Volume 17, No 1, 2016
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Understanding Color and Gamut Poster
Understanding Colors and Gamut www.tektronix.com/video Contact Tektronix: ASEAN / Australasia (65) 6356 3900 Austria* 00800 2255 4835 Understanding High Balkans, Israel, South Africa and other ISE Countries +41 52 675 3777 Definition Video Poster Belgium* 00800 2255 4835 Brazil +55 (11) 3759 7627 This poster provides graphical Canada 1 (800) 833-9200 reference to understanding Central East Europe and the Baltics +41 52 675 3777 high definition video. Central Europe & Greece +41 52 675 3777 Denmark +45 80 88 1401 Finland +41 52 675 3777 France* 00800 2255 4835 To order your free copy of this poster, please visit: Germany* 00800 2255 4835 www.tek.com/poster/understanding-hd-and-3g-sdi-video-poster Hong Kong 400-820-5835 India 000-800-650-1835 Italy* 00800 2255 4835 Japan 81 (3) 6714-3010 Luxembourg +41 52 675 3777 MPEG-2 Transport Stream Advanced Television Systems Committee (ATSC) Mexico, Central/South America & Caribbean 52 (55) 56 04 50 90 ISO/IEC 13818-1 International Standard Program and System Information Protocol (PSIP) for Terrestrial Broadcast and cable (Doc. A//65B and A/69) System Time Table (STT) Rating Region Table (RRT) Direct Channel Change Table (DCCT) ISO/IEC 13818-2 Video Levels and Profiles MPEG Poster ISO/IEC 13818-1 Transport Packet PES PACKET SYNTAX DIAGRAM 24 bits 8 bits 16 bits Syntax Bits Format Syntax Bits Format Syntax Bits Format 4:2:0 4:2:2 4:2:0, 4:2:2 1920x1152 1920x1088 1920x1152 Packet PES Optional system_time_table_section(){ rating_region_table_section(){ directed_channel_change_table_section(){ High Syntax -
Analysys Mason Document
Presentation for Circom’s 31st Annual conference Scenarios for a convergent world: Non-linear TV and the online challenge – Where is the European TV industry heading? 10 May 2013 • Lluís Borrell 2 Confidentiality notice . Copyright © 2013. The information contained herein is the property of Analysys Mason Limited and is provided on condition that it will not be reproduced, copied, lent or disclosed, directly or indirectly, nor used for any purpose other than that for which it was specifically furnished 3 Agenda . Setting the scene Context on linear and non-linear TV The European broadcasting model A structured perspective . The evolution so far Linear TV and audience fragmentation The ‘explosion’ of non-linear TV Putting things in perspective . The policy and regulatory debate moving forward Key issues and leading perspectives in EU Contents 4 Setting the scene The evolution so far The policy and regulatory debate moving forward Setting the scene 5 Linear TV and non-linear TV – do we understand the difference? How is this evolving? (1/2) Element Traditional or linear TV New TV or non-linear TV (in this presentation) Scheduling ▪ Broadcast or scheduled ▪ Non-linear TV or non-scheduled TV or on-demand TV Device ▪ TV set ▪ Time-shifting and PVRs ▪ STB ▪ Multiple devices (primarily TV sets ▪ EPGs increasingly PC, smartphones, tablets) that are connected with sufficiently fast broadband connections ▪ Search engines, apps Consumption ▪ Primarily laid-back ▪ Primarily laid-back consumption (TV) and consumption (TV) long-format viewing, -
Openimageio 1.7 Programmer Documentation (In Progress)
OpenImageIO 1.7 Programmer Documentation (in progress) Editor: Larry Gritz [email protected] Date: 31 Mar 2016 ii The OpenImageIO source code and documentation are: Copyright (c) 2008-2016 Larry Gritz, et al. All Rights Reserved. The code that implements OpenImageIO is licensed under the BSD 3-clause (also some- times known as “new BSD” or “modified BSD”) license: Redistribution and use in source and binary forms, with or without modification, are per- mitted provided that the following conditions are met: • Redistributions of source code must retain the above copyright notice, this list of condi- tions and the following disclaimer. • Redistributions in binary form must reproduce the above copyright notice, this list of con- ditions and the following disclaimer in the documentation and/or other materials provided with the distribution. • Neither the name of the software’s owners nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIB- UTORS ”AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FIT- NESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUD- ING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABIL- ITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. -
