O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:86:"‘Life Is Strange’ and ‘Disco Elysium’ Getting TV Adaptations at Amazon Studios";s:4:"link";s:132:"https://bestmovies.movs.world/movie-production-companies/life-is-strange-and-disco-elysium-getting-tv-adaptations-at-amazon-studios/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 12:52:28 +0000";s:8:"category";s:73:"Movie Production CompaniesAdaptationsAmazonDiscoElysiumLifeStrangeStudios";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=55046";s:11:"description";s:724:"Amazon Studios closed a first-look deal with dj2 Entertainment to dive into the world of video game adaptations, and two of the titles that could be soon adapted are Life Is Strange and Disco Elysium. dj2 Entertainment is one of the productions companies behind the surprising hit Sonic The Hedgehog, which is getting a sequel ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8901:"
Amazon Studios closed a first-look deal with dj2 Entertainment to dive into the world of video game adaptations, and two of the titles that could be soon adapted are Life Is Strange and Disco Elysium. dj2 Entertainment is one of the productions companies behind the surprising hit Sonic The Hedgehog, which is getting a sequel this year and a spinoff series in 2023.
According to the new deal, dj2 Entertainment will offer Amazon Studios the opportunity to pick up any film or TV show they come up with to stream exclusively on the Prime Video service. Since dj2 is specialized in videogame adaptations, players will get a chance to see some of their favorite titles turned into series. What’s even greater news is that dj2 Entertainment is currently working to adapt the Square Enix published franchise Life Is Strange and indie developer ZA/UM hit Disco Elysium.
COLLIDER VIDEO OF THE DAY
Every Life Is Strange game is an episodic adventure where players’ choices can affect the outcome of the story and change the fate of the characters. Each game also has a unique gimmick, such as the ability to rewind time, manipulate emotions, or move objects with the power of your mind. The series is highly acclaimed for its layered characters and creative storytelling, making it a perfect videogame franchise to adapt into a series.
Image via ZA/UM
RELATED: ‘Sonic’ Spinoff Series, ‘Knuckles,’ With Idris Elba Coming to Paramount+
As for Disco Elysium, the indie gem follows a detective who must solve a murder case while dealing with drug-induced amnesia. The game mechanics revolved mostly around dialogue choices, allowing the player to completely change the personality of the player character and how they will interact with the world around them. As if having dozens of alternative storylines to follow wouldn’t be already a challenge to adapt into a TV series, Disco Elysium is also beloved for how the player can alter the gameplay through dialogues with themselves. It would be tough to adapt Disco Elysium to a non-interactive media without losing some of its charm, which might explain why the project has been in early development since 2020.
Commenting on the deal, producer Dmitri M. Johnson from dj2 Entertainment said:
“The dj2 team has long believed that video games would one day serve as incredible source material for stories told in television and film, and that it was only the lack of love and respect for the artform which previously held successful adaptations back. Moreover, it is truly an honor to have Prime Video as our platform partner. A partner who truly supports us, as well as our grand ambitions, for telling the best international gaming stories with no limitations in how high we may collectively aim.”
Nick Pepper, head of studio creative content for Amazon Studios, also added:
“I cannot express enough just how excited we are to be working with the powerhouse team at dj2 Entertainment. Their expertise and skill in the gaming-to-screen market is unparalleled. The possibilities are endless for what we can create together for our global audiences.”
Both Life Is Strange and Disco Elysium adaptations are still in early development. However, with a major player such as Amazon Studios willing to fund dj2 Entertainment’s projects, we’ll hopefully get more information about the adaptations sooner than later.
Why You Should Play ‘Before the Storm’ Before ‘Life Is Strange: True Colors’
No superpowers? No problem.
Read Next
About The Author
Marco Vito Oddo (1098 Articles Published)
Marco Vito Oddo is a writer, journalist, and game designer. Passionate about superhero comic books, horror films, and indie games, he writes for Collider and develops games for Mother’s Touch Games.
More
From Marco Vito Oddo
We would love to say thanks to the writer of this post for this outstanding content
";}s:7:"summary";s:724:"Amazon Studios closed a first-look deal with dj2 Entertainment to dive into the world of video game adaptations, and two of the titles that could be soon adapted are Life Is Strange and Disco Elysium. dj2 Entertainment is one of the productions companies behind the surprising hit Sonic The Hedgehog, which is getting a sequel ... Read more";s:12:"atom_content";s:8901:"
Amazon Studios closed a first-look deal with dj2 Entertainment to dive into the world of video game adaptations, and two of the titles that could be soon adapted are Life Is Strange and Disco Elysium. dj2 Entertainment is one of the productions companies behind the surprising hit Sonic The Hedgehog, which is getting a sequel this year and a spinoff series in 2023.
