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Tal Rosenblum
PROJECT SAMPLES EXPERIENCE Promax TAL Task & Purpose We Are The Mighty ROSENBLUM Douglas Elliman Hi, I’m Tal. A multimedia designer with a background in CONCEPT WORK visual design, technology, and film. I’m passionate about art, philosophy, and well-being. Ruty Pentax K-02 I believe good craft is simply good process. And for me the process starts with questioning assumptions to get to the root issue. That way the solution addresses a core issue and not patch a temporary one. I’m always on the lookout for a culture that shares my values for life-long learning and excellence. TAL ROSENBLUM [email protected] PROJECT GRAPHIC DESIGN \ MARKETING Design and created assets spanning print, such as signage; SAMPLES and digital, such as social media and email marketing. Promax Additionally pitched notes on brand strategy moving forward. EXPERIENCE EMAIL BLASTS - SAMPLES 36’ X 20’ ESCALATOR WALL SIGNAGE SOCIAL MEDIA CAMPAIGN - Promax SAMPLE Task & Purpose We Are The Mighty Douglas Elliman CONCEPT WORK Ruty Pentax K-02 7.5’ X 5’ PRINT SIGNAGE AWARDS PAMPHLET - SAMPLE PROMAX AWARDS: NORTH AMERICA STATION 2019. WINNERS PROMAX AWARDS: NORTH AMERICA STATION 2019. JUDGES PROMAX AWARDS: NORTH AMERICA STATION 2019. JUDGES ANDREW LENNIE JASON DOYLE SHAWN DICKERMAN DIRECTING USE OF MUSIC WITH ORIGINAL LYRICS ARI PITCHENIK JEFF PITNER SHERRY CARPENTER GOLD JORDAN SANDLER WEATHER GOLD BOB ST CHARLES JOHN KUKLA STEVE BAILEY JINGLE DEAR NEIGHBOR KADN NEWS15 MEGATRAX CUSTOM BRANDON HEYBURGH KATRINA KEHOE SUE DOBMEIER CHLOE HOUSER KELLEN DARGLE SUSAN TRACY-DURANT -
The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
Final Website Delegate List 2017
Delegate List Updated 27th August 2017 First Name Surname Company Lucy Acfield Guinness World Records Sara Acworth Zeamu Music Patrick Adam The Eggleys Lindsey Adams Daily Madness Productions Rick Adams Rick Adams Productions Folake Adigun Nickelodeon Ivan Agenjo Peekaboo Animation Metsamarja Aittokoski Sun In the Eye Productions Lisa Akhurst DNA Creative Ltd waed al ghabra Sheffield Hallam University Madawi Alahmad University of Sheffield Margret Albers Association for the Promotion of German Milly Ali Timeline Television Shazia Ali Mint Research Ltd Foz Allan Bryncoed Productions Ltd Jo Allen CBBC Ollie Alsop Serious Lunch/Eye Present Vanessa Amberleigh CBeebies Val Ames Kindle Entertainment Xiaomei An The University of Sheffiled Steven Andrew Zodiak Kids Nicola Andrews Keshet International UK Ltd Chris Andrews CA Dev Valentina Andries University of Edinburgh Tom Angell Tom Angell Ltd Laura Annis Blue Zoo Productions Laverne Antrobus Tavistock and Portman NHS Trust Rhodri ap Dyfrig S4C Will Appiah Digital Shoguns Thomas Archibald BT Ben Armstrong BBC Finn Arnesen Hasbro Studios Helen Arntsen Blue Zoo Keith Arrowsmith The Children's Media Conference Nihal Arthanayake BBC Abhi Arya Sandbox Corrina Askin Corrina Askin Films Leigh Aspin BBC Sarah Aspinall Virgin Media Martin Athanasiou I'm Hungry Studios Isabella Atkin Volunteer Tessa Atkins Small Fry Animation Lucy Atkinson BBC Jonathan Attenborough Lost My Name Ros Attille BBC Ami Aubrey The Children's Media Conference Jake Aubrey-Bentley Freelance Lauren Auty Finger Industries Tristan -
Cartoon Digital
cartoon digital 6-8 December 2016 Munich (Germany) Creating Entertainment for Connected Screens Top speakers • Market trends • Case studies • Networking www.cartoon-media.eu pitching event for animated transmedia projects cRtOn 3 29 31 May 2017 www.cartoon-media.eu PARTNERS CARTOON DIGITAL IS ORGANISED BY WITH THE SUPPORT OF IN COLLABORATION WITH CARTOON IS SPONSORED BY 3 Ilse Aigner Bavarian State Minister of Economic Affairs and Media, Energy and Technology Deputy Minister-President of Bavaria Dear Cartoon Digital Seminar Attendants, n behalf of the Bavarian Government I warmly welcome you to Cartoon Digital in Munich, Bavaria’s cosmopolitan capital. O It has been a long-standing tradition to host a cartoon program event here in Munich. Munich is just the right venue: the local television stations and producers, special service providers for VFX and animation, the renowned University of Television and Film Munich (HFF) as well as other elite universities and, last but not least, an active and innovative games industry make Munich a first class location for animation film and television productions in Germany. The State of Bavaria with its film funding program run by the FilmFernsehFonds Bayern (FFF Bayern) contributes highly towards maintaining this leading position. The FFF Bayern disburses funding totaling 33 million — 4.7 million € of this funding is specifically allocated to the technically highly demanding and staff-intensive VFX and animation services and to international co-productions. In addition, there is a program that is dedicated to the games industry in Bavaria. This program will be further extended in the following years, and other media innovations will also be funded in future. -
