Wednesday 29 September 2010

Roles of producers - Lesson Seven, Television Production

Photography is an integral part of television production. Sometimes, if a manager is to manage a show, does not understand the activities available to help the show if he has not informed from the manufacturer. For example, manufacturers should be within a community access project work in other areas. (Maybe you're a producer of volunteers and a photographer or an audio specialist who excels in another field related to this videoproduction). Many times drivers do not have time to investigate questions about a particular person.

At other times the film feels and knows that he is in charge and not care to ask. Do not understand what the producers are good or what their specialty is something big or you might miss something special. Other drivers can cope with their show and their show (and others show that he directed), his lessons, instead of production. You can see a director who preferssomeone learns a new skill instead of appointing producers to the work they do best. This is wonderful (sometimes) for the person to know if they were also a learning session. And it's great for the teacher, because this is his attention. But the reality is that the producers of the show to help produce a particular show. And executive producer of the show has one goal - to show his complete to the best of his abilities in the shortest possible time, to have to turn everythingwell for that particular show. This can not be achieved when objectives other than the executive producer of the Director.

If the European Parliament (executive producer) knows he can not direct a show, know that your main goal is not to learn the producers of new skills, but your main goal is to show that individual directly to the best of your capacity. Your main goal is to do the job of director, nothing more, nothing less. So if (as manager) arrive at the show and you're in the situation room,, And we recommend that a special sound, do not try and sound specialist to learn a new skill or CG of the camera. This is not the objective or purpose of the exhibition, and that's not what the executive producer has enlisted your help. Your goal as the Director of the need would be to turn off the sound engineer to address the issues. In doing that you know this part of the production is in good hands and you can proceed to other functions assigned. Treated with soundWell, we are moving in the right direction for a wonderful production.

Showing a person how to do something (if you're shorthanded and have no other choice) is a necessity at times, but not often. But that is different than actually try to teach (in the sound, cg, or other areas) to teach, while the show running, or while in the control room just before the show begins. A center of every person in every production should be to focus on what their specificwork. If you are assigned to the camera do the work, which is your main goal and beyond. If you stick with that and handle that job in the first place, do your assigned work.

Who is helping whom? What happens if someone needs help? The director who will take care of jobs to help that person. (In most productions, there is a mix of inexperienced producers, or more recent and well-seasoned producer and director will be responsible for helping others handle). There have been cases ofwhere a 'whole production was done by inexperienced producers. In this case, the whole team together, sharing their knowledge. Everyone worked hard, everyone had fun and the best part is that the production was a great success. That says a lot about teamwork. Thus, in the latest productions, in which most of the crew is inexperienced, a solid team approach is necessary and that helps the show. If you have an experienced director, even if they still work as a team, the director islevy and the Director will help all those who contribute to the show to be the right way.

So, is the key to a good understanding of the role of television production to a manufacturer that helps. Second, know that if others need help, you are free to help as long as the job is finished or treated until it interferes with the work you are assigned to do. (Each executive producer running the show otherwise, this is my way to run - using ateamwork and common sense when it comes to creating jobs and helping other manufacturers.

The safety and security! Another key to good control of the television production before production that each producer has been certified and / or banned or suspended from the study. You want to respect all the rules and checking in advance, know your production go smoothly. Yes, ask each producer, when they are certified. If you have a doubtcontact the study staff, volunteers or staff rooms or public facilities. One of them must know what the producers have been banned or suspended, and that information from a trusted source to help your show without a hitch. So please start all certified producers, and provide a list of producers to guard or person at the counter. Enter the security guard at the list of talents, the host or co-host and all who would enter the studio. (You can do this in cases wherethere are no physical "tickets."

Money Matters: As regards the production and for community access to tickets All shows are free, so as not to allow anyone to upload anything to any involved in the show. If a guest or host and a producer asks you for money, run the other way and find another manufacturer. Remember and remind them that the EU Admission is free and no one pays for a show host or a guest on the show. In the same context, the producers have not paidtalent, guests, hosts or co-host. This is a totally free enterprise. Report all cases of requests for payment for the administration immediately. This makes all do their job if they want their work to be done.

Camera Operators: Camera operators are not photographers, although some photographers, camera operators made the statement. This may seem contradictory, but it is true that a. When you volunteer or are assigned to a cameraman, you're not going tocall the shots (unless the director gives you the freedom). So listen to all instructions and follow the instructions. Even if you are a professional photographer or an avid photo hobbyist who has won awards for photography, we still call the shots when it comes to television production. fully follow the advice of the director and the instructions and you'll be doing your job if you're assigned to do.

Some time ago, there was a time when I, as a photographer,thought that the shot could be better, and I decided to change the shot. But what I did not know was that the director was going for special effects and was the host in a specific area of the image. My mistake was, of course, because I was behind the camera to think like a photographer as I had to think like a camera operator. This is the problem with me, I think as a photographer and I remember when they are behind the camera I'm not a photographer, but a camerathe operator to listen to the instructions directed. One of my best experiences in a show was when I managed to take the shot I wanted, while the guest or host was on the camera to another. But this was only done because the director told me that the shot while the other cameras, the guest or host. This is not something I would have done alone.