According to the new deal, dj2 Entertainment will offer Amazon Studios the opportunity to pick up any film or TV show they come up with to stream exclusively on the Prime Video service. Since dj2 is specialized in videogame adaptations, players will get a chance to see some of their favorite titles turned into series. What’s even greater news is that dj2 Entertainment is currently working to adapt the Square Enix published franchise Life Is Strange and indie developer ZA/UM hit Disco Elysium.
COLLIDER VIDEO OF THE DAY
Every Life Is Strange game is an episodic adventure where players’ choices can affect the outcome of the story and change the fate of the characters. Each game also has a unique gimmick, such as the ability to rewind time, manipulate emotions, or move objects with the power of your mind. The series is highly acclaimed for its layered characters and creative storytelling, making it a perfect videogame franchise to adapt into a series.
Image via ZA/UM
RELATED: ‘Sonic’ Spinoff Series, ‘Knuckles,’ With Idris Elba Coming to Paramount+
As for Disco Elysium, the indie gem follows a detective who must solve a murder case while dealing with drug-induced amnesia. The game mechanics revolved mostly around dialogue choices, allowing the player to completely change the personality of the player character and how they will interact with the world around them. As if having dozens of alternative storylines to follow wouldn’t be already a challenge to adapt into a TV series, Disco Elysium is also beloved for how the player can alter the gameplay through dialogues with themselves. It would be tough to adapt Disco Elysium to a non-interactive media without losing some of its charm, which might explain why the project has been in early development since 2020.
Commenting on the deal, producer Dmitri M. Johnson from dj2 Entertainment said:
“The dj2 team has long believed that video games would one day serve as incredible source material for stories told in television and film, and that it was only the lack of love and respect for the artform which previously held successful adaptations back. Moreover, it is truly an honor to have Prime Video as our platform partner. A partner who truly supports us, as well as our grand ambitions, for telling the best international gaming stories with no limitations in how high we may collectively aim.”
Nick Pepper, head of studio creative content for Amazon Studios, also added:
“I cannot express enough just how excited we are to be working with the powerhouse team at dj2 Entertainment. Their expertise and skill in the gaming-to-screen market is unparalleled. The possibilities are endless for what we can create together for our global audiences.”
Both Life Is Strange and Disco Elysium adaptations are still in early development. However, with a major player such as Amazon Studios willing to fund dj2 Entertainment’s projects, we’ll hopefully get more information about the adaptations sooner than later.
Why You Should Play ‘Before the Storm’ Before ‘Life Is Strange: True Colors’
No superpowers? No problem.
Read Next
About The Author
Marco Vito Oddo (1098 Articles Published)
Marco Vito Oddo is a writer, journalist, and game designer. Passionate about superhero comic books, horror films, and indie games, he writes for Collider and develops games for Mother’s Touch Games.
More
From Marco Vito Oddo
We would love to say thanks to the writer of this post for this outstanding content
";s:14:"date_timestamp";i:1645361548;}i:1;a:11:{s:5:"title";s:74:"Why Did Creative Scotland Defund Storied Glasgow Art Gallery Transmission?";s:4:"link";s:131:"https://bestmovies.movs.world/movie-production-companies/why-did-creative-scotland-defund-storied-glasgow-art-gallery-transmission/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 12:36:04 +0000";s:8:"category";s:84:"Movie Production CompaniesArtcreativeDefundgalleryGlasgowScotlandStoriedtransmission";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=55028";s:11:"description";s:712:"For many Transmission gallery is synonymous with contemporary art in Scotland, an artist-run Glasgow institution that epitomizes the DIY attitude that has helped establish the city as an international centre for art. Judged on its recent actions, you could be forgiven for thinking that the arts funding body Creative Scotland favours a different view. It ... Read more";s:7:"content";a:1:{s:7:"encoded";s:9794:"
For many Transmission gallery is synonymous with contemporary art in Scotland, an artist-run Glasgow institution that epitomizes the DIY attitude that has helped establish the city as an international centre for art. Judged on its recent actions, you could be forgiven for thinking that the arts funding body Creative Scotland favours a different view. It has dropped the gallery from its 2018-21 portfolio of regularly funded organizations (RFOs), a move that, based on its award for 2015-18, will lose Transmission guaranteed support of GBP£210,000 over three years. It is a decision that has left artists, curators and gallerists expressing anger and disbelief.
Transmission was founded in 1983 by graduates of Glasgow School of Art and has had a key role in the city’s visual arts ecology ever since. It has remained a vital, continually evolving force, in large part because of the way it is run. With a membership of more than 300, it is led by a rolling voluntary committee – typically consisting of six people, although at present it is four – with committee members usually staying in the role for no more than two years, occasionally more and often less. It’s a model that ensures a continual process of renewal and, by its nature, dispenses with the usual arts establishment hierarchies of CEOs, deputy directors and chief curators. Past committee members have gone on to become internationally-known artists and gallerists, and include: Claire Barclay, Christine Borland, Douglas Gordon, Jim Lambie, Tanya Leighton, Carol Rhodes, Eva Rothschild, Lucy Skaer, Simon Starling, and Modern Institute founding director Toby Webster.
