Broadcast News Volume No

Total Page:16

File Type:pdf, Size:1020Kb

Broadcast News Volume No Broadcast News Volume No. 145, October 1970 TCR-100 Cartridge Tape System Makes the Scene at WDCA-TV www.americanradiohistory.com Contour Enhancement ... makes your films and slides look better Matched TK -27 Color Film System ... now with the "live- like" quality of a TK -44A The Contour Enhancement accessory for the When you use the complete RCA Color Film RCA TK -27 Color Film Camera improves System your films come alive, they entertain the TV picture by enhancing image edges, more, educate more, they sparkle as never increasing overall definition. In addition, before. It's all due to a MATCHED system. a special filter "combs out" the noise - The TK -27 Camera is the heart of the permitting this improved performance without "matched design" system. Included is the, any increase in background disturbance. Automatic TP -66 Film Projector, Solid -State Thus film and slides will offer a new high TP -77 Slide Projector with preview feature, level of picture quality. Even those not quite and new vertical- mirror-wipe TP -55 perfectly focused will produce better Multiplexer. All made by RCA, these units images on the TV screen. You'll get the same work together to produce the finest kind of sparkle and snap that you do color TV pictures. from live pictures on the TK -44A. Broadcast Equipment www.americanradiohistory.com OCTOBER, 1970 Vol. No. 145 RC/1 POO EGo`gcl. e4 Klwo Published by RCA COMMUNICATIONS SYSTEMS DIVISION CONTENTS WDCA -TV: Scene of Cartridge Charisma 5 Madison Avenue Eyes the TCR -100 10 New Profits from "Off -Air" Production Facilities 16 All Girl Talk on Veracruz FM Duo 22 London Weekend Television 25 An Idea that Grew ... at WOOD -TV 30 Solid State Multiplexer for Color Film Systems 34 Improving Reliability of TV Microwave 37 Products in the News 44 Copyright 1970 RCA Corporation, All Rights Reamed www.americanradiohistory.com in the viewfinder Broadcast Systems Management Mr. Vander Dussen, as Manager of Studio Gordon Bricker, manager of Professional Restructured to Changing Equipment Engineering and Product Manage- Electronic Systems based in Burbank, Cali- fornia, joined RCA in 1952 at Camden and Customer Needs ment will have overall product responsibility for television cameras, TV tape recording during a five year tenure there held product Organizational changes planned to strengthen systems, TV switching and control apparatus management assignments in broadcast termi- RCA Broadcasting Systems to meet the de- and related studio equipment used by broad- nal and TV studio equipment. From 1957 to mands of the 70's were recently put into effect cast stations and networks. 1963 Mr. Bricker was a broadcast field sales- by A. L. Hammerschmidt, Division Vice Mr. Vander Dussen recently returned to man covering Colorado, Kansas and adjacent President. RCA after a year spent at the Massachusetts states. "RCA Broadcasting Systems' management," Institute of Technology as an Alfred P. Sloan Two key assignments in Broadcast Systems Mr. Hammerschmidt said, "is keenly aware Fellow. He received the degree of Master of remain unchanged. Edwin C. Tracy continues of its obligations to anticipate the evolving Science of Management from M.I.T., along as Division Vice President, Broadcast Sales in needs of our customers. with 51 other executives from industry, busi- the domestic market and Joseph P. Ulasewicz "In the 70's," he continued, "we see these ness, government and education who com- as Division Vice President, Commercial Com- needs taking two forms (1) constant improve- pleted the course of study. munications Systems International Operations. ment of equipments which affect on -air After joining RCA in 1957, Mr. Vander Mr. Tracy joined the company in 1939 as performance and (2) application of new tech- Dussen became a broadcast salesman and was a TV engineer for the RCA Service Company. nologies to systems that enhance the cost promoted to district sales manager. Later he In 1946 he was made sales engineer in Chi- effectiveness of the broadcasters' operations." held sales, product and engineering manage- cago. Four years later he became Field Sales Mr. Hammerschmidt brings to his post ment assignments of increasing responsibility Manager for RCA radio and television equip- more than 35 years of broadcasting experience. in various RCA Commercial Electronic Sys- ment. He was promoted to Division Vice He actually started to work in broadcasting tems activities. President in 1964. .