DOCSLIB.ORG

Newscast - Morning (4:55Am - 1Pm) - Larger Market (1-49)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Newscast - Morning (4:55Am - 1Pm) - Larger Market (1-49) 2015 Emmy® Award Nominations 1A: Newscast - Morning (4:55am - 1pm) - Larger Market (1-49) * News4 Midday: Amtrak Derailment WRC Brian Callahan, Executive Producer LuAnne Larimore, Producer Kurt Neilsen, Director Ronald Barry, Technical Director Barbara Harrison, Anchor Anthony Pittman, Audio Engineer ABC7 News at Noon: Train Derailment WJLA Elizabeth Wisniewski, Producer Jeannette Reyes, Reporter Michael Rudd, Photographer Jummy Olabanji, Anchor Joe Ball, Photographer Baltimore Burns: The Morning After the Riots WJZ Mike Schuh, Field Reporter/Producer Linh Bui, Anchor Michal Gass, Executive Producer Malachi Daraja, Producer Sharon Gibala, Traffic Reporter/Producer Ron Matz, Reporter/Field Producer Marty Bass, Anchor/Weather Anchor 1B: Newscast - Morning (4:55am - 1pm) - Medium Market (50+) * October 30th 6:30am Newscast WTVR Andy Pederson, Producer Lauren Mackey, Executive Producer Chris Peralta, Producer Rob Cardwell, Anchor Demetrius Terry, Floor Director Jacob Burns, Reporter Nikki-Dee Ray, Meteorologist Reba Hollingsworth, Anchor 2A: Newscast - Daytime (1pm - 8pm) - Larger Market (1-49) WAVY News 10 at 6PM (10/1/15) WAVY Robert Bennett, Producer Tom Schaad, Anchor Nicole Livas, Anchor 58th Emmy Awards – June 25th www.capitalemmys.tv - 1 - 2015 Emmy® Award Nominations ABC7 News at 4pm: Philadelphia Train Derailment WJLA Leon Harris, Anchor Alison Starling, Anchor Martin Doane, Photographer Scott Thuman, Anchor Brenda Carden, Producer Joe DeFeo, director of content Brad Bell, Reporter Suzanne Kennedy, Reporter Stephen Tschida, Reporter Joce Sterman, Reporter * News 4 at 5: Amtrak Derailment WRC Scott Trabandt, Executive Producer Anthony Mague, Producer Scott Leiser, Director Randall Stafford, Technical Director 2B: Newscast - Daytime (1pm - 8pm) - Medium Market (50+) * WSLS 10 at Six - Murdered Journalists WSLS Katelin Waldron, Producer NBC12 News at 5 WWBT Curt Autry, Anchor Sabrina Squire, Anchor Rachel Gallaher, Producer Drew Kendall, Director 3A: Newscast - Evening (8pm - Midnight) - Larger Market (1-49) 11 News Tonight - Police Commissioner Fired WBAL Jerome Chester, Producer Gene Long, Director Fox45 News at Ten - City Hall Curfew Clash WBFF Christopher Berinato, Producer * WTTG 10pm: The Baltimore Curfew Clash WTTG Michael Phillips, 10pm Producer * ABC7 News at 11pm: Baltimore Riots WJLA Lauren Stauffer, Producer Andrea Nejman, Producer George Williams II, Editor 58th Emmy Awards – June 25th www.capitalemmys.tv - 2 - 2015 Emmy® Award Nominations * ABC7 News at 11pm: Philadelphia Train Derailment WJLA Lauren Stauffer, Executive Producer Andrea Nejman, Producer Leon Harris, Anchor Jay Korff, Reporter Brad Bell, Reporter 3B: Newscast - Evening (8pm - Midnight) - Medium Market (50+) * NBC12 News at 11 WWBT Curt Autry, Anchor Sabrina Squire, Anchor Eric Blackstock, Producer Meg Thalhimer, Director 4A: Newscast - Weekend - Larger Market (1-49) * Baltimore Boils Over WJLA Brett Holton, Producer Lauren Harshman, Director Richard Reeve, Reporter Christopher Durden, Writer Kellye Lynn, Anchor Kimberly Suiters, Reporter LeRita Reid, Assignment Editor Donna Harris, Assignment Editor Awakening Amidst the Paris Terror Attacks WRC David Culver, Anchor Angie Goff, Anchor 4B: Newscast - Weekend - Medium Market (50+) * NBC12 News at 11: Charter Bus Crash WWBT Eric Blackstock, Nightside Executive Producer Mike Valerio, Anchor Britni McDonald, Anchor Ashley Monfort, Reporter Meg Thalhimer, Director 5A: General Assignment Report - Within 24 Hours * Field Trip WTTG Chip Baysden, Editor 58th Emmy Awards – June 25th www.capitalemmys.tv - 3 - 2015 Emmy® Award Nominations Freddie Gray Protest WBFF Megan Gilliland, News Reporter Leading up to the Horror, a DC Mansion Murder Exclusive WRC Meagan Fitzgerald, Reporter Perkins W. Broussard IV, Editor * Dying 8-year-old finds his true love WTKR Marissa Hundley, Reporter Matthew Sonsalla, Photojournalist This is Gonna Help Somebody WBFF Ben Worsley, Photojournalist Paul Gessler, Reporter Trooper 2 Survivor WUSA 9 Bruce Leshan, Reporter John Mogor, Photojournalist You don't have an Uncle Frankie WTVR Sandra Jones, Writer Brad Wilson, Editor 5B: General Assignment Report - No Time Limit * What is a Free Range Kid? WUSA 9 Andrea McCarren, Reporter/Producer Jeffrey Cridland, Photographer/Editor Stacey Finally Gets Her Chance WAVY Liz Palka, Reporter 58th Emmy Awards – June 25th www.capitalemmys.tv - 4 - 2015 Emmy® Award Nominations 6: Spot News Fatal Smoke WJLA Jay Korff, Reporter Lauren Stauffer, Producer Alison Starling, Anchor Joseph Moise, Photographer Joe DeFeo, Director of Content Roz Plater, Reporter Horace Holmes, Reporter Ashley Billings, Assignment Editor Leon Harris, Anchor Stephen Tschida, Reporter Ronald Windham, Photographer A Difficult Live Shot WMAR Peter O'Neal, Photographer Dakarai Turner, Reporter * Mondawmin Monday WBFF Kathleen Cairns, Reporter Jed Gamber, Producer * A night in the streets with Baltimore protesters The Washington Post Whitney Leaming, Video Journalist/Editor 7A: Continuing Coverage - Within 24 Hours Freddie Gray Riots WJZ Mary Bubala, Anchor Jessica Kartalija, Anchor Denise Koch, Anchor Meghan McCorkell, Reporter Marcus Washington, Reporter Amy Yensi, Reporter Derek Valcourt, Reporter Mitchell Friedmann, Producer Vic Carter, Anchor 58th Emmy Awards – June 25th www.capitalemmys.tv - 5 - 2015 Emmy® Award Nominations * The Baltimore Riots: A City Under Siege WJLA Jay Korff, Reporter Lauren Stauffer, Executive Producer Simone Middleton, Video Coordinator Andrea Nejman, Live Shot Coordinator Martin Doane, Photographer Jennifer Blye, Producer Leon Harris, Anchor Horace Holmes, Reporter John Gonzalez, Reporter Michael Rudd, Photographer AnnaMaria Di Pietro, Producer Joe DeFeo, Director of Content Travis Washington, Photographer Chanelle Oliver, Producer Ashley Billings, Assignment Editor Alison Starling, Anchor Jessica Glasser, Producer Rebecca McDevitt, Field Producer Brad Bell, Reporter Kellye Lynn, Anchor Michael Jaffe, Producer Richard Martin, Editor Michael Jacob, Director of News Donna Harris, Assignment Editor Pope Francis in America: Washington DC WUSA 9 Samara Martin Ewing, Executive Producer 7B: Continuing Coverage - No Time Limit * Rescue in the Tunnel WTTG Paul Wagner, Reporter From Pulpit to Prison WRIC Kerri O'Brien, Reporter Javier Sanchez, Editor Erick Iglesias, Photographer 8: Team Coverage * Papal Visit 2015 WRC Michael Goldrick, News Director 58th Emmy Awards – June 25th www.capitalemmys.tv - 6 - 2015 Emmy® Award Nominations 9A: Investigative Report - Single Story * Veterans Hospital Investigation WSLS Jenna Zibton, Reporter Greg Moore, Photographer/Editor 9B: Investigative Report - Series Freddie Gray Investigation WBAL Tim Tunison, Producer Jayne Miller, Reporter 13News Now Investigates: Untested Rape Kits WVEC Laura Geller, Investigative Reporter Charlie Hatfield, Producer/Photographer Jon Goodwin, Photographer/Editor * Serving in Silence: Rape in the National Guard WRC Tisha Thompson, Reporter Rick Yarborough, Producer Steven Jones, Photojournalist 10A: Feature News Report - Light Feature/Light Series * Heads of State: Presidential Graveyard Seeks New Life WRC Joe Toohey, Reporter/Producer Jacob Walker: A Small Boy Inspiring an Entire World WWBT Kelly Avellino, Reporter Pay It Forward: Let's Help Kids WTTG Holly Morris, Reporter Lance Ing, Field Producer The Sweetest Shop WBFF Jeff Abell, Producer * My talent is for God Entravision Edwin Pitti, Reporter/Producer /Editor Raul Ramos, Photographer/Editor * Metro a Metro WZDC Telemundo Daniel Rivera, Reporter/Script Writer Anna Llargues, Producer 58th Emmy Awards – June 25th www.capitalemmys.tv - 7 - 2015 Emmy® Award Nominations Baby Buns' Journey WRIC Kristin Smith, Reporter The Decision Between Life and Limb