Rapport Financier Annuel
ANIMATION 2014 Rapport Financier Annuel Xilam Animation - Société anonyme au capital de 446 500 € Siège social : 86/90, rue Notre-Dame de Nazareth 75003 PARIS RCS Paris 423 784 610 Sommaire Responsable de l’information .......................................................................................................................................... 3 Rapport de gestion ............................................................................................................................................................ 5 Responsabilité sociétale des entreprises ....................................................................................................................... 31 Gouvernement d’entreprise ........................................................................................................................................... 45 Comptes consolidés ......................................................................................................................................................... 68 Comptes sociaux ........................................................................................................................................................... 113 Le sommaire détaillé des chapitres figure au début de chaque chapitre. Xilam Animation – Rapport financier annuel 2014 2 Responsable de l’information Xilam Animation – Rapport financier annuel 2014 3 Responsable de l’information Responsable du document Monsieur Marc du Pontavice, Président du Conseil d’Administration de Xilam Animation -
Geo-Fencing »
PRODUCT CATALOG | SEPTEMBER 2018 Your partner for data driven programmatic solutions Table of Contents Cross-Platform Capabilities » ..................................................... 5 Service Models » .................................................................................................... 7 Targeting Tactics » ................................................................................ 9 Geo-Fencing » ......................................................................................................... 10 Keyword Search Retargeting » ............................................................................ 22 Facebook Newsfeed » ........................................................................................... 23 Native Programmatic » .......................................................................................... 24 Site Retargeting » ................................................................................................... 25 Contextual Targeting » .......................................................................................... 26 CRM Targeting » ..................................................................................................... 28 Programmatic Video » ........................................................................ 29 PRODUCT CATALOG OTT/CTV » ......................................................................................................... 31 SEPTEMBER 2018 The Data Difference » ......................................................................... -
Tvision Home Fact Sheet
Fact Sheet TVision™ Home Why TV? The Un-carrier has already changed wireless for good, and the launch of TVision Home brings T-Mobile one step closer to taking on Big Cable later this year as the Un-carrier brings its disruptive approach – listening to customers and solving their pain points – to cable & satellite TV. Cable-Free, Box-Free Future The launch of TVision Home is part of T-Mobile’s 5G strategy and vision to give consumers real choice and competition in the cable industry, and that starts with the Sprint merger. The New T-Mobile will combine the spectrum, sites and assets of T-Mobile and Sprint to deliver our robust, nationwide 5G network, bringing more choice, competition, better service, lower prices and faster speeds right to your living room. And, while TVision Home uses your existing wired broadband today, TVision Home is IPTV designed for a 5G future where wireless broadband can replace home internet. • Today, almost half of the country’s households (45%), and nearly three quarters of rural households (76%) have no high-speed service (100 Mbps average) or only one option for high-speed broadband. • But if the merger is approved, by bringing together T-Mobile and Sprint, the New T-Mobile will have the scale and capacity to create a supercharged 5G network capable of reaching over half the country’s households with high- speed broadband by 2024. Meet TVision Home TVision Home builds off the innovations in Layer3 TV and delivers a premium TV experience for the 74% of American households still using traditional cable or satellite TV and paying an average of $107.30 per month. -
El Competido Mercado De Streaming De Video. Estrategias De Plataformas OTT Para Acceder a Contenidos Y Usuarios
