Relevant bibliographies by topics / TV producer

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'TV producer'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "TV producer"

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Bucknell, Clare, and Colin MacCabe. "Interview with Bill Pruitt, reality TV producer." Critical Quarterly 60, no. 4 (2018): 19–34. http://dx.doi.org/10.1111/criq.12436.

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Hawkins, Gay. "ABC TV Online, Digitally Yours." Media International Australia 100, no. 1 (2001): 95–103. http://dx.doi.org/10.1177/1329878x0110000110.

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Molly Reynolds worked at the ABC as the TV Online Producer for 18 months. She now works for Beyond and is responsible for Beyond Online's foray into broadband Internet. In this interview, she discusses with Gay Hawkins the nature of her work and its implications for the future of television production and delivery.
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Yufriadi, Ebnu. "STRATEGI DAN PERFORMA PROGRAM KOMPAS TV DALAM MENGHADAPI PERSAINGAN TV BERITA PADA PILPRES 2019." Business Economic, Communication, and Social Sciences (BECOSS) Journal 1, no. 1 (2019): 73–82. http://dx.doi.org/10.21512/becossjournal.v1i1.5977.

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This research examined the program strategy and program performance of Kompas TV as a newcomer to the news TV channel in Indonesia during the 2019 presidential election (pilpres 2019). Kompas TV faces heavy competition against other news channels that have more diverse and varied programs. The research analyzed the available data supported by a number of theories and expected to be a guideline to the content selection for Kompas TV. The research focused on the program strategy of Kompas TV as a market challenger to Metro TV as a pioneer of news television in Indonesia, as well as the program performance of Kompas TV. This research used program strategy theories by Peter Pringle. Descriptive qualitative methods are applied in this research by (1) using a list of questions; (2) interviewing research and data mining managers and news executive producer of Kompas TV; (3) using secondary research such as books, journals, printed articles, and online sources. The researcher makes an answer by analyzing the collected data. The program strategy of the Kompas TV was interesting to be analyzed considering the positive results where the rating and share of Kompas TV were better than Metro TV during the 2019 presidential election.
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Lee, Ji-Hun. "Local Storytelling for Invigorating the Tourism Image- Focusing on TV Contents -." Restaurant Business 118, no. 3 (2019): 15–21. http://dx.doi.org/10.26643/rb.v118i3.7194.

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Area and surrounding landscape introduced by visual media stimulate viewers and positively affect the local tourism. Thus, this study aimed to identify psychological factors of viewers and provide storytelling and marketing implications to invigorate a local tourism (based on identified factors).
 Therefore, this study selected samples and conducted a survey study with targeting people watched a local or tourism TV program more than once. The reliability and validity tests were conducted to the collected effective sample. Moreover, a frequency analysis was used to evaluate the general characteristics of study subjects. Afterward, the fitness of a structural equation model and the causal relationship of each concept were verified. 
 The implications of this study were as follows. First, when a story for a tourism attraction is created, a producer and people working for local tourism should work together to select an actor and a suitable subject. Moreover, a story should have many stimulus elements to give the viewer a desire to visit or experience the surrounding landscape and a famous restaurant. Secondly, a program producer must pay attention to provide accurate information so that viewers can trust the given information. Moreover, it is necessary for a TV program to deal with important information and do's and don'ts upon the cooperation of local tourism workers and people experienced the area so viewers can fully understand the situation. Thirdly, program producers and tourism workers must increase expectation by providing representative images and information. Lastly, program producers have to provide detailed information related to the introduced food, accommodation, surrounding environment, and experience. Moreover, stories should be presented in order to stimulate the emotions of viewers.
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Hope, Chris. "TV producer admits ‘I was wrong’; urges industry chiefs to be offensive." Energy Policy 13, no. 4 (1985): 406–7. http://dx.doi.org/10.1016/0301-4215(85)90038-2.

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Carter, Eli. "Entering through the Porta dos Fundos: The Changing Landscape of Brazilian Television Fiction." Television & New Media 18, no. 5 (2016): 410–26. http://dx.doi.org/10.1177/1527476416667822.

