at higher speeds. There has been an evolution from film to standard-definition television, high-definition television and now 4K. As of 2016, highlights included unmanned aerial vehicles aka drones for the delivery of aerial footage, various lines of cameras that can deliver 4K resolution, graphics packages for news stations, which can be utilized inside their microwave and/or satellite vehicles, wireless technology, POV cameras and peripherals from GoPro and other action camera manufacturers, and the Odyssey 7Q+ monitor with Apollo multi-camera switcher/recorder from Convergent Design. This monitor fits on the back of a broadcast video camera and allows photojournalists to live-switch a multi-camera production in studio or on location. Outside broadcasts Outside broadcasts (also known as "remote broadcasts" and "field operations") are when the editing and transmission of the news story are done outside the station's headquarters. Use of ENG has made possible the greater use of outside broadcasts. "Some stations have always required reporters to shoot their own stories, interviews and even standup reports and then bring that material back to the station where the video is edited for that evening's newscast. At some of these stations, the reporters sometimes even anchor the news and introduce the packages they have shot and edited." Short-form news stories are what local news reporters deliver to their stations. Longer-form stories about the same topics are covered by national or international broadcast news magazines such as Dateline NBC, 20/20, Nightline, 48 Hours, 60 Minutes and Inside Edition. Depending upon the scope of the story, the number of crews vying for position at the story venue (press conference, courthouse, crime location, etc.) can potentially be dozens. Natural disasters, terrorism, death and murder are topics that reside at the top of the news-gathering hierarchy. For instance, in the U.S., the series of events culminating in what would thereafter be known as 9/11 galvanized every news division of every network. "Especially on that first day, you were really just going to whomever had a piece of information," said 48 Hours executive producer Susan Zirinsky, whose team produced the primetime coverage that first night. "You were getting cameras up, you were putting people in place, you were trying to wrap your brain around it. You wanted to step back and synthesize some of the information, which is what we were trying to do ... At that point, we thought there were many more dead, and it was still a