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IRONBIRD AERIAL CINEMATOGRAPHY LTD AERIAL FILMING CV ACCREDITATIONS • CAA Permission for Commercial Operations (PFCO) Holders
IRONBIRD AERIAL CINEMATOGRAPHY LTD 16 Jordan St Studio D Liverpool, L10BP Tel: 0151 909 8464 Mail: [email protected] iron-bird.co.uk AERIAL FILMING CV ACCREDITATIONS • CAA Permission for Commercial Operations (PFCO) holders. First issued 2013, current OSC PFCO valid until 1st AUGUST 2020 - valid for UAS (unmanned aircraft systems) up to 20kg. • Holders of enhanced Operational Safety Case Permissions (heavy lifts within Towns and Cities) • Euro-USC BNUC-s & RPQ qualified Pilots. Feature & Independant Film • (2019) ’83’ Phantom Films • (2017) ‘Tolkien’ Fox Searchlight UK • (2017) ‘Stan and Ollie’ BBC Film // Bowler Hat • (2017) ‘Farming’ HH Films // Farming The Film LTD • (2016) ‘Eaten By Lions’ Mecca Films • (2013) ‘Mrs Browns Boys Da’ Movie’ - Penalty Kick Films // BBC Films // Thats Nice Broadcast & Drama • (2019) ‘Hanna II’ UMSI Productions Ltd • (2019) ‘Tin Star’ Season 3 Kudos • (2019) ‘Cobra’ New Pictures // All3 Media • (2019) ‘The English Game’ Netflix • (2019) ‘The Stranger’ Red Productions • (2019) ‘Years & Years’ Red Productions • (2019) ‘Bancroft II’ ITV • (2018) ‘Deep Water’ Kudos // ITV • (2018) ‘Long Shot - Catfish and the Bottle Men’ Island Records // VEVO • (2018) ‘Hospital’ LabelTV // BBC • (2018) ‘Silent Witness 22’ BBC • (2018) ‘The Feed’ Studio Lambert // Amazon Prime • (2018) ‘Creeped Out 2’ DHX Media // CBBC • (2018) ‘Care’ LA Productions // BBC One • (2018) ‘Wander Lust’ Red Productions // Netflix • (2018) ‘All or Nothing MCFC’ Amazon Prime • (2018) ‘Free Rein’ Lime Pictures // Netflix • (2017) ‘Bulletproof’ Vertigo -
Oklahoma Arts Council Commissioned a Review of Research on the Impact of Arts Education on Student Outcomes
Amber Sharples Executive Director (405) 521-2853 [email protected] Benefits of Arts Education: A Literature Review In 2016, the Oklahoma Arts Council commissioned a review of research on the impact of arts education on student outcomes. Guiding questions: 1. What is the impact of fine arts on student performance on measures of college and career readiness? 2. To what extent is participation in fine arts associated with higher outcomes on measures of college and career readiness? Literature Review Findings Mathematics • Music instruction and fraction concepts (Courey, Balogh, Siker, & Paik, 2012) • Instrumental music and higher math assessment scores (Babo, 2004) • Exceptional music programs and deficient instrumental programs = better English and math (Johnson et al., 2006) • Exemplary music education programs = higher English and math test scores (Johnson et al., 2006) • Music ensembles and higher standardized math achievement scores (Miksza, 2010) Literature Review Findings English Language Arts • Preschool music intervention = better emergent literacy (Runfola, Etopio, Hamlen, & Rozendal, 2012) • Piano lessons, vocabulary, and understanding of the logical order of words (Prio & Ortiz, 2009) • Visual arts summer camp and reading assessment scores (Borman, Goetz, & Dowling, 2009) • Four months of music instruction = greater gains in ability to break words into sounds (Eastlund Gromko, 2005) Literature Review Findings English Language Arts (cont.) • Preschool arts enrichment and end-of-year receptive vocabulary (Brown, Benedett, & Armistead, 2010) • Drama-based instruction and reading skill improvement (Rose, Parks, Androes, & McMahon, 2000) • Drama-integrated class relative to language arts and math assessment scores. (Walker, Tabone, & Weltsek, 2011) • English language learners (ELL) more likely to pass the English language arts (ELA) examination (Peppler, Powell, Thompson, & Literature Review Findings Life and Career Skills • Arts integrated preschool = higher interest, happiness, and pride. -
