Conceptual: Eliminating Bleeping of Words During Broadcast
Problem:
My viewing experience is tainted by the “cleansing” of perceived foul language and/or content by network and cable censors.
Issues to consider:
- No station is going to simulcast 2 streams of video and/or audio just for language. This will eat up satellite bandwidth and cost millions.
- You don’t fuck with the FCC.
Thus, we are left to find a way to selectively filter out content using existing technology and infrastructure.
Here is my spitball concept:
During Editorial – within Avid or Final Cut Pro – a marker could be placed in the timeline at the start of the offensive word / and or phrase. These markers, when exported, could easily become metadata within that exported file. As that file gets transcoded, moved, and subsequently broadcast, this metadata “flag” could trigger a process within the end user cable box to replace the offensive audio with a bleep. This keeps the censorship on a per household and per TV set basis – i.e. the adults make the call on what’s acceptable; not the station. As an added bonus, there could be parameters for types of markers: language, violence, religion, etc…think of a V Chip on steroids.
A modification could also be made to this workflow to have the “flag” be automatic.
How?
Closed Captioning requires transcription of the spoken word. This is the encoded into the video signal and timed intervals. A filter added to the broadcast center gear would allow any closed captioning word or phrase that is equal to a set of parameters, to effectively be censored. Closed Captioning also has other “hidden” metadata, that could also be used to trigger the censor, if the text is not deemed accurate enough. (Remember, closed captioning text is not always in sync with the audio – and closed captioning can always be turned off by the user.)
What problems this does present is:
- What if the system ever fails? Broadcast outlets could face steep FCC fines if someone tripped a power cord and Pulp Fiction was broadcast sans bleeps.
- What if people are using over-the-air HD sets? No cable box would force the brodcasters to have the security in place – not the end user.
Penny for your thoughts?
In his current role as Senior Applications Editor at Key Code Media, Michael consults on and demonstrates workflows benefiting the post industry: acquisition, storage, editorial, audio, finishing, and encoding. His background of integration and configuration of both hardware and software, coupled with his production experience, gives him a keen insight into the future of the post industry.
Michael has spent many years on the technical, consulting, and demonstration side of post production. He’s been involved in the design and build of hundreds of NLE systems and facilities, and consulted on even more. He’s also had the privilege of working on many new media and interactive media based projects, from web design to DVD to interactive kiosks. He’s been a keynote speaker at colleges, conventions, technology retreats and symposiums.
His post audio experience encompasses serving as a Dialogue Editor, SFX Editor, ADR Recordist & Editor, Re-Recording Mixer and Supervising Sound Editor on dozens of film, television and internet based projects.
He is currently a member of the MPSE (Motion Picture Sound Editors), an Apple Certified Trainer (Final Cut Pro – ACT FCP), an Avid Certified Support Representative (ACSR), and is constantly becoming certified on latest and greatest post technology has to offer.
Plus, he really, really, digs Post.