Cameras, studies and robotics: Community TV in addition there are two types of cameras. You have a regular studio cameras(Those producers are active in the studio), and you have the robotic cameras (There is no manufacturer on the car but this car is a producer from the control room). The robots are very vulnerable and should be treated with the utmost care. Will be "on" when in the studio. If ever there was a problem with the robotic cameras, call someone from the staff (public services) the space to deal with the problem. If it is small, according to PE staff. If theproblem is large, the staff is likely to call an engineer in the studio to do the repair or robotics to keep in the studio for repair. Under no circumstances whatsoever, intern or volunteer producer authorized to repair this camera or any other work to do with them (physical changes, etc.). Only the engineers and staff will do this job, if necessary. A good rule is to tell all the assistant producers who work with you to report any problems. Ealso tell them that nobody touches the robotic cameras. You, as chief executive for the cameras and the studio, because you sign the contract / card producer responsibility.

Floor Manager Floor Manager is responsible for managing the floor of the study area. If you have an inspector, you should not go into the control room for everything. We must not give instructions to everyone in the control room. The director is secure. EInstructs the Director stage director and all the other teams in the studio. The manager of the floor by the operator to forward messages to the host, co-host and the other on the air. There are more details of Floor Manager to work, but I'm here to write for the sole purpose of remembering Floormanagers their work in the area of study, not within the control room. Instruct the Director of scene that only you (the executive producer will handle the robotic cameras andanother manufacturer to touch the cameras. This is for the safe handling of the cameras.

CG Character Generator is the work elsewhere in the titles and graphics, or written or typed information on the screen so viewers can see and learn more about the event other than the verbal and visual clues provided by cameramen and sound engineers. I'll go into more detail on this work in a differentarticle.

Sound / Audio: You need someone with experience in audio production for a large. For whatever reason, most works in the European Union, not many specialize in this topic. If you have a good audio person to try, try, and that person is your audio all the time, if possible. Manufacturers have half of a backup. Audio / Sound is another important task in the study. We will discuss in length in one of our following articles.

Other works Other works in the manufacturing sectorProduction Technical Director, Audio Director, sound engineer, and some others. I go into the details of these in future articles. I would like to write more articles on other work that the producers on set and in the control room and go in more detail the specific tasks, duties and other necessary information. I am also willing to answer any questions, so email me. You can check my e-mail address listed on the website in my profilehere.

The difference: while you are away, producing the shows, you encounter all sorts of people, each with its own individual personality. And you will meet a number that no matter what their job is during the show, which will seek to take control of situations. (I'm not talking about someone who is sincere in helping with a fix). I take on personality. There are a number of manufacturers that personality or attitude that they are indispensable, above the rest of theproducers. Sometimes it will happen naturally if they were in a different social class than you are, perhaps above. No, do not say to you, but you show and demonstrate that by how they behave in studio and control room. If you're wincing in pain on that statement, and you do not accept that these people outside of our industry, think again. I'm here. They exist. And they demonstrate their superiority inin the studio and control room. Note that no mention of education or training, I speak of their attitude of superiority, that is all.

The reason I bring this up is because nobody really wants to work with someone who has a sense of attitude of superiority. However, in the world of community access television, a feeling that they are forced to work with them. Stop right there in that thought. No one is forced to work with everyone in a community access TV production. Yes, manufacturersneeded to work on some shows, but are not obliged to work with specific manufacturers. We can all point to the demand of producers and manufacturers. Just as manufacturers have the right to refuse to work on a particular show, we as producers have the right to ask someone who is certified. The list is long. With patience, you will find a number of large producers to work with. If you are involved in the community access TV production, you will see that you have choices. And,You'll be spoiled for choice, you can set your preferences and work with producers who are willing to work. I have never seen such a lack of confidence that makes you think that you are unable to producers, so you need to arrange for individuals to find a superiority complex. In the area of community access, there are many producers who are willing to show and are willing to do a great job on the show. Trust. Stand Your Ground and promise to work with producers who knowthat all producers are equally important as the rest, and that a person is more important than others. With an attitude that we are all equal, producers to show more respect to the set and in the control room, and there will be a more favorable climate in the control room and studio.

Control Room Note: Once inside the control room giving instructions to someone in the studio, using the name of the person when speaking. In this way there is no confusiontalk about who is who. Most manufacturers do this and it does wonders for a smooth operation. E 'feel better, Jane, zoom in, you should zoom in (with no name) and sometimes there is confusion about who should be enlarged

Your role: So, what is your role in the community access to television? Your role is to do your best in any area of community access that most interest you. Your role is to encourage your producers to set an example to follow you. Yourrole for large manufacturers to find your shows, and grow from the great learning experience available to you here to access the community. Your role is what you make it here and hopefully that will soon line up of producers who work in their studies of community access. I wish you good luck and good and I invite you to contact me anytime through my email address.

Executive Producer: Executive producer is usually the one who started the show - with the idea, theresearch, contact, home to the talent, guests, co-hosts and audience. In short, it's his show, so you might want to do what this person wants. There is a particular idea, topic or theme that the producer wants to show, and there are some ways that he or she wants to show. So if you are working on a show, and executive producer would prefer to work in the studio working in the control room, your role, your side, your duty to work in a studio environment. Inyou get to a show to help you or your job, did not come to offer to work in a given area and that area because they are not useful for everyone. Yes, you can indicate your specialty and you can choose what your experience, but you have the final inspection before the final decision to leave the executive producer. I do not want anyone taking over your show, do not show anyone trying to take over asking to work in a specific area of the show, studioor control. Most manufacturers try to work with you based on your experience and your preferences. But all the executive producers also have their own preferences, so listen to your instruction, or have not requested.