(WBNS-Columbus) while still attending Ohio Mr. Musson is Manager of Transmitting Mr. Ulasewicz started at RCA as a Trainee State University. Equipment Engineering and Product Manage- in Manufacturing and in his career he was an He began his career at RCA as a TV Engi- ment. His product responsibilities include TV, RCA Broadcast equipment field representa- neer at NBC. His subsequent assignments in- AM -FM transmitters, antennas and broadcast tive, Manager of Antenna Merchandising and, cluded Assistant Director, Color TV Systems audio. just prior to his present assignment, Manager Development; Associate Director, Network Mr. Musson rejoined RCA in March, 1970. of International Marketing for Broadcast & Technical Operations and Vice President of Prior to that time he held a variety of posts Communications Products. Engineering and Facilities Administration. with Wickes Industries, Inc., the last being John H. Cassidy (missing from photo) con- Upon joining RCA Broadcast activity in Vice President of Planning and Development. tinues as Manager of Project Management and 1966 he was named Manager of the newly His experience includes two stints in station Administration Services. He directs a staff of created Electronic Recording Products De- operation, the last one being Chief Engineer systems implementation specialists who esti- partment. Before assuming his present duties of WJIM and WJIM -TV. mate, plan, manage and install complete he was Division Vice President of Broadcast Another move brings Professional Electronic Broadcast systems for the world market. He Engineering and Product Management. Systems into the Broadcast organization. This also manages the Custom Repair and Engi- The restructured Broadcast Systems divides class of TV equipment fulfills the lower cost neers shops. supervision of engineering and product man- requirements for a segment of the Broadcasting Mr. Cassidy joined RCA in 1956 and prior agement between Neil Vander Dussen and Industry and has special appeal to closed cir- to his present assignment was Manager of Carleton Musson. cuit, educational and industrial markets. Sales Support and Services. In conference (I. to r.) are Messrs Musson, Vander Dussen, Bricker, Hammerschmidt. ' racy and Ulasewicz. 2 www.americanradiohistory.com Traffic Flow Profile for corded on strip charts. Broadcasting's Technical Progress Delaware Memorial Bridge Police also can determine the presence or Tied to Adapting Developments Vehicles moving across the twin 2,150 -spans absence of vehicles in any of the bridge's eight In Other Areas lanes by observing a control console. Indicator of the Delaware Memorial Bridge near Wil- Broadcasting's technical progress over the lamps on the console display a continuous mington are being counted and their speed next decade may well hinge on how effectively picture of traffic and other events on the measured automatically by RCA electronic its equipment builders adapt the wealth of bridges. detection equipment installed as part of an technology being developed in other areas. advanced traffic control system. When a lamp on the display panel glows, Andrew F. Inglis, Division Vice President, recently -completed system already is it indicates that no traffic has crossed over a The RCA Commercial Electronic Systems, speak- providing bridge police with a profile of traf- selected detection point on the bridge for at ing before the Rocky Mountain Association of fic flow that enables them to regulate maxi- least 90 seconds. This could mean a traffic Broadcasters convention, said suppliers must mum speed limits and traffic lane use under stoppage and with the aid of closed circuit search out usable technical developments in varying conditions and times of day. television, the police operator can investigate such fields as defense, space and computers The 52 vehicle detectors, known as Ve -Det, and dispatch a patrol car, tow truck, ambu- where research expenditures are several times in system operate from wire loops lance or other emergency vehicles as needed. used the those in broadcast equipment. embedded in the bridge roadway at various Other control panel lamps monitor toll plaza points. A vehicle passing over the loop causes lane signals, aviation beacons atop the bridge's He reminded his listeners -broadcasters from Idaho, Montana, circuit changes, sending a signal to a roadside 440 -foot towers, and traffic lane speed limit Utah and Wyoming- detector unit. signs. Failure of a display panel lamp to light, that tapping this vast reservoir of technology along Two of the seven-foot -square wire loops, for example, will indicate a beacon light was with the industry's own efforts can not placed three feet apart on the upgrade of each burned out. in itself sustain technical progress in the of the twin bridges, detect the direction of The console also controls the illumination broadcast industry. traffic flow and the average speed of vehicles of various driver information and speed signs "This progress can be likened to a three- moving in each lane. at the approaches to each bridge. Message legged stool, the legs being technology, eco- Speed is determined by recording the time signs have 24 -inch letters reading: Slippery nomics and public policy," he said. "Major required for a vehicle to travel from one loop Roadway, Accident Obey Signal, Lane Change developments not only must be technically to another. Speeds of a number of vehicles are Obey Signals, Men Working, Fog Ahead, feasible but they must be economically sound averaged for a selected time period and the Snow, and Reduce Speed. Each sign is acti- and in accordance with public policy as de- corresponding results are automatically re- vated by a single pushbutton on the console.
