#stb base art

[wind-up-thancred]

WELL. ive been putting off a proper character introduction post for katsu due to lack of sufficient motivation but HERE WE ARE FINALLY. my silly boy katsu. my darling son. my lizard kitty thing. lil long under the cut :)

full name: katsu arahata race: raen au ra gender: cis male sexuality: gay height: 6 feet 11 inches nameday: 23rd sun of the 3rd astral moon age: 24 at the start of ARR. turns 25 shortly after stormblood, and turns 26 the same day patch 6.4 happens birthplace: southern shishu (whatever xiv's equivalent to okinawa is) occupation pre-ARR: lived in kugane with his parents, worked at the mujikoza theater primarily doing music for plays. reason for beginning journey: grew tired of his mother telling him how to run his life even as an adult as well as feeling like he had to live and breathe for the sake of the arahata family and nothing else, so he left kugane without warning, leaving only a note to his parents. residences: was born in southern shishu and raised there until age 5-6, when his mother decided she wanted him to get a better education in a more affluent part of hingashi, so they moved to kugane. eventually buys an apt & then a house in limsa. overall disposition: tends to be generally friendly and warm to most folks he meets, but the degree of such is based on how much he trusts you. for strangers, the friendliness is just a facade he puts up to keep himself safe, but once he trusts you he becomes a lot more genuine and expressive. loves making his friends laugh. has issues with anxiety and sensory overload but tends to hide them due to aforementioned trust issues, and only talks about them to his closest friends. enjoys learning and likes a bit of adventure, but generally prefers taking it easy. initially a bit of a pushover pre-ARR until EW due to habitual interpersonal conflict avoidance, but deep down greatly values his own agency. notable negative traits: can sometimes be distrustful, occasionally dishonest, avoidant, and ever so slightly vengeful. can be stubborn at times. copes with reality by romanticizing awful things or deluding himself that stakes are low even when they are not. and if that fails, he'll feel compulsions to abandon everything that he's worked for and start over anew... which he has given into at least once. hobbies: has a deep passion for the arts in general. has taken classes for folk singing and multiple instruments during his teens. worked backstage doing music for the mujikoza in his early 20s. enjoys theater but could never see himself taking the spotlight, claiming itd be too stressful. enjoys both pencil illustration and sumi-e painting, particularly when the subject is anything in nature. during MSQ, he learns a little bit from each crafter's guild in eorzea, but ends up enjoying weaving and carpentry the most, bowmaking especially. also keeps a pet tokay gecko named oyabun.

favorite color: he's a sucker for blue, but also likes a nice bright red. favorite food: unadon (bbq eel over rice) romantic interests: had brief crushes on martyn and aymeric that he never pursued. also developed an attraction to his then-best friend thancred in post ARR. did not pursue him either until post HW, but even then kept it relatively unofficial. it wasnt until late STB that they made things official between them. classes: -had some sojutsu (spear arts) training as a teenager as part of his education, so he uses polearms as his weapon of choice for all of ARR til SHB. begins his dragoon training in ARR as well. -picks up BLU during post ARR just for fun. -picks up DNC during post SHB initially on a whim but later as an outlet for expressing his emotions. -picks up BRD post EW for similar reasons, and also as a way to have a "fresh start" after everything that happened to him during MSQ. -picks up DRK directly after 6.4. initially just wanted to learn swordplay in general while trying to conjure a blade of light at will to defeat zeromus, but his dark magic is warped by the lightcrystal given to him by yshtola in 6.2, essentially becoming a custom class. never actually named by anyone in game (i think?) but my name for it is arch knight, or ARK, based on the ff tactics class.

[colorguardsweetheartblurrsgirl]

I over exaggerated my guess based on habits I have in general of life. I tend to do more then needed "Overachiever" even though I have engrained in me that " Less is more."

So I exaggerated my guess.

For me it depends on the art. If I have several characters, each will have several layers from the face (I like to seperate eyes and hair. Outline... skin. Shadow. Lighting. Base colors. Etc. Etc. Also seperate hair sahdjng from shading in the hands, face/neck, clothes, etc... because I'm the type that if I make a mistake I dont want to mess up other stuff. So I'll have these separated (something learned experience). Depending on background I may have two or more layers solely dedicated to the background alone. Or it may be as simple as two to five... again it depends on details. I treat layers like reading and writing sheet music seperate each instrument and part. Combine similar areas into folders as often the Mezzo and First Soprano's share a line in a Choir that's SSAA, STB, SSTB,etc. Being a what kids who grew up similarly through the stations in my area called "Radio Baby" in all, music is how I often look at many aspects of life. So it's how I categorize. It literally helps me shape my life.

Please NOTE:

The Valentines Post I'm working on.

(Will likely post after Valentine's cause, The day after is my Moms Birthday. Valentines has always been a family affair for me cause moms birthday was right after (literally was born several minutes after Valentines day... so we treet both days as if her birthday) usually we celebrated both days cause love him, but my dad irritably likes working on her actual birthday cause the day after Valentines jn any job whether marketing sales in radio or working security is ALWASY a happening day, and hes a go getter... so much as it irritates my mother we wet aside both days for her. I often have to be available for both that way my mom has Someone available on her birthday... So expect now and jn the future Valentines posts to come early or later due to this fact. (Also same in March I'm the exact same when it comes to Saint Patties Day my Birthday... its ironic all family members were born a few minut ees s after some holiday its hilarious).

Only just this late figured I'd get this message I intended earlier, out now

I mean they say Its better Late then Never.😂🤣😅😅😅😅 so yeah, my Valentines art I started on late in the game kinda came up and surprised me how close we were days before literally and started on it. So it may be a few days if I don't get it done tonight.

(which as you saw I didn't manage, actually it's kinda due to several updates for things on my device laptop... I hope to either finish or get a majority of the work done on it tonight. Hopefully last nights updates are the last for a while in a good way as of 2/18/23. I also admit I think Thirsday after updates were done I actually turned my focus on updating a few aspects of teh other long time story I've mentioned on here... didnt mean to work as long as I did that day on it. So that was a mix of computer being slow and me putting focus on a doc while it was being finicky loosing pimento it).

Considering the subject matter though...

🤔🤔🤔🤔

My Valwntines intended art post bring used for an example... Well this one will have a simple background.... ssssoooooooooo....

Give or take each character may have anywhere from 3 layers to ten depending.... hmm...I guess based on that I could be more likely between 15-50 (most likely more like 15-30). But It has a chance to go up to 75 or 100. It depends on details. But I'm confident it's under 50 layers.

[sarathebunny]

Old pony base I made! :ddd Feel free to use! Tag me if u use it! :D I’d like to see what u can come up with. ;v;

[stb-bases]

Yo! Remember you can request the kind of base you want. I just like drawing the pony ones. x3 (If it's not too complicated human base. ;v;)

[liketheinferno2]

Man the other thing I'm really enjoying in Stormblood is that Lyse is LITERALLY a 25 year old white woman who just got into activism and is being stupidly aggressive about it, resulting in both humor AND misery.

Also Alphi's beautiful art!!! So proud of him!

