Wednesday, May 21, 2008

Need Program Money????

We create banquet videos for a variety of athletic teams at our school. We also do some from outside of the school. For a 15-20 minute video we charge a flat fee of $200. Then we sell the DVDs individually for $5.00. The $200 includes a couple of DVDs for the coaches.

I've added two examples on this site linked from Google Video. I

Check out these two videos. Remember. That these uploads are not the quality of the original.

KMHS Baseball 2007

Kennesaw 14U Rebels

Or look below. I've embedded them on this blog.

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TIME

From an Unknown Author

Imagine...

There is a bank that credits your account each morning with $86,400.

It carries over no balance from day to day. Every evening deletes whatever part of the balance you failed to use during the day. What would you do? Draw out ALL OF IT, of course!

Each of us has such a bank. Its name is TIME.

Every morning, it credits you with 86,400 seconds. Every night it writes off, as lost, whatever of this you have failed to invest to good purpose. It carries over no balance. It allows no overdraft.

Each day it opens a new account for you. Each night it burns the remains of the day. If you fail to use the day's deposits, the loss is yours. There is no going back. There is no drawing against the "tomorrow."

You must live in the present on today's deposits. Invest it so as to get from it the utmost in health, happiness, and success! The clock is running. Make the most of today.

To realize the value of ONE YEAR, ask a student who failed a grade.

To realize the value of ONE MONTH, ask a mother who gave birth to a premature baby.

To realize the value of ONE WEEK, ask the editor of a weekly newspaper.

To realize the value of ONE HOUR, ask the lovers who are waiting to meet.

To realize the value of ONE MINUTE, ask a person who missed the train.

To realize the value of ONE SECOND, ask a person who just avoided an accident.

To realize the value of ONE-TENTH OF A SECOND, ask the person who won a silver medal in the Olympics.

Treasure every moment that you have! And treasure it more because you shared it with someone special to spend your time. And remember that time waits for no one.

Yesterday is history.

Tomorrow is a mystery.

Today is a gift. That's why it's called the present!

Careers

Work in television production can involve a variety of skills, from producing and writing, operating cameras, editing sound and picture together, to manually constructing and tearing down production sets. At the core, though, are opportunities for people who are stimulated by creative work and driven to be “behind-the-scenes” players in the entertainment, broadcast information, or media instruction industry. Because television production is a highly attractive career field, competition for jobs can be intense. More than film, opportunities in television production offer regular employment, and television production is not as geographically limited as the film industry tends to be. The California Employment Development Department predicts from 2002 to 2012 the number of producers and directors (including television, video, radio, stage, and motion picture) to grow from 11,400 to 14,300 (25.4% growth); the number of film and video editors to grow from 4,000 to 5,200 (30% growth); the number of camera operators to grow from 4,400 to 5,200 (18.2% growth); and the number of broadcast technicians to grow from 5,100 to 6,200 (21.6% growth) (Source: Labor Market Info www.labormarketinfo.edd.ca.gov).

Necessary Education and Skills for Career Success
Although individuals working in television production will usually focus on a specific discipline (i.e. editing, videography, animation, production), a background in all phases of production contributes to career success. Television productions are almost solely edited or otherwise produced with computer equipment, so computer skills and knowledge of technological trends are extremely important.
People skills are also important: television productions often involve large groups of people with diverse responsibilities and backgrounds, and one must be prepared to work collaboratively. Employees in television should be creative and have good communication skills and judgment.

Do's and Don'ts of Newsgathering*

Avoiding Defamation

and Invasion of Privacy

1. Get both sides of the story and report them fairly and accurately. In addition to protecting your professional reputation and keeping your company out of legal trouble, it may provide additional interest through the clash of ideas. A false light claim can be launched if a party can prove that the story exaggerated, embellished, or omitted significant facts.

2. Try to avoid confidential and unnamed sources ("According to a top company official....") and rely on information that can be cited and confirmed, such as public records, official documents, and on-camera interviews.

