October 16, 2015 VIA ECFS Ms. Marlene H. Dortch Secretary
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The Evolution of the Set-Top Box: Current and Future Trends Affecting Return Path Data Measurement
The evolution of the set-top box: Current and future trends affecting return path data measurement Analysts: Matt Stump, Karen Brown Prepared for the Council for Research Excellence by One Touch Intelligence © 2012 One Touch Intelligence, LLC. All rights reserved. INDEX 4 Multichannel video program distributors 9 Gaming consoles 12 Smart TVs/Blu-ray players 15 Internet video set-top boxes 25 Tablets/smartphones 26 Summary 2 The evolution of the set-top box — September 2012 INTRODUCTION The set-top box world dominated by cable, DBS and telephone companies is evolving into a more fractured environment for the delivery of live linear programming and video-on-demand content from broadcasters and cable networks. The growth in broadband subscribers and Internet speeds plus the rapid adoption of all manner of digital devices have created a second ecosystem adjacent to the current pay TV environment. Content providers that have been shut out of traditional channel delivery are finding Internet aggregators only too happy to test the limits of the pay TV ecosystem by giving consumers choices beyond traditional broadcast and cable network lineups. At the same time, many of these online aggregators represent an opportunity for content providers to extend the visibility for much of their library product. Such providers also present a promotional opportunity for newly produced content. For multichannel video program distributors (MVPDs), online aggregators present both a cord-cutting threat and a broadband opportunity, since consumers need a broadband connection to access such services. As content distribution has spread to new outlets, new devices have been created for consumers to view that content. -
C Ntentasia 2014
30 June- 13 July C NTENTASIA 2014 www.contentasia.tv l https://www.facebook.com/contentasia?fref=ts facebook.com/contentasia l @contentasia l www.asiacontentwatch.com Fox Asia unveils new sports story Three channel shift all set for 15 August Fox International Channels (FIC) Asia moves another step into its wholly owned sports future in August this year with three repositioned sports brands and a “seri- ously visible upgrade” both on and off screen. Fox Sports, Fox Sports 2 and Fox Sports 3 roll out across the region on 15 August in both standard definition and HD. These replace the previous versions of Fox Sports as well as Fox Sports Plus HD and Star Sports everywhere except China and South Korea, where Star Sports will continue to be offered. Fox Sports News and Fox Football Chan- nel HD remain unchanged, as do the network’s non-linear offerings – Fox Sports Play and Fox Sports Mobile. Each of the new brands will cater to distinct groups of sports fans, says Joon Lee, FIC Asia’s executive vice president, content and communications, APAC and Middle East and managing director, Hong Kong and Southeast Asia. Coming two years after the end of the ESPN Star Sports joint venture, the latest branding is aimed at going even bigger with the Fox Sports brand. More simply, “we inherited the Star Sports brand and it’s confusing to have the two with distinctions that are not clear enough,” Lee says. “It’s essential for us to come up with a network under one brand, which is Fox Sports,” he adds. -
Be a Disruptor Than to Defend Myself from Disruption.”
“I ultimately made the decision “The world that it would be more fun to wants us be a disruptor than to tell them that to defend myself the sky is falling. from disruption.” IT’s NOT.” – Le s L i e Mo o n v e s –Pe t e r Ch e r n i n aac e e s i ” – L “ . BEYO TECH NOL WELCOME NDDI OGY SRUP is the best ally democracy can have.” disruption and UNCERTAINTY good way to do it: embrace “There’s only one TION –Ad r i A n A Ci s n e r o s A Report on the AND PLEASE JOIN US INTERNATIONAL for the next International COUNCIL SUMMIT Council Summit September 14, 15, 16, 2011 April 26, 2012 Los Angeles Madrid, Spain CONTENTS A STEP BEYOND DISRUPTION 3 | A STEP BEYOND DISRUPTION he 2011 gathering of The Paley Center for Me- Tumblr feeds, and other helpful info. In addi- dia’s International Council marked the first time tion, we livestreamed the event on our Web site, 4 | A FORMULA FOR SUCCESS: EMBRacE DISRUPTION in its sixteen-year history that we convened in reaching viewers in over 140 countries. Los Angeles, at our beautiful home in Beverly To view archived streams of the sessions, visit 8 | SNAPSHOTS FROM THE COCKTAIL PaRTY AT THE PaLEY CENTER Hills. There, we assembled a group of the most the IC 2011 video gallery on our Web site at http:// influential thinkers in the global media and en- www.paleycenter.org/ic-2011-la-livestream. -