The other fun part is while Alphinaud's issue has always been that he's 16 and thinks he's smarter than me, Alisaie is 16 and thinks she's cooler and more badass than me lmao

Also one of these kids is trans. It's gotta be. I recognise that I have transmasc bias here but I think it's Alphinaud on account of how many times I've seen him get CLOCKED IN PUBLIC

Seriously though StB has been so incredibly brutal so far considering they can barely show blood and that's fantastic because I've always thought Final Fantasy hit harder the more viscerally brutal it could go. I'm being silly in these posts but while playing I'm just like OH MY GOD WHAT THE FUCK. The pixar mom porportions of Zeno's massive armor just his oversized ass swaggering away after he shows up to slaughter a bunch of under-prepared resistance fighters THIS is the part of these games I like

[MEFFRID BASED SOBBING]

I'm deeply interested in what the fuck and hell they're going to do with Fordola because so far she smacks of "if this was a male character everyone would be falling over themselves to justify her actions" which has hooked me for reasons most obvious

Onsen episode with Elskan

A SNEER from Krile too:

Man did anyone else think Krile was like, mid 30s? She seems so much older than 22. I guess it's an academic maturity thing. Old soul ass Lalafell.

And one final #aesthetic shot

[duisarcusxiv]

Pinned:

Hello! I thought I'd make a little pinned post about me & the blog real fast~

The Player

JD, Duis, or Sagra I'll all answer to.

she/they/he

21+

Married IRL

Queer

I'm caught up on MSQ, and will likely stay caught up within a day or two of new content release! Please avoid if you don't want spoilers! I will tag with the name of the expansion, but I don't follow the two week "grace" period - I just tag consistently from day one, because I do not have the memory to keep track of when I'm allowed to post what.

I follow from @duisarcus <3

no DNI, just a few words of warning:

I do not care if you ship with the twins.

I do not care if you ship with lalafell.

I do ship Ryne/Gaia.

If that's something that bothers you, please block/blacklist/etc to your comfort level. I do not tolerate harassment. I WILL block people for it.

I have high personal standards for lore compliance, and I like to extrapolate worldbuilding based on what we've been given in lore. A lot of my characters follow my own internal worldbuilding, so if you wanna know wtf I'm going on about, feel free to ask!

The WoL

My main is Sagra, a Xaela Au Ra. He's married to my wife's main, Negi! Any screenshots and art of Sagra will be tagged as M: Sagra.

Tagging System

My tagging system isn't super strict, but I tag for:

- Character name

- Usually, highest level of expansion content or spoiler present in the post, e.g. a post that includes Estinien's STB outfit would be tagged Stormblood even if it doesn't include anything else.

- Location, if possible or applicable.

- M: [character] denotes my characters, both my main and my alts.

- SS: [character] denotes my wife's characters, both her main and her alts.

[autumnslance]

Hello! Are you looking forward to 5.3, and do you have any story predictions? :)

I am very much looking forward to 5.3! I am planning to be up bright and early in the morning (6am my time) for the Live Letter and likely a trailer. I also took Patch Day off work so I can just play and not sit and be unproductive and distracted at work all day.

As a reminder: trailers are meant to hype us up and are often cut to be misleading! Incomplete, out of context voiced lines over entirely unrelated scenes/images! Things spliced together to pique interest and fuel theories! Do not trust it!

They may use more NieR music. Or part of the boss theme for the Secret Trial. Or both.

I had a lot to say so here’s a cut!

Predictions? Hrm. At this point I’m not sure. I can think of a few different possibilities, especially with The Crystal Tower raids becoming mandatory (and honestly they should have just done that before Shadowbringers entirely). We also know Our Lady Natsuko Ishikawa is back to lead writing for this finale of the storyarc she’s guided this entire time.

-I do think the Crystal Tower on the Source will become important again, as will its slumbering keeper. There’ve been hints dropped to that regard since the end of 5.0.

-I’m not so sure the Exarch will die; there’s a lot of talk about it and people claiming “OMG death flags!!!” but that just makes me think the opposite; he might come close, but with the way the narrative has relied on second chances and hope, I don’t see it as that likely. Also Her Grace Ishikawa dislikes killing off characters if she can help it, so unless she’s under orders, I feel it’s unlikely.

There are other ways The Queen can break our hears, after all.

-I am ready for a big, teary scene where Ryne says goodbye to the Scions, especially Thancred. There are a couple possibilities for how it can go, though.

-Interrupted by an enemy/event, leaving only last soft looks and things still unsaid but the communication is finally there.

-Thancred (and/or Urianger and/or Y’shtola) end up remaining on the First after all, perhaps to give the others a chance, or to help the Exarch, or Ryne, or similar last minute emergency reasons; unintentional, but they won’t just leave their friends hanging.

-The Archons do get to leave, but it’s difficult getting them back to their bodies; this is where I think Young G’raha comes back in. His blood on the Source can be used to reverse what Exarch does on the First to get the Scions into the souljars and back into corporeal form.

-A big part of me wants Ryne to last minute suddenly have to help us get the Scions back. That’s been my theory the whole time and I won’t let go until this is resolved. Minfilia got the Heroes of the First home with her, Ryne could be able to do the same; she’s as Blessed as the WoL is, after all, and just as Rejoined.

-That last one does leave Gaia alone, though, which is rough, but also she could finish Eden on her own at this clean break point in that story. While Ryne dearly loves and wants to rebuild the First, she is the Oracle of Light--and Light’s time over that world is done. That Oracle’s powers and point of hope are no longer needed, but a personification of Darkness’ changes, well...

-Runar may have a role somehow; there’s theorizing on the focus on him last patch, and him overhearing Y’shtola talk of leaving, might leave him open to manipulation.

-Frankly all the new-minted WoLs are open to manipulation, and Elidibus turning them on the Scions somehow.

-I want Angelo to come back with Alisaie. Barring that, she immediately remakes him. I definitely want a scene or at least mention of her testing her new technique on Ga Bu, but that might take another patch or two.

(I’m pretty sure out of all of them, the twins are definitely getting home; their stories on the First have been neatly wrapped up and their role alongside the WoL keeps them pretty safe, I think)

-I want a stabilized portal with the First. I don’t want the world “cut off” so far as plot goes (open for us to return for leveling/crafting/instanced reasons, but the story there being over). It would negate in so many ways the point of saving the First to let it rot in MMO static world status, but I’m also sure that’s likely to happen. Story moves on, as do the lives there, but the game can’t depict it unless there’s a plot reason for it to update.

-We’ll start working on the still-destroyed other side of the Firmament. It’ll go much like the last patch’s progression did, as that actually worked out rather well. Maybe it’s a new form of player housing. Possibly. They’ve got to come up with something different.

-Anogg and Konog will blow things up. Machine lifeforms will attack the Goggs’ carnival. The Chief will yell and curse a lot. Nines may end up helping protect people from the machine lifeforms and then begrudgingly work with us, and 2B if we can wake her; she’s in promo art still so may get woken up during the story leading into the Bunker. I know there’s at least one other faction in NieR those figures in the art could be, and the gear they hinted will be based on said figures. We’ll learn some, but not the whole story, of what happened to 2B and why Nines was enraged while not infected (his eyes were clear). Maybe we’ll meet A2; as a boss? I doubt we’ll see Adam and/or Eve until part 3, though; they feel like end bosses, if I understand their role in story right (I’ve not played any NieR).

-People will gripe and whine there are no changes to the actual writing, dialogue, or voice acting for ARR, especially in EN, not realizing how much more work that is, not to mention probably legal issues and contractual obligations with that studio and the actors.

-I’m hoping for Class and Job quests for New Game+

(as an aside, I would love for the ARR Beast Tribes to get retooled to be a bit more like HW and later Beast Tribes, and ARR and HW DoL/DoH quests to get updated to be more StB-style; for one thing, it’s an actual test of your gathering/crafting skills, not “buy it from the MB/have a buddy make it” and for two, once contained to story items, it might make it easier to add those quests to New Game+)

-Please give us Hildibrand. Please. I’m begging, SE! Greg canonically has riftwalking powers and used them at the end of StB Hildy. Please. Give us the Inspector, he’s how the WoL destresses from what MSQ throws at them.