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Brazil is both a leading television producer in the Global South and home to TV Globo, one of the largest and most commercially successful networks in the world. Indeed, for nearly fifty years of its sixty-five year history, TV Globo and its standardized production of extremely popular telenovelas have largely come to characterize Brazilian television fiction as a whole. In this article, I situate the meteoric rise of the independent production company and YouTube sensation, Porta dos Fundos, within the broader context of TV Globo’s declining audience share and the wide-ranging effects of the Pay Television Law (2011). In doing so, I argue that Porta dos Fundos’s audiovisual production for the Internet and prime-time television serves as an illustrative case for understanding the interrelated ways in which recent policy, new distribution platforms, emerging independent production companies, and an influx of locally produced content are helping to shape the changing landscape of Brazilian television fiction as it transitions out of a six-decade-long network era.
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Cornell, Richard A. "Media specialist as TV producer . . . ten quick steps into the world of television." TechTrends 33, no. 1 (1988): 33–34. http://dx.doi.org/10.1007/bf02771271.

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McCabe, Janet, and Conal McStravick. "Introduction: Stuart Marshall thinking through television." Critical Studies in Television: The International Journal of Television Studies 14, no. 4 (2019): 473–79. http://dx.doi.org/10.1177/1749602019876747.

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This TV essay dossier is devoted to Stuart Marshall (1949–1993). It selectively reprints an archive of his ideas, photographs and writing as illustrative of Marshall’s thinking through television as an extended critique of the televisual – sound and image –, as well as how this way of thinking through practice translates into an TV essayistic mode used to comment directly on the nature of image-making and the medium itself. Interwoven with this material archive is an original essay by Colin Perry, as well as In Conversation between Rebecca Dobbs (Marshall’s producer) and Caroline Spry (commissioner of his work at Channel 4).
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Velichkina, Ol’ga Vladimirovna. "PRACTICE-ORIENTED TRAINING OF THE FUTURE TV PRODUCER IN THE CONDITIONS OF SECTORAL SINGULARITY." Pedagogy. Issues of Theory and Practice, no. 3 (October 2018): 9–13. http://dx.doi.org/10.30853/pedagogy.2018-3.2.

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Yu, Jia Xi, and Wen Hui Zhang. "Design of 3D-TV Horizontal Parallax Obtaining System Based on FPGA." Applied Mechanics and Materials 401-403 (September 2013): 1834–38. http://dx.doi.org/10.4028/www.scientific.net/amm.401-403.1834.

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In this paper, a design of FPGA-based 3D-TV horizontal parallax acquiring system is presented. The system will receive the stereoscopic video by a HD-SDI receiver GS2971, and outputs a video of horizontal parallax to a digital TV through a HDMI transmitter SiI9134. In this system, FPGA plays an important role that converts the stereoscopic video to the horizontal parallax video. In addition, a microcontroller is selected as the control center of the entire system. This system can get the horizontal parallax of the stereoscopic video in real time, and is helpful for the stereoscopic program producer to control the horizontal parallax of the 3D program.
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Dissertations / Theses on the topic "TV producer"

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Grundberg, Irène. "TV-produktion i Sverige : En studie av TV-producenter inom drama och samhällsprogram." Doctoral thesis, Uppsala universitet, Institutionen för informatik och media, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-220421.

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As television viewers we are used to watching television as a flow of programs with varying content, and usually do not think about how the programs are created. Who decides what should be produced and what the programs should contain? What role do the TV producers play? Who are the producers? Have their working conditions changed due to changes in society? The aim of this study was to answer questions about the TV producer’s background and career, and about how ideas for TV productions developed into actual TV programs. The study resulted in more than 90 “cases” or descriptions in drama and journalism. The respondents were asked about the role that different levels of management, economic resources, technical equipment, audience ratings played in the production of television programs. They were also asked how they evaluated professionalism and competition and what changes had occurred during the periods of the study, 1992-1999 and 2006-07. The TV producers who were interviewed belonged to different “generations” and had  entered  the television industry on  different occasions, such as at the launch  of  television channels  (the first TV channel, TV2, TV4) or  new ventures like regional television or minority language programs. The drama producers often executed the ideas that had been decided on by higher management, even though some drama authors who participated in this study had great power over the story lines and content. The journalist producer’s independence and power over the content were greater than the drama producer’s, since they wrote their own “scripts” during the production of programs. In light of many “cases” of programs described it can be suggested that journalist producers’ choice of program ideas were  parallel and complementary or alternative institutional processes, that preceded, followed or coexisted with reports, investigations, trials etc.   One of the most obvious changes during the period studied from 1992 to 2007 was the change in overall technology from analog techniques to digital. Internet, intranets, e-mail and cell phones had made “the mobile office” a reality and the analog techniques in cameras and editing in TV production became digital during the period.
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Johansson, Martin, and Erik Patrikson. "Hur reklamfilmsproducenter hanterar den ökade mängden reklam i TV." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-79045.

