“Ultraman” Rights of the Consolidated Subsidiary Tsuburaya Productions Co., Ltd
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A Unified Platform for Big Trajectory Data Management and Analytics
UlTraMan: A Unified Platform for Big Trajectory Data Management and Analytics Xin Ding∗;y Lu Chenz Yunjun Gao∗;y Christian S. Jensenz Hujun Bao∗;y ∗State Key Laboratory of CAD&CG, Zhejiang University, Hangzhou, China yCollege of Computer Science, Zhejiang University, Hangzhou, China zDepartment of Computer Science, Aalborg University, Aalborg, Denmark fdingxin@, gaoyj@, [email protected] fluchen, [email protected] ABSTRACT also in real-world applications. As an example, DiDi, the Massive trajectory data is being generated by GPS-equipped largest ride-sharing company in China, utilizes trajectory devices, such as cars and mobile phones, which is used in- data to provide services such as travel time prediction, de- creasingly in transportation, location-based services, and mand forecasting, and carpool scheduling [6]. The explosive urban computing. As a result, a variety of methods have increase in data volumes and the rapid proliferation of new been proposed for trajectory data management and ana- data analysis methods expose three shortcomings of tradi- lytics. However, traditional systems and methods are usu- tional trajectory data management platforms. ally designed for very specific data management or analyt- First, in real-life applications, trajectory data is collected ics needs, which forces users to stitch together heteroge- at a rapid pace. For instance, the Daisy Lab at Aalborg neous systems to analyze trajectory data in an inefficient University currently receives some 100 million points per manner. Targeting the overall data pipeline of big trajec- day from about 40,000 vehicles in Denmark. Consequently, tory data management and analytics, we present a unified traditional centralized systems [13, 23, 35] are or will be platform, termed as UlTraMan. -
Ray X X-Rayer #131 January 30, 2017
Ray X X-Rayer #131 January 30, 2017 [email protected] http://x-rayer.com Ultra Q – Episode 27: The Disappearance of Flight 206 XR #131 Page 1 TAFFy Pull: Nominee John Purcell Draws In the Votes Welcome to SF fan alphabet soup. TAFF. CUFF. DUFF. GUFF. All three organizations raise funds so that science fiction fans can travel to conventions in other parts of the world. Three candidates are vying to win TAFF, Trans-Atlantic Fan Fund.* The TAFF 2017 Ballot explains: "TAFF has regularly brought North American fans to European conventions and European fans to North American conventions. It exists solely through the support of fandom." This year it's North America to Europe. Fanzine editor and 2017 TAFF nominee John Purcell took the time to explain how TAFF works. John is a Minnesotan transplanted to Texas. His day job: instructor at Blinn Community College. Hobbies: Besides SF fandom there's music, playing guitar. He publishes two fanzines with easily confused titles, Askew and Askance. (I know after writing a letter of comment to the wrong zine.) He explained a fan declares the intention to run for TAFF and then needs to line up other fans to nominate that fan. John: "TAFF requires a total of five nominators (two from the destination continent, three from the sending continent) to send in their nominating statements to the current TAFF Administrators." XR #131 Page 2 "Once the requirements are met," he continued, "the administrators then announce that the race is on and open it for any fan to vote until the deadline [this year March 4.]" A TAFF nominee can campaign through fanzines. -
Tokusatsu. I Telefilm Giapponesi Con Effetti Speciali