There’s probably more I’m forgetting, but this is more than enough for now. I’m trying not to go too hard on speculation, as whatever happens will still surprise me somehow.

I do expect tears though. Lots and lots of tears.

[southerntimeband]

People living with HIV | UNAIDS 2030 goals | Contribute NOW!

Ever since the start of the AIDS epidemic, more than 78 million people have been infected with HIV and 39 million have died from HIV. Although today, acquiring HIV, no longer means certain death, we can’t stop talking about it because of the absurd stigmas and discrimination still prevailing in our society. A person living with HIV on HIV treatment in a high-income setting has nearly the same life expectancy as a person who does not share an HIV positive status.

However, unfortunately, only two out of five people living with HIV have access to antiretroviral therapy in the world and among people who do have access, great inequities exist. People living with HIV are often left behind because of the appalling health care, employment, education, and social protection facilities given to them. This is often due to prohibitive laws, stigma, discrimination, and policies or a lack of services.

Donate for a world free from HIV!

The human body can’t get rid of HIV completely, even with the most advanced treatments. So once you have HIV, you have it for a lifetime. It is important that you start medical care and take medicine, called antiretroviral therapy (or ART) to treat HIV as soon as possible after diagnosis to live a healthy and long life.

Taking HIV medicine as prescribed diminishes the viral load in the blood which is called viral suppression and is defined as having less than 200 copies of HIV per milliliter of blood.

Because of the scientifically-verified fact of “U=U,” if a person’s HIV viral load is undetectable, the virus is untransmittable, even while having unprotected sex. People living with HIV can now have an average lifespan living ‘normal’ lives. They can also have relationships with people who do not have HIV, and can even bear children without infecting them! People living with HIV can now live full, unrestricted, and healthy lives.

On the contrary, if a person with HIV does not get medical care, HIV will attack the immune system and the person will eventually develop AIDS, which allows different types of life-threatening infections and cancers to develop that can lead to death.

HIV stigma is the negative attitudes and beliefs about people living with HIV. It is the prejudice that comes with labeling an individual as HIV positive, a group that is believed to be socially unacceptable.

HIV stigma and discrimination often affect the mental health and emotional well-being of people living with HIV and eventually, they begin to internalize the stigma they experience. The HIV internalized stigma develops feelings of shame, fear of disclosure, isolation, and despair, and these feelings often keep people from getting tested and treated for HIV, hence, leading them to death.

HIV stigma is rooted deep into the fear of HIV. Many of the HIV stigmas came from the HIV images that first appeared in the early 1980s. Still, there exist misconceptions about how HIV is transmitted and what it means to live with HIV today.

The lack of information and awareness combined with the outdated beliefs lead people to fear getting HIV and to have negative value judgments about people living with HIV.

Talk about HIV! Talking openly about HIV can help normalize the subject and also provide opportunities to correct misconceptions and help others learn more about HIV. Many organizations are working for this and one such organization is STB.

The Southern Time Band is one of the best sources of ‘21st Century Social Classical’ music flourishing in Toronto, Canada, The band aims the creation of ‘psychedelic jazzy-classical musical-theateresque art-rock,’ garnering a huge fan base all over the world.

STB wants its musicians to become storytellers, helping people understand the pain and stigma that thousands of innocent souls face every day. And eventually, their compelling stories and musical artwork will trigger a fight against poor healthcare management and absurd stigmas prevailing in our society. They seek to change our world’s disparate access to healthcare and ingrain its importance within each individual and government through our art.

Furthermore, funding received through the projects does help find solutions on how to reduce HIV and AIDS by 2030. T, the lead singer and Justin Anantawan, the backup singer are openly HIV positive and do not hesitate to talk about it to hearten empathy, compassion, and understanding for all human beings.

You can be associated with a notable humanitarian project that will improve many underprivileged and underserved lives through donations.

Certainly, we can all help end HIV stigma through our words, actions, and by leading others with your support.

Donate for the change you want to see!

[soukacatv]

DTMB (Digital Terrestrial Multimedia Broadcast) is the TV standard for mobile and fixed terminals used in the People’s Republic of China, Cuba, Hong Kong and Macau.

HDMI Encoder Modulator,16in1 Digital Headend,HD RF Modulator at Soukacatv.com

Previously known as DMB-T/H (Digital Multimedia Broadcast-Terrestrial/Handheld), the DTMB is a merger of the standards ADTB-T (developed by the Shanghai Jiao Tong University), DMB-T (developed by Tsinghua University) and TiMi (Terrestrial Interactive Multiservice Infrastructure); this last one is the standard proposed by the Academy of Broadcasting Science in 2002.

DVB-T And ISDB-T Encoder Modulator

At first, neither Shanghai Jiao Tong University nor Tsinghua had enough political strength to make their own technology become the unique standard, so the final decision was to opt for a double standard, merged with the TIMI 3 standard, responding to a need for backward compatibility.

The DTMB was created in 2004 and finally became an official DTT standard in 2006.

DTMB in China

2005 trial

18/08/2006 formal adoption as a DTT standard

2008 analogue to digital switchover

2015-2018 analog switchoff

In 2020, the terrestrial digital TV of the People’s Republic of China will be fully turned to high definition.

DTMB channel available in China

National:

CCTV-1, 2, 4, 7, 9, 10, 11, 12, 13, 14, 15, CGTN English

Provinces:

Main channel of province TV in each province

High Definition Channel:

Varies

City or Local channel:

Varies

DTMB in Hong Kong

Main article: Television in Hong Kong § Digital television

18/08/2006 formal adoption as a DTT standard

31/12/2007 analogue to digital switchover

2020 analogue switchoff

DTMB in Macau

18/08/2006 formal adoption as a DTT standard

Description

Besides the basic functions of traditional television service, the DTMB allows additional services using the new television broadcasting system. DTMB system is compatible with fixed reception (indoor and outdoor) and mobile digital terrestrial television.

Mobile reception: is compatible with digital broadcasting TV in standard definition (SD), digital audio broadcasting, multimedia broadcasting and data broadcasting service.

Fixed reception: in addition to the previous services, also supports high definition digital broadcasting (HDTV).

Modulation

The DTMB standard uses many advanced technologies to improve their performance, for example, a pseudo-random noise code (PN) as a guard interval that allows faster synchronization system and a more accurate channel estimation, Low-Density Parity Check (LDPC) for error correction, modulation Time Domain Synchronization – Orthogonal Frequency Division Multiplexing (TDS-OFDM) which allows the combination of broadcasting in SD, HD and multimedia services, etc.

This system gives flexibility to the services offered to support the combination of single-frequency networks (SFN) and multi-frequency networks (MFN). The different modes and parameters can be chosen depending on the type of service and network’s environment.

The sequence of pseudo-random pattern is defined in time domain and the information of the Discrete Fourier transform (DFT) is defined in the frequency domain. The two frames are multiplexed in the time domain, resulting in Time domain synchronization (TDS).

Functional scheme

This transmission system makes the conversion of the input signal to the output data of terrestrial TV signal.

The data passes through the encoder, the error protection process FEC (Forward Error Correction), through the constellation mapping process and then the interleaving processes the information to create the data blocks. The data block and the TPS information are multiplexed, and pass through the data processor to form the body structure. It combines information from the body and the head to form the frame and this is passed through the SRRC (Square Root Raised Cosine) filter to become a signal within an 8 MHz channel bandwidth. Finally the signal is modulated to put it in the corresponding frequency band.

