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EDUCATION

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VOLUME 49 • NUMBER 2 • MARCH 2008

 [ [FEEDBACK
ARTICLE ] ]

March 2008 (Vol. 49, No. 2)

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Feedback March 2008 (Vol. 49, No. 2)

 [ CONTENTS ]

Click on title to view page.

[ ARTICLES ]
TRANSMISSION OF HIGH-DEFINITION VIDEO OVER IP FOR INTRA- AND
INTER-CAMPUS DELIVERY
Michel Dupagne and Luis Rodriguez ........................................................................... 4

DVD EXTRAS AND THE IMPACT OF DVD OWNERSHIP ON VIEWING OF

SHOWS ON TV
Katherine Wolph and Louisa Ha ................................................................................ 14

BEA PANEL: HOOK’EM YOUNG: HIGH SCHOOL BROADCASTING AND

HIGHER EDUCATIONS ROLE
Chris Thomas ............................................................................................................ 25

REVIEW: BROADCAST TELEVISION: A COMPLETE GUIDE TO THE

INDUSTRY ............................................................................................................... 26

[ DIRECTORY ] 28

BEA—Educating tomorrow’s electronic media professionals 3

 [ ARTICLE ]

TRANSMISSION OF HIGH-
DEFINITION VIDEO OVER
IP FOR INTRA- AND INTER-
CAMPUS DELIVERY
Michel Dupagne In recent years, video over IP, also known as IPTV (Internet
Associate Professor Protocol Television), has attracted considerable attention on the
School of part of cable operators, phone companies, and other content
Communication providers to deliver video programming to viewers (see Clancy,
University of Miami
5100 Brunson Drive
2006). Simply stated, video over IP involves the transmission
Coral Gables, FL of a live or on-demand video signal over an IP communica-
33146 tion network and its reception on a television set or a computer
E-mail: dupagnem@ monitor via decoding hardware or software. This technology can
miami.edu be used in elementary, secondary, and post-secondary institutions
Phone: for a variety of educational activities because 99 percent of U.S.
(305) 284-3500 public schools are connected to the Internet (U.S. Department
Fax: (305) 284- 5205 of Education, 2004). For instance, notable speakers around the
globe can be brought into the classroom virtually in unicast or
Luis Rodriguez
Webmaster multicast mode for the benefit of students’ intellectual enrich-
School of ment. Another distance learning application could focus on two-
Communication way domestic or international exchanges between classes. DVTS
University of Miami (Digital Video Transport System) has been used to facilitate
5100 Brunson Drive discussions about electronic power energy between students from
Coral Gables, FL two middle schools in Japan and Korea (Fujiki et al., 2004).
33146
DVTS, an open-source software, delivers uncompressed 30 Mbps
E-mail: lrodriguez11
video between two computers over IP with minimal delay. Video
@miami.edu
Phone:
over IP can also be used to backhaul video feeds to a central
(305) 284-5246 campus location. Dupagne and Grinfeder (2007) successfully
Fax: (305) 284-3648 tested the feasibility of using DVTS to transmit live broadcast-
quality digital audio and video from remote locations to a televi-
Submitted to Feedback sion control room over a campus network.
November 2007 As more schools are upgrading their production facilities
to high-definition television (HDTV), they are also likely to
consider whether IP networks could be used to deliver HDTV
content for live remote feeds, conferencing, medical tutorials,
or other instructional purposes that demand high-resolution
pictures. As early as 1999, the University of Washington success-
fully transmitted HDTV streams over the Internet2’s Abilene
network using its iHDTV system (see Olsen, 2001). Naturally,
these studio-quality IP broadcasts require expensive professional

4 Feedback March 2008 (Vol. 49, No. 2)

encoding and decoding equipment and massive bandwidth commitment: 1.5 Gbps for
uncompressed HDTV and 270 Mbps for an HDCAM video stream. The introduc-
tion of the high-definition video (HDV) format in 2003 has offered a cheaper and
less bandwidth intensive model to deploy HDTV over IP. Much of the early testing
has been conducted by Asian universities, specifically the Korea Advanced Institute of
Science and Technology (Lee, 2005; Lee & Lee, 2005).
This article summarizes the HDV format characteristics, explains the system work-
flow for HDV over IP, and reports a series of campus-based point-to-point live commu-
nications tests to assess the practical use and quality of this technology. It was written
from a pedagogical standpoint to provide advice to electronic media educators who seek
to use HDV-over-IP transmission at their schools.

THE HDV FORMAT

It is important to note the technical differences between HDV and HDTV (see
Firestone, 2007). Like HDTV, HDV is 720p or 1080i, has a widescreen 16:9 aspect
ratio, and uses MPEG-2 video compression. The progressive specification offers a reso-
lution of 1280 x 720 pixels at 24 (optionally), 25, 30, 50, or 60 frames per second.
But the number of horizontal pixels by the number of vertical pixels is 1440 x 1080 for
the HDV interlaced specification, compared to 1980 x 1080 for the HDTV interlaced
specification. So the 1080i HDV format has about 27 percent less resolution than its
HDTV counterpart. While the bit rate of HDV 720p is about 19 Mbps, it is about 25
Mbps for HDV 1080i. HDV material is recorded on DV or MiniDV tapes. In addi-
tion, HDV audio recording is limited to four channels and cannot offer 5.1 channel
Dolby Digital (HDV Format, 2007). MPEG-2 transport stream (TS) is the stream inter-
face of the HDV camera that transmits data via the IEEE 1394 (FireWire) protocol (see
Gloman & Pescatore, 2007).
Despite these differences and some editing challenges, a growing number of broad-
casters, production companies, and independent documentarians believe that the HDV
format opens the door to affordable high-definition production and can be intercut
with expensive HDTV content in some situations (see Kerschbaumer, 2005). The key
reason for the endorsement of HDV in the professional world is the price of the equip-
ment. By mid-2007, the three main HDV camcorders on the market, the Sony HVR-
Z1U, the Canon XL H1, and the JVC GY-HD110U, cost between $5,000 and less
than $10,000 (see Gloman & Pescatore, 2007). In contrast, the price of a professional
HDTV camera with the appropriate lens can easily reach the $100,000 threshold.

DESCRIPTION OF THE HDV-OVER-IP TRANSMISSION PROCESS

How does HDV over IP work? The basic setup involves connecting an HDV camera
to a laptop or desktop computer, transmitting the MPEG-2 TS stream of the camera
over an IP network, and displaying the decoded video on a computer monitor at the
receiving end. Figure 1 summarizes the workflow of HDV-over-IP transmission between
two desktop computers. The following paragraphs will detail the system implementa-
tion.

BEA—Educating tomorrow’s electronic media professionals 5

Figure 1. Workflow of the HDV-over-IP transmission.
Note. Images are courtesy of Dell Inc. and Sony Electronics Inc.

Our HDV camera was a three-CCD Sony HVR-Z1U 1080i with two XLR inputs
for audio. We connected a Sony ECM-44B wired microphone to one of these inputs.
As indicated above, the data format of HDV is MPEG-2, that is used to compress and
transport data. The MPEG-2 standard is complex, but a brief explanation is neces-
sary to understand the process of HDV over IP and the role of the VLC Media Player.
Inside the camera, an MPEG-2 video encoder compresses the video into a video
elementary stream. An MPEG-1 Audio Layer II codec does the same for the sound and
produces an audio elementary stream (Martinez, 2006). Both compressed outputs are
then divided into packets of fixed size to become packetized elementary streams (PES)
(see Watkinson, 1999). Next, the audio and the video PES are multiplexed or combined
into a transport stream (TS), that is ready for transmission via the iLink (IEEE 1394)
interface. The HDV Streaming Processor LSI of the HVR-Z1U generates the PES and
TS streams (Martinez, 2006).
We used a six-foot FireWire cable to connect the IEEE 1394 port of the HDV
camera to the IEEE 1394 port of the desktop. The VLC Media Player from VideoLAN
(http://www.videolan.org) is an open-source and free multimedia player that streams the
TS packets over RTP (real-time transport protocol) among other things. This protocol
“was designed to address the time-critical requirement of multimedia bitstreams and
provides support of the transport of real-time data from the source to the receiver”
(Weber & Newberry, 2007, p. 90). To transport the TS packets over a local area
network (LAN) or the Abilene network, these packets were first encapsulated (i.e.,
wrapped in another packet) in an RTP packet and then into an IP packet.
Sending the live HDV-over-IP stream with the VLC Media Player required four
main steps.
• Under File, we selected Open Capture Device.

