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Thread: Daily Satellite TV News

Ofcom highlights changing pattern of online piracy May 30, 2013 About 18% of UK internet users over the age of

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    Ofcom highlights changing pattern of online piracy
    May 30, 2013

    About 18% of UK internet users over the age of 12 who accessed digital entertainment content online used an illegal service in the three months to the end of January, up from 16% for the previous quarter, according to the latest copyright infringement tracker report provided by media regulator Ofcom.

    However, the number of people accessing only illegal content fell as a proportion of the total, from 17% to 14% for music and from 26% to 20% for films. The proportion of internet users over 12 consuming TV content illegally in the three month period was 6%.

    Ofcom estimated that 280 million music tracks were consumed illegally during the period covered. This was followed by TV programmes with 52 million, films with 29 million and e-books with 18 million. Computer software and video games were equally lowest at seven million.

    The number of people who claimed to pay for all of the TV content they consumed online grew from 6% to 10%, while the number who consumed only free content fell from 87% to 82%. The proportion that consumed a mix of free and paid films grew from 15% to 20%.

    The proportion of internet users consuming any type of media content over the web grew in the three months to January from 57% to 60% of total internet users.

    Across all consumers of illegal content, the median number of files downloaded or streamed illegally was eight. Music had the highest median score across the six content types at 12 tracks. Films, TV programmes and books each had a median score of four, while computer software and video games had a score of two.

    A higher proportion of films – 28%) – were consumed illegally than for any other content type.

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    Netflix’s Arrested Development launch ‘beats’ House of Cards
    May 30, 2013

    Xbox and PS3s generated the most traffic for Arrested Development on fixed line networks ahead of Macs.

    On another network over a thirds of Netflix subs watched at least one episode of Arrested Development, three times the number that tuned to House of Cards.

    In his posting, Cullen concluded: “With 10% of subscribers completing the binge watch over the weekend, I would call that a numbers success, regardless of critical acclaim.”

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    Home networking bodies merge as industry consolidates around G.hn
    May 30, 2013
    The HomeGrid Forum and the HomePNA Alliance have merged under the HomeGrid Forum name to create a larger, stronger organisation that is better positioned to promote the evolution of home wireline networks to the ITU-T G.hn standard.

    The G.hn specification defines networking over power lines, phone lines and coaxial cables with data rates up to 1 Gbps.

    The HomeGrid Forum said that G.hn products are now beginning to ship and that the merged body would guide those planning new networks based on the standard.

    It said that it would continue to support the installed base of over 40 million certified HomePNA devices.

    The new HomeGrid Forum will have over 70 members, including 28 service providers.

    “HomePNA is a mature, field proven technology, and continues to be selected by large service providers worldwide for IPTV deployments,” said HomePNA president Eran Gureshnik. “Service providers over four continents have achieved great results with HomePNA-based products and we have gained considerable experience in deploying home networks. However, the obvious future direction for all wireline home networking is to migrate to G.hn. Therefore, it made sense for us to merge the HomePNA Alliance with the HomeGrid Forum at this time, providing a clear, strong vision to existing and new customers.”

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    Italians turn to time-shifted viewing
    May 30, 2013

    Almost a third of Italians used time-shifted viewing last year, while 59% of pay TV operator Sky Italia’s subscribers used non-linear viewing, according to a study by the Politecnico di Milano and Studio Frasi on the evolution of the Italian TV market.

    According to the study, 31% of Italians – about 17.8 million people – used time shifted-viewing in 2012, while 59% per cent of Sky Italia’s subscribers – about 7.4 million people –used non-linear viewing.

    The study found about 1.7 million daily non-linear viewing contacts a day on average in 2012, with an average audience of 68,000 using services for an average of 57 minutes per day.

    Non-linear viewing peaked during the week ending June 7, when the Euro 2012 match between Italy and Russia was shown on Rai, with a large number of people watching the match live and using catch-up services to view other programmes.

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    CSA wants more power to regulate Canal Plus
    May 30, 2013

    The regulator’s new chief executive , Olivier Schramek has proposed eight new regulatory proposals inherited from his predecessor Michel Boyon to the government, among which is a proposal that the CSA should have the power to subject the pay TV operator to economic regulation a priori.

    This would mark a change from the current regime, under which the CSA has the power to take measures against Canal Plus after the event if it is found to have abused its position in the pay TV market.

    The CSA said that the absence of a priori regulation by it had permitted the development of anti-competitive practices by the pay TV giant, notably abuse of its dominant position.

    The regulator is arguing that this would only bring it into line with a similar power to that granted to Ofcom in the UK vis-à-vis BSkyB in 2010. It is also proposing that it should be granted powers similar to those given to telecom regulator ARCEP in relation to Orange.

    The CSA has also proposed that it should be given the power to allow pay TV channels on the country’s digital-terrestrial platform to move to a free-to-air model, something that is forbidden under current legislation.