Features

Bit-rate: from 4.813 Mbit/s to 32.486 Mbit/s

Combination of SD, HD, and multimedia services

Flexibility of services

Time and frequency domain of data-processing

Broadcasting of between 6 and 15 SD channels and 1 or 2 HD channels

Same quality of reception as wire broadcast

DVB-C

DVB-C stands for “Digital Video Broadcasting – Cable” and it is the DVB European consortium standard for the broadcast transmission of digital television over cable. This system transmits an MPEG-2 or MPEG-4 family digital audio/digital video stream, using a QAM modulationwith channel coding. The standard was first published by the ETSI in 1994, and subsequently became the most widely used transmission system for digital cable television in Europe, Asia and South America.It is deployed worldwide in systems ranging from the larger cable television networks (CATV) down to smaller satellite master antenna TV (SMATV) systems.

DVB-C transmitter

Scheme of a DVB-C transmission system

With reference to the figure, a short description of the single processing blocks follows.

HD Encoder To DVB-C Modulator

Source codingand MPEG-2 multiplexing (MUX): video, audio, and data streams are multiplexed into an MPEG program stream (MPEG-PS). One or more MPEG-PSs are joined together into an MPEG transport stream (MPEG-TS). This is the basic digital stream which is being transmitted and received by home set top boxes (STB) or relevant integrable decoder (e.g.Conax) module. Allowed bitrates for the transported MPEG-2 depend on a number of modulation parameters: it can range from about 6 to about 64 Mbit/s (see the bottom figure for a complete listing).

MUX adaptation and energy dispersal: the MPEG-TS is identified as a sequence of data packets, of fixed length (188 bytes). With a technique called energy dispersal, the byte sequence is decorrelated.

External encoder: a first level of protection is applied to the transmitted data, using a nonbinary block code, a Reed-SolomonRS (204, 188) code, allowing the correction of up to a maximum of 8 wrong bytes for each 188-byte packet.

External interleaver: convolutional interleaving is used to rearrange the transmitted data sequence, such way it becomes more rugged to long sequences of errors.

Byte/m-tuple conversion: data bytes are encoded into bit m-tuples (m= 4, 5, 6, 7, or 8).

Differential coding: In order to get a rotation-invariant constellation, this unit shall apply a differential encoding of the two Most Significant Bits (MSBs) of each symbol.

QAM Mapper: the bit sequence is mapped into a base-band digital sequence of complex symbols. There are 5 allowed modulationmodes: 16-QAM, 32-QAM, 64-QAM, 128-QAM, 256-QAM.

Base-band shaping: the QAM signal is filtered with a raised-cosine shaped filter, in order to remove mutual signal interference at the receiving side.

DAC and front-end: the digital signal is transformed into an analog signal, with a digital-to-analog converter(DAC), and then modulated to radio frequency by the RF front-end.

Available bitrates for a DVB-C system (Mbit/s) Modulation Bandwidth (MHz) 2 4 6 8 10 16-QAM 6.41 12.82 19.23 25.64 32.05 32-QAM 8.01 16.03 24.04 32.05 40.07 64-QAM 9.62 19.23 28.85 38.47 48.08 128-QAM 11.22 22.44 33.66 44.88 56.10 256-QAM 12.82 25.64 38.47 51.29 64.11

DVB-C receiver

The receiving STB adopts techniques which are dual to those ones used in the transmission.

Front-end and ADC: the analog RF signal is converted to base-band and transformed into a digital signal, using an analog-to-digital converter(ADC).

QAM Demodulation

Equalization

Differential decoding

Outer interleaving

Outer decoding

MUX adaptation

MPEG-2 demultiplexing and source decoding

Programmable Transport Stream

DVB-C2

On February 18, 2008 it was announced that a new standard – DVB-C2 – would be developed during 2008, and a “Call for Technologies” was issued. Proposals including simulation programs and information on patent rights could be submitted until June 16, 2008.

“The results of the DVB-C2 Study Mission already provided clear indications that technologies are available allowing the performance of the second generation DVB cable transmission system to get so close to the theoretical Shannon Limit that any further improvements in the future would most likely not be able to justify the introduction of a disruptive third generation of cable transmission system.” (DVB-C2 CfT)

By using state of the art coding and modulation techniques, DVB-C2 should offer greater than 30% higher spectrum efficiency under the same conditions, and the gains in downstream channel capacity will be greater than 60% for optimized HFC networks.

The final DVB-C2 specification was approved by the DVB Steering Board in April 2009.

DVB-C2 allows bitrates up to 83.1 Mbit/s on an 8 MHz channel bandwidth when using 4096-QAM modulation; future extensions will allow up to 97 Mbit/s and 110.8 Mbit/s per channel using 16384-QAM and 65536-AQAM modulation.

Modes and features of DVB-C2 in comparison to DVB-C:

  DVB-C DVB-C2 Input Interface Single Transport Stream (TS) Multiple Transport Stream and Generic Stream Encapsulation (GSE) Modes Constant Coding & Modulation Variable Coding & Modulation and Adaptive Coding & Modulation FEC Reed Solomon (RS) LDPC + BCH 1/2, 2/3, 3/4, 3/5, 4/5, 5/6, 6/7, 7/8, 8/9, 9/10 Modulation Single Carrier QAM absolute OFDM Modulation Schemes 16- to 256-QAM 16- to 4096-QAM Guard Interval Not Applicable 1/64 or 1/128 Inverse Fast Fourier transform (IFFT) size Not Applicable 4k Interleaving Bit-Interleaving Bit- Time- and Frequency-Interleaving Pilots Not Applicable Scattered and Continual Pilots

Dingshengwei Electronics Co., Ltd

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As one of the most reliable suppliers in this field, we continually spare no efforts in developing DSW into a world recognized brand with trustworthy and solid reputation. DSW sincerely invites you to enjoy the fascinating experience of modern technology and excellent customer service provided for you by our professional staff.

Our main products are modulators both in analog and digital ones, amplifier and combiner. We are the very first one in manufacturing the headend system in China. Our 16 in 1 and 24 in 1 now are the most popular products all over the world.

In 2016,we launched the digital 16 in 1 headend with 1080P output,which supports all digital TV standards in the world. And we never stop our steps,more products will be released in the coming days. We are young but we have faith to find our path to the peak.

For more, please access to https://www.soukacatv.com.

CONTACT US

Dingshengwei Electronics Co., Ltd

Company Address: Buliding A,the first industry park of Guanlong,Xili Town,Nanshan,Shenzhen,Guangdong,China

Tel : +86 0755 26909863

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Email:ken@soukacatv.com

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Website: https://www.soukacatv.com

Source: wikipedia

DTMB(Digital Terrestrial Multimedia Broadcast) & DVB-C(Digital Video Broadcasting – Cable) Difference | Soukacatv.com DTMB (Digital Terrestrial Multimedia Broadcast) is the TV standard for mobile and fixed terminals used in the People's Republic of China, Cuba, Hong Kong and Macau. 1,798 more words

[southeastasianists]

Singapore has long tried to combat its reputation as a cultural desert. An influx of state funding in the past two decades has almost singlehandedly cultivated an art scene from the top down, as the city-state has tried to locate itself as a premier destination for art in Southeast Asia and beyond. But in a bombshell interview with the South China Morning Post in January this year, Lorenzo Rudolf, the founder and president of Art Stage Singapore – long hailed as the flagship Southeast Asian contemporary arts fair – delivered a shockingly sobering assessment of the arts scene in the city-state.

“Strong economic growth has led to many new galleries and private museums opening in the Philippines, Indonesia and Thailand. Everywhere, everywhere, the art scene booms. The only place we have stagnation is Singapore,” he told the Hong Kong-based newspaper. “If the market doesn’t grow, then I will have to reflect on what I do. I sure won’t be sitting here until the end.”

And Rudolf echoed those sentiments to Southeast Asia Globe last month.