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Denna studie utreder hur reklamfilmsproducenter anpassar sina produktioner för att de ska vara effektiva på en allt mer konkurrensintensiv reklammarknad. Enligt radio- och TV-lagen får svenska TV-kanaler idag sända tolv minuter reklam per timme, samma regler som gäller för till exempel TV3, Kanal 5 och TV6 som sänder från Storbritannien. Studien utgår från en förstudie av den svenska TV-reklammarknaden där det bland annat observerades att den totala reklamtiden, inklusive reklam för kanalens egna program,i ett fall uppgick till hela 26 procent av den totala sändningstiden. För annonsörer och reklaminköpare kan den ökade mängden reklam innebära ett försämrat genomslag och ökade kostnader för att nå ut med sitt budskap till samma mängd mottagare som för några år sedan. Det bidrar dessutom till allmänhetens allt mer negativa inställning, och till att en stor del av tittarna helt undviker TV-reklamen. För att besvara frågeställningen har fem intervjuer med reklamfilmsproducenter från olika svenska produktionsbyråer genomförts. Intervjusvaren analyserades med hjälp av relevanta teorier, om bland annat marknadsföring och filmproduktion, som valdes utifrån det insamlade datamaterialet. Analysen resulterade i ett antal slutsatser och rekommendationer för hur reklamfilmsproducenter kan arbeta för att möta den ökade mängden TV-reklam. Några av de viktigaste slutsatserna var att reklamfilmsproducenterna bör planera filmernas dramaturgiska uppbyggnad så att tittarnas uppmärksamhet snabbt fångas och därefter bibehålls, att väcka känslor hos tittarna för att lämna en eftertanke, samt att sända reklamfilmen ofta och komplettera med annonsering i fler medier för ökat genomslag.<br>This study investigates how producers of TV commercials adapt their productions to be effective in an increasingly competitive advertising market. According to the Radio and Television Act, the Swedish TV channels are now allowed to air twelve minutes of advertising per hour, the same rules which apply to such channels as TV3, Kanal 5 and TV6 broadcasting from the UK. The study is based on a preliminary study of the Swedish TV advertising market, in which the total advertising time, including advertisements for the channel’s own programs, was observed. In one case the total advertising time amounted to 26 percent of the total broadcasting time. The increased amount of advertising might result in poor advertising impact and increased costs for advertisers and advertising buyers to reach the same amount of viewers as before. It also contributes to the public’s increasingly negative attitude, and the increased avoidance of TV commercials. To answer the question statement, five interviews with producers of TV commercials from different Swedish production agencies were conducted. The interview responses were analyzed using relevant theories about marketing and film production that were chosen based on the collected set of data. The analysis resulted in a number of conclusions and recommendations for how to handle the increased amount of television advertising. Some of the key conclusions was that producers of TV commercials should plan the dramaturgic structure so that the viewer’s attention is quickly captured and thereafter maintained, to evoke the viewer’s emotions, to air the commercial frequently and supplement with advertising in other media to increase impact.
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Nagy, Theresa. ""Kinder sehen anders"." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-131668.

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Animationsserien sind ein fester Bestandteil der deutschen Fernsehlandschaft und sollen vor allem Kinder als Zielgruppe ansprechen. Vor diesem Hintergrund stellt sich zum einen die Frage, welche Wirkungen und Funktionen von Animationsserien auf und während der Sozialisation zu erwarten sind. Zum anderen möchte diese Arbeit aber auch die Seite der Produzierenden von Animationsserien näher beleuchten, die gerade in der Trias „Produktion, Distribution, Rezeption“ eine zentrale Rolle einnehmen und an wesentlichen Entscheidungsprozessen beteiligt sind. Mit Hilfe von qualitativen ExpertInneninterviews sollten verschiedene Fragen beantwortet werden: Welche subjektiven Wirkungs- und Funktionsannahmen besitzen ProduzentInnen von Animationsserien und welchen Einfluss haben diese auf die Gestaltung der Serie? Und wie werden individuelle künstlerisch-ästhetische Vorstellungen mit den Anforderungen des Marktes „Animationsfilm“ in Einklang gebracht?
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Selenwall, Veronica. "Att producera ett nytt TV-program: Redaktionens arbetsprocess." Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-124373.