Recommended publications
  • From Film to DIGITAL
    from film TO DIGITAL CTM DEBRIE CATALOGUE CTM Debrie 125, avenue Louis Roche 92230 Gennevilliers France T. +33 1 40 85 82 82 F. +33 1 40 85 82 63 E. [email protected] www.ctmdebrie.com sommaire a word from theCEO 04 About CTM Debrie 06 Experts across the complete Film chain 08 About CTM Solutions Over the course of 100 years, Debrie has acquired an international 10 Experts across Post Production tools reputation as the leading manufacturers of film laboratory equipment. 12 Engineering – R&D The 1992 merger with CTM, a forward-looking company in the post- 13 Turn Key Projects – CTM Group production equipment, broadened Debrie’s product line, thus allowing 14 Production & Front end laboratory chain the newly formed corporation, CTM Debrie, to supply clients with a 15 D / I & DVD chain wide range of machines for the motion pictures industry, for the 16 Restoration chain preservation of and the restoration of moving images. 17 Film processing machine – UNIPLEX III & VARIPLEX 21 Auxiliary equipment for UNIPLEX & VARIPLEX In the nineties, we also developed a parallel organization 23 Wet & dry Contact Printer – MOVIECLONE Series under the name of CTM Solutions, acting as a seller and integrator of 25 Optical printer – MAGIC Series professional audio and video solutions. Specializing in the integration 27 Auxiliary equipment for printers of editing and filming studios, as well as dubbing studios, our goal was 29 Loop cabinet – LOOPER to be able to fully provide and service the post-production chain, from 31 Film splicing table – ECLIPSE the engineering to the training of users.
    [Show full text]
  • Introduction
    CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills......................................................
    [Show full text]
  • 185 for Presentation July 8, 1971, NATIONAL CABLE TELEVISION
    185 For presentation July 8, 1971, NATIONAL CABLE TELEVISION ASSOCIATION, Washington, D. C. TELECINE SYSTEMS FOR THE CATV ORIGINATION CENTER by Kenneth K. Kaylor Phil ips Broadcast Equipment Corp. Although 11 1 ive'' programming is considered a necessary part of the program origination services of a community-oriented CATV system, tele- cine facilities will hold the key to success or failure of such an operation from an economic standpoint. The word 11 tele-cine11 was developed during the early days of television broadcasting to define those facil i- ties devoted to the video reproduction of the various film media. Since the original commercial telecine television camera was an 11 iconoscope11 camera which had a very large sensitive surface (about 11 11 3 x 4 ), a film projector was focused onto the sensor by using a standard projection lens as shown in Fig. 1. This technique was quite simple and optical alignment was very easy. E1 im i nat i ng the 11 Shutte r Bar" effect In the case of motion picture film, the theatre projector had to be modified in order to prevent a "shutter bar" effect caused by the 186 difference in frame rates between television and motion picture stan­ dards. Standard sound motion picture film operates at 24 frames per second while the U. S. standard for television scanning is 30 frames per second. The intermittent mechanism had to be modified so that the 1ength of time between "pu 11 -downs" a 1 te rnates between 1/20 and 1/30 second. The average of these two fractions is 1/24 second, or the time demanded by the standard 24-frame-per-second motion picture projection rate.
    [Show full text]
  • Aspects of Television Temporality
    Aspects of Television Temporality By Andrzej Gwóźdź Fall 1999 Issue of KINEMA ON SOME ASPECTS OF TELEVISION TEMPORALITY If there is a film that makes the way of existence of its images the object of its discourse, then Cinema Paradiso (Nuovo Cinema Paradiso, by Giuseppe Tornatore, France/Italy, 1989) undoubtedly is that film. It is just here that in an almost demonstrative way the duality of a film iconosphere is shown: a pictorial passage on a film reel on the one hand, and immateriality of die luminous screen phantom on the other, a”film-reel” and a ”film-projection.”(1) It is here that the cinema shows its ontology as a mechanism of difference between materiality of a fundamental cinematographic apparatus and immateriality of a cinematic mechanism that actually results in the source of the cinema. If we were to look for a similar justification for the ontology of television, we would surely have to locate it within the ”time of expression,” that is, temporality immanent to a television image on which the ”time of contents” (2) of a programme structure of television is founded. Since theoreticians of the media agree that it is just time that is ”the major category of television,” that ”time is television’s basis, its principle of strutcturation, as well as its persistent reference”(3); that ”the attitude towards television should be basically derived from temporality”(4); that, finally, ”the essence of the [television] screen is [...] its permanent readiness to experience time.(5)” No matter what stratification of the time of television (television time) is suggested by particular writers, they usually agree on the fundamental ontological premise of television temporality.
