Realize Your Creative Potential with Jake Parker Written by Lola Taylor
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(TMIIIP) Paid Projects Through August 31, 2020 Report Created 9/29/2020
Texas Moving Image Industry Incentive Program (TMIIIP) Paid Projects through August 31, 2020 Report Created 9/29/2020 Company Project Classification Grant Amount In-State Spending Date Paid Texas Jobs Electronic Arts Inc. SWTOR 24 Video Game $ 212,241.78 $ 2,122,417.76 8/19/2020 26 Tasmanian Devil LLC Tasmanian Devil Feature Film $ 19,507.74 $ 260,103.23 8/18/2020 61 Tool of North America LLC Dick's Sporting Goods - DecembeCommercial $ 25,660.00 $ 342,133.35 8/11/2020 53 Powerhouse Animation Studios, In Seis Manos (S01) Television $ 155,480.72 $ 1,554,807.21 8/10/2020 45 FlipNMove Productions Inc. Texas Flip N Move Season 7 Reality Television $ 603,570.00 $ 4,828,560.00 8/6/2020 519 FlipNMove Productions Inc. Texas Flip N Move Season 8 (13 E Reality Television $ 305,447.00 $ 2,443,576.00 8/6/2020 293 Nametag Films Dallas County Community CollegeCommercial $ 14,800.28 $ 296,005.60 8/4/2020 92 The Lost Husband, LLC The Lost Husband Feature Film $ 252,067.71 $ 2,016,541.67 8/3/2020 325 Armature Studio LLC Scramble Video Game $ 33,603.20 $ 672,063.91 8/3/2020 19 Daisy Cutter, LLC Hobby Lobby Christmas 2019 Commercial $ 10,229.82 $ 136,397.63 7/31/2020 31 TVM Productions, Inc. Queen Of The South - Season 2 Television $ 4,059,348.19 $ 18,041,547.51 5/1/2020 1353 Boss Fight Entertainment, Inc Zombie Boss Video Game $ 268,650.81 $ 2,149,206.51 4/30/2020 17 FlipNMove Productions Inc. -
2005 Annual Report Avid Technology, Inc
2005 Annual Report Avid Technology, Inc. make manage move | media™ To our shareholders In 2005, Avid delivered another record year, solidifying our leadership W in the video postproduction, broadcast, and digital audio industries while expanding our business into new areas. Through a combination of organic growth and strategic acquisitions, our revenues for the year rose by more than 30% to $775.4 million, resulting in GAAP net income of $34 million, or $0.86 per diluted share. GAAP net income in 2005 was reduced by various non-cash charges primarily associated with our acquisition of Pinnacle Systems, Inc. – including a non-recurring in-process research and development charge of $32.4 million. The Pinnacle acquisition was the pivotal event for Avid in 2005. Pinnacle’s professional products complemented our portfolio of video postproduction and broadcast solutions, and the company’s leadership in consumer video editing – with the world-leading Pinnacle Studio™ line – gave Avid an opportunity to expand into this industry in a position of strength. As we head into 2006, we are now organized as three divisions: Video, which represents a little more than half of our business; Audio, which makes up slightly more than one-third; and Consumer, accounting for the balance. VIDEO In our postproduction business, the increased demand for high-definition content continued to spur interest in our editing, finishing, and shared-storage solutions. In 2005, Avid addressed this by introducing the Symphony™ Nitris® system – an HD finishing solution that leverages our time-tested Symphony software platform with our powerful Nitris hardware accelerator. We also refined our existing HD toolset with new, enhanced versions of all of our editing systems. -
Master Class with Andrea Martin: Selected Filmography 1 the Higher
Master Class with Andrea Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the Master Class 8½. Dir. Federico Fellini, 1963, Italy and France. 138 mins. Production Co.: Cineriz / Francinex. American Dad! (2005-2012). 7 seasons, 133 episodes. Creators: Seth MacFarlane, Mike Barker, and Matt Weitzman. U.S.A. Originally aired on Fox. 20th Century Fox Television / Atlantic Creative / Fuzzy Door Productions / Underdog Productions. Auntie Mame. Dir. Morton DaCosta, 1958, U.S.A. 143 mins. Production Co.: Warner Bros. Pictures. Breaking Upwards. Dir. Daryl Wein, 2009, U.S.A. 88mins. Production Co.: Daryl Wein Films. Bridesmaids. Dir. Paul Feig, 2011, U.S.A. 125 mins. Production Co.: Universal Pictures / Relativity Media / Apatow Productions. Cannibal Girls. Dir. Ivan Reitman, 1973, Canada. 84 mins. Production Co.: Scary Pictures Productions. The Cleveland Show (2009-2012). 3 seasons, 65 episodes. Creators: Richard Appel, Seth MacFarlane, and Mike Henry. U.S.A. Originally aired on Fox. Production Co.: Persons Unknown Productions / Happy Jack Productions / Fuzzy Door Productions / 20th Century Fox Television. Club Paradise. Dir. Harold Ramis, 1986, U.S.A. -
