Alex Rodriguez Helps American Idol’s Brian Dunkleman Get Back to Work

-I want to talk about
your new show. I love it.
“Back in the Game.” I love this idea.
I love everything about it. Explain to everyone what it is. -Yeah, so, “Back in the Game”
is basically taking athletes, entertainers,
and celebrities that have gone from rags to riches
to rags. Michael Strahan is my partner.
He’s my executive producer. We both produced it. And, you know,
the bottom line is — you have so many great people
that fall on hard times. -Sure.
-And we all need coaching. I remember when I went through
my really difficult time with my suspension in 2014. I had some incredible people to pull their hand out
and help me. Not only help me, but coach me. And one thing about athletes —
they’re great students, and they want help. And you think about
Evander Holyfield, who I end up loving
and grew up watching him. And seeing this guy
being taken advantage of and the way we’ve been able
to put him back and put systems around
him to help him get his life back in order — -But this —
The third episode, I believe, is Brian Dunkleman… -That’s right. -…who I knew from when I did
stand-up in L.A. But he was — if you don’t
remember his name — the first —
He was the co-host of “American Idol”
with Ryan Seacrest. -He was on this trajectory to
become, you know, the next Ryan Seacrest. Now, Ryan became came to be one
of the biggest stars around, and Brian just fell into
tough times, ’cause he made some
tough decisions. -Yeah.
-But then depression came in. And, you know, as an athlete,
they say you die twice — once when you retire
and real death. And I saw that firsthand
with Brian. And we needed to get him
back on his feet, not have the victim
own his mistakes, because that’s the
most important part. But then what you started seeing
is a guy that was talented, a guy that had charisma,
a good-looking guy. He went from “American idol”
co-host to driving Uber. And it’s — it’s —
In many ways, it’s so sad. And I’ve had
so many people call, and they want to be
a part of the show. They want to be a part of this, because it’s the right thing
to do for these guys. And no one wants to see
their legends fall on tough times. -It’s a really cool episode.
I want to show everyone a clip. Here’s Alex Rodriguez and former “American idol”
host Brian Dunkleman in next week’s episode of
“Back in the Game.” Take a look. -And how much were
they paying you? -I was making like
18 grand a week. -So you’re making around
$72,000 a month. -Oh, God.
-Right? In 2002. Is there a small part of you
that says like, “This is big money. I need this money for my family,
for my future.” -Oh, my God. There was no thought of a family
or no thought of a future. It just — It didn’t register. -By walking away from a show, does that automatically put you
on a blacklist? -Yes. All of a sudden,
my manager never returned
another call of mine. And then I went three years
without working. Drank too much,
gambled too much, drugs. And I was high.
So my money went. It went like that. -Ooh! That’s amazing. It’s good for you
to help him out and get him on the right track. I love this show.
I’m so happy you’re doing it. Alex Rodriguez, everybody. Check out “Back in the Game” Wednesday nights
at 10:00 p.m. on CNBC.

How the NFL’s magic yellow line works

The virtual yellow line in NFL broadcasts
is great. It tells viewers how far the offense needs
to advance for a first down. It looks really simple and elegant but creating
that line was a massive engineering challenge. It started in the mid 90s when the Fox Sports
network tried to make hockey easier to watch. “Scientists at Fox Sports laboratories
are working on new technology.” “You won’t believe your eyes.” They embedded infrared transmitters inside
the puck and placed sensors around the rink, So that live tv viewers saw a blue glow around
the puck at all times and a red comet tail if it traveled over 70 miles per hour.
Hockey fans didn’t really embrace “glow puck” as it came to be known.
So the technology was retired when the broadcasting rights for hockey switched to ABC a few years
later. But the team of engineers they had assembled
for the project was just getting started. They left Fox Sports to create a new company
called SportVision. and in 1998, they debuted the “First and
Ten” line on ESPN. “Until now, this marker was
the only reference fans in the stadium and at home had for the first down.”
The key challenge in making the yellow line is that the scene is constantly changing,
which means the yellow line has to constantly change.
Not only are there 3 different cameras used for the wide shots of the field, each camera
pans, tilts and zooms to follow the action. So the first thing Sportvision does before
the game is create a 3D mathematical model of each football field using laser surveying
tools. And during the game they gather data from
the cameras about their pan, tilt, and zoom positions for every single frame.
So when the operator specifies that the first down is at the 43rd yard line, for example,
the computers combine the camera data with their own model of the field to draw the yellow
line in the proper perspective ..and to redraw it, for every frame being
broadcast to viewers. The final step is what makes the line kind of magical
— removing any part of the line obstructed by players, refs or the ball so that the line
looks like it’s underneath them, almost painted on the field.
The way the computers know which pixels to remove is by sampling the colors – think of
the field as a giant green screen. But anyone who has worked with green or blue
screens knows that you need a really uniform and evenly lit background for it to work well.
So Sportvision identifies in advance which shades of green and brown are in the field
given the lighting conditions — those are the colors to be covered by the yellow line.
And they identify which colors are in the players uniforms and should never be covered
by yellow. It works amazingly well. Here’s the Packers,
wearing green, in the rain. No problem. It only fails in the most extreme weather,
like this 2013 game in Philly. The line ends up all over players, but on the other hand
the system was helpfully used to insert the yardage numbers that had been covered up with
snow. The whole yellow line process delays the live
broadcast by less than a second. And not surprisingly, it was an immediate
success. Sportvision won an Emmy for it, and went on to make virtual visual aids for
NASCAR, baseball, sailing and the Olympics. And football broadcasts have since added more
graphics, like the line of scrimmage and perhaps unnecessary large arrows showing the same
information that’s in the scorebox. But if that’s annoying consider this:
This type of technology is being used insert ads into stadiums and onto fields for a lot
of sports broadcasts. But the NFL doesn’t allow it. In the grand
tradition of the yellow line, the graphics on the field are not there to sell you things,
but to help you follow the game.

