Broadcast Bulletin Issue Number 46
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Content+Technology ANZ April 2020.Pdf
SUBSCRIBE FREE PP: 255003/06831 VOLUME 17 / ISSUE 2 APRIL 2020 MEDIA + PRODUCTION + MANAGEMENT + DELIVERY www.content-technology.com Connect Everyone COLLABORATION & PRODUCTION BRING YOUR VIEWERS CLOSER BUT LEAVE YOUR TEAM AT HOME Grass Valley’s IP-enabled Remote/At-Home technology offers the smallest on-site footprint in the industry, powering your ability to deliver more live content from any location. And, our best-of-breed playout solutions suite is ready to deliver, regardless of the size and complexity of your operation. Connect your production team, connect your audience. Create connections with Grass Valley. Find out more at grassvalley.com Copyright © 2020 Grass Valley Canada. All rights reserved. Specifications subject to change without notice. ISSN 1448-9554 GV_Connect_A4.indd 1 30/03/2020 12:07:10 CONTROL AND ORCHESTRATION PROBING AND MONITORING NEW GENERATION PLAYOUT SDN MANAGEMENT ADVANCED COMMUNICATIONS SYSTEMS Create the IP ecosystem that works for you. Without the lock-ins. Technology moves way too fast to be locked into an IP ecosystem solution from a single manufacturer that doesn’t quite tick all your boxes. Magna can help customise a successful solution for you that works just the way you need it to. With our trusted partners, using only quality products that adhere to the latest standards including SMPTE 2110 and NMOS, we deliver flexible, future-proof solutions for broadcast media and telcos alike. Whether it’s for studio, control room, playout, editing or transport, there’s a Magna solution that works for you. Contact your local Magna office now. www.magnasys.tv 50 YEARS OF INNOVATION. -
DICE Best Practice Guide.Pdf
BEST PRACTICE GUIDE Interactive Service, Frequency Social Business Migration, Policy & Platforms Acceptance Models Implementation Regulation & Business Opportunities BEST PRACTICE GUIDE FOREWORD As Lead Partner of DICE I am happy to present this We all want to reap the economic benefi ts of dig- best practice guide. Its contents are based on the ital convergence. The development and successful outputs of fi ve workgroups and countless discus- implementation of new services need extended sions in the course of the project and in conferences markets, however; markets which often have to be and workshops with the broad participation of in- larger than those of the individual member states. dustry representatives, broadcasters and political The sooner Europe moves towards digital switcho- institutions. ver the sooner the advantages of released spectrum can be realised. The DICE Project – Digital Innovation through Co- operation in Europe – is an interregional network We have to recognise that a pan-European telecom funded by the European Commission. INTERREG as and media industry is emerging. The search for an EU community initiative helps Europe’s regions economies of scale is driving the industry into busi- form partnerships to work together on common nesses outside their home country and to strategies projects. By sharing knowledge and experience, beyond their national market. these partnerships enable the regions involved to develop new solutions to economic, social and envi- It is therefore a pure necessity that regional political ronmental challenges. institutions look across the border and aim to learn from each other and develop a common under- DICE focuses on facilitating the exchange of experi- standing. -
Turkcell the Digital Operator
Turkcell the Digital Operator Turkcell Annual Report 2018 About Turkcell Turkcell is a digital operator headquartered in Turkey, serving its customers with its unique portfolio of digital services along with voice, messaging, data and IPTV services on its mobile and fixed networks. Turkcell Group companies operate in 5 countries – Turkey, Ukraine, Belarus, Northern Cyprus, Germany. Turkcell launched LTE services in its home country on April 1st, 2016, employing LTE-Advanced and 3 carrier aggregation technologies in 81 cities. Turkcell offers up to 10 Gbps fiber internet speed with its FTTH services. Turkcell Group reported TRY 21.3 billion revenue in FY18 with total assets of TRY 42.8 billion as of December 31, 2018. It has been listed on the NYSE and the BIST since July 2000, and is the only NYSE-listed company in Turkey. Read more at www.turkcell.com.tr/english-support All financial results in this annual report are prepared in accordance with International Financial Reporting Standards (IFRS) and expressed in Turkish Lira (TRY or TL) unless otherwise stated. TABLE OF CONTENTS TRY Turkcell Group 16 Chairman’s Message 21.3 20 Board of Directors 22 Message from the CEO billion 26 Executive Officers 28 Top Management of Subsidiaries REVENUES 30 Turkcell Group 31 Our Vision, Target, Strategy and Approach 32 2018 at a Glance 34 2018 Highlights 36 The World’s 1st Digital Operator Brand: Lifecell 37 Turkcell’s Digital Services 2018 Operations 38 Exemplary Digital Operator 40 Our Superior Technology 41.3% 46 Our Consumer Business EBITDA 52 Our -