“Everybody truly thought that Singapore [could] become the centre of this entire region,” he said. “Singapore mainly concentrated on its own art scene, while in the countries around Singapore, art scenes massively grew due to economic growth and, often consequently, social liberalisation. The private sectors and collectors began to take over responsibilities to support and develop the growth of the scenes… As a result, we have this situation today that there is a danger of these art scenes around Singapore becoming more attractive internationally… We see now that it is harder to build up culture than infrastructure.”

Art Stage Singapore brings together industry leaders along with top international talent and galleries in a bid to place the regional art scene on a global stage. Launched in 2011, it became Asia’s answer to Art Basel, also founded by Rudolf and considered by some to be the premier art fair series in the world. In 2013, leveraging the event’s success, state agencies the Singapore Tourism Board (STB) and the Economic Development Board (EDB) built Singapore Art Week around Art Stage, with the latter seen as a centrepiece for the city-state’s art scene.

But with the number of exhibitors at the fair having halved since 2016 – 84 took part this year, compared to 131 in 2017 and 170 in 2016 – coupled with Rudolf’s downbeat outlook, the city-state’s position as a regional arts hub is on rocky ground. Beyond Art Stage, the Singapore Contemporary Art Show was discontinued this year after only two editions, and the Affordable Art Fair was scaled back from two shows per year to only one.

Since the turn of the century, Singapore has tried to position itself as a top cultural destination in Southeast Asia. The Renaissance City Plan of 2000 laid out a long-term scheme for massive development of the arts, with the state pouring millions into public art museums, non-profit art spaces, residency programmes and research centres to try to shape a market in which there is little private investment and where arts appreciation is known to be relatively low. According to the National Arts Council (NAC), the state’s investment was $412.8m in 2016, which equals about 85% of all investment in the arts that year.

Rudolf said that despite Art Stage’s potential back in 2011, the scene’s government-led development has meant that it has grown differently to its neighbours, which poses unique challenges.

“Singapore’s art scene is not organic,” he said. “A successfully sustainable, functioning art scene can only grow from the bottom up. Never in history have you seen an art scene which has been built from the top down functioning.”

Mark Saunderson, co-founder and director of the Singapore Contemporary Art Show, a branch of the Asia Contemporary Art Show based in Hong Kong, agreed. “The National Arts Council cultivates artists in Singapore. But when you look at the depth of art history, skill, craft, technical aspects of art, there’s huge depth in Indonesia, Thailand, Cambodia even,” he said. “I think the challenge with the arts in Singapore [is that] this is a process, and you have to involve people in art who are obviously interested, but engage with them and develop that interest over time.”

The city-state’s relative lack of art history is one of the gaps that were intended to be plugged with the opening of the National Gallery Singapore in 2015. A sprawling, $370m state-funded project, the gallery houses the world’s largest collection of modern art from Southeast Asia, and it was hoped it would cement Singapore’s place as an arts hub thanks to its regional focus. “This is the first time this is happening anywhere in the region: a Southeast Asian collection to tell the regional story of art,” said gallery director Eugene Tan.

“This understanding of art history, which was previously absent, is something we are beginning to introduce to the public.”

Saunderson linked the closing of the Singapore Contemporary Art Show and some of Art Stage’s problems to a downturn in the economy, and while he disagreed with Rudolf’s assessment that the art scene was stagnating, he said that the key to a successful art scene in the city-state was to understand the uniqueness of Singapore’s young art market and the nascent tastes of its audience – and to let it evolve naturally over time.

“When you’re an art fair organiser, as we are in Hong Kong, we are very, very conscious in terms of where we select our artwork – [it should] appeal to the maturity, the taste, the diversity [of the audience],” said Saunderson. “The key to nurturing, developing and growing the market is to take stock of where the market is at… It’s a hard thing to do, as Singapore has discovered. It’s a hard thing to jumpstart top down.”

With growing competition from emerging regional markets and events such as Art Fair Philippines and the recently established Art Stage Jakarta, not to mention the powerhouse that is Hong Kong – the largest art market in Asia – some fear that Singapore is becoming increasingly irrelevant on a global stage and that attracting non-local artists and galleries into its borders has become more of a challenge. The sky-high costs of renting studio and gallery space mean that setting up in cheaper alternatives in other countries can be more appealing.

Also, according to Singaporean filmmaker and visual artist Sherman Ong, the Singaporean focus on economics has helped keep art appreciation in its infancy. A 2016 statistic from the NAC showed that only four in ten Singaporeans would say they are interested in the arts. “Singapore has always been a very pragmatic place – it’s a very commercial city,” said Ong. “The population still does not see how arts benefit them materially. Of course, the government is working very hard to change that, and you can see these changes, but it still needs time.”

Ong sees a contradiction between the government’s agenda and the needs of local artists, which can result in a restrictive space for meaningful artistic creation. “What is needed for the arts is different from what the government wants. The government wants to create Singapore as an international hub for Southeast Asian art,” he said. “Sometimes art also has to have its own standing… Because once it’s tied to a certain source of funding then events have to, in a way, support the larger objectives of nation building.”

This is intimately linked to what Ong considers the imperative of combatting a “bland” art scene that comes out of a setting where artists may – at least subconsciously – stay away from controversial or political subjects. “I think that’s kind of a survival mechanism, because the funding always comes from the centre,” he said. “It’s not to say that artists need to do work that criticises the centre – it’s actually to create an environment where the artist is free to think and go beyond… to create work that is not so restricted.”

Jasdeep Sandhu, gallery director of Singapore’s Gajah Gallery, which has exhibited at all eight editions of Art Stage, disagrees with the notion that artistic censorship is still an issue in Singapore. “That’s actually rubbish,” he said. “I had my gallery for about 15 years at the ministry building and I had full homosexual scenes displayed on my walls. For months. And I’m 30 metres from a minister’s chair. No one once told me to take it down. They don’t want to know. This whole censorship thing is ridiculous… It’s a headache for them to fill out all these papers and answer to media and to grumbling artists.”

Despite feeling the strain of low sales, Sandhu is hopeful about Art Stage Singapore’s future and thinks that the shrinking number of exhibitors was inevitable because enormously high costs for galleries mean that the city-state was never going to be able to continue to support a fair of that size. “They’re a bit too premature for their time… At the end of Art Stage 2018 I was actually very optimistic, and I hope that they [learn from] having an 80- to 100-gallery art fair,” he said. “If they’ve spent a few years building it up it’ll be a shame to give away the initiative.”

Sandhu also feels that, despite a growing number of complaints, the city-state’s art scene has come a long way. “I think the government is doing a fantastic job… No country around Southeast Asia has put that much effort into creating museums,” he said. “If you look at 20 years ago, a Singaporean artist would be hard pressed to sell at $2,000. And you have young guys at 30 years old selling at $30,000 right now. That’s a lot. That’s what I call real progress.”

Beyond Singaporean borders, Vietnamese-American artist Richard Streitmatter-Tran, who is based in Ho Chi Minh City, feels that as an artist he has only benefited from Singapore’s plan to position itself as a hub for Southeast Asian culture. “Coming from someone who is not Singaporean, much of my early career was supported by Singapore. And it still continues to be,” he said. “I’m glad to be involved in a lot of the initiatives that Singapore has because I find them interesting. Do I find Singapore itself exciting? I don’t know… I don’t know what it can do to combat its image of being the most boring country in the world.”

It appears that the futures of Art Stage Singapore and of the city-state itself as an arts hub are intrinsically linked. While the winding down of the country’s showcase arts event would be a hammer blow, it seems unlikely that it would sound the death knell for the arts scene in general given the level of investment ploughed into the project thus far. What is more certain, though, is that there is no easy path ahead for Singapore.