The Glasgow-based artist Martin Boyce was on the Transmission committee from 1991-93; The Modern Institute, which represents him, is just around the corner from the King Street venue. ‘Transmission was and is an outsider,’ Boyce says. ‘It allows artists to be responsible for cultivating their own ecosystem that then develops outwards into the city and beyond. It becomes part of the DNA of the artists themselves.’ Remembering his involvement as a recent graduate of Glasgow School of Art, he adds: ‘For me, Transmission was a lifeline, a school, a salon, a gathering place, an invitation, typewriter and a photocopier, an excuse to reach out to other artists, self-determining, responsible, tentative, self-perpetuating, open. It was the first port of call when artists and friends arrived off the train.’
Katrina Brown, director of Glasgow’s Common Guild gallery and a former director of Glasgow International, was a Transmission committee member at the same time as Boyce. She echoes his point about Transmission’s importance to the city and its artists. ‘It’s such a fundamental and foundational component of the [Glasgow] ecology that it’s impossible to imagine the landscape without it.’ While accepting that ‘not everything should necessarily exist for ever just because it has existed once,’ she describes what the gallery offers as ‘rare, special and important’, believing it ‘fosters a strong sense of both individual and collective agency which has undoubtedly fuelled the now legendary DIY spirit in Glasgow’.
Brown also points out that the Transmission model has been copied by other artist-run spaces in many countries. This is undoubtedly the case, although aspects of its approach have in recent months been put under close scrutiny by the Transmission committee itself. In June 2017, it took the surprise step of postponing the gallery’s annual members’ show, citing ‘multiple burnouts’ amongst the committee due to the pressures of fulfilling their unpaid roles while also holding down paid work. The committee’s decision was accompanied by a pledge to strive ‘towards an alternative’ model that doesn’t rely on free labour and all the stresses and social barriers this creates. It seems that Creative Scotland concluded that an organization in such a constant state of flux does not belong in its portfolio of RFOs. Amanda Catto, Head of Visual Arts at Creative Scotland, puts it differently, stressing that the decision: ‘was not taken with any intention to damage Transmission. We respect and value their very long and quite exceptional history in terms of being an artist-run space’. Citing Creative Scotland’s Visual Arts Sector Review, which was published in October 2016, she tells me: ‘There are many artist-run spaces across Scotland, it’s a different landscape to 35 years ago. What we wish to do is create a targeted fund that will support many artist-run initiatives across the country, including Transmission, and create a much more considered and strategic response to their needs.’ She adds that the gallery has transitional funding in place up to October, ‘and then we will work with them to see where that leaves us’.
Transmission was aware of the still to be confirmed artist-run fund when it issued its robustly-worded statement in response to the Creative Scotland decision. It expresses the view that Transmission was considered ‘too messy and unpredictable’ and ‘subject to quick change’ for Creative Scotland to continue investing in it: ‘Transmission believes that Creative Scotland has chosen to cut our funding because they are no longer prepared to invest in an institution that refuses professionalization, and yet by virtue of its unique history operates at a scale comparable to more professionalized institutions.’
Jamie Crewe, ‘But What Was Most Awful Was A Girl Who Was Singing’, 2016, Transmission Gallery, Glasgow, installation view. Courtesy: the artist and Transmission Gallery, Glasgow
Paradoxically, this rejection of professionalization makes the certainty of regular funding all the more crucial, offering continuity as the organizing committee keeps changing. And while Catto states that her organization is ‘very aware of the vulnerability and precarity of all these [artist-run] spaces’, to remove Transmission’s existing route to funding before any new strategy has been developed seems – whether by accident or design – to be perversely destructive. As Kirsty Ogg, director of New Contemporaries and another former Transmission committee member, puts it: ‘It’s crazy to think that the voluntary committee structure could sustain the gallery’s activity through project-by-project funding applications – they [Creative Scotland] clearly have no sense of the pressures that younger artists are under as members of the precariat. The incredible, cooperative membership-based structure that has lasted for 35 years needs at least one cornerstone of stability.’
The backlash over the decision to drop Transmission is just one aspect of a wider crisis that is enveloping Creative Scotland following its recent regular funding announcement, which included the defunding of three performance companies working with people with disabilities. Two board members – the journalist Ruth Wishart and Professor Emerita of the Royal Conservatoire of Scotland, Maggie Kinloch – have resigned over the lack of time and information they had to consider the decisions, with Wishart stating that Creative Scotland ‘finds itself a family at war with many of those it seeks to serve.’ In total, 20 organizations have been dropped. Other visual arts bodies that have lost their RFO status include the Glasgow-based public art producer NVA and Edinburgh’s Dovecot Foundation. (There have also been 19 additions, with Stills Gallery in Edinburgh becoming an RFO for the first time.) As for Transmission, Boyce captures the feeling of so many artists, curators and others in the visual arts who are perplexed by the Creative Scotland decision. ‘Transmission introduced me to the idea of a supportive network that has always stayed with me. It is unfathomable to me to understand why this ethos is no longer considered relevant.’
