#Bengali Voice Over Studio | Explore Tumblr posts and blogs

integratedlanguage · 3 months ago

Text

Integrated Language Solutions: Premier Voice-Over and Dubbing Services in India

In the diverse and multilingual market of India, the demand for high-quality voice-over and dubbing services is ever-growing. These services are crucial for localizing content, making it accessible and engaging to audiences across different languages and cultures. Integrated Language Solutions (ILS) has established itself as a leading provider of voice-over and dubbing services in India, offering comprehensive solutions tailored to the needs of businesses and content creators. This article delves into how ILS excels in this field and the benefits it offers.

The Importance of Voice-Over and Dubbing Services

Voice-over and dubbing services are vital for a wide range of media, including films, television shows, advertisements, corporate videos, e-learning modules, and more. These services involve:

Voice-Over: Recording a voice that is heard over the original audio, often used for narration, commentary, or instructional content. It allows the original visuals to remain intact while conveying the message in a different language.

Dubbing: Replacing the original audio track with a new one in a different language, often used in movies, TV shows, and animated content. Dubbing ensures that the dialogue matches the lip movements of the characters, providing a seamless viewing experience.

Why Integrated Language Solutions Excels in Voice-Over and Dubbing

Integrated Language Solutions is recognized as a top provider of voice-over and dubbing services in India, known for its expertise, quality, and versatility. Here’s what sets ILS apart:

Diverse Language Offerings: ILS provides voice-over and dubbing services in a wide range of languages, including major Indian languages like Hindi, Tamil, Telugu, Bengali, and Marathi, as well as global languages such as English, French, Spanish, and Mandarin. This extensive linguistic capability allows ILS to cater to diverse audiences both in India and abroad.

Professional Voice Talent: ILS works with a vast network of professional voice actors who are skilled in various languages and accents. These voice talents are carefully selected to match the tone, style, and personality of the content, ensuring an authentic and engaging audio experience.

High-Quality Production: ILS utilizes state-of-the-art recording studios and audio equipment to deliver top-notch voice-over and dubbing services. Their production process includes script translation, voice recording, synchronization, and post-production, ensuring that the final product is of the highest quality.

Cultural Sensitivity and Localization: Understanding the importance of cultural relevance, ILS ensures that all voice-over and dubbing projects are culturally adapted to resonate with the target audience. This includes adjusting idioms, references, and tone to suit local preferences.

Comprehensive Service Offering: ILS offers end-to-end voice-over and dubbing services, covering everything from script adaptation and translation to casting, recording, and post-production editing. This comprehensive approach ensures that clients receive a fully localized and polished final product.

Customized Solutions: ILS provides tailored voice-over and dubbing solutions to meet the specific needs of each project. Whether it’s a commercial, a documentary, or an educational video, ILS adapts its services to suit the content and target audience.

Benefits of Choosing ILS for Voice-Over and Dubbing Services

Enhanced Content Accessibility: By providing voice-over and dubbing in multiple languages, ILS helps businesses and content creators make their content accessible to a broader audience, including non-native speakers and international markets.

Improved Viewer Engagement: High-quality dubbing ensures that the audience remains immersed in the content without being distracted by language differences. This leads to better viewer retention and satisfaction.

Cultural Relevance: ILS’s attention to cultural nuances ensures that the localized content resonates with the target audience, enhancing its effectiveness and appeal.

Seamless Integration: With ILS’s expertise in synchronization and audio quality, the dubbed audio seamlessly integrates with the original visuals, providing a smooth and cohesive viewing experience.

Cost-Effective Solutions: ILS offers competitive pricing for its voice-over and dubbing services, making it an affordable option for businesses looking to localize their content for multiple markets.

Contact Integrated Language Solutions

For businesses and content creators seeking professional voice-over and dubbing services in India, Integrated Language Solutions offers a range of expert solutions designed to meet diverse needs.

To learn more about our voice-over and dubbing services or to discuss your specific project requirements, please visit our website at www.integratedlanguages.com, or contact us directly:

Phone: +91 98110 93093

Email: [email protected]

Conclusion

Integrated Language Solutions is a leading provider of voice-over and dubbing services in India, known for its ability to deliver high-quality, culturally relevant, and engaging audio content across a wide range of languages. By combining expert voice talent, advanced technology, and a deep understanding of cultural nuances, ILS ensures that businesses and content creators can effectively communicate with audiences worldwide. For reliable and top-tier voice-over and dubbing services, ILS is the trusted partner to choose.

#leading voice over companies in india #best multilingual voice overs #premier language dubbing services India #top dubbing company India #top language services company India

0 notes

oninoinsyncsblog · 6 months ago

Text

Dubbing house in india

Voice Over Services in India: A Comprehensive Overview

India, with its diverse linguistic landscape and rich cultural heritage, offers a robust market for voice over services. This industry has seen significant growth due to the increasing demand for localized content in various languages and dialects. Companies like Onino InSync have the opportunity to tap into this thriving market by offering high-quality voice over services that cater to a wide range of sectors including entertainment, education, advertising, and corporate communications.

Market Landscape

Languages and Diversity

India is a multilingual country with over 22 officially recognized languages and hundreds of dialects. This linguistic diversity presents a unique opportunity for voice over services to provide localized content that resonates with specific regional audiences. From Hindi and Tamil to Bengali and Marathi, the demand for voice over in native languages is substantial and growing.

Sectors Driving Demand

Entertainment and Media: The Indian entertainment industry, including films, television, and OTT platforms, has a high demand for voice over services. Dubbing for movies and TV shows in regional languages helps reach a broader audience.

E-Learning and Education: With the rise of online education platforms, there is a significant need for voice overs in multiple languages to make educational content accessible to students across different regions.

Advertising and Marketing: Advertisements need to be tailored to local audiences to maximize impact. Voice overs in regional languages help brands connect with their target demographics more effectively.

Corporate Communications: Businesses require professional voice over services for corporate videos, training modules, and presentations to communicate effectively with their diverse workforce.

Key Features of Quality Voice Over Services

Professional Talent

Quality voice over services rely on professional voice artists who can deliver clear, engaging, and culturally appropriate content. Onino InSync can leverage a network of talented voice actors who specialize in various languages and styles.

State-of-the-Art Technology

Investing in advanced recording equipment and software ensures that the voice over output is of the highest quality. This includes soundproof studios, high-quality microphones, and editing software that can enhance the final product.

Versatility and Customization

Offering a range of services from narration and character voices to IVR recordings and dubbing can cater to the diverse needs of clients. Customization options, such as tone, pace, and accent adjustments, add value to the services provided.

Quality Control

Implementing stringent quality control measures, including multiple review stages and feedback loops, ensures that the final product meets the client's expectations and standards.

Onino InSync's Strategic Approach

Market Research

Conducting thorough market research to understand the specific needs and preferences of different regions and industries can help tailor services effectively. Identifying key market trends and emerging demands can position Onino InSync as a market leader.

Building a Talent Pool

Developing a comprehensive database of voice talents with diverse linguistic capabilities can provide clients with a wide array of options to choose from. Regular training and workshops can help voice artists refine their skills and stay updated with industry standards.

Customer Engagement

Maintaining strong communication with clients throughout the project lifecycle ensures that their requirements are met and any issues are promptly addressed. Providing exceptional customer service can lead to long-term partnerships and repeat business.

Marketing and Outreach

Promoting services through digital marketing channels, participating in industry events, and collaborating with content creators and production houses can increase visibility and attract new clients.

In conclusion, the voice over industry in India offers vast potential for growth and innovation. By focusing on quality, versatility, and customer satisfaction, Onino InSync can establish itself as a premier provider of voice over services in this dynamic market.

#english dubbing studios in india #hindi voice dubbing services in india #top dubbing studios in india #voice over company in india

0 notes

krispyweiss · 1 year ago

Text

EP Review: Silkroad Ensemble - Phoenix Rising

Recorded live but with crowd noise stripped away to create the aural illusion of a studio EP, Phoenix Rising marks the Silkroad Ensemble’s first release since Rhiannon Giddens took over artistic directorship from Yo-Yo Ma.

Ma, however, was on stage with his cello at Tanglewood July 28, 2022, when Silkroad played Colin Jacobsen’s stellar arrangement of Peter Gabriel’s “Biko,” with Giddens and Mazz Swift on vocals. This track - which both stays true to and expands Gabriel’s song - closes the EP.

Giddens opens Phoenix Rising with an angst-ridden reading of “O Death,” one that finds her giving her singular voice a real workout - she hits a note that quite literally turned Sound Bites’ head - over a backdrop of percussion and strings. This is EP’s highlight and also one of Giddens’ most intense performances in any setting.

Esoterica reigns in the middle, first on Rabindranath Tagore's “Ekla Cholo Re,” which translates from Bengali to walk alone and then with the loose-of-form classical instrumental “Ho-Oh,” composed by Kaoru Watanab. These are pieces that need to be experienced in person - or at least on video - for full impact of the performance. But Silkroad is supposed to challenge and open minds and Phoenix Rising certainly does that.

