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CUFBRT404A Coordinate Outside Broadcasts
CUFBRT404A Coordinate outside broadcasts Revision Number: 1 CUFBRT404A Coordinate outside broadcasts Date this document was generated: 27 May 2012 CUFBRT404A Coordinate outside broadcasts Modification History Not applicable. Unit Descriptor Unit descriptor This unit describes the performance outcomes, skills and knowledge required to coordinate outside broadcasts in the media industries. No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement. Application of the Unit Application of the unit Broadcast technicians or technologists apply the skills and knowledge described in this unit. Although they work under the direction of a broadcast engineer or technical director, they are expected to work with minimum supervision and, in the context of outside broadcasts, would usually be responsible for supervising others. The person coordinating outside broadcast technical operations requires a broad range of technical skills associated with setting up and monitoring live feeds, as well as the flexibility to rectify faults quickly and efficiently. They also need to understand the requirements of others involved in the production chain. Note: To meet the requirements of this unit, candidates need to demonstrate competency in the coordination of outside broadcasts for either television or radio. The Required Skills and Knowledge section should be tailored accordingly. Approved Page 2 of 13 © Commonwealth of Australia, 2012 Innovation and Business Skills Australia CUFBRT404A Coordinate outside broadcasts Date this document was generated: 27 May 2012 Licensing/Regulatory Information Not applicable. Pre-Requisites Prerequisite units Employability Skills Information Employability skills This unit contains employability skills. Elements and Performance Criteria Pre-Content Elements describe the Performance criteria describe the performance needed to essential outcomes of a demonstrate achievement of the element. -
Szóösszetétel a Mai Olasz Nyelvben
Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar DOKTORI DISSZERTÁCIÓ TÓTH GABRIELLA SZÓÖSSZETÉTEL A MAI OLASZ NYELVBEN. TENDENCIÁK A NEOLOGIZMUSOK KÖRÉBEN Nyelvtudományi Doktori Iskola, Vezetője: Dr. Bańczerowski Janusz DSc., tanszékvezető egyetemi tanár Romanisztikai Program Vezetője: Dr. Giampaolo Salvi DSc., egyetemi tanár A bíráló bizottság tagjai A bizottság elnöke: Dr. Giampaolo Salvi DSc., egyetemi tanár Hivatalosan felkért bírálók: Dr. Ladányi Mária DSc., habilitált egyetemi docens Dr. Tóth László PhD, egyetemi docens A bizottság titkára: Dr. Fábián Zsuzsanna CSc., habilitált egyetemi docens A bizottság további tagjai: Dr. Kiss Sándor CSc., egyetemi docens Póttagok: Dr. Domokos György PhD., habilitált egyetemi docens Dr. Szilágyi Imre PhD., egyetemi adjunktus Témavezető: Dr. Vig István PhD., habilitált egyetemi docens Budapest, 2010 Alkalmazott rövidítések ............................................................................................................. 5 BEVEZETŐ ............................................................................................................................... 7 I. A SZÓALKOTÁS ELMÉLETI KÉRDÉSEI ................................................................... 11 1.1. A szóalkotás morfológiában elfoglalt helye .................................................................. 11 1.2. A szóalkotás célja .......................................................................................................... 14 1.3. A szóösszetételi szabályok ........................................................................................... -
Relatório E Contas ‘04