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This report is a examining part from a student at the university programme in media, 120 credits at the University of Umeå and the final part to get a highschool examine in technical media. The report has been done during a visit on a brand new TV-show, it explains how to produce a new program idea for a TV-channel, from the editorial direction.  This report begins with an introduction about the background stories for this work and the questions that this study are based on, the following chapter presents the methodology that have been used to collect the facts. The main part of the study starts with an overview of the editorial production crew and a short presentation of their different responsibilities. The following chapters are about pitching a brand new idea to a TV-channel, cast the right people to a program, how to work with the further development of the idea in a creative point of view, the content producing and the project leader’s work with planning the whole project and the financial part. The conclusion of this report is that all the TV-shows are created quite different, it depends on which kind of TV-show you are producing. It is a good idea, however, to be out in time to implement a sustainable project and to have a clear planning. You have to have a good contact with the TV channel through the whole process and to be prepared for changes through the process. To produce a new TV concept also requires a lot of creative solutions and proposals that can be designed using different skills and working in new environments. Through this report the reader will have an insight into how the editorial crew work and also get the best advice from experienced professionals in the TV-industry. The editorial crew of the new TV-show has been interviewed about their experiences and way of working in a TV-production.
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Holzapfel, Anette. "Liberalisierung von Product-Placement Bedeutung im Bereich TV, rechtliche Stellung, Auswirkungen einer Liberalisierung." Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/984064818/04.

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Holzapfel, Anette. "Liberalisierung von Product Placement : Bedeutung im Bereich TV, rechtliche Stellung, Auswirkungen einer Liberalisierung /." Saarbrücken : VDM Verlag Dr. Müller, 2007. http://d-nb.info/984064818/04.

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Orellana, Yessenia, and Trigt Savannah van. "Produktplaceringens avtryck i en TV-serie." Thesis, Södertörns högskola, Företagsekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30961.

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Syfte: Syftet med studien var att ge en utökad förståelse för hur användandet av produktplacering kan påverka tittarnas syn på en TV- serie. Metod: Ett avsnitt av den svenska TV- serien Solsidan användes på grund av dess omfattande kritik mot användandet av produktplaceringar. Empirin samlades in genom en kombination av enkäter och fokusgrupper där 21 respondenter deltog och där de fick se ett avsnitt ur serien. Teori: Teorier om minnesprocessen, varumärkeskännedom, informationshanteringsprocessen, olika dimensioner av produktplacering samt dess för- och nackdelar har använts för att sammanlänkas med studiens resultat. Slutsats: Produktplacering medförde ingen förändrad syn på TV- serien Solsidan av olika anledningar: A)    Samtliga respondenter hade en positiv inställning till produktplacering. B)    I snitt uppmärksammades endast 29 % av placeringarna. C)    De varumärken som uppmärksammades var mycket bra integrerade och påverkade inte tittarupplevelsen negativt. D)    Produktplaceringen gjorde handlingen mer realistisk och trovärdig då respondenterna kunde relatera till liknande händelser.<br>Purpose: The purpose of this study was to provide an enhanced understanding about how the use of product placement can affect the opinion of a TV series.   Methodology: The Swedish TV- series Solsidan was used because of its criticism about product placement. The empirical data was collected by a combination of surveys and focus groups in which 21 respondents participated and watched one episode of the series.   Theories: Theories about the memory process, brand awareness, information processing, different dimensions of product placement and its pros and cons where used to conjoin to the results.   Conclusion: Product placement did not affect the opinion on the TV- series Solsidan for different reasons: A)     All respondents had a positive attitude towards product placement. B)    The recall of the placements was on average no higher than 29 %. C)    The brands that where noticed where well integrated and did not affect the viewing experience negatively. D)    Product placement made the scene more realistic and credible as the respondents could relate to similar situations.
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Abrahamsson, Jens, and Niclas Lindblom. "Product Placement : A study about Swedes attitude towards product placements in Movies and TV-shows." Thesis, Linnéuniversitetet, Ekonomihögskolan, ELNU, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-19051.

