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For Passive Devices, LLC, and the Father of the Individual Named Herein As Kristyn Kelly Allen, the Applicant (“Applicant”) in Theherein Opposition
IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD In the matter ofApplication Serial No. 78-803,956; International Class: 009 Mark: SNOOPTUNES—Published in the Official Gazette on December 19, 2006 CALVIN BROADUS Opposer vs. Re: Opposition No. 91176834 KRISTYN KELLY ALLEN, dba PASSIVE DEVICES LLC Applicant _j.j____ DECLARATION§S[ IN SUPPORT OF INTERNET EVIDENCE DECLARATION OF ALLEN HEATH I, Allen Heath, declare as follows: 1. I am VP ofBusiness Development and acting chiefoperations of1’icer(“COO”) for Passive Devices, LLC, and the father of the individual named herein as Kristyn Kelly Allen, the applicant (“Applicant”) in theherein Opposition.. I have acted in the capacities of VP of Business Development and acting CO0 for Passive Devices, LLC since the company’s inception in or about 2004. Unless otherwise stated, this declaration is based on my personal knowledge, and if called as a witness could testify competently thereto. 2. Between September 9, 2008 and September 21, 2008, I performed certain searches on the Internet in order to locate and collect evidence relevant to this proceeding. The results of those searches are set forth below. DECLARATION(S) IN SUPPORT OF EVIDENCE 3. On September 17, 2008, I performed intemet searches on the search engine website Google.com, for each of the search queries set forth below. The number of search results for each such internet search is also set out below. Attached hereto as Exhibit “A”, and hereby incorporated herein by this reference, are true and correct printouts of the first page of search results for each said internet search: Search Quegg No. -
The Mobile Revolution : the Making of Mobile Services Worldwide / Dan Steinbock
❙ i London and Sterling, VA ii ❙ Publisher’s note Every possible effort has been made to ensure that the information contained in this book is accurate at the time of going to press, and the publishers and authors cannot accept responsibility for any errors or omissions, however caused. No responsibility for loss or damage occasioned to any person acting, or refraining from action, as a result of the material in this publication can be accepted by the editor, the publisher or any of the authors. First published in Great Britain and the United States in 2005 by Kogan Page Limited. Reprinted 2005 Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publi- cation may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms and licences issued by the CLA. Enquiries concerning reproduction outside these terms should be sent to the publishers at the undermentioned addresses: 120 Pentonville Road 22883 Quicksilver Drive London N1 9JN Sterling VA20166–2012 United Kingdom USA www.kogan-page.co.uk © Dan Steinbock, 2005 ISBN 0 7494 4296 4 British Library Cataloguing-in-Publication Data A CIP record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Steinbock, Dan. The mobile revolution : the making of mobile services worldwide / Dan Steinbock. p. cm. Includes bibliographical references and index. -
Mobile Internet for Dummies. We Have a Completely Wnew World for You to Explore and Discover, All Available from the Palm of Your Hand
01_239537-ffirs.qxp 6/3/08 6:56 PM Page i Mobile Internet FOR DUMmIES‰ Michael J. O’Farrell John R. Levine Jostein Algroy James Pearce Daniel Appelquist 02_239537-ftoc.qxp 6/3/08 6:57 PM Page viii 01_239537-ffirs.qxp 6/3/08 6:56 PM Page i Mobile Internet FOR DUMmIES‰ Michael J. O’Farrell John R. Levine Jostein Algroy James Pearce Daniel Appelquist 01_239537-ffirs.qxp 6/3/08 6:56 PM Page ii Mobile Internet For Dummies® Published by Wiley Publishing, Inc. 111 River Street Hoboken, NJ 07030-5774 www.wiley.com Copyright © 2008 by Wiley Publishing, Inc., Indianapolis, Indiana Published by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permit- ted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. -
A Conceptual Model of Mobile Marketing for a Multinational Consumer Goods Company
A Conceptual Model of Mobile Marketing for a Multinational Consumer Goods Company MARTIN GÅRDLUND KTH Information and Communication Technology Master of Science Thesis Stockholm, Sweden 2005 IMIT/LCN 2005-16 A Conceptual Model of Mobile Marketing for a Multinational Consumer Goods Company Martin Gårdlund 2005-06-23 Stockholm, Sweden Abstract In the last 10 years, mobile phones have gone from being an exclusive almost unnecessary high-tech device to being an everyday item, used by billions of people around the world. The technology evolution has changed phones from a suitcase sized mobile phone imitating its stationary counterpart, to a small communication device that can perform more than twenty different tasks and is usually less than half the size of the a