WRIC Parker Slaybaugh, Producer 10B: Feature News Report - Serious Feature Miracle Baby WSLS Lindsey Ward, Reporter Jeff Perzan, Photographer/Editor Billy's Last letter WBFF Kathleen Cairns, Reporter Jed Gamber, Photojournalist Policing after Freddie Gray WMAR Brian Kuebler, Reporter The Great Escape WJLA Scott Thuman, Reporter * The Last Week in April WBFF Luke Rollins, Photojournalist Jed Gamber, Producer Brian Johnson, Photojournalist Ruth Morton, Photojournalist Ben Worsley, Photojournalist Rob Parks, Photojournalist Joshua Miller, Photojournalist Still No Knock at the Door: Who killed Donna & Mike? WTVR Greg McQuade, Reporter Chris Munnings, Photojournalist Michael Bergazzi, Executive Producer Finding Fuller: He Sleeps in a Friendly Country WTVR Greg McQuade, Reporter Chris Munnings, Photojournalist Beyond Ebola: Building a family of strangers The Washington Post Whitney Leaming, Video Journalist/Editor 58th Emmy Awards – June 25th www.capitalemmys.tv - 8 - 2015 Emmy® Award Nominations 10C: Feature News Report - Serious Series Preparados para la Deportacin Entravision Lilian Mass, Reporter/Producer /Editor Border Kids: A Year Later Univision Washington Fernando Pizarro, Reporter and Producer Mario Vizcarra, Photographer and Editor History in Havana WRC David Culver, Reporter/Writer Finding peace after war Entravision Claudia Uceda, Reporter After Horrific Loss, Grieving Father Finds Strength Through Daughter WRC Angie Goff, Reporter Perkins W. Broussard IV, Editor * Historias de El Salvador / Stories from El Salvador WZDC Telemundo Roberto J.C. Gonzalez-Homs, Editor Armando Trull, Reporter/Photographer Maria Rozman, Producer * Maryland On the Street: M.O.S. Stories 2015 WBFF Kathleen Cairns, Reporter Jed Gamber, Photographer/Producer 11: News Special * Change After Tragedy WHSV Morgan
Load more

Recommended publications
  • Videography and Photography: Critical Thinking, Ethics and Knowledge-Based Practice in Visual Media
    Videography and photography: Critical thinking, ethics and knowledge-based practice in visual media Storytelling through videography and photography can form the basis for journalism that is both consequential and high impact. Powerful images can shape public opinion and indeed change the world, but with such power comes substantial ethical and intellectual responsibility. The training that prepares journalists to do this work, therefore, must meaningfully integrate deep analytical materials and demand rigorous critical thinking. Students must not only have proficient technical skills but also must know their subject matter deeply and understand the deeper implications of their journalistic choices in selecting materials. This course gives aspiring visual journalists the opportunity to hone critical-thinking skills and devise strategies for addressing multimedia reporting’s ethical concerns on a professional level. It instills values grounded in the best practices of traditional journalism while embracing the latest technologies, all through knowledge-based, hands-on instruction. Learning objectives This course introduces the principles of critical thinking and ethical awareness in nonfiction visual storytelling. Students who take this course will: Learn the duties and rights of journalists in the digital age. Better understand the impact of images and sound on meaning. Develop a professional process for handling multimedia reporting’s ethical challenges. Generate and translate ideas into ethically sound multimedia projects. Understand how to combine responsible journalism with entertaining and artistic storytelling. Think and act as multimedia journalists, producing accurate and balanced stories — even ones that take a point of view. Course design This syllabus is built around the concept of groups of students going through the complete process of producing a multimedia story and writing journal entries about ethical concerns that surface during its development and execution.