VIDEO Blu-Ray™ Disc Player BP330
VIDEO Blu-ray™ Disc Player BP330 Internet access lets you stream instant content from Make the most of your HDTV. Blu-ray disc playback Less clutter. More possibilities. Cut loose from Netflix, CinemaNow, Vudu and YouTube direct to delivers exceptional Full HD 1080p video messy wires. Integrated Wi-Fi® connectivity allows your TV — no computer required. performance, along with Bonus-view for a picture-in- you take advantage of Internet access from any picture. available Wi-Fi® connection in its range. VIDEO Blu-ray™ Disc Player BP330 PROFILE & PLAYABLE DISC PLAYABLE AUDIO FORMATS BD Profile 2.0 LPCM Yes USB Playback Yes Dolby® Digital Yes External HDD Playback Yes (via USB) Dolby® Digital Plus Yes BD-ROM/BD-R/BD-RE Yes Dolby® TrueHD Yes DVD-ROM/DVD±R/DVD±RW Yes DTS Yes Audio CD/CD-R/CD-RW Yes DTS-HD Master Audio Yes DTS-CD Yes MPEG 1/2 L2 Yes MP3 Yes LG SMART TV WMA Yes Premium Content Yes AAC Yes Netflix® Yes FLAC Yes YouTube® Yes Amazon® Yes PLAYABLE PHOTO FORMATS Hulu Plus® Yes JPEG Yes Vudu® Yes GIF/Animated GIF Yes CinemaNow® Yes PNG Yes Pandora® Yes MPO Yes Picasa® Yes AccuWeather® Yes CONVENIENCE SIMPLINK™ Yes VIDEO FEATURES Loading Time >10 Sec 1080p Up-scaling Yes LG Remote App Yes (Free download on Google Play and Apple App Store) Noise Reduction Yes Last Scene Memory Yes Deep Color Yes Screen Saver Yes NvYCC Yes Auto Power Off Yes Video Enhancement Yes Parental Lock Yes Yes Yes CONNECTIVITY Wired LAN Yes AUDIO FEATURES Wi-Fi® Built-in Yes Dolby Digital® Down Mix Yes DLNA Certified® Yes Re-Encoder Yes (DTS only) LPCM Conversion -
SECURITIES and EXCHANGE COMMISSION Washington, D.C. 20549 ______FORM 8-K ______
SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 ______________ FORM 8-K ______________ Current Report Pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934 Date of Report (Date of earliest event reported): August 2, 2019 Charter Communications, Inc. CCO Holdings, LLC CCO Holdings Capital Corp. (Exact name of registrant as specified in its charter) Delaware (State or other jurisdiction of incorporation or organization) 001-33664 84-1496755 001-37789 86-1067239 333-112593-01 20-0257904 (Commission File Number) (I.R.S. Employer Identification Number) 400 Atlantic Street Stamford, Connecticut 06901 (Address of principal executive offices including zip code) (203) 905-7801 (Registrant’s telephone number, including area code) Not Applicable (Former name or former address, if changed since last report) Check the appropriate box below if the Form 8-K filing is intended to simultaneously satisfy the filing obligation of the registrant under any of the following provisions: Written communications pursuant Rule 425 under the Securities Act (17 CFR 230.425) Soliciting material pursuant to Rule 14a-12 under the Exchange Act (17 CFR 240.14a-12) Pre-commencement communications pursuant to Rule 14d-2(b) under the Exchange Act (17 CFR 240.14d-2(b)) Pre-commencement communications pursuant to Rule 13e-4(c) under the Exchange Act (17 CFR 240.13e-4(c)) Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Class A Common Stock, $.001 Par Value CHTR NASDAQ Global Select Market Indicate by check mark whether the registrant is an emerging growth company as defined in Rule 405 of the Securities Act of 1933 (§230.405 of this chapter) or Rule 12b-2 of the Securities Exchange Act of 1934 (§240.12b-2 of this chapter). -
Internet Peer-To-Peer File Sharing Policy Effective Date 8T20t2010
Title: Internet Peer-to-Peer File Sharing Policy Policy Number 2010-002 TopicalArea: Security Document Type Program Policy Pages: 3 Effective Date 8t20t2010 POC for Changes Director, Office of Computing and Information Services (OCIS) Synopsis Establishes a Dalton State College-wide policy regarding copyright infringement. Overview The popularity of Internet peer-to-peer file sharing is often the source of network resource allocation problems and copyright infringement. Purpose This policy will define Internet peer-to-peer file sharing and state the policy of Dalton State College (DSC) on this issue. Scope The scope of this policy includes all DSC computing resources. Policy Internet peer-to-peer file sharing applications are frequently used to distribute copyrighted materials such as music, motion pictures, and computer software. Such exchanges are illegal and are not permifted on Dalton State Gollege computers or network. See the standards outlined in the Appropriate Use Policy. DSG Procedures and Sanctions Failure to comply with the appropriate use of these resources threatens the atmosphere