3. If the information you are going to broadcast can be considered of a damaging private nature, make sure it is of legitimate public concern and important to the thrust of your story. Be especially careful in disclosing medical information.

4. In getting photos or sound recordings do not trespass on private property without permission. Try not only to stick to public property, but avoid using long telephoto lenses and highly directional microphones that could result in an invasion of privacy suit.

5. Do not use information obtained by theft or illegal means. This includes illegally-obtained information or images that comes from a third party.

6. For interviews, even in public places, try to get the person to sign a release granting permission to use the material. If the interview involves a minor child, you must have parental consent. If the person can later say that they were under the influence of drugs or alcohol when the release was signed, it can be deemed invalid.

*Based on information provided by Media/Professional
Insurance.

Intellectual Property Do's and Don'ts*

Clearances, Fair Use, and Distribution Agreements

1. Make sure you obtain proper written permission before using copyrighted material. If several people contributed to the material, you must make sure that each has granted permission. Music typically involves several types of licenses, and thus several levels of permission. Permission is almost always limited to specific uses and time frames, so be sure to read agreements carefully.

2. "Fair use" is limited to small portions of an original work when used for criticism, parody, editorial, and educational noncommercial purposes. Although not well defined, if the copyright holder can claim that the amount or nature of the material exceeded fair use, and the use resulted in financial loss, you may face legal action.

Protecting Your Intellectual Property

1. Ideas can't be legally protected, only original expressions of ideas.

2. Include a copyright notice on all copies of copyrightable material. You may also want to go the extra step of registering your copyrightable works with the U.S. Copyright Office prior to distribution. If the work is being distributed internationally via the Internet, consider foreign copyright registration.

3. Keep records of where your materials are being sent, monitor their use for infringement, and take immediate action if infringement is discovered.

*Based on information provided by Media/Professional Insurance.

The Fair Use Act

The fair use act allows copyrighted material to be used in limited ways for criticism, teaching, scholarship, news, or research without the permission of the copyright holder.

Unfortunately, the fair use act is not well defined. We'll only get a clearer picture of what constitutes fair use after a number of court cases have addressed the issue.

Many assume -- we would hope, accurately -- -that under this act small portions of copyrighted work can be used for a limited time for criticism, teaching, scholarship, news, or research, as long as this use doesn't appreciably affect the income that could be derived from the work by the copyright holder.

WHO IS PHILO FARNSWORTH?

In 1921 the 14-year-old Mormon had an idea while working on his father's Idaho farm. Mowing hay in rows, Philo realized an electron beam could scan a picture in horizontal lines, reproducing the image almost instantaneously. This would prove to be a critical breakthrough in Philo Farnsworth's invention of the television in 1927. Earlier TV devices had been based on an 1884 invention called the scanning disk, patented by Paul Nipkow. Riddled with holes, the large disk spun in front of an object while a photoelectric cell recorded changes in light. Depending on the electricity transmitted by the photoelectric cell, an array of light bulbs would glow or remain dark. Though Nipkow's mechanical system could not scan and deliver a clear, live-action image, most would-be TV inventors still hoped to perfect it.

Not Philo Farnsworth. In 1921 the 14-year-old Mormon had an idea while working on his father's Idaho farm. Mowing hay in rows, Philo realized an electron beam could scan a picture in horizontal lines, reproducing the image almost instantaneously. It would prove to be a critical breakthrough.

But young Philo was not alone. At the same time, Russian immigrant Vladimir Zworykin had also designed a camera that focused an image through a lens onto an array of photoelectric cells coating the end of a tube. The electrical image formed by the cells would be scanned line-by-line by an electron beam and transmitted to a cathode-ray tube.