The Meaning of Katrina Amy Jenkins on This Life Now Judi Dench
Poor Prince Charles, he’s such a 12.09.05 Section:GDN TW PaGe:1 Edition Date:050912 Edition:01 Zone: Sent at 11/9/2005 17:09 troubled man. This time it’s the Back page modern world. It’s all so frenetic. Sam Wollaston on TV. Page 32 John Crace’s digested read Quick Crossword no 11,030 Title Stories We Could Tell triumphal night of Terry’s life, but 1 2 3 4 5 6 7 Author Tony Parsons instead he was being humiliated as Dag and Misty made up to each other. 8 Publisher HarperCollins “I’m going off to the hotel with 9 10 Price £17.99 Dag,” squeaked Misty. “How can you do this to me?” Terry It was 1977 and Terry squealed. couldn’t stop pinching “I am a woman in my own right,” 11 12 himself. His dad used to she squeaked again. do seven jobs at once to Ray tramped through the London keep the family out of night in a daze of existential 13 14 15 council housing, and here navel-gazing. What did it mean that he was working on The Elvis had died that night? What was 16 17 Paper. He knew he had only been wrong with peace and love? He wound brought in because he was part of the up at The Speakeasy where he met 18 19 20 21 new music scene, but he didn’t care; the wife of a well-known band’s tour his piece on Dag Wood, who uncannily manager. “Come back to my place,” resembled Iggy Pop, was on the cover she said, “and I’ll help you find John 22 23 and Misty was by his side. -
BBC 4 Listings for 26 May – 1 June 2018 Page 1 of 4 SATURDAY 26 MAY 2018 the Pops, Crackerjack, Blue Peter and Cheggers Plays Pop
BBC 4 Listings for 26 May – 1 June 2018 Page 1 of 4 SATURDAY 26 MAY 2018 the Pops, Crackerjack, Blue Peter and Cheggers Plays Pop. team of divers as they explore and film the depths of the world's greatest river system. SAT 19:00 Biggest Weekend (b0b4ky12) Noddy both introduces the compilation and reflects on Slade's Neneh Cherry and First Aid Kit glory daze at the BBC. It is the first time an expedition has ever attempted anything so ambitious, and they discover an alien world, full of beautiful Lauren Laverne and Joe Lindsay go Scandi with two Swedish- and bizarre creatures. Stingray, freshwater dolphins, talking fish born outfits to restart coverage of the Biggest Weekend, SAT 01:55 How to Get Ahead (b03xsgwk) and the mysterious Jau are all to be found in the river's depths. including a performance from Neneh Cherry, who brought pop At Medieval Court to hip-hop in the late 80s with a string of hook-laden global hits, Mike deGruy and Kate Humble lead the international team of such as Buffalo Stance and Man Child, but has lately turned to Writer, broadcaster and Newsnight arts correspondent Stephen scientists and divers as they search for species new to science more experimental and jazz sounds. Smith looks back at the Medieval Age to find out what it took and come face to face with the monsters of the deep. to get ahead at the court of Richard II. Richard presided over Also featuring songs from First Aid Kit. Sisters Klara and the first truly sophisticated and artistic court in England. -
To See My CV
BARNABY SLATER barnabyslater.com [email protected] |+44(0)7738 716891 Writer, producer and presenter with experience creating comedy, sport, entertainment and music content for advertising, digital, television and radio. WRITING EXPERIENCE Advertising Sky Bet Soccer Six Campaign (Social Chain) Writer McDonald’s Digital Football Campaign (Red Consultancy) Writer Robinsons Digital Tennis Campaign (Red Consultancy) Writer Yourgolftravel.com Campaign Writer The Story Lab Global Writer/Development Director Aldi (Red Consultancy) Writer Netflix (Isobar) Writer Trainline Digital Campaign (Red Consultancy) Writer Sanofi (Red Consultancy) Writer Casino Floor Sponsorship Football Campaign (Pace Media) Writer Captain Morgan Video Campaign (Story PR) Writer Cancer Research UK Campaign Writer Digital Copa 90 Writer The Football Republic (Fremantle) Writer/Senior Producer 442oons Writer The Mail Online (Sport) Writer Tilt Design for Manchester City FC Writer M&C Saatchi Writer/Series Producer Almost Famous Podcast Writer/Creator It’s Your Funeral Podcast Writer/Creator The X Factor (ITV) Writer Coolhunting Website Writer Viewlondon Website Writer AQA Text Service Writer Tank Magazine Writer Television & Radio Sit.Com (Avalon Productions for Channel 4) Writer/Creator Do You Follow (Hot Sauce Television for ITV1) Writer/Creator Don’t Make Me Laugh (SO Productions for Radio 4) Writer/Creator 8 out of 10 Cats Does Countdown (Jokes for David Baddiel) Writer Christmas Epic Fails (ITV) Writer The Agenda (ITN Productions) Writer Things They Should -