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Marketers have always been looking for alternative ways to reach the target population with their messages. One approach that has grown the last decades is product placement that has become a large arena for companies to involve in their marketing communication. It has been shown that people tend to dislike traditional advertisement such as commercial brakes in TV and tries to avoid it by switching channel. Since product placement is a type of advertisement that is embedded in a movie or TV-show and cannot be zapped away without missing the story of the movie or TV-show, it is a good opportunity to reach out with a company’s message. Several studies have been done in the field of mapping the attitudes towards product placement but no research has been done with the Swedish audience in focus. Therefore the purpose of this thesis is: “…to investigate what attitudes the Swedish audience has towards product placements in Movies and TV-shows”, which will lead to a greater knowledge for Swedish marketing managers about the attitudes towards product placement in Sweden. This thesis is a quantitative study with a descriptive single cross-sectional design. The data was retrieved through a questionnaire online. The sample frame was generation Y which is people that are between the ages 18-35. The study showed that the general attitude towards product placement is positive for the Swedish audience. When it comes to the different dimensions of product placement; visual-only, audio-only and a combination audio-visual it is shown that the visual placements is seen as the most positive way to place a product in a movie or a TV-show. It could also be seen several similarities with previous studies that prominent placement has a lower attitude while a subtle placements has a more positive attitude.
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Pedersen, Madelen, Jenny Holmroos, and Camilla Pettersson. "Produktplacering i tv : En studie om skillnaden mellan teori och praktik." Thesis, Mälardalens högskola, Akademin för hållbar samhälls- och teknikutveckling, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-12648.

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Timmins, Lydia Reeves. "Appealing to the Audience: How Local TV News Content Producers Learn about the Viewers." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/92999.

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Mass Media and Communication<br>Ph.D.<br>Local television news is caught between two major forces that determine its future: doing its journalistic duty to society and maximizing profits by providing content that audience members want to see. Various communication models examine the relationships between content providers, audience, and news makers by looking at organizations, media routines, external social and business pressures and ideologies that affect both media and the public they seek to serve. The dissertation argues that the key to satisfying the dictates of both forces lies with the audience and the ways in which local news content producers react to the audience's influence. The research in this dissertation examines a microcosm of the numerous relationships that impact TV news--the one between the content producers and members of the audience. The research uses behavioral theories as tools to examine how content producers and audience members relate to each other individually and how the institution of journalism is broadly affected by that relationship. It examines the normative model of journalism and how the audience and content producers fit into it. The study investigates the current state of audience research, both from an academic and a professional standpoint. This study utilizes qualitative and quantitative methods including ethnographical observation of a newsroom as well as one on one interviews and Web-based surveys to closely examine the way in which behavioral theories apply to local television news content producers. Results indicate the influence audience members exert over content producers is deeper and broader than previous research suggests. The results also show the content producers are aware the influence exists but do not recognize the pervasiveness of the influence. The conclusions offer a better understanding of the symbiotic relationship between audience and the media.<br>Temple University--Theses
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Books on the topic "TV producer"

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1969-, Thompson Lisa, ed. What's it like to be a TV producer. A. & C. Black, 2009.

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The Hollywood TV producer: His work and his audience. Transaction Books, 1988.

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From my three sons to major dad: My life as a TV producer. Scarecrow Press, 2005.

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Going live in 3, 2, 1: Have you got what it takes to be a TV producer? Compass Point Books, 2009.

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What I learned when I almost died: How a maniac tv producer put down his Blackberry and started to live his life. Simon & Schuster, 2011.

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Licht, Chris. What I learned when I almost died: How a maniac tv producer put down his Blackberry and started to live his life. Simon & Schuster, 2011.

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SGS. TV and monitor products. SGS, 1986.

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White, Hooper. How to produce effective TV commercials. 2nd ed. NTC Business Books, 1986.

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How to produce effective TV commercials. 3rd ed. NTC Business Books, 1994.

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Alberstat, Philip. Independent producers' guide to film and TV contracts. Focal Press, 2000.

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Book chapters on the topic "TV producer"

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Morton-Jones, David H., and John W. Ellis. "Sandwich Moulded TV Screen Frame." In Polymer Products. Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4101-4_10.

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Hale, Heather. "Know Your Product." In How to Work the Film & TV Markets. Routledge, 2017. http://dx.doi.org/10.4324/9781315755359-24.

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Bug, Peter, and Larissa Blau. "Fashion Product Placement in International TV Series." In Fashion and Film. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-9542-0_4.

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Zhu, Cai-Zhi, Siriwat Kasamwattanarote, Xiaomeng Wu, and Shin’ichi Satoh. "Tell Me about TV Commercials of This Product." In MultiMedia Modeling. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-04114-8_21.

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de Lange, Fons. "The Philips-Open TV® Product Family Architecture for Interactive Set-Top Boxes." In Software Product-Family Engineering. Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-47833-7_18.

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Gallistl, Vera. "Cultural Exclusion in Old-Age: A Social Exclusion Perspective on Cultural Practice in Later Life." In International Perspectives on Aging. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-51406-8_20.

