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whileiamdying · 1 year

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A Movie Confronts Germany’s Other Genocide

“Measures of Men” tells the story of the systematic massacre of Herero and Nama people in what is now Namibia. Its maker hopes the film will bring a debate about Germany’s colonial guilt into the center of society.

Leonard Scheicher, left, and Girley Jazama in “Measures of Men,” which tells the story of the Herero and Nama genocide in what now Namibia through the eyes of a German anthropologist.Credit...Julia Terjung/Studiocanal GmbH

By Thomas Rogers Reporting from Berlin March 31, 2023

Germany is often praised for its willingness to confront the darkest moments of its history, but in recent years, activists have pointed to a blank spot in the country’s culture of remembrance. Decades before the Holocaust, Germany perpetrated the 20th century’s first genocide: From 1904 to 1908, German colonial officials systematically killed tens of thousands of Herero and Nama people in what is now Namibia. This atrocity is little known outside academic circles, and there are few memorials or pop cultural depictions of those events.

Now, a new movie, “Measures of Men,” aims to change that and bring a debate about Germany’s colonial guilt into the center of society. The glossy film, directed by the German filmmaker Lars Kraume, tells the story of the killings through the eyes of a German anthropologist. Aside from playing in movie theaters, where it opened last week, “Measures of Men” had a special screening for lawmakers in Germany’s Parliament, and was the focal point for a series of events at the Humboldt Forum, a central Berlin museum housing ethnological items. Its distributor, Studiocanal, said in a statement that it was planning to show the film in school and educational contexts.

“Measures of Men” has also prompted a new discussion in the German media about what many see as Germany’s sluggish attempts to come to terms with its colonial past. In recent years, the country has moved to return numerous artworks acquired during the colonial period, but the process of ratifying a reconciliation agreement between Namibia and Germany has stalled, and thousands of African human remains, transported to Germany from its colonies, remain in institutional collections.

In an interview in Berlin, Kraume, 50, explained that his movie was partly inspired by the 1978 NBC mini-series “Holocaust,” an early fictionalized TV depiction of the Shoah, which played a key role in spreading awareness of German guilt after it was broadcast here. “You have the possibility through cinematic storytelling to reach an audience that doesn’t engage so much with history books,” he said, adding that he hoped his film would be the first of many, much in the way “Holocaust” paved the way for films like “Schindler’s List.”

Lars Kraume, who directed “Measures of Men,” said, “You have the possibility through cinematic storytelling to reach an audience that doesn’t engage so much with history books.”Credit...Gordon Welters for The New York Times

“Measures of Men,” which was filmed in Berlin and Namibia, focuses on an ambitious German ethnologist (Leonard Scheicher) who develops a fascination with a Herero woman (Girley Jazama) after measuring her cranial features as part of his research. His fixation leads him to travel to German South West Africa (now Namibia), where he witnesses and eventually become complicit in the colonial slaughter.

“It’s not just a film about the genocide,” Kraume said, “but also about ethnologists who want to explore foreign cultures, but destroy them.”

Many of the scenes were based on real events of the genocide, which took place during a conflict between Germans and Africans known as the Herero and Nama War. After thousands of Herero men, women and children fled into the Omaheke Desert in 1904 to escape the fighting, German troops sealed off its edges and occupied the territory’s water holes, leading many to die of thirst. Lothar von Trotha, the governor of the colony, then issued a proclamation calling for all remaining Herero to be killed.

After the Nama joined the fight against the German colonizers, they were also targeted, and colonial officials set up concentration camps, ostensibly to provide labor for German-owned businesses, in which hundreds of prisoners died. The film depicts real facilities in one such camp in which the decapitated heads of Herero and Nama were boiled and cleaned for export to German ethnological institutions. Thousands of skulls of unclear origin remain in German collections to this day.

Kraume long wrestled with how to tell the story as a European filmmaker, and said he had decided to depict it from a German perspective for fear that centering it on African protagonists would represent a form of “cultural appropriation.” At one point in the development, he hoped to structure it similarly to Hollywood films about the Vietnam War, such as “Platoon” and “Apocalypse Now,” that center their plots on conflicts between “good” and “bad” American soldiers. “But there were actually no good Germans,” Kraume said.

Girley Jazama, who plays the movie’s female lead, discovered that her great-grandmother has been born in a German-run concentration camp while researching to play the role.Credit...Gordon Welters for The New York Times

Jazama, an acclaimed Namibian actress who plays Kezia Kambazembi, the film’s lead female role, learned German to play her part. In preparation for the role, she spoke to relatives about her family’s connection to the genocide and discovered that her great-grandmother had been conceived in a German-run concentration camp. “My ancestors need to be at peace,” she said in an interview. “That’s why I became a part of this story.”

Jazama said that, though the film had largely been made to spur discussion in Germany, it had also been a talking point in Namibia, where the events of the genocide had often been passed down via family members. “A lot of people are grateful,” she said, recalling that one audience member had shared appreciation that “now there is a visual representation of what happened, versus just it being told orally.”

The reaction in Germany has been more mixed. Writing in the Frankfurter Allgemeine Zeitung newspaper, the critic Bert Rebhandl wrote that the film focused too much on “German self-understanding” while pushing African perspectives to its edges. A writer in the Süddeutsche Zeitung argued that the film depicts too little of the genocide to transmit the scope of the killing and it does not do “justice to the horror.”

Henning Melber, a political scientist who has written extensively about German colonialism, said that criticism of the film shouldn’t distract from its potential role in remedying what he described as Germany’s “colonial amnesia.” He said that the film “triggers a debate in a wider German public in a way that none of us academics can achieve.”

Kraume emphasized that, although “Measures of Men” was meant to appeal to a mass audience, it was an explicitly “political film,” and that its rollout was partly engineered to spur a discussion. He hoped the screening for lawmakers would drive politicians to work harder at compensating the Herero and Nama, he added.

A scene from “Measures of Men.” In 1904, thousands of Herero people fled from German soldiers into the Omaheke Desert, where many died of thirst.Credit...Willem Vrey/Studiocanal GmbH

Although Namibian and German authorities agreed in 2021 on the terms of a reconciliation agreement, including around $1.1 billion in aid that Germany would pay over the next 30 years, the process has since come under fire from groups representing victims’ descendants, who argue that amount is too low, and say they were unfairly left out of the negotiation process. The Namibian government has since backtracked on plans to ratify the agreement, and the German authorities have resisted calls by the Namibians to reopen talks.