Shows: Many of our weekly shows are produced within the television community access. Some are produced in the field in remote locations. You can check with one of our sites in an area to see a number of studies and shows that we producedthe past and more recent. Check with [http://www.youtube.com/superbooks7] We are happy to offer you our free newsletter by email if requested. (These are sent via e-mail, not mailed).

Choose wisely: Do you have choices. Never allow anyone to convince you that you need for your show. If you are a team of producers who have respect for you and your party will produce a show, but you have a good crew. Network, add a good, productiveorganization and ask around for more producers to find your show. It 's your role as executive producer, to make choices when it comes to choosing the crew working on the show.

Updated, April 14, 2008

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Monday 27 September 2010

Hoboken automated garage

Grand re-re-re-re-re-opening of Hoboken Automated Parking. From Cablevision Ch 18 District Journal, Hudson News edition, Jan. 24.2008.



http://www.youtube.com/watch?v=6WYniG7uUsc&hl=en

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Sunday 26 September 2010

You can view a television

You're a newcomer or you are looking for a TV producer to be? I wrote this article with you in mind. Here are the details.

Desire - If you have a desire to produce television shows, you can do. All you need is a great desire to succeed in this business and you have the time to do the works. You might need time to try a show is that if you need evidence. But you can start with little money. Most CommunityAccess to studies and transmitters are classes and courses are free and / or low cost. When examining the cost of college and university classes for television film production classes will see that the costs of course access to the community is a small fraction of that. (You probably have a curriculum to more community access for less than one hundred and ten dollars). And if Take That course there are other courses, some of which are completely free. Once a certificate studyproducer, maybe you'll have access to laboratories and multimedia editing stations, depending on where you live and what you are working in the studio.

The main cost to you is the first course, the more you pay for your own transportation and meals and everything needed. Here are some guidelines and information to help you get started:

Start:

First, never, indeed, starts all over again. If you want to producetelevision and you have no money for school, we know that is not about you from your goals. Do one thing every day towards achieving your goal and you will be more successful than the average person who has opted for a new career.

Do an internet search or a search for the phone to station Community access in your area. (Most require proof of a residence - a utility bill or rent an apartment to show that you are a resident). Towards the endThis article will list some sites to get started on the right track). In New York, MNN search, search, and other community access television studios.

Call the local community access to the station and ask what their wishes. If you like what you hear, tell them where you want to become a producer, studio and remote / field. Follow the instructions as soon as possible. Ask your question by mail, if at all.

Makea check or money order for payment of the course. Most of these studies do not accept cash. Sign your check ready when you go there, if they are ready to accept your request.

Set the date on the calendar and then just see.

Here, you started your career or hobby in television productions for the beginning of your education. There are a number of studies where you can go to school for a small six weeks and if it can be officially certified as a studymanufacturer. Call your studio to record the exact details of times and classes get. To start now, in real life, I'm the great web links. Check these links and take the first steps to a producer of community access exactly where you live. The first link is for those who live in Manhattan, New York. The second link is a universal connection that attaches to the Community access stations in the United States of America. And the next link which is whatmany people would be interested in. If you are interested in producing shows in Hollywood? Well, there is a link to West Hollywood. This is a start for you if your goal is Hollywood. And check the link for all other cities in the world. The key here is that almost all communities of access you have to live there, you must be a resident of the city. So if you want to leave produce in Hollywood studios, you must go to Hollywood. If this is your goal, I suggest you start when you are in yourtheir city is affirmed and experience and make your move, your goal is Hollywood. It might take a vacation there just to see how it is. I am convinced that many EU producers are those who visit one of the producers love your hometown. Take a ride in the studio and see what happens in West Hollywood. Almost every big city has a community access television studio. Palm Springs community also has access to (CSF and PS-TV-TV Channel 17). The last link is included for theCalifornia community access studios.

Five left for you the right way!


http://www.mnn.org/saveaccess
http://www.communitymedia.se/cat/linksus.htm
[HTTP: / / www.weho.org/index.cfm/fuseaction/nav/navid/50/]
http://www.briconline.org/bcat/default.asp
http://www.mhat.tv/access/CACATlist.html

The reason why only a ring of fat, because this link has links and information on studies of greater community access across the U.S.America and other links to individual cities or regions. The link provides information in bold no matter what city you live in the U.S. and other links in inches in the city of New York, California and other states. It is now beginning. Congratulate you on taking the first steps for a certified producer of television programs. Good luck with your adventure and your education. I would love to hear from you about your experiences in your city.

Why such secrecy?The reason is hard to find on television community in some communities is uncertain because some producers feel threatened by new producers coming into society. They have the misconception that newcomers are in competition with them, so they do not want to share the information with the latest free or potential producers. I feel different. I like to share the information I have, because I know that everyone has a good information to use. So here are sometips for you to be certified in your city or state:

Reminder:

Welcome to all newcomers and see them as co-workers, not as competition.

Treat everyone with equal respect. This means that the processing of new producers with the same respect they treat you with experienced producers.

Be prepared. He has a lot of research for your shows. Come prepared, though improvised show your ad only if you search, you should use.

Inviteall on your show. Most people have an obvious or a hidden talent. If talent is hidden, pull out now. If the talent is obvious that "Wow, get to work on your show.

Be nice, friendly, professional service to all human beings in your way.

Continue to monitor your trust. As every community has access station people from all corners of the community, and all personality types, remember that your study is only a smaller world. Therefore, people know very wellbefore their confidence. Just because you do not trust manufacturers are the producers. And do not forget that you can respect people not to trust them. Allow producers to earn your trust, do not give it away Fri This will ensure you and your production.