    [Show full text]
  • By Patricia Holloway and Carol Mahan
    by Patricia Holloway and Carol Mahan ids and nature seem like a natural survey by the Kaiser Family Foundation, combination, but what was natu- today’s 8- to 18-year-olds spend an average ral a generation ago is different of seven hours and 38 minutes per day on today. Children are spending entertainment media such as TV, video Kless time outdoors but continue to need games, computers, and cell phones, nature for their physical, emotional, leaving little time for nature explora- and mental development. This fact has tion or much else (2010). led author Richard Louv to suggest According to Louv, children need that today’s children are suffering nature for learning and creativity from “nature-deficit disorder” (2008). (2008). A hands-on experiential Nature-deficit disorder is not a med- approach, such as nature explo- ical term, but rather a term coined ration, can have other benefits by Louv to describe the current for students, such as increased disconnect from nature. motivation and enjoyment of While there may be many learning and improved reasons today’s children are skills, including communi- not connected with nature, cation skills (Haury and a major contributor is time Rillero 1994). spent on indoor activities. According to a national Summer 2012 23 ENHANCE NATURE EXPLORATION WITH TECHNOLOGY Digital storytelling Engaging with nature Our idea was to use technology as a tool to provide or Students need to have experiences in nature in order enhance students’ connection with nature. Students to develop their stories. To spark students’ creativ- are already engaged with technology; we wanted to ity, have them read or listen to stories about nature.
    [Show full text]
  • Filming from Home Best Practices
    Instructions for Filming From Home As we continue to adapt to the current public health situation, video can be a fantastic tool for staying connected and engaging with your community. These basic guidelines will help you film compelling, high-quality videos of yourself from your home using tools you already have on hand. For more information, contact Jake Rosati in the Communications, Marketing, and Public Affairs department at [email protected]. ​ SETTING YOUR SCENE Whether you’re using a video camera, smartphone, or laptop, there are a few simple steps you can take to make sure you’re capturing clean, clear footage. You can also use these scene-setting tips to help light and frame Zoom video calls. Background ● Make sure your subject—you, in this case—is the main focus of the frame. Avoid backgrounds that are overly busy or include a lot of extraneous motion. Whenever possible, ensure that other people’s faces are not in view. ● If you’re filming in front of a flat wall, sit far enough away to avoid casting shadows behind you. ● If you have space, you can add depth to your shot by sitting or standing in front of corners. This will draw the viewer’s eye to your subject. DO add depth to your shot by filming in front of a DON’T sit too close to a flat wall; it can cast ​ ​ corner. distracting shadows. Lighting ● The best at-home lighting is daylight. Try to position yourself facing a window (or set up a light if daylight isn’t an option) with your face pointing about three-quarters of the way toward the light.