Kraume said Germany’s president, Frank-Walter Steinmeier, should travel to Namibia and officially apologize for the genocide, and that all human remains still held in Germany should be returned. “Europe has done far too little to reconcile with victims,” he said. “I think cinema allows us to awaken emotions, and implant images that can let you see events differently,” he said. “But this is only the beginning of the discussion.”

#Germany #Cinema #Measures of Men #Namibia #Genocide #Herero #Nama #Lars Kraume #Leonard Scheicher

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ptbf2002 · 7 months

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#10 Zak Storm: Super Pirate

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dh5ryxhgbctgr · 3 days

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Global Uhf Connector Market Trends and Future Dynamics 2024 - 2031

The global UHF connector market is a significant component of the telecommunications and electronics industries, facilitating reliable connections for a wide range of applications. This article provides a comprehensive overview of the market, including trends, drivers, challenges, and future prospects.

Overview of the UHF Connector Market

UHF connectors are a type of radio frequency (RF) connector designed for high-frequency applications. They are widely used in various sectors, including telecommunications, broadcasting, aerospace, and military, due to their durability and performance in challenging environments.

Key Features of UHF Connectors

Robust Design: UHF connectors are known for their rugged construction, making them suitable for harsh conditions.

Wide Frequency Range: They typically operate within the frequency range of 300 MHz to 1 GHz, making them versatile for many applications.

Easy Installation: These connectors are designed for quick and straightforward installation, often featuring screw-on or bayonet locking mechanisms.

Market Dynamics

Drivers of Market Growth

Increasing Demand for Telecommunications: The expansion of mobile networks and the growth of 5G technology are driving the demand for reliable connectors in telecommunications infrastructure.

Growth in Broadcasting and Media: As broadcasting services expand globally, the need for UHF connectors in antennas and transmission equipment is rising.

Advancements in Aerospace and Defense: The aerospace and military sectors require high-performance connectors for communication and navigation systems, boosting market demand.

Challenges Facing the Market

Market Competition: The UHF connector market is competitive, with numerous players offering similar products, which can lead to price pressures.

Technological Changes: Rapid advancements in connector technology can render older UHF connectors less desirable, requiring manufacturers to innovate continuously.

Economic Fluctuations: Economic downturns can impact investment in telecommunications and infrastructure projects, affecting demand for UHF connectors.

Regional Analysis

North America

North America holds a prominent share of the UHF connector market, driven by advanced telecommunications infrastructure and a strong presence of key manufacturers. The United States is a major contributor, with significant investments in 5G and IoT technologies.

Europe

Europe is experiencing steady growth in the UHF connector market, particularly in the aerospace, automotive, and telecommunications sectors. Countries like Germany and the UK are leading in technological advancements and demand for reliable RF connections.

Asia-Pacific

The Asia-Pacific region is expected to witness the highest growth in the UHF connector market, driven by rapid industrialization, urbanization, and increased investment in telecommunications infrastructure. Countries like China and India are key players in this growth.

Competitive Landscape

Key Players

Amphenol Corporation: A leading manufacturer of interconnect products, including UHF connectors for various applications.

TE Connectivity: Known for its innovative connectivity solutions, TE Connectivity offers a wide range of UHF connectors designed for high performance.

Hirschmann Automation and Control GmbH: A prominent player in the market, providing robust UHF connectors suitable for industrial applications.

Market Strategies

Product Innovation: Companies are focusing on R&D to develop advanced UHF connectors that offer improved performance and reliability.

Strategic Partnerships: Collaborations with telecommunications companies and infrastructure providers help enhance market reach and product offerings.

Geographic Expansion: Targeting emerging markets in Asia and Africa to capitalize on the growing demand for telecommunications and broadcasting solutions.

Future Outlook

The global UHF connector market is projected to experience steady growth over the next decade. As industries increasingly rely on high-frequency connectivity solutions, the demand for UHF connectors will likely continue to rise.

Trends to Watch

5G Deployment: The rollout of 5G networks will drive demand for advanced UHF connectors capable of supporting higher frequencies and data rates.

Miniaturization: The trend towards smaller, more compact electronic devices will influence the design and development of UHF connectors.

Sustainability Initiatives: Growing emphasis on eco-friendly manufacturing practices may lead to innovations in materials used for UHF connectors.

Conclusion

The global UHF connector market is poised for growth, driven by advancements in telecommunications, broadcasting, and aerospace industries. By addressing challenges and leveraging opportunities, stakeholders can thrive in this dynamic market. The future of UHF connectors will be characterized by innovation, sustainability, and a commitment to meeting the demands of high-frequency applications across diverse sectors.

#Global Uhf Connector Market Size #Global Uhf Connector Market Trend #Global Uhf Connector Market Growth

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jayanthitbrc · 5 months

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Game-Changing Innovations: Understanding the Scope and Demand Drivers in the Sports Broadcasting Technology Market

Overview and Scope Sports broadcasting technology refers to the various equipment and techniques used to capture, produce, and distribute live or recorded sports content to audiences through television, radio, internet streaming, and other broadcasting platforms. The primary goal of sports broadcasting technology is to deliver high-quality, immersive viewing experiences to sports fans worldwide, allowing them to enjoy live events with enhanced clarity, detail, and interactivity. Sizing and Forecast The sports broadcasting technology market size has grown strongly in recent years. It will grow from $71.27 billion in 2023 to $76.17 billion in 2024 at a compound annual growth rate (CAGR) of 6.9%. The sports broadcasting technology market size is expected to see strong growth in the next few years. It will grow to $101.04 billion in 2028 at a compound annual growth rate (CAGR) of 7.3%. To access more details regarding this report, visit the link: https://www.thebusinessresearchcompany.com/report/sports-broadcasting-technology-global-market-report Segmentation & Regional Insights The sports broadcasting technology market covered in this report is segmented – 1) By Component: Solutions, Services 2) By Technology: Analog, Digital 3) By Platform: OTT (Over-The-Top), Radio, Television 4) By End User: Broadcaster, Studios And Content Developer, Distributors North America was the largest region in the sports broadcasting technology market in 2023. Asia-Pacific is expected to be the fastest-growing region in the forecast period. The regions covered in the sports broadcasting technology market report are Asia-Pacific, Western Europe, Eastern Europe, North America, South America, Middle East and Africa. Intrigued to explore the contents? Secure your hands-on sample copy of the report: https://www.thebusinessresearchcompany.com/sample.aspx?id=14804&type=smp Major Driver Impacting Market Growth The rise of on-demand streaming services is expected to propel the growth of the sports broadcasting technology market going forward. On-demand streaming services, also known as video-on-demand (VOD) services, are digital platforms that offer a wide range of multimedia content, including movies, TV shows, documentaries, and original programming, for users to access and watch at their convenience.

