No other competition brings together the World’s Best TV & Film Programs better than New York Festivals International Television & Film Awards. With Rose Anderson, Executive Director, at the helm, the TV & Film competition has expanded its global footprint seeing entries from hundreds of production companies around the globe. This year, the competition added Best Use of Technology in the Craft category to their powerhouse roster. NYF asked Ms. Anderson to share her insights on why
Technology categories play such an important role.
“Here at NYF, we put an emphasis on storytelling. No matter the genre – journalism, sports, documentary, corporate, promos, films, drama – bringing the viewing audience a more intimate experience is on the top of everyone’s list,” said Ms. Anderson. “With the addition of Best Use of Technology, we can amp up recognition for creative implementation of what is an integral part of content creation and key in enhancing the viewing experience.”
“For example,” said Ms. Anderson, “David Hill, our 2016 Lifetime Achievement recipient and father of FOX Sports, came up with revolutionary concepts that included the FoxBox
constant score and clock graphic; the on-screen first down line, which has its roots in the FoxTrax glowing hockey puck; improved in-game audio using Dolby surround sound and innovative microphone placement, Diamond Cam, Catcher-Cam and Gopher-Cam; satellite tracking in NASCAR, allowing on–screen identification of cars with speed, race position and data and much, much more.”
New York Festivals also offers three other categories that are technology-driven: Event Venue, Best Technical Production Team and Best Innovation.
NYF spent a few minutes with Ms. Anderson for a quick course on why these categories are so important.
NYF: How does Event Venue and Best Technical Production Team differ from each other?
Rose Anderson: Event Venue has been a category since 2010. Advances in digital technology – like advanced projection and LED video technique, 3D visualizations, HD video boards – have meant that live presentations have become more sophisticated in real-time. It was clear that this type of programming deserved its own place at the NYF awards table and so we introduced the Event Venue category to address this global phenomenon that is engaging audiences world-wide at sports arenas, museums, concerts, and corporate showcases.
Story telling combined with technology delivers an immersive value-added experience that gets the attention of today’s easily-distracted audiences – and holds it.
Some early winners were 1001 Inventions and the Library of Secrets, a touring educational initiative starring Sir Ben Kingsley, and NFL September 11 Salute – 10 Years Later which was created by the League for the use of all of its broadcast partners. In 2016, the Gold
Medal winners were The Essence of Qatar (The Edge Picture Company, UK) and Domotex Event – Paradox of Choice (Norvell Jefferson, Belgium)
In 2012, NYF added Best Technical Production Team which showcases the work of the hundreds of men and women behind the scenes who put together those really complex events. ESPN X Games took home the first medal – a Silver – in this category in 2012 for their remote team in Aspen and repeated with the 2013 X Games with 145 hours of live TV programming of 6 world class events in Aspen, Colorado; Tignes, France; Foz do Iguaçu, Brazil; Barcelona, Spain; Munich, Germany and Los Angeles, CA.
NYF: The competition launched Best Innovation in 2013, what are some of the most impressive winning entries throughout the years and why were they a success?
Rose Anderson: Here’s a sampling of winners that really shows the amount of ingenuity in play for creative teams working in documentary, live broadcasts and corporate presentations.
2013 – The Resurrection Tomb Mystery, Associated Producers/Discovery Canada (Gold) for a special robotic arm with tilt/pan/zoom remote cameras that allowed archeologists access a 2,000 year old tomb that lies under a Jerusalem apartment complex.
2014 – There Was A Time, Media Corp/Ochre Pictures Singapore (Bronze) for 3D rendering of 2D old photographs, a technique to bring alive old black & white photos.
2015 – JH/JG Project, Globo TV Brazil (Silver) for creating a rail system with cutting edge technology formed by a six individual piece monitor wall which moves laterally, with robotic intelligence created especially for the project, allowing several combinations of movements, visual resources and interactivity allowing a single studio space to be used for two daily programs Jornal Hoje and Jornal da Globo.
2015 – Holiday Holograms, Finch for Jack Daniels, Australia (Silver) for holographic technology to beam distant friends and family into a Sydney bar to share a chat and a drink.
2015 – In the cell, Studio Louter Netherlands (Silver) –for using GoPro to show the POV of the experience of someone who has been arrested and used as an interactive educational video
2016 – Jornal Nacional, Globo TV Brazil (Silver) for a set that integrates information, illustration and the participation of correspondents, in a more informal way on TV Globo’s prime time newscast – the second time this team has taken home Silver.
2016 – Studio 21, MLB Network (Bronze) for their new state-of-the-art, 8,000-square foot studio that is home to three daily studio shows. Named in honor of Hall of Famer Roberto Clemente, “Studio 21” changes the way MLB Network studio programming is presented, using at least five multi-camera studio positions and cutting-edge technology adaptable to any show, story or club, from hanging video displays to augmented reality graphic components.
2016 – Future Talk, Big Features, UK (Bronze) for their multimedia theatrical experience at the United Arab Emirates pavilion at the 2015 Milano World Expo. Using a giant peppers ghost installation, it was 23 meters long and 4 meters high utilizing 10 x 20k Panasonic projectors to achieve it. Frame accurate synchronization of video, audio, Lighting and scenic effects (such as wind machines) ensured a seamless theatrical presentation. This experience held 150 people per show and ran every 15 minutes, 7 days a week for 6 months. The overall audience exceeded 1 million.