Ignacio "Pío" Rospide will celebrate a decade with TelevisaUnivision in 2025
Ignacio “Pío” Rospide, a seasoned supervisor of Primetime Specials and Reality Show Production and Post-Production, will celebrate a decade with TelevisaUnivision in 2025. His post-production journey in entertainment began in his native Argentina, where he collaborated with Marcello Tinelli and his production company, Ideas del Sur. During his tenure there, he established a robust post-production network. “That’s where my experience in entertainment shows took root, and I also forged connections with individuals from other production companies, including Adrián Santucho,” he shared.
Santucho and Rospide have been friends since their youth. It was Santucho, during his time at Endemol USA, who introduced Rospide to Univision when the show “La Banda” was launched.
“My journey at Univision began in 2015, focusing on the post-production assembly of shows. We pioneered a workflow that integrated post-production considerations into the recording process. Rather than recording blindly and editing later, we optimized the recording process to streamline post-production, especially considering tight deadlines,” he explained.
Rospide mentioned Nuestra Belleza Latina, a format set to make a revitalized return to Univision in 2025. “Our primary goal is to offer a comprehensive experience through ViX 24/7. We aim to expand beyond the traditional Sunday night, 8-10 PM format. In addition to the classic Sunday galas and challenges, we’ll introduce a daily show and a 24/7 experience on the VIX platform.”
He emphasized that for open television professionals, the challenge lies in creating content that still captivates audiences and draws them to their screens. “We constantly analyze the reasons behind underperforming shows. I believe the issue isn’t the show itself, but rather viewer behavior. People are less inclined to sit in front of the TV. We need to focus on promoting the show effectively and rekindling the desire to watch TV, rather than solely focusing on the show’s content. Our shows are consistently well-received, and viewership often increases once people start watching. The problem lies in getting them to tune in initially, especially younger generations who may not be as familiar with traditional TV.”
Rospide has witnessed significant technological advancements in his nearly 10 years in the US, particularly in recording quality. “We now have access to better, more affordable, and smaller cameras. For instance, during Formula 1 broadcasts, cameras can be placed inside cars without disturbing drivers traveling at 300 kilometers per hour, capturing incredible footage. Since the advent of GoPro-like devices, cameras with high-quality chips and lenses have become increasingly compact and offer substantial storage capacity. Today, individuals can easily capture and store vast amounts of footage on the go, even with multi-camera setups.”
Rospide emphasized that for open television professionals, the challenge lies in creating content that still captivates audiences and draws them to their screens
He points out that another great evolution has occurred in lighting. “The lights we used to carry when we were younger were big, heavy lights, you had to wire a lot, they raised the temperature, you had to climb on the roof to change the color of the gelatins to achieve another temperature. Today the lights have developed so much that they are battery operated, they are light, they do not raise the temperature, they are managed by an application that you can have on a tablet or a cell phone,” he explained. He added that this part also helps a lot to make entertainment shows cheaper, and more feasible to produce in extreme locations. “You can take those lights with you much more comfortably in those carts with wheels, and you don’t have to take gigantic trucks like it was in the past. LED screens have revolutionized everything you see in the staging. Before, you had to build a lot of things, and today you build something that complements the design that you present on the LED,” he said.
He explained that LED screens have significantly impacted the possibilities of audiovisual creation to captivate audiences. “The size of televisions has also played a crucial role. Today, people view our content on massive screens, which presents both advantages and disadvantages. High-quality visuals look stunning, but flaws become glaringly obvious. I often advocate against overly short shots, as they can distort features on large screens. Poor makeup or lighting choices can be magnified, potentially alienating viewers. It’s essential to consider the viewing context. While short-form content is ideal for mobile devices, longer formats are better suited for home viewing. This workflow consideration is crucial for entertainment programs aiming to connect with diverse audiences.”
He added that Univision continues to broadcast in HD, noting, “All US TV is in HD. Some states are already working on 4K, but broadcasting in 4K requires a complete technical overhaul of the channel. So, what do we do? We produce content in 4K, but broadcast it in HD. This maintains sharpness. For streaming or YouTube, which requires closer shots, we zoom in from the 4K footage. For open TV, we keep the original format. We can produce in 4K, but zooming isn’t necessary on large screens.”
Rospide mentioned another significant technological innovation at Univisión: CuePilot. This software controls the switcher. In some countries, the director manually operates the switcher, watching monitors and instructing an operator to switch to specific camera angles.
He emphasizes that CuePilot allows the switcher to be programmed to automatically switch to specific cameras at precise moments within a song. “No manual intervention is required. The switcher illuminates the correct cameras independently, following a pre-determined design. This is all synchronized by timecode, a time track embedded in the audio and video. The timecode connects the audio, music, lights, and screens. So, when the singer reaches the lyric ‘paint your face, color, hope,’ and the stage explodes with color, it’s all programmed into the cameras, lights, screens, and LEDs.”
“If you watch a Univision broadcast, such as an awards show, you’ll see perfectly timed and rehearsed performances. The only downside of CuePilot is when artists skip rehearsals,” he noted.
Ignacio Meyer de Univisión: Temporada 12 de Nuestra belleza latina estrena domingo 26 a las 8pm