Key Industry Players Major companies operating in the sports broadcasting technology market are IBM Corporation, Orange S.A. , NBC Universal Media LLC, Warner Bros. Discovery Inc., NEC Corporation, ESPN Sports Media Ltd., Fox Corporation, Rohde & Schwarz GmbH & Co KG, Belden Inc., NEP Group Inc., AvL Technologies Inc., Viaplay Group AB, Sportradar AG.

The sports broadcasting technology market report table of contents includes: 1. Executive Summary 2. Market Characteristics 3. Market Trends And Strategies 4. Impact Of COVID-19 5. Market Size And Growth 6. Segmentation 7. Regional And Country Analysis . . . 27. Competitive Landscape And Company Profiles 28. Key Mergers And Acquisitions 29. Future Outlook and Potential Analysis Contact Us: The Business Research Company Europe: +44 207 1930 708 Asia: +91 88972 63534 Americas: +1 315 623 0293 Email: [email protected] Follow Us On: LinkedIn: https://in.linkedin.com/company/the-business-research-company Twitter: https://twitter.com/tbrc_info Facebook: https://www.facebook.com/TheBusinessResearchCompany YouTube: https://www.youtube.com/channel/UC24_fI0rV8cR5DxlCpgmyFQ Blog: https://blog.tbrc.info/ Healthcare Blog: https://healthcareresearchreports.com/ Global Market Model: https://www.thebusinessresearchcompany.com/global-market-model

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electronalytics · 5 months

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Optical Data Cable Market Analysis 2023 Dynamics, Players, Type, Applications, Trends, Regional Segmented, Outlook & Forecast till 2033

Introduction

In today's digital age, optical data cables play a pivotal role in enabling high-speed data transmission and connectivity across various industries. This comprehensive overview delves into the multifaceted world of optical data cables, highlighting their significance, applications, and technological advancements.

Understanding Optical Data Cables

Definition: Optical data cables, also known as fiber optic cables, are a type of transmission medium used to transmit data in the form of light pulses.

Structure: These cables consist of one or more optical fibers enclosed in a protective sheath, designed to withstand environmental factors and ensure reliable data transmission.

Types: Optical data cables come in various types, including single-mode fiber and multi-mode fiber, each catering to specific applications and transmission requirements.

Evolution of Optical Data Cables

Historical Overview: The concept of optical communication dates back to the 19th century, with significant advancements made in the late 20th and early 21st centuries, leading to the widespread adoption of optical data cables.

Technological Advancements: Innovations in fiber optic technology, such as the development of low-loss fibers and advanced signaling techniques, have revolutionized the capabilities and performance of optical data cables.

Applications of Optical Data Cables

Telecommunications: Optical data cables form the backbone of modern telecommunications networks, facilitating high-speed internet, voice, and video communication services.

Data Centers: In data center environments, optical data cables are used to interconnect servers, storage devices, and networking equipment, enabling efficient data transmission and storage.

Broadcasting and Entertainment: The broadcasting and entertainment industry relies on optical data cables for the transmission of audio, video, and multimedia content, ensuring high-quality viewing experiences for audiences worldwide.

Market Trends and Dynamics

Growing Demand for High-Speed Connectivity: With the proliferation of bandwidth-intensive applications such as streaming media and cloud computing, there is a rising demand for high-speed optical data cables to support increased data traffic and network capacity.

Emergence of 5G Technology: The rollout of 5G networks is driving the adoption of optical data cables for backhaul and fronthaul applications, providing the high bandwidth and low latency required for next-generation wireless communication.

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Market Segmentations:

Global Optical Data Cable Market: By Company

Amphenol

Siemens

ABB

Littelfuse

Accelink Technologies Company

HUBER+SUHNER

Japan Aviation Electronics Industries

Leoni AG

Nanjing Huamai Technology Company

Prysmian Group

Leviton

CORNING

Legrand

Axon Cable

FATEK Automation Corp

LEMO

FEIG ELECTRONIC

Motec GmbH

HellermannTyton

di-soric

HARTING

ATEN

Black Box

Smiths Interconnect

Bayerische Kabelwerke Cavotec

Oki Electric Cable

Northwire

Rosenberger OSI

Global Optical Data Cable Market: By Type

Single-Mode

Multimode

Global Optical Data Cable Market: By Application

Commercial Use

Industrial Use

Others

Regional Analysis of Global Optical Data Cable Market

All the regional segmentation has been studied based on recent and future trends, and the market is forecasted throughout the prediction period. The countries covered in the regional analysis of the Global Optical Data Cable market report are U.S., Canada, and Mexico in North America, Germany, France, U.K., Russia, Italy, Spain, Turkey, Netherlands, Switzerland, Belgium, and Rest of Europe in Europe, Singapore, Malaysia, Australia, Thailand, Indonesia, Philippines, China, Japan, India, South Korea, Rest of Asia-Pacific (APAC) in the Asia-Pacific (APAC), Saudi Arabia, U.A.E, South Africa, Egypt, Israel, Rest of Middle East and Africa (MEA) as a part of Middle East and Africa (MEA), and Argentina, Brazil, and Rest of South America as part of South America.

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Key Report Highlights:

Key Market Participants: The report delves into the major stakeholders in the market, encompassing market players, suppliers of raw materials and equipment, end-users, traders, distributors, and more.

Comprehensive Company Profiles: Detailed company profiles are provided, offering insights into various aspects including production capacity, pricing, revenue, costs, gross margin, sales volume, sales revenue, consumption patterns, growth rates, import-export dynamics, supply chains, future strategic plans, and technological advancements. This comprehensive analysis draws from a dataset spanning 12 years and includes forecasts.

Market Growth Drivers: The report extensively examines the factors contributing to market growth, with a specific focus on elucidating the diverse categories of end-users within the market.

Data Segmentation: The data and information are presented in a structured manner, allowing for easy access by market player, geographical region, product type, application, and more. Furthermore, the report can be tailored to accommodate specific research requirements.