    [Show full text]
  • Wvec-Tv Eeo Public File Report I. Vacancy List
    Page: 1/11 WVEC-TV EEO PUBLIC FILE REPORT May 21, 2020 - May 20, 2021 I. VACANCY LIST See Section II, the "Master Recruitment Source List" ("MRSL") for recruitment source data Recruitment Sources ("RS") RS Referring Job Title Used to Fill Vacancy Hiree Multi-Skilled Journalist 1-3, 5-6, 8-9, 11, 15-23, 25-32 29 Marketing Director 1-6, 8-9, 11, 15-18, 20-23, 25-32 29 Freelance Producer-8636 1, 15, 29 29 1-3, 5-6, 8-9, 11-12, 15-18, 20-23, 25- Multi Skilled Journalist - 8838 12 27, 29-32 1-3, 5-6, 8-11, 15-16, 18-23, 25-27, 29- Producer- 9276 29 32 1-3, 5-6, 8-9, 11-12, 15-23, 25-27, 29- Photojournalist / Storyteller - 9341 29 32 1-3, 5-6, 8-9, 11-12, 15-23, 25-27, 29- Photojournalist / Storyteller - 9341 29 32 1-3, 5-6, 8-9, 11-12, 15-23, 25-27, 29- Photojournalist / Storyteller - 9341 12 32 Account Executive-9493 1-3, 5-9, 11, 13-23, 25-27, 29-32 7 Account Executive-9493 1-3, 5-9, 11, 13-23, 25-27, 29-32 14 Digital Content Producer-9496 1, 15, 29 29 Multi-Skilled Journalist - 9506 1-3, 5-6, 8-9, 11, 15-23, 25-27, 29-32 29 1-3, 5-6, 8-9, 11, 14-16, 18, 20-27, 29- Producer - 9867 14 32 Page: 2/11 WVEC-TV EEO PUBLIC FILE REPORT May 21, 2020 - May 20, 2021 II.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Doron Kipper
    Doron Kipper [email protected] (818) 396-7484 Filmography (More Available Upon Request) Feature Films Ender’s Game 2012 - 2013 FX/Integration Coordinator Profile 2012 On-Set VFX Data Wrangler • Passionate about Filmmaking. Short Films • High standard for quality. • Driven to excel in any job, no Sinners & Saints 2011/RED Epic Key Grip matter how small. Misdirection 2010/35mm Director/Writer/Producer • Follows directions quickly with Four Winds 2010/35mm Script Supervisor attention to detail and efficiency. Onigiri 2010/Super16 Script Supervisor • Wide range of skill sets and Abduction 2009/16mm Cinematographer knowledge in areas of film, Evacua 2008/RED Script Supervisor theatre production, & technology. Brain Found 2008/16mm Cinematographer • Eager & quick to learn new skills. Shoes 2008/16mm Cinematographer/Editor • Confronts obstacles with creative Sweet Cheeks 2007/DV 1st Assistant Director solutions under extreme stress. The Warning 2004/DV Director/Writer/Editor • Works well in a collaborative Media environment. Breaking Ice (Breaking Bad Webisode - Final Season) 2012 DP (HD) • Quality work is more important Disney’s D23 Armchair Archivist - Season 2 2011 Camera/Editor than sleep. Over 40 Additional Theatrical Productions (HD/SD) 2003 -11 Videography/DVD No Good Television Promotional Spot 2010 SpecialFX Specialist Tippi Hedren/Vivica A. Fox Awards Reel (La Femme) 2008 Editor Software Proficiency Antsy McClain and The Troubadours Concert HD 2008 Asst. DP/Camera • Shotgun Big River (MET2) - Promotional Trailer 2008 Editor • Filemaker
    [Show full text]
  • EPC Exhibit 129-30.1 770 *‡Photography, Computer Art
    770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 EPC Exhibit 129-30.1 770 *‡Photography, computer art, cinematography, videography Standard subdivisions are added for photography, computer art, cinematography, videography together; for photography alone Class here conventional photography (photography using film), digital photography Class technological photography in 621.367 See also 760 for hybrid photography 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 SUMMARY [770.1–.9 Standard subdivisions [771 Techniques, procedures, apparatus, equipment, materials [772 Metallic salt processes [773 Pigment processes of printing [774 Holography [776 Computer art (Digital art) [777 Cinematography and videography [778 Specific fields and special kinds of photography [779 Photographic images 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 [.1 *‡Philosophy and theory 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 [.11 *‡Inherent features Do not use for systems; class in 770.1 Including color, composition, decorative values, form, light, movement, perspective, space, style, symmetry, vision 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 [.2 *‡Miscellany 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 [.23 *‡Photography as a profession, occupation, hobby 770 Photography,[computer[art,770[
    [Show full text]
  • Videography Terminology Continuity
    Videography Terminology Continuity This is an important concept to keep in mind during recording of video/audio and later in post-production. Continuity means that if something is in one position or state-of-being in one shot, it needs to be the same way in the next shot unless it has purposely been changed for storytelling purposes. Some examples of lack of continuity are changes in a subject’s clothing, hair style, body position, or position of objects on the set between two shots that are supposed to be occurring within the same time frame. Another example is when in one shot a subject is traveling in one direction, but in the next shot the movement is in the opposite direction. Continuity changes can also occur with audio if scenes are shot in different locations or at different times but are supposed to be occurring in the same location. Framing Your Shot Rule of thirds: Divide the image in the viewfinder into horizontal and vertical thirds like placing a tic-tac-toe grid over it. Place a key part of the image on one of the intersecting points. This keeps the picture interesting and creates a pleasingly balanced image. Head room: The space between the top of the head and the upper edge of the picture or television screen. Breathing room: The space in front of a person’s face when recorded in profile. Classroom Video Production: Videography Terminology © KET 2015 1 Lead room: The space in front of a moving object or person. Types of Shots Wide shot (WS): A shot taken from a distance to show a landscape, building, or large crowd, such as the view of New York City from the Ellis Island.
