Broadcast & Media Technology Industry Guide
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PUBLIC SUBMISSION Posted: November 24, 2015 Tracking No
As of: November 30, 2015 Received: November 24, 2015 Status: Posted PUBLIC SUBMISSION Posted: November 24, 2015 Tracking No. 1jz-8mfr-dxdj Comments Due: January 25, 2016 Submission Type: Web Docket: USCIS-2006-0068 Agency Information Collection Activities:Form I–9, Employment Eligibility Verification Comment On: USCIS-2006-0068-0246 Agency Information Collection Activities: Employment Eligibility Verification, Form I-9; Revision of a Currently Approved Collection Document: USCIS-2006-0068-0251 Comment Submitted by Jim O'Neil Submitter Information Name: Jim O'Neil Address: 110 Cedar Works Row Richmond, VA, 23231 Email: [email protected] Phone: 4042772592 General Comment No doubt it is just me...but i cant find anything that actually speaks to the revision. A little clarity would be nice. file:///O|/Policy/2016%20I-9%20PRA/Reconciliation%20Reports%20-%20RCD/USCIS-2006-0068-0251.html[3/9/2016 2:21:01 PM] As of: November 30, 2015 Received: November 24, 2015 Status: Posted PUBLIC SUBMISSION Posted: November 24, 2015 Tracking No. 1jz-8mfw-z2py Comments Due: January 25, 2016 Submission Type: Web Docket: USCIS-2006-0068 Agency Information Collection Activities:Form I–9, Employment Eligibility Verification Comment On: USCIS-2006-0068-0246 Agency Information Collection Activities: Employment Eligibility Verification, Form I-9; Revision of a Currently Approved Collection Document: USCIS-2006-0068-0252 Comment Submitted by Anonymous Submitter Information Name: Anonymous Anonymous Address: United States, Email: [email protected] General Comment I really like the new revised form because it clarified a lot of ambiguities that were still present in the last revision. One concern that I have been trying to get addressed almost since the 2013 version was released was the vagueness with the directions for the "Other Names Used" field, and the change to "Other Last Names Used" solved that. -
Splice Brochure Page Layout
We've come a long way from the early days of color correction, with the current trends leading toward Digital Intermediate (DI). So how will you cross the bridge to DI, gaining the benefits of non-linear operation using existing infrastructure while maintaining compatability with existing workflows? For this transition da Vinci created Splice™ — a “virtual telecine” which allows a linear color corrector to operate as a non-linear device. SPLICE™. VIRTUAL TELECINE FOR NON-LINEAR IMAGE PROCESSING from the genius of Operating as a server based front end for the da Vinci 2K, Splice provides colorists with the types of image processing controls normally associated with a telecine environment, like real-time pan tilt zoom and rotate. fig. 01 _ [ SPLICE ] WORK STATION / SPLASH SCREEN Colorists will make a seamless transition to Splice with its familiar interface on the da Vinci 2K Plus. “VIRTUAL TELECINE” Powered by da Vinci's exclusive Transformer 2K, Splice provides conform enhancements da Vinci offers colorists the advantages of image processor, Splice offers real-time for EDL handling, switching on the fly non-linear color correction and in-context optical quality pan, tilt, zoom and rotate, between source and record order and an add grading with Splice, a new “virtual telecine” coupled with 4:4:4 uncompressed storage handles function for deliverables. Splice is for the 2K® and 2K Plus™. and processing for the ultimate in image integrated with ColorTrace and the 2K to quality. manage grades, matching editorial changes Operating as a server based front end for the with color decisions, thereby making da Vinci 2K, Splice appears as a new device ADVANCED CONFORM CAPABILITIES reconforming editorial revisions painless. -
Out of Local News: Implications for an Informed Public
Loyola University Chicago Loyola eCommons School of Communication: Faculty Publications and Other Works Faculty Publications 9-2013 Taking the ‘Local’ out of Local News: Implications for an Informed Public Lee Hood Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/communication_facpubs Part of the Communication Commons Recommended Citation Hood, L. "Taking the ‘Local’ out of Local News: Implications for an Informed Public." Journalism and Mass Communication 3(9), 2013. This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in School of Communication: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © David Publishing, 2013. Journalism and Mass Communication, ISSN 2160-6579 September 2013, Vol. 3, No. 9, 549-562 D DAVID PUBLISHING Taking the “Local” out of Local News: Implications for an Informed Public Lee Hood Loyola University Chicago, Chicago, USA The meaning of “local” in TV news is not as straightforward as one might imagine. “Local” newscasts in several U.S. markets are outsourced to an independent company located hundreds of miles from the communities served. What are the implications of such a delivery system for coverage of local issues and the Jeffersonian ideal of an informed citizenry? This study employs a content analysis of outsourced and local newscasts, using a data set of more than 1,000 stories from more than 30 hours of newscasts to determine if differences exist on story topics and source types. -