RELATÓRIO E CONTAS ‘04 RELATÓRIO E CONTAS ‘04 01. Carta do Conselho de Administração 02. Relatório de Actividade 03. Síntese de Indicadores 04. Demonstrações Financeiras 05. Anexo às Demonstrações Financeiras 06. Relatório e Parecer do Fiscal Único 07. Certificação Legal das Contas 08. Relatório do Revisor Oficial de Contas 09. Relatório de Auditoria Externa 01. CARTA DO CONSELHO DE ADMINISTRAÇÃO 01. CARTA DO CONSELHO DE ADMINISTRAÇÃO O exercício de 2004 deve ser considerado como o ano da consolidação e aprofundamento do processo de Mudança que consubstancia a reestruturação do sector público do audiovisual português. Neste contexto, o acontecimento com maior visibilidade foi decerto a inauguração do complexo das novas instalações de Lisboa, na Avenida Marechal Gomes da Costa. Desde 31 de Março de 2004 que a RTP e a RDP estão a operar em novas e modernas instalações, dotadas de excelentes condições de trabalho e dos mais modernos dispositivos tecnológicos da era digital. Nas mesmas instalações funcionam também os serviços da Rádio e Televisão de Portugal SGPS, que integram as áreas de gestão partilhadas pelas empresas do Grupo – RTP Serviço Público de Televisão e RDP – Radiodifusão Portuguesa. Quanto à RTP – Meios de Produção, ainda instalada no Lumiar, a sua inclusão no perímetro da Marechal Gomes da Costa deu os primeiros e decisivos passos com a preparação da construção da Fase II das novas instalações, as quais deverão completar-se até finais de 2006. Vertente fundamental do exercício e missão essencial da empresa, foi a extensa renovação e readequação dos con- teúdos dos canais à missão de Serviço Público que está cometida à empresa e que é desempenhada pela RTP e RDP. -
Dispute Prevention and Resolution in the Format Industry
Dispute Prevention and Resolution in the Format Industry Tony Stern EVP Commercial & Business Affairs, Worldwide Production, Fremantle Media WIPO Seminar, 20th January 2011 at Bird and Bird Who is Fremantle Media? • Alongside Endemol the largest producer and distributor of TV formats in the World • Produce in 21 countries, license formats into the remainder • In 2010 produced or licensed 296 Entertainment series around the world o 35 x Got Talent o 22 x X‐Factor o 20 x Family Fortunes o 19 x Farmer Wants a Wife o 17 x Idols Litigation is a Lottery in the Formats Business • Very few cases have gone all the way to judgement • Still unclear whether formats are protected by copyright • Unfair Competition is a better cause of action o Defendant acted in an unfair manner o In doing so caused damage to a competitor • FM has two cases being litigated at the moment Managing Expectations of Your Clients • Very important that your commercial people understand what is and is not actionable o No point embarking on litigation with minimal prospects of success • Copyright Law does not easily cope with formats o Are they just a collection of ideas or an expression of the ideas ? o Format would have to have been worked out in detail in a ‘bible’ o Substantial similarity bar is set very high o Not just copied most of the elements, but also the look and feel • Unfair Competition can be more fruitful if available o A number of cases in Europe where successfully prosecuted a format infringement • Genre is not copying Encourage and Police Your Own People From -
Rádio Em Portugal: Tendências E Grupos De Comunicação Na Actualidade Rogério Santos*
137 Comunicação e Sociedade, vol. 7, 2005, pp. 137-152. Rádio em Portugal: tendências e grupos de comunicação na actualidade Rogério Santos* Resumo O texto trabalha elementos que ilustram a situação actual da rádio em Portugal. Para além de uma curta história do meio no nosso país, dá informação sobre os grupos de rádio, mercado publicitário, públicos e audiências e políticas de incentivos. No conjunto de tendências e conclusões, o texto destaca o aumento da liberalização, com a consequente formação de grupos de comunicação mais fortes e inovadores, a asso- ciação de partilha de recursos nas