Jessica Biel Listens to True Crime Podcasts While Working Out

-Last time you were here,
we were talking about the second season
of “The Sinner”… -Right.
-Which you were only producing at that point.
You were no longer in it. This is a show you are producing
and acting in. Is it nice to be on both sides
of the camera again? -I love it.
I do. I mean, I love the development
process with the writers. And, you know,
understanding the character before you ever step on set,
you actually — You have such a voice and such
a collaborative experience, and as an artist, for me,
it’s the best thing. I love it.
I love it so much. -Well, it’s nice, too,
because then, you know, the opposite, obviously,
and there are great projects, but you walk into it
and, sort of right off the bat, are kind of figuring out,
sometimes even day one. So it’s nice to have months
and months to prepare for it. -Absolutely.
Because by the time you get to the end of the project,
you go, “Oh! I get it now!” -Yeah.
-“I know what this is.” And they’re like,
“And it’s a wrap!” [ Laughter ]
-Yeah. -And the wrap party.
And you’re like, “Ugh!” -You did — As a producer,
you got to choose the hair. You had a say in the hair.
-Yes. -Do you like —
Are we happy with the wig you ended up with
for your character? -I love it.
-Yeah. -I think it’s super cool.
It’s fun to have that, you know, discussion with your director
and your other producers and everybody about the look,
about the wardrobe. I mean, this hair,
specifically — Interestingly enough,
our director wrote — Rebecca Thomas —
she was really interested in this character
being, like, really, you know, face to the world, no fringe,
no hair, in the face just like, open face
and a vulnerable neck… -Oh, wow.
-…was what she really wanted. I love that detail so much.
-Yeah, I — I was like, “We must
have a vulnerable neck.” -We were —
And I think, during the clip, we were all thinking that.
Like, that… -Right? You were?
[ Laughter ] I know.
-That is a vulnerable neck. -Look at that neck.
[ Laughter ] -So this is based
on a fictional podcast — an actual podcast.
The podcast isn’t fiction. But it is a —
It’s sort of a bit of a narrative story
that did not really happen. But it’s sort of true-crimey.
-Yes. -You are
a true-crime podcast listener. -Huge fan.
-Yeah. -Love it,
want true crime all day. -Gotcha.
-Every day. -Do you, like, listen to it
while you’re doing other things? -Oh, yeah.
-Okay. -I listen to it
while I work out. -So, see, that’s interesting.
-Is that weird? -I do think it is, yeah.
-Okay. -I don’t think you’re alone.
I don’t want you to think — -Okay, I don’t think so, either.
-But, for me, I like to listen to some true-crime podcasts
on a commute. -Yes, on a commute.
-But if I’m exercising, I don’t — nothing like,
“Yeah, catch him.” [ Laughter ] -I know, but it’s —
That’s such a good time that I have.
-Okay. Gotcha. -Because, you know,
when you have kids… -Yeah.
-…your time is limited. -Well, for me, I like to listen
to my true-crime stuff with the kids.
-Oh, yeah, yeah. [ Laughter ]
-You’re right. What am I doing? -It just bring us together
as a family. I’m always like,
“Just a lesson — don’t leave a fingerprint.”
[ Laughter ] It helps them wash their hands.
I’m just using it as that. -This is such a good idea. Please,
I need these fatherly advice. -These are very,
very helpful tips. Do you not —
Can you handle when, obviously, some of them
get a little gruesome? Are you okay with that part?
-I have no problem with gore. -Okay, interesting.
-Which is also weird, I guess. But, I mean, I think I used to be more into
blood and guts everywhere, especially if you’re watching
something, and it’s — I was a horror fan.
-You like that, okay. -I like that kind of thing.
-Mm-hmm. -Now, as I’ve gotten older,
I really can appreciate that I can do the best job
in my own mind of… -Oh, interesting, yeah.
-…creating how awful, how terrifying it really is.
-Gotcha. -So, less is more.
-Oh, that’s cool. -I’m thinking now.
-Yeah. -But I have no problem
with gore at all. -You’re just very refined now.
-But that’s right. -And you’re like,
“Just give me a few words, and I’ll take it from there.” -Like an aged wine.
-Yeah. -Just very, very —
like a vintage.