SWOT Analysis: A SWOT analysis of the market is included, offering an insightful evaluation of its Strengths, Weaknesses, Opportunities, and Threats.

Expert Insights: Concluding the report, it features insights and opinions from industry experts, providing valuable perspectives on the market landscape.

Technological Innovations

Advancements in Fiber Optic Technology: Ongoing research and development efforts are driving innovations in fiber optic materials, manufacturing processes, and transmission techniques, enhancing the performance and reliability of optical data cables.

Integration of Artificial Intelligence: The integration of artificial intelligence and machine learning technologies is enabling predictive maintenance and optimization of optical data cable networks, ensuring continuous operation and minimal downtime.

Future Outlook

Expansion of 5G Networks: The widespread deployment of 5G networks is expected to fuel the demand for optical data cables, providing the infrastructure needed to support high-speed wireless communication and IoT applications.

Focus on Sustainable Solutions: As environmental concerns become increasingly prominent, there is a growing emphasis on developing eco-friendly optical data cables and manufacturing processes to minimize environmental impact.

FAQs (Frequently Asked Questions)

What are optical data cables? Optical data cables, also known as fiber optic cables, are a type of transmission medium used to transmit data in the form of light pulses.

What are the main applications of optical data cables? Optical data cables are used in telecommunications, data centers, broadcasting, and entertainment industries for high-speed data transmission.

Who are the key players in the optical data cable market? Industry leaders such as Corning Incorporated and Prysmian Group dominate the optical data cable market, alongside emerging players focusing on niche applications and technologies.

What are the latest technological innovations in optical data cables? Technological advancements in fiber optic materials, manufacturing processes, and artificial intelligence are driving innovations in optical data cables, enhancing their performance and reliability.

How will 5G technology impact the optical data cable market? The rollout of 5G networks is expected to drive the demand for optical data cables, providing the infrastructure needed to support high-speed wireless communication and IoT applications.

What is the future outlook for the optical data cable market? The optical data cable market is poised for continued growth, fueled by the expansion of 5G networks, advancements in fiber optic technology, and a growing focus on sustainable solutions.

Customization of the Report:

This report can be customized to meet the client’s requirements. Please connect with our sales team ([email protected]), who will ensure that you get a report that suits your needs. You can also get in touch with our executives on +1 346 666 6655 to share your research requirements.

About Stringent Datalytics

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#Optical Data Cable Market #Optical Data Cable

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rohitpalan · 1 year

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Media & Entertainment's 26% CAGR Journey with AI

The market for artificial intelligence in media and entertainment is expected to reach USD 13.6 billion by 2022, with an estimated value of USD 10.4 billion in 2021. By 2032, the market is projected to generate USD 132.16 billion, with a CAGR of 26% over the five-year forecast period from 2022 to 2032. The market’s growth can be ascribed to the rise in online content consumption and the penetration of the internet in various emerging nations.

Growing applications in the sales and marketing sector are also a significant driver boosting the sector. Additionally, the use of AI in Media & Entertainment for sports automatic productions and personification is projected to present considerable prospects for industry growth during the projection period.

On the contrary, owing to the vast array of benefits and increasing trends, this industry brings along a few shortcomings as well which restrains the market growth. These aspects include the risk of customer privacy and a dearth of skilled professionals in the AI industry. Moreover, the cost of maintenance and complicity of the process acts as the prominent growth restraining factors.

Elevate your business to new heights! Grab your sample report and unlock exponential growth in the wired interface market @ https://www.futuremarketinsights.com/reports/sample/rep-gb-14925

Key Takeaways from the Market Study 

By solution, AI in media & entertainment services to capture 59.2% revenue in 2022

By application, sales & marketing segment to accumulate a revenue share of 21.7%

The North American market is expected to secure US$ 65 Billion while expanding at a CAGR of 24.2%  

Asia Pacific to record a CAGR of 26.8% during the forecast period ranging from 2022-2032

Global AI in media & entertainment market worth to expand 10x from 2022 to 2032

“The global AI in Media & Entertainment market is expected to show a remarkable growth in the forecast period owing to the increasing popularity of OTT platforms and enhanced online gaming experience,” says an FMI analyst.

Competitive Landscape  

Key players in the global AI in Media & Entertainment market include

Amazon Web Services, Inc.,

EMG,

Gearhouse South Africa Pty. Ltd.,

Gravity Media,

GrayMeta,

International Business Machines Corp.,

LMG, LLC,

Matchroom Sport Ltd.,

Production Resource Group, L.L.C.,

Synthesia Ltd.,

TAIT,

Valossa Labs Ltd.,

Veritone, Inc.,

Pixellot, PlaySight Interactive Ltd., AISportsWatch GmbH, Spiideo, Sport way AB, EVS Broadcast Equipment S.A., Hudl, Move.ai, AutomaticTV, among others. Some of the recent developments among the players are: 

In May 2022, Amazon Web Services, Inc. (AWS), an Amazon.com, Inc. company, announced the general availability of Amazon Elastic Compute Cloud (Amazon EC2) C7g instances, the next generation of compute-optimized instances powered by AWS-designed Graviton3 processors. 

In May 2022, Taboola, a global leader in powering recommendations for the open web, helping people discover things they may like, today announced it has entered into a definitive agreement to acquire Gravity R&D, a leading personalization technology company founded in data science.

Request for Methodology: https://www.futuremarketinsights.com/request-report-methodology/rep-gb-14925

Key Segments Covered in the AI in Media & Entertainment Industry Survey

AI in Media & Entertainment Market by Solution:

AI in Media & Entertainment Hardware/Equipment

AI in Media & Entertainment AI in Media & Entertainment Services

AI in Media & Entertainment Market by Application:

AI in Media & Entertainment in Fake Story Detection

AI in Media & Entertainment in Plagiarism Detection

AI in Media & Entertainment in Personalization

AI in Media & Entertainment in Production Planning & Management

AI in Media & Entertainment in Sales & Marketing

AI in Media & Entertainment in Talent Identification

AI in Media & Entertainment in Content Capture

AI in Media & Entertainment in Sports Automatic Productions

Video Production

Broadcasting & Live Streaming

Analytics

AI in Media & Entertainment Market by Region:

North America AI in Media & Entertainment Market

Latin America AI in Media & Entertainment Market

Europe AI in Media & Entertainment Market

Asia Pacific AI in Media & Entertainment Market

Middle East & Africa AI in Media & Entertainment Market

About Future Market Insights (FMI)

Future Market Insights, Inc. (ESOMAR certified, recipient of the Stevie Award, and a member of the Greater New York Chamber of Commerce) offers profound insights into the driving factors that are boosting demand in the market. FMI stands as the leading global provider of market intelligence, advisory services, consulting, and events for the Packaging, Food and Beverage, Consumer Technology, Healthcare, Industrial, and Chemicals markets. With a vast team of over 5000 analysts worldwide, FMI provides global, regional, and local expertise on diverse domains and industry trends across more than 110 countries.