6 Feedback March 2008 (Vol. 49, No. 2)

 • In the DirectShow tab, we made sure that Microsoft AV/C Tape Subunit Device
was listed as the Video device name. We clicked on the Refresh list button if it were not
the case. We put a checkmark next to Stream/Save and clicked on Settings (see Figure
2).

Figure 2. Screenshot of the VLC Media Player’s DirectShow tab of the Open
Capture Device window.

• In the Stream output window, we put a checkmark next to Play locally to see the
HDV image on the sender’s computer monitor and next to RTP. We typed the IP
address of the receiving machine in the Address box. The port number 1234 was left as
the default but could be changed. The Encapsulation Method should be set to MPEG
TS. We then clicked on the OK button (see Figure 3).

BEA—Educating tomorrow’s electronic media professionals 7

Figure 3. Screenshot of the VLC Media Player’s Stream Output window to
send HDV over IP.
• Finally, we clicked again on the OK button in the DirectShow tab.
At the receiving end, the VLC Media Player deencapsulates the RTP packets, repro-
ducing the original MPEG-2 TS packets, that are then demultiplexed, depacketized,
and decoded into audio and video content that can be heard through the speakers and
displayed on the monitor, respectively. In effect, this process is the reverse of the sender.
Two main steps were required to receive and display the live HDV-over-IP feed on a
computer monitor with the VLC Media Player.
• Under File, we selected Open Network Stream.
• In the Network tab, we made sure to select UDP/RTP and the same port number
as assigned by the sender (e.g., 1234 by default). UDP/RTP Multicast could also be
used as an alternative to the unicasting approach described in this paper if the routers of

8 Feedback March 2008 (Vol. 49, No. 2)

the network are enabled for multicasting. Finally, upon clicking on the OK button, the
live HDV picture appeared on the computer monitor (see Figure 4).

Figure 4. Screenshot of the VLC Media Player’s Network tab of the Open
Network Stream window to receive HDV over IP.

To avoid possible software problems with the VLC Media Player at computer shut-
down, it is advisable to close the application before turning off the camera and discon-
necting the FireWire cable.

TESTING PROCEDURES AND RESULTS

All five tests reported below were administered in the Windows environment,
although they could also be conducted with Mac and Linux operating systems. The
VLC Media Player is available for Mac OS X and a variety of Linux distributions. The
tests took place during the spring 2007 on or from the Coral Gables campus of the
University of Miami, Florida.
Test 1: HDV Over IP Between Two Offices
The first test involved transmitting HDV over a gigabit LAN from a faculty office
to an experimental multimedia lab on the same floor within the same building. The
distance between the two locations was approximately 220 feet. The specifications of
the two desktop computers are listed in Table 1.

BEA—Educating tomorrow’s electronic media professionals 9

Table 1
Hardware and Software Configuration of the Test Desktop Computers.

Specification Sending Computer Receiving Computer

Model Dell Optiplex GX620 Dell Precision PWS 490
Processor Pentium 4 3.4 Ghz HT Dual Xeon 3.0 Ghz HT
RAM 2GB 2 GB
Video card ATI Radeon X600 ATI FireGL V7200
256 MB RAM 256 MB RAM
Network card Broadcom NetXtreme Gigabit Broadcom NetXtreme Gigabit
FireWire 1394 Net Adapter 1394 Net Adapter
OS XP Professional SP2 XP Professional SP2
VLC player 0.8.6 0.8.6
Monitor 19” Dell Ultrasharp 1905FP 24” Sony GDM-FW900
1280 x 1024 1920 x 1440

Initially, the VLC Media Player displayed visible interlacing artifacts because of the
scanning mismatch between the interlaced HDV camera and the progressive-scan
monitor. To alleviate this problem, we deinterlaced the receiving HDV-over-IP feed by
right clicking on the image within the VLC Media Player, highlighting Deinterlace,
and selecting Blend. The VLC Media Player offers seven deinterlace options (Disable,
Blend, Bob, Discard, Linear, Mean, and X), but Blend outperformed the other options
in terms of picture sharpness in our tests. Blend can also be set as the default deinterlace
mode in Preferences (Videoà Filtersà DeinterlaceàDisplay). After this adjustment,
the player produced consistently high-quality imagery. There was no synchronization
problem between audio and video. However, an expected delay of about 2 seconds
occurred between the sending and receiving machines due to the MPEG-2 encoding,
decoding, and transmission process (Lee, 2005).
Test 2: Reception of HDV Over IP on a Plasma HDTV Set
The second test used a similar computer configuration to the first test, but it took
place between two adjacent buildings on campus and the video output was displayed
on a Dell 42” 720p plasma HDTV set instead of the Sony CRT monitor. The distance
was about 310 feet. A VGA cable connected the receiving desktop to the HDTV set. As
in the first test, the level of detail was sharp, and there was no noticeable visual artifact
once the deinterlacing blend option was turned on in the VLC Media Player.
Test 3: HDV Over IP Across Campus
The third test was designed to evaluate the quality of HDV over IP over a longer
distance (about 1350 feet). We used a Dell Latitude D510 laptop with XP Professional
SP2, a Pentium M 1.7 Ghz processor, and 1 GB RAM as the sending machine. The
bandwidth was a 100BaseT connection. The audio and video quality was as good as it
was in the earlier tests. The delay remained at about 2 seconds.
Test 4: HDV Over a Wireless Connection
We first conducted a bandwidth measurement test with Iperf 1.7 to determine
whether the 802.11a’s 54 Mbps theoretical data rate was sufficient to meet the required
25 Mbps bandwidth for HDV over IP. We used a Belkin dual-band A+G notebook
network card with the laptop. Unfortunately, the actual throughput was only 16 Mbps

10 Feedback March 2008 (Vol. 49, No. 2)

when the laptop was about 60 feet in open air from the antenna of the wireless access
point and only 21 Mbps when the laptop was positioned three feet away from the
antenna. Because the wireless connection did not provide a minimum of 25 Mbps, the
fourth test was aborted.
Test 5: HDV Over IP Between Two Universities
In this final test, we tested the quality of the HDV-over-IP transmission on the
Abilene network between a faculty office at the University of Miami and another faculty
office at Ohio University. We used the same computer hardware and software configura-
tion listed in Table 1 to send the live HDV-over-IP feed. The receiving machine was a
Dell Optiplex running XP Professional SP2 with a Pentium 4 3.6 Ghz processor, 512
MB RAM, and a 100 Mbps Ethernet connection. The two-second delay was the only
problem. The sound and video quality was excellent.