    [Show full text]
  • Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev
    Avid® Media Composer® and Film Composer® Input and Output Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev. A • August 2000 2 Contents Chapter 1 Planning a Project Working with Multiple Formats . 16 About 24p Media . 17 About 25p Media . 18 Types of Projects. 19 Planning a Video Project. 20 Planning a 24p or 25p Project. 23 NTSC and PAL Image Sizes . 23 24-fps Film Source, SDTV Transfer, Multiformat Output . 24 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 27 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 30 Alternative Audio Paths . 33 Audio Transfer Options for 24p PAL Projects . 38 Film Project Considerations. 39 Film Shoot Specifications . 39 Viewing Dailies . 40 Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process. 45 Transferring 24-fps Film to NTSC Video. 45 Stage 1: Transferring Film to Video . 46 Frames Versus Fields. 46 3 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . 46 Part 2: Slowing the Film Speed to 23.976 fps . 48 Maintaining Synchronized Sound . 49 Stage 2: Digitizing at 24 fps. 50 Transferring 24-fps Film to PAL Video. 51 PAL Method 1. 52 Stage 1: Transferring Sound and Picture to Videotape. 52 Stage 2: Digitizing at 24 fps . 52 PAL Method 2. 53 Stage 1: Transferring Picture to Videotape . 53 Stage 2: Digitizing at 24 fps . 54 How the Avid System Stores and Displays 24p and 25p Media .
    [Show full text]
  • XFINITY Channel Lineup We’Ve Organized All Your Channels by Service Level
    2C-307 The New XFINITY Channel Lineup We’ve organized all your channels by service level. So you can find what you want, when you want it. The New XFINITY Channel Lineup. It’s the faster way to find what you’re looking for. For more info, visit www.xfinity.com Prince George’s County, MD – Efective November 1, 2015 LIMITED BASIC LIMITED BASIC LIMITED BASIC LIMITED BASIC SD HD CHANNEL NAME SD HD CHANNEL NAME SD HD CHANNEL NAME SD HD CHANNEL NAME WMDO-47 (uniMàs) 24 941 C-SPAN 23 Jewelry TV 200 WDCA Movies! 15/563 795 Washington DC WDCA-20 (MY) 104 942 C-SPAN2 184 Jewelry TV 20 810 Washington DC 269/559 WMPT V-me 287 Daystar 190 Leased Access WMPT-22 (PBS) 201 WDCW Antenna TV 22 812 72 Educational Access 76 Local Origination Annapolis 206 WDCW This TV 73 Educational Access 279 MHz Arirang 275 WNVC Bon-China WDCW-50 (CW) 3 803 MHz CCTV Washington DC 294 The Word Network 74 Educational Access 276 Documentary WPXW-66 (ION) 75 Educational Access 266 WETA Kids 16 813 273 MHz CCTV News Washington DC 265 WETA UK 77 Educational Access WQAW-20 (Azteca 278 MHz CNC World 198/568 WETA-26 (PBS) America) 78 Educational Access 26 800 277 MHz France 24 Washington DC 208 WRC Cozi TV 96 Educational Access WFDC-14 (Univision) 272 MHz NHK World TV 14/561 794 WRC-4 (NBC) Washington DC 4 804 89/283 EVINE Live Washington DC 274 MHz RT WHUT-32 (PBS) 19 802 291 799 EWTN Washington DC 197 WTTG Buzzr 280 MHz teleSUR 69 Gov’t Access WJLA Live Well WTTG-5 (FOX) 205 5 805 271 MHz Worldview Network Washington DC 70 Gov’t Access 268 MPT2 204 WJLA MeTV 207 WUSA Bounce TV 71
    [Show full text]
  • San Francisco, WUSA-TV Washington and WAGA-TV Atlanta