    [Show full text]
  • Dialsmith and KGW Newschannel 8 Team up to Offer Second-By-Second Super Bowl Ad Ratings
    Contact: Brian Izenson [email protected] (direct) +1.503.505.6276 (cell) +1.503.860.6626 For Immediate Release Dialsmith and KGW NewsChannel 8 Team Up to Offer Second-by-Second Super Bowl Ad Ratings Portland, Ore (January 21st)—Portland, Oregon-based NBC Affiliate KGW NewsChannel 8 and Dialsmith have announced the launch of a new online ratings feature that gives visitors to the station’s website (KGW.com) the opportunity to watch and continuously rate this year’s Super Bowl advertisements. KGW will be joined by partner stations from around the country in offering the ad ratings feature in their markets. Those partner stations include: KHOU in Houston, WWL TV in New Orleans, KENS5 TV in San Antonio, WCNC TV in Charlotte, KREM TV in Spokane, WVEC TV in Norfolk, KTVB TV in Boise and WHA11 in Louisville. KGW.com visitors can go to http://www.kgw.com/sports/super-bowl/ads now to try out the ratings feature on a selection of highly rated ads from last year’s Super Bowl. Ratings of this year’s Super Bowl ads will begin next week with new ads added to the feature and made available for rating as soon as they are public. “The Super Bowl ads are an entertainment spectacle in and of themselves, and everyone has an opinion about them—the good, the bad, and the ugly,” said Frank Mungeam, KGW Director of Digital Media. “At KGW, we’re excited to give our online community a fun and engaging way to express their opinions and views about the ads and see how their ratings measure up to other viewers.” “Visitors to this feature on KGW.com and its partner stations’ websites will be able to continuously rate each Super Bowl ad second-by-second and then see in real time how their ratings compare to other viewers,” said David Paull, Founder and CEO of Dialsmith.
    [Show full text]
  • Photography Project Area Guide Beginner Level
    W 977 Photography Project Area Guide Beginner Level Authored by: James Swart, M.S., Graduate Student, Department of Agricultural Leadership, Education and Communications Summer Treece, Undergraduate Student, Department of Agricultural Leadership, Education and Communications Tonya Bain, University of Tennessee, Extension Agent III Reviewed for pedagogy: Jennifer K. Richards, Ph.D., Department of Agricultural Leadership, Education and Communications Molly A. West, Ph.D., Department of Agricultural Leadership, Education and Communications Activity 1 Technical Skills Development Project Outcomes Addressed • Define the term “point-and-shoot” camera. • Label the parts of a point-and-shoot camera. Before you can learn how to use a camera to take eye- capturing shots, it’s important to know the different types of cameras that are available. In this activity, you will be learning about the “point-and-shoot” camera. In the space below, write two sentences or draw a picture of what you think a “point-and-shoot” camera is. It is okay if you don’t know what this term means, you will learn more about it below! So, what is a point-and-shoot camera? A point-and-shoot camera, also known as a compact camera, is a camera that serves a single purpose—to take photos. Most use a single, built in lens and use automatic systems for focusing and exposure. Point-and-shoot cameras are popular among people who do not call themselves “photographers.” They are easy to use and provide good quality pictures. There are five basic parts of a point-and-shoot camera. Read about each piece. Then, label the diagram on the next page with the correct term.