C2WG3 Progress Report
Interreg IIIC DICE Component 3 Working Group 2 Interactive Services, Migration, Implementation & Business Opportunities C3WG2 Final Report: Version: Final 1.0 – 31.10.06 CONTENTS Introduction............................................................................................................................................. 2 Executive Summary ............................................................................................................................... 3 C3WG2 membership and contributions. ................................................................................................ 7 Meetings............................................................................................................................................. 7 Work Area .......................................................................................................................................... 7 Market Situation in DICE member countries (DTV) ............................................................................... 8 Definition of Interactive TV (i-TV).......................................................................................................... 9 Summary ............................................................................................................................................ 9 Opportunities for i-TV via mobile synergies ......................................................................................... 13 Consumers’ Definition..................................................................................................................... -
BBC Executive Submission to the BBC Trust's Review of Content
BBC Executive Submission to the BBC Trust’s Review of Content and Services for Younger Audiences 16th December 2008 1 EXECUTIVE SUMMARY .............................................................................................................................3 1. UNDERSTANDING THE AUDIENCE ................................................................................................8 1.1 KEY POINTS...............................................................................................................................................8 1.2 THE AUDIENCE ..........................................................................................................................................8 1.3 YOUNGER AUDIENCES’ CONSUMPTION OF MEDIA ....................................................................................10 1.3.1 Television.........................................................................................................................................10 1.3.2 Radio...............................................................................................................................................11 1.3.3 Online..............................................................................................................................................12 2. BBC PROVISION FOR YOUNGER AUDIENCES ..........................................................................13 2.1 KEY POINTS.............................................................................................................................................13 -
Annex to the BBC Annual Report and Accounts 2016/17
Annual Report and Accounts 2016/17 Annex to the BBC Annual Report and Accounts 2016/17 Annex to the BBC Annual Report and Accounts 2016/17 Presented to Parliament by the Secretary of State for Culture, Media and Sport by command of Her Majesty © BBC Copyright 2017 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as BBC copyright and the document title specified. Photographs are used ©BBC or used under the terms of the PACT agreement except where otherwise identified. Permission from copyright holders must be sought before any photographs are reproduced. You can download this publication from bbc.co.uk/annualreport BBC Pay Disclosures July 2017 Report from the BBC Remuneration Committee of people paid more than £150,000 of licence fee revenue in the financial year 2016/17 1 Senior Executives Since 2009, we have disclosed salaries, expenses, gifts and hospitality for all senior managers in the BBC, who have a full time equivalent salary of £150,000 or more or who sit on a major divisional board. Under the terms of our new Charter, we are now required to publish an annual report for each financial year from the Remuneration Committee with the names of all senior executives of the BBC paid more than £150,000 from licence fee revenue in a financial year. These are set out in this document in bands of £50,000. -
Radio 1 Live Lounge