Tektronix 1740A/1750A/1760 Series Manual
Full-service, independent repair center -~ ARTISAN® with experienced engineers and technicians on staff. TECHNOLOGY GROUP ~I We buy your excess, underutilized, and idle equipment along with credit for buybacks and trade-ins. Custom engineering Your definitive source so your equipment works exactly as you specify. for quality pre-owned • Critical and expedited services • Leasing / Rentals/ Demos equipment. • In stock/ Ready-to-ship • !TAR-certified secure asset solutions Expert team I Trust guarantee I 100% satisfaction Artisan Technology Group (217) 352-9330 | [email protected] | artisantg.com All trademarks, brand names, and brands appearing herein are the property o f their respective owners. Find the Tektronix 1760 at our website: Click HERE Service Manual 1740A/1750A/1760–Series Waveform/Vector Monitor 070-8469-00 Warning The servicing instructions are for use by qualified personnel only. To avoid personal injury, do not perform any servicing unless you are qualified to do so. Refer to the Safety Summary prior to performing service. Please check for change information at the rear of this manual. First Printing January 1994 Revised October 1994 Artisan Technology Group - Quality Instrumentation ... Guaranteed | (888) 88-SOURCE | www.artisantg.com Copyright E Tektronix, Inc., 1993. All rights reserved. Printed in U.S.A. Tektronix products are covered by U.S. and foreign patents, issued and pending. Information in this publication supersedes that in all previously published material. Specifications and price change privileges reserved. The following are registered trademarks: TEKTRONIX and TEK. For product related information, phone: 800-TEKWIDE (800-835-9433), ext. TV. For further information, contact: Tektronix, Inc., Corporate Offices, P.O. -
PRIX EUROPA Best Television Programme of the Year 2011 THE
PRIX EUROPA TV FICTION PRIX EUROPA Best Television Programme of the Year 2011 THE STRONGEST MAN IN HOLLAND / DE STERKSTE MAN VAN NEDERLAND Nederlandse Publieke Omroep – NPO, !e Netherlands Pieter Bart Korthuis, Maarten Lebens (Authors), Mark de Cloe (Director), Bert Pot (Camera), Brigitte Baake (Commissioning Editor), Alain de Levita (Producer), NL Film (Production Company), KRO Television (Co-Producer) PRIX EUROPA Best Episode of a Television Fiction Series or Serial of the Year 2011 SHERLOCK - A STUDY IN PINK British Broadcasting Corporation – BBC, United Kingdom Steven Mo"at, Mark Gatiss (Authors), Paul McGuigan, Toly Haynes, Euros Lyn (Directors), Steve Lawes (Camera), Beryl Vertue (Ex. Producer), Ben Stephenson (Commissioning Editor), Sue Vertue (Producer), Hartswood Films for BBC, Masterpiece, WGBH (Co-Producers) SPECIAL COMMENDATION NEW VAHR SOUTH / NEUE VAHR SÜD Westdeutscher Rundfunk – WDR / ARD, Germany Christian Zübert (Author) adapted from the book ‘Neue Vahr Süd’ by Sven Regener, Hermine Huntgeburth (Director), Sebstian Edschmid (Camera), Wolfgang Wirtz (Sound), Eva Schnare (Editing), Michael André, Annette Strelow (RB) (Commissioning editors), Lisa Blumenberg, Annett Neukirchen (Producer), Radio Bremen (Co-producer) THE RED BAND SOCIETY / POLSERES VERMELLES Filmax International, Spain Albert Espinosa (Author), Pau Freixas (Director), Julián Elizalde (Camera), Liana Artigal, Regino Hernández (Commissioning Editors), Oriol Maymó, Xavi Resina (Producers), FILMAX (Production Company), Televisió de Catalunya (Co-Producer) PRIX -
Manual Version 2.12
The SG-3 Color Bar & Black Burst Generator and SG-7 (SMPTE Bars & Black Burst) With ID Option Manual Version 2.12 BURST ELECTRONICS INC ALBUQUERQUE, NM 87109 USA (505) 898-1455 VOICE Made in USA (505) 890-8926 Tech Support (505) 898-0159 FAX www.burstelectronics.com Hardware, software and manual copyright by Burst Electronics. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means without the written permission of Burst Electronics. Color Bar & Black Burst Generator (SMPTE Bars & Black Burst) Introduction Congratulations on your purchase of the Burst Electronics Model SG-3 or SG-7 Color Bar/Black Burst Generator. The SG-3 is a low cost Color Bar/ Black Burst Generator that produces the SMPTE Color Bar pattern or Black Burst signal. A front panel switch is installed to allow you to select either pattern. The SG-7 is a low cost Color Bar/Black Burst Generator that produces the SMPTE Color Bar pattern and six (6) outputs of Black Burst. These units may be used as a genlock reference, to “lay down” bars on tape, or to correctly set the color and brightness of video monitors. They may also be used as a video source for testing cables and equipment. The rear panel of the SG-3 has a single BNC connector that is selectable between SMPTE Color Bars and Black Burst. The rear panel of the SG-7 has seven (7) BNC connectors, 1 SMPTE Color Bars, and six (6) Composite Black Bursts. Both units operate on 12 volts DC from an AC adapter (included). -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