“Everybody is actually catching up. So eventually I think we will have to come to another equilibrium. I think it’s now a transition. [It] is not clear how Singapore can navigate the situation,” said Ong.

And while Rudolf was bullish over this year’s Art Stage Singapore, describing it as “surely still the biggest and most important art fair in Southeast Asia”, he is in agreement that the city-state’s neighbours are finding their place on the regional stage.

“The only way for Singapore to be successful in the future is to make all efforts to collaborate among all local players and to seriously focus on the cultural aspects of art,” he said. “Art is not a merchandise.”

[evoldir]

Fwd: Graduate position: UReading.PlantDiseaseEpidemiologyEvolution

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Graduate position: UReading.PlantDiseaseEpidemiologyEvolution > Date: 25 December 2020 at 06:13:58 GMT > To: rdmpage@gmail.com > > > Smart control of crop diseases: how can we best combine fungicides and > plant resistance genes? > > > PhD studentship, University of Reading, UK, open to UK, EU, and > international students. Submission opens 13 January 2021; deadline 8 > February 2021. > > > About the project: > > This multidisciplinary PhD project will investigate the epidemiology > and evolutionary adaptation of the major fungal pathogen of wheat > Zymoseptoria tritici (Zt) to control measures -- fungicides and disease > resistance genes, thereby using evolutionary biology to tackle one of > the most urgent problems in agriculture. The methodology combines > mathematical modelling, machine learning and field experimentation. > > Zt causes septoria tritici blotch (STB), the most damaging disease of > wheat in Europe and one of the largest constraints on wheat production > globally. The disease is especially serious in the UK because of > conducive climatic conditions. It is becoming increasingly difficult to > control STB, because Zt is capable of rapidly evolving resistance to > fungicides and adapting to disease-resistant wheat varieties and > environmental conditions. It is recognized that no single control > measure is durable in the face of the pathogen's notorious adaptive > capacity, hence the two key control methods – fungicides and disease > resistance genes in wheat – need to be combined in a manner that > optimizes not only control efficacy in the short term, but also their > sustainability in the longer term. This interdisciplinary project will > make a major contribution to this goal using a powerful combination of > large-scale field experimentation with novel high-throughput phenotyping > techniques, bioinformatic analyses, state-of-the-art machine learning > and mathematical modelling approaches. > > In the first phase, a field experiment will be conducted during two > consecutive years to investigate the STB epidemic development in a large > number of different wheat genotypes. The amount of disease will be > measured using both the conventional visual assessments and novel > digital phenotyping approaches, and the daily weather data will be > recorded. The data on epidemic development will be linked to genomic > data already available for the wheat population under study, and in this > way you are likely to identify new genetic bases of STB resistance in > wheat. In the second phase, powerful machine learning techniques will be > used to combine the three types of data (disease measurements, weather > data and wheat genomic data) and construct a model predicting the > seasonal STB epidemic development. Finally, in the third phase of the > project, the outcomes of the two previous phases will be incorporated > into a mathematical modelling framework (epidemiological/evolutionary > model) that describes how the pathogen population changes over time in > its interaction with the host population of wheat plants. The model will > incorporate the effect of two control measures: fungicides and STB > resistance genes in wheat. This will allow you to optimize choices of > fungicide treatment programmes and disease-resistant wheat cultivars > that maximize net benefit of growers over a short term of a single > growing season. You will then be able to compare the outcomes with the > predicted net benefit over a longer term of a number of consecutive > growing seasons, taking into account disease levels, weather variables > and wheat genomes. > > Training opportunities: > > The student will acquire inter-disciplinary skills in designing and > conducting large-scale field experiments with crop pathogens, acquiring > large datasets with the help of novel digital phenotyping approaches, > use machine learning and mathematical modelling to extract knowledge > from data. The student will receive extensive training by the > supervisory team in computer programming to handle large and complex > data sets and conduct mathematical and computational modelling using > Linux, Python and R. The student will have access to advanced > computational infrastructures, such as the high- performance computing > clusters available at Aberystwyth University, and via Supercomputing > Wales, and receive appropriate training in their usage. The student will > be embedded within the extensive international collaborative network of > the supervisory team that includes plant pathologists, genomics experts, > modellers and practice-oriented researchers, enabling the student to > make use of these diverse sets of expertise. A three-month placement > with Syngenta will provide the student with the industry’s perspective > on the project’s outcomes, expanding the range of possible employment > options after the completion of the project. The unique combination of > empirical, mathematical and computational skills as well as a valuable > professional network developed in the course of the project will > increase the student’s chances to find a high-profile job in academia, > governmental agencies or industry. > > Student profile: > > The project would suit an ambitious student interested in combining > experimentation in the field with mathematical and computational > modelling of agri-food biosystems. The ideal candidate would have: > ---An undergraduate or a Master’s degree in a either a quantitative > discipline (such as physics, mathematics or computer science), biology > or agricultural/environmental sciences > ---Strong interest in biology applied to agriculture > ---Strong interest in mathematical/computational modelling of biological > processes > ---Desire to link the models with real-world field experiments and spend > equal proportions of time doing experimental research and > modelling/computational research > ---The ability and motivation to quickly learn new skills > ---Programming skills > Please note that experience in mathematical modelling or bioinformatics > are important, but not essential, as extensive training will be offered > in both. We encourage applications from diverse backgrounds. > > Funding particulars: > > The project is a CASE studentship partly funded by Syngenta Crop > Protection (Switzerland). This will provide the student with the > opportunity of a three-month placement with Syngenta towards the end of > the project. > > Lead supervisor: > > Dr. Alexey Mikaberidze, University of Reading; School of Agriculture, > Policy and Development; Crop Science Department > > Email: a.mikaberidze@reading.ac.uk > > Co-supervisors: > > Dr. Martin Swain; Aberystwyth University, Institute of Biological, > Environmental & Rural Sciences (IBERS); > > Dr. Lindsay Todman; University of Reading; School of Agriculture, Policy > and Development; Centre for Agri-Environmental Research; > > Dr. Ricardo Kanitz; Syngenta (Switzerland); Crop Protection Research & > Development, Global Product Biology. > > More information and how to apply: > https://ift.tt/3nOlTlF > > Enquiries: a.mikaberidze@reading.ac.uk > via IFTTT

[stb-bases]

Base requested by @cloudysketchmod ^^

[DON'T CLAIM THE BASE AS YOUR OWN/ DON'T REPOST]

Message me if tumbrl doesn't let you download with full quality and I'll send it to you in private. Also would be nice to see what you can come up with this so if you use it please tag me. OvO

[webomates]

OTT Testing: A Holistic Testing approach for Streaming Quality Content

The changing trends of the media landscape

Did you know that half a second delay can cause you a 20% drop in traffic? That’s what Google found out about the importance of speed, the user experience, and user satisfaction. This is the New Media Age. A world without Netflix is similar to a world without electricity — The stone age in a digital world. Traditional media is transforming and we are stepping into a world of OTT.

What is Media Testing and why is it so Important

An over-the-top OTT media testing service is a streaming media service offered directly to digital viewers via the internet bypassing traditional platforms of cable, broadcast, and satellite television.

Users want access to high-quality streaming at any device, any place, any time, and any location. Your service/product is judged by the user. OTT takes the user-centric approach by ensuring a seamless viewing experience through multi-device, multi-browser capability leading to an awesome user experience.

According to a report by Allied Market Research, the global OTT market size was valued at $121.61 billion in 2019 and is projected to reach $1,039.03 billion by 2027, growing at a CAGR of 29.4% from 2020 to 2027

Challenges of Media Testing

In today’s digitized world, there is content on streaming devices. One major challenge of testing the streaming applications is creating an automated and scalable testing platform that includes a holistic approach due to the multiple stakeholders that are involved: broadcasters, content providers, and service providers.