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AbstractCultural exclusion in older age is conceptually under-developed and empirically under-explored. This results in a lack of knowledge concerning the mechanisms through which cultural exclusion is produced and the policy instruments that support cultural inclusion in later life. This article explores how cultural practice changes in old age and how these changes associate with old-age social exclusion. Cultural participation comprises (a) going-out, (b) home-bound and (c) identity-culture. These domains are explored with survey data (n = 1000) of Austrians aged 60 years and older.Results suggest shifting cultural practice later in life, from public to private spaces, and three clusters of cultural participants (Omnivore, Univore-Television (TV), Univore-Entertainment), which differ in their cultural practice, social status, and taste preferences. Univores-TV are typically involved in home-bound cultural practices, most likely to be socially excluded, and show the highest appreciation of folk art. Disengagement from public cultural spaces is, hence, more prevalent among socially marginalised groups with folk tastes.Gerontology needs to problematize older adults’ exclusion from cultural practice as a matter of spatial and taste marginalisation. In order to build more age-inclusive cultures across Europe, policy should address the diversity of older adults’ cultural participation and provide support in bringing marginalised practices to public spaces.
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Roibás, Anxo Cereijo, and Riccardo Sala. "Beyond Mobile TV: Understanding How Mobile Interactive Systems Enable Users to Become Digital Producers." In Human-Computer Interaction. HCI Intelligent Multimodal Interaction Environments. Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-73110-8_87.

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Yuan, Jiangbo, Guillaume Gravier, Sébastien Campion, Xiuwen Liu, and Hervé Jégou. "Efficient Mining of Repetitions in Large-Scale TV Streams with Product Quantization Hashing." In Computer Vision – ECCV 2012. Workshops and Demonstrations. Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33863-2_27.

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Saraiva, Diego, Lucas Pereira, Thais Batista, et al. "Architecting a Model-Driven Aspect-Oriented Product Line for a Digital TV Middleware: A Refactoring Experience." In Software Architecture. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15114-9_14.

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"Introduction." In The Hollywood TV Producer. Routledge, 2017. http://dx.doi.org/10.4324/9781315132488-1.

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Conference papers on the topic "TV producer"

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Kostić, Silva, and Ana Slavković. "LINGUISTIC FEATURES OF TV COMMERCIALS AND MARKETING STRATEGIES FOR ADDRESSING CONSUMERS." In 6th International Scientific Conference ERAZ - Knowledge Based Sustainable Development. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/eraz.2020.175.

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Advertisements are unavoidable and ubiquitous. We encounter them on television and the radio, in newspapers and magazines, on billboards, in public transport vehicles and mailboxes, on mobile phones or on websites we visit on the Internet. The aim of this paper is to examine linguistic features and marketing strategies used by advertisers to attract and hold consumers’ attention, make them remember advertisements and encourage them to buy advertised products. This paper discusses the way advertisers, using the advertising discourse, manipulate consumers’ opinions, beliefs and behaviour. Starting from previous research of the advertising discourse, this paper shows the results of the analysis of the most important linguistic features as well as marketing strategies for addressing consumers used in TV commercials broadcast on four Serbian TV channels - TV Prva, RTS 1, TV B92 / 02 and TV Pink, from March 2016 to September 2019. The analysis is based on the theoretical principles of Critical Discourse Analysis.
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Pereira, Marcus Vinicius, and Agnaldo Arroio. "ANALYSIS OF SCIENCE VIDEOS PRODUCED BY BRAZILIAN MINISTRY OF EDUCATION." In Proceedings of the 2nd International Baltic Symposium on Science and Technology Education (BalticSTE2017). Scientia Socialis Ltd., 2017. http://dx.doi.org/10.33225/balticste/2017.92.

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It is presented an analysis of science videos produced by Ministry of Education of Brazil to prepare high school students for an exam. It was identified how these videos were produced under filmic analysis framework. They are long duration videos, more similar to TV programs, which incorporate popular Youtube videos to solve problems inset with the dialogue between a presenter (an actor) and a teacher. Also there is weak relation between the guest interviewed and the video subject. Keywords: media literacy, filmic analysis, science education, Youtube.
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Delgado, Jaime, Silvia Llorente, Enric Peig, and Anna Carreras. "A Multimedia Content Interchange Framework for TV Producers." In 2006 2nd International Conference on Automated Production of Cross Media. IEEE, 2006. http://dx.doi.org/10.1109/axmedis.2006.8.