CONCLUSIONS
This paper confirms previous Asian experiments about the practical use of HDV-
over-IP transmission as an affordable technology to deliver high-definition video
content within schools or between schools. HDV over IP can be set up in a matter of
minutes, is robust, and offers fine audio and video quality to users. Given the compres-
sion level of HDV, a delay between encoding and decoding is unavoidable. Proprietary
MPEG-2 encoders and decoders can reduce this delay by handling frame compression
differently.
Another alternative to reduce latency and preserve the original quality of live video
is to deliver uncompressed HDTV content over a 1.5 Gbps IP network (see Harada,
Kawano, Zaima, Hatta, & Meno, 2003; Jo & Lee, 2005; Perkins, Gharai, Lehman,
& Mankin, 2002). A number of universities have experimented with uncompressed
HDTV over IP in Asia and the United States, but the required hardware specifications
are costly and bandwidth prohibitive for many schools and campuses and could be
impractical for daily applications. Even when we substitute an HDV camcorder for a
true HDTV camera for uncompressed delivery, the total costs can easily top $30,000
and necessitate the purchase of expensive hardware accessories, including 10-gigabit
network cards and HD-SDI interface cards (Jo & Lee, 2005). The cost and the band-
width of uncompressed HDTV over IP may not justify the incremental improvement
in image quality and delay. It can be challenging for an IP network or network card to
sustain a continuous 1.5 Gbps throughput for full uncompressed HDTV, that could
take a substantial amount of bandwidth away from other usage.
Finally, we were disappointed but not surprised that the wireless 802.11a bandwidth
was insufficient to support the 25 Mbps required for 1080i HDV-over-IP transmission.
The theoretical data rate of a wireless connection is quite different from the actual one.
The 720p HDV over IP consumes slightly less bandwidth (about 19 Mbps), but the
data throughput observed in our wireless tests could not either sustain this transmission
from a 60-foot distance in open air. In a recent study, Dupagne and Grinfeder (2007)
reported that their wireless pre-N system averaged 27 Mbps from a 40-foot distance
to the router in open air and did not fully support the 30 Mbps DVTS stream. When
ratified, the 802.11n standard will promise a theoretical bandwidth of 300 Mbps, that
would likely be no more than half in actual practice. In May 2007, a PC Magazine test
found that the throughput of draft-N routers ranged from 60 to 80 Mbps at 50 feet

BEA—Educating tomorrow’s electronic media professionals 11

(Lipschutz, 2007). Eventually, the 802.11n specification could allow wireless MPEG-2
transmission of HDV content over a certain distance.

REFERENCES
Clancy, H. (2006, September 27). IPT Huh? It’s programming for particular viewers
like you. The New York Times, p. E2.

Dupagne, M., & Grinfeder, K. (2007). Using DVTS for live remote television produc-
tion on campus. Feedback, 48(3), 22-29.

Firestone, H. (2007, November 7). Pro HD versus consumer HD. TV Technology, 25,
24.

Fujiki, T., Morita, Y., Jun, B., Lee, S., Watanabe, K., Shimokawa, T., et al. (2004).
Practice of international distance learning using DVTS between three points of
Japan and Korea. In V. Uskov (Ed.), Proceedings of the Seventh IASTED International
Conference on Computers and Advanced Technology in Education (pp. 528-533).
Anaheim, CA: ACTA Press.

Gloman, C., & Pescatore, M. J. (2007). Working with HDV: Shoot, edit, and deliver your
high definition video. Burlington, MA: Focal Press.

Harada, K., Kawano, T., Zaima, K., Hatta, S., & Meno, S. (2003). Uncompressed
HDTV over IP transmission system using ultra-high-speed IP streaming technology.
NTT Technical Review, 1(1), 84-89.

HDV format (ver. 1.0) main specifications (revised). Retrieved November 23, 2007, from
http://www.hdv-info.org

Jo, J., & Lee, S. (2005, October). Uncompressed HD over IP: Hands-on experiences.
Paper presented at the 10th Advanced Network Workshop, Daejeon, Korea. Retrieved
November 23, 2007, from http://www.gloriad-kr.org/hdtv/anw_uchd.pdf

Kerschbaumer, K. (2005, August 22). High-def meets low cost. Broadcasting & Cable,
135, 16.

Lee, J. (2005). High-definition digital video (HDV) over Internet: System design, experi-
ments and applications. Retrieved November 23, 2007, from http://cosmos.kaist.ac.kr/
hdtv/hdv/tm.pdf

Lee, J., & Lee, S. (2005, October). How to set up and use compressed HD video over IP.
Paper presented at the 10th Advanced Network Workshop, Daejeon, Korea. Retrieved
November 23, 2007, from http://cosmos.kaist.ac.kr/hdtv/hdv/jblee-tutorial.ppt

Lipschutz, R. P. (2007, May 8). Draft-N: The time is now. PC Magazine, 26, 78-81.

12 Feedback March 2008 (Vol. 49, No. 2)

Martinez, J. (2006). Development of high-performance HDV™ devices based on the HDV
1080i specification for acquisition and production applications (white paper). Park
Ridge, NJ: Sony Electronics. Retrieved November 23, 2007, from http://bssc.sel.sony.
com/BroadcastandBusiness/minisites/HDV/images/HDV_whitepaper.pdf

Olsen, F. (2001, July 13). High-definition television could change telecourses and
online learning. The Chronicle of Higher Education, p. A32.

Perkins, C., Gharai, L., Lehman, T., & Mankin, A. (2002, April). Experiments with
delivery of HDTV over IP networks. Proceedings of the 12th International Packet Video
Workshop, Pittsburgh, PA. Retrieved November 23, 2007, from http://csperkins.org/
publications/pv2002.pdf

U.S. Department of Education, Office of Educational Technology. (2004). Toward a

new golden age in American education: How the Internet, the law and today’s students are
revolutionizing expectations. Washington, DC: Author.

Watkinson, J. (1999). MPEG-2. Boston: Focal Press.

Weber, J., & Newberry, T. (2007). IPTV crash course. New York: McGraw-Hill.

Acknowledgments: The authors thank the Knight Center for International Media,
Tom Ortiz, Buddhi Abeysekera, Armando W. Carlo, Orlando Pimienta, Roger Cooper,
SangWoo Han, and Mupalia Wakhisi for their assistance with this project.

13 Feedback January 2008 (Vol. 49, No. 1

 [ ARTICLE ]

DVD EXTRAS AND THE IMPACT

OF DVD OWNERSHIP ON
VIEWING OF SHOWS ON TV
Katherine Wolph, ABSTRACT
Assistant Media This study analyzes the content and extras of top-selling
Planner,
comedy DVDs and surveys college students to find out the
Doner Advertising
consumer use of the extras of this medium and examine DVD
Louisa Ha, ownership’s impact on viewing behavior. This article also exam-
Professor, Department ined the DVD medium and its importance to consumers and the
of Telecommunications entertainment industry. We found that the most popular extras
West Hall 302 within TV series on DVDs were director’s commentary, docu-
Bowling Green State mentary, and deleted scenes/alternative endings and the most
University,
popular extras within movie DVDs were trailers, documentary
Bowling Green,
OH 43403 on the creation of a movie, deleted scenes/alternative ending.
Telephone: College students stated they prefer renting and purchasing DVDs
419-3729103 more than videos. They are interested in viewing a DVDs extra
E-mail: features option, like documentary on the making of the film and
louisah@bgnet. deleted scenes/alternative endings. Respondents have seen the
bgsu.edu TV or movie DVD at least once before they purchase it. They
are also likely to watch the on air TV program or movie titles
All correspondence of
that are already in their DVD collection.
this paper should be
directed to Louisa Ha
at the address above. INTRODUCTION
Since the transition from VHS cassettes to DVD in 1997,
DVD rentals and purchases have dramatically increased the sales
in the multimedia video industry. Digital Video Discs (DVDs),
the optical disc storage tool, is used by electronic, computer
hardware, music, and movie companies to increase their profit
in the 21st Century. DVDs have a great picture and sound
quality that mimics the experience of being in a movie theatre
for consumers. The unit is essentially a bigger, faster CD that can
hold cinema-like video, better-than-CD audio, still photos and
computer data and could eventually replace audio CD and CD-
ROM (Taylor, 2006).
Depending on the production quality of a distributed DVD,
the value of the technology is much more advanced than
video storage units from the past like VHS, Laserdisc, or Beta.
According to Jim Taylor (2006), just six years after the intro-
duction of the DVD player there were more than 250 million