Grade card: Silkroad Ensemble - Phoenix Rising - B-

12/13/23

#silkroad ensemble #rhiannon giddens #yo yo ma #phoenix rising #2023 albums #peter gabriel #mazz swift #colin jacobsen #rabindranath tagore #kaoru watanab

0 notes

indiejones · 2 years ago

Text

FROM THE CAESAR FILES

Aside his deep bond with RD, were 2 other v. big names in Rajesh Khanna's closest circle - Kishore Kumar & Shakti Samanta. The story of how this first association came into being, is also most infotaining. Infact connected to Rajesh's own beginnings in the big league. So happens that great singer & Music director Hemant Kumar was remaking a Bengali superhit into the now legendary 'Khamoshi' in Hindi, in late 1967 or so, whose director Asit Sen wanted Dev Anand as lead, but Waheeda Rehman, it's signed heroine, was deeply impressed by this young man from his first 5 films over past 2 yrs, films he got very good reviews for,& passed very high recommendation for him instead, so Hemant who was also eyeing the boy,had him signed. Thus began shooting when a fine evening Hemant arrived at Rajesh's accommodation for instructions on the next day, & saw Rajesh coolly smoking away with his friends. Rajesh got so embarrassed at being caught smoking, he instantly almost apologized & asked Hemant da why didn't have him called to his place instead, than having to see them so. Hemant got amused at the high sensitivities as also respect for elders displayed by the lad, & while going away, was quietly asked who was singing the bridge song, & if he could take Kishore Kumar as his voice for it! Hemant had someone else in mind, as Kishore was not hot property for quite sometime, but see how fond he was of Rajesh, & as twas his first demand ever, agreed, & gave Kishore Kumar the song & as would turn out, Kishore's first big hit after very long! Ofcourse also giving Ind Cin it's greatest ever actor-singer duo! Here's the song! https://www.youtube.com/watch?v=MDXFi3avqo0 Cut to 3 yrs down the line, to Meena Kumari's last film 'Dushman', with Khanna excitedly in lead. Music Dir Laxmikant had a qawwali song in mind, for which Kishore, Rajesh Khanna's whole & sole voice by then,wasn't used to & comfortable with at all, & practically refused to comply. Just then Khanna,who was narrated this impasse bts,arrived at studios in his green car,entered the room,sat next to Kishore, & began his quiet cajoling. "Ki holo dada! Gaane ka nahi hai kya, babumoshai?" with that mischievous look in his eye. Kishore explained,but Khanna turned to Music Dir Laxmikant & said "If he's not singing it, I'm not acting in it!". Kishore knew the emo blackmailing of his friends, & quietly acquiesced,resulting in Bolly's Top 5 quawwalis in history,& a big feather in LP & Kishore's cap! Here it is https://www.youtube.com/watch?v=GdmQpAKOfdA Similarly, Shakti Samanta was stuck with a script titled 'Anuraag' dearly wanted to make,but as unconventional & non-spicy,turned down by all distributors.A issue he perchance narrated to Rajesh,who having read it,thot twas travesty if left unmade,& came up with a soln. "What if you write a cameo for me!". He shockingly replied,"You!". & Thus got made a Indie Top 600 classic, with RK at peak of career, in v. spl role, just for love of a friend! https://www.youtube.com/watch?v=Xg0IdiRj6Go

1 note · View note

voicemonkservice · 2 years ago

Text

Do you need a Bengali Voice Over artist for your project

VoiceMonk Studio provides native Bengali voice talents for your projects. We have a good selection of the best Bengali voice over service available. You'll find that our voice costs are less than many other agencies that offer the exact same service. For more information visit:-https://voicerecordingstudio.in/

#Bengali Voice over service #Bengali Voice over artist #Bengali Voice over artists #Bengali Voice over agency #Bengali Voice over studio

0 notes

srbachchan · 5 years ago

Text

DAY 4414(i)

Jalsa, Mumbai Apr 7/8, 2020 Tue/Wed 8:14 AM

Alright .. tempers cooled a bit though not entirely .. the Tumblr format has again changed and it is off putting .. but what .. an alternative is not available , so one endures ..

Please find below the social media links for the film, you can retweet this link on twitter on Facebook and can share this link, however since the duration is longer you will have to upload the video natively on IGTV on Instagram. Attached is a google drive link of the film from where you can download the video and then upload it on IGTV on Instagram.

Twitter- https://twitter.com/SonyTV/status/1247187306764619779 FB- https://www.facebook.com/watch/?v=983267872088458

Instagram https://www.instagram.com/tv/B-pQ_7yFW7n/?igshid=i8f5n3jua5au

Google drive link with mp4 for IGTV

SO ... these be the links that were given to me by Sony PR and when displayed at various platforms gave the enthusiasm that was written about in the previous .. yes .. appreciation came in waves upon waves .. known and unknown alike .. connected and unconnected .. all .. from and without too .. pro and anti .. those in support and those in non support .. they that cooperated , and they that distanced themselves from support and the coop .. we are all mere beings .. the universe fills itself with so many .. many of difference and different kind .. when the grains on each leaf .. when the microscopic elements .. of virus shape size and disposition exist in natures creation .. what are humans .. ?

Blessed be all .. they all contributed .. contributed in applause and in reject .. reject is most important .. gives fight a chance .. without it fight would be an imbecile .. unarmed, weak and without prepare .. unpreparedness is a curse .. prepare .. keep ready for use .. it comes in use , anytime without warning .. so eń gardè .. or whatever the correct French is .. French , yes the beauty of its rendition .. the sweetest in the world .. next valued be Bengali , the tongue .. the delicacy of its existence, its presence in the many wondrous elements ..

BUT .. I stray ..

Yes the completion of the ‘film’ was a task .. a gentle idea shared by Prasoon Pandey, Director of Ad., films and with whom I had worked several times .. with him and his elder Piyush Pandey, head of that Ad., conglomerate O&M .. and when it came across to me , the thought of its extension in the format seen finally gave incentive to bring in greater value to it .. so I thought, I worked , I reacted, I shared , I got approval and then went to each of those stratospheric stars and celebrities with the idea .. calling them several times .. connecting them all .. all over the World all over the places they lived .. and then their agree .. the designing of the Demo by Prasoon .. the passing it on to the respective and in explanation , each one , each location .. convincing them .. and then the wait for their portion to arrive and putting it together .. the creatives all being followed up by the team .. each little protocol to be put in place .. diplomatically .. politically .. egoistically .. to be CORRECT and accepted .. yes .. all .. all done in this wonder world of internet wires and the mobility of the hand phone .. the modern day invention par excellence .. oh , done and covered with suitable time difference delays .. some within the time zone some not .. some really really far away .. but their love and support impeccable ..

That done the negotiate with what to be done with it .. in times of trial it does not bode well to be seen in frivolous acts .. so consider who we are , how we are , and what we are .. and who they that make us who we are .. the workers and their plight in this locked out premise .. without a daily earning , without their normal existence , without the essentials ..

We must give back to them .. so .. worked on sponsors TV outlets , personal contribution and arrived successfully .. TV shall be Sony .. sponsor shall be Kalyan Jewellers .. and the distribution shall be pan India , pan workers of all the Industries of film in the nation .. NSEW .. and which is why NSEW in the representation of the artists .. Hindi, Marathi, Malayalam, Kannad, Tamil, Telugu, Bengali, Punjabi .. pan India in representation .. pan India in language .. pan India in the work force .. just a pan India film .. a film titled ‘FAMILY’ .. for we are one and we are one family .. this film Industry of the country .. !!

NOW .. then .. as the tech readiness readies itself .. the promotion ..

Promotion promotion .. back to the net and the con calls with concerned and with the GANG GANG .. gang gang .. the title given by the girls in house .. Navya Naveli and Shweta .. who find it amusing our confabulations on these con calls, hence an amusing title .. its accepted .. SO .. yes promo .. the written from the obvious sources ‘reeks of garlic from every pore’ .. it stinks .. and then a suggestion ans endeavour to do it by the self .. done and agreed upon after con calls and net issues with the masters .. no disrespect .. but yaa , it not happening people .. ok .. so do it yourself , fine .. sitting and designing it in the mind and WHAM ! .. got it .. now to shoot it in these conditions .. so Abhishek come on assist me with the camera work .. out in the back yard .. a quick shoot .. and a quick forwarding in sense first to all the concerned and then approval of it to be given final tech touches .. done ..

So then put it out .. time running ot .. get the tech right .. net mobile and every other communication in use .. and done and out on the required platforms ..

BUT .. within all this, setting up the personal shoot of the film continues with able help again from the children .. re takes and re shoots .. and delivered to the tech team .. they work .. the ideas continue to improve or adjust or remove .. some have come in time others delayed , time running out again the 9Pm slot has been advertised ..

FINALLY .. on air ..

BUT .. and there are so many buts .. other works continue .. domestic pre cautionary checks on sanitation and sanitising .. staff reduced , staff homed within, staff looked after in excess ..