Drama Drama Documentary
1 Springvale Terrace, W14 0AE Graeme Hayes 37-38 Newman Street, W1T 1QA SENIOR COLOURIST 44-48 Bloomsbury Street WC1B 3QJ Tel: 0207 605 1700 [email protected] Drama The People Next Door 1 x 60’ Raw TV for Channel 4 Enge UKIP the First 100 Days 1 x 60’ Raw TV for Channel 4 COLOURIST Cyberbully 1 x 76’ Raw TV for Channel 4 BAFTA & RTS Nominations Playhouse Presents: Foxtrot 1 x 30’ Sprout Pictures for Sky Arts American Blackout 1 x 90’ Raw TV for NGC US Blackout 1 x 90’ Raw TV for Channel 4 Inspector Morse 6 x 120’ ITV Studios for ITV 3 Poirot’s Christmas 1 x 100’ ITV Studios for ITV 3 The Railway Children 1 x 100’ ITV Studios for ITV 3 Taking the Flak 6 x 60’ BBC Drama for BBC Two My Life as a Popat 14 x 30’ Feelgood Fiction for ITV 1 Suburban Shootout 4 x & 60’ Feelgood Fiction for Channel 5 Slap – Comedy Lab 8 x 30’ World’s End for Channel 4 The Worst Journey in the World 1 x 60’ Tiger Aspect for BBC Four In Deep – Series 3 4 x 60’ Valentine Productions for BBC1 Drama Documentary Nazi Megaweapons Series III 1 x 60’ Darlow Smithson for NGCi Metropolis 1 x 60’ Nutopia for Travel Channel Million Dollar Idea 2 x 60’ Nutopia Hostages 1 x 60’ Al Jazeera Cellblock Sisterhood 3 x 60’ Raw TV Planes That Changed the World 3 x 60’ Arrow Media Nazi Megaweapons Series II 1 x 60’ Darlow Smithson for NGCi Dangerous Persuasions Series II 6 x 60’ Raw TV Love The Way You Lie 6 x 60’ Raw TV Mafia Rules 1 x 60’ Nerd Nazi Megaweapons 5 x 60’ Darlow Smithson for NGCi Breakout Series 2 10 x 60’ Raw TV for NGC Paranormal Witness Series 2 12 x 60’ Raw TV -
Which of the Three Options Do Consultees Favour, and Why?
Question 1: Which of the three options do consultees favour, and why?: Option 2 - an increase to 20% audio description on all channels. Question 2: Do consultees have any further suggestions for future access service provision? If so please provide the rationale for these suggestions: As a blind person who enjoys audio description at home, I have three key suggestions: 1: movies -- films and longform drama are probably the most difficult genres to follow as they are least likely to have a running spoken narrative. News and documentaries tend to be easier to follow by dint of an accompanying voiceover, providing a clearer audio narrative which holds the hand of the non-sighted viewer from start to end. Films - with their noisy car chases, long periods of silence, smoldering looks between characters and expensively shot very visual sequences - tend to have been crafted by the director to minimise dialogue and to play the narrative out more effectively with images. They have the budget to do so and they do it. It appeals to a wider audience and, as such, tends to be economical with words. I'd like to suggest that channels which show movies and drama as a big part of their output - Sky Movies, FilmFour, ITV3, Virgin One, Sky One FX for example - ought to weight their AD towards this. I'd like to suggest 20% of all programmes be described ... but 75% of all movies with broadcast start times between 5pm and 10pm . They can make up a big part of a broadcaster's evening schedule and as such greater provision should be made. -
From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (Eds.)