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    Management shake-up at Eurosport
    May 30, 2013

    Eurosport’s new CEO has restructured the broadcaster’s management, giving several existing executives new titles and responsibilities.

    Jean-Thierry Augustin succeeded Laurent-Eric Le Lay as company CEO in April. He has now appointed Julien Bergeaud as development director with a job description that includes “reinforcing global coherence across all TV channels”.

    Eurosport France managing director Arnaud Simon will take on a wider role, adding TV content director, broadcast and programmes to his title and taking charge of the international versions of the channels he runs.

    Vincent Gérard-Hirne, Eurosport’s technical director, takes over the responsibility for production and distribution technology for the different language versions of Eurosport’s channels.

    Simon and Gérard-Hirne will report to Eurosport deputy managing director François Schmitt. Bergeaud reports directly to Augustin.

    The changes are effective immediately.

    Discovery recently bought in to Eurosport with an option to take a controlling stake in 2015. French commercial broadcaster TF1 remains the majority shareholder in the meantime.

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    BBC Worldwide backs more startups
    May30, 2013

    The BBC’s commercial arm, BBC Worldwide, has announced finalists for its second BBC Labs programme – an initiative to give support to digital media startups.

    The six selected startups are all “at the point of commercialisation where BBC Worldwide Labs can play an important role in their further development and growth,” BBCWW said.

    The start-ups are Animal Vegetable Mineral, Oddizzi, Future Ad Labs, Social Spree, Peekabu Studios and The Backscratchers and cover the areas of 3D gaming, animation, play captchas, gesture tracking, social media measurement tools and education.

    The startups will have the opportunity to work within BBC Worldwide’s London headquarters with support from teams across legal, sales and marketing, business development and technology. They will also have access to mentors from within BBC Worldwide and the BBC and external mentors from companies such as Facebook and Google.

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    Framestore's NY team creates effects for WikiLeaks feature
    NewsPippa Considine30 May 2013
    Framestore’s New York Design team created over 35 minutes of rendered effects for Oscar-winning director Alex Gibney's latest documentary, We Steal Secrets: The Story of WikiLeaks.

    The film follows the controversial whistleblowing site and its leader Julian Assange. It tells the story of the site's creation up to its execution of the largest security breach in US history, aided by graphic dramatisations of these internet-based events.

    The initial conversations with Gibney focused on two integral aspects of the story. The first being the chat logs between Private Bradley Manning and computer hacker Adrian Lamo and the second, a visual representation of the world wide web and all the articles, tweets and products that help tell the story.

    Framestore was also approached to create the main title sequence, which was created by senior design director Marc Smith. From the first concept presentation, director Gibney and the team were drawn to examples provided using particle systems within After Effects and C4D.

    The intention was to create a technique by which footage and images could be broken apart and drawn together over time and within a dynamic 3D space, sometimes abstract and often only legible from certain angles of view. This concept, along with the design and animation of the main title sequence, would serve as a springboard for many of the project's sequences.

    "This execution served the narrative of the film well – bringing clarity to images and events by compiling a multitude of elements and evidence" explains Smith. "The creative also focused on the need for this network-inspired world to contain a sinister edge in keeping with the film's content. To this end, the colour palette was kept dark and minimal throughout and the camera work would at times suddenly lurch or dive. What would start as a seemingly random set of pixels, would organically shift, twitch and grow to reveal an interconnected whole."

    Designing the chat logs for the film began as a collaboration between creative director Murray Butler and senior designer Maryanne Butler. "The chats needed to feel textural and alive, sinister and at times, lonely. So much of what the logs expressed was a personal outpouring from Private Manning so we had to stay sensitive to the subject in visualising these" says Butler. The logs went through many different designs, which included techniques of filming from plasma screens and re-importing it into Flame to give them a live quality as well as a texture that was not crisp and sharp.

    Visualising data streams being exfiltrated began with concepts from artist Zack Lydon, which were then brought to life by Gabriel Pulecio using a combination of After Effects and C4D. The vast quantity of war logs that would eventually surface publicly were designed and animated by concept artist Callum Mckeveny.

    Another large element of the project was recreating the numerous headlines that tracked the story of WikiLeaks and its founder Julian Assange, as Gibney was keen to have these articles live in the 'web-world'. Using initial trap-code tests and designs by Marc Smith, AE artists Joe Lawrence and Byunghoon Han choreographed and rendered the final shots.

    Additional effects created for the project ranged from compositing crash-zooms, to Twitter dramatisations, video effects and creative graphic representations of important documents, which were realised across several work platforms including After Effects, Flame and Cinema 4D.

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    Kevin Shaw joins BBC Studios and Post Production
    NewsDavid Wood30 May 2013
    Digital media specialist Kevin Shaw has joined BBC Studios and Post Production as lead technologist for its award-winning Digital Media Services team, the award-winning unit which recently restored landmark natural history series Life on Earth and Trials of Life.