Do not give money to attend shows:

If all the Community producers seeking money or expect to be paid for their help, go in another direction. Community producers do not ask or hint for real money, not a suggestionand never pay the producers. You can bring food if you want to do or food for the mind, but when a producer asks money or asking or demanding money, take it off the manufacturer's list for future productions. There are excellent producers of far too many in the industry are hampered by the Community producers access to money from you.

These are ways to help you get started and to help you stay on television access for EU companies. You may think that your wayhigh. Brainstorming with your friends or colleagues. You are the voice of your community. Share this page with others and you will all succeed in all your endeavors. I hope this information helps you begin the work of community television.

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Saturday 25 September 2010

Producing your own show things you may need

How much does a TV producer? Most times it costs a hundred dollars or less, unless the subject of a college or vocational school. In the latter case can be very expensive. Vocational schools in Manhattan cost big big bucks and they will not give you a study at the end of your studies. By far the more reasonable school around the school and access to the study of the community.

When the community has access, what are the costs, in additionmoney is involved? You need time, lots of time if you want to produce shows on a regular basis. You have the creativity or brainstorming or networks to get your talent, stars, houses and co-host. You have perseverance and dedication to work which will show once you begin production. You know when to keep going (forever), and when it's time to stop (never). So there you go, you have most of your answers.

What are the other things you needthe production of your show? Depends on what you want and studies depends on how much free time must be invested in the project. (If you buy your equipment, this saves you time because you do not need to arrange special times to retrieve and display the equipment supplied be back to study - the case of remote or field. With HAVING your own equipment is minimal or even cheap, hit the studio appointments, and sometimes you can edit in fullthe same camera, so that the cuts in working hours as well.

So, I think the biggest expense that you might have is your investment of time, there will always be time to invest in pre-production, production and post production. Money is also an investment, but time is the most important investment in a show seriously. Other things you need are your props, your own furniture (but not necessary). You may wish to bring your own artwork or posters forwalls of your TV shows. It could in some small stands for the post of art. If you're doing remote field or show, you may need some rain gear and some canvas or plastic sheets or plastic attached camera, everything clean and spotless.

You might need some music or CD to open and close the show. You can use canned music or a musician as you know, that person can be used as an introduction. You can have a number of tablecloths if you decide to use theStudio furniture. Using your tablecloths, add a special touch, a personally difficult to show that none of the other manufacturers will all Exact Same as you have. So, think about personalizing the show with your own accessories, tablecloths, banners, posters or other small items. We recommend a plant pot or other natural materials to bring.

Here are additions we can make your show just for you:


Using a feng shui-touch. Check out a bookFeng Shui and the use of tips for your shows and background scenes. You can also use feng-shui in the room when you can.
Use the music from your or a friend.
Use a keyboard to a number of "demo" to play music. It 'a nice opening to the show too.
Create large copies of your business card as a sign or banner.

You can use business cards in less than an hour at most office supply stores. (From a store of such, have recentlythe sale of 100 business cards for twenty dollars in addition to receiving an additional 100 free business cards). What works well if you're in a hurry cards and the need to give them the same day for the show.

You can go online, so in advance, and business cards for free from many companies. (They want free samples to give you a ring as a prospective customer). You can go online to the Microsoft website and design your own cards. If you print, please save the document in a public library andAre printed for ten cents per page. Bring your own sheets of paper or card to the printer with the load. Ask your librarian for details on how to do this.

Obviously you need people, producers, hosts and co-host. You can usually find willing participants when you do your research.

This (above) are just some of the possible costs of having your own show. No reservation is required, except for study and contacts, your talent and hosts. Allotherwise optional. We'll talk about other useful sites and other options for new producers in some of our future articles.

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Thursday 23 September 2010

Having a positive attitude in the midst of delays and cancellations

Sorry, but the flight was canceled. I recommend you call our number 100-800 to reschedule your flight.

These statements and more were the questions I heard and became a part of my reality last Saturday, 02.24. After three consecutive days to deliver speeches to cadets of the United States Air Force Academy in Colorado Springs, Colorado, it was time to fly home.

After arriving at the airport, another passenger before me indicated, all flights are canceled andwas not made until the following Tuesday. Now it was my turn, I walked to the counter and presented a positive attitude about the flight home, as expected.

The travel agent was so good that he could, but he told me that my flight will depart on Monday at the same time my flight previously scheduled Saturday. It seems that the snow that fell in Colorado Springs on the morning of February 24, strong winds in Dallas and is home of flights canceledMinneapolis, Chicago, Dallas and just past the airline industry.

Here are some things you can do for your positive attitude in the face of flight delays and cancellations at strengthening:

1.) Buying flight insurance, flight delay and cancellation, lost baggage and insurance. Travel insurance usually pays for two days with a closing value of $ 300 per day.

2.) Even if the flight is delayed you apply your agencychair. It 's just a matter of asking.

3.) If your flight is canceled, a presentation voucher for the number of nights you recast your waiting for the flight. Typically, the carrier covers room and board, this creates a win, win and great customer relations.

4.) If you anticipate a canceled flight have a backup plan for a rental car, accommodation comprises, and arrive early at the airport, passengers Because Some will be frustrated and May cancel Their trip.

5.)Select accommodation that offers a restaurant, free high-speed Internet, Cablevision, workout facility, complimentary newspaper, complimentary shuttle service and free local calls.