View the Awards Programme
#wggbawards THE WRITERS’ GUILD AWARDS PROGRAMME THE ROYAL COLLEGE OF PHYSICIANS 11 St Andrews Place, Regent’s Park, London NW1 4LE MONDAY 15 JANUARY 2018 The Writers’ Guild of Great Britain is a trade union registered at 134 Tooley Street, London SE1 2TU @TheWritersGuild www.writersguild.org.uk PRESIDENT’S WELCOME THE WRITERS’ GUILD AWARDS Welcome to the Writers’ Guild Awards 2018. Photo: Robert Taylor Photography Isn’t it great to be in a roomful of achievement to be on the shortlist, let alone your peers? To a man and woman, to win. Congratulations to you and thanks to professional liars. And in a post-truth all our juries who have laboured mightily to world, is it any surprise that we are pick the best of the best. in a golden age of writing? The more Making this evening possible is a group of life outside is disappointing, the more spectacular organisations and companies who beautiful and necessary the cabaret work with writers year round but have given becomes. This year we have games that us their support tonight to honour you, the model mental illness, radio plays that give writers. Huge thanks to our lead sponsor LEAD SPONSOR voice to the voiceless, television shows ALCS, to major sponsors ITV, BBC Drama and that examine painfully buried secrets BBC Worldwide, to Company Pictures, Silver and offer surprising new visions of the Reel, Nick Hern Books and Lionsgate. If you past. We have a revived Best First Novel meet a sponsor tonight please praise them, Award and an entirely new category, Best love them – in a non-threatening, appropriate Online Comedy, a welcome recognition manner – appreciate them as best you can. -
031207 Tv Land Celebrates 30Th Anniversary of Three's
Contacts: Elaine Wilcox Vanessa Reyes-Smith TV Land TV Land 212-846-5502 310-752-8081 [email protected] [email protected] “COME AND KNOCK ON OUR DOOR…” TV Land Celebrates 30 th Anniversary of Three’s Company with a 24-Hour Marathon Beginning Saturday, March 17 New York, NY, March 12, 2007 - TV Land celebrates the comedic misadventures of the zaniest roommates on television - - Jack, Janet and Chrissy - - with a 24-hour marathon saluting the 30 th Anniversary of the Emmy-Award winning series Three’s Company beginning Saturday, March 17, at 8:00pm (all times ET/PT) . Tune in to relive some of television’s most hilarious and madcap episodes including a retrospective show hosted by Lucille Ball, the pilot episode recounting how it all started and the series finale. TV Land will also showcase episodes from the hit series’ spin-off, The Ropers and Three’s a Crowd . Fans can log on to tvland.com beginning Friday, March 9 through Friday, March 30 to register to win a Three’s Company DVD box set containing all the episodes from season eight, as well as “bloopers” and “featurettes:” “The Best of Jack, Janet, Terri, Larry and Furley”, “John Ritter: Working with the Master” and “Usted Habla Three's Company?” Three’s Company aired on ABC and remained a top-ten show through its seven-year run from 1977-1984. It follows the lives of three roommates: Janet Wood (Joyce DeWitt), a young, single woman who works as a florist; Chrissy Snow (Suzanne Somers), a bubbly, blonde typist; and Jack Tripper (John Ritter), a student studying to be a chef. -
Threes a Crowd! Pdf, Epub, Ebook
THREES A CROWD! PDF, EPUB, EBOOK Ray O'Ryan,Colin Jack | 120 pages | 01 Nov 2013 | SIMON & SCHUSTER | 9781442482210 | English | New York, United States Threes a Crowd! PDF Book Other characters included E. Mike 1 episode, Edit Did You Know? The Best Horror Movies on Netflix. In the finale, Janet marries Phillip, Terri moves to Hawaii. Masanori 1 episode, Jack and Vicky profess their love for one another, but Vicky turns down Jack's proposal of marriage, citing her fear of the institution after seeing her parents feud her whole life. Doctor Billy Morris 1 episode, Air Marshal 1 episode, Sharon Wyatt Edit Cast Complete series cast summary: John Ritter When the series