Texas Moving Image Industry Incentive Program 2014 Update
Texas Moving Image Industry Incentive Program 2014 Update Prepared for the Texas Association of Business By the Bureau of Business Research IC² Institute The University of Texas at Austin Bruce Kellison, Ph.D. and James E. Jarrett, Ph.D. Principal Investigators Acknowledgments Once again, the research team relied heavily on the cooperation of the Texas Film Commission in preparing this update of its 2011 report. Director Heather Page and Incentive Program Manager Robert Schuller patiently provided data on the Moving Image Incentive Program and advice on interpreting trends in the data and nuances in the program. The Bureau of Business Research, IC² Institute, The University of Texas at Austin The Bureau of Business Research (BBR) was established in 1926 to provide small business owners and policymakers with applied economic research and data to strengthen the state’s business environment. Throughout its history, the Bureau and its work have been characterized by objectivity and independence. The Bureau’s prolific publications include Texas Business Review, the Texas Business Leader’s Confidence Index, and numerous economic assessments and program evaluations. The IC² Institute was established in 1977 with the vision that science and technology are resources for economic development and enterprise growth. In addition to the BBR, the Institute oversees several targeted research programs that include the Austin Technology Incubator (with industry-specific incubation assistance for business start-ups in the software, clean energy, wireless, and bioscience technology sectors), and the Global Commercialization Group. The IC² Institute is directed by Dr. Robert A. Peterson. Project Staff Dr. Bruce Kellison, Associate Director of the Bureau of Business Research, IC² Institute, and Dr. -
(TMIIIP) Paid Projects Through August 31, 2019 Report Created 09/13/19
Texas Moving Image Industry Incentive Program (TMIIIP) Paid Projects through August 31, 2019 Report Created 09/13/19 Company Project Classification Grant Amount In-State Spending Date Paid Texas Jobs Retro Studios, Inc. Retro Studios Project 11 Video Game $4,600,460.00 $23,002,300.00 8/15/2019 74 Support the Girls, LLC Support the Girls Feature Film $64,500.60 $860,007.96 8/15/2019 206 Fort Worth Season One, Inc. Flip or Flop Fort Worth Reality Television Project $31,176.00 $623,520.00 8/15/2019 25 Engel Entertainmnet Lone Star Law Season 3 Reality Television Project $31,624.53 $421,660.41 8/15/2019 26 LQ Management LLC La Quinta "2018 Win@Business" Commercial $16,735.61 $334,712.19 8/15/2019 63 QC Games Inc. QC Games Project Video Game $700,000.00 $3,500,000.00 8/15/2019 52 Stoic Banner Saga 4 Video Game $113,894.47 $1,138,944.67 8/7/2019 12 Janimation Inc. Poo Pourri 2017 Commercial $7,154.00 $143,079.99 7/16/2019 20 FLIPNMOVE PRODUCTIONS INC Texas Flip N Move Season 5 Reality Television Project $648,666.78 $5,189,334.24 7/3/2019 705 Posada Pictures, LLC Friday's Child Feature Film $37,582.41 $501,098.78 5/21/2019 253 Minim Productions, Inc. The Long Road Home Television Program $5,329,659.00 $23,687,373.34 5/21/2019 1453 Lucky 21 Dell December 2017 Commercial $29,762.65 $396,835.33 5/21/2019 87 Vast of Night, LLC The Vast of Night Feature Film $24,034.67 $320,462.24 5/6/2019 205 This & That Amazon February 2018 Commercial $5,208.12 $104,162.47 4/18/2019 33 Santa Rita Pictures, LLC The Iron Orchard Feature Film $65,397.00 $871,960.00 4/16/2019 112 Cannonball Productions, Inc. -
The Big 6 Entertainment Corporations