BEA—Educating tomorrow’s electronic media professionals 14

DVD playback devices worldwide, including DVD PCs and DVD game consoles. That
is more than half the numbers of VCRs, setting the DVD player to become the new
standard for video publishing. Not only does the DVD market have better production
quality, but it is also a more compact unit for storage in homes leaving the consumer
with more space to put the tiny disc component.
Reports in the summer of 2005 from the Hollywood Reporter and BBC News
(2005, 2006) Entertainment claimed movie DVDs had hit their peak with consumers
and are now on the path toward a steady decline in the market. One year later Sony
Pictures Home Entertainment president David Bishop stated that “the reality is, we’re
in flat market. We’re simply at a plateau rather than at a rapid growth [incline] of the
last few several years” (Netherby, 2006, p.1). Despite the pessimism of some industry
executives, DVDs have not become yesterday’s favorite medium like the now lesser
used VHS. Rather, DVDs are fast becoming a converged solution in the mass medium
spectrum. DVD sales have overshadowed the spending on movie tickets, CDs, and
video games in the past several years. With costs of producing and marketing a movie
now averaging $102.9 million and movie attendance flat, move movies, especially $100
million-plus movies, will count on DVDs for profitability (Synder 2004 a,b,c). USA
Today reported in June 2006 that more than 900 music titles have hit retail stores and
that the CD DVDs are growing and it is a huge growth category (Snyder, 2006). Sony
PlayStation and Microsoft XBOX noticed the power of the DVD format early and have
grown in popularity with young male adults. Merrill Lynch analysts released a report
in fall 2004 predicting the TV-DVD market would grow at an annual rate of about 30
percent a year and contribute to a predicted $3.9 billion in consumer spending in the
entertainment industry by 2008 (Arnold, 2005).
Convergence of the TV and DVD medium has given the DVD a revival of strength
in the market but trouble maybe in the horizon. Home video has taken notice of the
competition from Video on Demand, TiVo and other personal video recorders, Satellite
TV, the Internet, and Video MP3 players/Cell Phones. VOD, personal video record-
ers, and Satellite TV are all subscription based packages and consumers may appeal to
a monthly subscription of viewing current or older television show because of the ease
and convenience cable or satellite companies provide to their customers. Video MP3
players and cell phones are less likely to dominate television viewership because it has
been found consumers are not very interested in buying TV shows on iTunes. One
or two shows are driving the volume of $3 million-plus in sales and classic shows are
seeing very little activity (Arnold, 2006). Approximately 18.2 percent of the DVD
market in 2006 was for TV shows, up from 17 percent in 2005, according to Nielsen
VideoScan (Rosen, 2007).

EXTRA FEATURES OPTION

DVDs provide more than just a movie or television show to its consumer. A
special component that sets the DVD apart from other video components is the extra
features option. Television and movie DVDs have many more viewing options than
VHS videos have in their format. The anticipation of a DVD may be caused by the
marketing of various options that are provided within the disc. When DVDs were
first released in the late 1990s, the qualities of special features were unreliable and a
select number of options were available for use. The first DVDs, introduced in 1997,

15 Feedback March 2008 (Vol. 49, No. 2)

contained just the film and subtitled versions in French and Spanish (Parker, 2004).
Less than ten years later, the growing importance of scene selection, subtitles, and
special features has greatly improved for the consumer. The viewer is able to access
certain scenes in the film faster, there are more language options, closed caption is
available, and a variety of DVD extras are accessible. The marketing industry uses
buzzwords like special edition, limited edition, and director’s cut with the objective to
give the DVD product a persona of containing something new or previously unseen
(Wikipedia, 2006).
Depending on the level of production on the DVD, a variety of extras are available
to the consumer for informational and entertainment value. A documentary on the
making of the film or television show may be included in the disc. This is footage that
was shot during the production of a film or television show and was either left on the
editing room floor or only used briefly in the movie/show. It gives the viewer an idea
of how the storyboard came to life and an inside look into set design, costume design
and/or CG imagery.
Deleted scenes and alternative endings are another component of the DVD special
features options made available to the consumer. A DVD may contain scenes from the
movie that had to be cut because of irrelevance to the storyline or time constraints to
the film’s budget. The alternative ending feature is usually the director’s ending that
was cut from a film because either testing audiences had a negative reaction to the final
result or movie studios did not envision the movie ending in that fashion.
Bloopers are another format similar to deleted scenes that show moments from the
filming of the movie or television show that reveal the actors or actress messing up their
lines, making obscene gestures or comment, acting in a silly fashion that was out of
character, or other unexpected events that stopped filming for a particular scene. The
bloopers put the performers in a positive light that makes them more human than fans
may perceive them to be. It promotes the cast by making them appear comical and
good natured to each other. It shows what a good time the cast and crew had on the set
and gives the perception the film should be great because of the documented chemistry.
Director’s commentary is one of the options on the DVD where viewers can listen to
the director describe key scenes from the movie or television show (partial), the entire
movie or television show (full-length), or deleted/alternative/blooper scenes to under-
stand the thought process and action going on during the movie. Audio commentary
was originally used in Laser Discs and the first movie to feature this option was on
the Criterion Collection release of the original King Kong movie in December 1984
(Wikipedia, 2006). Another option is actors and actresses interviews. The performer
gives insight into questions about why they chose the particular film or show, how
they created a personality for their character, and other questions that may intrigue the
renter or purchaser of the DVD.
Trailers are an important option available on the DVD because it gives a preview
for what other movies or televisions shows are going to be distributed by a particular
company. On TV DVDs, it also gives clues or a sneak peak on additional information
to expect on the next season of the television series. Games and activities are available
in the special features option allowing the viewer, usually in the younger age demo-
graphic, to play games and music videos on the DVD or on-line, using a DVD-ROM
to access these special options. Other options may include bibliographies informing

BEA—Educating tomorrow’s electronic media professionals 16

viewers about the actors, actresses, and director’s film and television history or extended
footage such as short films made by same director or producer.

EXTRA FEATURES OPTIONS AND FANDOM CULTIVATION

These special features and extras are an important component that sets the DVD
apart from other video formats from the past such as VHS. It enhances fans’ knowledge
of the movie or television show and is a technical effort to change the general viewer
into a fan. Extra features are an excellent marketing strategy for utilizing a collection
of extra footage that loyal fans would be interested in viewing for their own personal
knowledge. It also can engage the average viewer into developing an emotional attach-
ment to a plotline, character(s), and actor/director. The five dimensional nature of
interactivity proposed by Louisa Ha and Lincoln James (1998) can provide a framework
for analyzing the interactivity of extra features and measuring a user’s DVD experi-
ence. The five dimensions proposed are: 1) Playfulness; 2) choice; 3) connectedness; 4)
information collection, and; 5) reciprocal communication. DVD extra features enhance
the viewing experience of the viewers and cultivate loyalty to the shows or movies and
attract new viewers. Having extra features on a DVD gives the free market a chance to
profit from fans willing to spend more money on a special edition DVD. TV DVDs
supplementary materials provide valuable consumers for the networks because they
deliver more value to advertisers by attracting devoted followers of certain TV programs
(Ha, 2002).
This research was conducted in part to examine the usage of the extras in DVDs by
consumers and the importance of those features. According to a Wall Street Journal
article, “viewers are just as likely to be disappointed if a disc contains no bonus materi-
als as to admit they watch them very rarely” (Parker, 2002).

RESEARCH QUESTIONS
The objective of this study was to analyze the content and extras of the top-selling
comedy movie and television DVDs and the use of these extras among college students
in a Midwestern state university (Bowling Green State University) Specifically, this
study attempted to answer the following three questions:
1. What are the most common extra features used by production companies in
comedy movie and television DVD distribution?
2. What is the usage of extras in movie and television DVDs among BGSU students?
3. What is the impact of DVD usage on viewing of movies and television shows?

