Wirecast User Guide | 266727 December 2018
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Andrea Abbate Annie Abbott Rose Abdoo Louisa
CHARACTERS and COMEDIENNES ACADEMY PLAYERS DIRECTORY #196 BOOK PAGE: 1 Agency(310)Personal 273-0744(213)Jo for Anne theN11571500 466-5170ManagementInc.96 Performing Astrow (212) 582- Arts, RussianImprovisation,SusanMid-EastGerman5Accent,DANCETerryCOUNSELLOR-AT-LAW,THESEVENTHMAD ft.Accent,LEGALINTOCommercialAccent,FEATURED 3(818)(213)ROSEANNE Accent,NatheYOUNG LichtmanRESTLESSSpecial in.LA ABOUT Accent,New THEWITHAccent,M8530CreditsER EAGLESC.P.C. FrenchLAW 120783-3003653-7573Irish91 HEAVEN & Singer, WOODS,TVYork Italian Skills Associates/AND MEAgency YOUlbs.Company StageAccent, TV Southern- TVMidwest- Accent TV Accent, Film Stage THEBritish-AdultAccent, TV (213)NewFencing,Accent, 878-1155YorkGeddesSpecial Firearms, SpanishL9984Accent,833396 Agency Skills (312) Russian- Accent Singer, 787- 5C.L.Inc.Personal ft.CHICAGOCommercialGABRIEL'S 4(213)SEINFELDSpecial in.HenryCreditsH6173Singer Talent 200461-3971461-5699Management96 HOPE Ong SkillsFIRE Agencylbs. Agency TV TV AdultTV ANDREA ANNIE ROSE LOUISA ABBATE ABBOTT ABDOO ABERNATHY MOTHERBritishTHOMPSONSAccent,Ice(714) Skating,ONEFEATUREDSpecial Accent,Messages & SouthernM6668Credits INCHCHILD, 751-500796 Swimming, Skills New EXPRESS, FilmDIE, STAR Accent York- TV 5 ft.Cavaleri 8(818) in.L8722 122Adult 955-9300&96 Associates lbs. Mature (310)Cycling,5Sailing, ft.Commercial 274-93565GillaSpecial in.Swimming Equestrian,N0179 Scuba7820 Roos,13596 Skills Agencylbs. (212) Diving,Ltd. Guitar, Adult 727- IT'SMURDER,TALES APersonal MAD,(818)HenriWORLD OFM2916Credits SHE MAD, 784-0534Management96 BollingerTHE -
Tom Fleischman CAS
Career Achievement Award Recipient Tom Fleischman CAS CAS Award Nominees Production Equipment FOMO How the CAS Started Remembering Jim Alexander WINTER 2020 CINEMA AUDIO SOCIETY AWARDS NOMINEE OUTSTANDING ACHIEVEMENT IN SOUND MIXING MPSE GOLDEN REEL AWARDS NOMINEE FEATURE - ADR/DIALOGUE PHILIP STOCKTON, MPSE, EUGENE GEARTY, MARISSA LITTLEFIELD “EXQUISITELY MADE, EVERY DETAIL CAREFULLY CONSIDERED. IT FEELS UTTERLY TRANSPORTING.” NETFLIXGUILDS.COM CAS QUARTERLY, COVER 2 NETFLIX: THE IRISHMAN PUB DATE 12/30/19 BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” CINEMA AUDIO SOCIETY AWARDS NOMINEE OUTSTANDING ACHIEVEMENT IN SOUND MIXING MPSE GOLDEN REEL AWARDS NOMINEE FEATURES FEATURE - ADR/DIALOGUE Production Sound Equipment Purchases . 20 PHILIP STOCKTON, MPSE, EUGENE GEARTY, MARISSA LITTLEFIELD Ever have a “Fear of Missing Out”? 147th AES Convention . 26 Career Achievement Recipient . 34 Re-recording mixer Tom Fleischman CAS CAS Filmmaker Award . 44 34 Director, producer, and writer James Mangold CAS Award Nominations . 46 Outstanding Product Nominees . 50 Student Recognition Award Finalists . 52 The Start of the CAS . 54 Bob Hoyt had a vision A Case Study in Multilanguage Production Sound . 60 Possession 54 The “Sound” of Genre Storytelling . 64 Mixing approaches infl uenced by genre Remembering a Legend . 68 Production sound mixer Jim Alexander “EXQUISITELY MADE, DEPARTMENTS EVERY DETAIL The President’s Letter . 4 From the Editor . 6 CAREFULLY CONSIDERED. 60 Collaborators . 9 Meet the people behind the words IT FEELS UTTERLY Technically Speaking -
Professional Wrestling, Sports Entertainment and the Liminal Experience in American Culture