THE BIG 6 ENTERTAINMENT CORPORATIONS ------------------------------------------------------------------------------------------------------------ News Corporation (abbreviated to News Corp) (NYSE: NWS) is one of the world's largest media conglomerates. Its chief executive officer is Rupert Murdoch, an influential and controversial media tycoon. News Corporation is a public company listed on the New York Stock Exchange and as a secondary listing on the London Stock Exchange (LSE: NCRA). Formerly incorporated in Adelaide, Australia, the company was re- incorporated in the United States state of Delaware after a majority of shareholders approved the move on 12 November 2004. The company is still listed on the Australian Stock Exchange (ASX: NWS). News Corporation's United States headquarters is on Sixth Avenue (Avenue of the Americas) in New York City, in the 1960s-1970s portion of the Rockefeller Center complex. Revenue for the year ended 30 June 2005 was $23.859 billion. This does not include News Corporation's share of the revenue of businesses in which it owns a minority stake, which include two of its most important assets, DirecTV and BSkyB. Almost 70% of the company's sales come from its US businesses. Holdings: Film/TV Production and Distribution 20th Century Fox 20th Century Fox Home 20th Century Fox TV Fox Filmed Entertainment Fox 2000 Blue Sky Studios Fox Searchlight Pictures Fox Animation Studios(defunct) Fox Family World Wide Fox Sports Fox News IGN Entertainment Inc New World Communications Direct TV News Papers/Magazines/Publishers (select) New York Post The Times(Eng) The Sun (Eng) HarperCollins Ecco Press Perennial The Weekly Standard TV Guide Radio/Multimedia (select) Sky Radio Fox Sports Radio News American The Street.com Line One Orbis ------------------------------------------------------------------------------------------------------------ The Walt Disney Company (most commonly known as Disney) (NYSE: DIS) is one of the largest media and entertainment corporations in the world. -
Feature Films and Licensing & Merchandising
Vol.Vol. 33 IssueIssue 88 NovemberNovember 1998 1998 Feature Films and Licensing & Merchandising A Bug’s Life John Lasseter’s Animated Life Iron Giant Innovations The Fox and the Hound Italy’s Lanterna Magica Pro-Social Programming Plus: MIPCOM, Ottawa and Cartoon Forum TABLE OF CONTENTS NOVEMBER 1998 VOL.3 NO.8 Table of Contents November 1998 Vol. 3, No. 8 4 Editor’s Notebook Disney, Disney, Disney... 5 Letters: [email protected] 7 Dig This! Millions of Disney Videos! Feature Films 9 Toon Story: John Lasseter’s Animated Life Just how does one become an animation pioneer? Mike Lyons profiles the man of the hour, John Las- seter, on the eve of Pixar’s Toy Story follow-up, A Bug’s Life. 12 Disney’s The Fox and The Hound:The Coming of the Next Generation Tom Sito discusses the turmoil at Disney Feature Animation around the time The Fox and the Hound was made, marking the transition between the Old Men of the Classic Era and the newcomers of today’s ani- 1998 mation industry. 16 Lanterna Magica:The Story of a Seagull and a Studio Who Learnt To Fly Helming the Italian animation Renaissance, Lanterna Magica and director Enzo D’Alò are putting the fin- ishing touches on their next feature film, Lucky and Zorba. Chiara Magri takes us there. 20 Director and After Effects: Storyboarding Innovations on The Iron Giant Brad Bird, director of Warner Bros. Feature Animation’s The Iron Giant, discusses the latest in storyboard- ing techniques and how he applied them to the film. -
(Walt Disney Pictures & Pixar Animation
Cast Crew Hanham Players Hanham Players Youth Group Act 2 – Creatures to Animals Frozen… (Walt Disney Animation Studios, Walt Disney Pictures, Walt Disney Studio Motion Pictures (2013)) Minions… (Illumination Entertainment & Universal Pictures International (2015)) The Nightmare Before Christmas… (Touchstone Pictures, Skellington Productions Inc., Tim Burton Productions & Walt Disney Pictures (1993)) Monsters Inc.