.. and also the monitoring of the personal feeding that continues in various parts of the city .. 2000 packets of food each day .. lunch and dinner .. for the poor and needy .. and the bigger 3000 bags of essentials delivered to take care of 3000 families provisions for a month .. average of 4 per family works to the reach of approx 14,000 ..

Working then for the FAMILY out reach and devising methodology of the distribution to the mentioned workers .. the data access with the Head of the Employees Nation wide Association .. retailer sought and fixed .. gift coupons and cash to be given out to the approx 100,000 of them, with the sponsor and personal fund collected .. to last them for month ..

THEN .. back to the desk .. there is urgent need from the Capital on a campaign design and completion within urgent needs .. lat night getting that done ..

AND .. also in simultaneous work on the poem of hope from Babu ji .. rendering it here .. con calls with recordist there .. music directors in another there .. they be two in respective homes and no studio set ups .. but the ingenious working force and minds successful .. it is after 72 attempts that it looks like going on platforms .. perhaps to day .. perhaps .. apprehensive for that too .. how what where and when .. ahhhh .. just let it be say the girls in the house .. the main girl stuck away from home in Delhi .. attending Parliament when the shut happened .. so she remain where she is .. and Face Time WhatsApp .. ZINDABAD !!

OH dear forgot .. another request for the voice rendition on the conditions we are in .. at it till 4 am .. and now from 6 .. rendered in rough waiting approval .. damn the files have not gone through .. WeTransfer warns .. damnnn ..

Ok shall try resize and getting the email ID correct .. .. ahhahahahhhgggrr ..

this post is sounding like a brain damaged ‘haemoglobin of the country of the system’ devoured and entirely consumed by the chemical ChSo2 .. sorry that be a College insensitive linguaexpletiva .. !!!! Pardoń .. is the French right .. eh .. who cares ..

BUT .. I tell you .. in all this mesmerising work schedule .. the imagery of Babuji his words his thoughts his books his voice keep me company in excess .. they bring the water in the eyes ..

I must leave now .. cannot allow it to drip on the post pages ..

Amitabh Bachchan

184 notes · View notes

berlysbandcamp · 4 years ago

Audio

Hotel Kali isn’t a place but a story; one collectively told by four people who first happened to be in the right place at exactly the right time and then managed to transcend both space and time through their music. The German-Indian band’s self-titled debut album was not designed on a drawing board but rather came to life in spontaneous jam sessions, driven by a desire to integrate four distinct voices into one narrative and marked by all the happy accidents that took place along the way. “Hotel Kali” is a living, breathing entity that theoretically picks up on many different musical traditions but in practice challenges them all. English and Bengali, motorik grooves and intricate guitar lines, pop sentiments and exploratory iconoclasm come together, dance around each other, and over the course of seven songs find a common ground somewhere between and far beyond cosmic rock, experimental dance music, and adventurous post-rock. The story of Hotel Kali began in November 2018, when the Berlin-based musician Theresa Stroetges — also known as a solo artist under the name Golden Diskó Ship and member of the three-piece Soft Grid — came to Kolkata for a two-month artist residency organised by the Goethe-Institut and Musicboard Berlin in collaboration with the Border Movement initiative. Wanting to collaborate with local musicians rather than working in isolation, she reached out to Varun Desai for recommendations. Once the promoter, synth nerd and solo artist, who is active under the monikers 5volts and Varundo, had sent her some of his own pieces, he was the first to come on board. Soon thereafter, Stroetges and Desai were joined by the versatile double bass player and seasoned session musician Debjit Mahalanobis and the songwriter and storyteller Suyasha Sengupta a.k.a. Plastic Parvati, a former member of The Ganesh Talkies. Before the newly-formed band checked into Hotel Kali, they first got together at the local Goethe-Institut in order to test the waters during prolonged jam sessions. “We were like kids in a candy store,” says Sengupta. “There was complete chaos and our energies were all over the place.” Stroetges recounts that the beginning of their collaboration was marked by a sort of reversed cultural rapprochement: Desai came around with some krautrock-inspired melodies and rhythms on his array of analogue hardware, Stroetges played some vaguely Indian sounding guitar lines. Laughter ensued before things became serious very quickly. “Gradually, all four sounds combined into one cohesive unit and we began to write music almost manically,” remembers Sengupta. Hotel Kali — the name is a tongue-in-cheek reference to the song that virtually every Kolkata sound technician plays during soundcheck, but also a tribute to the Hindu goddess reinterpreted by Opashona Ghosh for the album’s artwork — was built that moment and continued to grow in the following days. Soon, the quartet had written an album’s worth of songs. After rehearsing the material in a farmhouse outside of the town and then performing it live in Kolkata, they were approached by the then-director of Goethe-Institut, Friso Maecker, who offered to support the project beyond their one-off performance as the Border Movement residency band. Thus, less than a year later, Stroetges returned to Kolkata and the four-piece entered the city’s BlooperHouse Studios. “We consciously decided that we didn't want to make something too highly produced that we would not be able to replay completely live,” says Desai about the recording sessions, during which they also spontaneously wrote the two new songs “Disco Shobar” and “Buntes Schwarz” to complement their repertoire, which also includes a cover version of Stroetges’s Golden Diskó Ship song “Fake Horse,” a particular favourite of Mahalanobis. Perhaps it’s this new rendition of a track originally released in 2014 that best exemplifies how Hotel Kali works. The meditative, anthemic character of the original gives way to the jittery IDM beats provided in tandem by Sengupta and Desai that are punctuated by a wonky bassline played on Mahalanobis’s double bass, before the guitar, analogue synths and Stroetges and Sengupta’s voices enter the mix and thus a polyphonic dialogue with each other. It’s the sound of four people agreeing upon a starting point before venturing into the unknown and making it up as they go along. “One can find little pieces of all our personalities combined. We started out as strangers and now we’re connected through a collective experience,” comments Sengupta on their songwriting process and the trajectory of the entire project. This also extends to the lyrics, which throughout the album alternate between English and Bengali — something that was not done on purpose, as Sengupta explains. “It’s the way most of us speak here, often mixing our languages.” This however does not mean that there isn’t a certain political dimension to Hotel Kali’s music. “It’s not meant to be a protest, but rather a celebration of identities and the freshness of our individuality and similarities combined,” elaborates the musician. One example for this approach is “Disco Shobar” (“Disco Is for Everyone”), a bassline-driven mid-tempo track that gradually becomes more intense and tangible as it progresses. “It talks of how disco does not discriminate — it’s for you, it’s for me, it’s for everybody,” according to Sengupta. “In an increasingly polarising world, we need to highlight that, as clichéd as it may sound, music brings people together. While our differences make us unique, it is our similarities that make us truly human.” This then, is also the essence of both Hotel Kali as a musical project and “Hotel Kali,” the album: four different individuals becoming one ever-different entity; four voices narrating a story that is full of twists and turns but has no fixed ending.

#electro-pop #post-rock #Germany #India

3 notes · View notes

hyunjoochung · 4 years ago

Text

Raise Three Fingers for Democracy

Exhibition Information Board

Updated on May 4, 2021

Title: Raise Three Fingers for Democracy

An illegitimate takeover

On February 1st, democracy in Myanmar was taken hostage in a brutal coup. The proxy military party won a humiliating 33 of 476 seats in November elections that were declared free and fair by the election commission and international observers. After demands to seize the ballots to recount personally were rejected, they launched their coup in the early hours of the morning, arresting over 200 elected officials returning for parliament, including de-facto leader Daw Aung San Suu Kyi.

Unprecedented nationwide protests broke out in a country still finding its democratic voice after a half-century of repression. A civil disobedience movement (CDM) formed. Doctors, teachers and government employees refused to work, joined by other essential sectors. Peaceful, creative protests filled the streets: families banging pots every night at 8pm, days of silence, highways blocked by 'broken down' cars.

Gradually, and then systematically, this was met with horrible brutality. The same military that perpetrated a genocide against the Rohingya now issued orders to shoot protestors in the head. They raid homes at night, and have arrested over 5,000. They have killed over 700 people, including over 50 children, like 6-year-old Khin Myo Chit, shot in the belly to teach her family a lesson. They have tortured over 20 people to death in custody. The internet has been shut down to all but 0.5% of the population. Media outlets that refuse to publish propaganda have been outlawed.

Freedom of the press (54 words)

This now-illegal newspaper can give you a picture of what is happening right now. It’s journalists continue to report while on the run.

[QR code & Screen set to: Mizzima reporting from a safe house]

To understand the nature of the military and their police stooges, you only need a few entries on the lists of this civil organisation tracking and verifying killings, arrests, indefinite detention and warrants:

[QR code & Screen set to: Link to PDF]

Freedom of expression

But there is still hope. The majority resists. People continue the fight every day. A symbol of hope is #threefingers. Used before in other Asian countries where democracy is under threat (the milk tea countries), it has gained major prominence in Myanmar. A group of Myanmar artists, illustrators and creatives used images of this symbol of resistance from the very first day. Since, you can see it in marches, at funerals, through the prison bars, in messages of defection, in the United Nations General Assembly, and where support can be found. It can be carried with you everywhere, and it can mean everything to those who show it.