Kameelah Janan Rasheed, How To Suffer Politely (And Other Etiquette), 2017, installation view, Transmission Gallery, Glasgow. Courtesy: the artist and Transmission Gallery, Glasgow
We wish to give thanks to the writer of this write-up for this awesome content
";}s:7:"summary";s:712:"For many Transmission gallery is synonymous with contemporary art in Scotland, an artist-run Glasgow institution that epitomizes the DIY attitude that has helped establish the city as an international centre for art. Judged on its recent actions, you could be forgiven for thinking that the arts funding body Creative Scotland favours a different view. It ... Read more";s:12:"atom_content";s:9794:"
For many Transmission gallery is synonymous with contemporary art in Scotland, an artist-run Glasgow institution that epitomizes the DIY attitude that has helped establish the city as an international centre for art. Judged on its recent actions, you could be forgiven for thinking that the arts funding body Creative Scotland favours a different view. It has dropped the gallery from its 2018-21 portfolio of regularly funded organizations (RFOs), a move that, based on its award for 2015-18, will lose Transmission guaranteed support of GBP£210,000 over three years. It is a decision that has left artists, curators and gallerists expressing anger and disbelief.
Transmission was founded in 1983 by graduates of Glasgow School of Art and has had a key role in the city’s visual arts ecology ever since. It has remained a vital, continually evolving force, in large part because of the way it is run. With a membership of more than 300, it is led by a rolling voluntary committee – typically consisting of six people, although at present it is four – with committee members usually staying in the role for no more than two years, occasionally more and often less. It’s a model that ensures a continual process of renewal and, by its nature, dispenses with the usual arts establishment hierarchies of CEOs, deputy directors and chief curators. Past committee members have gone on to become internationally-known artists and gallerists, and include: Claire Barclay, Christine Borland, Douglas Gordon, Jim Lambie, Tanya Leighton, Carol Rhodes, Eva Rothschild, Lucy Skaer, Simon Starling, and Modern Institute founding director Toby Webster.
The Glasgow-based artist Martin Boyce was on the Transmission committee from 1991-93; The Modern Institute, which represents him, is just around the corner from the King Street venue. ‘Transmission was and is an outsider,’ Boyce says. ‘It allows artists to be responsible for cultivating their own ecosystem that then develops outwards into the city and beyond. It becomes part of the DNA of the artists themselves.’ Remembering his involvement as a recent graduate of Glasgow School of Art, he adds: ‘For me, Transmission was a lifeline, a school, a salon, a gathering place, an invitation, typewriter and a photocopier, an excuse to reach out to other artists, self-determining, responsible, tentative, self-perpetuating, open. It was the first port of call when artists and friends arrived off the train.’
Katrina Brown, director of Glasgow’s Common Guild gallery and a former director of Glasgow International, was a Transmission committee member at the same time as Boyce. She echoes his point about Transmission’s importance to the city and its artists. ‘It’s such a fundamental and foundational component of the [Glasgow] ecology that it’s impossible to imagine the landscape without it.’ While accepting that ‘not everything should necessarily exist for ever just because it has existed once,’ she describes what the gallery offers as ‘rare, special and important’, believing it ‘fosters a strong sense of both individual and collective agency which has undoubtedly fuelled the now legendary DIY spirit in Glasgow’.
Brown also points out that the Transmission model has been copied by other artist-run spaces in many countries. This is undoubtedly the case, although aspects of its approach have in recent months been put under close scrutiny by the Transmission committee itself. In June 2017, it took the surprise step of postponing the gallery’s annual members’ show, citing ‘multiple burnouts’ amongst the committee due to the pressures of fulfilling their unpaid roles while also holding down paid work. The committee’s decision was accompanied by a pledge to strive ‘towards an alternative’ model that doesn’t rely on free labour and all the stresses and social barriers this creates. It seems that Creative Scotland concluded that an organization in such a constant state of flux does not belong in its portfolio of RFOs. Amanda Catto, Head of Visual Arts at Creative Scotland, puts it differently, stressing that the decision: ‘was not taken with any intention to damage Transmission. We respect and value their very long and quite exceptional history in terms of being an artist-run space’. Citing Creative Scotland’s Visual Arts Sector Review, which was published in October 2016, she tells me: ‘There are many artist-run spaces across Scotland, it’s a different landscape to 35 years ago. What we wish to do is create a targeted fund that will support many artist-run initiatives across the country, including Transmission, and create a much more considered and strategic response to their needs.’ She adds that the gallery has transitional funding in place up to October, ‘and then we will work with them to see where that leaves us’.