    As a consultant, Kevin was instrumental in the specification, design, build and delivery of the company’s new purpose-built Digital Media Services facility at Odyssey Business Park in South Ruislip.

    His new full-time role sees him heading up technology development and workflow design as increasing numbers of content owners look to manage and maximise the value of their content.

    Shaw has worked in both the creative and technology sides of the content management business as a colourist, instructor and technical consultant in a career spanning almost 30 years.

    He has been involved in many high-profile broadcast, commercials and feature film projects and, in 2009, founded the International Colorist Academy (ICA), which teaches certified courses for colourists.

    Kevin has served as director of training for Da Vinci systems and consulted for Digital Vision on its high-end file-based creative tools.

    He has also consulted for many other leading companies including Intel, Kodak, Technicolor, Qube, National Archives and Records Administration (NARA), CBS Broadcast and National Film Board of Canada.

    BBC Studios and Post Production’s Digital Media Services team provides specialist media management services including digital film restoration, archiving and media handling and delivery.

    Recent projects include the remastering of the David Attenborough nature documentary series, Life on Earth (1979) and Trials of Life (1990) - for which the team won a 2013 FOCAL International Award.

    Other restorations include House of Cards and the first Doctor Who story to be filmed in colour, Spearhead from Space. It has also recently digitised a substantial proportion of the Imperial War Museums’ priceless collection of First World War film footage for the upcoming centenary in 2014.

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    The Farm's post production on Shane Meadows' new feature doc
    NewsPippa Considine30 May 2013
    Shane Meadows' new feature documentary on the revival of The Stone Roses, Made of Stone, will premiere on the 30th May at Manchester’s Victoria Warehouse, with the film to be broadcast simultaneously across 200 cinemas in the UK.

    The Farm has overseen the post production on this latest film from Warp Films, fully financed by Film4 and 4DVD. The feature continues Channel 4’s long-term collaboration with Meadows and Warp Films, following Film4-backed titles This is England and Dead Man’s Shoes, and Channel 4 series This is England ’86 and ’88.

    Life-long Stone Roses fan Shane Meadows was granted unprecedented access to the Stone Roses for almost a year, capturing every aspect of The Stone Roses revival.

    Farm producer Portia Napier managed the project from the initial delivery of the media to master delivery. Specific workflows had to be established to guarantee fluidity throughout the edit. How best to deal with archive footage, and the sheer amount of media was vital to discuss before any footage was delivered to The Farm. Mark Redfern was a key member of the process, managing the data as it arrived and making sure the workflow that was discussed was adhered to.

    The Farm’s senior colourist Colin Peters, who worked with Meadows on This Is England ‘86 and This Is England ’88, graded the documentary. The brief for Peters was to create a clean and natural grade to the film, utilising few shapes but exploiting to the full the Nucoda Film Master’s layering software and keeping an honesty in the footage.

    A significant challenge for Peters was to create a unity between the several different cameras that were used during the shooting of Made of Stone. Meadows used an array of cameras throughout the year he spent with the Stone Roses, including Canon 5D, Sony PMW500, Sony F3 and Red Epic, Panasonic handy cams and GoPros.

    Peters also had the task of unifying archive footage with the range of different cameras used. The film was fairly archive heavy, but rather than cleanse the footage, the idea was to keep the authenticity of the material and not to scrub the material of its ‘age’, again keeping to a certain honesty that was intrinsic to the film.

    Peters initially set a base grade, applying the first of many layers to the feature documentary. Peters and Meadows were able to return to each scene, each frame, refining the smallest detail. By building up layers of colour and contrast Peters was able to inject the film with a specific texture that enabled them to create a filmic layer. Applying this film curve allowed Peters to give a filmic depth to even the simplest of shots. Working in such an intricate way enabled him to create a continuity through the film, and this unity was highlighted through the transitional scenes, as even they were heavily layered to control the filmic curve.

    This attention to detail was specifically important during the Heaton Park concert sequence that incorporated more than 30 cameras. This sequence then had more than 800 cuts to it, meaning Peters and Meadows had to apply their eye to the smallest discrepancy, even if was just a dip in the blacks, to keep the required continuity.

    Peters mentioned after the grade had been completed that one of the most rewarding and satisfying things in working with Meadows was that he’s a very technical director with a fantastic eye for detail. This enabled both colourist and director to bounce off each other during the grade.

    The level and attention to detail, evident in the preparation for the finishing process and during the grade, was carried through to the online with Owen Hulme. Hulme points out that the recreation of split screens and rostrum involved a meticulous process. Often working alongside Peters in the grade, the two processes became unified. Many of the images were being sourced at their highest resolution for the first time during the online process and to keep these looking their best the raw files were used for the rostrum moves.

    Some incredible and rare images were uncovered by the archive footage. The production team, together with the director and editor, invested a great amount of time and effort to make sure the archive achieved its maximum potential alongside the music.

    Made of Stone will go on nationwide release on 5th June.


 

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