From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (eds.) RIPE @ 2007 NORDICOM From Public Service Broadcasting to Public Service Media From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (eds.) NORDICOM From Public Service Broadcasting to Public Service Media RIPE@2007 Gregory Ferrell Lowe & Jo Bardoel (eds.) © Editorial matters and selections, the editors; articles, individual con- tributors; Nordicom ISBN 978-91-89471-53-5 Published by: Nordicom Göteborg University Box 713 SE 405 30 GÖTEBORG Sweden Cover by: Roger Palmqvist Cover photo by: Arja Lento Printed by: Livréna AB, Kungälv, Sweden, 2007 Environmental certification according to ISO 14001 Contents Preface 7 Jo Bardoel and Gregory Ferrell Lowe From Public Service Broadcasting to Public Service Media. The Core Challenge 9 PSM platforms: POLICY & strategY Karol Jakubowicz Public Service Broadcasting in the 21st Century. What Chance for a New Beginning? 29 Hallvard Moe Commercial Services, Enclosure and Legitimacy. Comparing Contexts and Strategies for PSM Funding and Development 51 Andra Leurdijk Public Service Media Dilemmas and Regulation in a Converging Media Landscape 71 Steven Barnett Can the Public Service Broadcaster Survive? Renewal and Compromise in the New BBC Charter 87 Richard van der Wurff Focus on Audiences. Public Service Media in the Market Place 105 Teemu Palokangas The Public Service Entertainment Mission. From Historic Periphery to Contemporary Core 119 PSM PROGRAMMES: strategY & tacticS Yngvar Kjus Ideals and Complications in Audience Participation for PSM. Open Up or Hold Back? 135 Brian McNair Current Affairs in British Public Service Broadcasting. Challenges and Opportunities 151 Irene Costera Meijer ‘Checking, Snacking and Bodysnatching’. -
Lesson 1 Skimming for Information Student Booklet
Student name Date Skimming for information Find sections of the text that back up my comments Objective Outcome To be able to skim read a text to get Skim texts to decide whether or not an overall impression and to find the they will be useful to me in finding main ideas specific information Introduction Try to remember the definitions of skimming and scanning. ● Skimming means looking through a text quickly for an overall impression and to identify the main ideas. ● Scanning means looking through a text quickly and picking out specific information by finding key words. Readers skim a text quickly to get an overall sense of what it is about and if it has the information that they need. Read the text below quickly, trying to identify the key words that give you an idea of what it is about. Everyone wants to be in a pop band when they are teenagers because they think they will become a celebrity and make lots of money. More pop bands fail than are successful and aspiring pop musicians need to have a back-up plan if they are going to be able to make a living for themselves. Not everyone can copy the success of Take That or Westlife – not because they do not have the necessary talent; success is more to do with how the band is marketed and promoted by their manager and the quality of the competition from other bands. If pop bands do not have that level of financial and business support, then they are less likely to be successful. -
1 of 8 So Television Ltd Privacy Notice for Programme Applicants
Introduction This Privacy Notice concerns the personal information of people who are applicants, participants or contributors (including anyone nominated by another to participate) who we are considering, or have decided, to include in a programme, which we intend to produce, and anyone attending in the studio audience when we are filming a programme. Your information is very important to us and we will look after it in line with privacy and data protection laws, including the EU General Data Protection Regulation. This policy explains what data we collect and why, how we use it and who we share it with, as well as your rights as a data subject. We are committed to keeping your information secure with appropriate technical and organisational measures to ensure its confidentiality, integrity and availability. Where a password is required to access certain parts of our websites, you are responsible for keeping this password confidential and not sharing it with anyone else. It is important that you read this Privacy Notice together with any additional Privacy Notices or Fair Processing Notices, which we give you, so that you are fully aware of how and why we are collecting and using your data. This Privacy Notice supplements these other notices (if provided) and is not intended to override them. We may update this Privacy Notice from time to time and will post any changes on our website so it’s a good idea to check this from time to time. This Privacy Notice was last updated on 25 May 2018. Who are we? Any reference to "we", "us" and "our" is to SO Television Limited (company no. -