PROFESSIONAL WRESTLING, SPORTS ENTERTAINMENT AND THE LIMINAL EXPERIENCE IN AMERICAN CULTURE By AARON D, FEIGENBAUM A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2000 Copyright 2000 by Aaron D. Feigenbaum ACKNOWLEDGMENTS There are many people who have helped me along the way, and I would like to express my appreciation to all of them. I would like to begin by thanking the members of my committee - Dr. Heather Gibson, Dr. Amitava Kumar, Dr. Norman Market, and Dr. Anthony Oliver-Smith - for all their help. I especially would like to thank my Chair, Dr. John Moore, for encouraging me to pursue my chosen field of study, guiding me in the right direction, and providing invaluable advice and encouragement. Others at the University of Florida who helped me in a variety of ways include Heather Hall, Jocelyn Shell, Jim Kunetz, and Farshid Safi. I would also like to thank Dr. Winnie Cooke and all my friends from the Teaching Center and Athletic Association for putting up with me the past few years. From the World Wrestling Federation, I would like to thank Vince McMahon, Jr., and Jim Byrne for taking the time to answer my questions and allowing me access to the World Wrestling Federation. A very special thanks goes out to Laura Bryson who provided so much help in many ways. I would like to thank Ed Garea and Paul MacArthur for answering my questions on both the history of professional wrestling and the current sports entertainment product. -
The Operational Aesthetic in the Performance of Professional Wrestling William P
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 The operational aesthetic in the performance of professional wrestling William P. Lipscomb III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Lipscomb III, William P., "The operational aesthetic in the performance of professional wrestling" (2005). LSU Doctoral Dissertations. 3825. https://digitalcommons.lsu.edu/gradschool_dissertations/3825 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE OPERATIONAL AESTHETIC IN THE PERFORMANCE OF PROFESSIONAL WRESTLING A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by William P. Lipscomb III B.S., University of Southern Mississippi, 1990 B.S., University of Southern Mississippi, 1991 M.S., University of Southern Mississippi, 1993 May 2005 ©Copyright 2005 William P. Lipscomb III All rights reserved ii ACKNOWLEDGMENTS I am so thankful for the love and support of my entire family, especially my mom and dad. Both my parents were gifted educators, and without their wisdom, guidance, and encouragement none of this would have been possible. Special thanks to my brother John for all the positive vibes, and to Joy who was there for me during some very dark days. -
BEA Program 2013
elon.edu/communications BEA2016 Convention Program – BEA2016 Convention C School of Communications ONTENT • One of 18 private universities in the nation ARRIVING FALL 2016 accredited by ACEJMC IS One of the nation’s finest communications schools K • More than 1,200 students and 60 full-time deserves one of the nation’s finest facilities. ING faculty members Elon University broke ground in summer 2015 on two new buildings that will merge with two • Undergraduate majors in Journalism, existing buildings to create a Communications Strategic Communications, Cinema Commons in the heart of campus. & Television Arts, Communication Design and Media Analytics A grand atrium will connect the current facility with a new building that will feature a • A master’s program in Interactive Media 250-seat movie theatre. Student media will be converged, and one of the current studios Pioneered the Elon in LA program • will become transparent to an outdoor plaza. CONTENT IS KING: STORYTELLING ACROSS PLATFORMS Convention Program Chairʼs Welcome A very warm welcome to BEA 2016 from your 2016 Program Chair! Whether you’re a first timer or a seasoned BEA veteran, I know you’ll find much of interest in the numerous panels, programs and sessions we’ve crafted for you over the next few days. Our spotlight theme “Content is King: Storytelling Across Platforms” is extremely relevant in a world where we get and convey information across many different platforms…but sometimes can forget that we are still at heart, storytellers. Bringing the focus back to content allows us to explore the many different ways stories can be told across genres and platforms as well as in the classroom. -
