t working either. New technologies and workflows need to not just improve news distribution but also the quality and quantity of news content.

Happily, there are glimmers of hope. One is NBC’s bold, plug-pulling move in connection with its recent partnership with Euronews. At the 2018 IBC Show in Amsterdam Deborah Turness, the new president of NBC News International at NBC News, announced their discontinued reliance on ENG cameras and SNG trucks. 

“We’ve cut the cord with cameras and trucks, and armed our network of 100 percent mobile journalists with iPhones, LiveU and Osmo,” she said about her remaking of Euronews. “I think we’re the only major  news operation to only deploy iPhones having cut the cord with cameras and trucks.”

Euronews may not actually be the first major news outlet to turn fully to mobile journalism. Last year New Delhi Television (NDTV) switched to a video journalism model where its reporters shoot and edit news video using Samsung smartphones, a change the press referred to as mojoification.

But what Turness is doing is a much bigger deal. Where financially troubled NDTV acted more out of desperation— to cut costs—NBC is acting more out of inspiration—to add speed and mobility. If successful NBC could hasten journalism’s snail’s-pace shift from ENG to smartphone newsgathering, a transition that will become as big or bigger than the pivot from film to ENG in the late 70s and early 80s. That film-to-ENG transition not only facilitated live reporting, but also sophisticated editing of news packages. It’s now something smartphones can accomplish with teeny-weeny appliances and cellular connections at relatively minuscule cost.

Savings could and should be used to put more, quick-reacting boots on the ground. Turness refers to her “small army of journalists” equipped with mobile phones. She calls it “real-time journalism” where “you can go places and engage with people with a mobile phone in ways you cannot with a camera person and a big camera.” “You disrupt the oxygen in the room when you enter with a TV crew normally,” she told IBC attendees. “When you go in with an iPhone you are small and quite innocuous.”

Taking another swipe at conventional ENG/SNG live reporting she said iPhone journalism “is a more authentic, transparent way of storytelling. Our reporters are not perfectly coiffed, standing on a riser with a light and a cable plugged into a truck. They are on the move, they take you with them.”

Turness told The Drum, a European marketing website, “When you look at television news as a product I feel it is looking very tired and out of step.” “While other news organizations have dabbled with iPhone journalism it’s often as a supplement when the other camera isn’t working”.

That supplement status is doing little to rescue journalism. Until smartphone newsgathering largely displaces ENG/SNG those outmoded technologies and workflows will continue wasting huge sums that could be spent to hire, train and equip mobile journalists thereby increasing the quality and quantity of video stories available to news consumers.

Turness may understand that smartphone newsgathering and ENG can no longer peacefully co-exist. The only way to take the handcuffs off smartphone newsgathering is to lay ENG/SNG technologies and workflow to rest and give them the honorable burial they deserve. 

Coming up, Part 2: Euronews’s iPhone Journalism: What Could Go Wrong?

It works in gaming, it works in retail. Heck, it even works when it comes to M&Ms.

Study after study proves that a major key to success in 2018 is customization.

Yet for one European news media service, an inflexible legacy distribution system was blocking the way to such customization.

That was the reality that Euronews was facing. A pan-European news organization with multiculturalism at the heart of its DNA, Euronews was founded nearly 25 years ago by 10 European public broadcasters looking to cover world news from a European perspective in multiple languages 24/7. But this network — seen as groundbreaking when it launched in 1993 — was being held back by an inability to adapt programming to the specific needs of individual countries.

So this pioneering broadcaster began searching for an answer to two key questions.

•How does a multilingual broadcaster better serve a segmented audience in the wildly diverse digital environment of 2018?

•How does one better reach an audience while juggling complex multilingual content production on one hand and managing intricate multiplatform distribution on the other?

In other words, how do you reach an Italian teenager surfing on her mobile phone while simultaneously connecting with a 70-year-old multilingual professor looking for over-the-air breaking news in Ukrainian?

Connecting with Audience via Customization

“We have been operating a ‘one size fits all’ policy since launch because that was the limit of the software we were using,” said Duncan Hooper, digital editor in chief for Euronews. “We found that we could no longer take our brand or product further so we [made a change] to help us break out of those limits and to create a specific identity for each channel with content customized for each audience.”