Transmission was aware of the still to be confirmed artist-run fund when it issued its robustly-worded statement in response to the Creative Scotland decision. It expresses the view that Transmission was considered ‘too messy and unpredictable’ and ‘subject to quick change’ for Creative Scotland to continue investing in it: ‘Transmission believes that Creative Scotland has chosen to cut our funding because they are no longer prepared to invest in an institution that refuses professionalization, and yet by virtue of its unique history operates at a scale comparable to more professionalized institutions.’
Jamie Crewe, ‘But What Was Most Awful Was A Girl Who Was Singing’, 2016, Transmission Gallery, Glasgow, installation view. Courtesy: the artist and Transmission Gallery, Glasgow
Paradoxically, this rejection of professionalization makes the certainty of regular funding all the more crucial, offering continuity as the organizing committee keeps changing. And while Catto states that her organization is ‘very aware of the vulnerability and precarity of all these [artist-run] spaces’, to remove Transmission’s existing route to funding before any new strategy has been developed seems – whether by accident or design – to be perversely destructive. As Kirsty Ogg, director of New Contemporaries and another former Transmission committee member, puts it: ‘It’s crazy to think that the voluntary committee structure could sustain the gallery’s activity through project-by-project funding applications – they [Creative Scotland] clearly have no sense of the pressures that younger artists are under as members of the precariat. The incredible, cooperative membership-based structure that has lasted for 35 years needs at least one cornerstone of stability.’
The backlash over the decision to drop Transmission is just one aspect of a wider crisis that is enveloping Creative Scotland following its recent regular funding announcement, which included the defunding of three performance companies working with people with disabilities. Two board members – the journalist Ruth Wishart and Professor Emerita of the Royal Conservatoire of Scotland, Maggie Kinloch – have resigned over the lack of time and information they had to consider the decisions, with Wishart stating that Creative Scotland ‘finds itself a family at war with many of those it seeks to serve.’ In total, 20 organizations have been dropped. Other visual arts bodies that have lost their RFO status include the Glasgow-based public art producer NVA and Edinburgh’s Dovecot Foundation. (There have also been 19 additions, with Stills Gallery in Edinburgh becoming an RFO for the first time.) As for Transmission, Boyce captures the feeling of so many artists, curators and others in the visual arts who are perplexed by the Creative Scotland decision. ‘Transmission introduced me to the idea of a supportive network that has always stayed with me. It is unfathomable to me to understand why this ethos is no longer considered relevant.’
Kameelah Janan Rasheed, How To Suffer Politely (And Other Etiquette), 2017, installation view, Transmission Gallery, Glasgow. Courtesy: the artist and Transmission Gallery, Glasgow
We wish to give thanks to the writer of this write-up for this awesome content
";s:14:"date_timestamp";i:1645360564;}i:2;a:11:{s:5:"title";s:48:"OEMs Are Well Equipped to Insource CNC Machining";s:4:"link";s:106:"https://bestmovies.movs.world/movie-production-companies/oems-are-well-equipped-to-insource-cnc-machining/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 12:26:58 +0000";s:8:"category";s:58:"Movie Production CompaniesCNCEquippedInsourceMachiningOEMs";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=55010";s:11:"description";s:579:"We have come to a time of insourcing. Or, at least a time of serious attention to the value of insourcing. Companies that might once have been inclined to send every aspect of part production out to suppliers are now questioning this mode of operation, and looking to bring some of the most vital or ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7738:"
We have come to a time of insourcing. Or, at least a time of serious attention to the value of insourcing. Companies that might once have been inclined to send every aspect of part production out to suppliers are now questioning this mode of operation, and looking to bring some of the most vital or vulnerable aspects of their production into their own facilities. But one of the biggest obstacles is an unknown: the uncertainty about whether an OEM company possesses, or can reasonably develop, the capacity to make this shift. Frequently, manufacturing enterprises do not know how much productive capacity they possess, says Bill Bither, CEO of industrial IoT platform MachineMetrics. And more to the point, they generally imagine they have less than they do. Some companies that want to insource are already equipped to do so.
That we are now looking to insourcing stands to reason, and could have been predicted. The wave of outsourcing through the 1990s that became offshoring in the 2000s proceeded in part simply because it was a wave. Leaders of companies embraced the delegation and distancing of their manufacturing because this seemed to be the way manufacturing was coming to be done. But it is the nature of waves that they roll too far and they crash. The failings of long, lean, specialized supply chains were revealed in 2020. The disruptions of the pandemic year led to sudden changes in demand and in the availability of plants and their personnel, leaving OEMs at the ends of these chains to do without and regroup. In 2020 (and still today), a valuable asset to have under-roof would have been available, adaptable production capacity beholden to no other user and not separated by shipping distance. That lesson learned will shape choices going forward. But to what extent is that under-roof capacity already there to be used?