Nandini Singh Sawlani

Future Market Insights Inc. Christiana Corporate, 200 Continental Drive, Suite 401, Newark, Delaware – 19713, USA T: +1-845-579-5705 For Sales Enquiries: [email protected] Website: https://www.futuremarketinsights.com LinkedIn| Twitter| Blogs | YouTube

#AI in Media & Entertainment Market

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youroriginaltimemachinestudent · 2 years

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#DeFi

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qocsuing · 2 years

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ITT Bornemann Launches Hermetically Sealed Twin Screw Pump for Chemical and Petrochemical Sectors

ITT Inc.’s (NYSE: ITT) ITT Bornemann, a leader in twin screw pumping technology, today launched the SLW, a hermetically-sealed pump, providing customers with an environmentally-friendly, competitively priced pump.To get more news about screw pump, you can visit hw-screwpump.com official website.

The product was unveiled via Facebook Live broadcast during the ACHEMA Exhibition and Congress, a triennial world forum for the process industries held in Frankfurt, Germany, June 11-15.

With the SLW pump, the 165-year-old Bornemann brand is able to provide an extensive twin screw industrial pump portfolio to customers in the chemical, oil & gas, tank storage, shipbuilding, power generation and general industrial markets. Using magnetic coupling (MAG-Drive), the SLW pump eliminates the need for mechanical seals and complex seal supply systems. This simple and innovative design brings various benefits to customers: With the sealed chamber, critical media with harmful substances are confined to the pump and not released into the environment The design allows the two screws to convey the product and transmit the torque The single-volute design is also compact and requires a small footprint for installation The product is lubricated with inboard bearings The less-wear parts design leads to low-maintenance, resulting in high MTBF (mean time between failure) and lower life-cycle cost “Bornemann has led the development of twin screw pump technology since the 1930s and we are excited that our patent-pending SLW technology will enable customers to handle harmful substances without polluting the environment,” said Markus Schwarte, Managing Director of ITT Bornemann GmbH.

The SLW Series pump is designed for various market applications in the chemical and petrochemical markets: ITT is a diversified leading manufacturer of highly engineered critical components and customized technology solutions for the energy, transportation and industrial markets. Building on its heritage of innovation, ITT partners with its customers to deliver enduring solutions to the key industries that underpin our modern way of life. ITT is headquartered in White Plains, N.Y., with employees in more than 35 countries and sales in approximately 125 countries. The company generated 2017 revenues of $2.6 billion.

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blogaarti · 2 years

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Creative Software Market Size, Share, Status and Forecasts 2022-2029

Despite being the most competitive area today, software development offers plenty of job opportunities. The ongoing technological advancement and innovation in both hardware and software services are driving substantial growth across the creative software market. With the internet's evolution to Web 3.0 and metaverse coming into existence, technologies such as blockchain and VR pacing at the forefront of software development. Notably, the demand for audio and video files delivery to end-users is creating new opportunities for the players in the creative software market. In addition to this, the growing number of small and medium-sized enterprises (SMEs) are also playing a vital role in market expansion. The ease of accessibility and greater availability of software development is set to spur exponential growth across the creative software market.

For More Industry Insights Read: https://www.fairfieldmarketresearch.com/report/creative-software-market

Increased Demand for Audio-Editing Software Owing to Propel Market Growth

The growing demand for high-quality audio products across the media and entertainment industry has created a subsequent demand for audio editing software. The increased emphasis on noise reduction and cancellation in the entertainment industry is further boosting demand for audio-editing tools. This has promoted their applications in various areas including production, recording, audio optimisation, playback, and audio. Moreover, the expansion of audio-streaming platforms has enabled emerging and unknown artists to upload and stream their music on such platforms. This has unlocked tremendous revenue opportunities for the audio editing software market. As a result of this, the growing demand for audio editing tools is demonstrating significant growth prospects for the global creative software market.

Sound and Video Recording Software to Build Momentum for Creative Software Market

The surge in the digitization, extensive television broadcasts, and applications of cloud-based solutions have unfolded growth opportunities for global audio and video recording software. Besides, the growing usage of smart gadgets coupled with the advancements in OTT and streaming technology has further intensified this demand. Global audio and video software market growth graph has further steepened by the increasing demand for high-definition audio and video material and trend of remote working. Such a paradigm shift have prompted sound and video recording software vendors to make tools available and accessible for consumers. This is mainly underpinned by an aim to get consumers to acquire expertise in these tools and increase conversions. In coming years, the rising demand for audio and video recording software is likely to prolong the expansion of the creative software market.

North America to Sustain Dominance Amid Major Breakthroughs in Technology

Technological advancements coupled with the presence of key players are driving the expansion of the creative software market in North America. Augmented demand for audio-video recording and editing platforms in the music, live-streaming and entertainment industries is also likely to bode well for the regional market. Furthermore, the trend of remote learning has resulted in increased demand for e-learning and creative software development as it offers flexibility and accessibility to students. Such a favourable scenario is expected to unlock novel revenue opportunities for the creative software market in North America.

Prominent Market Players

Some of the major players in the global creative software market include FXhome Limited, TechSmith Corporation, Adobe Inc., MAGIX Software GmbH, Nero AG, Movavi Software Limited, Sony Creative Software INC., Corel Corporation, CyberLink Corp., and Wondershare group.

For More Information Visit: https://www.fairfieldmarketresearch.com/report/creative-software-market

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#creative software #creative software market #creative software market size #creative software market share #creative software market trends #creative software market demand #creative software market growth #software market #fairfield market research

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vantagemarketresearch · 2 years

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Media Monitoring Tools Market Size, Share, Demand & Trends Analysis

Market Synopsis:

The Global Media Monitoring Tools Market was valued at USD 3.2 Billion in the year 2021 and is projected to reach a value of USD 7.8 Billion by the year 2028, and the market is estimated to grow to exhibit a Compound Annual Growth Rate (CAGR) of 16.1% during the forecast period.