estações mais pequenas e os desafios da rádio na Internet. Ao mesmo tempo, salienta as deficiências de serviço público e a precariedade laboral em muitas estações de proximidade. Palavras-chave: rádio, grupos de comunicação, mercado publicitário, audiências, pro- gramas Introdução Este texto trabalha elementos que ilustram a situação actual da rádio em Portugal, situando-a no conjunto dos media. Com ele, começando por traçar uma curta história do meio no nosso país, pretende-se dar informação sobre os grupos de rádio, mercado publicitário, públicos e audiências, políticas de incentivos e novas tendências. E res- ponder a perguntas como: quem ouve a rádio? Que serviço público? Qual o papel das tecnologias? Pequeno percurso pela história antiga e recente da rádio em Portugal A bibliografia existente sobre a rádio portuguesa ainda não é muito volumosa, salien- tando-se a obra pioneira de Matos Maia (1995), que traça o panorama geral da his- * Professor de Públicos e Audiências na Universidade Católica Portuguesa (rogerio. [email protected]) comunicação e sociedade 7.indd 137 02-08-2005, 17:36 138 Comunicação e Sociedade l Vol. -
RTL Group Press Release
PRESS RELEASE RTL Group reports highest-ever first-half revenue • Group revenue up 4.2 per cent to €3.2 billion in H1/2019, and up 4.6 per cent on a like-for-like basis • EBITA broadly stable at €538 million despite higher programming and video-on-demand (VOD) investments • Profit for the period up 21.0 per cent to €443 million • Paying subscribers for RTL Group’s VOD platforms in Germany and the Netherlands up 46.2 per cent • New alliances and partnerships: RTL Group shapes the future of the European TV industry • RTL Group updates and confirms full-year 2019 outlook • New dividend policy approved, targeting a pay-out ratio of at least 80 per cent of the adjusted net profit, payable after the Annual General Meeting Luxembourg, 28 August 2019 − RTL Group announces its results for the six months ended 30 June 2019. H1/2019: record first-half-year revenue, jump in net profit Group revenue was up 4.2 per cent to a record level of €3,173 million (H1/2018: €3,046 million), driven by Fremantle and the digital businesses. On a like-for-like basis, revenue rose 4.6 per cent to €3,124 million (H1/2018: €2,988 million) – the highest growth rate since 2010. RTL Group’s digital revenue grew 21.0 per cent to €513 million (H1/2018: €424 million), driven by Fremantle, BroadbandTV, SpotX and the Group’s streaming services TV Now and Videoland. Reported Group EBITA1 was broadly stable at €538 million (H1/2018: €548 million). Higher investments in programming and VOD services were largely compensated for by significantly higher profit contributions from Fremantle and Groupe M6. -
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. -
Katso Televisiota, Maksukanavia Ja Makuunin Vuokravideoita 4/2017 Missä Ja Millä Vain
KATSO TELEVISIOTA, MAKSUKANAVIA JA MAKUUNIN VUOKRAVIDEOITA 4/2017 MISSÄ JA MILLÄ VAIN. WATSON TOIMII TIETOKONEELLA, TABLETISSA JA ÄLYPUHELIMESSA SEKÄ TV-TIKUN TAI WATSON-BOKSIN KANSSA TELEVISIOSSA. WATSON-PERUSPALVELUN KANAVAT 1 Yle TV1 12 FOX WATSONISSA 2 Yle TV2 13 AVA MYÖS 3 MTV3 14 Hero 4 Nelonen 16 Frii MAKUUNIN 5 Yle Fem / SVT World 18 TLC UUTUUSLEFFAT! 6 Sub 20 National Geographic 7 Yle Teema Channel 8 Liv 31 Yle TV1 HD 9 JIM 32 Yle TV2 HD Powered by 10 TV5 35 Yle Fem HD 11 KUTONEN 37 Yle Teema HD Live-tv-katselu. Ohjelma/ohjelmasarjakohtainen tallennus. Live-tv-katselu tv-tikun tai Watson-boksin kautta. Ohjelma/ohjelmasarjakohtainen tallennus. Live-tv-katselu Watson-boksin kautta. Ohjelma/ohjelmasarjakohtainen tallennus. Vain live-tv-katselu Watson-boksin kautta. Vain live-tv-katselu. KANAVAPAKETTI €/KK, KANAVAPAIKKA, KANAVA Next 21 Discovery Channel C 60 C More First Sports 121 Eurosport 1 HD *1 0,00 € 22 Eurosport 1 C 61 C More First HD 8,90 € 122 Eurosport 2 HD 23 MTV C 62 C More Series 123 Eurosport 2 24 Travel Channel C 63 C More Series HD 159 Fuel TV HD 25 Euronews C 64 C More Stars 160 Motors TV HD 27 TV7 C 66 C More Hits 163 Extreme Sports HD Start 33 MTV3 HD *1 C 67 SF Kanalen 200 Nautical Channel 0,00 € C 75 C More Juniori Base 126 MTV Live HD *1 C More Sport S Pakettiin sisältyy oheisella 8,90 € 150 VH1 Swedish 40 SVT1 4,30 € 41 SVT2 24,95 € tunnuksella merkityt 151 Nick Jr. -