Rather than an electron beam, Farnsworth's image dissector device used an "anode finger" -- a pencil-sized tube with a small aperture at the top -- to scan the picture. Magnetic coils sprayed the electrons emitted from the electrical image left to right and line by line onto the aperture, where they became electric current. Both Zworykin's and Philo's devices then transmitted the current to a cathode-ray tube, which recreated the image by scanning it onto a fluorescent surface.

Farnsworth applied for a patent for his image dissector in 1927. The development of the television system was plagued by lack of money and by challenges to Farnsworth's patent from the giant Radio Corporation of America (RCA). In 1934, the British communications company British Gaumont bought a license from Farnsworth to make systems based on his designs. In 1939, the American company RCA did the same. Both companies had been developing television systems of their own and recognized Farnsworth as a competitor. World War II interrupted the development of television. When television broadcasts became a regular occurrence after the war, Farnsworth was not involved. Instead, he devoted his time to trying to perfect the devices he had designed.

David Sarnoff, vice president of the powerful Radio Corporation of America, later hired Zworykin to ensure that RCA would control television technology. Zworykin and Sarnoff visited Farnsworth's cluttered laboratory, but the Mormon inventor's business manager scoffed at selling the company -- and Farnsworth's services -- to RCA for a piddling $100,000. So Sarnoff haughtily downplayed the importance of Philo's innovations, saying, "There's nothing here we'll need."

In 1934 RCA demonstrated its "iconoscope," a camera tube very similar to Farnsworth's image dissector. RCA claimed it was based on a device Zworykin tried to patent in 1923 -- even though the Russian had used Nipkow's old spinning disk design up until the time he visited Philo's lab.

The patent wars had truly begun -- and Phil, as the grown-up Farnsworth preferred to be called, was in a bind. He could not license his inventions while the matter was in court, and he wrestled with his backers over control and direction of his own company. The men in Farnsworth's loyal "lab gang" were fired and rehired several times during his financial ups and downs, but retained confidence in Phil. When Farnsworth's financiers refused his request for a broadcasting studio, the inventor and a partner built a studio on their own.

Meanwhile back at RCA, Sarnoff had spent more than $10 million on a major TV R & D effort. At the 1939 New York World's Fair, Sarnoff announced the launch of commercial television -- though RCA's camera was inadequate, and the corporation didn't own a single TV patent. Later that same year, the company was compelled to pay patent royalties to Farnsworth Radio and Television.

By the time World War II began, Farnsworth realized that commercial television's future was in the hands of businessmen -- not a lone inventor toiling in his lab. With his patents about to expire, Phil grew depressed, drunk and addicted to painkillers. In 1949 he reluctantly agreed to sell off Farnsworth Radio and Television.

Philo T. Farnsworth was always an outsider, a bright star blazing in the dawn of a new electronic age. His romance with the electron was a private affair, a celebration of the spirit of the lone inventor.

TO LEARN MORE

IRELATED INFORMATION: Philo Taylor Farnsworth Biography from The Great Idea Finder Communication History from The Great Idea Finder History of Household Items from The Great Idea Finder

KMTV Live on the Net!

Merry Christmas from the Collier Family

A Redneck Obituary

Wednesday, May 21, 2008

Need Program Money????

Kennesaw Rebels 14U Girls Softball End of Season Video

KMHS Baseball

KMTV Aired Live from the Gym for Honors Day

Spin

Welcome!

TIME

Imagine...

There is a bank that credits your account each morning with $86,400.

It carries over no balance from day to day. Every evening deletes whatever part of the balance you failed to use during the day. What would you do? Draw out ALL OF IT, of course!

Each of us has such a bank. Its name is TIME.

More Sites with Great Information

Citizen Kane (1941)...Greatest Movie of All-Time

Shots and More Shots

Careers

High School BVP Links

Join a Communications Association

Interesting Video Sites

Kell High School Links

KMHS Links

CCSME Document Links

Television Code (Public Service Announcement 1960s)

The Pickle Lover Commercial and Foley sounds

fate (n.)