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Jiabin, Xu, and Liu Jian. "Analysis on Service Innovation of Product: Interpretation and Application of Theory on Color TV Products." In 2011 International Conference on Information Management, Innovation Management and Industrial Engineering (ICIII). IEEE, 2011. http://dx.doi.org/10.1109/iciii.2011.311.

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Wang, Z., P. K. Kannan, and S. Azarm. "Customer Driven Optimal Design for Convergence Products." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47927.

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Convergence products are multifunctional designs which are changing the way consumers use existing functionalities. Manufacturers’ ventures in developing convergence products abound in the marketplace. Smartphones, tablet computers, internet TV, are just a few examples. The complexity of designing a convergence product can differ significantly from that of single function products which most research in “Design for Market Systems” aims at. In this paper, a new customer-driven approach for designing convergence products is proposed to address the following issues: (i) a design representation scheme that considers information from design solutions used in existing products. The representation facilitates the coupling of and combining multiple functionalities; (ii) a hierarchical Bayes model that evaluates consumers’ heterogeneous choices while revealing how usage of multiple functionalities impacts consumers’ preferences; and (iii) design metrics which help evaluate profitability of design alternatives and account for future market penetration given evolving consumer preferences. An example problem for designing a tablet computer is used to demonstrate the proposed approach. The data for the example is collected by conducting a choice-based conjoint survey which yielded 92 responses. The proposed approach is demonstrated with three scenarios differentiated by the consideration of consumer heterogeneity and future market penetration, while comparing how the resulting optimal design solutions for the convergence product differ.
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Peel, Larry D., and Charles Ball. "Fabrication and Testing of a Simple “Bionic Arm” Demonstrator." In ASME 2010 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. ASMEDC, 2010. http://dx.doi.org/10.1115/smasis2010-3658.

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Artificial or “bionic” limbs have been the subject of considerable research, TV shows, and dreams by children. The “Six Million Dollar Man” show was about a man who received artificial limbs after his own were lost in an accident. To get students interested in practical engineering, the current work showcases a simple artificial arm that produces greater force than a typical man, demonstrates the capability of Rubber Muscle Actuators (RMA), and provides a portable “arm wrestling platform” for student recruitment efforts. The actuators for “Kingsville Arm One &amp; Two” are McKibben-like actuators made from fiber-reinforced elastomeric composites. These actuators offer excellent strength-to-weight ratios and contract similar to a human muscle. RMAs produce greater force and have less “blow-outs” than typical McKibben actuators because of optimized braid angles and ends that transfer loads through the braid fibers. Kingsville Arm One (KA1) was developed in just two weeks. It consisted of carbon/fiberglass/epoxy composite tubular bones, a metal clevis “elbow” and four RMAs. With considerable effort, a very large student was able to overcome the force generated in an “arm wrestling” contest. KA1’s actuators had end attachments that transferred loads well and enabled flexibility, but easily tore and had air leaks. Kingsville Arm Two (KA2) had new “bones” and RMAs. Although slightly smaller diameters, the KA2 RMAs produced comparable forces to the KA1 RMAs and had molded end attachments. The rigid ends did not allow as much rotation as expected and necessitated using just 2 RMAs. With only two RMAs, KA2 produced approximately the same “arm strength” as KA1. Future work will focus on flexible but durable RMA molded ends, life-like skins and a realistic “hand.”
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Folgado, María Soledad, Luis Valero, and Antonella Abatilli. "En Marcha. Propuesta real de un proyecto televisivo. Alumnos/as RAE." In IN-RED 2020: VI Congreso de Innovación Educativa y Docencia en Red. Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inred2020.2020.12006.

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The present project consists of the real proposal of a TV program by the students of the 2nd year of the RAE higher training program. It consists of preparing a dossier to present a TV program that deals with information on the different solidarity marches that exist in the city of Valencia and its surroundings. The informative folder of presentation of the program contains the essential data about the creative, artistic, technical, economic and content aspects of the program, that is, the characteristics of the audiovisual dossier that the producers present to potential investors in the real working situation. In addition to the dossier, a first pilot program has been carried out on the work and organization of the AECC with the RunCáncer Valencia solidarity marches circuit. The program covers, not only the information of the day that the different marches that make up the racing circuit are carried out, but also small reports have been made whose protagonists are the people to whom the aid is directed, organizers, researchers, volunteers, participants of the races, etc
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Edoh, Kossi Delali, and John Paul Roop. "Multilevel TV Denoising Methods for Anisotropic Tensor Product Wavelets." In 2009 International Conference on Computing, Engineering and Information (ICC). IEEE, 2009. http://dx.doi.org/10.1109/icc.2009.32.