MachineMetrics offers a machine monitoring and data analysis system for CNC machine tools. Bither describes how he is now seeing companies apply this system’s analysis to the question of insourcing. A recent example involved a heavy equipment maker with nine plants and about 300 CNC machines. The company was preparing to invest in more capacity to take in more of its own production, but discovered that much of the investment was not needed. Applying machine monitoring throughout the plants revealed gaps of time in which machine tools were waiting, unused. These findings likely saved the company millions of dollars.
But couldn’t this waiting capacity have been seen by the people who work with it every day? Yes, and they certainly did see it. However, to appreciate the full impact, root causes and potential solution for any underutilization incident is too much to do from within the demands of a typical day in a production facility. Thus, underuse of assets becomes accepted, part of the culture and even invisible. Bither says, “We develop an expectation about what is a normal level of output for a given plant or for a given workday.” This comes to feel like optimal. Then, compounding matters, the friction of uncertainty impedes cooperation among sites in the same organization. “The plant getting a request for help from a plant facing a surge might be unsure of its capacity to help, and might decline just out of caution,” he says. Meanwhile, an outside contract manufacturer has nothing but incentive to say yes when work is offered. Uncertainty thus leads to outsourcing practically as the natural course. The unseen factor in all this is the original manufacturer’s room for improvement in how it uses its capacity.
Machine tool use data can reveal available capacity across the facility or across the enterprise. A larger company’s readiness to insource more of its own manufacturing might otherwise be difficult to see. Image courtesy of MachineMetrics.
Companies adopting machine monitoring often soberly come to see just how large this room for improvement is, Bither says. Upon first implementing capacity monitoring, he says, “The typical machine tool utilization rate we see is less than 30%.” That includes unattended hours. Focusing on the staffed hours paints only a slightly more encouraging picture. “During key hours, 8:00 to 4:30, we see utilization typically at 44%.” These are levels of productivity far below what most company leaders would assume their facilities are achieving.
Yet just putting in place the system of data monitoring often produces an initial rise in these numbers. Valuing utilization causes utilization to rise, as people respond to this placement of value. Productivity is, again, culture-driven.
There is more, Bither says. Monitoring data can reveal capacity not only in unnecessary machine wait time, but in unnecessary downtime as well. Patterns in the data can predict maintenance needs so that these are performed only as required. Select users of MachineMetrics’ services have turned to the company to apply artificial intelligence to CNC output data to correctly anticipate tool failure over long production runs, or the failure of crucial machine components such as bearings.
The culture is the first step, he says. Manufacturers seeking to find their capacity using data need to reorganize to make use of the data. This typically means appointing leaders that are empowered to discover and solve the inefficiencies at the root of capacity underuse revealed in this way, and also to marshal and combine the opportunities for additional capacity found in otherwise separate departments or facilities.
But the opportunity is there, he says. Digital technology and data analysis now provide previously unmatched insight into the performance and potential of manufacturing resources. If this is a time of insourcing, the timing is good. Technology offers new potential to look within and find the capacity needed.
We want to thank the author of this short article for this outstanding material
";}s:7:"summary";s:579:"We have come to a time of insourcing. Or, at least a time of serious attention to the value of insourcing. Companies that might once have been inclined to send every aspect of part production out to suppliers are now questioning this mode of operation, and looking to bring some of the most vital or ... Read more";s:12:"atom_content";s:7738:"
We have come to a time of insourcing. Or, at least a time of serious attention to the value of insourcing. Companies that might once have been inclined to send every aspect of part production out to suppliers are now questioning this mode of operation, and looking to bring some of the most vital or vulnerable aspects of their production into their own facilities. But one of the biggest obstacles is an unknown: the uncertainty about whether an OEM company possesses, or can reasonably develop, the capacity to make this shift. Frequently, manufacturing enterprises do not know how much productive capacity they possess, says Bill Bither, CEO of industrial IoT platform MachineMetrics. And more to the point, they generally imagine they have less than they do. Some companies that want to insource are already equipped to do so.
That we are now looking to insourcing stands to reason, and could have been predicted. The wave of outsourcing through the 1990s that became offshoring in the 2000s proceeded in part simply because it was a wave. Leaders of companies embraced the delegation and distancing of their manufacturing because this seemed to be the way manufacturing was coming to be done. But it is the nature of waves that they roll too far and they crash. The failings of long, lean, specialized supply chains were revealed in 2020. The disruptions of the pandemic year led to sudden changes in demand and in the availability of plants and their personnel, leaving OEMs at the ends of these chains to do without and regroup. In 2020 (and still today), a valuable asset to have under-roof would have been available, adaptable production capacity beholden to no other user and not separated by shipping distance. That lesson learned will shape choices going forward. But to what extent is that under-roof capacity already there to be used?
