MAM
Failing to create New Broadcast Standard for all platforms will harm the industry: Haim Saban
NEW DELHI: Asserting that it is “not just important, it is vital,” Univision chairman Haim Saban has urged the development of a new broadcast transmission standard “to allow us to deliver our signal to all platforms, all the time.”
Addressing the National Association of Broadcasters (NAB) show in Las Vegas, Saban said “If we do not, we will be left back in the 20th century. It is not an option.”
He called on the Advanced Television Systems Committee to “seriously not consider anything else.” “Make it freakin’ happen,” Saban added, urging the NAB to lead the effort.
Saban’s remarks came during a frank and lively keynote conversation with NAB president and CEO Gordon Smith.
During the discussion, Smith additionally asked Saban about his support for retransmission consent. “I don’t understand what the argument is,” Saban said. “‘I have got your content. I’m going to sell it and get paid for it—but I am not going to pay you. It is illogical; it does not make any sense.”
He got a laugh when he recalled selling Fox Family Worldwide, which included the Mighty Morphin Power Rangers franchise, to Disney, only to buy the Power Rangers back “at a fraction, fraction of the cost.”In that specific case, I guess we were better than them,” he quipped.
In another session, Oscar-winning cinematographer Emmanuel Lubezki, ASC, AMC, spoke about the film ‘Gravity,’ the groundbreaking Alfonso Cuarón-directed film that has the whole motion picture industry re-examining the once-clear borders between animated and live-action filmmaking.
Produced in partnership with the American Society of Cinematographers (ASC), the session was presented in the form of a lively interview with the ASC’s Jon Witmer. Set in outer space, the film positions real actors inside an almost entirely virtual environment. Lubezki recalled the first time he heard Cuarón’s idea for ‘Gravity.’
The film combines the shooting of actors with elaborate CGI work, so VFX supervisor Tim Webber came on board very early in the production process of determining exactly how to create the elements necessary to realize Cuarón’s vision.
“We can do it very simply,” Lubezki recounts Cuarón saying. “It will be one actor. It’s in space so we can shoot it in front of a black background.”
Lubezki explained that they immediately realized the procedure was “the opposite of normal. Usually, you shoot the actors and then [the VFX artists] make the CG work with those [elements]. This time, we had to make an entire CG movie, then shoot actors to incorporate into that.”
The CG artists at visual effects house Framestore built an elaborate pre-visualization of the film with all the shots planned precisely, with roughly animated likenesses where the real actors’ faces would later be composited. Lubezki discussed his collaboration with the 10 animators at Framestore who were creating much of what would become the movie.
“It was a group of different artists with different ideas and different solutions,” he said. “I would say I want the sun to be a little to the right in this shot and they might see it as ‘cheating.’ ‘That is not where the sun would be if there is a cut from here to here,’ they would object. It was like working with 10 different gaffers!”
As the CGI took form, the filmmakers were still figuring out how to shoot and light the actors who were going to be composited into the “CGI movie” they were creating. So much of the texture and feeling of cinematography comes from the way the subject, environment and light all interact. And the filmmakers still wanted as much of that magic to take place in camera as possible.
Lubezki explained that the way the actors floating through space was simulated, was through a combination of moving the actors on platforms, and flying cameras and lights around them using robotic arms. Much of the shooting of the actors was done inside a specially-designed “light box,” a small room of approximately 12 x 12 feet, constructed entirely from LED panels on which the production could project appropriate portions of the pre-vis so that the actors could see what the characters were seeing and the illumination from the projected scenes was actually reflecting on them.
“If you zoom in on [Sandra Bullock’s] face,” Lubezki said, “you can see the environment and even other characters reflected in her eyes. That’s the kind of thing we really did not want to try to do in post.”
The then-new ARRI Alexa made the film possible, he reported. This was partly due to its ability to shoot at EI 1600, which he says was sometimes necessary in order to get the exposure he wanted with the LED panels serving as the primary source of illumination. He also explained that despite his love of shooting film, his initial testing indicated that film’s texture — even stocks with the tightest grain — simply didn’t work for the 3D experience.