METHOD
A content analysis and survey were conducted to examine the DVD extra content
from the top fifteen comedy movie DVDs and the top fifteen television DVDs from the
list of the 500 most rented DVDs of 2005 and the usage of those content features. In
order to randomly select the fifteen DVDs from each category, we applied the system-
atic random sampling procedure. Among TV series on DVDs, we chose comedy series
only because they have highest ratings and are the most popular genre put on DVDs.
To make sure a movie was considered a comedy, Amazon.com was reviewed to see how
they described the genre of the DVD. If it mentioned comedy along with other genres

17 Feedback March 2008 (Vol. 49, No. 2)

like action or romance, that title would still be counted as a comedy.
The content analysis examined the extras feature listed and documented the purpose
of the extra feature. When the content analysis of the DVDs was completed, it was
decided that only five movie DVDs and five television DVDs would be reviewed for the
most common extra features used by productions companies in comedy movie and tele-
vision DVD distribution. These DVD titles were selected at random. We then decided
that we would count every fourth option and created the list of the five movie DVDs
and the list of the five television DVDs. The five movie DVDs were Sahara, Meet the
Fockers, The Longest Yard, Napoleon Dynamite, and Hitch. The five television DVDs
were Sex and the City: Season 6, Desperate Housewives: Season 1, Chappelle Show: Season
2, The O.C.: Season One, and The Sopranos: Season 4.
Eight categories were created to analyze the extras 1) documentary of the making; 2)
deleted scenes/alternative endings; 3) bloopers; 4) director’s commentary; 5) trailers, 6)
games/activities; 7) director/actor interview, and; 8) other (other DVD extras that we
did not include in the initial list).
After the completion of the content analysis, we conducted an on-line survey for
Bowling Green State University students to complete. More than 20,000 students were
enrolled at Bowling Green State University at the time of study. It was decided the
sample design for the project would be administering systematic random sampling to
obtain email addresses from the user directory for the survey. The survey consisted
of twenty-six questions. Some questions involved the purchasing or renting behavior
of DVDs and VHS by an individual and the use and interest in DVD extra features.
It also asked demographic questions like age, gender, and class standing. Our survey
design was created from Win Survey 2005; a German-based software used for creating,
publishing, and analyzing results. A survey link was created for the randomly selected
students to click on if they wanted to be part of the research study on DVD content
and extras. In addition to the 62 responses received online, in-class questionnaires
were added to boost the total sample to 96.

RESULTS
Common Extra Features used by Media Companies
The most frequently used movie extras on a DVD were trailers, documentary, and
deleted scenes/alternative ending options. It also showed the most frequently used TV
series on DVD extra features included director’s commentary, documentary, and deleted
scenes/alternative ending options. The least common option on TV DVDs was games/
activities. Table 1 and Table 2 list the key features from the TV DVD and DVDs by
titles.

Table 1: DVD Extra Use in Movie DVDs

Extra Feature A B B D E F G H Total
Sahara 1 1 0 1 1 0 0 0 4
Meet the Flockers 1 1 1 0 1 0 0 1 5
The Longest Yard 1 1 1 0 1 0 0 1 5
Napoleon Dynamite 0 0 0 0 1 0 0 1 2
Hitch 1 1 1 0 1 0 1 1 6
Total 4 4 3 1 5 1 1 4

BEA—Educating tomorrow’s electronic media professionals 18

 A. Documentary of the Making
B. Deleted scenes/Alternative Endings
C. Bloopers
D. Director’s Commentary
E. Trailers
F. Games/Activities
G. Director/Actor Interviews
H. Other

Table 2: DVD Extras in TV DVDs

Extra Feature A B C D E F G H Total
Sex and the City: Season 6 0 0 0 1 1 0 0 0 2
Desperate Housewives: Season 1 1 1 1 1 1 0 1 0 6
Chappelle Show: Season 2 1 1 1 0 1 0 1 0 5
The O.C.: Season 1 1 1 0 1 1 1 0 1 6
The Sopranos: Season 4 0 0 0 1 1 0 0 0 2
Total 3 3 2 4 5 1 2 1

A. Documentary of the Making

B. Deleted scenes/Alternative Endings
C. Bloopers
D. Director’s Commentary
E. Trailers
F. Games/Activities
G. Director/Actor Interviews
H. Other

USAGE OF MOVIE/TV DVDS AMONG BGSU STUDENTS

This data analysis required students to take an online survey of 26 questions created
to view the usage of the extra feature option in a movie or TV DVD. The first ques-
tion asked of students was what type of video medium do they own? Nearly 65 percent
stated they owned both DVDs and VHS, 34 percent owned only DVDs, and one
percent owned only VHS tapes. Figure 1 indicates only two percent of individuals
surveyed do not own a form of video media for movies or television shows. The figure
also indicated just one person surveyed out of 96 stated they only own VHS. This
empirical data validated the assumption DVDs are the fastest and most used electronic
media device in the industry. Table 3 shows the video products ownership of respon-
dents.

19 Feedback March 2008 (Vol. 49, No. 2)

 DVD 34

VHS

Both 63

None

0 10 20 30 40 50 60 70

Percent
Figure 1: Video Products Ownership.

The age range of respondents was 18- 34 years old. Not surprisingly nearly 80
percent of the respondents were between 19 to 22 years. Participation in the survey
among adults 25-34 was a combined valid percentage of 20 percent. As for gender
distribution, 40 percent of males responded to the DVD survey and 60 percent of
females responded, which is similar to the population distribution at Bowling Green
State University (44 percent male/56 percent female).
Class standings of students were a good mix. The freshman respondents made up
21percent, sophomores 12 percent, juniors nearly 20 percent, seniors 24 percent, and
22.9 percent graduate students. Along with class standing, participating students were
asked to identify their college department and major. Arts and science and education
and human development made up the majority of response rate with a combined valid
percentage of nearly 60 percent. The two departments having the smallest response rate
were the musical arts and health and human services.
The research project also gathered results on the number of correspondents who are
interested in extra features. Over three fourths of the individuals in the survey stated
“Yes” they were interested in the extras feature or “Maybe” they were interested in the
extras feature. Bowling Green students indicated several DVD extras options are of
interest to them. Almost three fourths of the students stated they were interested in the
“deleted scenes/alternative ending” feature, 40 percent replied they are interested in the
“documentary” option, and 21 percent of respondents stated they were interested in
the “director/actor interview(s)”. Figure 2 shows the frequency of use of DVD Extras.
The use is quite high as 69 percent of students “sometimes” use DVD extra features, 24
percent “never” use DVD extra features, 6 percent “always” use the extra options.

BEA—Educating tomorrow’s electronic media professionals 20

 always 6

sometimes 69

never 24

don't use dvds

0 20 40 60 80

Percent

Figure 2. Frequency of Use of DVD Extras.

IMPACT OF DVD USAGE ON VIEWING OF TV SHOWS AND MOVIES

DVD usage seems to have no negative impact on television shows and movies
because nearly half of the respondents claimed they would watch a movie on TV even
if they already owned the DVD in their personal collection of videos. The response of
“yes” and “maybe” were summed up by their valid percentage revealed that nearly 75
percent of respondents would consider watching a movie they owned on television, as
indicated in Figure 3.

yes
no
maybe
26.67%
47.78%

25.56%

Figure 3. Percentage of Respondents Willing to Watch a Movie They

Already Own on Television.

TV series are less commonly owned than movie DVDs. While respondents may be
using the television as one form of movie viewing, it was found nearly 40 percent of
respondents stated they do not own any TV series on DVD. More than 50 percent
of the respondents only own one to five series DVDs. Figure 3 shows 73 percent of
Bowling Green student claimed “yes” or “maybe” to the question would they watch

21 Feedback March 2008 (Vol. 49, No. 2)

a show in syndication even if they own the TV series DVD. This is nearly the same
percentage of respondent who stated they would watch a movie they owned on televi-
sion.

maybe
16.13

no
20.43
yes
63.44

Figure 4. Percentage of Respondents Willing To Watch Syndicated on TV

if they already own TV series on DVD.

DISCUSSION
It was found in the content analysis that media companies most frequently use
the preview, documentary, and deleted scenes/alternative ending extra features when
creating DVD content for a movie release. We observed a pattern that the top selling
DVDs have more extras than other DVDs. On the list of the top 500 DVD rental of
2005, Meet the Fockers and Hitch were two comedy movie DVDs that were analyzed for
content of extras and ranked number two and three on the list for top rented DVDs.
Both DVDs contained the top three extras in the Special Features option along with
numerous other extras. The extras on all of the features may have been one reason why
the DVDs were frequently viewed by the population. The two lower ranked comedy
DVDs in the random movie list were Napoleon Dynamite (#16) and Sahara (#19).
Napoleon Dynamite had only two extra options in the disc and Sahara included the top
three used DVD extras but lacked in the five other categories of DVD extras.
The top three favorite DVD extra options used on the TV DVD were director’s
commentary, deleted scene/alternative endings, and documentary. Only two TV DVDs
displayed the three most frequently used extra option: Desperate Housewives: Season
One and Chappelle Show: Season Two Uncensored and were ranked 304 and 330 respect-

BEA—Educating tomorrow’s electronic media professionals 22

ably. Desperate Housewives and The O.C. (#415) used the most extras features on their
numerous discs. What is interesting about the TV DVDs compared to movie DVDs
is that three out of the five TV DVDs did not use a preview option on their disc.
Television is a highly used and profitable mechanism for marketing and advertising and
it is surprising to see broadcast and cable networks not making more of an effort to
have previews included in the production of the DVD. It is assumed viewers buy a TV
series to watch each episode as well as to learn interesting facts from the extra features
not available through regular on-air programming. The extras should serve as the added
value and enhance the viewing experience. More research is needed to better under-
stand why media companies choose particular extra features to include on movie or TV
DVDs. Readily available materials such as deleted scenes and trailers are almost a staple
in DVD extras.