These artists who first raised these totems of democracy in Myanmar are now putting out the call for support. Already artists, illustrators and cartoonists from around the world, from the UK to Korea, to Australia, Thailand, Hong Kong and farther have begun to return the call. Now, they need more people to join in. The fall of democracy is a worldwide phenomenon – this is just the latest front. They need YOU to stand for democracy, and help them delegitimise this brutal regime.

At night, after a day of beatings, shootings, horrors, frightened of gunshots and raids, losing hope, the young people continuing this fight can look at these artworks, songs, dances or messages, and see hope, solidarity and others that still believe in what they are risking everything for.

Every #threefingers raised builds awareness and support for human rights, freedom and democracy in Myanmar.

Message from our founder

(VIDEO: “We Will Win” by Latt Thone Chuang)

Quote

“At a very basic level, art plays a very practical role. It gets people energized, it makes people emotional, and it gets people to organise and get things done.

Art helps to frame the direction of the protest movement.

Art can also create hope and resilience. It takes people to another level and can help uplift the mood of the people.

I believe art – in all its forms – can give strength to people.

That’s what art can do.

It’s important to keep creating because you can’t handcuff ideas.

You can’t kill art with bullets.

– Maw Khun Thit, Latt Thone Chaung

Night arrests

At night, gunshots and flashbang explosives can be heard across the town. Security forces raid homes, trying to arrest and intimidate dissenting voices. Having suspended laws requiring warrants to search, they leave family members with no knowledge of the charges, location, or condition of their loved ones. Communities set up unarmed neighbourhood watch groups, local men and women who stayed up all night, banging pots to warn of approaching security forces.

Killing children (104 words)

On 23 March, security forces entered the home of 6-year-old Khin Myo Chit and her family in Mandalay. They asked her father if anyone was hiding in the house, and accused him of lying when he said no. When the girl ran to her father's arms, they shot her. She died before they could reach medics. Her last words were: "I can't father, it's too painful". Her brother was arrested and the family are yet to learn of his charge or whereabouts. Khin Myo Chit is one of over 50 child fatalities. All but one on record was shot.

Ethnic minorities

The coup instigator, Senior General Min Aung Hlaing, was found by UN Investigators as the perpetrator the Rohingya genocide and publicly stated he would 'clear up the Bengali problem'. The coup has led to the formation of a National Unity Government of protest leaders, a government that previously had to keep the military on side, and ethnic minorities targeted by the military including the Kachin, Karen and Chin. The Rohingya, the most known of these minorities internationally, are anti-military and are showing the three finger salute themselves.

Targeting poor communities

Since the start of the coup, many noticeable groups have been targeted: elected officials and election monitors, doctors for treating injured protestors, government employees and bank employees for refusing to work. But the violence has been worse in neighbourhoods where poor or factory workers live and work. With the least access to medical or legal help, and the least ability to escape or hide, they continue to risk the most for democracy.

Internet shutdown

Internet and mobile phones were inaccessible to all but the super rich until after 2014. A sim card cost over $3000. Then as democratisation opened up the country, it swelled to over 80% smartphone coverage. Over the last 2 years, Myanmar’s military has conducted the world’s longest internet shutdown over eight townships and a million people in Chin and Rakhine states, to suppress information about its actions there. Now this darkness is returning everywhere: just 0.5% of the population have access to the internet, only then to stop the banking system collapsing. And yet these short years of information have taken root – people know now that they deserve more.

Creative freedom in danger

For fifty years before 2012, art and expression was repressed in Myanmar. It left just one art school, teaching stuffy figurative pastiche. Censorship was visible every day, in newspapers with black bars, banned books, arrests of cartoonists or performers. Art lay dormant, but never died. In 8 short years, expression flourished fearlessly once more. Now over 35 artists, directors and performers have been arrested, and more than 200 are on the run from arrest warrants. Yet, they continue to speak out and use their expression to fight oppression.

Can you help them?

These artists need your words, pictures and actions to amplify their calls. They need you now to fight for democracy under threat in Myanmar and everywhere.

Message of hope

Quote 2 (with Nobel Aung artwork)

“The most inspiring thing has been the unity of people. We all have the same objective. This was apparent since the very first night of the coup. People continue to bang their pots and pans every night at 8 pm to make noise, every day even until now. We are not scared of guns anymore but the military is scared of the noise we make. We give courage and inspiration to each other.”

-Nobel Aung, illustrator and animator

Founder of Raise Three Fingers

Mandatories:

About:

Raise Three Fingers (formerly Art for Freedom MM) is a campaign founded by artists and creatives from Myanmar to bring the global art community together, stand up for democracy and highlight the humanitarian crisis unfolding since the military coup on February 1 2021.

Founders:

Art for Freedom MM

Using Art and Illustration to uphold human rights for Myanmar.

Latt Thone Chaung

We are here to celebrate all forms of creative protests against the military coup in Myanmar.

The Professional Cartoonists’ Organisation (UK)

Home to some of the UK’s finest cartoonists’ talent.

Collaborators:

Fine Acts - A global nonprofit creative studio for social impact

Human Rights Foundation - We partner with world-changing activists in creating innovative solutions to unite the world against tyranny.

Arts Help - Founded on the principle of art making the world a better place, Arts Help is the #1 art publisher, with a community of 2.5 million members.

2 notes · View notes

sankarsvoice · 3 years ago

Text

A Leading Voice Over Professional | Sankars Voice

Know the every thing About Leading Voice Over Agency in India

Subha Sankar Chatterjee, popularly known as ‘SANKAR,’ is a neutral English, Hindi and Bengali voice-over artist. He is also a content marketing professional, a certified life and leadership coach, podcaster and a theatre artist. He is also the founder of Stotra Happiness Studio, a unique meditation and mindfulness program that looks at the many colours.

As a theater artist, he has worked in many stage productions in different languages. He believes that a voice is not just a means of conversation or communication, but a vehicle to touch the soul. Overall, He is one of the top Voice Over Artist in India, Visit our website and Checkout our portfolio.

About Sankar

Sankar is also a teacher at heart and is involved in serious academic research on new media, theatre and identity. He also works with children and young people to explore the various facets of life through voice and theater. Sankar has worked for a wide variety of National and International clients. He has lent his voice to over 2000 Television Commercials, Promos, Radio Spots, Documentaries, Animations, Short films, and Ex-plainer Videos.

How to Become Voice Over Artist in India

0 notes

sharengayonline · 4 years ago

Text

iPhone XS Max – Technical Specifications

Sharengay Trang Tin Tức Độc Đáo VIDEO iPhone XS Max – Technical Specifications

Languages

Finish

Gold

Space Gray

Silver

Capacity1

64GB

256GB

512GB

Size and Weight2

Width: 3.05 inches (77.4 mm)

Height: 6.20 inches (157.5 mm)

Depth: 0.30 inch (7.7 mm)

Weight: 7.34 ounces (208 grams)

Display

Super Retina HD display

6.5‑inch (diagonal) all‑screen OLED Multi‑Touch display

HDR display

2688‑by-1242‑pixel resolution at 458 ppi

1,000,000:1 contrast ratio (typical)

True Tone display

Wide color display (P3)

3D Touch

625 cd/m2 max brightness (typical)

Fingerprint-resistant oleophobic coating

Support for display of multiple languages and characters simultaneously

The iPhone XS Max display has rounded corners that follow a beautiful curved design, and these corners are within a standard rectangle. When measured as a standard rectangular shape, the screen is 6.46 inches diagonally (actual viewable area is less).

Bạn đang xem: iPhone XS Max – Technical Specifications

Splash, Water, and Dust Resistant3

Rated IP68 (maximum depth of 2 meters up to 30 minutes) under IEC standard 60529

Chip

A12 Bionic chip

Next-generation Neural Engine

Camera

Dual 12MP wide-angle and telephoto cameras

Wide-angle: ƒ/1.8 aperture

Telephoto: ƒ/2.4 aperture

2x optical zoom; digital zoom up to 10x

Portrait mode with advanced bokeh and Depth Control

Portrait Lighting with five effects (Natural, Studio, Contour, Stage, Stage Mono)

Dual optical image stabilization

Six‑element lens

Quad-LED True Tone flash with Slow Sync

Panorama (up to 63MP)

Sapphire crystal lens cover

Backside illumination sensor

Hybrid IR filter

Autofocus with Focus Pixels

Tap to focus with Focus Pixels

Smart HDR for photos

Wide color capture for photos and Live Photos

Local tone mapping

Advanced red-eye correction

Exposure control

Auto image stabilization

Burst mode

Timer mode

Photo geotagging

Image formats captured: HEIF and JPEG

Video Recording

4K video recording at 24 fps, 30 fps, or 60 fps

1080p HD video recording at 30 fps or 60 fps

720p HD video recording at 30 fps

Extended dynamic range for video up to 30 fps

Optical image stabilization for video

2x optical zoom; digital zoom up to 6x

Quad-LED True Tone flash

Slo‑mo video support for 1080p at 120 fps or 240 fps

Time‑lapse video with stabilization

Cinematic video stabilization (1080p and 720p)