… (Walt Disney Pictures, Pixar Animation Studios & Buena Vista International (2001)) Shrek… (DreamWorks Animation, DreamWorks SKG, Pacific Data Images & United International Pictures (2001)) There will be a 20 minute interval between the two acts. The use of photography and filming equipment is strictly prohibited. Aladdin… (Walt Disney Pictures, Silver Screen Partner, Walt Disney Feature Animation & Buena Vista International Monsters vs. Aliens… (DreamWorks Animation (2009)) (1992)) Despicable Me… (Universal Pictures, Illumination Entertainment & Universal Studios (2010)) Brave… (Walt Disney Pictures, Pixar Animation Studios & Walt Disney Studio Motion Pictures (2012)) Anastasia… (Twentieth Century Fox Film Corporation, Fox Animation Studios, Fox Family Films, The Big Gun Project, Little Wolf Entertainment & 20th Centure Fox (1997)) Toy Story… (Pixar Animation Studios, Walt Disney Pictures & Buena Vista International (1995)) Cars… (Walt Disney Pictures & Pixar Animation Studios (2006)) The Polar Express… (Castle Rock Entertainment, Shangri-La Entertainment, Playtone, ImageMovers, Golden Mean, Universal CGI, Warner Bros. & Park -
Animation Business Directory Winter 2002
Animation Industry Database GLOBAL aidb.com ANIMATION BUSINESS DIRECTORY WINTER 2002 An Animation World Network Publication awn.com GLOBAL ANIMATIONBUSINESS DIRECTORY WINTER 2002 GLOBAL ANIMATIONBUSINESS DIRECTORY WINTER 2002 WE ARE PLEASED TO WELCOME YOU TO ENJOY AWN’S INAUGURAL publication of the AIDB Directories. This three-part animation industry directory offers a resource to professionals that has never before been available. Derived from AWN’s exclusive online Animation Industry Database (www.AIDB.com), these new downloadable publications are Animation Industry Database designed to provide AWN readers with valuable information on animation, www.aidb.com visual effects, gaming and related companies from around the world. The AIDB is the most comprehensive, searchable and easy to use resource of its Animation World Network kind. Over 4,000 companies from 80 countries are represented within these www.awn.com directories, featuring companies that sell products, provide services and AWN, Inc. possess creative expertise across more than 100 business and production 6525 Sunset Blvd. categories. Garden Suite 10 AWN has just published the Winter 2002 edition of the following printable Los Angeles, CA 90028 United States PDF directories. Follow the links below to download these directories for [T] 323 606-4200 free. [F] 323 466-6619 [email protected] > GLOBAL ANIMATION BUSINESS DIRECTORY www.awn.com > GLOBAL ANIMATION HARDWARE&SOFTWARE DIRECTORY PUBLISHING > GLOBAL ANIMATION PRODUCTION DIRECTORY PRESIDENT Ron Diamond The on-line AIDB grows everyday as more and more people update CHIEF OPERATING OFFICER their company profiles. Inclusion, access and use of the AIDB is provided Dan Sarto free of charge. Participating companies edit their own descriptive profiles, so the information stays up-to-date and accurate. -
Constructing Crime in an Era of Globalization
Constructing Crime in an Era of Globalization THIRD Annual International Crime, Media & Popular Culture Studies Conference: A Cross Disciplinary Exploration Gary W. Potter, PhD Professor, School of Justice Studies Eastern Kentucky University For three decades scholars in mass communication and criminology have called our attention to the role of the media in the social construction of crime. Study after study has documented how media representations in both the entertainment and news arenas has created a social reality of a dangerous world, full of danger and risk, populated by stereotyped “others” (Jewkes, 2010; Marsh and Melville, 2009). A flood of mediated images emanating from our televisions, computers, books, newspapers and magazines, movies and even popular music instruct us on the seemingly natural order of the social world. It is through this incessant institutionalized attack on our senses that we come to experience what Jock Young (2007) calls the vertigo of modern society. But, the irony of all this is that our fears, prejudices, stereotypes, and pervasive impulses toward meanness and retribution are something less than real. They are created, mediated images offered to us as news and entertainments by a handful of immense and very motivated global corporations inextricably bound to state power. As we entered the 21st Century the power of the media has reemerged as a compelling and urgent concern. As early as 1983 scholars were commenting on the problems of increasing media corporatization and the concentration of ownership in fewer and fewer hands (Bagdikian, 2004; Bennett, 2004; McChesney, 2008; Thussu, 2006; Hesmondhalgh, 2007). But, as newer technologies created new and more diverse platforms for mass communication some argued that the danger of media consolidation was being offset by access to the internet, proliferating channels on cable television and community access to some cable systems. -
