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How Falcons' helmet cams are honing play calling, cadence and dad jokes

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How Falcons' helmet cams are honing play calling, cadence and dad jokes

FLOWERY BRANCH, Ga. — Terry Fontenot was playing hooky from an Atlanta Falcons OTA workout day in Cooperstown, N.Y., in June when he got a surprise in his hotel room. The Falcons’ general manager spent the day watching his son, Kaiden, play in the Cooperstown All-Star Village baseball tournament. That night, he sat down with his computer to review film of the Falcons’ on-field session he had missed back home.

“I’m watching practice, and you’ve got the different views, the sideline, the end zone, then a higher end zone view and another view right down the line of scrimmage,” Fontenot explained. “So I’m clicking through the views, and all of a sudden I hear something. I’m like, ‘What’s going on?’ Then all of a sudden I’m in the huddle.”

Fontenot was hearing and then seeing the footage from cameras the Falcons have attached to the helmets of quarterbacks Kirk Cousins and Michael Penix Jr. for practice sessions this offseason.

“I knew we had talked about the possibility, but all of a sudden it’s just in our regular film,” Fontenot said.

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Atlanta’s coaching staff has gained valuable insight from the footage, coach Raheem Morris said. In exchange, the coaches have had to hear an array of playful complaints from the players.

“I joke with them that it’s kind of like the KGB: ‘You guys listen to everything I say,’” Cousins said. “The huddle used to be my time, but now you guys are in there and the huddle is bugged. I tell my teammates, ‘You guys are not getting let off the hook.’ If you say, ‘What’s the play here?’ the whole building knows. It’s probably more like a spy technique than anything else, but feedback is feedback, and it’s one more tool.”

Penix, a rookie, said he has benefited from being able to hear how Cousins, a 13-year veteran, calls plays and manages the huddle and snap cadence, but he hates the sound of his own voice.

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“I feel like my voice sounds different in person, but other than that, I like the view,” he said. “It’s a cool thing.”

Matthew Bergeron, a 6-foot-5, 323-pound offensive lineman, doesn’t have to worry about hearing his voice in the huddle, but he’s not sure the camera provides him the most flattering angle.

“I think it made me look weird when I watched film,” he said. “I looked a lot bigger than I thought I looked. It’s not my best angle, but it’s a good angle to watch film.”

Penix also doesn’t think the camera gives him proper credit for his canniness.

“Sometimes on the GoPro, you can’t really see what I’m reading,” the quarterback said. “Nine times out of 10, I am looking off a defender. So, my GoPro might be facing this way, but really I’m reading over there.”

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(The “GoPro” camera isn’t actually a GoPro. It’s a DJI Action 2 model.)

The Falcons coaching staff tries to determine where the quarterbacks are looking with the footage, and thus how they are reading the defense and going through their passing progressions, but the most valuable aspect is the sound, first-year offensive coordinator Zac Robinson said.

“The biggest tool is hearing the communication and how the guys are getting in and out of the huddle,” Robinson said. “I know it’s big for Mike as a young guy just learning the process of what it’s supposed to sound like.”

When Fontenot heard the helmet camera suggestion, he assumed the idea started with Robinson, who followed Morris from the Los Angeles Rams’ coaching staff. Actually, the man behind the cameras is Jake Stroot, the Falcons’ fourth-year video director.

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Stroot got the idea when he saw the Miami Dolphins using the cameras during joint practice sessions in Miami in 2023. He pitched them to the Falcons coaching staff, and Morris liked the idea.

“You can see exactly what the quarterbacks are looking at when they are barking through cadences,” Morris said. “You are grading your coaches there, too. You can see the flow between Zac Robinson and Kirk.”

The cameras hold 30 minutes of footage each, and Stroot’s staff has four for each quarterback, which they swap using magnetic holders multiple times each practice session. The cameras run throughout the team’s 11-on-11 practice work.

“We tried it out in the spring, and they liked it, and it has grown from there,” Stroot said. “The audio part is really special just to hear the cadence and stuff. All the guys are really digging it.”

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Watching the helmet camera footage and cutting it into clips for the coaching staff is “the most enjoyable part of my day,” Stroot said.

“The passion that Kirk shows is still very much there, and that’s very evident from hearing him talk,” Stroot said.

The helmet cameras have added four hours of footage for Stroot and his staff to work through every day. The video staff already was recording practice with nine aerial cameras and six ground cameras each day, accumulating nearly 20 hours of footage from each practice, all of which is cut into clips and made available to the coaching staff within 30 minutes of the end of practice.

The Falcons also have added sideline video screens during practice that show the previous play immediately so players and coaches can get quick reviews between snaps. Putting them in place and operating them also fell to Stroot.

“That’s just the mindset of him and his whole department,” Fontenot said. “If there’s a new person in the video department, the first thing he says is, ‘Our mantra is “no” doesn’t exist. We don’t say no.’ Somebody comes down and they ask for something, the first answer is yes and they figure it out.”

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The Falcons hired Stroot away from the University of Georgia in 2021 after asking Bulldogs coach Kirby Smart for permission to talk to him.

“We interview him, it goes well, and when I called Kirby to tell him we were hiring him, there was an expletive,” Fontenot said. “He said, ‘I’m so happy for him, but man this is a tough loss.’ As soon as Jake is in the building, you see why.”

The Falcons and Dolphins are believed to be the only NFL teams currently using helmet cameras, and Stroot says no other professional teams have approached him for advice on implementation, though several colleges have.

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Defensive coordinator Jimmy Lake thought the cameras were a tool of the Falcons’ social media team when he saw them pop up on the practice field.

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“But then Rah showed it in the team meeting, and it was really cool,” Lake said. “Got me thinking, ‘Maybe I want to put one of those on Jessie Bates so we can flip it the other way as a teaching tool.’ I think it’s genius.”

Bates said he might start reviewing the footage to see how he looks from a quarterback’s eyes.

“It’s cool to see,” the safety said. “Rah pulls it up in the team meeting room sometimes, and to see how Kirk processes things and how excited he gets to this day is cool. He talks a little s— as well. I need to start getting some footage of that, for sure.”

In addition to reviewing his performance for each play, Cousins uses the film to self-scout his wealth of “dad joke” comedy material.

“I get a better feel for how I come across,” the 36-year-old quarterback said. “I’ll say a joke I thought was pretty funny, and then I’ll go back and listen to it and say, ‘Don’t say that.’ I’ll watch it and think, ‘I thought I was cool, but I’m a nerd.’”

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(Photo of Kirk Cousins: Todd Kirkland / Getty Images)

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Video: The A.I. threat to audiobooks

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Video: The A.I. threat to audiobooks

new video loaded: The A.I. threat to audiobooks

Artificial intelligence has made pirated audiobooks faster to make and harder to detect. Our reporter Alexandra Alter tells us about the latest threat to the publishing industry.

By Alexandra Alter, Léo Hamelin and Laura Salaberry

May 20, 2026

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.

The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.

With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.

“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”

Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.

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In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.

Your work has been categorized as Black romance, but how do you see yourself as a writer?

I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.

What intrigued you about the period of history you capture in the Hollywood Renaissance series?

I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.

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What about that period feels resonant now?

The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.

How does this moment in your career feel?

I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.

Why would it all go away?

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Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.

When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.

Why are you so firmly committed to defending the “happy ending” in romance novels?

It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.

I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.

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You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?

First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.

How does this apply to being a very visible Black author in romance?

I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.

How do you define success for yourself at this point?

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I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.

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How Many of These Books and Their Screen Versions Do You Know?

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How Many of These Books and Their Screen Versions Do You Know?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.

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