ANDERTON Music Festival Capitalism
1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667). -
Leading Music Enthusiast Content Publisher Doubles Video Output
CASE STUDY Leading Music Enthusiast Content Publisher Doubles Video Output with StorNext When a leading creator of specialized music news, enthusiast, and instructional content wanted to increase their output, they hit a major roadblock. Their aging video production SAN, an Xsan inherited through an acquisition, just wasn’t up to a faster tempo. Installing Quantum’s StorNext Pro Foundation turned their workflow from lento to prestissimo and doubled production. StorNext Pro Foundation We do not have a large IT staff, so it was really important to find a solution that would be “turn-key, that could fit in quickly and that would minimize ongoing admin. We needed something that would be easy to install and that would just work once it was in. Anthony Verbanac Director of IT, NewBay Media FEATURED PRODUCTS ” The StorNext Pro Foundation was exactly what we needed...It gives us the capacity we need today, room to grow in the future, and it is compatible with all our applications “and the latest versions of OS X. ” Anthony Verbanac - Director of IT, NewBay Media With over 13 million monthly readers in over previously released material is incorporated into 50 countries around the world, NewBay new offerings, and support has to be provided Media is the industry’s premiere publisher of for YouTube and all the latest Apple, Google, specialized enthusiast content across music, Nook, and Kindle formats. SOLUTION OVERVIEW pro-audio, video, and gaming, which it delivers ∙ StorNext Pro Foundation through a combination of traditional print and AGING SAN LIMITS GROWTH - StorNext® 5 platform new media platforms. -
A Development of 2, 3, 4 & 5 Bedroom Homes
A development of 2, 3, 4 & 5 bedroom homes 1 11 ES GLOUCESTER AIRPORT TO M50 AND D T 2 ESES C GLOUCESTER AIRPORT TO M50 AND R O 2 D T D T C U 2 D C TEWKESBURY R O R S R O R U T D U UNIVERSITY OF TEWKESBURY D D R D S RT RR A S L R T O UNIVERSITY OF (13 miles) R O D R A UNIVERSITYGLOUCESTERSHIRE OF D 3 AD D R DA L LM O AO GLOUCESTER AIRPORT (13 miles) 3 L O A GLOUCESTERSHIREGLOUCESTERSHIRE R 3 W A O A D A LM D AMRO LM H H A40 W 43 O N AM OSW O E H S H A40 3 H A40 T OS LT N 4 OS HE E S S C ENHAM T S LT T NG LTE 44 SS CHCHE CHELTENHAM 11 KI NG 11 CHELTENHAM 1 T NG D 10 miles 11 H KI A CHELTENHAM ◆ ◆ ◆ ◆ ◆ 1 ◆ T E KI O THH Q N R AADD TO M50 & 10 miles WATCHFIELD OXFORDSHIRE SN6 8SW WATCHFIELD OXFORDSHIRE SN6 8SW 5 E U DO ROO B ES E QQ LON R A GLOUCESTER AIRPORT TO M50 AND 10 miles A N U O D T N R 2 5 U ONDO BB M AV TEWKESBURY 5 ES C Y 1 LLOND A N IU . GLOUCESTER AIRPORT TO M50 AND A A N R O R A R W 2 D T U R MAAV C Y O N UM . D O RI I V TEWKESBURY Y 1 NA NIU . -
(12) United States Patent (10) Patent N0.: US 6,449,009 B1 Grace Et Al
US006449009B1 (12) United States Patent (10) Patent N0.: US 6,449,009 B1 Grace et al. (45) Date of Patent: Sep. 10, 2002 (54) IMAGE TRANSFER METHOD FOR 5,170,154 A * 12/1992 Mead ....................... .. 348/102 TELECINE 5,276,522 A * 1/1994 Mead . .. 348/101 5,469,209 A * 11/1995 Gunday et al. ..... .. 348/96 (75) Inventors: Paul Grace, HaultWich; Aine 5,671,008 A * 9/1997 Linn . .. 348/97 Marsland, North?eet, both of (GB) 5,917,987 A * 6/1999 Neyman .................... .. 386/42 (73) Assignee: Pandora International Limited (GB) FOREIGN PATENT DOCUMENTS (*) Notice: Subject to any disclaimer, the term of this EP 0438299 * 7/1991 ....... .. G11B/27/034 patent is extended or adjusted under 35 GB 2244626 * 12/1991 ........ .. H04N/4/253 U.S.C. 154(b) by 0 days. GB 2254518 * 10/1992 ......... .. G06F/15/68 (21) Appl. No.: 08/737,869 OTHER PUBLICATIONS (22) PCT Filed: May 19, 1995 High—Resolution Electronic Intermediate System for PCT No.: (86) PCT/GB95/01135 Motion—Picture Film, B. Hunt, G. Kennel, L. DeMarsh, and § 371 (6X1), S. Kristy, SMPTE Journal, pp. 156—161, Mar. 1991.* (2), (4) Date: Jul. 7, 1997 (87) PCT Pub. No.: WO95/32582 * cited by examiner PCT Pub. Date: Nov. 30, 1995 Primary Examiner—Nhon Diep (30) Foreign Application Priority Data (74) Attorney, Agent, or Firm—McDonnell Boehnen May 19, 1994 (GB) ........................................... .. 9410093 Hulbert & Berghoff (51) Int. Cl.7 ........................ .. H04N 5/253; H04N 9/11; (57) ABSTRACT H04N 9/47 Amethod for transferring images from cinematographic ?lm (52) US. Cl. ....................................................... .. 348/97 to video media. -