Media monitoring is searching publicly accessible content, such as broadcast and print media platforms, for specific information, typically using a set of predefined keywords. Media monitoring technologies help in finding and analyzing important information and data on all media outlets, especially online media outlets that have become very popular in recent years. This expansion can be attributed to the growing use of media monitoring technology in the industry to analyze target audiences, assess consumer buying trends and enhance brand perception through online content.

Request Our Free Sample Report (Get 30% Discount within 15 Days of Purchase): https://www.vantagemarketresearch.com/media-monitoring-tools-market-1804/request-sample

Who are the Key Players in Media Monitoring Tools Market?

Some of the key and notable players in the Global Media Monitoring Tools Market include- BoomSonar, Buzzcapture B.V., Coosto BV, Snap Trends Inc, YouScan, Ubermetrics Technologies GmbH, Lucidya, Social Media Research Foundation, Sprinklr Inc., SemanticForce Inc., Talkwalker, Agility PR Solutions LLC, BurrellesLuce, Cision Ltd., Critical Mention Inc., CyberAlert LLC, Hootsuite Inc., M-Brain, Meltwater, TVEyes Inc., and among others.

Regional Insight by Vantage Market Research:

North America is expected to dominate the media monitoring tools market during the forecast period. Oracle Corporation, Hootsuite, and Alphabet Inc. The market share in this sector is expected to increase as well-known companies like these expand their presence in the United States.

The Asia Pacific market for media monitoring tools is expected to expand significantly in the coming years. The region has more than half of the active users of social media, giving businesses a fantastic opportunity to interact with potential customers face-to-face.

Regions & Countries Covered:

North America - (U.S., Canada, Mexico)

Europe - (U.K., France, Germany, Italy, Spain, Rest Of Europe)

Asia Pacific - (China, Japan, India, South Korea, South East Asia, Rest Of Asia Pacific)

Latin America - (Brazil, Argentina, Rest Of Latin America)

The Middle East & Africa - (GCC Countries, South Africa, Rest Of the Middle East & Africa)

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Report Coverage

Market Growth Drivers, Restraints, Opportunities, Porter's Five Forces Analysis, PEST Analysis, Value Chain Analysis, Regulatory Landscape, Technology Landscape, Patent Analysis, Segment and North America, Company Market Share Analysis, and Covid-19 Impact Analysis.

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About Vantage Market Research:

We, at Vantage Market Research, provide quantified B2B high-quality research on more than 20,000 emerging markets, in turn, helping our clients map out the constellation of opportunities for their businesses. We, as a competitive intelligence market research and consulting firm provide end-to-end solutions to our client enterprises to meet their crucial business objectives. Our clientele base spans 70% of Global Fortune 500 companies. The company provides high-quality data and market research reports. The company serves various enterprises and clients in a wide variety of industries. The company offers detailed reports on multiple industries including Chemical Materials and Energy, Food and Beverages, Healthcare Technology, etc. The company’s experienced team of Analysts, Researchers, and Consultants use proprietary data sources and numerous statistical tools and techniques to gather and analyze information.

Read Our Latest Blog Top Companies in Face Swiping Payment Market: https://v-mr.biz/face-swiping-payment-market

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#media monitoring tools market

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ptbf2002 · 6 months

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My Top 10 Cartoon Network Characters

#10 Finn The Human And Jake The Dog (Adventure Time)

#9 Gumball Watterson (The Amazing World of Gumball)

#8 K.O (OK K.O! Let's Be Heroes!)

#7 Yumi Yoshimura (Hi Hi Puffy AmiYumi)

#6 Angelo Lawrence (Angelo Rules)

#5 Blossom, Bubbles, And Buttercup (The Powerpuff Girls)

#4 Ami Onuki (Hi Hi Puffy AmiYumi)

#3 Dexter (Dexter's Laboratory)

#2 Tom The Cat And Jerry The Mouse (Tom And Jerry)

And #1 Bugs Bunny (Looney Tunes)

Honorable Mentions: Mordecai And Rugby (Regular Show), Chowder (Chowder), Flapjack (The Marvelous Misadventures Of Flapjack), The Bears (We Bare Bears), Beast Boy (Teen Titans), Courage the Cowardly Dog, Mac (Foster's Home for Imaginary Friends), Nigel Uno (Codename: Kids Next Door), Robot Jones, Robin (Teen Titans), Raven (Teen Titans), Samurai Jack, Kuki Sanban (Codename: Kids Next Door), Scooby-Doo, Steven Universe, Wallabee Beatles (Codename: Kids Next Door), Grim Reaper (The Grim Adventures of Billy & Mandy), Gwen (Total Drama Island), Fred Jones (Scooby-Doo), The Flintstones, Ella (Total Drama: Pakhitew Island), Annoying Orange (2009-early 2014, Annoying Orange Gaming),

Original Template: https://www.deviantart.com/edogg8181804/art/Top-10-Cartoon-Network-Characters-Meme-852532770

Adventure Time Belongs To Pendleton Ward Rough Draft Korea Co., Ltd. Saerom Animation, Inc. Science SARU Inc. Frederator Studios, Frederator Networks, Inc. WOW! Unlimited Media Inc. Kartoon Studios, Inc. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Amazing World of Gumball Belongs To Ben Bocquelet, Boulder Media Limited Ireland, Dandelion Studios, Studio SOI, Great Marlborough Productions Inc. Cartoon Network Development Studio Europe, Cartoon Network Studios Europe, Hanna-Barbera Studios Europe Ltd. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Television Studios UK, Warner Bros. International Television Production, Turner Broadcasting System Europe Limited, WarnerMedia EMEA, Turner Broadcasting System International, WarnerMedia International, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