Keep a positive attitude and think about the fact that airlines looking for a home as safe as possible. Traveling with your laptop like I do, keep in touch with family, clients and conduct business as usual.

Happy and a safe trip and keep a positive attitude and safe at home. Udeserve better, especially if your flight is canceled.

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Tuesday 21 September 2010

Cable Wars Continue

Millions of TV viewers may miss the Oscars due to a standoff between a cable-provider and ABC. As Elaine Quijano reports, this may just be the beginning of 'cable wars'.



http://www.youtube.com/watch?v=yL7dmCu1ouY&hl=en

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Monday 20 September 2010

CESSY CASANOVA CHISTE EL DIVORCIO,PAYASO YOM PROGRAMA DANNYSSSIMO

PROGRAMA DANNYSSSYMO LO TRANSMITEN POR EL CANAL 4 DE GUADALAJARA Y 164 DE CABLEVISION ALA 12:00 DE LA NOCHE EL DIA MARTES



http://www.youtube.com/watch?v=G0mSuvHCp2I&hl=en

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Sunday 19 September 2010

iPod Repair - Guide to Having Your iPod Repaired

If you're going to repair your iPod, the first thing you need to do is decide how to do it. Repairing an iPod for a novice is no easy task but depending on what needs to be done, you may find yourself more than able to perform the maintenance. Basically, you have two options. You can try and perform the maintenance yourself or you can send it in to a repair shop for servicing.

Usually, the first thing you have to do is pay for the service in advance. This will ensure that the iPod repair service is compensated for their time. Make very certain there's a problem with your iPod that you can't fix yourself. These services can be costly although generally much cheaper than going to Apple themselves. In some cases free diagnostics are offered on repairs. Other services offer payment after their diagnostics upon completion of your iPod repair.

If you want to learn how to fix this item yourself, you can take instructional courses off the Internet, and watch iPod Repair Guys in YouTube videos repairing there iPods or ask around for tips and tricks. Being able to fix your iPod yourself takes skill. If you are technically savvy enough, you may be able to figure out how the device functions and what it takes to replace a part or two without instruction. But why risk it? An iPod costs a lot of money, too much for you to toy around with.

There are many shops on the Internet today which will be more than happy to fix your iPod for a nominal charge. All you have to do is send your unit in to them, make an advance payment and wait for your unit to arrive back home. Typically, it will take only 2-3 days for them to diagnose and fix your item but depending on where you shop, it could take longer. Choosing the right company to mail your iPod to is important. You should make sure they have handled repairs through the mail, keep in contact with you, and will complete the work in a timely manner. You should also consider the repair shops reputation. There are a lot of inexperienced repair centers popping up on a daily basis. Dealing with a reputable company will help you get the best diagnosis and offer you a complete iPod repair solution.

Taking a closer look at what goes into fixing the iPod, the main issue is replacement parts. Your average, every day iPod owner is not going to have a surplus of replacement parts readily available. On the retail street markets, these parts can cost a lot. Some people don't even try to repair their iPods, they simply throw them away and buy a new one. For most, iPod repair is the most cost effective option, as iPods were indeed built to last. A simple replacement part could save you hundreds of dollars. The average price for iPod repair is currently around 40-200 dollars depending on the model you have. Good luck with your iPod repair process, it's definitely worth it!

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Saturday 18 September 2010

Martial Arts View-Sevillian Steel: Spanish Knife Fighting

Preview of Episode 1, Season 3: Sevillian Steel: The Art of Spanish Knife Fighting. View complete episodes, clips, previews and extra content at www.martialartsview.com or catch us every Saturday at 9 AM EST, Cablevision 68/Time Warner 35/RCN 83/Verizon Fios 43. You won't believe what you'll see!



http://www.youtube.com/watch?v=2tKh1dYKi50&hl=en

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Friday 17 September 2010

Reese Schonfeld - Air date: 06-16-03

Reese Schonfeld has been in the broadcast and cable news business for more than thirty years, helping to change the direction of news and information programming in both media. He began his career with United Press Movietone News in 1956, advancing to managing editor before becoming Vice President of United Press International Television News. In 1975, Schonfeld founded the Independent Television News Association, the first satellite-delivered television news service. In 1979 he helped found the Cable News Network and served as its first President and Chief Executive. At CNN he originated and developed the 24 hour news concept. Under his leadership, CNN grew from a universe of 1.5 million homes to more than 15 million homes. After leaving CNN, Schonfeld joined Cablevision Systems in New York where he developed and oversaw "News Twelve" on Long Island, the first 24-hour local all news service. Schonfeld also produced "People Magazine on TV" for CBS and helped to develop "Newschannel 8" for Allbritton Communications Company. Schonfeld then worked with Time Warner in planning the International Business Channel and in 1993 had designed and implemented the Medical News Network, an interactive TV News Service for Whittle Communications. He also served on the board of Robert Halmi International prior to its sale to Hallmark In 1992, Schonfeld began developing the TV FOOD NETWORK with The Providence Journal Company. The Network launched on November 23, 1993 with Schonfeld as ...