Automat 1 on in Broadcasting Studios As
i THE UNIVERSITY OF NEW SOUTH WALES AUTOMAT 1 ON IN BROADCASTING STUDIOS BY A. S. GRAY .Submitted for the degree of Master of Engineering on 3rd March, 1972. UNIVERSITY OF N.S.W. ] 311S7 16. MAY 72 I LIBRARY ii CERTIFICATE This is to certify that this thesis has not been submitted for a degree or similar award to any other University or Institution. A. S. GRAY iii ACKN QWLEDGSM3NT I wish to thank the Australian Broadcasting Commission and especially Mr. K. N. Middleton, Controller of Technical Services for allowing this work to be undertaken, I would also like to thank my Supervisors, Dr. John Hiller of University of New South Wales and Mr. Carl Wilhelm of A.B.C. for their encouragement and patience. I must state however, that the responsibility for statements made herein rests solely with myself. iiKe finally, I would^to thank ray wife for her help in typing the thesis. NOTE A peculiar difficulty in writing the thesis was the usage of the term "program", which is used both in broadcasting and in computing. I have used " programme " to mean the set of broadcasting items to be presented and " program " to mean the set of instructions executed by the computer. SUMMARY Broadcasting is a form of communications in which emphasis is placed on the uninterrupted transmission and smooth presentation of material, rather than the speed of message handling. Broadcasting entities range from one studio- transmitter stations to decentralised studio network which exchange and merge items to suit a particular programme of operations. The sporadic heavy demands on broadcast operators controlling presentation lead to errors in production and make uneconomic use of staff. -
The Eagle Public House at Watchfield the History Known So Far
The Eagle Public House at Watchfield The history known so far One of the sources that has been invaluable in tracing the origins of local public houses has been the census returns of the 19th century. The return for Watchfield for 1861 provides clues. We have already identified that John Bowden’s beer house on page six of that census was the Royal Oak (Demolished in 2011). On page ten we know that Adin Sly ran the beer house that was known as the Star Inn, in Oxford Square (burned down in 1928). But there is another property on page six called a, ‘Public House,’ being run by William Carter who was described as a, ‘Pig Dealer & Beer Seller.’ He also appears in the Oxford Journal newspaper on 9th August 1862, described as a, ‘beer-house keeper of Watchfield,’ who was fined for possessing an unstamped half-pint measure. The Berkshire Chronicle dated 1st October 1859 reports at the electoral registration hearings at Faringdon that, William Carter, James Green and Adin Sly all failed to appear. It’s also significant to know that these three budding electors, all had strong connections with the three Watchfield beer houses. Even though the beer house that William Carter was running was not named, the evidence would strongly suggest that it was the Eagle. The Eagle at Watchfield in 2020. Photo by Neil B. Maw An inquest that took place in 1870 is the first documentary confirmation of the name of the pub. The Reading Mercury newspaper dated 31st December 1870, reported on the evidence given at the Eagle, concerning the circumstances of the death of Mr Edward Jefferies, a local farmer. -
BRINGING BROADCAST AUTOMATION INTO the FUTURE Real-Time Integration, Mobile Capability, and Ease of Use Are All Keys to Success