CONCLUSION AND SUGGESTIONS FOR FUTURE RESEARCH

DVDs of TV series is an area that warrants more attention in the future than DVDs
of movie series because no clear pattern can be identified on the use of extras and sales
of the titles. The movie DVDs shows the more extra options available on the DVD,
the higher they ranked among rental sales. Longitudinal rating analysis of TV shows on
DVDs will show the impact of TV shows on audience ratings. It should also be noted
that 25 percent of the students claimed they were not interested in extras available on
DVD. More research needs to look at what consumers expect from their DVD titles.
Once a better understanding of the extra likes and dislikes is established, DVDs can
expand their sales. Increasing numbers of old and new television shows and movies are
becoming collectibles that consumers are willing to purchase for their own copy.

ACKNOWLEDGEMENT
The author would like to acknowledge the help of Martin Kappacher and Cristina
Venable in the data collection and analysis process.

REFERENCES
Arnold, Thomas K. (2006). Digital duel: If downloading takes hold, will TV-DVD
have a future? Hollywood Reporter, September, 2006, p.6.

Arnold, T. K. (2005). TV-DVD trend near flood stage?. Hollywood Reporter. Retrieved
December 8, 2006. http://hollywoodreporter.com/hr/search/article_display.jsp?vnu_
content_id=1000944....

BBC News (2005). Americans ‘prefer’ DVDs to cinema. Retrieved December 8, 2006,
from http://news.bbc.co.uk/2/low/entertainment/4102814.stm.

BBC News (2005). DVD Shortfall Sparks Slump Fears. Retrieved December 8, 2006
from http://news.bbc.co.uk/2/low/entertainment/4647837.stm.

Bowling Green State University (2007). About BGSU: Students. Retrieved Jan. 15,
2007 from http://www.bgsu.edu/offices/mc/newsroom/page15781.html.

23 Feedback January 2008 (Vol. 49, No. 1)

The Digital Entertainment Group (2006). DVD technology. Retrieved from October
25, 2006. from http://www.dvdinformation.com/Video/technology.cfm

Ha, L. and Chan-Olmsted, S. (2002). Comsumers’ Use of Enhanced TV Features and

Interest in E-Commerce on Cable Network Websites. Electronic Markets: the
International Journal of Electronic Commerce & Business Media, 12(4): 237-
247.

Netherby, J. (2006). 2006 midyear overview. Industry steady at half-way point,

Midyear 2006 top selling titles, and home entertainment still expanding. Video
Business Online. Retreived October 25, 2006 from http://www.videobusiness.com/
info/CA6354417.html.

Parker, D. & M. Parker (2004). Director and DVD commentary: The specifics of
intention. Journal of Aesthetics & Art Criticism, Winter,62(1), 13-22,
Rosen, S. (2007). And now, back by unpopular demand.. .Old TV shows, some of
them obscure, get a second crack at audiences on DVD. Boston Globe, January 28,
2007. Retrieved from http://www.boston.com.
Synder, M. (2004a). DVDs can push big-money films into profitability. USA Today,
April 21, 2004. Retrieved December 8, 2006. from http://www.usatoday.com/life/
movies/news/2004-04-21-master-movies_x.htm.

Synder, M. (2004b) DVD’s Success Steals the Show. USA Today, January 8, 2004,
Retrieved December 8, 2006 from http://www.usatoday.com/life/movies/news/2004-
01-08-dvd-success_x.htm

Synder, M. (2006). Trend toward music DVDs starts to amplify. USA Today, June 26,
2006, December 8, 2006. http://www.usatoday.com/life/music/news/2006-06-26-dvd-
chuckberry-main_x.htm?csp=3.

Taylor, J. (2006). DVD demystified: DVD FAQ. Retrieved May 1, 2006 from http://
www.dvddemystified.com/dvdfaq.html.

Wikipedia. (2006). Special edition, director’s cut, and audio commentary. Retrieved
October 25, 2006 from http://en.wikipedia.org.

BEA—Educating tomorrow’s electronic media professionals 24

 [ BEA PANEL ]

HOOK’EM YOUNG: HIGH

SCHOOL BROADCASTING AND
HIGHER EDUCATIONS ROLE
Panel moderator: This invited panel examined what colleges can and are doing
Chris Thomas to get high school students interested in communication arts. It
Lyons Township High featured what one high school in particular, Lyons Township,
School LaGrange, Illinois, is doing to prepare students. Presentations
E-mail: focused on awards competitions and camps for high school
cthomas@lths.net students, as well as high school stations, classes, activities, and
the issues high school broadcasters and their stations face.
Presenters:
There were two reasons that I proposed this panel be included
John Madormo,
North Central College in the convention. First, many college media advisors remain
unaware of what happens in high schools as far as media is
Barbara Calabrese, concerned. While they are probably aware that stations exist,
Columbia College they seem to be not as familiar with what is done there and what
Chicago the students are learning before heading to college. Second,
as the popularity of our field continues to grow, colleges and
Jeff Stein, Wartburg
College (via video)
universities need to look for ways to lure students in, such as
awards competitions and camps. This panel hopefully encour-
aged a discussion among advisors as to what they can do at their
own institutions, and I hope this PowerPoint presentation in
Feedback will help further that dialogue (or maybe begin one) at
your school.
If you have any concerns, comments or ideas, please feel free
to forward them to cthomas@lths.net. I am hopeful that panels
similar to this one will run in the future, and your ideas and
insights are welcome. Also, all of the presenters contact informa-
tion is at the end of the Power Point presentation.

Files available for this panel:

Power Point presentation (PDF, 6 MB)

LTTV (QuickTime movie, 4.6 MB)
SinCity Shorts (MP3, 3.1 MB)

25 Feedback March 2008 (Vol. 49, No. 2)

 [[ ARTICLE
REVIEW ]]

BROADCAST TELEVISION: A COMPLETE

GUIDE TO THE INDUSTRY
WALTER S. MCDOWELL
NEW YORK: PETER LANG PUBLISHING,
2006
ISBN 0-8204-7485-1
Broadcast Television sets forth its goals in the title of the first chapter: “Understanding
the Television Industry as a System.” By maintaining an intense focus on one area of
mass communication, specifically over-the-airwaves television, the author seeks to expli-
cate the workings of the various fields that comprise the single medium.
The author’s organization of the topic is straightforward, based upon his primary
interest in television as an industry. For example, separate chapters are devoted to
programming and audiences, advertising, and ratings rather than lumping the three
topics together as some texts do. The author does well at explaining the often-arcane
steps of the different processes involved in the various sectors. The chapter on regu-
lation of the industry includes the clearest explanation of the FCC decision-making
process this reviewer has yet encountered. This chapter also clearly calls attention to
broadcasting’s unique, and not necessarily enviable, position in regards to government
regulation.
An especially effective chapter is devoted to a comparison of the histories of the two
“fourth networks.” The author uses the widely disparate fates of Dumont and Fox to
illustrate how the interaction of technological development, government regulation,
audience behavio,r and content providers brought success to one and disaster to the
other, and makes some thought-provoking application to the possible futures of the
analog-to-digital switch.
Also thought-provoking is the list of discussion questions at the end of each chapter.
Unlike some texts, most of the questions require the reader to apply the concepts
discussed in the chapter rather than simply recall the facts. The glossary of “shop talk”
terms and acronyms that are so much a part of the industry is also effective. The terms
range from venerable (analog) to remarkably current (zapping)
Of course, any current analysis of any medium requires some examination of the
influence of other media. In the case of broadcast television the most obvious is the
codependent relationship with the cable industry. The narrowness of the title’s focus
precludes much in-depth exploration. Thus, this book would be even more effective
with a companion volume focused on cable. (The title is part of a series on “Media
Industries,” which already includes works on radio and magazines, so such a work may
be forthcoming.) Still, the author presents most of the primary issues in the relation-
ship between cable and broadcast and the title can stand on its own.
The final chapter is the author’s attempt to gaze into the future. In addition to the
more-obvious points about new business models, new technology, new governmental