Based on the preference, the user can view and also download the content that includes movies and TV services, and is delivered directly over the internet to connected devices such as PCs, tablets, smartphones, and consoles. These multimedia devices contain several technologies like audio, video, and wireless protocols. Various factors like Streaming statistics, buffering, latency, Network, etc. also need to be considered to create a flawless streaming experience.

Netflix, Youtube, Amazon, etc provide seamless streaming of many web series, movies, etc. However, it is dependent on factors like:

Where the content is running (region)

What STB (Set-Top Box) setup is available

If the STB is of good quality, then whether it supports the right streaming settings (Video and Audio) that it can stream quality media i.e. (all quality video with proper Audio). In case the streaming settings are not good, there will be Audio and Video Packet loss, giving a bad experience to a user who is using the application.

TV devices that include but are not limited to Roku, FireTV stick, Xbox, Android, and Apple TV create additional testing complexity like:

Cross-platform, cross-browser Compatibility issues: Different platforms and browsers can bring in different design issues. You need to ensure flawless content steaming across all platforms and browsers.

Resolution issues: Users can use the streaming platform from any kind of device. TV has a particular resolution and freezes while Smart TVs do not support pixel CSS. Hence, you need to ensure there are no resolution issues.

Network Issues involving freezing app issues, etc.

Some platforms like Roku do not provide emulators and some existing emulators of platforms do not support testing of all necessary functionalities such as video streaming or network checking

A Holistic Approach to Media Testing

With such a steep increase in the production and consumption of streaming content, various issues walk hand-in-hand while working on an OTT platform.

Hence, it is of utmost importance to have an effective QA testing strategy for your OTT platform that covers various scenarios and major functionalities across the network, infrastructure, and application components including:

Application basic functionality working like launching, search, menu options, links verification, recommendations, etc.

Playback scenarios like Play, Pause, Forward, etc.

Audio, Video performance metrics scenarios like lip sync, Buffering, Latency, Resolution (high definition, Standard definition, low, etc.) for different categories like Audio, Video, News, Gaming, Lifestyle applications.

Media Testing KPIs/Real video performance metrics

With radical shifts in the media and communications industry and this being a highly-fragmented market, organizations need to focus on the three important indicators that elevate customer experience to another level.

Webomates cloud-based Testing Strategy: Putting your OTT platform to the Test

Webomates cloud-based QA strategy ensures test coverage for the entire OTT pipeline. The state-of-the-art Media Testing services span Audio Testing, Video Testing, Over the Top (OTT), and STB testing.

Apart from the conventional feature/functional testing for OTT services, these 7 focus areas are considered while devising a comprehensive OTT Testing strategy. Each area enhances user experience with our intelligent automation and Next-Gen Media testing solutions.

What do we Test?

Graphics, UI, and UX testing — Is the User Interface simple and consistent across devices?

Usability Testing — Is the app experience flawless from the end-user perspective

Stream Testing — Is the content that is being delivered robust enough?

Interoperability — Is the content multi-browser, multi Platform, and multi-device compatible?

Security — Is the content secure to stream on different devices with security and DRM flags enabled?

Network — How does the service behave in low bandwidth, high bandwidth, network latency conditions?

Load and Performance Testing — How does your OTT network server react when it takes the load of millions of stream requests from around the globe?

Key advantages

Conclusion

With upcoming technological advancements in achieving higher bandwidth networks like 4G and 5G, one can only expect the OTT Video streaming world to explode with on-demand video consumption.

Howard Homonoff said in Forbes: “To succeed in this brave new video world, you need an alchemy of attractive content, an appealing user experience, the opportunity for personalization, and integration of data and technology, and some early credibility in the existing business ecosystem.”

Considering these challenges and user expectations, Webomates provides an end-to-end streaming platform to test all your streaming needs. When defects are identified at an earlier stage, there is reduced development and issue resolution overhead resulting in faster time-to-market and quality content delivery.

We believe in delivering the streaming products with care and in being a trusted partner in transforming the digital experience and giving users a great escapade experience.

#apitestingservices | #apiloadtesting | #apiautomationtestingservices #OTTPlatformTesting #apitestingserviceprovidercompanyapiautomation

[astro-onechampionship]

Refinery Media Founder Karen Seah On Reimagining ‘The Apprentice’ During a Global Pandemic

The upcoming reality series “The Apprentice: ONE Championship Edition” is all but ready to hit TV screens this March.

The ONE Championship version based on the popular non-scripted television franchise is a complete departure from the classic American version, and offers viewers an entirely new experience, according to Refinery Media founder, Karen Seah.

The show’s participants are hand-picked from around the world to compete in a series of business and physical challenges. The last man or woman standing gets a US $250,000 job offer to work directly for ONE Chairman and CEO Chatri Sityodtong.

Sityodtong has an estimated net worth of US$350 million and will be the star of the upcoming edition of “The Apprentice.” 16 candidates will be vying to be the protege of one of Asia's leading entrepreneurs.

Filmed entirely in Singapore, during the COVID-19 pandemic no less, “The Apprentice: ONE Championship Edition” is a production marvel.

“It was very tough, of course, and a high responsibility on our shoulders to ensure we did it right. The production was the largest in the region at the time, and we had to ensure we set a standard for safety,” said Seah.

“If we couldn’t get it right, then it wouldn’t look too good for the rest of the media industry. Naturally, there were a lot of restrictions, which made things doubly difficult and longer to execute. But we are very proud of what we have accomplished, and we did it very well. This gives me a lot of optimism for future productions in Singapore.”

ONE Championship and Refinery Media worked extensively with the Singapore government, particularly the Singapore Tourism Board (STB), in putting together a series of health and medical protocols to keep the cast, crew, and guests all relatively safe from exposure to COVID-19 as they filmed across iconic locations around the country.

Guests on the show include high-profile CEOs such as Zoom’s Eric Yuan, Grab’s Anthony Tan, and Catcha Group’s Patrick Grove, among others, as well as martial arts legends such as Georges St-Pierre and Renzo Gracie.

According to Seah, the logistics involved in having to bring all these high-profile figures from all around the world to Singapore, in addition to the show’s 16 candidates who represent 11 nations, was incredibly complex but effective.

“All of us had to wear masks and other PPE, especially the camera and sound team under extremely hot temperatures, and sometimes running with the contestants. Rules like this applied to us, but not to a regular person who went for a jog or did some exercise. It seemed extremely difficult, but we needed to put aside our discomfort to ensure the show was produced,” said Seah.

“Despite the adversities, there were always spots of opportunity for those who could see the potential in what we were doing, and were willing to take the risks and make sacrifices. I didn’t care how difficult and daunting the entire production looked like it was going to be, I just wanted to make sure that we were going to surpass all expectations creatively and visually.”

Tremendous hype has surrounded “The Apprentice: ONE Championship Edition” since it was announced in early 2020. When Seah’s team at Refinery Media worked with ONE to storyboard the initial concept of the show, she knew almost immediately she had a potential hit in her hands.

The martial arts promotion is touting this version of the show as the toughest “Apprentice” in history, and Seah is confident ONE and Refinery Media have put together a compelling product that will entertain a wide audience.

“The ONE Championship DNA of sports already gave us an incredible angle to push out an entirely different format than the ‘old’ Apprentice we know of. Combined with Chatri [Sityodtong] being a natural television host and anchor on the show, I knew I could really push the boundaries and do something really exciting and different. I was very confident it was going to be a winning formula,” said Seah.