Continuous autofocus video

Take 8MP still photos while recording 4K video

Playback zoom

Video geotagging

Video formats recorded: HEVC and H.264

Stereo recording

TrueDepth Camera

7MP camera

ƒ/2.2 aperture

Portrait mode with advanced bokeh and Depth Control

Portrait Lighting with five effects (Natural, Studio, Contour, Stage, Stage Mono)

Animoji and Memoji

1080p HD video recording at 30 fps or 60 fps

Smart HDR for photos

Extended dynamic range for video at 30 fps

Cinematic video stabilization (1080p and 720p)

Wide color capture for photos and Live Photos

Retina Flash

Backside illumination sensor

Auto image stabilization

Burst mode

Exposure control

Timer mode

Face ID

Enabled by TrueDepth camera for facial recognition

Apple Pay

Pay with your iPhone using Face ID in stores, within apps, and on the web

Send and receive money in Messages

Complete purchases made with Apple Pay on your Mac

Learn more about Apple Pay

Cellular and Wireless

Model A1920* FDD‑LTE (Bands 1, 2, 3, 4, 5, 7, 8, 12, 13, 14, 17, 18, 19, 20, 25, 26, 29, 30, 32, 66, 71) TD‑LTE (Bands 34, 38, 39, 40, 41, 46) CDMA EV-DO Rev. A (800, 1900 MHz) UMTS/HSPA+/DC-HSDPA (850, 900, 1700/2100, 1900, 2100 MHz) GSM/EDGE (850, 900, 1800, 1900 MHz)

Model A1921* FDD‑LTE (Bands 1, 2, 3, 4, 5, 7, 8, 12, 13, 14, 17, 18, 19, 20, 25, 26, 29, 30, 32, 66, 71) TD‑LTE (Bands 34, 38, 39, 40, 41, 46) CDMA EV-DO Rev. A (800, 1900 MHz) UMTS/HSPA+/DC-HSDPA (850, 900, 1700/2100, 1900, 2100 MHz) GSM/EDGE (850, 900, 1800, 1900 MHz)

All models Gigabit-class LTE with 4×4 MIMO and LAA4 802.11ac Wi‑Fi with 2×2 MIMO Bluetooth 5.0 wireless technology NFC with reader mode Express Cards with power reserve

Location

Assisted GPS, GLONASS, Galileo, and QZSS

Digital compass

Wi‑Fi

Cellular

iBeacon microlocation

Video Calling5

FaceTime video calling over Wi‑Fi or cellular

Audio Calling5

FaceTime audio

Voice over LTE (VoLTE)4

Wi‑Fi calling4

Audio Playback

Audio formats supported: AAC‑LC, HE‑AAC, HE‑AAC v2, Protected AAC, MP3, Linear PCM, Apple Lossless, FLAC, Dolby Digital (AC‑3), Dolby Digital Plus (E‑AC‑3), Dolby Atmos, and Audible (formats 2, 3, 4, Audible Enhanced Audio, AAX, and AAX+)

Wider stereo playback

User‑configurable maximum volume limit

Video Playback

Video formats supported: HEVC, H.264, MPEG‑4 Part 2, and Motion JPEG

High Dynamic Range with Dolby Vision and HDR10 content

AirPlay Mirroring, photos, and video out to Apple TV (2nd generation or later)6

Video mirroring and video out support: Up to 1080p through Lightning Digital AV Adapter and Lightning to VGA Adapter (adapters sold separately)6

Siri7

Use your voice to send messages, set reminders, and more

Get intelligent suggestions on your Lock screen and in Messages, Mail, QuickType, and more

Activate hands-free with only your voice using “Hey Siri”

Use your voice to run shortcuts from your favorite apps

Learn more about Siri

Xem thêm: 5 Gia Đình Nghèo Kêu Cứu vì Nguồn Nước Bị Ô Nhiễm

External Buttons and Connectors

Volume up/down

Ring/Silent

Side button

Built-in stereo speaker

Lightning connector

Built-in microphone

Power and Battery8

Lasts up to 1.5 hours longer than iPhone X

Talk time (wireless): Up to 25 hours

Internet use: Up to 13 hours

Video playback (wireless): Up to 15 hours

Audio playback (wireless): Up to 65 hours

Fast-charge capable: Up to 50% charge in 30 minutes9 with 18W adapter or higher (available separately)

Built-in rechargeable lithium-ion battery

Wireless charging (works with Qi chargers10)

Charging via USB to computer system or power adapter

Sensors

Face ID

Barometer

Three‑axis gyro

Accelerometer

Proximity sensor

Ambient light sensor

Operating System

iOS 12 iOS is the world’s most personal and secure mobile operating system, packed with powerful features that help you get the most out of every day. See what’s new in iOS

Accessibility

Accessibility features help people with disabilities get the most out of their new iPhone XS. With built-in support for vision, hearing, physical and motor skills, and learning and literacy, you can fully enjoy the world’s most personal device. Learn more about Accessibility

Features include:

VoiceOver

Zoom

Magnifier

RTT and TTY support

Siri and Dictation

Type to Siri

Switch Control

Closed Captions

AssistiveTouch

Speak Screen

Built-in Apps

Camera

Photos

Health

Messages

Phone

FaceTime

Mail

Music

Wallet

Safari

Maps

Siri

Calendar

iTunes Store

App Store

Notes

News

Contacts

Books

Home

Weather

Reminders

Clock

Stocks

Calculator

Voice Memos

Compass

Podcasts

Watch

Tips

Find My iPhone

Find My Friends

Settings

Files

Measure

Free Apps from Apple

Pages, Numbers, Keynote, iMovie, GarageBand, iTunes U, Clips, and Apple Store app are preinstalled.

iMovie

Pages

Keynote

Numbers

iTunes U

GarageBand

Apple Store

Trailers

Apple TV Remote

iTunes Remote

Music Memos

Clips

Shortcuts

Headphones

EarPods with Lightning Connector

SIM Card

Dual SIM (nano-SIM and eSIM)11

iPhone XS and iPhone XS Max are not compatible with existing micro‑SIM cards.

Rating for Hearing Aids

M3, T4

Mail Attachment Support

Viewable document types .jpg, .tiff, .gif (images); .doc and .docx (Microsoft Word); .htm and .html (web pages); .key (Keynote); .numbers (Numbers); .pages (Pages); .pdf (Preview and Adobe Acrobat); .ppt and .pptx (Microsoft PowerPoint); .txt (text); .rtf (rich text format); .vcf (contact information); .xls and .xlsx (Microsoft Excel); .zip; .ics; .usdz (USDZ Universal)

System Requirements

Apple ID (required for some features)

Internet access12

Syncing with iTunes on a Mac or PC requires:

Mac: OS X 10.11.6 or later

PC: Windows 7 or later

iTunes 12.8 or later on Mac and iTunes 12.9 or later on PC (free download from https://bit.ly/35YDlMS)

Environmental Requirements

Operating ambient temperature: 32° to 95° F (0° to 35° C)

Nonoperating temperature: −4° to 113° F (−20° to 45° C)

Relative humidity: 5% to 95% noncondensing

Operating altitude: tested up to 10,000 feet (3000 m)

Languages

Language support English (Australia, UK, U.S.), Chinese (Simplified, Traditional, Traditional Hong Kong), French (Canada, France), German, Italian, Japanese, Korean, Spanish (Latin America, Mexico, Spain), Arabic, Catalan, Croatian, Czech, Danish, Dutch, Finnish, Greek, Hebrew, Hindi, Hungarian, Indonesian, Malay, Norwegian, Polish, Portuguese (Brazil, Portugal), Romanian, Russian, Slovak, Swedish, Thai, Turkish, Ukrainian, Vietnamese

QuickType keyboard support English (Australia, Canada, India, Singapore, UK, U.S.), Chinese – Simplified (Handwriting, Pinyin, Stroke), Chinese – Traditional (Cangjie, Handwriting, Pinyin, Stroke, Sucheng, Zhuyin), French (Belgium, Canada, France, Switzerland), German (Austria, Germany, Switzerland), Italian, Japanese (Kana, Romaji), Korean, Spanish (Latin America, Mexico, Spain), Arabic (Modern Standard, Najdi), Armenian, Azerbaijani, Belarusian, Bengali, Bulgarian, Catalan, Cherokee, Croatian, Czech, Danish, Dutch, Emoji, Estonian, Filipino, Finnish, Flemish, Georgian, Greek, Gujarati, Hawaiian, Hebrew, Hindi (Devanagari, Transliteration), Hinglish, Hungarian, Icelandic, Indonesian, Irish, Kannada, Latvian, Lithuanian, Macedonian, Malay, Malayalam, Maori, Marathi, Norwegian, Odia, Persian, Polish, Portuguese (Brazil, Portugal), Punjabi, Romanian, Russian, Serbian (Cyrillic, Latin), Slovak, Slovenian, Swahili, Swedish, Tamil (Script, Transliteration), Telugu, Thai, Tibetan, Turkish, Ukrainian, Urdu, Vietnamese, Welsh

