It is not enough to just operate, one must manage all aspects for the benefit of every stakeholder, even with inherent conflicts

When people talk about media, they often think of the making of a TV program, commercial, digital media piece, feature film, etc. There is also the ‘business of the business’, the actual work behind the scenes that enables the making of these media programs. Redbarre’s principals have extensive 20+ years each, of experience designing and operating studio and post facilities as well as managing its personnel (both union and nonunion). It is for this reason that many of Redbarre’s clients look to our staff for leadership; be it from the executive or project level when it comes to the myriad details associated with supporting these programs. On behalf of its clients, Redbarre has performed in the following capacities (click on each heading for further details below):

Responsible for the architecture, technology and operations of the Rainbow Media studio facility, featuring three studios for live and recorded standard definition broadcasts.  These studios served such clients as Much Music USA, Full Frontal Fashion, AMC, WeTV, IFC and more.  All studios were designed to go live at a moment’s notice.

Engaged in the design of the music-centric Fuse studio as a full blown HD facility, used daily as a high-end A-list music facility capable of recording direct-to-digital audio for on-air broadcasts of live performances, recording directly to AVID for immediate editing or follow-on music release. This facility was a street level studio with four oversized windows on 7th avenue, across from Penn Station in NYC, allowing outside audiences to view live productions and TV audiences to view the gathering crowds.

Developed MSG Media studios for use as a sports-centric facility housing pre- and post-game programming for the New York Knicks and New York Rangers. Reviewed and approved much of the leading-edge technologies implemented.

Technical consultant for CNN news bureaus in NY, Atlanta and Washington, DC. Spearheaded advanced technical training to production and quality control staff. Provided “on camera” technical set design for Paula Zahn, Wolf Blitzer, Connie Chung, Cross Fire and others CNN talent and properties.

Retained by RCTV, in Caracas, Venezuela (when the country was still pro-American), to advise on HD equipment purchase, train staff in HD broadcast video specifications and advise the lighting design team on the use of the newer HD color space and video parameters.

Consulted with ABC radio on the technical aspects of the Don Imus simulcasting of his show for television on RFDTV.  Worked with a team of engineers on both the video and radio side, to launch the inaugural broadcast within a very narrow timeframe.

Provided 12 years of executive leadership to Cablevision’s Rainbow Media Networks, Madison Square Garden Media And VOOM HD.  Led a team of highly sought after technical and talent professionals to provide high profile music productions and sports coverage to national television audiences.  With a unique, windowed studio on the streets of Manhattan, passersby had a chance to see their favorite bands performing just a few feet away. Hundreds of top performers, ranging from Green Day to Beyoncé, Avril Levigne to Kanye West were among those that performed in this facility.

Provided executive guidance transitioning multiple studios from standard definition to HDTV while keeping these facilities on the air 100% during this transition.  Was responsible for compiling a strong team of production technicians that literally provided the first ever 21 channels of HD broadcasts in the US for VOOMHD.

Each production brought to bear the need to communicate with a cross functional team of executives, talent and technical staff. Emphasis was on streamlining and removing all stumbling blocks to any production contemplated. Focused on fostering a can-do attitude and willingness to learn among the staff to assure successful outcomes.

Responsible for numerous budgets associated with studio buildouts and upgrades. Budgets ranged from $2MM to $10MM covering all construction, engineering design and labor as well as purchase of HD television, audio and other ancillary equipment.

Led annual financial forecast aimed at wringing a minimum of 3% cost savings while improving the efficiency of the day-to-day operations of channel operations. Was instrumental in managing the year-over-year budget uncertainty associated with changing market conditions.

Responsible for numerous P&L budgets associated with divisions, companies and physical facilities. Each required hands-on, day-to-day involvement to directly associate the financial outcomes with the strategic objectives of the parent or controlling entity.

Led highly trained broadcast production, postproduction and network operations teams for a US cable operator. These teams consistently provided EMMY winning entertainment and sports programming every year. Collaboration, communication and cohesiveness were ensured by a Redbarre executive.

Consistently negotiated and closed union contracts favorable to both sides of the table. These negotiations ensured a cost savings to the business as well as security for the union members. No grievances were ever filed in well over a decade; labor and corporate management respected each other’s part with the delivery of well-regarded programming.

Developed, implemented and managed a corporate culture for a broadband company that focused on each person’s contribution to the overall health of the company. End result was a very high service and support ranking by their customers over a four-year period.

Heavily involved in the analysis of early-stage (beta) nonlinear editing systems, at the time from 12 different vendors. Completed side-by-side comparisons between computer-based, laser disc-based and tape-based (pseudo nonlinear) systems to determine best system. Selected and proved economic viability of one system that ultimately became the predominant nonlinear editing system used in the feature film/television and commercial markets.

Provided product evaluations on behalf of a number of clients, both end users and manufacturers. In each case, conducted side-by-side research of HD cameras, switchers and recording systems not yet deployed. For one client, guided the purchase of $1.5MM dollars of field equipment used to capture “never before seen” footage from around the world.

Expert advice was provided to a range of network, postproduction and early adopters of HD broadcasting. Developed methods for granular comparisons of major equipment manufacturers such as Sony, Canon, Grass Valley, Avid and Apple and others. Extensively traveled to Japan to consult with manufacturers looking to understand the user experience profile across a wide array of production and postproduction equipment.

Successfully negotiated multimillion-dollar productions. Maximized a shared environment of multiple clients into one available studio space resulting in 20 hours of live broadcasting per day.

Leverage $5MM television equipment purchase to secure a 40%+ discount on behalf of client.

Strategized, authored and negotiated first-ever ‘live broadcast over the Internet’ partnership between a managed-services provider and a telecom R&D company. Brought a prominent US cable news company to the table to conduct a simultaneous test of the technology during a major presidential election; due to satellite issues, for eight hours, that network’s news coverage ran over the Internet without a qualitative or operational glitch.

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