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CD PROJEKT RED and NVIDIA Partner to Bring Ray Tracing to ‘Cyberpunk 2077’
CD PROJEKT RED and NVIDIA Partner to Bring Ray Tracing to ‘Cyberpunk 2077’ Highly Acclaimed, Highly Anticipated Game Uses Real-Time Ray Tracing E3--NVIDIA and CD PROJEKT RED today announced that NVIDIA® GeForce RTX™ is an official technology partner for Cyberpunk 2077 and that the companies are working together to bring real-time ray tracing to the game. Cyberpunk 2077 won over 100 awards at E3 2018 and Gamespot calls it “one of the most anticipated games of the decade.'' The game is the next project from CD PROJEKT RED, makers of the highly acclaimed The Witcher 3: Wild Hunt, which has won numerous “Game of the Year'' awards. NVIDIA and CD PROJEKT RED have a long history of technology collaboration that spans more than a decade. “Cyberpunk 2077 is an incredibly ambitious game, mixing first-person perspective and deep role-playing, while also creating an intricate and immersive world in which to tell its story,'' said Matt Wuebbling, head of GeForce marketing at NVIDIA. “We think the world of Cyberpunk will greatly benefit from the realistic lighting that ray tracing delivers.'' Ray tracing is the advanced graphics technique used to give movies their ultra-realistic visual effects. NVIDIA GeForce RTX GPUs contain specialized processor cores designed specifically to accelerate ray tracing so the visual effects in games can be rendered in real time. “Ray tracing allows us to realistically portray how light behaves in a crowded urban environment,'' says Adam Badowski, head of Studio at CD PROJEKT RED. “Thanks to this technology, we can add another layer of depth and verticality to the already impressive megacity the game takes place in.'' Cyberpunk 2077 is an open-world, action-adventure story set in Night City, a megalopolis obsessed with power, glamour and body modification. -
Digital Distribution
HOW DIGITAL DISTRIBUTION AND EVALUATION IS IMPACTING PUBLIC SERVICE ADVERTISING Aggressive Promotion Yields Significant Results By Bill Goodwill & James Baumann It is no surprise to see that digital distribution of all media products is fast becoming the de facto standard for distribution of media content, particularly for shorter videos such as PSA messages. First let’s define the terms. Digital distribution (also called digital content delivery, online distribution, or electronic distribution), is the delivery of media content online, thus bypassing physical distribution methods, such as video tapes, CDs and DVDs. In additional to saving money on tapes and disks, digital distribution eliminates the need to print collateral materials such as storyboards, newsletters, bounce-back cards, etc. Finally, it provides the opportunity to preview messages online, and offers media high- quality files for download. The “Pull” Distribution Model In the pre-digital world, the media was spoiled because they had all the PSA messages they could ever use delivered right to their desktop, along with promotional materials explaining the importance of the campaigns. Today, the standard way for stations to get PSAs in the digital world is to go to a site created by the digital distribution company and download them from the “cloud.” Using a dashboard that has been created for PSAs, the media can preview the spots and download both the PSAs, as well as digital collateral materials such as storyboards, a newsletter and traffic instructions. This schematic shows the overall process flow for digital distribution. To provide more control over digital distribution, Goodwill Communications has its own digital distribution download site called PSA Digital™, and to see how we handle both TV and radio digital files, go to: http://www.goodwillcommunications.com/PSADigital.aspx. -
The Effects of Digital Music Distribution" (2012)
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon. -
Best Game of 2020 #1 Animal Crossing: New Horizons #2 Hades #3 Ghost of Tsushima
2020 Game Recommendations The best games from the worst year BEST GAME OF 2020 #1 ANIMAL CROSSING: NEW HORIZONS #2 HADES #3 GHOST OF TSUSHIMA Honorable Mentions: Crusader Kings 3, World of Warcraft: Shadowlands, Factorio, Doom Eternal, Cyberpunk 2077 BEST STORY BEST ART & VISUALS HADES HADES Art and Art Direction: Jen Zee Written by: Greg Kasavin Environmental Art: Joanne Tran 3D Art: Paige Carter Honorable Mentions: Final Fantasy VII Remake, Yakuza: Like a Dragon, 13 Sentinels: Aegis Rim, The Last of Us II, Ori and the Will of the Wisps, Crusader Kings 3, Cyberpunk 2077 Did you know The FRIENDZONE server celebrated its 4th birthday this year? It was created Sunday, Honorable Mentions: Ghost of Tsushima, April 24th, 2016 at 5:10 pm PST Genshin Impact, Ori and the Will of the Wisps, Animal Crossing: New Horizons, Outer Wilds, Cyberpunk 2077 WHERE HAVE YOU BEEN ALL MY LIFE? The best games released prior to 2020 that we discovered this year. HIDDEN GEMS OF 2020 Shine a light on some of the best games that few people paid attention to! Fitz Rachel Nullied Fox Myras Tau Leader Cobalt theStellarB raspbeary Fitret Ophainim Vaash Solanis Nando BEST DLC / NEW CONTENT / EXPANSION #1 World of Warcraft Shadowlands #2 Teamfight Tactics Fates Honorable Mentions: Rainbow Six Siege Operation Neon Dawn, Darkest Dungeon: The Butcher’s Circus, Hearthstone Battlegrounds, Monster Train DLC, Shovel Knight: King of Cards, PC Building Simulator E-Sports Expansion BEST TV SERIES BEST MOVIES #1 Schitt’s Creek Not too many movies this year but if you’re looking -