Tokusatsu. I telefilm giapponesi con effetti speciali. Tokutatsu è il primo saggio in Italia dedicato alla storia dei telefilm giapponesi con effetti speciali. Ve lo ricordate Megaloman? Introduciamo Tokutatsu. Chi è appassionato di manga, anime e film di mostri (i cosiddetti kaijū eiga) ha a disposizione un numero considerevole di pubblicazioni tra cui scegliere. C’è però un altro settore, non ancora adeguatamente considerato e studiato, che ha un’importanza altrettanto fondamentale. Sono i tokusatsu, i telefilm nipponici con effetti speciali di cui qualche esempio è arrivato anche in Italia durante i primi anni Ottanta. Si è trattato però solo della punta dell’iceberg di un fenomeno molto più ricco, articolato e complesso che meritava di essere approfondito. Il termine, che deriva dalla fusione delle parole tokushū (特殊) e satsuei (撮影) ossia “effetti speciali”, viene utilizzato per indicare un genere di serie televisive, spesso di argomento fantascientifico, in cui viene fatto abbondante uso di particolari espedienti cinematografici. Dal kabuki a Ultraman L’origine di queste produzioni risale ai primi esempi del teatro giapponese tradizionale, in particolare al kabuki e al bunraku. Dal primo questi telefilm hanno tratto ispirazione principalmente per le scene d’azione e di combattimento; dal secondo, invece, hanno mutuato tutta una serie di soluzioni tecniche artigianali che poi, ulteriormente sviluppate e raffinate, hanno dato origine a quel particolare mix in cui costumi sgargianti si sposano con esplosioni pirotecniche e modellini in scala di città, navi, aerei e mostri di vario genere. Analizzare la storia di questo tipo di produzioni significa intraprendere un lungo viaggio che inizia negli anni Cinquanta, con i primi supereroi mascherati emuli di Superman e Batman, per poi attraversare gli anni Sessanta, con la consacrazione di Eiji Tsuburaya a cui si deve la creazione di una lunga serie di personaggi che sono entrati nella storia del cinema e della televisione giapponese, Ultraman su tutti. -
ULTRAMAN GINGA (Season I: 11 X 30’, HD, 2013; Season II: 16 X 30’, HD, 2014)
ULTRAMAN GINGA (Season I: 11 x 30’, HD, 2013; Season II: 16 x 30’, HD, 2014) Live action TV series produced in celebration of the 50th anniversary of Tsuburaya Productions Story: Guided by a mysterious vision which appeared in his dream, 17 year old high school boy Hikaru returns to his hometown during summer vacation after travelling around with his musician parents. There he meets Ultraman Taro, the 53 meters tall super warrior but now reduced to the size of figurines called Spark Dolls by the dark force. Hikaru is told he is the “Selected One” and that he must find the Ginga Spark and use it with the Spark Doll to transform into the gigantic Ultraman Ginga to save the Earth. Two years after Ultraman Ginga wins the battle against Dark Lugiel, which ends Season I, Season II sees Hikaru coming back following the call of fate and transforms once again into Ultraman Ginga to join forces with a peer warrior Ultraman Victory to protect the civilization of an ancient underground world inhabited by people called Victoriens. More about the show: This latest TV show in the long running ULTRAMAN franchise (premiered on Japan’s TBS since 1966) has everything a kids hero show has: action, adventure, friendship, teamwork coupled with all the good values associated with the superhero: sense of justice, bravery, willingness to help people in stress, conscientious protection of environment, among many others. Aside from an action-packed hero show, Ultraman Ginga has a side story which revolves around a group of high school buddies of Hikaru the hero of the show. -
The Savage Worlds of Land of Light
The Savage Worlds of Land of Light An Ultraman Adventure By Mohd Syafiq bin Ibrahim 1 THIS MODULE REQUIRES THE SAVAGE WORLDS DELUXE EDITION TO PLAY! 1ST Edition – July 2013 More information can be found on author’s DeviantArt and Tumblr page at http://openlor.deviantart.com/ http://openlor.tumblr.com/ This game references the Savage Worlds game system. Available from and copyrighted to Pinnacle Entertainment Group at http://www.peginc.com/ Ultraman Tiga, Tiga universe, the rest of it’s known characters and designs are sole property of Eiji Tsuburaya from Tsuburaya Productions 2 CONTENTS Introduction.........................................................4 Setting Rule.........................................................5 Creating a Character.................................................6 Skills..............................................................13 Hindrances..........................................................14 Edges...............................................................15 Gears...............................................................16 Allies..............................................................22 Powers..............................................................22 Bestiary............................................................40 Playin Non-Ultra Characters.........................................61 Character sheet.....................................................63 Non-Playable Character Sheet........................................64 3 INTRODUCTIONS The Story take place million -