The Impact of Corporate Newsroom Culture on News Workers & Community Reporting
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses Spring 6-5-2018 News Work: the Impact of Corporate Newsroom Culture on News Workers & Community Reporting Carey Lynne Higgins-Dobney Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the Broadcast and Video Studies Commons, Journalism Studies Commons, and the Mass Communication Commons Let us know how access to this document benefits ou.y Recommended Citation Higgins-Dobney, Carey Lynne, "News Work: the Impact of Corporate Newsroom Culture on News Workers & Community Reporting" (2018). Dissertations and Theses. Paper 4410. https://doi.org/10.15760/etd.6307 This Dissertation is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. News Work: The Impact of Corporate Newsroom Culture on News Workers & Community Reporting by Carey Lynne Higgins-Dobney A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Urban Studies Dissertation Committee: Gerald Sussman, Chair Greg Schrock Priya Kapoor José Padín Portland State University 2018 © 2018 Carey Lynne Higgins-Dobney News Work i Abstract By virtue of their broadcast licenses, local television stations in the United States are bound to serve in the public interest of their community audiences. As federal regulations of those stations loosen and fewer owners increase their holdings across the country, however, local community needs are subjugated by corporate fiduciary responsibilities. Business practices reveal rampant consolidation of ownership, newsroom job description convergence, skilled human labor replaced by computer automation, and economically-driven downsizings, all in the name of profit. -
Pressive and Photographs So Beautifully, He Is Extremely Strong in This Role,” Comments Masterson
“YESTERDAY WAS A LIE” PRODUCTION INFORMATION A groundbreaking new noir film, YESTERDAY WAS A LIE is a “soulful and thought- provoking metaphysical journey” (Talking Pictures). Award-winning writer/director James Kerwin -- “one of these young guys on the edge of a digital revolution” (Soundwaves Cinema) -- crafts a thrilling, intricate detective drama that teases the boundaries of reality. Kipleigh Brown “exudes Bacall” (Slice of SciFi) as Hoyle, a girl with a sharp mind and a weak- ness for bourbon who finds herself on the trail of a reclusive genius (John Newton). But her work takes a series of unforeseen twists as events around her grow increasingly fragmented... discon- nected... surreal. With a sexy lounge singer (Chase Masterson) and a loyal partner (Mik Scriba) as her only allies, Hoyle is plunged into a dark world of intrigue and earth-shattering cosmological secrets. Haunted by an ever-present shadow (Peter Mayhew) whom she is destined to face, Hoyle discovers that the most powerful force in the universe -- the power to bend reality, the power to know the truth -- lies within the depths of the human heart. “Like Blade Runner before it, YESTERDAY WAS A LIE manages to meld film noir and science fiction into a fresh new world unlike anything we’ve seen be- fore” (iF Magazine). Also starring Nathan Mobley, Warren Davis, Megan Henning, Jennifer Slimko, and famed ra- dio personality Robert Siegel. 2 ABOUT THE PRODUCTION YESTERDAY WAS A LIE is the brainchild of writer/director James Kerwin, who made a splash in 2000 with his multi-festival-award-winning short film Midsummer. -
Lightspeed Live Stream User Guide