    [Show full text]
  • REGISTER NOW �Station Summit: Las Vegas
    �Awards: North America Station 2019. 1 Celebrate the best in television station marketing. REGISTER NOW �Station Summit: Las Vegas. June 17-21, 2019. �Awards: North America Station 2019. GENERAL BRANDING/IMAGE: NEWS STATION IMAGE - SMALL MARKET GOO GOO DOLLS - TURN IT UP WGRZ KHQ STATION IMAGE 2018 KHQ TV ALL DEVICES WWBT CHANGE IS COMING WLTX-TV 65 YEARS THROUGH OUR LENS WIBW-TV PRESCRIBING HOPE HAWAII NEWS NOW/GRAY TELEVISION GENERAL BRANDING/IMAGE: NEWS STATION IMAGE - MEDIUM MARKET COLUMBUS, MY HOME WBNS-10TV CBS AUSTIN- CENTRAL TEXAS TRUSTED - WORKING SINCLAIR BROADAST GROUP THE SOURCE WDRB MEDIA WE ARE ONE WHAS11/TEGNA CBS 58 ELEVATOR WEIGEL BROADCASTING WDJT MILWAUKEE WDSU 70TH ANNIVERSARY WDSU-TV 2 Celebrate the best in television station marketing. REGISTER NOW �Station Summit: Las Vegas. June 17-21, 2019. �Awards: North America Station 2019. GENERAL BRANDING/IMAGE: NEWS STATION IMAGE - LARGE MARKET FIRE AND ICE KGW DEMANDING NBC10 BOSTON WBZ: ONE 4 ALL WBZ-TV I AM THUNDER KXAS BRAND MARKETING STRONGER AND BETTER TOGETHER NBC4 LA STORM FLEET 2.0 KXAS BRAND MARKETING, PLANET 365 GENERAL BRANDING/IMAGE CAMPAIGN - SMALL MARKET WORKING FOR YOU WTVR STORIES THAT MAKE AN IMPACT WPRI YOU KNOW THIS IS HOME WHEN WGRZ PM IMAGE WWBT WWBT THV11 STORYTELLERS KTHV MORNING ON REPEAT WATERMAN BROADCASTING 3 Celebrate the best in television station marketing. REGISTER NOW �Station Summit: Las Vegas. June 17-21, 2019. �Awards: North America Station 2019. GENERAL BRANDING/IMAGE CAMPAIGN - MEDIUM MARKET WISH-TV - LOCAL NEWS SOURCE LAUNCH CAMPAIGN WISH-TV STORIES OF NOW TEGNA- 13NEWS NOW (WVEC) TRIBUNE MEDIA - FOX4 TALENT CAMPAIGN TRIBUNE MEDIA HERE FOR YOU WWL-TV BUILD YOU UP KSL TV WTKR NEWS 3 - MORNING PERSON TRIBUNE BROADCASTING GENERAL BRANDING/IMAGE CAMPAIGN - LARGE MARKET HOT FOR TV WCIU KTLA 5 NEWS IMAGE CAMPAIGN: CUT TO LA KTLA 70 YEARS OF STORIES KPIX MEDIA WITH IMPACT WNET EMOTIONAL COLORS KARE 11 I AM CAMPAIGN WFAA, A TEGNA COMPANY 4 Celebrate the best in television station marketing.
    [Show full text]
  • Broadcasting I Feb 29
    The Fifth Estate R A D I O T E L E V I S I O N C A B L E S A T E L L I T E Broadcasting i Feb 29 V WBBM -TV KAUT-TV WCAU -TV WWMT -TV WBZ -TV KENS -TV WLNE-TV WJBK-TV WNEP-TV WHAS-TV WFAA-TV WFMY-TV WJ LA-TV TV WTVR- V-TV WJR1 WTLV-TV WAGA-TV In just 6 weeks of selling .. W H EC-TV OL-TV MEW MTV-TV VV KING-TV \ BUSINESS WSVN-TV ILR-TV WDE TAJ-TV VV KM OV-TV KMGH-TV AR-TV WE\ TillS 1W/i/C NE-TV WO KXTV-TV \ WRDW-TV NE-TV W I L: -TV WTOC- ' W I FR-TV WJHL-TV KA-TV WJ -TV KFDA- WMAR-TV WJW-TV V11 . AW-TV WI TV KSWO- WMAZ-TV <TPX-TV W' DAY--TV KH TV KLBK- KCCI-TV V\ BS-TV WIB WISH-TV WFSB-TV W BTW-TV -TV WKYT-T TV KGTV KOIN-TV WTVF-TV WCPO-TV WISN-TV WOME-TV WEAR-TV WCBS-TV WFTV KCBS-TV WVUE-TV WSPA-TV 2119E lV ll3HXtlW SCbT 9019 ZZ T wQC1b s vS-lnV C6 /ACM )47I b9£Zl TI4£ Most People Only Know The So Wdd LikeToShowTF 'lb most people in the most ambitious and reveal- West, the Soviet Union is ing look into the very heart a mysterious giant. A and soul of Soviet life: geographic titan most Portrait of the Soviet often portrayed as a Union.
    [Show full text]