QuickType keyboard support with predictive input English (Australia, Canada, India, Singapore, UK, U.S.), Chinese (Simplified, Traditional), French (Belgium, Canada, France, Switzerland), German (Austria, Germany, Switzerland), Italian, Japanese, Korean, Russian, Spanish (Latin America, Mexico, Spain), Portuguese (Brazil, Portugal), Thai, Turkish

Siri languages English (Australia, Canada, India, Ireland, New Zealand, Singapore, South Africa, UK, U.S.), Spanish (Chile, Mexico, Spain, U.S.), French (Belgium, Canada, France, Switzerland), German (Austria, Germany, Switzerland), Italian (Italy, Switzerland), Japanese, Korean, Mandarin (China mainland, Taiwan), Cantonese (China mainland, Hong Kong), Arabic (Saudi Arabia, United Arab Emirates), Danish (Denmark), Dutch (Belgium, Netherlands), Finnish (Finland), Hebrew (Israel), Malay (Malaysia), Norwegian (Norway), Portuguese (Brazil), Russian (Russia), Swedish (Sweden), Thai (Thailand), Turkish (Turkey)

Dictation languages English (Australia, Canada, India, Indonesia, Ireland, Malaysia, New Zealand, Philippines, Saudi Arabia, Singapore, South Africa, United Arab Emirates, UK, U.S.), Spanish (Argentina, Chile, Colombia, Costa Rica, Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, Mexico, Panama, Paraguay, Peru, Spain, Uruguay, U.S.), French (Belgium, Canada, France, Luxembourg, Switzerland), German (Austria, Germany, Luxembourg, Switzerland), Italian (Italy, Switzerland), Japanese, Korean, Mandarin (China mainland, Taiwan), Cantonese (China mainland, Hong Kong, Macao), Arabic (Kuwait, Qatar, Saudi Arabia, United Arab Emirates), Catalan, Croatian, Czech, Danish, Dutch (Belgium, Netherlands), Finnish, Greek, Hebrew, Hindi (India), Hungarian, Indonesian, Malaysian, Norwegian, Polish, Portuguese (Brazil, Portugal), Romanian, Russian, Shanghainese (China mainland), Slovakian, Swedish, Thai, Turkish, Ukrainian, Vietnamese

Definition dictionary support English, Chinese (Simplified, Traditional), Danish, Dutch, French, German, Hebrew, Hindi, Italian, Japanese, Korean, Norwegian, Portuguese, Russian, Spanish, Swedish, Thai, Turkish

Thesaurus English (UK, U.S.)

Bilingual dictionary support with English Arabic, Chinese (Simplified, Traditional), Dutch, French, German, Hindi, Italian, Japanese, Korean, Portuguese, Russian, Spanish

Spell check English, French, German, Italian, Spanish, Danish, Dutch, Finnish, Korean, Norwegian, Polish, Portuguese, Russian, Swedish, Turkish

In the Box

iPhone with iOS 12

EarPods with Lightning Connector

Lightning to USB Cable

USB Power Adapter

Documentation

iPhone and the Environment

Apple takes a complete product life cycle approach to determining our environmental impact. Learn more about iPhone and the Environment

iPhone XS and iPhone XS Max embody Apple’s continuing environmental progress. They are designed with the following features to reduce environmental impact:

Xem thêm: 40 Câu Nói Ý Nghĩa Về Cuộc Sống Mà Bạn Nên Nghe 1 Lần Trong Đời

Arsenic-free display glass

Mercury-free display

Brominated flame retardant–free

PVC-free

Beryllium-free

Recyclable stainless steel

Apple and the Environment Read our Product Environmental Reports for detailed information on the environmental performance of every Apple product.

* To identify your iPhone model number, see https://apple.co/3qGlHqG. For details on LTE support, contact your carrier and see https://apple.co/3hbuT3f. Cellular technology support is based on iPhone model number and configuration for either CDMA or GSM networks.

Available space is less and varies due to many factors. A standard configuration uses approximately 10GB to 12GB of space (including iOS and preinstalled apps) depending on the model and settings. Preinstalled apps use about 4GB, and you can delete these apps and restore them.

Size and weight vary by configuration and manufacturing process.

iPhone XS and iPhone XS Max are splash, water, and dust resistant and were tested under controlled laboratory conditions with a rating of IP68 under IEC standard 60529 (maximum depth of 2 meters up to 30 minutes). Splash, water, and dust resistance are not permanent conditions and resistance might decrease as a result of normal wear. Do not attempt to charge a wet iPhone; refer to the user guide for cleaning and drying instructions. Liquid damage not covered under warranty.

Data plan required. Gigabit-class LTE, LTE Advanced, LTE, VoLTE, and Wi-Fi calling are available in select markets and through select carriers. Speeds are based on theoretical throughput and vary based on site conditions and carrier. For details on LTE support, contact your carrier and see https://apple.co/3hbuT3f.

FaceTime calling requires a FaceTime-enabled device for the caller and recipient and a Wi-Fi connection. Availability over a cellular network depends on carrier policies; data charges may apply.

Standard Dynamic Range video content only.

Siri may not be available in all languages or in all areas, and features may vary by area. Internet access required. Cellular data charges may apply.

All battery claims depend on network configuration and many other factors; actual results will vary. Battery has limited recharge cycles and may eventually need to be replaced by Apple service provider. Battery life and charge cycles vary by use and settings. See https://apple.co/2Tqr7Ke and https://apple.co/3Ajo6fu for more information.

Testing conducted by Apple in August 2018 using preproduction iPhone XS and iPhone XS Max units and software and accessory Apple USB-C Power Adapters (18W Model A1720, 29W Model A1540, 30W Model A1882, 61W Model A1718, 87W Model A1719). Fast-charge testing conducted with drained iPhone units. Charge time varies with environmental factors; actual results will vary.

Qi wireless chargers sold separately.

Use of eSIM requires a wireless service plan (which may include restrictions on switching service providers and roaming, even after contract expiration). Not all carriers support eSIM. Use of eSIM in iPhone may be disabled when purchased from some carriers. See your carrier for details. To learn more, visit https://apple.co/3jwQV2d.

Wireless broadband recommended; fees may apply.

Some features may not be available for all countries or all areas. Click here to see complete list.

Published Date: Apr 15, 2021

Nguồn: https://sharengay.online Danh mục: Đời Sống

iPhone XS Max – Technical Specifications

from Sharengay Trang Tin Tức Độc Đáo VIDEO https://bit.ly/2UqD6HR via IFTTT

#https://sharengay.online/wp-content/uploads/2021/07/SP780-iPhone-Xs-Max.jpg https://sharengay.online

0 notes

voicemonkstudio · 1 year ago

Text

VoiceMonk offers exceptional Bengali voiceover services, delivering a perfect blend of professionalism and cultural authenticity. Our skilled Bengali voice artists bring scripts to life with clarity and emotion, ensuring your message resonates seamlessly with the target audience. Experience the power of precision and artistry in Bengali voiceovers with VoiceMonk – where your words find the perfect voice.

#Bengali Voice Over Artist #Bengali Voice Over Service #Bengali Voice Over Agency #Bengali Voice Over Studio #Bengali Translation Services #artists #voice #voice over studio #voice over artists #voice over agency #voice over service #translation service

1 note · View note

hrk4 · 4 years ago

Text

The year that was...

Dear Friends:

Season’s Greetings!

In the celebrated Yaksha-prashna episode of the Mahābhārata, responding to one of Yaksha’s questions Yudhishtira says,

Day after day, countless beings are going to the abode of death; yet those that remain desire to live forever! What can be a greater wonder than that?

2020 served as a grisly commentary to this famous utterance.

Year after year sees birth and death, with the former always surpassing the latter. While the birth of a child causes joy to a small group of people, the death of a person can cause sorrow to millions. 2020 was a ghastly experience for me with regard to death: several individuals who influenced me either directly or indirectly passed away and in my own case, I felt death’s knock on my door—albeit for brief moments—during an irksome bout of tuberculosis that lasted a couple of months.

Some eminent personages—all renowned in their own fields—that I had the good fortune of meeting, engaging in discussions, or collaborating with over the years breathed their last in 2020 – Dr. V Prasanna Bhat (a finance/management whiz and close friend of my father whose cerebral approach to life and meticulousness influenced me in many ways), Subramaniam Chittur (entrepreneur, Rotarian, communications expert, and the man who brought Toastmasters International to India – an organization that proved transformational for me as early as during my high school days), Ranjon Ghoshal (renowned actor/director who was my guide in the world of theatre and a consummate conversationalist with whom I have discussed themes ranging from the Vedas to folk music, from Bengali literature to stage lighting, from advertising to colonial history), Ivry Gitlis (world-famous violinist whose masterclass I was lucky to attend when he visited Bangalore in 2005), Pt. Jasraj (renowned Hindustani singer with a golden voice whom I had the fortune of meeting when he performed with my guru Dr. L Subramaniam during the LGMF), Prof. Roddam Narasimha (one of India’s foremost scientists whom I was fortunate to have interacted with on three occasions, thanks to his nephew and my college classmate Varun Prakash; the eclectic mix of physics, philosophy, ancient Indian science, and Sanskrit that formed the mainstay of all my interactions with him always proved inspirational to me), and Dr. Gayatri Rajapur (an extraordinary musicologist and gottuvadyam exponent who I first met through her disciple and my friend Vinay Kumar, and later got the opportunity to interact on many occasions during the academic committee meetings of the LGCE; I always marvelled at her deep erudition, immense patience, and clear exposition).