“I don’t even think anyone will recognize it. It’s vastly different from the original in every sense.”

“The Apprentice” is one of the biggest non-scripted reality television programs in history, judging the business skills of candidates who are competing for a job offer under a high-profile CEO. It has aired in more than 120 countries.

The first season of “The Apprentice: ONE Championship Edition” consists of 13 episodes. It’s scheduled to premiere across Asia on Thursday, 18 March, on AXN, the show’s official Asian broadcast partner, followed by a global launch in June across broadcast and streaming platforms.

Seah invites fans of both “The Apprentice” and ONE Championship to tune in to the show once it finally airs next month.

“I think they will appreciate how global, modern, and edgy the show is, and how the characters are incredibly strong, from various backgrounds, and are exciting to watch. They would also be awed by the quality of filming,” said Seah.

“I think that the show will keep everyone sitting on the edge of their seats with the dramatic twists and turns, and at times, they will be wondering if they are indeed watching a reality series, or a drama series.”

Refinery Media is ONE Championship’s official production partner for “The Apprentice: ONE Championship Edition.” The company has vast experience in delivering audiences top quality reality and non-scripted programming, including Amazing Race Asia, Asia’s Next Top Model, SupermodelMe, Cesar’s Recruit Asia, and many other shows.

Seah believes producing “The Apprentice: ONE Championship Edition” in Singapore has had a positive impact on the country's economy, creating a bevvy of jobs for locals, especially in the freelance ecosphere.

“I believe this is just the beginning. ‘The Apprentice: ONE Championship Edition’ has proven that it’s possible to put on a production of this caliber even in times of a global pandemic. Producers should consider taking advantage of how well Singapore has managed the COVID-19 situation,” said Seah.

“There will be more demand for content and they should pivot and find ways to produce good quality content. There is also more demand for Asian faces on the global screens as well. More producers should be creating for global audiences. I’m proud to say that this project has created many jobs for Singapore freelancers.”

Up next, catch all the action from the previously recorded ONE: FISTS OF FURY II next Friday, 5 March, by downloading the ONE Super App.

Read More From ONE Championship:

Rodtang Nabs Split Decision Over Khalilov In OSS Kickboxing Debut

Akimoto Beats Zhang Decisively In Rematch Of Kickboxing Contenders

Buntan Stops Wondergirl’s Surge In Dominant Debut

[elxiregroup]

Best Internet Service Provider in India

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·         24x7 Customer Care

VISION

our vision is to improve the quality of internet service by enabling the customers to enjoy more. This vision gives us the purpose to develop innovative products & solutions that would help customers with enhanced user experience. We have tailored our offerings for More Speed, More Entertainment, More Productivity, More Time, More Fun, More Flexibility, More Devices, and Overall More value.

 Mission

Our mission is to raise the benchmarks of customer experience for all times to come. ELXIRE will endeavour to deliver enhanced customer experience through innovation, by use of cutting edge technology and by extensive knowledge dissemination to members of its customer support teams.

 FIBER BROADBAND

ELXIRE is a leading ISP offering ultra-high speed Fiber Internet Service Provide over Fiber to the Home (FTTH) network. Evolving from the efforts and support put in by highly experienced staff, we endeavour to deliver enhanced customer experience through the most advanced broadband technology.

ELXIRE offers you ‘High Speed’, i.e., Fast Download and Upload speed. The term ‘High Speed’ means that, for maximum performance, you can always Surfing Internet at the speed which you choose from our internet tariff plans. Just what you need for Uploading videos and sharing photos.

ELXIRE gives just more than a speed!

Allowing speeds up to 500 Mbps, ELXIRE internet service provides for home helps you download unlimited data with free uploads. With equal upload and download speeds, ELXIRE gives you an unparalleled internet experience.

 WIRELESS BROADBAND

Deployment of an outdoor wireless network requires an even greater specialized skill set due to the unique volatile nature of the outdoor environment. With years of experience in deploying outdoor wireless networks, uniquely makes us one of those capable of a successful deployment with 99.99% availability.

ELXIRE primarily focuses on providing wireless broadband to areas of the city that are currently under served by traditional telecom and cable companies. The company's current network footprint covers in Faridabad region, as well as small to mid-size businesses. We are always driving towards a better and more exciting future for our clients. We have pioneered the art of providing affordable broadband service in market.

We Offers High Speed, Low Cost and High Quality Wireless Internet Services provider. The Service Is Always ON, There Is No Dial Ups, No Extra Phone Lines, No Busy Signals, No Disconnection. Just Switch ON Your PC And Start Surfing. You Are Always Connected To Internet. As Our Services Are Based On WiFi And Wimax Technology, So There Is No Fiber Cut And Link Down Problem.

 CABLE TV

Over 300 channels with an offering of Sports, Infotainment, News, Music, Movies, General Entertainment and Kids Entertainment channels and much more.

Our Digital Cable TV services offers you advanced HD Set Top Box for your Cable TV where you will experience High Definition picture quality. You can select from a range of packages, pick and pay service for different channel packages is available to suit your viewing requirements. We delivering our customers best high definition channels including the most popular channels in Hindi & English GEC, Hindi & English Movies, Sports, Information, Lifestyle, News, Food, Music.

 Our network sets a new standard in HD video and Digital audio delivery to the home. See digital crispness. You can now enjoy more than 300 channels across genres  with amazing picture and audio quality and seamless connectivity. Hear digital clarity. Whether you connect your Digital Cable through a home theater system, or simply through an ordinary television, you'll appreciate the difference digital quality makes. All you need to do is install SSBCN digital Set-Top-Box (STB) on your TV and go digital now. Pay less and enjoy entertainment like never before!

[sarathebunny]

•Rules: Tell 30 things about yourself and tag 20 ppl.

Tagged by @stella-the-kawaii-girl

• 1. Nicknames: Sarppa, Sarpander, salad,... (...other horrifying names by my family and lil sis :ddd)

• 2.Gender: female

• 3.Star sign: Scorpio :D

• 4.Height: Atm 169cm (I'm probably gonna stop growing at 170- :/)

• 5.Time: UTC+02:00 :/?

• 6.Birthday: 24.10.

• 7.Favourite bands: I listen everything randomly :ddd

• 8.Favourite solo artist: idk- :/

• 9.Song stuck in the head: Tangled up Lokee remix

• 10.Last movie I watched: Pup Star :3

• 11.Last show I watched: I don't watch any shows- ;v;

• 12.When did I create my blog: Year ago in October :D

• 13.What do I post/reblog: Art, memes, rps-...

• 14.Last thing I googled: kääntäjä- xd

• 15.Other blog(s): @stb-bases and @sarathebunny-rp :3

• 16.Do I get asks: From time to time :D

• 17.Why I chose my url: B'cuz why not- :ddd

• 18.Following: 140-190 (can't remember xd)

• 19. Followers: 217 (love u all💕)

• 20.Average hours of sleep: 6-8 hours.

• 21.Lucky number: 36

• 22.Instrument: Well we have guitar, ukuleles, piano, flutes- But I play nothing anyway :ddd

• 23.What I'm wearing: clothes- (too lazy to go to details :ddd)

• 24.Dream job: I'm not quite sure. ;v;

• 25.Dream trip: Idk- :/

• 26.Favorite food: Spinach soup :3

• 27.Nationality: Finnish :D

• 28. Favorite song right now: I'm not sure-

• 29.Last book I read: Can't remember. (·-·)

• 30.Top three fictional universes: There's too many I can't pick just three- ;A;

I tag, ummm- @silversans098 @mystiquewisdom @saferoom45 @finnisbae22 (of course you guys don't have to if you don't want to or have already done this ;v;) That's all that comes to my mind atm :ddd.