Animation Production Directory Winter 2002
Animation Industry Database GLOBAL aidb.com ANIMATION PRODUCTION DIRECTORY WINTER 2002 An Animation World Network Publication awn.com GLOBAL ANIMATIONPRODUCTION DIRECTORY WINTER 2002 GLOBAL ANIMATIONPRODUCTION DIRECTORY WINTER 2002 WE ARE PLEASED TO WELCOME YOU TO ENJOY AWN’S INAUGURAL publication of the AIDB Directories. This three-part animation industry directory offers a resource to professionals that has never before been available. Derived from AWN’s exclusive online Animation Industry Database (www.AIDB.com), these new downloadable publications are Animation Industry Database designed to provide AWN readers with valuable information on animation, www.aidb.com visual effects, gaming and related companies from around the world. The AIDB is the most comprehensive, searchable and easy to use resource of its Animation World Network kind. Over 4,000 companies from 80 countries are represented within these www.awn.com directories, featuring companies that sell products, provide services and AWN, Inc. possess creative expertise across more than 100 business and production 6525 Sunset Blvd. categories. Garden Suite 10 AWN has just published the Winter 2002 edition of the following printable Los Angeles, CA 90028 United States PDF directories. Follow the links below to download these directories for [T] 323 606-4200 free. [F] 323 466-6619 [email protected] > GLOBAL ANIMATION BUSINESS DIRECTORY www.awn.com > GLOBAL ANIMATION HARDWARE&SOFTWARE DIRECTORY PUBLISHING > GLOBAL ANIMATION PRODUCTION DIRECTORY PRESIDENT Ron Diamond The on-line AIDB grows everyday as more and more people update CHIEF OPERATING OFFICER their company profiles. Inclusion, access and use of the AIDB is provided Dan Sarto free of charge. Participating companies edit their own descriptive profiles, so the information stays up-to-date and accurate. -
Vertical Integration of the Film Industry
Hollywood Why is Hollywood such a successful film industry? Hollywood Vertical integration of the Hollywood film industry Vertical integration was a key feature of the Hollywood studio system up to 1948. The ‘Big Five’ studios were: "The Big Five," major studios realized they could maximize their profits by controlling each stage of a film's life: • production (making the film), • distribution (getting the film out to people), • exhibition (owning first-run cinemas in major cities). • "The Little Three" studios also made pictures, but each lacked one of the crucial elements of vertical integration. • Together these eight companies essentially controlled the entire market. They also controlled the terms under which you could see their films. Prestige or “A-Movies” used studio stars and lavish production values, and then could only be seen initially in studio-owned, first-run cinemas. When the studios released these films to cinemas they didn't own, they forced those owners to buy A-pictures in combination with a number of, often mediocre, B- pictures (no stars, bargain-basement genre pictures) and shorts, a practice called "block booking." Moreover, the studios often made the exhibitors buy the films blind, not allowing them to see what they were getting before they got it. The end of Hollywood's Golden Age In 1948 the studios were ordered to give up their cinemas, opening the market to smaller producers. This, coupled with the advent of television in the 1950s, seriously compromised the studio system's power and profits. Hence, 1930 and 1948 are generally considered bookends to Hollywood's Golden Age, the period when these eight companies secured 95 percent of all film rentals and close to 70 percent of all box-office receipts.