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Adib, Ahmad, and Deny Tri Ardianto. "Response Santri Putri Assalam Solo for TV Commercial Fashion Products." In 4th Bandung Creative Movement International Conference on Creative Industries 2017 (4th BCM 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/bcm-17.2018.9.

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Stuart, M. "Building products with TV-Anytime: today and in the future." In IEE 'Storage & Home Networks' Seminar. IEE, 2004. http://dx.doi.org/10.1049/ic:20040551.

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Reports on the topic "TV producer"

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Syvash, Kateryna. AUDIENCE FEEDBACK AS AN ELEMENT OF PARASOCIAL COMMUNICATION WITH SCREEN MEDIA-PERSONS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11062.

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Parasocial communication is defined as an illusory and one-sided interaction between the viewer and the media person, which is analogous to interpersonal communication. Among the classic media, television has the greatest potential for such interaction through a combination of audio and visual series and a wide range of television content – from newscasts to talent shows. Viewers’ reaction to this product can be seen as a defining element of parasociality and directly affect the popularity of a media person and the ratings of the TV channel. In this article we will consider feedback as part of parasocial communication and describe ways to express it in times of media transformations. The psychological interaction «media person – viewer» had been the focus of research by both psychologists and media experts for over 60 years. During the study, scientists described the predictors, functions, manifestations and possible consequences of paracommunication. One of the key elements of the formed parasocial connections is the real audience reaction. Our goal is to conceptualize the concept of feedback in the paradigm of parasocial communication and describe the main types of reactions to the media person in long-term parasocial relationships. The research focuses on the ways in which the viewer’s feedback on the television media person is expressed, bypassing the issue of classifying the audience’s feedback as «positive» and «negative». For this purpose, more than 20 interdisciplinary scientific works on the issue of parasocial interaction were analyzed and their generalization was carried out. Based on pre­vious research, the types and methods of feedback in the television context are separated. With successful parasocial interaction, the viewer can react in different ways to the media person. The type of feedback will directly depend on the strength of the already established communication with the media person. We distinguish seven types of feedback and divide them into those that occur during or after a television show; those that are spontaneous or planned; aimed directly at the media person or third parties. We offer the following types of feedback from TV viewers: «talking to the TV»; telling about the experience of parasocial communication to others; following on social networks; likes and comments; imitation of behavior and appearance; purchase of recommended brands; fanart.
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Hotsur, Oksana. SOCIAL NETWORKS AND BLOGS AS TOOLS PR-CAMPAIGN IMPLEMENTATIONS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11110.

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The article deals with the ways in which social networks and the blogosphere influence the formation and implementation of a PR campaign. Examples from the political sphere (election campaigns, initiatives), business (TV brands, traditional and online media) have revealed the opportunities that Facebook, Telegram, Twitter, YouTube and blogs promote in promoting advertising, ideas, campaigns, thoughts, or products. Author blogs created on special websites or online media may not be as much of a tool in PR as an additional tool on social media. It is noted that choosing a blog as the main tool of PR campaign has both positive and negative points. Social networks intervene in the sphere of human life, become a means of communication, promotion, branding. The effectiveness of social networks has been evidenced by such historically significant events as Brexit, the Arab Spring, and the Revolution of Dignity. Special attention was paid to the 2019 presidential election. Based on the analysis of individual PR campaigns, the reasons for successful and unsuccessful campaigns from the point of view of network communication, which provide unlimited multimedia and interactive tools for PR, are highlighted. In fact, these concepts significantly affect the effectiveness of the implementation of PR-campaign, its final effectiveness, which is determined by the achievement of goals. Attention is drawn to the culture of communication during the PR campaign, as well as the concepts of “trolls”, “trolling”, “bots”, “botoin industry”. The social communication component of these concepts is unconditional. Choosing a blog as the main tool of a marketing campaign has both positive and negative aspects. Only a person with great creative potential can run and create a blog. In addition, it takes a long time. In fact, these two points are losing compared to other internet marketing tools. Further research is interesting in two respects. First, a comparison of the dynamics of the effectiveness of PR-campaign tools in Ukraine in 2020 and in the past, in particular, at the dawn of state independence. Secondly, to investigate how/or the concept of PR-campaigns in social networks and blogs is constantly changing.
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