http://www.youtube.com/watch?v=XN-94Hz0wDM&hl=en

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Tuesday 14 September 2010

Community Channel 18 Preview Video

A brief video of some of the summer shows on Consolidated Cablevision Community Channel 18 - including local area rodeos, Southwest Speedway racing, baseball, Arts on the Prairie Summer Bandshell Concert series, parades and other community events



http://www.youtube.com/watch?v=qseClYvKGs0&hl=en

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Monday 13 September 2010

Winnipeg acclimate approach - Feb 3, 1989

One cold Winnipeg morning! -35 C (-31 F) This was the cable weather channel 9 from Greater Winnipeg Cablevision. (now Shaw cable)



http://www.youtube.com/watch?v=vss_HSVazWs&hl=en

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Sunday 12 September 2010

Saturday 11 September 2010

Towing on the Net

The Internet has grown significantly in the last several years. Almost all businesses today use email for everyday correspondence. It is being used in the towing industry by motorclubs and towers alike. The motorclubs dispatch calls and accept claims over the Internet. Many towers are using it to send pages to drivers, to track their truck locations, and in some cases they have even virtually eliminated the radio by using two-way pages or Mobile Data Terminals (MDTs). The next generation of towing software promises an even greater integration with the Internet.

This trend is likely to continue because of the dramatic cost savings that can be realized using the Internet. Motorclub calls now take less than 3 minutes from start to finish using Digital Dispatch. Whereas before, using the phone, a call could take 5-10 minutes. These few minutes add up to tremendous savings for both motorclubs and service providers.

You can even locate a service provider online using sites like http://www.wrecker.com. The call can then be sent via email, fax, phone, and using digital dispatch like the motorclubs.

The next generation of towing software and management systems promises to be completely integrated with the Internet. You will no longer have to have an expensive, high-powered server networked with several fast workstations to run your towing software. Furthermore these networks require a true computer geek to keep them fine-tuned and running. Backups will be a thing of the past. Access from home is presently complex and slow. This too will no longer be a problem with the newer towing software packages. An Application Service Provider (ASP) will run these packages from a central location. These new solutions can be accessed from anywhere with your security code and an Internet connection (office, home, motel room, etc).

When it comes to Internet connections you have many affordable choices today. The table below lists the common types available:

Connection Type

Expected Speed

Typical Cost

Service Providers

Dial-up

28.8 - 53kbs*

$0-25/month

AOL, AT&T, Earthlink, MSN, CoreComm, MCI,etc.

ISDN

64kbs or 128kbs

$40-70/month

Earthlink, MSN, Telocity, AT&T, MCI, etc.

DSL (Digital Subscriber Line)

128 - 1544Kbs

$40-300/month

Earthlink, MSN, Telocity, AT&T, MCI, etc.

Cable

56 - 1544kbs

$40-70/month

Time Warner, Adelphi, CableVision, etc

Satellite (2-way)

150 - 500kbs

$40-70/month

Starband, MSN, DishNetwork, DirectPC/DirectTV, etc.

Frame Relay

56 - 1544kbs

$200-1500/month

Ameritech, GTE, MCI, AT&T, etc.

Fractional - Full T1

128 - 1544kbs

$250-1500/month

Ameritech, GTE, MCI, AT&T, etc.

* 53kbs is the maximum allowed by the FCC. So even if you have a 56Kbs modem it cannot connect faster than 53kbs.

The connection speed you choose depends on your budget and what you need to do on the Internet. Internet (email) paging and Digital Dispatch do not need a very fast connection. A simple dial-up connection will provide enough speed, but it is not very reliable. You may want to choose one of the other connection types. IDSL, Cable, Satellite, Frame Relay and T1 all stay connected full time. This means they do not need to "dial out" to establish an Internet connection; they are always connected just like a workstation on your Local Area Network (LAN). After all, the Internet is nothing but a big LAN.

This is the premise behind the next generation of towing software. The application will be run from a secure server farm (several servers working together) and each towing company will just be a user on the network. Therefore you will only need a low cost computer, a security code and access to the Internet. The set-up time will be a matter of minutes instead of weeks. The average person can setup the computer and download the software instead of having to pay the high costs of flying in a technician. Most users will be able to follow the onscreen instructions and will not require weeks of training. However, training will probably still be required for the more advanced features. Addionally, there will be little or no maintenance costs. You will simply pay a monthly fee in addition to your regular Internet costs. These types of solutions should save the average company thousands dollars each year; not to mention the many headaches associated with running your own internal network (e.g. hard drive crashes, failed backups).

I spoke with a company owner last week about a major system crash. He lost an entire year's worth of data and did not have a good backup. His backup failed due to the fact that his backup software was unable to backup his data while the towing software was running. Since they are running a 24/7 operation, they just didn't have the time to shut down the towing software to run the backup. He thought it was backing up but his tapes were blank. Has this ever happened to you? This type of problem will not happen in the future because the ASP (Application Service Provider) handles technical issues, such as backups, behind the scenes.

Now let's talk about some of the present ways people are using the Internet in their towing business.

Paging is probably the most common task being done through the Internet. Any company that has a full time connection to the Internet can utilize email paging. To send a page: you can go to your paging company's web site or if your towing software is Internet enabled, you can send a page from within your program. Some software packages even offer two-way paging, but this requires you use expensive 2-way pagers for all your drivers. Email paging may be faster than standard dial-up paging, it all depends on your paging company. Many towing companies use email paging as a backup to their dial-up paging, because if a paging company's dial-up sever goes down, it probably will not affect their email paging server - so you can send your pages using email. This too is dependant on your particular paging company. There are new technologies, such as Simple Network Paging Protocol (SNPP), that will enable your software to detect when a page has been received by your driver using standard low cost pagers.