Lightspeed Live Guide Live Stream 2.2 March 2018 243096 2 Copyrights and Trademark Notices Copyrights and Trademark Notices Copyright © 2018 by Telestream, LLC. All rights reserved worldwide. No part of this publication may be reproduced, transmitted, transcribed, altered, or translated into any languages without the written permission of Telestream. Information and specifications in this document are subject to change without notice and do not represent a commitment on the part of Telestream. Telestream. Telestream, CaptionMaker, Episode, Flip4Mac, FlipFactory, Flip Player, Lightspeed, ScreenFlow, Switch, Vantage, Wirecast, Gameshow, GraphicsFactory, MetaFlip, and Split-and-Stitch are registered trademarks and MacCaption, e- Captioning, Pipeline, Post Producer, Tempo, TrafficManager, VidChecker, and VOD Producer are trademarks of Telestream, LLC. All other trademarks are the property of their respective owners. Adobe. Adobe® HTTP Dynamic Streaming Copyright © 2014 of Adobe Systems All right reserved. Apple. QuickTime, MacOS X, and Safari are trademarks of Apple, Inc. Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple, Inc. Avid. Portions of this product Copyright 2012 Avid Technology, Inc. Dolby. Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. Fraunhofer IIS and Thomson Multimedia. MPEG Layer-3 audio coding technology licensed from Fraunhofer IIS and Thomson Multimedia. Google. VP6 and VP8 Copyright Google Inc. 2014 All rights Reserved. MainConcept. MainConcept is a registered trademark of MainConcept LLC and MainConcept AG. Copyright 2004 MainConcept Multimedia Technologies. Manzanita. Manzanita is a registered trademark of Manzanita Systems, Inc. MCW. HEVC Decoding software licensed from MCW. MediaInfo. Copyright © 2002-2013 MediaArea.net SARL. All rights reserved. THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. -
SPRING 2013 Volume 7, Issue 1 SVG UPDATE 9 Sportspost:NY 36 12 League Technology Summit 26 Transport 36 Sports Venue Technology Summit
ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT Spring 2013 • Volume 7, iSSUE 1 AN PUBLICATION SVG SPECIAL REPORT: THE BIG SHOW FROM THE BIG EASY Inside the Super Bowl XLVII Compound in New Orleans • SVG Update: In-Depth Recaps of Recent SVG Events • Sports Broadcasting Hall of Fame: The Class of 2012 • White Papers: The Promise of 4K, Streaming the Pac-12 Networks, and Workflow Automation in Sports plus Comprehensive 2013 NAB Preview & SVG Sponsor Update UPFRONT IN THIS ISSUE 4 FROM THE CHAIRMAN Even With 4K, the Future of Sports Video Is Better HD 6 THE TIp-off Standing Up For Your Rights SPRING 2013 VOLUME 7, ISSUE 1 SVG UPDATE 9 SportsPost:NY 36 12 League Technology Summit 26 TranSPORT 36 Sports Venue Technology Summit 42 SVG SPECIAL REPORT: THE BIG GAME FROM THE BIG EASY SPORTS BROADCASTING HALL OF FAME Class of 2012 Coverage begins on page 54 56 George Bodenheimer 64 Cory Leible 58 Ray Dolby 66 Paul Tagliabue 60 Frank Gifford 68 Jack Weir 62 Ed Goren 70 Jack Whitaker 72 WHITE PAPERS 80 72 Canon: The Promise of 4K 76 iStreamPlanet: Live Linear Streaming 80 Wohler: File-based Workflow Automation 3 2 1 8 4 PRODUCT NEWS 15 32 84 Remote Sports Production Gearbase 18 More trucks, more gear, more consolidation 111 87 NAB Preview 84 A comprehensive look at what SVG Sponsors will showcase in Las Vegas 122 Sponsor Update New technology, news, and innovations 87 138 SVG SPONSOR INDEX 144 THE FINAL BUZZER A Measured Response to 4K Hype? The SportsTech Journal is produced and published by the Sports Video Group. -
Writing for Electronic Media
Writing for Electronic Media WRITING FOR ELECTRONIC MEDIA BRIAN CHAMPAGNE KIERA FARRIMOND AND BRIANNA BODILY Writing for Electronic Media by Brian Champagne is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted. Writing for Electronic Media by Brian Champagne is licensed under CC-BY-NC-SA Contents Introduction 1 1. The Newsroom 7 2. Leads 25 3. Common Mistakes 33 4. Interviewing 40 5. VOs 49 6. VOSOTs 54 7. PKGs 59 8. Producing 71 9. Teases and Promos 94 10. Live Shots 100 11. Social Media 115 12. Working With Photographers 120 13. Radio 128 14. Sports 145 15. Motivation and Ethics 151 16. The Job Market 155 About the Authors 167 Glossary 169 Brian Champagne Introduction Your author and the Vice President. Welcome to Writing for Electronic Media, an OER textbook. OER stands for Open Educational Resource, which means it’s free for all to access. Since