DPL News AnalyTICs El competido mercado de streaming de video. Estrategias de plataformas OTT para acceder a contenidos y usuarios El streaming de video es un mercado altamente competitivo y diversificado. Existen grandes proveedores pero también pla- taformas que compiten en nichos. Todos buscan la preferencia de los usuarios con ofertas atractivas de contenido en línea. Aunque es un mercado creciente y atractivo para los consu- midores, el streaming aún debe demostrar que es sustenta- ble y rentable para los proveedores e inversionistas. Destaca el esfuerzo de competidores chinos como Huawei que buscan introducir su propia estrategia de video apoyándose en la po- pularidad de sus dispositivos móviles. l mercado de video bajo demanda por streaming ha lo- grado sostener altas tasas de crecimiento por número de Eusuarios e ingresos, un mercado que continúa atrayendo nuevos competidores y contenido, sin demostrar aún señales de Efrén Páez Jiménez saturación, pero sí de apertura a nuevas propuestas y formatos. Economista con Maestría Sin embargo, este crecimiento también ha profundizado en Gestión de Innovación los retos como la necesidad de mayor financiamiento, ofertar por contenido de calidad, lograr un espacio entre la apretada agenda de medios de los usuarios y ofrecer la mejor platafor- La consultora estima que Estados Unidos continúa siendo el ma de acceso. mercado de mayores ingresos por streaming con 24 mil 079 A pesar de la creciente competencia, Netflix se mantiene millones de dólares, hasta mediados de 2020. como la principal plataforma de video por streaming y el ob- Con cifras ligeramente menos optimistas, Grand View Re- jetivo a vencer de múltiples competidores. -
Drama Report 2013/2014
Drama Report Production of feature films and TV drama in Australia 2013/14 Highlights $837 million total production expenditure Up 11 per cent on last year 35 Australian features $297 million Up 18 per cent on last year 49 Australian TV dramas $343 million Down 8 per cent on last year 26 foreign projects $197 million Up 50 per cent on last year Producer Offset total value $137 million © Screen Australia 2014 ISBN: 978-1-920998-29-5 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Drama Report 2013/14. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/ licenses/by-nc-nd/3.0/ Screen Australia is grateful to all those who contributed data to the compilation of this report. The data provided has been drawn from a number of sources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy, we cannot accept responsibility for inaccuracies and omissions. Cover image: The Code Contents Key terms 4 OVERVIEW 5 ALL DRAMA PRODUCTION 6 AUSTRALIAN FEATURE SLATE – DOMESTIC AND CO-PRODUCTION TITLES 8 Feature budget ranges 8 Sources of finance for Australian features 9 AUSTRALIAN TV DRAMA SLATE – DOMESTIC AND CO-PRODUCTION TITLES 10 Programs for adults 12 Programs for children 13 Sources of finance for Australian TV drama 14 FOREIGN PRODUCTION 15 Features 15 TV drama 15 DRAMA PRODUCTION BY LOCATION 16 Expenditure by state 16 Location of production company 17 TITLES IN THE 2013/14 SLATE 18 PDV SERVICES – FOR FEATURES AND TV DRAMA PRODUCTION 21 METHODOLOGY 25 ABOUT THE REPORT activity in Australia and the Offset’s Australia. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g. -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
Page 1 “OF the YEAR” FINALISTS
Page 1 “OF THE YEAR” FINALISTS MARKETING TEAM OF THE YEAR FOX SPORTS MARKETING CNN WORLDWIDE COMEDY CENTRAL NATIONAL GEOGRAPHIC TV 2 DENMARK VIACOMCBS CEE AGENCY OF THE YEAR CREATIVE SOLUTIONS DUTCHTOAST KNOWN NEW LAND THE REFINERY WIEDEN + KENNEDY Page 1 BRAND IMAGE PROMO LONG FORMAT BRAND IMAGE INSTANT SUMMER ALL THAT WE SHARE - CONNECTED FINNISH BROADCASTING COMPANY - YLE TV 2 DENMARK HLN “FROZEN MOMENTS 2” PROMO WE ARE SPORT CNN WORLDWIDE ADMIT ONE MEDIA FOR SUPERSPORT & DSTV GET FREE STAY FREE SKY ORIGINALS IMAGE REEL OPENVIEW SKY DEUTSCHLAND FERNSEHEN GMBH & CO. KG ESSENTIAL VIEWING WAS IST DEINE GESCHICHTE? / COSMO SPAIN WHAT’S YOUR STORY? LUXLOTUSLINER GMBH HBO EUROPE WILL ROCK YOU HBO EUROPE BETO & ELENA AMÉRICA TELEVISIÓN ASCENDING TINY HERO GEWOON ONGEWOON ADMIT ONE MEDIA FOR KYKNET BRAND IMAGE PROMO CAMPAIGN BRAND PROMO: WEBSITE OR APP PROMOTION TV 2 SPORT X - LAUNCH CAMPAIGN TV 2 DENMARK CRAVE: BIG MOMENTS BELL MEDIA ID BRAND CAMPAIGN - EVERY ENDING HAS A BEGINNING SHOP RT VATNIK PROMO INVESTIGATION DISCOVERY RT STAR POWER E! RADIO-CANADA OHDIO APP LAUNCH NBCUNIVERSAL INTERNATIONAL NETWORKS RADIO-CANADA TLC DIGITAL COLLECTION A&E PLAY DISCOVERY CREATIVE LONDON A&E LATIN AMERICA NAT GEO BRAND “AWARDS” SPOTS HBO EUROPE THE CURE NATIONAL GEOGRAPHIC HBO EUROPE WOMEN’S WORLD CUP CAMPAIGN CRAVE: SPOILER FREE FOX SPORTS MARKETING BELL MEDIA Page 2 BRAND PROMO: HOLIDAY PROGRAM TRAILER PROMO OR SPECIAL EVENT SPOT CNN FILMS: APOLLO 11 TRAILER 30 YEARS AFTER THE FALL OF THE BERLIN WALL CNN WORLDWIDE DW DEUTSCHE WELLE GORDON RAMSAY: UNCHARTED