BEA—Educating tomorrow’s electronic media professionals 26

decisions, and so forth, the author makes a point which seems startling simply because
it so often gets lost: “People don’t watch ‘delivery platforms,’ they watch programs, and
the future of the television industry ultimately rests on content.” Industry profession-
als and academics alike might do well to heed this simple fact. For this point alone,
the title could be recommended to anyone who cares about TV. From an educational
standpoint, the book would work well as a supplemental text in an introductory course
on television, and as a quick refresher reference for more experienced scholars of the
industry.
Reviewer: Carey Martin, Liberty University, clmartin7@liberty.edu

FEEDBACK INDEX
Feedback’s index is now in Microsoft Word format. It is available by clicking on the
link below:
http://ilocker.bsu.edu/users/sndavis/world_shared/feedback/march08/index0308.doc

<< RETURN TO TABLE OF CONTENTS

27 Feedback March 2008 (Vol. 49, No. 2)

 [ DIRECTORY ]
[ COMMITTEES & TASK FORCES ]
Accrediting Council for Bob Avery Lena Zhang
Education in Journalism Vice chair
& Mass Communication Alan Rubin Nominations Committee
(ACEJMC) Members Chair
BEA Representatives Donald Browne David Byland
Joe Foote Joseph Dominick Members
Doug Boyd Susan Tyler Eastman Greg Newton
Don Godfrey Dex Allen
Convention Porgram
Committee Research Promotion Publications Committee
2008 Convention Chair Chair Members
Stan LaMuth Mark Tolstedt Robert Avery
2009 Convention Chair Members Members
Anthony Moretti Steven Dick Glenda Balas
Members Fritz Messere Allison Alexander
Louise Benjamin, Greg Newton Paul Haridakis
Festival Chair Michael Keith
Bob Avery, Diversity Committee Rebecca Ann Lind
Publications Chair Chair Joe Misiewicz
Sam Sauls, Lena Zhang
Interest Divisions Rep Members Festival Committee
Scott Davis, Gary Corbitt Chair
Webmaster Greg Pitts Vic Costello
Kim Zarkin, Louise Benjamin, Ex-
2007 Convention Chair Officio
Mark Tolstedt, Long Range Planning
Vice President for and Membership Scholarship Committee
Academic Relations Committee Chair
Chair Peter Orlik
Distinguished Education Fritz Messere Members
Service Award (DESA) Members Marilou Johnson
& Lifetime Member David Byland Bill Parris
Committee Dave Muscari Marianne Barrett
Chair Max Utsler
Mark Tolstedt Council of Professionals
Members Finance Committee Chair
Dave Muscari Chair Gary Corbitt
Max Utsler Joe Bridges
Members Strategic Alliances
Committee on Greg Pitts Committee
Scholarship (DSA) Mark Tolstedt Chair
Chair Glenda Williams Joe Misiewicz

BEA—Educating tomorrow’s electronic media professionals 28

 Members BEA Representatives
Gary Corbitt Joe Foote Journal of Radio Studies
Dex Allen Doug Boyd Doug Ferguson, Editor
Drew Barry
Erica Farber Council of Feedback
Ric Harris Communications Joe Misiewicz, Editor
Associations (CCA)
District Conference Thomas Berg BEA Membership
Planning Committee Mark Tolstedt Directory,
Chair Heather Birks Rebecca Ann Lind,
Glenda Williams Editor
Members Council of National
Lena Zhang Journalism Organizations
Sam Sauls Thomas Berg
Gary Corbitt (ex-officio) Heather Birks
Mark Tolstedt
Accrediting Council Steven Dick
for Education in
Journalism and Mass Journal of Broadcasting
Communication & Electronic Media
(ACEJMC) Don Godfrey, Editor

<< RETURN TO TABLE OF CONTENTS

29 Feedback March 2008 (Vol. 49, No. 2)

 [ DIRECTORY ]
[ STAFF, EXECUTIVE COMMITTEE
AND BOARD MEMBERS ]

Staff Tuscaloosa, AL 35487 tberg@mtsu.edu

Broadcast Education 205.348.8661
Association 205.348.5162-Fax 2008-2009 District
1771 N Street, NW glenda.williams@ua.edu Division Directors
Washington, DC 20036-
2891 VICE PRESIDENT for District 1
(202) 429-3935 INDUSTRY RELATIONS (Connecticut, Maine,
Fax: (202) 775-2981 Erica Farber Massachusetts, New
Radio & Records Hampshire New Jersey,
Heather Birks 2049 Century Park East, New York, Rhode Island,
Executive Director Suite 4100 Vermont, Western Europe
HBirks@nab.org Los Angeles, CA 90067 including Britain)
310.788.1616 Fritz J. Messere
Traci Bailey 310.203.8754-Fax (2nd year, 1st term)
Office Manager efarber@radioandrecords. SUNY Oswego
TBailey@nab.org com Communications Studies
2 Lanigan Hall
J-D Boyle SECRETARY- Oswego, NY 13126
Director of Sales and TREASURER (315) 312-2357
Marketing Max Utsler Fax (315) 312-5658
jdboyle@nab.org University of Kansas messere@oswego.edu
2066 Dole Center
2008-2009 1000 Sunnyside Drive District 2
Board of Directors Lawrence, KS 66045 (Alabama Florida,
785.864.0608-office Georgia, Kentucky,
PRESIDENT 913.829.9754-home Louisiana, Mississippi,
Mark Tolstedt North Carolina, South
785.864.0614-Fax
University of Wisconsin- Carolina, Tennessee,
utsler@ku.edu
Stevens Point Caribbean and Africa)
Division of August Grant
IMMEDIATE PAST (1st year, 1st term)
Communication
PRESIDENT University of South
1101 Reserve Street - CAC
Thomas R. Berg Carolina
219
Stevens Point, WI 54481 Middle Tennessee State 25 Corssbow Lakes Court
715.346.3920 University Columbia, SC 29212-
715.346.3998-Fax Electronic Media 1654
mtolsted@uwsp.edu Communication 803.749.3578
Department augie@focus25.com
VICE PRESIDENT for MTSU PO Box X025 augie@sc.edu
ACADEMIC RELATIONS Murfreesboro, TN
Glenda Williams 37132
The University of Alabama 615.898.5867
4328 Phifer Hall 615.898.5682-Fax