For Euronews, now the continent’s biggest news channel, that change came in the form of a new broadcast infrastructure with customization at its center.

The result: weeks after the launch, Euronews was already producing more than double the amount of television content that it did under its legacy infrastructure. Additionally, by synchronizing the production of content between its television and digital platforms, Euronews is now producing 20% more content for their digital channels and managed to grow traffic to their website by 66% since the beginning of 2018.

For Euronews, the answer came in the form of a new production and distribution platform that allowed it to transition from a single multi-language channel to 12 separate cross-platform channels that can now be individually tailored to local audiences.

After its installation in fall 2017, Euronews is now generating adapted content with enhanced graphics across TV, social media and the web. The broadcaster is able to set up a separate identity for each of its language channels and deliver pictures and graphics in different languages for audiences in 165 countries.

Journalists and other editorial and creative personnel have more individual control over their content. Under the new system, journalists can now access any video, graphic or script created by another reporter and directly customize that content on the platform. Collaboration between departments is proving to be seamless.

“Journalists can collaborate better, share content seamlessly, and transform an original story with minimal effort to adapt it for each language and audience,” said Francois Schmitt, Euronews COO.

And dependency on technicians is reduced. Using this new system, Euronews can now store all assets in a single, unified environment, which allows for a smooth, automated flow of content from ingest to output.

Now, the 500 users that work at Euronews offices in Athens, Brussels, Budapest and Lyon are connected and collaborating on a single platform. The solution — called Dalet Unified News Operations — handles production, orchestration and delivery of stories in a way that was not possible for Euronews a year ago.

Euronews is now able to adapt its output to the needs of the consumers it serves, “empowering the uniqueness of our multiculturalism,” said Michael Peters, CEO of Euronews. The new production platform is transforming Euronews into a robust, agile and innovative organization, he said.

“[We are becoming] the first glocal news brand by reinventing our approach to broadcast journalism from production to distribution,” he said.

Detractors said Euronews’ multiplex approach to news coverage lacked the ability to adapt programming to the specific needs of individual countries. That’s no longer the case. Now, Euronews is producing double the amount of television content that it did under its outdated infrastructure. By synchronizing the production of content between its TV and digital platforms, Euronews is producing 20 percent more digital platform content than before the adoption of the Unified News Operations solution.

“The most positive thing about the Dalet system for all the journalists has been their empowerment,” Hooper said. “They are no longer reliant on other people to make things happen since they can create content and publish online, on social and on TV. They then have the power to adapt the content to tell the story that they want to tell rather than having to tell the same on each platform regardless of language.”

“[This technology] has enabled us to give more individuality to our storytelling.”

Euronews’ strategic transformation project has been nominated for an Innovation Award at IBC 2018. Lauded as one of the most coveted awards in the media industry, the competition celebrates technical and creative excellence, acknowledging collaboration between organizations like Euronews and Dalet to achieve clever and innovative solutions for real business challenges.

Arnaud Elnecave is vice president of marketing for Dalet. 

Additional Resources

Euronews Customer Story— The world's first "Glocal" Media: a strategic transformation with Dalet

Dalet Unified News Operations Solution — Discover Dalet’s story-centric, integrated news production and delivery solution for TV, radio, web and social

PARIS—As part of its strategy to accelerate digital distribution to global platforms, Euronews recently installed the Avid Media Suite and Studio Suite systems to provide on-screen branding and live production graphics to its facilities in Lyon, France.

“By embracing Avid Everywhere the team can now create the engaging, high quality graphics that they need to ensure retention and growth of their audiences around the world,” said Ofir Benovici, senior director of broadcast products at Avid.

In addition, the 24/7 multimedia world news broadcaster also installed a Maestro enterprise graphic suite for an end-to-end graphics workflow for news programs, live events and on-screen branding for two channels from Euronews’ master control room. There is also a graphics playout system that comprises Maestro, 3DPlay and Powerall from Orad to feed graphics onto a video wall in the studio.

Euronews opened its Lyon facilities on Oct. 15. The broadcaster has also announced it plans on launching Africanews, the first pan-African multilingual news channel.