This capability is already available if you have CDPD mobile data terminals. These systems use the Digital Cellular and the Global Positioning Systems (GPS) networks to provide two-way communication as well as truck location and speed. They utilize the Internet to send/receive data (messages) to/from your trucks. @road and Airlink Communications are two of the major players in this type of technology. For a monthly fee @road allows you to completely monitor and configure your MDT from their web site. They even give you an interactive online map to show your truck present and past truck locations. Airlink on the other hand does not charge you a monthly access fee, because the maps reside on your local server. You need to decide which solution works best for your needs.

Digital Dispatch is used by some motorclubs to send calls to service providers using the Internet. In the future you will even be able to submit your invoices to the motorclubs using this technology. This is because many of the motorclubs and towing software vendors have been working together to establish a standard protocol for sending calls and submitting invoices. Presently, a couple of the software vendors have the ability to directly receive calls from GE, which means the call appears on your dispatch screen. The other software vendors and motorclubs are working on similar solutions. The Internet solution from the other motorclubs requires you keep your browser pointed to their web site. When a call comes in you need to print it and then type it into your towing management software.

Several of the motorclubs also offer the service providers a way to submit their invoices online from their website. However, Digital Dispatch promises a much easier and automated solution in the future.

The Internet offers a benefit for every size towing company by using one or more of the following technologies: Digital Dispatch, paging, GPS/MDT, or submitting invoices to motorclubs. The next generation (ASP) towing management systems promises to deliver solutions that are much easier to use, more integrated with the Internet and utilize all of the present technologies as well as a few new technologies, such as Instant Messaging and Internet enabled cell phones.

I neglected to answer an important question that is probably on your minds - Is it safe? They simple answer is, Yes. In fact it safer than your telephone, since much of the data sent is encrypted. I will save this topic as well as remote access to your software using Microsoft's Terminal Services for a future article on Internet technologies.

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Tuesday 7 September 2010

huracan river Toque y toque al oleeeeeee de la tribuna 4 a 0

Goleo huracan a river que se fue sin palabras Torneo Cablevision Clausura 2009 16 de mayo de 2009 creaxion sports mkyg



http://www.youtube.com/watch?v=Y4_alB1BgJU&hl=en

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Monday 6 September 2010

LI News Tonight

Covering Nassau and Suffolk counties LI News Tonight is broadcast on Cablevision channel 18 at 7pm five nights a week and on the web at www.itvnews.us/content/nyit. LI News Tonight is a community service of the New York Institute of Technology at Old Westbury offering on-air opportunities to aspiring television news reporters.



http://www.youtube.com/watch?v=fKIqabeRg44&hl=en

Thanks To : Qwerty Mobile Breyer Stable

Friday 3 September 2010

Wednesday 1 September 2010

Essentials in Community Access Television - Lesson Eight, Television Production

Everyone comes to television school with their own ideas about what they want to learn and what they want to do with their education. You need to decide before you enroll - which choices will benefit you the most. Make educated choices and then you will be able to achieve your goals in life. Before you enroll for courses in television production, you need to decide if you want to take the studio or the remote/field course. And before you decide that, you need to figure out what kinds of shows do you want to produce.

Weekly, Monthly or Specials? Do you want to produce only specials or do you want to produce a weekly or monthly show? This is what you decide first. If you want to have a weekly show, you might do best by taking both the studio and remote class. By doing that, you safeguard your upcoming weekly show and you are always prepared with tapes for future shows. As a beginner it is hard to produce a weekly show. (This requires researching, getting guests, talent, hosts and co-hosts and possibly audiences. And imagine doing this for a show every single week? So, if you decide that you want a weekly or monthly show, you will help yourself by applying for both the studio and the remote/field television production classes.

Field and Studio Shows: : By being certified as both remote and studio producer, you can do your shows in the studio and you can always do some field shows to fill in the rest of the weekly shows. I've done that for a number of years. I tape some studio shows and then tape lots of field shows. By doing this I am able to keep a regular weekly show on the air. Honestly, if I had been certified for only studio shows, I most likely would not be able to maintain a weekly show (only because my personal life has been extremely busy last year and this year, so my field shows always come to the rescue). So, take my advice, if you like and if you are serious about having a weekly or monthly show, be certified in both studio and in field/remote shows.

So, once you make your important decisions, register for the classes and go to each and every class. Do not miss classes. If you do this you are depriving yourself of the needed education to be a certified studio and or field producer. If you can afford ( by time and money) to take only one of the courses, opt for the field/remote course and then after that take the studio course.

Studio Shows: :Studio shows are produced inside the studio building, inside the studio. The producers use the rooms (control room and studio, and dressing room and sometimes the conference room) during their reserved time slot to produce a show. All work is done indoors by certified studio producers. Note that no uncertified, banned or suspended producers are permitted to use any of the studio or remote/field equipment ever, until their suspension time is officially up. If you, as the Executive Producer of your own show, permit anyone uncertified to use or handle the studio or remote/field equipment, you stand the great possibility of being suspended yourself. Do not risk your valuable certification by breaking the rules of the studio and of Administration. Do not give in to peer pressure. Be yourself and follow the rules of the studio. When you reserve the studio for your show, you are responsible for the equipment that you sign for. Handle everything with care. When it comes to handling the robotic cameras, the Executive Producer should be the one to move them into place in the studio and the other producers can move the other studio cameras into place. Instruct everyone in the beginning that no one touches the robotics cameras - except you, the Executive Producer.

Count your equipment before bringing it inside the studio. And count it again before you return the equipment.