Apple / Shazam Merger Procedure Regulation (Ec)
EUROPEAN COMMISSION DG Competition CASE M.8788 – APPLE / SHAZAM (Only the English text is authentic) MERGER PROCEDURE REGULATION (EC) 139/2004 Article 8(1) Regulation (EC) 139/2004 Date: 06/09/2018 This text is made available for information purposes only. A summary of this decision is published in all EU languages in the Official Journal of the European Union. Parts of this text have been edited to ensure that confidential information is not disclosed; those parts are enclosed in square brackets. EUROPEAN COMMISSION Brussels, 6.9.2018 C(2018) 5748 final COMMISSION DECISION of 6.9.2018 declaring a concentration to be compatible with the internal market and the EEA Agreement (Case M.8788 – Apple/Shazam) (Only the English version is authentic) TABLE OF CONTENTS 1. Introduction .................................................................................................................. 6 2. The Parties and the Transaction ................................................................................... 6 3. Jurisdiction of the Commission .................................................................................... 7 4. The procedure ............................................................................................................... 8 5. The investigation .......................................................................................................... 8 6. Overview of the digital music industry ........................................................................ 9 6.1. The digital music distribution value -
The Obstacles of Streaming Digital Media and the Future of Transnational Licensing Jasmine A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UC Hastings Scholarship Repository (University of California, Hastings College of the Law) Hastings Communications and Entertainment Law Journal Volume 36 | Number 1 Article 7 1-1-2014 Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing Jasmine A. Braxton Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Jasmine A. Braxton, Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing, 36 Hastings Comm. & Ent. L.J. 193 (2014). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol36/iss1/7 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing by JASMINE A. BRAXTON* I. Introduction ......................................................................................................................... 193 II. Background: The Current State of Copyright Law for -
A Framework of Guidance for Building Good Digital Collections
A Framework of Guidance for Building Good Digital Collections 3rd edition December 2007 A NISO Recommended Practice Prepared by the NISO Framework Working Group with support from the Institute of Museum and Library Services About NISO Recommended Practices A NISO Recommended Practice is a recommended "best practice" or "guideline" for methods, materials, or practices in order to give guidance to the user. Such documents usually represent a leading edge, exceptional model, or proven industry practice. All elements of Recommended Practices are discretionary and may be used as stated or modified by the user to meet specific needs. This recommended practice may be revised or withdrawn at any time. For current information on the status of this publication contact the NISO office or visit the NISO website (www.niso.org). Published by National Information Standards Organization (NISO) One North Charles Street, Suite 1905 Baltimore, MD 21201 www.niso.org Copyright © 2007 by the National Information Standards Organization All rights reserved under International and Pan-American Copyright Conventions. For noncommercial purposes only, this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the publisher, provided it is reproduced accurately, the source of the material is identified, and the NISO copyright status is acknowledged. All inquires regarding translations into other languages or commercial reproduction or distribution should be addressed to: NISO, One North Charles Street, Suite -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Distribution 2020: Situational Analysis
pwc.com.au Distribution 2020: Situational Analysis Tourism Australia Distribution in Australia’s international markets: Situational Analysis March 2013 Final Report Key Findings There is no one agreed definition of ‘tourism distribution’ across both industry participants and government bodies. Some viewed the term ‘distribution’ to be the interaction of customers with travel agents and other traditional intermediary, or third party channels. In this context, communicating directly with customer was thought of as ‘marketing’ activity. The other view was that distribution encompasses any action or channel that connects customers with tourist products, be it through direct communication or through third parties. While the general idea of linking a customer through to a travel and tourism product is a consistent theme across both these views, we have adopted the broader all-encompassing definition, as this better aligns with changes in how consumers are purchasing travel products, and how industry has responded to these changes. In this study we are seeking to: understand the relevance of different tourism distribution approaches now and in the future across Australia’s key holiday markets. review the current structure and activities of Tourism Australia and state tourism organisations (STOs). While specific data across sources is fragmented and hence clouds the view of the future, the key findings of our initial review, consumer survey and stakeholder interviews are: There is a clear trend towards a greater role of online sources for identifying Australia as a holiday destination, and then planning, booking and subsequently sharing holiday experiences. Indeed, the identification of Australia as a destination, and the planning of a holiday, increasingly is undertaken online. -