BEA—Educating tomorrow’s electronic media professionals 30

 DISTRICT 3
(Delaware, Maryland,
Ohio, Pennsylvania, Virginia,
Washington, DC, West
Virginia, the Middle East
and Eastern Europe includ-
ing Russia)
Greg Newton
(1st term, 2nd year)
Ohio University
School of
Telecommunications
9 S. College
Athens, OH 45701
740.597.1882
740.593.9184-Fax
newtong@ohio.edu
DISTRICT 4
(Illinois, Indiana, Iowa,
Michigan, Minnesota,
Nebraska, North Dakota,
South Dakota, Wisconsin,
Canada, and Scandinavia)
Barry Umansky
(1st term, 1st year)
Ball State University
BC201-L Ball Building
Muncie, IN 473016-0001
765.285.9077
765.285.9278-Fax
bdumansky@bsu.edu
DISTRICT 5
(Arkansas, Kansas,
Missouri, Oklahoma, Texas,
Mexico, Central America,
South America and Australia)
Max Utsler
(2nd term, 1st year)
William Allen White
School of Journalism and
Mass Communications
2066 Dole Center
1000 Sunnyside Drive
Lawrence, KS 66045
(785) 864-0608
Fax: (785) 864-0614
31
ulster@ku.edu University of Utah
Department of
DISTRICT 6 Communication
(Alaska, Arizona, 225 S. Central Campus
California, Colorado, Drive
Hawaii, Idaho, Montana, Salt Lake City, UT
Nevada, New Mexico, 84112
Oregon, Utah, Washington, 801.581.5343
Wyoming, Asia and Pacific) 801.585.6255-Fax
Mary Schaffer rka@utah.edu
(1st term, 1st year)
California State University
2008-2009 Electronic
20905 Abalar Street
Media Professionals
Woodland Hills, CA
Dax Allen
91364-4502
California
818.887.3351
Communications
818.883.3737-Fax
P.O. Box 9077
mary.c.schaffer@csun.edu
Rancho Santa Fe, CA
92067
DISTRICT 7
califcom@pacbell.net
(All two-year schools in
the USA)
Erica Farber
Gwin Faulconer-Lippert
Radio & Records
(1st term, 1st year)
2049 Century Park East,
Oklahoma City
Suite 4100
Community College
Los Angeles, CA 90067
7777 S May Avenue
(310) 788-1616
Oklahoma City, OK
efarber@RadioAnd
73159-4419
Records.com
405.682.1611 x7254
405.682.7559
Dave Muscari
gfaulconer@occc.edu
WFAA-TV/The Dallas
Morning News
DISTRICT 8
606 Young Street
(BEA Interest Divisions)
Dallas, Texas 75202
Sam Sauls
(214) 977-6490
(2nd year, 1st term)
Fax: (214) 977-6590
University of North Texas
dmuscari@wfaa.com
3700 Cooper Branch
West
Ric Harris
Denton, TX 76209
NBC Universal
(940) 565-3222
30 Rockefeller Plaza
Fax (940) 369-7838
26th Floor
sauls@unt.edu
New York, NY 10112
eric.harris@nbcuni.com
PUBLICATIONS
COMMITTEE CHAIR
Robert K. Avery
Feedback March 2008 (Vol. 49, No. 2)
 [ BROADCAST ASSOCIATIONS ]
Alaska Broadcasters Association
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Broadcasters
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Wyoming Association of Broadcasters

[ MEDIA PUBLICATIONS ]
Broadcasting & Cable http://www.broadcastingcable.com/
Cable Connect (Cable In the Clasroom) http://www.ciconline.com/default.htm
Cablevision http://www.reedtelevision.com/
College Music Journal (CMJ) http://www.cmj.com/
Editor & Publisher http://www.editorandpublisher.com/eandp/index.jsp
EQ Magazine http://www.eqmag.com/
Mix Magazine http://www.mixonline.com/
Multichannel News http://www.multichannel.com/
Production Weekly http://www.productionweekly.com/site.html
Pro Sound News http://www.prosoundnews.com/
Radio & Records http://www.radioandrecords.com/

[ MEMBERS ]
[ ASSOCIATE ]

Academy of TV Arts & Sciences Fndtn Lee University

Anton/Bauer, Inc. Michaels Media, Inc
Automated Data Systems Montana Broadcasters Association
Broadcasting Development Fund / Nagle Hartray Architects
Program Distributor Ohio/Illinois Centers for Broadcasting
Intercollegiate Broadcasting System Post Newsweek Stations

BEA—Educating tomorrow’s electronic media professionals 32

Public Broadcasting Partners
Saga Communications
[ INSTITUTIONS ]
Aims Community College
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California State University, Dominguez
Hills
Cameron University
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Central Michigan University
Central Missouri State University
33
Texas Association of Broadcast Educators /
Del Mar College
WGVU - TV
Chattahoochee Technical College
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Broadcasting
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Department
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Feedback March 2008 (Vol. 49, No. 2)
Indiana University Oklahoma Baptist University
International College of Broadcasting Oklahoma City University
Iowa Western Community College Oklahoma State University
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Kingsborough Community College Pennsylvania State University
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Long Island University Plattsburgh State University of NY
Louisiana State University Regent University
Lyndon State College Richland College
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Marist College Saddleback College
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McNeese State University Salisbury University
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Middle Tennessee State University San Diego State University / School of
Mississippi State University Theatre, Television & Film
Missouri Southern State University-Joplin San Francisco State University
Missouri State University San Jose State University
Montclair State University Santa Ana/Santiago Canyon College
Montgomery College Santa Monica Community College
Montgomery Community College Savannah State University
Morehead State University Scottsdale Community College
Mt. Wachusett Community College Sheridan College
Mudra Institute of Communications Shippensburg University
Murray State University Slippery Rock University
Muskingum College South Suburban College
Nanyang Technological University Southeast Missouri State University
New England School of Communication Southern Illinois University at Carbondale
Normandale Community College Southern Illinois University Edwardsville
North Central College Southern Utah University
Northern Arizona University St. Bonaventure University
Northern Illinois University St. Cloud State University
Northern Kentucky University St. Francis College
Northwestern College St. John’s University
Northwestern University St. Mary’s University
Northwestern University Staffordshire University
Oglala Lakota College Stephen F. Austin State University
Ohio Northern University Stephens College
Ohio University SUNY - Brockport

BEA—Educating tomorrow’s electronic media professionals 34

SUNY - Oneonta
SUNY - Oswego
Suny Alfred WETD
Susquehanna University
Syracuse University
Temple Univ/Dept of Broadcasting,
Telecom. & Mass Media
Texas Christian University
Texas State University - San Marcos
Texas Tech University
The American College of Greece /
Communications
The University of Akron
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Univeristy of Wisconsin at River Falls
University of Advancing Technology
Education
University of Alabama
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University of Central Oklahoma
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University of Denver
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University of Houston
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University of Kansas / Willaim Allen
White
University of Kent
University of Kentucky
University of La Verne
University of Louisiana, Lafayette
University of Maryland, College Park
University of Memphis
University of Miami
University of Minnesota
University of Missouri
University of Montana
University of Nebraska at Kearney
University of Nebraska at Omaha
35
University of Nebraska atLincoln
University of Nevada at Las Vegas
University of Nevada at Reno
University of North Carolina -
Greensboro
University of North Carolina at
Wilmington / Communication Studies
University of North Carolina Pembroke
University of North Dakota
University of North Texas
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University of Tennessee - Martin
University of Tennessee at Chatanooga
University of Texas at Arlington
University of Texas at Austin
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University of the Incarnate Word
University of Toledo
University of Western Ontario / Faculty of
Info & Media Studies
University of Wisconsin - Madison
University of Wisconsin - Oshkosh
University of Wisconsin at Eau Claire
University of Wisconsin at Platteville
University of Wisconsin-Whitewater
Utah State University
Valdosta State University
Vincennes University
Virginia Polytechnical Institute & State
University
Wake Forest University
Washington State Community College
Washington State University
Wayne State University
Western Illinois University
Westminster College
Winthrop University
Feedback March 2008 (Vol. 49, No. 2)
 2008-09 BEA OFFICERS
PRESIDENT
Mark Tolstedt, University of Wisconsin-Stevens Point

Feedback VICE PRESIDENT for ACADEMIC RELATIONS

Broadcast Education Association
World Headquarters
Glenda Williams, Tuscaloosa, AL 35487
1771 N Street, NW
Washington, DC 20036 VICE PRESIDENT for INDUSTRY RELATIONS
USA Erica Farber, Radio & Records
http://www.beaweb.org

SECRETARY-TREASURER
Max Utsler, University of Kansas

NAB/BEA FUTURE CONFERENCE DATES

Year NAB Show BEA Show

2008 April 14-17 April 16-19

2009 April 20-23 April 22-25
2010 April 12-15 April 14-17
2011 April 11-14 April 13-16
2012 April 16-19 April 18- 21
2013 April 8-11 April 10-13
2014 April 7-10 April 9-12
2015 April 13-16 April 15-18
2016 April 18-21 April 20-23
2017 April 24-27 April 26-29
2018 April 9-12 April 11-14
2019 April 15-18 April 17-20
2020 April 20-23 April 22-25