In tough times, top TV station management wants to cut costs any way it can. What it usually doesn't want to hear from the engineers is that they can save money, but only by spending money. Nevertheless, that is sometimes the smartest thing to do.

So, for broadcasters with the patience and wherewithal, here are eight technologies that may not boost cash flow next year, but could produce a healthy return on investment over time.

1. Power-saving technology

TV stations are looking forward to the end of the DTV transition for one very good reason. When they turn off their analog transmitters on Feb. 17, 2009, they will be slashing their electrical bills. But after the analog cut-off, electricity will still a big monthly cost and should be a target of cost-saving efforts.

One place to look for help is Mirus International Inc. The Mississauga, Ont.-based firm says that its Harmonic Mitigating Remote Powerpanel (HMRP) not only cuts power consumption, but will also improve the quality and stability of the electricity flowing through a TV station and its transmitter.

In existing facilities, the power savings alone may not be great enough to justify the cost, but along with its other benefits, it may, says Mirus CEO Tony Hoevenaars. Those other benefits include the elimination of voltage distortions that can damage equipment and excessive ground current that can cause video noise, he says. In new installations, he says, the difference in cost between conventional electrical distribution and that designed around the HMRP can be easily justified.

The Mirus technology works not only in the studio, but also at the transmitter site. In fact, Hoevennaar says, Mirus has an arrangement with Harris under which Mirus products are installed along with Harris transmitters. The technology is also also at work at Rainbow Network Communication, E! Entertainment and HBO.

Other companies with similar products include Power Quality International, Stedi-Power Inc., Eaton Corp. and E5 Group Inc. 

2. Fluorescent lighting 

Fluorescent lighting is common in offices today — and with good reason. It uses less electricity than comparable incandescent and halogen lighting and it runs cooler, which saves on the AC. But what about carrying those savings over into the studio? Some vendors claim that fluorescent and LED (light-emitting diode) lighting are more efficient substitutes for the conventional studio lighting. 

Gary Thomas, national sales manager of at Videssence of El Monte, Calif., a supplier of fluorescent lighting, says that switching from quartz to fluorescent can cut the lighting bill in half. In an average studio, the new lighting will pay for itself in about three years. The payoff comes faster in a studio that runs around the clock and could come in as little as a year.   

Thomas also notes that fluorescent bulbs last longer than quartz bulbs, generating even more savings.

Thomas concedes that there are drawbacks to fluorescent lighting. It can't be used for point-source lighting or lighting patterns. Florescent lighting is primarily used for key, fill and backlighting, he says.

Videssence says it has installed its lighting in many TV stations, including KYW Philidelphia; KPTV-KPDX Portland, Ore.; and KLAS Las Vegas.

Other sources of fluorescent products include KW/2 PrimeTime Lighting Systems, Balcar, KinoFlo Lighting Systems, Brightline, HighLuxLighting, Ikan Corp. and De Sisti Lighting.

3. News productions automation 

News production automation systems can save broadcasters by allowing them to reduce the staff needed for live newscasts. Grass Valley's Ignite may be the most popular system. It provides centralized control of video switching, audio mixing, graphic recall, deck and server playback, teleprompting and, in some cases (see below), robotic cameras.

John Benson, Ignite's product manager, says the Ignite has been installed in around 100 facilities, mostly U.S. TV stations. Large-market stations are seeing a return on investment in one year, he says, while those in small and mid-size markets must wait two to three years.

"The important thing is to have the ability to generate more content with fewer people," he says. "Ignite also makes your transition to HD more affordable."

According to Benson, the Ignite is compatible only with Grass Valley switchers. But beyond that, he says, it can control a wide array of third-party production equipment.

Grass Valley is not alone in the market. The Ross Video Overdrive and the Sony MVS automated production switcher are similar hardware centric/box solution products. The Sony MVS is still in prototype and is expected to be released next year.   

Also, software-centric solutions are available for smaller, more scripted productions. The advantage of software-based production automation is having the ability to control a larger variety of third-party devices and cost. GlobeStream and Broadcast Pix are also in the space.

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