Game Sales Best Practices P1 Ebook
GAMEGAME SALES SALES GAME SALES BEST PRACTICES: HOW TO BOOST DIRECT SALES FROM YOUR ONLINE GAME STORE Learn how to promote and make the most of your store As we covered in our Game Sales Best Practices Part 1, there are many benefits to set up and run your own online game store. With your own store, no matter if you're a developer, a publisher or both, you can establish a direct relationship with your audience, rather than having to rely on someone else’s platform to connect to prospective players. You have the freedom to manage your store however you want: run promotions how you see fit, accept any global payment methods your players prefer to use and be relatively insulated from external platforms' general volatile natures or restrictive limits. Naturally, you can also earn more money since you won't have to pay large platform fees to other storefronts. The benefits are clear. But you can't just set up a store and leave it without the proper marketing support on the web. Let's explore the essentials of promoting your online game store and create the proper incentives for potential customers. SELL YOUR GAME ONLINE [email protected] xsolla.live/GS 1 GAME SALES WHY WOULD PLAYERS WANT TO BUY GAME KEYS DIRECTLY FROM YOU? We've previously outlined the benefits of an online store for developers and publishers. But what reason does a consumer have to buy a game from your store rather than from a platform they already use? Convenience First, there’s the ability to sell all your games in one single place. -
Cd Projekt Capital Group Activities Between 1 January and 30 June 2018 2
MANAGEMENT BOARD REPORT ON CD PROJEKT CAPITAL GROUP ACTIVITIES BETWEEN 1 JANUARY AND 30 JUNE 2018 2 Disclaimers This English language translation has been prepared solely for the convenience of English speaking readers. Despite all the efforts devoted to this translation, certain discrepancies, omissions or approximations may exist. In case of any differences between the Polish and the English versions, the Polish version shall prevail. CD PROJEKT, its representatives and employ- ees decline all responsibility in this regard. Management Board report on CD PROJEKT Capital Group activities for the period between 1 January and 30 June 2018 (all figures quoted in PLN thousands unless stated otherwise) 3 Table of contents 9 Brief description of the CD PROJEKT Capital Group 10 Activity profile 20 Growth prospects of the CD PROJEKT Capital Group 22 CD PROJEKT S.A. on the capital market 24 CD PROJEKT Capital Group activity profile 25 Organizational structure of the CD PROJEKT Capital Group 27 Disclosure of business segments, products, services, outlets, suppliers and customers 37 Description of external and internal factors affecting the CD PROJEKT Capital Group 39 Disclosure of significant agreements 40 Risk management at the Capital Group 41 Financial results of the CD PROJEKT Group 42 Overview of key economic and financial indicators disclosed in the consolidated and separate financial statement 60 Corporate governance 61 Entity contracted to audit financial statements 61 Shareholders controlling at least 5% of the vote at the General Meeting 62 Agreements which may result in changes in the proportions of shares held by shareholders and bondholders 62 Information regarding the purchase of own shares 63 Company shares held by members of the Management Board and the Supervisory Board 64 Composition of the Management Board of CD PROJEKT S.A. -
The Witcher 3: Wild Hunt (Geralt As Popculture Icon) CHALLENGE
SLAVIC ADAPTATION OF MUSIC MARCIN PRZYBYŁOWICZ MIKOLAI STROINSKI WHO ARE WE? MARCIN PRZYBYŁOWICZ MIKOLAI STROINSKI Music Director/Composer Freelance Video Game at CD PROJEKT RED Composer KEY FACTS OF THE WITCHER FRANCHISE ‣ The Witcher started as a book hero in 1980’s art by Bogusław Polch published by Prószyński i S-ka ‣ The Witcher started as a book hero in 1980’s ‣ Created by Andrzej Sapkowski (8 books) published by SUPERNOWA ‣ The Witcher started as a book hero in 1980’s ‣ Created by Andrzej Sapkowski (8 books) ‣ Witchers are professional monster-slayers ‣ The Witcher started as a book hero in 1980’s ‣ Created by Andrzej Sapkowski (8 books) ‣ Witchers are professional monster-slayers ‣ Witchers are mutants with superhuman abilities ‣ The Witcher started as a book hero in 1980’s ‣ Created by Andrzej Sapkowski (8 books) ‣ Witchers are professional monster-slayers ‣ Witchers are mutants with superhuman abilities ‣ Geralt of Rivia - the most famous of them all ‣ The Witcher started as a book hero in 1980’s ‣ Created by Andrzej Sapkowski (8 books) ‣ Witchers are professional monster-slayers ‣ Witchers are mutants with superhuman abilities ‣ Geralt of Rivia - the most famous of them all ‣ 2001 - Wiedźmin TV series & feature film produced by Lew Rywin / Vision Film Distribution ‣ The Witcher started as a book hero in 1980’s ‣ Created by Andrzej Sapkowski (8 books) ‣ Witchers are professional monster-slayers ‣ Witchers are mutants with superhuman abilities ‣ Geralt of Rivia - the most famous of them all ‣ 2001 - Wiedźmin TV series & feature