MachineMetrics offers a machine monitoring and data analysis system for CNC machine tools. Bither describes how he is now seeing companies apply this system’s analysis to the question of insourcing. A recent example involved a heavy equipment maker with nine plants and about 300 CNC machines. The company was preparing to invest in more capacity to take in more of its own production, but discovered that much of the investment was not needed. Applying machine monitoring throughout the plants revealed gaps of time in which machine tools were waiting, unused. These findings likely saved the company millions of dollars.
But couldn’t this waiting capacity have been seen by the people who work with it every day? Yes, and they certainly did see it. However, to appreciate the full impact, root causes and potential solution for any underutilization incident is too much to do from within the demands of a typical day in a production facility. Thus, underuse of assets becomes accepted, part of the culture and even invisible. Bither says, “We develop an expectation about what is a normal level of output for a given plant or for a given workday.” This comes to feel like optimal. Then, compounding matters, the friction of uncertainty impedes cooperation among sites in the same organization. “The plant getting a request for help from a plant facing a surge might be unsure of its capacity to help, and might decline just out of caution,” he says. Meanwhile, an outside contract manufacturer has nothing but incentive to say yes when work is offered. Uncertainty thus leads to outsourcing practically as the natural course. The unseen factor in all this is the original manufacturer’s room for improvement in how it uses its capacity.
Machine tool use data can reveal available capacity across the facility or across the enterprise. A larger company’s readiness to insource more of its own manufacturing might otherwise be difficult to see. Image courtesy of MachineMetrics.
Companies adopting machine monitoring often soberly come to see just how large this room for improvement is, Bither says. Upon first implementing capacity monitoring, he says, “The typical machine tool utilization rate we see is less than 30%.” That includes unattended hours. Focusing on the staffed hours paints only a slightly more encouraging picture. “During key hours, 8:00 to 4:30, we see utilization typically at 44%.” These are levels of productivity far below what most company leaders would assume their facilities are achieving.
Yet just putting in place the system of data monitoring often produces an initial rise in these numbers. Valuing utilization causes utilization to rise, as people respond to this placement of value. Productivity is, again, culture-driven.
There is more, Bither says. Monitoring data can reveal capacity not only in unnecessary machine wait time, but in unnecessary downtime as well. Patterns in the data can predict maintenance needs so that these are performed only as required. Select users of MachineMetrics’ services have turned to the company to apply artificial intelligence to CNC output data to correctly anticipate tool failure over long production runs, or the failure of crucial machine components such as bearings.
The culture is the first step, he says. Manufacturers seeking to find their capacity using data need to reorganize to make use of the data. This typically means appointing leaders that are empowered to discover and solve the inefficiencies at the root of capacity underuse revealed in this way, and also to marshal and combine the opportunities for additional capacity found in otherwise separate departments or facilities.
But the opportunity is there, he says. Digital technology and data analysis now provide previously unmatched insight into the performance and potential of manufacturing resources. If this is a time of insourcing, the timing is good. Technology offers new potential to look within and find the capacity needed.
We want to thank the author of this short article for this outstanding material
";s:14:"date_timestamp";i:1645360018;}i:3;a:11:{s:5:"title";s:173:"Mindy Kaling, Amazon Publishing, and Amazon Studios Announce Mindy’s Book Studio and First-Look Deal, a New Home for Dynamic Storytelling | Amazon.com, Inc. – Press Room";s:4:"link";s:217:"https://bestmovies.movs.world/movie-production-companies/mindy-kaling-amazon-publishing-and-amazon-studios-announce-mindys-book-studio-and-first-look-deal-a-new-home-for-dynamic-storytelling-amazon-com-inc-press-room/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 09:51:41 +0000";s:8:"category";s:122:"Movie Production CompaniesAmazonAmazoncomBookDealDynamicFirstLookKalingMindyMindysPressPublishingStorytellingStudioStudios";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=54901";s:11:"description";s:1080:"Best-selling author, actor, screenwriter, and producer Mindy Kaling teams up with Amazon Publishing and Amazon Studios to launch a book studio that centers on diverse voices and imagines stories from page-to-screen SEATTLE–(BUSINESS WIRE)–Feb. 16, 2022– (NASDAQ:AMZN)—Mindy Kaling, Amazon Publishing, and Amazon Studios announced today the launch of Mindy’s Book Studio, a boutique story studio that ... Read more";s:7:"content";a:1:{s:7:"encoded";s:11379:"
Best-selling author, actor, screenwriter, and producer Mindy Kaling teams up with Amazon Publishing and Amazon Studios to launch a book studio that centers on diverse voices and imagines stories from page-to-screen
SEATTLE–(BUSINESS WIRE)–Feb. 16, 2022–
(NASDAQ:AMZN)—Mindy Kaling, Amazon Publishing, and Amazon Studios announced today the launch of Mindy’s Book Studio, a boutique story studio that will publish books selected by Kaling from emerging and established diverse voices. Starting in late 2022, Mindy’s Book Studio will publish books across genres, from fresh romantic comedies and poignant coming-of-age stories to make readers laugh—and cringe—to suspenseful dramas with unforgettable female protagonists. Amazon Studios and Kaling will team to adapt material published under Mindy’s Book Studio as feature motion pictures which will exclusively stream on Prime Video in more than 240 countries and territories worldwide; Kaling holds first-producer option on adaptations. Kaling has also signed her debut novel and new essay collection for publication with Amazon Publishing.