OK K.O.! Let's Be Heroes Belongs To Ian Jones-Quartey, Digital eMation, Inc. Sunmin Image Pictures Co., Ltd. Jam Filled Entertainment, Boat Rocker Media Inc. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Hi Hi Puffy Ami Yumi Belongs To Sam Register, Renegade Animation, Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Powerpuff Girls Belongs To Craig McCracken, Rough Draft Korea Co., Ltd. Hanna-Barbera Cartoons, Inc. Cartoon Network Studios, Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Dexter's Laboratory Belongs To Genndy Tartakovsky, Rough Draft Korea Co., Ltd. Twenty First Century Entertainment, Fil-Cartoons, Wang Film Productions Co., Ltd. Mr. Big Cartoons, SEK Animation Studio, Shanghai Morning Sun Animation Co., Ltd. Shenzhen Jade Animation Company, Hong Ying Animation Co., Ltd. Hanna-Barbera Cartoons, Inc. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Turner Network Television (TNT), Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry Belongs To William Hanna, Joseph Barbera, Wang Film Productions Co., Ltd. Fil-Cartoons, Mr. Big Cartoons, Bardel Entertainment, Inc. Baer Animation Company, CNK International, Seoul Movie Co., Ltd. Toon City Animation Inc. Yearim Productions Co., Ltd. Hanho Heung-Up Co., Ltd. Rough Draft Korea Co. Ltd. Rough Draft Studios, Inc. Lotto Animation, Inc. Renegade Animation, PIP Animation Services Inc. Slap Happy Cartoons Inc. Digital eMation, Inc. Duncan Studio, Rembrandt Films, Sib Tower 12, Inc. MGM Animation/Visual Arts, Metro-Goldwyn-Mayer Cartoon Studio, Harman-Ising Productions, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon.com, Inc. Turner Entertainment Company, Turner Broadcasting System, Inc. Hanna-Barbera Cartoons, Inc. Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Tom and Jerry Show (1975 TV series) Belongs To William Hanna, Joseph Barbera, Hanna-Barbera Cartoons, Inc. Metro-Goldwyn-Mayer Television, MGM Worldwide Television Group and Digital, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon.com, Inc. Turner Entertainment Company, Turner Broadcasting System, Inc. ABC, Disney General Entertainment Content, Disney Entertainment, The Walt Disney Company, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Tom and Jerry Comedy Show Belongs To William Hanna, Joseph Barbera, Tex Avery, Filmation Associates, Classic Media, LLC, DreamWorks Classics, DreamWorks Animation LLC, Universal Pictures Television LLC, Universal Studio Group, NBCUniversal Media Group NBCUniversal Media, LLC, Comcast Corporation, Metro-Goldwyn-Mayer Cartoon Studio, Metro-Goldwyn-Mayer Television, MGM Worldwide Television Group and Digital, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon.com, Inc. Turner Entertainment Company, Turner Broadcasting System, Inc. CBS Broadcasting Inc. CBS Entertainment Group, Paramount Global, Warner Bros. Domestic Television Distribution, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Tom & Jerry Kids Belongs To William Hanna, Joseph Barbera, Wang Film Productions Co., Ltd. Fil Cartoons Inc. Mr. Big Cartoons, Hanna-Barbera Cartoons, Inc. Turner Entertainment Company, Turner Broadcasting System, Inc. FOX KIDS, FOX Family Worldwide Inc. FOX Broadcasting Company, FOX Entertainment, FOX Corporation, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry Tales Belongs To William Hanna, Joseph Barbera, Rob LaDuca, Jeff Davison, Toon City Animation Inc. Yearim Productions Co., Ltd. Rough Draft Korea Co. Ltd. Rough Draft Studios, Inc. Lotto Animation, Inc. Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Tom And Jerry Show Belongs To William Hanna, Joseph Barbera, Darrell Van Citters, Renegade Animation, PIP Animation Services Inc. Slap Happy Cartoons Inc. Turner Entertainment Company, Warner Bros. Animation Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry in New York Belongs To William Hanna, Joseph Barbera, Darrell Van Citters, Renegade Animation, Turner Entertainment Company, Warner Bros. Animation Inc. HBO Max, WarnerMedia Direct, LLC. Warner Bros. Discovery Global Streaming and Interactive Entertainment, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry Special Shorts Belongs To William Hanna, Joseph Barbera, Peter Browngardt, Yowza! Animation, Turner Entertainment Company, Warner Bros. Animation Inc. HBO Max, WarnerMedia Direct, LLC. Warner Bros. Discovery Global Streaming and Interactive Entertainment, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry (2022) Belongs To William Hanna, Joseph Barbera, Fanworks Inc. Studio Nanahosi, Turner Entertainment Company, Warner Bros. Japan, Cartoon Network Japan, Discovery Japan, Turner Broadcasting System Asia Pacific, WarnerMedia Entertainment Networks Asia Pacific, Turner Broadcasting System International, WarnerMedia International, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry In Singapore (2023) Belongs To William Hanna, Joseph Barbera, AUM Animation Studios Pvt. Ltd. Turner Entertainment Company, Warner Bros. Animation Inc. HBO GO, Home Box Office, Inc. Cartoon Network Asia, Turner Broadcasting System Asia Pacific, WarnerMedia Entertainment Networks Asia Pacific, Turner Broadcasting System International, WarnerMedia International, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Looney Tunes Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Harman-Ising Productions, Leon Schlesinger Productions, Warner Bros. Cartoons, Inc. DePatie–Freleng Enterprises, Format Productions, Warner Bros.-Seven Arts Animation, The Vitaphone Corporation, Vitagraph Company of America, Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Looney Tunes Show Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Sam Register, Spike Brandt, Tony Cervone, Yearim Productions Co., Ltd. Toon City Animation Inc. Lotto Animation, Inc. Rough Draft Korea Co., Ltd. Crew 972 Ltd. Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

New Looney Tunes Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Erik Kuska, Yearim Productions Co., Ltd. Rough Draft Studios, Inc. Snipple Animation Studios, Warner Bros. Animation Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Looney Tunes Cartoons Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Pete Browngardt, Yowza! Animation, Yearim Productions Co., Ltd. Snipple Animation Studios, Tonic DNA, Warner Bros. Animation Inc. HBO Max, WarnerMedia Direct, LLC. Warner Bros. Discovery Global Streaming and Interactive Entertainment, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

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adams92robert-blog1 · 5 years

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This product comes with a PrimeSupport contract that allows you to take advantage of technical support through our helpline and fast, uncomplicated repair services. You can rest assured that your product is protected by Sony. The MVS-6000 is a new member of the MVS family with the established mixer models MVS-8000G and DVS-9000. We have identified some suspicious activity from you or someone logged into your internet network. Please help us protect Glassdoor by confirming that you are human and not a bot. This clip transition effect is particularly helpful for sports broadcasts, for example for football and basketball games. The MKS-6470-DME board set offers two additional DVE channels, which can optionally be integrated into the MVS-6000. LingueeFind reliable translations of words and phrases in our comprehensive dictionaries and search billions of online translations. "Subtitle Edit" has everything you need to create or fix subtitles. Thanks to numerous integrated functions, little is left to be desired. This comment comes from the Google Product Forum. rights to third parties granted to Koelnmesse; the right to edit or otherwise change the image material. Yes, I am interested in receiving interesting special offers from the areas of media, tourism, telecommunications, finance, mail order by e-mail from CHIP Digital GmbH and CHIP Communications GmbH. Consent at any time e.g. With us you have the choice, because unlike other portals, no additional software is selected by default. Edit and create subtitles with the practical tool "Subtitle Edit". For links on this page, CHIP may receive

waveform display and velocity split display), the corresponding parameter in all pads (and each layer contained therein) within the current engine is changed to the same value.