This is only a suggestion, which comes from experience; I suggest you begin with remote shows instead of beginning with studio shows. You will need a minimum of four other producers to help on your show in most community access studios. It is your choice how you begin. Only you know yourself better than anyone else does. So, make wise choices.

Field/Remote Shows: These shows are produced in the field at remote locations. These shows can be filmed outdoors or indoors at different locations. If you have your own studio, that is wonderful, you can use that. You can take the community access equipment out by reserving it. Field shows/remote shows are not permitted to be filmed inside the studio as the studio area and equipment are for the sole use of certified studio producers and for studio shows. Field/remote producers are permitted inside the studio as talent, co-hosts or hosts, but they cannot use or touch any of the equipment. And they do not count as a producer when you are counting your required number of producers to film a studio show. (In some community access studios, you are required to have four other producers to help on your show when you use the studio. These four producers must be certified studio producers). For all remote shows, you need to take extra care of the equipment by always knowing where each piece of equipment is. You can have your cameras and other equipment stolen if you do not keep an eye on it. So be diligent in protecting your field/remote equipment. Have one specific crew member keep an eye on the equipment and you supervise the whole show so you are in a sense keeping an eye out also. Bring plastic or tarps or special plastic camera bags with you to protect the camera from water and moisture when it rains. (You can buy these specific camera bags (They encase the camera in plastic and you can keep taking pictures because there is an opening for your hand to operate the camera and an opening for the lens). These are especially useful when you are filming at the beach where the sand and the water is splashing all over the place.

If you ever bring your own equipment into the studio building, you need report it to the Security Guard, who will take the serial number of the equipment and write it in the log book. Do not leave your equipment around, unattended, or you might lose it.

Pick up and return all equipment on time. Give yourself an extra half-hour to pick up and deliver all the cameras, lights and whatever else you did borrow. It is your responsibility to do this on time and there is no excuse for lateness. Do not plan on being late and then giving a story to the equipment room. Plan on being early, then you will not need a story. Remember you are a professional producer. Act like one at all times.

Take full advantage of any other free or low-cost courses that the studio offers in the future. And here are a few suggestions and ideas on how to keep your field show going successfully.


Buy an inexpensive hand-held camera or borrow one and practice, practice, practice. Be taping all the time; you can erase the tapes and tape over them a certain number of times before you need to discard them or stop recording on them. Tape constantly, to get the feel of the camera and to practice your photography. Carry your camera with you as if it is an extension of your body. Learn to photograph as much as you breathe. There, you have a good head start.




Tell everyone that you know that you are doing television shows and offer your community a voice on television.




Instead of sticking with a specific clique of producers, mix with all the new producers and older producers. This will give you a good mix of producers on your first and following shows.




Do your research constantly. Take each day as an opportunity to meet and greet people who might be possibly new talent, hosts, and co-hosts for your show.

Tape now for a show that will air six months from now. Tape that far in advance. If you think that far in advance and if you take both the studio and remote courses, you will have enough tapes to produce a weekly show. You can use the mini-studio and the field shows to fill in the gaps where your studio shows leave off.

Solutions:


Prepare, prepare, research and then prepare.




Do everything on time and according to schedule.




Treat all individuals with respect and dignity.




Listen and observe carefully.




Wait to produce your first show. (Help many producers on their shows first before you produce your own show).




Read as much as you can about studio and field production.




Visit this site for information about television production http://www.cybercollege.com/




If you want to learn more about television production, contact us anytime.

Sabotage in the Studio: As unbelievable as this might seem, from time to time, there is talk about sabotage on the studio set. This is a reason that you should get to know people, watch how they work, see whom they are. Really watch and see what people have as goals, what is important to them. Check out their values and how they treat other producers. Do they come across as if they are the only ones who know how to produce television shows? Do they come across as if they are the boss in the control room rather than coming across as if everyone in the control room is a team member? There is a difference between being in charge, being a great Director and being just a bossy person. As you experience more and more television shows, you will begin to know what is good for your show and what is not good for your show. Only observation will give you this information. Gossip will not tell you whom is good and whom is bad for your show, only observation and experience will teach you this. So, knowing that , do not listen to gossip about any producer or production team. Make your own decisions, your own judgments and do what is right for your show. The biggest asset you have that will secure your future in any place in America is your confidence in knowing that your opinion matters, your opinion counts and that your gut instinct is always correct. Listen to your own gut instinct when producing your television shows, when building your team and when enlisting others to help on your show. Always listen to your gut instinct. Luckily, I have not had anyone sabotage my show, but I write about this because I have heard talk about it. So, take it all with a grain of salt, and observe, observe and watch your show. If you have trouble deciding which course you want to take, take no action. Talk it over with your friends and relatives; get into brainstorming sessions and you will have the answers you seek.

So, what do producers get or give when they produce television shows? Usually you can tell when a producer is interested in sincerely helping your show and when a producer is just all out to get what they can get -- without giving. Most times, if you find someone who is all "get" and no "give" that producer is usually , probably not the best producer for your show. You can get , give and receive in other ways besides with solid products. (i.e. Some bring food, others bring leads, books or food for the mind; still others bring sincere care and friendship; while others give sincere advice and helps along the way). It is usually very easy to find the givers and the takers. What is best for your show, if you are sincere, is to have a balance in both. Be neither a taker or giver but be a good balance in between there.

Remember that there is no need to rush into the course if you cannot decide which one to take. I have updated this article on March 21, 2008, for your convenience.

For your reading convenience and information, I have updated this article on April 13, 2008.

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