it is electronic, I will do what I can to keep it updated with the changing media. People’s viewing habits are changing as they migrate to mobile sources, social media, and kitten videos. Television News is still a dominant #1 source, and radio is still the safest way to stay informed in your car. 1 WRITING FOR ELECTRONIC MEDIA Hopefully, you already have some journalism background. This book does not teach the who, what, when, where, why, and how of reporting; its goal is to teach how to present the journalism you already know via electronic media, primarily television. We Write Differently A reporter who understands her medium knows she must write words to fit her video. -
Rams Beavers
15 CONFERENCE CHAMPIONSHIPS | 16 BOWL GAME APPEARANCES | 45 WEEKS IN THE POLLS SINCE 1994 | 26 ALL-AMERICANS 249 FIRST-TEAM ALL-CONFERENCE SELECTIONS | 3 COLLEGE FOOTBALL HALL OF FAME SELECTIONS | 1 JIM THORPE AWARD WINNER 2017 SCHEDULE Colorado State CSU vs. Oregon State Oregon State At A Glance Saturday, Aug. 26 • 12:30 p.m. MT RAMS Date: Saturday, Aug. 26 BEAVERS 0-0 (0-0 MW) 0-0 (0-0 PAC-12) OREGON STATE Time: 12:30 p.m. MT Fort Collins, Colo. • CBS Sports TV: CBS Sports Network Friday, Sept. 1 • 6 p.m. MT Radio: KARS 102.9 FM vs. COLORADO KDCO 1340 AM & 104.7 FM Denver, Colo. • Pac-12 Network Location: Fort Collins, Colo. Saturday, Sept. 9 • 1:30 p.m. MT Venue: CSU Stadium ABILENE CHRISTIAN Surface: FieldTurf Fort Collins, Colo. Capacity: 36,500 Saturday, Sept. 16 • 5 p.m. MT Series: Tied 1-1 at ALABAMA Tuscaloosa, Ala. • ESPN/ESPN2 COLORADO STATE THE MATCHUP OREGON STATE • Mike Bobo is entering his third year as the head coach at • Gary Andersen is entering his third year as the head coach Saturday, Sept. 30 • 10 p.m. MT Colorado State. He has led the Rams to bowl appearances in at Oregon State. The Beavers are 6-18 under Andersen. each of his first two seasons. • The Beavers went 4-8 last season, with a 3-6 mark in Pac-12 • CSU returns 16 starters from a year ago - 6 on offense, 8 on play. at HAWAI`I defense and a pair of specialists. Honolulu, Hawaii • Oregon State won its last two games of the season, beating • Statistically, the Rams return 93.9 percent of their rushing Arizona 42-17 and coming from behind to beat Oregon yardage, 95.5 percent of their passing yards and 88 percent of 34-24. -
Wirecast 7.7 User Guide for Windows
User Guide Wirecast 7.7 User Guide for Windows Wirecast User Guide | 221689 June 2017 3 Contents Preface 11 Copyright and Trademark Notice 11 MPEG-2 License Requirements 11 Customer Support 12 We'd Like to Hear from You! 12 Limited Warranty and Disclaimers 12 Warranty Remedies 12 Software Updates 13 Restrictions and Conditions of Limited Warranty 13 Limitations of Warranties 13 Introduction 15 Introduction 15 Topics 15 Editions and Options 15 Editions 15 Options 16 Wirecast Workflow 16 Tutorials 18 Two Ways to Use this Application 18 Presenter Is Operator 19 Presenter Plus Operator 19 Startup 20 Using AutoLive 20 Main Window Layout 21 Preview 23 Master Audio 24 Main Shot List 25 Control/Status Bar 25 Layers 27 Layer Windows 27 4 Contents Installation 29 Introduction 29 Topics 29 Installing 29 Activating 30 Uninstalling 30 System Requirements 30 Tutorials 33 Introduction 33 Tutorials 33 Tutorial 1: Basic Concepts 34 Tutorial Prep 34 The Main Window 35 What Is a Shot? 35 Switching Between Shots 36 Transitions 37 Transition Speed 38 Go Button 39 Layers 39 Auto Live 40 Turn AutoLive Off 41 Multiple Changes 42 Preview 42 Tutorial 2: Editing Shots 45 Tutorial 3: Broadcasting 47 Streaming 47 Main Window 51 Introduction 51 Topics 51 Overview 51 Control/Status Bar 52 Preview/Live Broadcast Area 53 Countdown Clock Display 54 Transition Controls 55 Changing Transitions 55 Transition Speed 56 Go Button 56 Source Input Menu 56 Shot Selection Area 65 Changing Shots 66 Moving a Shot to Another Layer 68 Resizing the Shot Icons 68 Layers 69 Contents 5