for the sharing of information, the free exchange of ideas, and the secure environment for creating and maintaining information property, and subjects one to discipline. Any user of any DSC system found using lT resources for unethical and/or inappropriate practices has violated this policy and is subject to disciplinary proceedings including suspension of DSC privileges, expulsion from school, termination of employment and/or legal action as may be appropriate. Although all users of DSC's lT resources have an expectation of privacy, their right to privacy may be superseded by DSC's requirement to protect the integrity of its lT resources, the rights of all users and the property of DSC and the State. -
The Business of Creativity: Seeking Value in the Digital Content Ecosystem
The Business of Creativity: Seeking Value in the Digital Content Ecosystem Part of the Norms and Values in Digital Media Project Series (2012-2014) January 2015 Published by World Economic Forum, Geneva, Switzerland, 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, or otherwise without the prior permission of the World Economic Forum. The views expressed in this publication are those of selected members of the Global Agenda Council on Climate Change and do not necessarily reflect the views of all the members of the Council or of the World Economic Forum. World Economic Forum 91-93 route de la Capite CH-1223 Cologny/Geneva Switzerland Tel.: +41 (0) 22 869 1212 Fax: +41 (0) 22 786 2744 [email protected] www.weforum.org Contents 5 Introduction 6 Chapter 1. The Power of Digital: Three Stories about Creators, Content and Consumers 8 Chapter 2. Copyright in the Digital Age 11 Chapter 3. Needs for the Future 14 Contributors 15 Figures 22 Endnotes The Business of Creativity: Seeking Value in the Digital Content Ecosystem 3 4 The Business of Creativity: Seeking Value in the Digital Content Ecosystem Introduction The way creative content and information diversity, and stakeholders are thus For the purpose of this report, are created, produced, consumed and challenged to ensure that such systems shared has changed dramatically in the continue to invite investment in creative the use of “copyright systems” digital era, presenting both new works. The act of paying to see a movie or and “copyright regimes” strictly challenges and opportunities for copyright to read a book not only provides a refers to laws and policies systems. -
Distribution Forward Distribution Forward: a Guide to Strategic Self-Initiated Digital and DVD Documentary Film Distribution
Distribution Forward Distribution Forward: a guide to strategic self-initiated digital and DVD documentary film distribution. THIS PUBLICATION WAS MADE POSSIBLE THROUGH THE SUPPORT OF: 1 Contents Introduction 3 Elizabeth Radshaw, Hot Docs Forum and Market Director The Marketplace 4 Elizabeth Radshaw, Hot Docs Forum and Market Director The Rights 6 Greg Rubidge, Syndicado The Players 7 Greg Rubidge, Syndicado The Deals 8 Greg Rubidge, Syndicado The Strategy 9 • Greg Rubdige, Syndicado 9 • Jon Reiss, JonReiss.com 12 • Melanie Miller, Gravitas Ventures 19 • Robin Smith, KinoSmith 14 • Andrew Mer, Snag Films 18 The Example 21 Felice Gorica, Gorica Productions The Wisdom 23 Janet Brown, Cinetic The Resources 24 2 Introduction Distribution Forward: a guide to strategic self-initiated digital and DVD documentary film distribution. Distribution Forward illustrates the current climate of digital and DVD distribution of documentary films through examples, case studies and direct market intelligence from players in the field. This guide will provide tools, information and support to help filmmakers determine their own strategies for their films’ market trajectory. Additionally, Distribution Forward intends to dispel the myths Twitter length conversation bubbles @DistributionFwd tiny bits of and better inform filmmakers about the realities of the market distribution wisdom. place, helping them to achieve positive results and meet their financial, professional and artistic goals. The dialogue around digital documentary distribution has run the gamut of DIY, DIWO, hybrid, and self-distribution, which can confuse filmmakers and muddle their expectations. This guide intends to shed some light on the current climate. It is by no means exhaustive and there are a many avenues worthy of exploration. -
E C O N O M I C S
