Sentence examples for production archives from inspiring English sources

Exact(2)

In addition to providing production archives and quality controls, the samples themselves are a feast for the eye.

Many of the scenes depicted in The Girl, especially the chronology, are contradicted by the production archives held at the Margaret Herrick Library in LA.

Similar(58)

Students will learn narrative storytelling, post production, archiving practices and business and pricing standards, including day rates, usage fees and copyright.

The thermodynamics is based on an entropy inequality of A.E. Green and N. Laws, [On the entropy production inequality, Archive for Rational Mechanics and Analysis 45 (1972 47 53]].

The BBC had aimed to create an integrated digital production and archiving system allowing staff to handle all aspects of video and audio content from their desks.

First they copped most of the blame for the £100m failure of the BBC's Digital Media Initiative: the pan-BBC, end-to-end digital production and archive system that never actually worked.

It gives radio practitioners inspiration for production and archiving and offers scholars from many disciplines new ways to incorporate radio's vital voices into work on transnational institutions, communities, histories, and identities.

The BBC's ill-fated Digital Media Initiative (DMI) – the plan for an end-to-end, all-encompassing digital production and archive system – looks for all the world like (another) story of managerial ineptitude, compounded by a catastrophic failure of governance which together have cost licence payers nearly £100m.

He is one of a handful of current and former BBC employees giving evidence to the public affairs committee about the scheme which was intended to create an integrated digital production and archiving system and ended up being abandoned having cost £100 million of licence fee cash.

The Communication Program produces all of the print and electronic materials for the Institute as well as designing production and archiving systems. in 1995 from the Massachusetts Institute of Technology Center for Educational Computing Initiatives (CECI) were he was a Research Associate, Manager of the AthenaMuse Consortium, and Manager of the Project Athena Visual Computing Group (1987-1991).

The book dramatically expands the range of theoretical texts and traditions that fandom studies might draw on for contextualizing the production, circulation, archiving, and consumption of fan fiction; De Kosnik makes understanding fandom's labor in preserving its cultural memory central to many core debates about digital culture.

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