GCSE MEDIA STUDIES Factsheet Radio: Industry and Audience – Radio 1 Live Lounge DISCLAIMER This resource was designed using the most up to date information from the specification at the time it was published. Specifications are updated over time, which means there may be contradictions between the resource and the specification, therefore please use the information on the latest specification at all times. If you do notice a discrepancy please contact us on the following email address: [email protected] www.ocr.org.uk/mediastudies Industry: Production and distribution The Radio One Live Lounge is a live music series that is hosted on BBC Radio 1 and BBC Radio 1Xtra (known as 1XTra) by Clara Amfo (since May 2015). It was initially hosted by Jo Whiley on her mid- morning radio show until 2009, when Fearne Cotton took over. 2009 also saw Trevor Nelson hosting Live Lounges on his Radio 1Xtra Show, but he has since been replaced by DJ Ace (2017). 1Xtra is a digital radio channel, whereas Radio 1 is available both via analogue and digitally. Clara Amfo has a background as a presenter for Nickelodeon and CBBC. She interned in marketing at KISS FM and was nominated in 2012 for a Sony Radio Award as a ‘Rising Star’. She joined BBC Radio 1Xtra as a host of the weekend breakfast show and joined the MTV chart shows. In 2015 she became the host of The Official Chart on BBC Radio 1 - crossing over from 1Xtra - and later went on to host the Live Lounge (hosted on both Radio 1 and 1Xtra). -
Diverse on Screen Talent Directory
BBC Diverse Presenters The BBC is committed to finding and growing diverse onscreen talent across all channels and platforms. We realise that in order to continue making the BBC feel truly diverse, and improve on where we are at the moment, we need to let you know who’s out there. In this document you will find biographies for just some of the hugely talented people the BBC has already been working with and others who have made their mark elsewhere. It’s the responsibility of every person involved in BBC programme making to ask themselves whether what, and who, they are putting on screen reflects the world around them or just one section of society. If you are in production or development and would like other ideas for diverse presenters across all genres please feel free to get in touch with Mary Fitzpatrick Editorial Executive, Diversity via email: [email protected] Diverse On Screen Talent Directory Presenter Biographies Biographies Ace and Invisible Presenters, 1Xtra Category: 1Xtra Agent: Insanity Artists Agency Limited T: 020 7927 6222 W: www.insanityartists.co.uk 1Xtra's lunchtime DJs Ace and Invisible are on a high - the two 22-year-olds scooped the gold award for Daily Music Show of the Year at the 2004 Sony Radio Academy Awards. It's a just reward for Ace and Invisible, two young south Londoners with high hopes who met whilst studying media at the Brits Performing Arts School in 1996. The 'Lunchtime Trouble Makers' is what they are commonly known as, but for Ace and Invisible it's a story of friendship and determination. -
Participation TV Part 1
Participation TV: protecting viewers and consumers, and keeping advertising separate from editorial A consultation paper examining how Participation TV should be regulated Consultation Publication date: 24 July 2007 Closing Date for Responses: 17 October 2007 Participation TV: protecting viewers and consumers, and keeping advertising separate from editorial Contents Section Page 1 Summary 1 2 Introduction 3 3 Regulatory Background 6 4 Protection of viewers and consumers 13 5 Dedicated PTV – a description 20 6 Regulatory options for dedicated PTV 26 Annex Page 1 Responding to this consultation 39 2 Ofcom’s consultation principles 41 3 Consultation response cover sheet 42 4 Consultation questions 44 5 Draft licence variation 45 6 Dedicated PTV options – draft rules and guidance under the Broadcasting Code 47 7 Impact Assessment 50 Participation TV: protecting viewers and consumers, and keeping advertising separate from editorial Section 1 1 Summary Objectives of the consultation 1.1 UK television has a long-established tradition of participation by audiences at home. Viewers enjoy taking part in programmes and having an opportunity to win a competition, influence the outcome of a programme or otherwise contribute to the programme. Increasingly, audience participation involves premium rate telephony services (‘PRS’). This raises two separate and important issues: • Protecting viewers and consumers across all types of television content that encourages viewers to take part (‘Participation TV’ or ‘PTV’). This is of particular significance in view of the number of serious compliance and editorial failures in PTV that have recently come to light, most notably in mainstream programming broadcast by the public service broadcasters; • Ensuring that advertising is kept separate from programme content (‘editorial’) in accordance with European broadcasting legislation and UK regulation.