2020 also saw the death of famous personalities who influenced me in some way or the other although I never met them: S P Balasubrahmanyam (playback singer, actor, and TV anchor), Basu Chatterjee (filmmaker and screenwriter), Soumitra Chatterjee (actor, playwright, and poet), Sir Sean Connery (actor), Irrfan Khan (actor), Prof. T N Krishnan (violinist), James Lipton (actor, writer, and dean emeritus of the Actors Studio Drama School), Diego Maradona (football legend), Ennio Moricone (music composer), James Randi (conjurer, rationalist, and activist), Sir Ken Robinson (author and educationist), Sankar (artist and painter, renowned for his sketches in the Chandamama monthly including the iconic painting of Vikram and Betal), et al.

Some of the memorable episodes from the BC (Before Corona) days include my debut as a pṛcchaka (in the saṅkhyā-bandha division) in an Avadhāna of Śatāvadhāni Dr. R Ganesh; a trip with my mother to Sosale, our ancestral village; a weekend getaway with friends from my study group; editing/designing the seminal work Prekṣaṇīyam; attending the day-long dance conference Tha-Dheem that included speakers such as Dr. Padma Subrahmanyam, Śatāvadhāni Dr. R Ganesh, Saroj Khan, Rajiv Menon, Nirupama Rajendra, Dr. Rajkumar Bharathi, Praveen D Rao, and Pravin Godkhindi; and participating in Madanothsava, a 1,600-year-old community festival of spring recreated by Nirupama and Rajendra of the Abhinava Dance Company.

The multiple lockdowns in 2020 gave me the opportunity to pursue my activities with greater focus and solitude. On the day of Yugadi (March 25) I started reading the Mahābhārata in the original Sanskrit along with my good friend Arjun Bharadwaj; in the early days, we met up online twice or thrice a week and discussed the chapters we read (he was always ahead of me, thus giving me the much-needed impetus to move forward!) I edited and designed a new version of Ram Gopal Misra’s 1983 classic Indian Resistance to Early Muslim Invaders up to 1206 A.D. (which was published in October). In collaboration with my friends G S Raghavendra and Srishan Thirumalai, I worked on a modern translation of selected verses from Lilashuka’s Śrīkṛṣṇakarṇāmṛtam (which is still in progress). I spent a lot of time practising the violin. The various study groups that I am a part of also saw an upward trend with regular online sessions; while we missed the leisure and the human connection offered by in-person sessions, we were able to save travel time and also accomplish more in the same one hour allocated to the study.

During the later part of May, I contracted a fever that simply wouldn’t go away. Forty-two days without a break it persisted. Pyrexia of Unknown Origin they called it. Following a battery of tests and much speculation by medical experts from diverse disciplines I was diagnosed with tuberculosis of the lymph node. The two months of June and July were largely spent in bed, totally disconnected from all my activities. I sailed through, thanks to the good counsel of my doctors (Dr. Alaka Acharya, Dr. Amar P, and Dr. G L Krishna) and perhaps more importantly, the long-standing support from my parents and my friends. I neither deserved nor desired the unconditional love and affection that I was showered with. I really don’t know how to account for the selflessness of my family and the generosity of my friends. It is a debt that is impossible to repay. And uttering any words of gratitude will only expose my ineptitude.

In 2020, I had the opportunity to speak on a few topics to diverse groups (young professionals, dance students, interns working in the back office of a politician), write a few essays (including one in Kannada, my first), restart my sketching journey, and work on editing/designing a few books (revised edition of Studies in Ancient Tamil Law and Society by Dr. R Nagaswamy and A Tapestry of Pen-portraits by S R Ramaswamy).

I also recall with great fondness the many illuminating conversations I had in 2020 – on music (with my guru Dr. L Subramaniam and with my friends Vivekananda, Ranjani Vasuki, and Kashyap Naik), on Sanskrit literature (with G S Raghavendra, Srishan Thirumalai, and Sudheer Krishnaswami), on multiple subjects related to India and Indian culture (with Dr. S R Ramaswamy, Śatāvadhāni Dr. R Ganesh, Vasuki H A, Vighneshwar Bhat, Arjun Bharadwaj, and Jayasimha K R), on writing and literature (with Prof. L V Shanthakumari, Chandra Shekhar, Sarita Talwai, and Bhumika Anand), on art and artistry (with Nirupama, Rajendra, Sagar Mehta, and Somashekhara Sharma), on politics and society (with Cedric Blair, Karthik Rao, Shankar Venkataraman, Showri H R, Shreesha Karantha, and Vikram Phadke), on history and education (with Dr. R Nagaswamy, Dr. M D Srinivas, Sripriya Srinivasan, and the Samvit team), and a variety of topics (with my family and my friends including Aditya Jeurkar, Chandrashekhar K S, Hrishikesh M K, Pratap Simha, and Srikanteswara).

My father turned seventy in 2020 and to coincide with what he terms ‘fifty years of adulthood,’ he brought out his autobiography Doing Well, Feeling Happy, which is really a book about work-life balance and handling crisis with equanimity. He also happened to put together a small book about the amazing human body, a result of his online research, while he was trying to understand the cause for my prolonged fever. Incidentally, during my convalescence period, I wrote a short piece on the Bhaja Govindam, which was also published as a booklet along with the other two works.

I spent the last few days of 2020 with my friends and their family in the sylvan surroundings at Rishikesh, Devaprayag, Lakshman Jhula, etc. The two highlights of the trip were meditating in Vasishta Guha on December 31st evening and white-water rafting on the Ganga on the first day of 2021. To me they represent the serenity and satisfaction one must experience during the conclusion (of a day or a week) and the enthusiasm and energy one should feel during the commencement (of a new day or week).

As for 2021, I have a few plans in terms of what I wish to accomplish and how I should proceed towards my chosen goals. Having broken down the process into weekly targets, I’m going to share that with a few friends so that they will—hopefully—constantly remind me about my shortcomings. I hope to practice the violin 18 hours a week, read 100 books (having bought a Kindle as a Dasara gift), drastically cut down on sugar, sketch occasionally, considerably reduce screen time (both on my mobile and computer), and learn to live more simply with better health and greater empathy. These are all aspirations at present; let’s see how they go as the year progresses :)

Wishing you and your family a joy-filled, healthy, and prosperous new year!

Cheers, Hari PS: Here is a podcast I recorded (in conversation with Mowna Ramachandra) about the musical creations of my guru, Dr. L Subramaniam.

#memoirs #newyear

0 notes

oninoinsyncsblog · 7 months ago

Text

Dubbing house in india

Voice Over Services in India

Market Landscape

Languages and Diversity

Sectors Driving Demand

Corporate Communications: Businesses require professional voice over services for corporate videos, training modules, and presentations to communicate effectively with their diverse workforce.

Key Features of Quality Voice Over Services

Professional Talent https://www.oninoinsync.com

State-of-the-Art Technology

Versatility and Customization

Quality Control

Implementing stringent quality control measures, including multiple review stages and feedback loops, ensures that the final product meets the client's expectations and standards.

Onino InSync's Strategic Approach

Market Research

Building a Talent Pool

Customer Engagement

Marketing and Outreach

Promoting services through digital marketing channels, participating in industry events, and collaborating with content creators and production houses can increase visibility and attract new clients.

In conclusion, the voice over industry in India offers vast potential for growth and innovation. By focusing on quality, versatility, and customer satisfaction, Onino InSync https://www.oninoinsync.comcan establish itself as a premier provider of voice over services in this dynamic market.

#professional dubbing service in india #top dubbing studios in india #voice over company in india

0 notes

voicemonkservice · 3 years ago

Text

VoiceMonk provides Bengali voice over services for documentary films, e-learning products, audio books, audio guides, podcasts and powerpoint presentations. For more information visit:- https://voicerecordingstudio.in/

#Bengali Voice Over Artist #Bengali Voice Over Artists #Bengali Voice Over Service #Bengali Voice Over Agency #Bengali Voice Over Studio

0 notes

tevotbegotnaught · 5 years ago

Text

Dubov's Last Jump-off pt 3

Saturday afternoon, we found out the club couldn’t (or wouldn’t) accommodate our third night. Dubov had to pay us, of course. Mo was looking at other venues, possibly for tonite, realistically for the coming week. He asked our availability. Once we all responded, possibilities quickly evaporated. That weekend passed and more days after.