The fact that ‘Gravity’ was always designed to be shown in 3D informed everything about the way he shot the live-action portions. He worked primarily with very wide lenses — mostly 18 mm and 21 — and at deep stops—generally T-5.6 —“to give the audience an immersive experience.”
While his approach was clearly a departure from the simpler style that has helped Lubezki’s work stand out for some time, he emphasized that he didn’t really see his work as a cinematographer as essentially different on “Gravity” than on any other project. “It felt exactly the same. It was about lighting and framing and movement. It was everything I do on a ‘normal’ movie, just using different tools.”
Many drivers assume basic coverage is just a formality until an accident involving someone else brings legal notices, compensation claims, and unexpected financial pressure. At that point, the real importance of car insurance becomes clear. A single road incident can quickly create obligations that are difficult to manage alone.
In this blog, you will learn how third-party online cover supports legal safety, what it includes, and why securing it online is a smart first step.
Why Third-Party Insurance is Legally Mandatory
Indian motor law requires vehicles used on public roads to carry third-party liability cover. The intent is to protect the public by ensuring there is a recognised route for compensation when a vehicle causes harm to others.
If a vehicle is driven without this cover, penalties can apply, and the owner may have to pay the compensation amount personally if legal liability is decided against them. This helps ensure that people who suffer loss are not left without support.
How Third-Party Online Insurance Works
When third party car insurance is purchased online, the proposer shares vehicle and personal details, pays the premium, and receives the policy document in digital form. The cover applies during the policy period and provides legal liability protection for others arising from the use of the insured vehicle.
If an incident leads to a claim, the process usually involves reporting, submitting required papers, and following the steps set by the authority handling the matter.
What is Covered Under Third-Party Insurance?
This cover is designed to pay for losses suffered by others when legal liability is established. The response depends on the policy terms, the evidence, and the decision made during the claim proceedings.
Bodily Injury to Third Party
If someone else is injured in an accident involving the insured vehicle, the policy can cover the insured person’s legal liability. Compensation is assessed using medical records and other supporting documents, along with findings on responsibility. Payment is made based on the final compensation amount decided in the case, as per the policy terms.
Property Damage
If another person’s property is damaged, the policy can respond to the insured person’s liability for that loss, within the limit mentioned in the policy. The amount is generally based on documents that support ownership and the assessed repair or replacement cost. Timely reporting and clear paperwork can reduce delays in assessment.
Legal Support During Claim Proceedings
Third-party claims can involve notices, hearings, and filings because they focus on legal liability. Under the policy terms, the insurer may assist in organising documents and managing parts of the defence process through appointed representatives. This can support orderly communication and reduce missed deadlines.
What is Not Covered
Third-party cover is narrow, so some common expenses are excluded. These exclusions are common, but the exact details depend on the policy terms.
● Damage to the insured vehicle is not covered, including repair costs.
● Loss or damage to the insured person’s belongings is not covered.
● Injury cover for the owner-driver or passengers is typically separate.
● Claims linked to use that breaches policy terms may not be payable.
● Contractual promises beyond legal liability are generally not included unless stated.
Why Buying Online Strengthens Legal Safety
Buying online does not change legal duties, but it can make compliance easier to maintain and easier to prove. Digital records also support clarity if cover dates are questioned after an incident.
● Digital issuance can reduce the risk of an accidental gap in cover.
● A stored e-policy can be retrieved quickly when proof is requested.
● Receipts and time stamps help confirm when the policy was active.
● Online renewals can support timely payment and avoid lapsed cover.
● Clear documents make limits and required steps easier to understand.
Conclusion
Third-party liability cover is a direct step towards legal protection because it covers losses suffered by others when a vehicle causes harm. It supports compliance and reduces the risk of penalties for uninsured driving. Buying online can help keep policy documents, dates, and receipts easy to retrieve during checks and claim proceedings. When the cover’s scope and exclusions are understood in advance, it becomes easier to stay compliant, prepared, and confident on the road.