Broadcast Bulletin Issue Number 38
* Ofcom broadcast bulletin Issue number 38 4 July 2005 Ofcom broadcast bulletin 38 4 July 2005 Contents Introduction 3 Standards cases In Breach 4 Resolved 6 Other programmes not in breach/outside remit 11 2 Ofcom broadcast bulletin 38 4 July 2005 Introduction The Communications Act 2003 allows for the codes of the legacy regulators to remain in force until such time as Ofcom developed its own Code. Ofcom consulted in 2004 on its new Code. Ofcom’s Broadcasting Code has now been published and will take effect from 25 July 2005 (with the exception of Rule 10.17 which comes into effect on 1 July 2005). The Broadcasting Code can be found at http://www.ofcom.org.uk/tv/ifi/codes/bcode/ The codes and rules currently in force for broadcast content are: Advertising and Sponsorship Code (Radio Authority) News & Current Affairs Code and Programme Code (Radio Authority) Code on Standards (Broadcasting Standards Commission) Code on Fairness and Privacy (Broadcasting Standards Commission) Programme Code (Independent Television Commission) Programme Sponsorship Code (Independent Television Commission) Rules on the Amount and Scheduling of Advertising From time to time adjudications relating to advertising content may appear in the bulletin in relation to areas of advertising regulation which remain with Ofcom (including the application of formal sanctions by Ofcom). Copies of the full adjudications for Upheld and Not Upheld Fairness and Privacy cases can be found on the Ofcom website: www.ofcom.org.uk 3 Ofcom broadcast bulletin 38 4 July 2005 Standards cases In Breach The Best of James Stannage The Hits,16 March 2005, 03:20 Introduction This programme mixed music with highlights of the presenter’s late night ‘phone-in, originally broadcast on Key 103 FM (Manchester). -
TV Producer Simon Withington
SIMON WITHINGTON [email protected] / www.simonwithington.co.uk BIOGRAPHY I am an award-winning freelance television producer, having produced many high-profile shows with big-name talent. Recently, I have produced multiple 3-hour archive shows for Channel 5 (When… Goes Horribly Wrong) where I’ve overseen up to 7 edits and managing a team of around 25 people. I originated Greatest Celebrity Wind Ups Ever! with Joe Pasquale which consistently rated 25% above slot average for Channel 5 and World Cup Epic Fails hosted by Angus Deayton for ITV in 2014. which rated with 3.7 million viewers and resulted in a subsequent commission, Christmas Epic Fails. Often working with top talent and priding myself on always coming in on budget, my television background has covered both shiny floor Entertainment & Factual Entertainment programming. I also self-shoot and edit. EMPLOYMENT HISTORY SHOWRUNNER / EXECUTIVE PRODUCER: CRACKIT PRODUCTIONS (Executive Producers: Elaine Hackett & Jason Wells) (November ’16 to Dec ‘18) When…Goes Horribly Wrong. (14 x 180 mins) Live TV, Celebrity, Chatshows, Gameshows, Kids TV, Talent Shows, Reality TV, Television 2, Comedy, Award Shows, News, Eurovision, Christmas, TV Animals (September ’17 to Jan ‘18) Greatest Celebrity Wind-ups Ever! Series (6 x 60 mins) (June ’17 to July ‘17) Greatest Celebrity Wind-ups Ever! (1 x 60 mins) (May ’18) 5 Goes to Eurovision: Greatest Hits (1 x 60 mins) * Overseeing top-rating fast-turnaround talking heads clip-shows for Channel 5. Multiple edits, up to 25 staff * Directing talking heads. Clearing archive within tight budgets. Clearing and re-versioning for International market * Greatest Celebrity Wind-Ups Ever went from commission to on-air in just 3 weeks. -
Sophie Kennedy Cv August 2019
Curriculum Vitae – Offline Editor Sophie Kennedy Tel: 07946 608 235 [email protected] 20 Year’s of DIY SOS 60’ Features BBC1 A celebration of 20 years of DIY SOS, catching up with some of the builds featured and the incredible legacy they have left on both communities and families. Remarkable Places to Eat 60’ Features BBC2 / Outline Fred Siriex is shown some of the best places to eat in Paris by fellow Frenchman, Michel Roux. DIY SOS Big Build Grenfell Tower Special 60’ Features BBC1 Nick and the team take on one of their biggest projects yet and create a boxing gym for the residents of the Grenfell community Worlds Most Extraordinary Xmas Dinners 60’ Features CH4 / Boomerang A quirky look at some of the best Xmas dinners going, from those served in a submarine