& Ultraman Brothers
ULTRAMAN MEBIUS & ULTRAMAN BROTHERS The lunar surface, 20 years ago: An intense battle rages between When the aliens launch their combined attack, the gigantic multi-tentacled monster U-Killer Saurus and four of the even Ultraman Mebius cannot defeat them. Can Ultraman Brothers; Ultraman, Ultra Seven, Ultraman Ace and the Ultraman Brothers regain their powers to Ultraman Jack. Though the battle is four against one, this monster help Mebius fight the aliens? Will the aliens is so powerful it threatens to overwhelm even the combined might succeed in their plans to revive U-Killer Saurus, of the Ultraman Brothers! a monster so terrifying its power rivals even the united strength of the Ultraman Brothers? The creature escapes to Earth and the Ultraman Brothers follow. There is only one way to stop this monster. The four Ultraman Tsuburaya Productions celebrates the 40th Brothers must use the Final Cross Shield to trap the beast forever Anniversary of Ultraman with the return of the most below the waters of Japan’s Kobe Bay. Unfortunately, in using this popular characters from the show’s long history for weapon, the heroes lose their super powers and will spend the rest the ultimate Ultraman adventure! It’s non-stop of their lives as ordinary human beings. action as the series’ greatest heroes battle its most fearsome villains. The original actors who played the In the present day, the young rookie Ultraman Mebius now protects human forms of the Ultraman Brothers reunite in a the Earth. Unknown to Ultraman Mebius, a group of evil aliens have spectacular tribute to one of the world’s longest arrived in Kobe with plans to release the monster U-Killer Saurus running science fiction adventure series. -
Characters and Merchandising Rights
Characters and Merchandising Rights ©2010 Collaborator: Asuka GOMI Patent Attorney, SHIROKUMA PATENT Hiroyuki NAKAGAWA Patent Attorney, Nakagawa International Patent Office Junichiro TSUCHIYA Senior Manager, Licensing Department Rights Division, Kodansha Ltd. CONTENTS Page Introduction ............................................................. 1 Chapter 1 Rights Composing Merchandising Rights ......................... 3 (1) Overview ........................................................... 3 (a) No rights called merchandising rights in place ................ 3 (b) Power to attract customers (customer-attraction power) ......... 4 (c) Rights included within merchandising rights .................... 6 (2) Content of various rights .......................................... 7 (a) Copyrights ..................................................... 8 (b) Design Act .................................................... 14 (c) Trademark Act ................................................. 16 (d) Unfair Competition Prevention Act ............................. 18 Chapter 2 Character Goods and Merchandising Rights ..................... 20 (1) History of merchandising rights ................................... 20 (2) Economic significance of merchandising rights ..................... 21 (a) Merchandising rights in the content-business .................. 21 (b) Merchandising rights to the mascot logo related to goods ...... 22 (c) Merchandising rights to industrial products ................... 22 (3) Merchandising rights and the media-mix strategy................. -
Ultraman: Vol. 5 PDF Book