BRINGING BROADCAST AUTOMATION INTO THE FUTURE Real-time integration, mobile capability, and ease of use are all keys to success Presented by: A Partner Broadcast automation is an essential part of any modern radio station. The automation systems that may have sufficed for a station’s needs a decade ago don’t necessarily meet the many new demands of today’s broadcast and streaming environment. Today’s top automation systems must the way they were done. There was a line be compatible with traffic and music to use the production room—how is that scheduling software, work with a variety efficient? It was never set up correctly.” of mobile platforms, and be easy for both technical and non-technical personnel Across the country at McKenzie River to use. At the same time, they must be Broadcasting in Eugene, Oregon, chief flexible enough to meet the challenges engineer Chris “Ichabod” Murray was of new signal-distribution platforms and still running the Computer Concepts whatever else the future of radio may hold. automation that he’d originally installed at his cluster back in 1996. But aging BRINGING AUTOMATION INTO software and hardware prompted him to A NEW DECADE look for a new solution for his four stations. It has been more than 20 years since Murray’s criteria for a new automation the first fully digital automation systems system included easy configurability and entered daily use in the radio industry. robust support from the automation vendor. From the initial limited uses of these Most important of all, he needed a system systems—primarily replacing tape-based that would be easy for his staff to learn. -
Morpheus V4.0 Playout Automation Introduction
Innovation in the Multi-Screen World Morpheus V4.0 Playout Automation Introduction In today’s media and broadcast industry The company’s fl agship broadcast From its core database engine through one of the big challenges centers on automation solution, Morpheus, is a fi t to every device, Morpheus is designed for content delivery in a landscape where for purpose, scalable, multi-channel and resilience and, where required, redundancy, consumer behaviour and service demands multi-screen playout automation solution ensuring the right content and its metadata are changing rapidly. that is appropriate for the widest range of will be in the right place at the right time. applications including: With over four decades of leading edge Snell has the knowledge and experience development experience Snell delivers the National Broadcasters to develop an automation solution that is most fl exible and powerful broadcast Network Origination fi t for your purpose, irrespective of the size automation solutions on the market today. Centralcasting and scale of your enterprise, the range of From simple server playout to highly Business Continuity content distribution platforms integrated complex channels, the company’s key within your business model and your plans enabling technologies provide an extensive Based on format and device independent for future growth and expansion. suite of enterprise-wide media workfl ow platforms, Snell offers a range of robust and solutions for the effortless management resilient content distribution mechanisms, Taking an agnostic approach to formats of content. which keep pace with new devices as they and platforms means that Snell empowers evolve to meet the demands of future its customers to extract every drop of value The essence of Snell’s playout automation services, delivery platforms and consumer from their investments, while their builds on the principles of utmost appetite. -
Lofty Valuations and Massive PE and Strategic Buyer Interest Lead M&A
M&A Soundcheck – Q1’18 Lofty Valuations and Massive PE and Strategic Buyer Interest Lead M&A Activity in Q1’18 intrepidib.com | Mergers & Acquisitions | Capital Markets | Strategic Advisory 11755 Wilshire Blvd., 22nd Floor, Los Angeles, CA 90025 T 310.478.9000 F 310.478.9004 Member FINRA/SIPC Lofty Valuations and Massive PE and Strategic Buyer Interest Lead M&A Activity in Q1’18 M&A activity in 2018 is off to a very strong start, reflecting strong demand from private equity and strategic buyers as well as lofty valuations seen in both the public and private markets. It’s been particularly busy for Commercial & Consumer Technology (CCT) M&A in Southern California, where two of the larger deals in the sector occurred with Amazon acquiring Ring for over $1 billion and Foxconn affiliate FIT acquiring Belkin for over $850 million. Both home grown Los Angeles-based companies play squarely in the connected home space. Across the broader CCT markets, A/V integration remains a hot sector, with several deals occurring among mid-tier integrators and Snap AV continuing its acquisition spree following its recapitalization by Hellman & Friedman last year. Intrepid continues to be busy in this active market, closing the sale of Radial Engineering, a well-known manufacturer of accessories for professional musicians and live performance venues just in time for NAMM 2018. We are excited about the robust backlog of opportunities and continued strong interest among acquirers for high-quality assets. If you are considering options for your business or would like to discuss any of these trends, please do not hesitate to reach out.