traditional fixed phone. With this massive adoption of mobile phones come business opportunities. One of these opportunities is to make use of its potential as a large scale marketing communication channel. Marketing via the mobile networks, presents a large target audience that can be compared to broadcast media such as television and radio, but despite this can still be a personal channel and hence compared to direct mail or one-to-one marketing. Many, both successful and failed, mobile marketing schemes have been tried, but without any definite answers and no clear action plan. Considering that much of the success of Procter & Gamble can be attributed to the company’s skill in mass marketing, there is a need within the company to research the potential advantages and disadvantages of mobile marketing. This thesis explores whether or not mobile marketing is mature enough to permanently introduce it to the marketing mix of the company. -
Sony Digital Camcorder HDW-F900 2 3 Exploring New Horizons in Movie Making
TM TM Sony Digital Camcorder HDW-F900 2 3 Exploring New Horizons in Movie Making The Sony HDW-F900 is a ground-breaking digital and record digital high definition pictures – at 24 HDCAM™ camcorder that extends both the progressive frames per second – just like a company’s unique digital heritage and its conventional film camera. Moving pictures are unrivalled experience in the art of imaging. The digitally imaged in accordance with the CIF physical resemblance of the HDW-F900 to the (Common Image Format) standard, which highly successful Digital Betacam™ camcorders is specifies a sampling structure of 1920 active intentional, although there are some subtle but pixels horizontally by 1080 active pixels very relevant changes that further enhance vertically. What makes the HDW-F900 so operational familiarity and ease of use. Because universally exciting is that, as well as recording of its outstanding picture quality and operational at 24P, it is switchable to record at 25P, 30P flexibility, this camera offers an important new progressive scan, and also at either 50 or alternative to 24-frame film origination for major 60 Hz interlaced. television productions and commercials. The HDW-F900 is already accepted as the Digital Movie Camera, ideal for exploring new horizons in digital movie-making. What distinguishes the HDW-F900 from any contemporary camcorder is its ability to capture 4 4 CineAlta™ — Liberating Movie Makers CineAlta – a name we proudly introduce to symbolize the bond between cinematography and Digital High Definition imaging. It distinguishes a Sony family of products and systems that offer new creativity in the production, post production and exchange of motion pictures. -
Action Film Historian
“KRENG KNOWS WHAT HE IS TALKING ABOUT!” BLACK BELT MAGAZINE JOHN KRENG THE “REEL FIGHT GUY” FILM CRITIC- ACTION FILM HISTORIAN AUTHOR OF THE TEXTBOOKS FIGHT CHOREOGRAPHY: THE ART OF NON-VERBAL DIALOGUE & THE FIGHT CHOREOGRAPHER’S HANDBOOK: A GUIDE FOR FILMMAKERS John Kreng is available for film reviews, articles, interviews, commentaries, and essays. His unique and unparalleled knowledge of action and martial arts cinema along with his practical film production experience can certainly add a lot of prestige your project HERE ARE SOME OF THE COMPANIES JOHN KRENG HAS WORKED WITH E-mail: [email protected] Action Film Historian Showreel:http://youtu.be/zxCEqbk_x4I John Kreng is a stunt coordinator and fight choreographer who wrote the textbook FIGHT CHOREOGRAPHY: THE ART OF NON-VERBAL DIALOGUE and is currently writing his follow up titled, THE FIGHT CHOREOGRAPHER’S HANDBOOK: A GUIDE FOR FILMMAKERS (tentatively set for a Spring 2013 release date by Cengage Publishing, Boston, MA). As a Stunt Professional, John has worked Western and Asian filmmaking luminaries like Steven Spielberg, Roger Corman, David Carradine, Jet Li, Tsui Hark, and Yuen Cheung Yen to name a few. John is also a film historian with a deep knowledge and passion for the action film genre, having spent majority of his adolescence and college years in movie theaters, watching countless martial arts and action films that led to him becoming a martial artist, stunt coordinator, fight choreographer, author, entertainment journalist, and film critic. Having grown up in a dual culture (raised in a traditional Chinese home while living in the US), John is able to give audiences a unique perspective into understanding and appreciating the Asian culture and martial arts films on a more deeper level. -
LA FICCIÓN INTERACTIVA: TELEVISIÓN Y WEB 2.0 Ámbitos, Núm