    San Francisco, WUSA-TV Washington Sandy Newton has been named enter- Palladium/New Century Television's and WAGA-TV Atlanta. tainment reporter. Power Pack film package has been li- censed to 31 stations since its release in Samuel Goldwyn Television has sold Coral Pictures has sold five telenove- mid-January. Among the stations are November Gold 2, package of "acven- las to the Univision Network: Prima- WTAF-TV Philadelphia, KGMC-TV ture" films, to more than 20 markets. vera (200 hours), to debut June 1; Cris- Oklahoma City, WXXA-TV Albany, Among the stations are WTAF-TV tal (246 hours); La Dama De Rosa (219 WAWS-TV Jacksonville and KING- Philadelphia, KTVT-TV Dallas, hours); Leonela (133 hours); and Topa- TV Seattle. WDCA-TV Washington, WUAB-TV ciao (187 hours). Also, Coral recently Cleveland, KHTV(TV) Houston, concluded 111 sales in Latin America LBS Communications will distribute WGNX-TV Atlanta, KTZZ-TV Seat- on 10 novelas, including 47 deals in the one-hour HBO Sports production tle, KPLR-TV St. Louis, WVTV(TV) South America, 47 in Central America of Countdown to Tyson-Spinks, to air Milwaukee and WZTV(TV) Nashville. and nine in the Dominican Republic, between June 13 and June 26. The one- Titles include A Prayer for the Dying, four in Mexico and four in Puerto Rico. hour show is being offered via barter, Hello Mary Lou, Prom Night II and All told, Coral is now distributing 5,176 with stations getting eight minutes, April Morning. hours of Spanish-language program- and national five. Stations have option ming.
    [Show full text]
  • Film Printing
    1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record
    [Show full text]
  • |FREE| Film Genre for the Screenwriter
    FILM GENRE FOR THE SCREENWRITER EBOOK Author: Jule Selbo Number of Pages: 339 pages Published Date: 07 Aug 2014 Publisher: Taylor & Francis Ltd Publication Country: London, United Kingdom Language: English ISBN: 9781138020832 Download Link: CLICK HERE Film Genre For The Screenwriter Online Read Please Film Genre for the Screenwriter it by verifying the claims made and adding inline citations. Writers Store. Film genres may appear to be readily categorizable from the setting of the film. A screenwriter becomes credible by having work that is recognized, which gives the writer the opportunity to earn a higher income. Should they be prepared to be scared? Are genres culture-bound or trans-cultural? An example would be writing a horror film where a young woman is getting chased by a stranger down a dark alley and finally gets cornered by him. Wikimedia Commons. Subscription or UK public library membership required. New York: Focal Press. Be amazed? When word is put out about a project a film studioproduction companyor producer wants done, they are Film Genre for the Screenwriter to as "open" assignments. So when watching and analyzing film genres we must remember to remember its true intentions aside from its entertainment value. Lists of films by genre and themes. Reviews Film Genre For The Screenwriter Central apparatus room Changing room Master control room Network operations center Production control room Stage theatre Transmission control room. Maybe Stage 32 just kept you in the game?! Format refers to the way the film was shot e. For example, while both The Battle of Midway and All Film Genre for the Screenwriter on the Film Genre for the Screenwriter Front are set in a wartime context and might be classified as belonging to the war film genre, the first examines the themes of honor, sacrifice, and valour, and the second is an anti-war film which emphasizes the pain and horror of war.