ECONOMICS OF MOBILE 2015 EDITION © 2015 SNL Kagan, a division of SNL Financial LC. All rights reserved. One SNL Plaza, Charlottesville, VA 22902 | Phone: 866.296.3743 | www.snlkagan.com Published May 2015 | ISBN: 978-1-939835-437 ECONOMICS OF MOBILE 2015 EDITION © 2015 SNL Kagan, a division of SNL Financial LC. All rights reserved. One SNL Plaza, Charlottesville, VA 22902 | Phone: 866.296.3743 | www.snlkagan.com Published May 2015 | ISBN: 978-1-939835-437 Economics of Mobile Programming SNL Kagan Industry Report Contents Executive Summary........................................................2 Mobile ads vs. video subscription services revenue, U.S. (chart) ................2 Comparing multichannel video subs and subscription OTT subs, Q4 2014 (chart)...3 The Addressable Market: Sizing the U.S. Smartphone and Tablet Audience .............4 Smartphone and tablets in use, U.S., 2008-2014 (chart) .......................4 Carrier Video Subscription Services Are No Competition for OTT/TV Everywhere .......5 Carrier-branded mobile video subs, 2007-2014 (chart)........................5 Carrier-branded mobile video revenue, 2007-2014 (chart) .....................5 OTT and mobile video year-end subs, 2007-2014 (chart) ......................6 Comparing multichannel video subs and subscription OTT subs, Q4 2014 (chart)...6 OTT and carrier-branded mobile video device compatibility ...................7 Price differential between OTT & carrier-based mobile video services, 2015 .......7 Free mobile video content, 2015.........................................7 -
CAN TV Access Users Manual Chicago Access Network Television
CAN TV Access Users Manual Chicago Access Network Television Approved 11/28/89 Revised 09/2015 Table of Contents Page Mission Statement 1 CAN TV GOALS 1 I. ELIGIBILITY 2 A. To Submit Programming to Channels 19, 21 and 36 2 B. To Use Production Facilities and Equipment and Register for Training 2 C. To Participate on CAN TV21’s HOTLINE Service, and on CAN TV42 2 D. Proving Eligibility 2 II. PROGRAM SUBMISSION AND SCHEDULING 3 A. Scheduling Guidelines 3 B. Program Submission 3 C. Single Program (Non-Series) 4 D. Series Programs 4 E. Nonprofit Services 8 F. CAN TV 21’s HOTLINE Eligibility and Scheduling 9 III. PROGRAM OWNERSHIP 11 IV. PROGRAM CONTENT 11 V. PROGRAM UNDERWRITING 13 VI. PROGRAM TECHNICAL AND PLAYBACK REQUIREMENTS 14 VII. CERTIFICATION 14 A. What is Certification? 14 B. Obtaining Certification 15 C. What Types of Equipment and Facility Certification are Available? 15 D. What are the Levels and Privileges of Certification? 16 VIII. TRAINING 16 A. Requirements and Scheduling 16 B. Scholarships 17 IX. SPECIFIC RULES FOR EQUIPMENT AND FACILITIES USE 17 A. Overall Requirement for Equipment Use 17 B. Prerequisites 17 C. Limitations 18 D. Reservation Priorities 19 E. Reservations for Equipment/Facilities 19 F. Completion of Projects 20 G. Production Studio 20 H. Field Equipment 22 I. Studio in a Box 24 J. Field/Studio in a Box Checkout and Check-in Procedures 24 K. Editing 25 L. Character Generation Composition 26 M. Teleprompter Composition 26 N. Capture Station 26 O. Main Corridor and Conference Room 26 P. Storage Area Use 27 X. -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
Grantee Changes and Corrections
CHANGES AND CORRECTIONS FOR APRIL 2013 MERGERS AND ACQUISITIONS Throughout the course of the SBI program, CN has maintained a repository of electronic records related to its provider outreach activities. Due to the high volume of mergers and acquisitions (M&A) within the provider community, CN continues to maintain a listing of M&A activities as a way of supplementing the Provider Changes and Corrections. M&A activities for this submission period for the state of Alaska are listed below with a brief description and date as obtained through public records or provider disclosure. Alaska Telecom, Inc. acquired atContact and became Futaris The website for Futaris states: “Alaska Telecom, Inc. acquired atContact in 2011, a leading enterprise and federal contractor providing fully managed satellite communication networks worldwide. atContact was founded in 1997 to service the demand for high-speed data, audio, and video communication in unserved and underserved regions of the globe. atContact delivers innovative broadcast, transport, and IP connectivity solutions to rural customers in the United States, Canada, Alaska, and Antarctica. “In 2008, our parent company, Calista Corporation, acquired Alaska Telecom, Inc. As part of the acquisition, Calista Corporation brought Alaska Telecom, Inc. and atContact together to form what is known today as Futaris. Futaris is committed to honoring Calista Corporation’s tradition of providing services to areas that continually meet challenges, such as access limitations and economic difficulties.” DATASET CHANGES AND CORRECTIONS As requested by the SBI Program Office, a listing of the changes and/or corrections to the datasets between the October 2012 and April 2013 submissions is included in this narrative.