concluded, producers Brian Cooke and Johnnie Mortimer devised two spin- offs. With his restaurant suddenly popular after a glowing review, Jack forgets about his and Vicky's first anniversary. Bradford appears in the police lineup. Jack's Aunt Mae 1 episode, Jack and Vicky argue over money. Jonathan 1 episode, Connections Referenced in Jeopardy! Contributors Become a contributor. Bazur 1 episode, During a Christmas hiatus in late producers auditioned several female leads to play Jack's new love interest Vicky Bradford, and eventually decided upon Broadway actress Mary Cadorette. Threes a Crowd! Writer Greedy Gretchen 1 episode, Mary Ann Gibson She and fellow cast member Priscilla Barnes would find it very hard to tape the rest of the season. Vicky Bradford 22 episodes, Air Marshal 1 episode, Sharon Wyatt Larry Dallas 1 episode, Clyde Kusatsu A Star is Born. Delivery Man 1 episode, Liz Sheridan Clear your history. -
Export Earners
SCREENING NOW: Beat the Box Inquiry leads to storytelling, and things get up close and personal Export earners The TV arm of the governmentbacked Israel Export and International Cooperation Institute is helping producers to make the most of global opportunities and expand their horizons, writes Richard Middleton. Hatufim (Prisoners of War), a ‘brilliant example of an Israeli show travelling’ Backed by both the government and the country’s local industry, the Israel Export and International Cooperation Institute (IEICI) has played a key role in helping its TV exports travel further over the years. The wider organisation has been operating for more than 50 years and is designed to facilitate trade for countries looking to work with Israeli firms, while ensuring domestic companies are well placed to exploit markets abroad. A key aspect of its role is assisting Israeli firms’ attendance at the numerous trade events each year, overseeing pavilions abroad but also organising events to attract potential partners to Israel itself. “We are governmentfunded but operate autonomously and are focused on developing Israeli businesses across all sectors, including film and TV,” explains Mira Geshel, film and TV manager for the IEICI. “So we oversee pavilions at events such as MipTV and Mipcom but also Natpe markets and others to enable Israeli production companies to meet partners and develop contacts and business.” The proliferation of Israeli content around the world has been well documented but Geshel and the IEICI’s wider ambition for further growth is clear. “Our TV/film exports totalled US$268m last year, so it really is a considerable business for our country, and it’s increased a lot over recent years – a decade ago it was only about US$65m,” Geshel says. -
George A. Sunga Television Collection
http://oac.cdlib.org/findaid/ark:/13030/c8st7r7t No online items Guide to the George A. Sunga Television Collection Finding Aid Authors: Conor Foley. © Copyright 2013 Special Collections & University Archives. All rights reserved. 2013-08-05 5500 Campanile Dr. MC 8050 San Diego, CA, 92182-8050 URL: http://library.sdsu.edu/scua Email: [email protected] Phone: 619-594-6791 Guide to the George A. Sunga MS-0493 1 Television Collection Guide to the George A. Sunga Television Collection 1964/1996 Special Collections & University Archives Overview of the Collection Collection Title: George A. Sunga Television Collection Dates: 1964-1996 Identification: MS-0493 Creator: Sunga, George, c. 1932- Physical Description: 14.42 linear ft Language of Materials: English Repository: Special Collections & University Archives 5500 Campanile Dr. MC 8050 San Diego, CA, 92182-8050 URL: http://library.sdsu.edu/scua Email: [email protected] Phone: 619-594-6791 Biographical Information: George Sunga is a successful Filipino-American television producer known for his work on successful shows like Three's Company, Good Times, The Jeffersons, and All in the Family. His work received numerous accolades, including several People’s Choice Awards, an Emmy nomination, and honors from the Academy for Television Arts and Sciences. Sunga grew up in San Diego and attended San Diego State College in the early 1950s. He was a member of the Tau Kappa Epsilon fraternity's Gamma-Lambda chapter, and in 1954-1955 he served as president of the Associated Students. As part of his studies in television production at San Diego State, Sunga helped to compile the anthology series, Climax, which exposed him to the directing techniques of John Frankenheimer.