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ul> Waveform display and the velocity split display), the corresponding parameter in all pads (and each layer contained therein) within the current engine is changed to the same value. open or use the ElixirEditor to develop new page and form definitions without scripting.

final edit n—

A technical error occurred while trying to complete your entry. We are already working on it and will be back for you as soon as possible. Please come back later. We apologize for this inconvenience and thank you for your understanding. Visit the author's page for help, ask a question, post a review, or report the script. The cool design that you love and that you won't find in any department store is far from everything. A special hardware-implemented data compression is used to save memory bandwidth. This parameter specifies the color used in the player's progress bar to highlight the part of the video that the user has already seen. red and white are valid parameter values. By default, the player uses the color red in the progress bar. For more information on color options, visit the YouTube API blog.

#video modify

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tegguna · 6 years

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funk and ZDFneo film second season of “Druck”

Mainz - “Follow your heart!” is one mantra every hollwood-romance preaches insistently. In the second season of Druck though, the overly intellectual Mia becomes uncertain: Is the heart in reality not just a manipulable and unrealiable organ that gets you into a hell of a mess? Since monday, october 22nd, 2018 “Druck” has been shooting in Ahrensfelde [municipality in Brandenburg, very close to Berlin] and its environs under the direction of Pola Beck and Jano Ben Chaabane.

The first clips of the second season will be available monday, december 17th, 2018 on YouTube and funk.net. ZDFneo will broadcast the series from friday, december 21st, 2018 on. Prior to this, all episodes of the first season will air (december 13th, 2018, 11.05 pm).

The second season around the girl crew of Hanna, Mia, Kiki, Sam and Amira revolves around the feelings of the smart Mia Winter. She’s confident and feministic but her well-marked determination to fight the patriarchy collides with the harsh reality of everyday life in high school. That results in her losing her inner compass more and more.

The story won’t be told solely with single episodes on YouTube but also taked place in social media networks like Instagram or WhatsApp. “Druck”, the german adaption of ths successful Norwegian series “Skam”, is produced on behalf of funk and ZDFneo by Bantry Bay Production GmbH (producers: Lasse Scharpen, Jan Kromschröder). The responsible editors are Varinka Link (ZDF) and Max Fraenkel (funk). Filming will continue till december 20th, 2018.

#druck #skam germany #i translated this really quick so please no judgement #article #translation #druck translation

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jayanthitbrc · 5 months

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From Conventional to Cutting-edge: Unveiling the Latest Developments in the Broadcast and Media Technology Market

Overview and Scope: The broadcast and media technology refer to a variety of communication systems that entail transferring data across long distances utilizing electronic and electromagnetic approaches. Radio and television broadcasting technology, satellite broadcasting technology, digital cable and satellite television technology, digital terrestrial television, and satellite television technologies are examples of broadcast and media technology. Sizing and Forecast: The broadcast and media technology market size has grown strongly in recent years. It will grow from $52.21 billion in 2023 to $57.21 billion in 2024 at a compound annual growth rate (CAGR) of 9.6%. The broadcast and media technology market size is expected to see rapid growth in the next few years. It will grow to $86.62 billion in 2028 at a compound annual growth rate (CAGR) of 10.9%. To access more details regarding this report, visit the link: https://www.thebusinessresearchcompany.com/report/broadcast-and-media-technology-global-market-report Segmentation & Regional Insights: The broadcast and media technology market covered in this report is segmented – 1) By Solution Type: Web Content Management, Content Storage Solutions, Editorial and Print Workflow, Media/Digital Asset Management, Revenue Management, Ad and Data Management, User management 2) By Hosting Model Type: Integrated, Standalone 3) By End User Type: Broadcasters, Distributors, OTT, IPTV North America was the largest region in the broadcast and media technology market in 2023. Asia-Pacific is expected to be the fastest-growing region in the forecast period. The regions covered in the broadcast and media technology market report are Asia-Pacific, Western Europe, Eastern Europe, North America, South America, Middle East, Africa Intrigued to explore the contents? Secure your hands-on sample copy of the report: https://www.thebusinessresearchcompany.com/sample.aspx?id=7207&type=smp Major Driver Impacting Market Growth: A rise in access to media and video streaming is contributing to the growth of the broadcast and media technology market. Streaming media is the process of delivering multimedia data (such as video or audio) from a streaming service provider to an end-user. Streaming media uses HTTP, TCP/IP, and HTML protocols to deliver audio and video elements.

Key Industry Players: Major companies operating in the broadcast and media technology market report are Evertz Microsystems Limited, International Business Machines Corporation, Quantum Corporation, Rohde & Schwarz GmbH & Co. KG, Dell Technologies Inc. The broadcast and media technology market report table of contents includes: 1. Executive Summary 2. Market Characteristics 3. Market Trends And Strategies 4. Impact Of COVID-19 5. Market Size And Growth 6. Segmentation 7. Regional And Country Analysis . . . 27. Competitive Landscape And Company Profiles 28. Key Mergers And Acquisitions 29. Future Outlook and Potential Analysis Contact Us: The Business Research Company Europe: +44 207 1930 708 Asia: +91 88972 63534 Americas: +1 315 623 0293 Email: [email protected] Follow Us On: LinkedIn: https://in.linkedin.com/company/the-business-research-company Twitter: https://twitter.com/tbrc_info Facebook: https://www.facebook.com/TheBusinessResearchCompany YouTube: https://www.youtube.com/channel/UC24_fI0rV8cR5DxlCpgmyFQ Blog: https://blog.tbrc.info/ Healthcare Blog: https://healthcareresearchreports.com/ Global Market Model: https://www.thebusinessresearchcompany.com/global-market-model

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