ULTRAMAN: VOL. 5 PDF, EPUB, EBOOK Tomohiro Shimoguchi,Eiichi Shimizu | 200 pages | 08 Sep 2016 | Viz Media, Subs. of Shogakukan Inc | 9781421581866 | English | San Francisco, United States Ultraman: Vol. 5 PDF Book The series began serialization in the first ever issue of Monthly Hero's magazine, published on November 1, Transformers Action Figures. Our legal basis for doing this is our legitimate interest in asking for feedback in order to improve our products and services. The newest one that shows up looks cool. Just a moment while we sign you in to your Goodreads account. July Release. Acrylic Stands. VikingSchism rated it liked it Aug 05, The three were even interviewed, as well as reviewing chapter 4 of the manga themselves. Gundam: Iron-Blooded Orphans. This Usage Data may include information such as your computer's Internet Protocol address e. Add to cart. Download as PDF Printable version. Shogakukan Creative. December 5, [41]. Brad rated it liked it Feb 09, There's not quite enough to get me attached to the characters since I have no nostalgia for the original. High-Grade Kits. World: The art is the best part of the series. The staff are returning to reprise their roles. Original net animation. May Release. In that case, we can't Published in Monthly Hero's since the magazine's inaugural issue. If HobbyLink Japan, Inc. The add-on prevents the Google Analytics JavaScript ga. About Eiichi Shimizu. Feb 01, Wing Kee rated it liked it. Jules rated it really liked it Sep 19, You may also like: Fiction Staff Picks. -
Notice of Finalization of U.S. Litigation of the Subsidiary on December 5
(Translation) March 10, 2020 To all parties concerned: FIELDS CORPORATION Chairman, President and Group CEO: Hidetoshi Yamamoto (TSE 1st: 2767) Inquiries: Hideaki Hatanaka Corporate Officer Tel.: +81-3-5784-2111 Notice of Finalization of U.S. Litigation of the Subsidiary On December 5, 2019 (local time), the United States Court of Appeal for the Ninth Circuit filed a victory in connection with a lawsuit between our consolidated subsidiaries Tsuburaya Productions Co., Ltd. (“Tsuburaya Productions”) and UM Corporation (“UM Corporation”), as described in the “Notice of Winning Judgment In U.S. Lawsuit Regarding ‘Ultraman’ Rights of the Consolidated Subsidiary Tsuburaya Productions Co., Ltd” announced on April 24, 2018. In response, UM Corporation and others have not declared their final decision by the deadline of March 4, 2020, and Tsuburaya Productions winning decision has been finalized. We announce the decision as shown in the attachment. This transaction has no impact on the consolidated earnings forecasts for the fiscal year ending March 31, 2020. Based on this ruling, Tsuburaya Productions intends to further strengthen and accelerate the aggressive expansion of its Ultraman titles abroad. For inquiries or further information please contact Corporate Communications (IR), FIELDS CORPORATION Shibuya Garden Tower, 16-17 Nampeidai-cho, Shibuya-ku, Tokyo 150-0036 Tel.: +81-3-5784-2109 Fax: +81-3-5784-2119 March 10, 2020 Tsuburaya Productions Co., Ltd. Notice of Winning Final Court Judgment in U.S. Lawsuit Regarding “Ultraman” Rights Regarding the U.S. Lawsuit against UM Corporation (“UMC”), in which we had previously announced Tsuburaya Productions Co., Ltd. (“TPC”)’s victory in a jury trial in our previous “Notice of Winning Judgment in U.S. -
Ultraman at TYO Create a Powerful Ultramanwith the New Knowledge Tag
4 In the Vanguard of Creativity Ultraman at TYO Create a Powerful Ultramanwith the new knowledge tag TYO Inc. 2-21-7 Kami-Osaki, Shinagawa-ku, Tokyo 141-0021, Japan http://group.tyo.jp/ New Face JASDAQ Stock Code: 4358 ● TSUBURAYA PRODUCTIONS CO., LTD. ● ZEO Corporation In the vanguard of creativity ● Light Work Co., Ltd. ● Great Works AB ● dwarf Inc. ● LUDENS CO., LTD. The world of craftsmanship ● TYO Productions Inc. ©Tsuburaya Productions that brings happiness to creator and viewer alike A Transformed Management Strategy Interview 2008 New Face ● Theoria Communications Inc. TYO Creative Business City ● COM Co., Ltd. ● 1st Avenue Inc. ● Haxen International Inc. Motivating the spirit of ● DOGA KOBO Inc. creativity for the next TYO Management Strategy Interview 2007 ―Interview with new directors― TYO Fifteen talented men that the next generation requires Creative Business City Town Block Planning Management Strategy Interview 2008 Know-how that capitalizes on change and operational capability with originality otivating the spirit of creativity for the next TYO Providing an “environment” where tal- business of rights management. ented creators can work at the highest TYO also is involved in new enterprises, level, TYO continues to produce excep- too, such establishing a game software tional content for every sector of the video sales company and becoming involved business. TYO has now established an with the Tsuburaya Productions. There are overseas presence in China and the West, 43 distinctive companies at present in this so there has been no change in its consis- group, which rang up consolidated sales of tent approach of responding to challenges. 