to a space centre, 5 star hotel, and how to make a cockenthrice for a Tudor banquet. Bake Off the Professionals series 2 60’Features BBC1 / Love Teams of professional pastry chefs battle it out to win the title Hugh’s Wild West 60’ Features BBC1 / Keo Hugh Fearnley Whittingstall pursues his fascination with the wildlife of the West Country as he teams up with the region’s most dedicated nature lovers DIY SOS Barnet 60’ Features BBC1 The team rebuild the house of a policeman who was paralysed in the Westminster Bridge terror attack. Extreme Chocolate Makers 8 x 30’ CH4 / Boomerang A quirky look at some of the countries best chocolate sculptures and seeing how they were created Jamie Oliver and the Nonnas 60’ Features BBC1 / Outline Jamie and Gennaro travel Italy to find the old recipes that the nonnas of Italy cook. -
ITV Plc Corporate Responsibility Report 04 ITV Plc Corporate Responsibility Report 04 Corporate Responsibility and ITV
One ITV ITV plc Corporate responsibility report 04 ITV plc Corporate responsibility report 04 Corporate responsibility and ITV ITV’s role in society is defined ITV is a commercial public service by the programmes we make broadcaster. That means we and broadcast. The highest produce programmes appealing ethical standards are essential to to a mass audience alongside maintaining the trust and approval programmes that fulfil a public of our audience. Detailed rules service function. ITV has three core apply to the editorial decisions public service priorities: national we take every day in making and international news, regional programmes and news bulletins news and an investment in and in this report we outline the high-quality UK-originated rules and the procedures in place programming. for delivering them. In 2004, we strengthened our longstanding commitment to ITV News by a major investment in the presentation style. Known as a Theatre of News the new format has won many plaudits and helped us to increase our audience. Researched and presented by some of the finest journalists in the world, the role of ITV News in providing accurate, impartial news to a mass audience is an important social function and one of which I am proud. Our regional news programmes apply the same editorial standards to regional news stories, helping communities to engage with local issues and reinforcing their sense of identity. Contents 02 Corporate responsibility management 04 On air – responsible programming – independent reporting – reflecting society – supporting communities – responsible advertising 14 Behind the scenes – encouraging creativity – our people – protecting the environment 24 About ITV – contacts and feedback Cover Image: 2004 saw the colourful celebration of a Hindu Wedding on Coronation Street, as Dev and Sunita got married. -
Competition and Public Service Broadcasting: Stimulating Creativity Or Servicing Capital?
COMPETITION AND PUBLIC SERVICE BROADCASTING: STIMULATING CREATIVITY OR SERVICING CAPITAL? Centre for Business Research, University of Cambridge Working paper No. 408 by Simon Turner Department of Health Services Research and Policy, London School of Hygiene & Tropical Medicine, Keppel Street, London, WC1E 7HT Email: [email protected] Ana Lourenço School of Economics and Management, Catholic University of Portugal, Rua Diogo Botelho, 1327, 4169-005, Porto, Portugal. Email: [email protected] June 2010 This working paper forms part of the CBR Research Programme on Corporate Governance Abstract In UK public service broadcasting, recent regulatory change has increased the role of the private sector in television production, culminating in the BBC’s recent introduction of ‘creative competition’ between in-house and independent television producers. Using the concept of ‘cognitive distance’, this paper focuses on the increasing role of the independent sector as a source of creativity and innovation in the delivery of programming for the BBC. The paper shows that the intended benefits of introducing new competencies into public service broadcasting have been thwarted by, on the one hand, a high level of cognitive proximity between in-house and external producers and, on the other, a conflict in values between the BBC and the independent sector, with the latter responding to a commercial imperative that encourages creativity in profitable genres, leaving gaps in other areas of provision. While recent regulatory reform appears to have had a limited impact on the diversity of programming, it does suggest a closer alignment of programme content with the imperatives of capital. Implications for the literature on communities of practice are noted.