2020 Martins-Neves-Diniz-E-Arnaud
Título Arqueologia & História 13ª Série Volume 70 Ano de Edição 2020 Ano Associativo AAP 2018 Edição As sociação dos Arqueólogos Portugueses Largo do Carmo, 1200 ‑092 Lisboa Tel. 213 460 473 / Fax. 213 244 252 [email protected] www.arqueologos.pt Direcção José Morais Arnaud Coordenação José Morais Arnaud e Andrea Martins Design gráfico Flatland Design Fotografia da capa Estrutura pétrea de Rôdo (Gomes et al. – artigo 6) Impressão Europress, Indústria Gráfica Tiragem 300 exemplares Depósito legal 73 446/93 ISSN 0871-2735 © Associação dos Arqueólogos Portugueses Os artigos publicados nesta revista são da exclusiva responsabilidade dos respectivos autores. índice 5 Editorial José Morais Arnaud PALEOLÍTICO EM PORTUGAL – NOVOS DADOS, NOVAS PERSPECTIVAS 9 Análise comparativa entre o Acheulense de Grandes Lascas e o Acheulense “Tradicional” no Centro de Portugal Alexandre Varanda 25 O aprovisionamento de matérias‑primas líticas no centro da Península Ibérica no Paleolítico Médio – Estado da questão Ana Abrunhosa, Belén Márquez, David M. Martín‑Perea, Juan Luis Arsuaga, Alfredo Pérez‑González, Enrique Baquedano 39 Ground Stone Tools: análise funcional quantitativa à escala macro e microscópica Eduardo Paixão, João Marreiros 51 Cadeias operatórias do Paleolítico Médio da bacia do Arneiro Nelson Almeida 75 Novos dados para a compreensão da ocupação humana na Fonte Santa (Torres Novas) Luis Gomes 95 Contextos de descoberta e desafios do estudo dos sítios pré‑históricos do Aproveitamento Hidroelétrico de Ribeiradio‑Ermida Sérgio Gomes, Lurdes -
SEM 63 Annual Meeting
SEM 63rd Annual Meeting Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts SEM 2018 Abstracts Book – Note to Reader The SEM 2018 Abstracts Book is divided into two sections: 1) Individual Presentations, and 2) Organized Sessions. Individual Presentation abstracts are alphabetized by the presenter’s last name, while Organized Session abstracts are alphabetized by the session chair’s last name. Note that Organized Sessions are designated in the Program Book as “Panel,” “Roundtable,” or “Workshop.” Sessions designated as “Paper Session” do not have a session abstract. To determine the time and location of an Individual Presentation, consult the index of participants at the back of the Program Book. To determine the time and location of an Organized Session, see the session number (e.g., 1A) in the Abstracts Book and consult the program in the Program Book. Individual Presentation Abstracts Pages 1 – 76 Organized Session Abstracts Pages 77 – 90 Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts Ethiopian Reggae Artists Negotiating Proximity to Repatriated Rastafari American Dreams: Porgy and Bess, Roberto Leydi, and the Birth of Italian David Aarons, University of North Carolina, Greensboro Ethnomusicology Siel Agugliaro, University of Pennsylvania Although a growing number of Ethiopians have embraced reggae music since the late 1990s, many remain cautious about being too closely connected to the This paper puts in conversation two apparently irreconcilable worlds. The first is repatriated Rastafari community in Ethiopia whose members promote themselves that of George Gershwin’s Porgy and Bess (1935), a "folk opera" reminiscent of as reggae ambassadors. Since the 1960s, Rastafari from Jamaica and other black minstrelsy racial stereotypes, and indebted to the Romantic conception of countries have been migrating (‘repatriating’) to and settling in Ethiopia, believing Volk as it had been applied to the U.S. -