Ámbitos ISSN: 1139-1979 [email protected] Universidad de Sevilla España Lacalle, Charo LA FICCIÓN INTERACTIVA: TELEVISIÓN Y WEB 2.0 Ámbitos, núm. 20, 2011, pp. 87-107 Universidad de Sevilla Sevilla, España Disponible en: http://www.redalyc.org/articulo.oa?id=16821321005 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto 87 LA FICCIÓN INTERACTIVA: TELEVISIÓN Y WEB 2.0 1 Charo Lacalle [email protected] (Universidad Autónoma de Barcelona) Resumen: La asociación entre televisión y web 2.0 inaugura nuevas modalidades de relación con el espectador definidas por la retroalimentación entre producción y recepción, que están modificando radicalmente los paradigmas de la textualidad y la interpretación. La falta de especificidad de los nuevos medios y la vocación social de Internet convierten las redes sociales en una caja de resonancia de la televisión. Sin embargo, el impacto de las nuevas alianzas intermediáticas contrasta con su escasa rentabilidad, lo que impulsa a los actores económicos a buscar nuevas formas de negocio abocadas a difuminar los confines entre lo público y lo privado. Palabas-clave: Ficción, televisión, web 2.0, redes sociales, jóvenes. Abstract: Association between television and Web 2.0 inaugurates new modalities of relation with the viewer, defined by the increasing feedback between production and reception. Consequently, Textual and Interpretative paradigms are being modified. The lack of specificity of new media and the strong social vocation of Internet are turning social networks into television’s sounding board. -
Estta1115242 02/18/2021 in the United States Patent And
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA1115242 Filing date: 02/18/2021 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91245851 Party Plaintiff Sony Corporation Correspondence MARK SOMMERS Address FINNEGAN HENDERSON FARABOW GARRETT & DUNNER LLP 901 NEW YORK AVENUE NW WASHINGTON, DC 20001 UNITED STATES Primary Email: [email protected] Secondary Email(s): [email protected], [email protected], [email protected] 202-408-4000 Submission Plaintiff's Notice of Reliance Filer's Name Mark Sommers Filer's email [email protected], [email protected], [email protected], [email protected], TTAB-Leg- [email protected] Signature /Mark Sommers/ Date 02/18/2021 Attachments 2021-02-18 Notice of Reliance No. 6 - Licensing- with exhibits.pdf(567138 bytes ) IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Opposition No. 91245851 SONY CORPORATION, Opposer Application Serial No. 87882260 Mark: SoniStream v. Filed: April 18, 2018 NEIL CAMPBELL, Applicant OPPOSER’S NOTICE OF RELIANCE NO. 6 UNDER 37 CFR § 2.122(e) Pursuant to Trademark Rule 2.122(e) and TBMP § 704.08, Opposer Sony Corporation submits of record in connection with this opposition proceeding a representative sample of articles from printed publications available to the general public in libraries, on the LEXIS NEXIS database, and in publications of general circulation (see In re Cell Therapeutics, Inc., 67 USPQ2d 1795, 1798 (TTAB 2003)), along with documents constituting “Internet Materials” under Trademark Rule 2.122(e), relating to Opposer licensing its music and other content in connection with its SONY brand for professional and consumer broadcasts. -
Sony Digital Camcorder HDW-F900R Exploring
TM TM Sony Digital Camcorder HDW-F900R Exploring CineAltaTM – Liberating Movie Producers CineAlta – a name that proudly symbolizes the bond between cinematography and Digital high-definition imaging. It distinguishes a Sony family of products and systems that offer new levels of creativity in the production, postproduction, and exchange of motion pictures. It also brings together the quality and universality of 24-frame cinematography with the real-time capabilities, efficiency, and flexibility of Digital high-definition technology. And it stimulates the convergence of Motion Picture Film and Digital high-definition production on a global basis. CineAlta products, delivering cinema-quality pictures at selectable frame rates, are simplifying International Program Exchange by minimizing the need for standards conversion. They are also opening up entirely new possibilities for international co-production. Movie making has been liberated by the creative empowerment of the cinematographer. It is facilitated by real-time HD image evaluation on-set, instant replay of full-color high-resolution digital “takes,” real-time image optimization while shooting, a 50-minute shooting load, and most importantly, by the significant cost-benefits associated with this digital medium. CineAlta products provide a seamless bridge between 24-frame film originals and a final 24P digital master, giving each frame of film a one-to-one correspondence with progressive HD frames. The CineAlta environment readily interfaces with the computer graphics world, liberating postproduction. And the final liberation is achieved through the direct color conversion of progressive 24P masters to film, and to a host of other international digital HDTV and SDTV distribution formats. 2 New Creative Ways of Movie and TV Program Production In 2000, Sony set a groundbreaking milestone in the motion cinema and television presentation.