    [Show full text]
  • Television Programming for Children: a Report of 'The Children's Televisiontask'fbrce
    A ED 183 133 IR* 0Q8 034 AUTHOR GreenWle Susan And Others .TITLE TelevAsion Programming for Children: A Report:of the ChilOenfs Tc4evision Task'FOrce. .'eINSTITUTION. ,PeOral Communications CoMmissicn, 4tsh1ngton, PU 8 DAT h Ot79 NOTE 194p. .4 EDRS PRICE ! ME01/PCOB Plus Póstage. DESCRIPTOR& ^*Broadcast \Industry; nhildens Television; *Compliance (legal): *Educational Policy; Educational Television: *FefUral Regulation: Marketing; Rrograming (BroAdcast); Television Commercials: - Televislon Pel,earch IDENTrFIgRS *Federal Commun,ications,Comm ssion ABSTRACT These two volumes cf a 5-volume.repert cm commerAal* broadcaster complance with thy Federal COmmunications Commission (FCC) 1974 policies on programminil and advertising' to,chilffren provide an overall analysis of ctildrenos television, as well as a detailed analysis of'broadcas, industry compliance. The first volume reviews the social, cognItive, and.economic factors 'that affect t,he, amount, types, and scheduling of childrer0-s programs, and drscuses policy optionz open to 'the FCC with staff recommendationsl The ana14sis of broadcaster compliance dn the second volume il based on a A, series of studies examining the.policy impact on the overalla ount , ofProgramming designed for children 12 years_and under, the afnount sof educatIlertal programming, program SCheduling, and olbvercommerci&lizatibn on children's televisi6nind related advertising issues. The effectiveness of the preent license renewal form as a method of assessing crpliance is also examined. (CMV) 13 , f a. .. , *********************************************1*********************4*** * Repfilductio4S supplied-by EDPS Rre the best that can be made '* . 41% from the original documqnt. , 1 v 0. 1 U.S 'IMPARTMENT OF hEALTH. EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION e THIS. DOCUMENT HAS 'BEENRePRO. 04 DUCED EXACTIO, AA RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN.
    [Show full text]
  • Federal Register/Vol. 86, No. 91/Thursday, May 13, 2021/Proposed Rules
    26262 Federal Register / Vol. 86, No. 91 / Thursday, May 13, 2021 / Proposed Rules FEDERAL COMMUNICATIONS BCPI, Inc., 45 L Street NE, Washington, shown or given to Commission staff COMMISSION DC 20554. Customers may contact BCPI, during ex parte meetings are deemed to Inc. via their website, http:// be written ex parte presentations and 47 CFR Part 1 www.bcpi.com, or call 1–800–378–3160. must be filed consistent with section [MD Docket Nos. 20–105; MD Docket Nos. This document is available in 1.1206(b) of the Commission’s rules. In 21–190; FCC 21–49; FRS 26021] alternative formats (computer diskette, proceedings governed by section 1.49(f) large print, audio record, and braille). of the Commission’s rules or for which Assessment and Collection of Persons with disabilities who need the Commission has made available a Regulatory Fees for Fiscal Year 2021 documents in these formats may contact method of electronic filing, written ex the FCC by email: [email protected] or parte presentations and memoranda AGENCY: Federal Communications phone: 202–418–0530 or TTY: 202–418– summarizing oral ex parte Commission. 0432. Effective March 19, 2020, and presentations, and all attachments ACTION: Notice of proposed rulemaking. until further notice, the Commission no thereto, must be filed through the longer accepts any hand or messenger electronic comment filing system SUMMARY: In this document, the Federal delivered filings. This is a temporary available for that proceeding, and must Communications Commission measure taken to help protect the health be filed in their native format (e.g., .doc, (Commission) seeks comment on and safety of individuals, and to .xml, .ppt, searchable .pdf).
    [Show full text]
  • Simulation of Film Media in Motion Picture Production
    Simulation of film media in motion picture production using a digital still camera Arne M. Bakke, Jon Y. Hardeberg and Steffen Paul Gjøvik University College, P.O. Box 191, N-2802 Gjøvik, Norway ABSTRACT The introduction of digital intermediate workflow in movie production has made visualization of the final image on the film set increasingly important. Images that have been color corrected on the set can also serve as a basis for color grading in the laboratory. In this paper we suggest and evaluate an approach that has been used to simulate the appearance of different film stocks. The GretagMacbeth Digital ColorChecker was captured using both a Canon EOS 20D camera as well as an analog film camera. The film was scanned using an Arri film scanner. The images of the color chart were then used to perform a colorimetric characterization of these devices using models based on polynomial regression. By using the reverse model of the digital camera and the forward model of the analog film chain, the output of the film scanner was simulated. We also constructed a direct transformation using regression on the RGB values of the two devices. A different color chart was then used as a test set to evaluate the accuracy of the transformations, where the indirect model was found to provide the required performance for our purpose without compromising the flexibility of having an independent profile for each device. 1. INTRODUCTION AND BACKGROUND The post-production work on a movie is typically carried out on digital representations of the movie frames. The use of digital technology has brought unique possibilities in all aspects of the post-production of a movie (editing, color grading, visual effects) to the creative community of filmmakers.
    [Show full text]