The Production of Religious Broadcasting: the Case of The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository The Production of Religious Broadcasting: The Case of the BBC Caitriona Noonan A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Centre for Cultural Policy Research Department of Theatre, Film and Television University of Glasgow Glasgow G12 8QQ December 2008 © Caitriona Noonan, 2008 Abstract This thesis examines the way in which media professionals negotiate the occupational challenges related to television and radio production. It has used the subject of religion and its treatment within the BBC as a microcosm to unpack some of the dilemmas of contemporary broadcasting. In recent years religious programmes have evolved in both form and content leading to what some observers claim is a “renaissance” in religious broadcasting. However, any claims of a renaissance have to be balanced against the complex institutional and commercial constraints that challenge its long-term viability. This research finds that despite the BBC’s public commitment to covering a religious brief, producers in this style of programming are subject to many of the same competitive forces as those in other areas of production. Furthermore those producers who work in-house within the BBC’s Department of Religion and Ethics believe that in practice they are being increasingly undermined through the internal culture of the Corporation and the strategic decisions it has adopted. This is not an intentional snub by the BBC but a product of the pressure the Corporation finds itself under in an increasingly competitive broadcasting ecology, hence the removal of the protection once afforded to both the department and the output. -
Social Tv Influencer Report
NIELSEN SOCIAL CONTENT RATINGS™ SOCIAL TV INFLUENCER REPORT IL RUOLO DEGLI INFLUENCER NELLA SOCIAL TV IN ITALIA DA SETTEMBRE A DICEMBRE 2018 AtCopyright Nielsen, © data 2019 drives The Nielseneverything Company we do— (US),even LLC. art. That’sConfidential why we and used proprietary. real data Doto createnot distribute. this image. 1 Copyright © 2019 The Nielsen Company (US), LLC. Confidential and proprietary. Do not distribute. LA SOCIAL TV IN PILLOLE LA RILEVANZA DEI CONTENUTI TELEVISIVI SUI SOCIAL NETWORK Tra l’1 Settembre e il 31 Dicembre, Nielsen Social ha tracciato 167.4Milioni di interazioni su Facebook Instagram e Twitter. Il 72% delle interazioni sono state rilevate su Instagram, il 15% su Twitter ed il 13% su Facebook. I GENERI TELEVISIVI PIÙ AMATI SUI SOCIAL Gli eventi sportivi live determinano oltre il 60% della Social TV. Al netto dello sport Talent e Reality show ed intattenimento sono i più rilevanti per gli utenti italiani dei Social Network. Sulle tre diverse piattaforme emergono significative differenze, come ad esempio su Twitter dove Talk Show, Intrattenimento e Serie Tv pesano decisamente di più rispetto a quanto accade su Facebook ed Instagram. IL PESO DEGLI INFLUENCER NELLA SOCIAL TV Assume sempre più rilevanza il ruolo dei social influencer nei programmi televisivi. Considerando i dieci programmi più rilevanti sui social, in media il 37% delle interazioni è generato da post pubblicati dal cast o dagli ospiti dei programmi. Tutti e dieci gli influencer più rilevanti sui social nel periodo in analisi provengono da Talent e Reality Show. GLI ACCOUNT UFFICIALI DEI PROGRAMMI Il programma che attraverso i profili social ufficiali, in rilevazione 24/7 (quindi continuativa e non durante la messa in onda), ha generato più engagement nella stagione televisiva autunnale è stato Amici di Maria De Filippi con 11.3 Milioni di interazioni, avvenute per il 96% sul profilo instagram ufficiale.