After waiting a week, I texted Mo about money. Hours later, he replied:

“High paint he otter eyes or sue didn’t cut anything”

At the gigs, I watched Mo use his phone; its screen at his nose, glasses mid way between forehead and hairline. He looked down precipitously, grumbled, grumbled again, then pressed send. What usually came through was a ransom note clipped from Beckett. He never corrected these puzzles until one of us asked. Here, a fully translated version of our exchange:

“I paid the other guys, you sure you didn’t get anything.”

“Yes, I’m sure.”

“Did you send your invoice to Julie.”

“Yes”

“I’ll call them”

“is there anything I can do to expedite this?”

“Chris, I’m not your employer”

“Right”(!)

“There’s a rehearsal tonite, will you be there”

“I didn’t know about a rehearsal. Where and when?”

“Still working on a place. Maybe 7?” (3 hours from now)

“Tough for me”

“No worries. If you go, you’ll be paid of course”

“Ok”

“No worries. I’ll get back to you”

Now, I was enrolled in the Godot payment plan. Dubov was looking at spending four lifetimes in more chains than Issac Hayes ever wore. I just wanted to get my money.

Weeks later, Mo Bedbug went live.

“Bears ash oh Friday”

Mo called in a favor with some Long Islanders. We had a show Friday. I lobbied for travel money.

Any evening rush hour on the LIE (a highway, not an enormous falsehood) was a parking lot. Friday rush was tailgating minus libations. I pressed him for my other money in the bargain.

“I paid Pianist with Venmo. Do you have Venmo.”

(I send my Venmo)

“This is will be easy, I didn’t know you had Venmo.”

“Ok”(I offered twice before)

“I’ll see you Friday my place"

Mo balked at travel money, though. Arranging an Uber from his place and promising we'd miss rush hour. To get to Mo's, I took the bus, two of them. It cost me way more than the fare. Flushing Avenue, Shabbat imminent, was a sightseeing tour: high school kids, restaurant workers, construction crews. So many people boarding, I couldn’t see nor hear my stop and had to walk an extra half-mile.

Turning onto Mo’s street, a familiar Bushwick tableau appeared. A massive pit, surrounded on three sides by green plywood. Graffiti tags and band decals fading under the shrouds of old posters. At the curb, a ziggurat of garbage-strewn ten-foot pipes and a marooned RV, black spray paint scrawled over its siding and vents, windows cracked and stuffed with wads of insulation, front seats piled to the ceiling with bundled magazines and crumpled newsprint.

On the next block, I found Mo's address stenciled on the brick wall of a old factory. Drummer stood away from its entrance smoking and scrolling his phone. He looked up.

"Man, I texted him like 10 minutes ago."

"No answer?"

"He said he’s coming right down"

"I’ve been giving him progress reports. F***ing bus was crawling."

The building’s entrance, a glass and brushed steel module, sat cheek by jowl with a battered freight elevator. After a text reminder and more waiting, the freight elevator doors parted vertically. Mo let the canvas strap swing overhead.

"This way" he said, glancing over his shoulder at the gleaming foyer before pulling the strap down. The elevator enclosure, a hypoxic chamber of fuel vapors and sawdust, led darkly to a huge steel door. Mo punched a code and pulled the handle. Inside, a newly carpeted hallway, filled with tarps, drywall, paint cans and the potent smell of sandalwood.

"They’re still doing work....as you can see. My place is cool, though.”

"Where’s Keys (the new pianist)?"

"He’s here. Been here a while. Working on the music."

"You have a piano?"

"Uh, I have kind of a studio. Not for recording, but you know, instruments and stuff."

Mo had room for those instruments and plenty more. His walls sprouted art in every medium and material: paintings on wood, metal, plastic jugs, shards of glass; sculptures of bottle caps, cardboard, styrofoam; violent, erotic black and white photos fetishizing punk style and concert posters from Downtown’s acme.

I stooped to gawk at an undulating video in a KFC bucket.

“That’s from my gallery. I used to have a gallery. When it closed I moved everything here. Well, not everything, but…you know.”

Keys sat on a leather couch. He was a kid, maybe twenty-five. I was his grandfather. That messed me up. Before excusing himself, Mo pulled me an espresso from a fancy Italian machine. I packed sandwiches and coffee, but the extra shot was welcome. From a closed door, medicinal-grade weed wafted. We were a full hour behind schedule.

Out on the street, waiting for the Uber, Mo nodded at the construction site and listing RV, saying in his mumblecore voice,

"That’s my girlfriend’s art project.... I mean, ex-girlfriend. "

"The RV? She did THAT?"

"Yeah....Well, her friends... they did it together. I don’t know who did which part"

(There were ‘parts’?)

"How long has it been there?"

"Uh....nine months. Wait...yeah. We broke up six months ago. She was living in it for a while."

"Living in it? You’re kidding. Was that part of the project?"

He chuckled. "Yeah...I don’t know."

"We’re still friends" he said, mostly to tumbling litter in the street.

Inside the Uber, Mo continued: “the realtor told me this was east Williamsburg, but it’s not, it's Bushwick. I don’t care what they call it, of course. I don’t mind living in Bushwick. It’s easier to have a car here.”

“You have a car?”

“Not now. Had to get rid of it. Wasn’t right for this neighborhood”

“Wasn’t right?”

“it was an Audi R8. Midlife crisis car. These streets are so bad, I kept having to get it fixed.”

Driving due east, the winter sun behind us pooled on the shiny road. We careened through four lane traffic. Ahead, break lights fanned out, ruby droplets cascading off a humpback’s tail.

Drummer and Keys talked through the set, then volleyed gossip about mutual friends.

When the radio spun an artist he knew personally, Mo turned around and apropos-ed a story, interrupting the other guys. In the 80s, he produced videos for many fledgling stars. It was a new medium for him and Pop music. A few of his clients soared from Downtown digs to world domination. Mo didn’t stay on for their ascent, though. He also worked on an early Dubov-produced movie until the boss’s relentless cost-cutting and hostility wore him down. While he rambled, a vape pen did plenty of its own talking.

Tonight’s venue, a redux of a famous Long Island rock room, now tucked in the basement of a new boutique North Shore Inn. That building, a block-size Cape Cod, dropped like Dorothy’s whirling farmhouse at an angle to the tony commercial strip.

We had a seriously low pressure slot, opening for a veteran blues band. Ten white guys from three generations; a solid outfit with a long history playing sincere, tasty covers. Always simpatico, Karolina added "Stormy Monday" to our set list. Due to the short notice, we lost Pianist, our stellar MD, and Trumpet wasn’t available. Pruned to prototypical stripper band: saxophone, piano and drums. Not without some irony..

When the ladies hit “Uptown Funk", shimmying and signifying, the audience, almost all sixty year-old white dudes with the occasional spouse, started hooting and whistling. T and A wasn’t on the bill, but it still satisfied. Margherita did her canned steps for ”Too Darn Hot". Karolina was confident and sold her songs. Keys somehow kept the basslines and harmonies together. I completely missed the famous trumpet intro to “Boogie Woogie Bugle Boy". The ladies jumped in undaunted. The Male Gaze kept the show alight until we exited, dodging the headliner's B3, Leslie and vintage amps.

The ladies were pros now and we repaired to the underground parking lot to celebrate. The girls in jeans and hoodies, band in our "gangster suits". While she waited for Keys to blaze up. Margherita asked me,

“Did you have fun?”

"Sure, I always have fun" I told her. What counts as honesty when the entire premise of an act is fakery?

"Great" she said, tracking down the joint.

A couple hits and we went back inside, sitting down near the jacked-open exit door. The blues band’s horn section looked on wearily as the front man sang verses fashioned by tougher men for harsher times. From our seats, we saw Mo sweep through the green room doorway, his long canvas coat and scarf swinging. He pivoted at the closest table and exchanged with the owner, a grizzled man with a barely legal date. Their conversation rearranged chairs and sent the men striding out of the club, proving there actually were blues to be had everyday.

When Mo and dance partner failed to return, we headed upstairs and onto the porch, where patio furniture gleamed under blinding lights. At the foot of the wooden steps, livery cars glided in and out of the glare. After a flurry of texts, the ladies gathered their garment bags and kissed us goodbye. A black SUV, indistinguishable from the others, stopped and a rear window opened. Inside, Dubov’s face, like crumpled paper, if paper were milled from lipids and dusted with ash. "Good job guys" he said, voice level and hoarse. We thanked him. The ladies got in on the far side, Dubov’s window closed and the car drove off.

************************************************************************************

After dropping him at the factory, Mo left the meter running on our Uber so the band could get home. On the way, we speculated about Dubov’s eventual prison sentence, Mo’s fee and when "the New Yorkers" might book their first Bar Mitzvah.

The driver, a Bengali, navigated without commenting on our post-mortems, confirming and re-confirming each address for his app. I was last on the circuit. Once we were alone, I asked the driver about his night. His answers were brief and courteous. As we waited at a light, he turned his head toward me. "Excuse me, one question. Have you ever been to Las Vegas?"

0 notes