18.9 billion yen in the year ended July 2007 TYO also has reorganized its corporate (a shortened 10-month accounting period). -
The Master of Special Effects – the Legacy of Tsuburaya Eiji ― in Conversation with Ooka Shinichi, President of Tsuburaya Productions
CULTURE The Master of Special Effects – The Legacy of Tsuburaya Eiji ― In conversation with Ooka Shinichi, President of Tsuburaya Productions Explosions crash and bang as Godzilla or another monster destroys the city… Ultraman shoots Spacium Rays to take down another monster… The best thing about watching special effects movies is that they always shock and surprise you. Tsuburaya Eiji was known as the master of special effects, but in what ways is his DNA being kept alive today? We take a look back and share in the recollections of Ooka Shinichi, former cameraman and current President of Tsuburaya Productions. Shiraishi Masahiko, movie researcher, screenwriter and director There is one man in particular who was known as the master of special effects. In 1936, he developed the screen process (rear projection, a system involving positioning a screen behind the actors then projecting scenery onto the screen from behind) for the first time in the movie industry on the set of a German co-production called Atarashiki Tsuchi (The Daughter of the Samurai ). He later recreated the aerial attack on Pearl Harbor on a miniature set for the movie Hawaii Mare Oki Kaisen (The War at Sea from Hawaii to Malaya ) in 1942, before bringing to life a 50-meter tall monster and laying waste to Tokyo in the 1954 movie Godzilla . That man was Shiraishi Masahiko, movie Tsuburaya Eiji. researcher, screenwriter and director After Godzilla , movies on which Tsuburaya handled special effects technology became a gold mine for Toho and ended up supporting the entire company. Although Tsuburaya’s special effects movies covered a wide range of areas, including science fiction, war and fantasy, the genre in which they proved most popular was kaiju (monster) movies. -
4KOM02292.Pdf
BAB IV PENUTUP A. KESIMPULAN 1. Interaksi yang terjadi di dalam Komunitas Tokusatsu Yogyakarta tidak akan dapat berlangsung tanpa melibatkan komponen – komponen komunikasinya, seperti pengirim pesan; konten pesannya; saluran pesan; penerima pesan; umpan balik yang dihasilkan; dan juga bauran pengalaman yang dimiliki oleh para pelaku komunikasinya. 2. Peran yang muncul dalam kelompok untuk membentuk sebuah konsep pengetahuan produk (product knowledge) terjadi di dalam interaksi tatap muka dan melibatkan komponen – komponen komunikasinya secara keseluruhan. Berbagai peran yang muncul untuk membentuk pengetahuan produk tersebut antara lain peran tugas (task roles) dan peran pemeliharaan (maintenance roles). Peran Tugas yang muncul di dalam interaksi tatap muka antar anggota Komunitas Toksusatsu Yogyakarta antara lain : peran Pencarian Informasi (information seeking); pemberian informasi (information giving); pengembangan (elaborating); klarifikasi (clarifying); pemberian pendapat (opinion giving); dan juga evaluasi (evaluating). Sedangkan peran Pemeliharaan yang muncul di dalam interaksi tatap muka antar anggota Komunitas Toksusatsu Yogyakarta antara lain : peran Gatekeeping; dukungan (supporting); pelepas tegangan (tension relieving); dan juga mendramatisir (dramatizing) 220 3. Interaksi yang terjadi di dalam kelompok dapat berupa interaksi secara tatap muka dan juga secara tidak tatap muka. Interaksi tatap muka memiliki kelebihan dalam proses pembentukan pengetahuan produk bagi kelompok, dikarenakan adanya peran kelompok yang dapat dilakukan