“I had the best time working on Nothing Like I Imagined, and I am so excited to continue my relationship with Amazon,” said Kaling. “I’m passionate about bringing unique stories to readers and viewers, and I can’t wait to help discover and support talented new voices through Mindy’s Book Studio.”
From best-selling memoirs to some of television’s most beloved shows and characters, Kaling has entertained readers, viewers, and listeners alike for nearly two decades. Building on her relatable and hilarious take on love and relationships—as seen in her Amazon Charts best-selling essay collection Nothing Like I Imagined (Except for Sometimes) and Amazon Studios’ hit film Late Night (which she co-wrote, produced, and starred in)—Mindy’s Book Studio will expand Kaling’s beloved storytelling sensibilities to a new slate of juicy, unforgettable books that readers can access through subscription programs such as Kindle Unlimited, and in print and audio.
“We are delighted to work with Mindy and Amazon Studios on Amazon’s first-ever book studio,” said Julia Sommerfeld, publisher of Amazon Publishing. “Mindy is brilliant at bringing to life highly entertaining, funny, sharp, and bingeable stories, and we can’t wait to collaborate with her on discovering and championing must-read stories from new and diverse voices.”
“With her visionary voice, trademark wit, and tremendous artistic acumen, Mindy Kaling remains a relentless innovator in the creative community,” said Jennifer Salke, head of Amazon Studios. “She is a pioneering artist, remarkable role model, and philanthropist who continues to tap into global and cultural zeitgeists as a source for her refreshingly authentic storytelling. We could not be more thrilled to expand our collaboration with her across Amazon to not only showcase her incredible talents but also introduce new, dynamic storytellers to our global customers.”
Kaling is represented by 3 Arts Entertainment, CAA, The Lede Company, and PJ Shapiro. Sommerfeld, Lauren O’Connor, head of IP & literary acquisitions at Amazon Studios, and Carmen Johnson, editorial director of Mindy’s Book Studio, will work with Kaling to find unputdownable stories with the potential to come to life on the screen.
In 2023, Amazon Publishing will also publish Kaling’s debut novel, a comedic and twisty page-turner under Mindy’s Book Studio. In 2024, Amazon Publishing will publish a new collection of personal essays in print, digital, and audio, offering Kaling’s latest reflections on life, motherhood, friendship, and being a boss. Amazon Studios has acquired first-look rights for Kaling’s forthcoming novel and essay collection.
About Amazon Publishing
Amazon Publishing is a leading trade publisher of fiction, nonfiction, and children’s books with a mission to empower outstanding storytellers and connect them with readers worldwide. We publish emerging, best-selling and critically acclaimed authors in digital, print, and audio formats.
About Amazon Studios
Amazon Studios is the home for talent, creating and producing Original films and television series for a global audience. Original series premiere exclusively on Prime Video, which is available in more than 240 countries and territories worldwide. Amazon Studios also produces and acquires Original movies for theatrical release and exclusively for Prime Video, in addition to producing Original content for IMDb TV, Amazon’s premium free streaming service.
About Amazon
Amazon is guided by four principles: customer obsession rather than competitor focus, passion for invention, commitment to operational excellence, and long-term thinking. Amazon strives to be Earth’s Most Customer-Centric Company, Earth’s Best Employer, and Earth’s Safest Place to Work. Customer reviews, 1-Click shopping, personalized recommendations, Prime, Fulfillment by Amazon, AWS, Kindle Direct Publishing, Kindle, Career Choice, Fire tablets, Fire TV, Amazon Echo, Alexa, Just Walk Out technology, Amazon Studios, and The Climate Pledge are some of the things pioneered by Amazon. For more information, visit amazon.com/about and follow @AmazonNews.
";}s:7:"summary";s:1080:"Best-selling author, actor, screenwriter, and producer Mindy Kaling teams up with Amazon Publishing and Amazon Studios to launch a book studio that centers on diverse voices and imagines stories from page-to-screen SEATTLE–(BUSINESS WIRE)–Feb. 16, 2022– (NASDAQ:AMZN)—Mindy Kaling, Amazon Publishing, and Amazon Studios announced today the launch of Mindy’s Book Studio, a boutique story studio that ... Read more";s:12:"atom_content";s:11379:"
Best-selling author, actor, screenwriter, and producer Mindy Kaling teams up with Amazon Publishing and Amazon Studios to launch a book studio that centers on diverse voices and imagines stories from page-to-screen
SEATTLE–(BUSINESS WIRE)–Feb. 16, 2022–
(NASDAQ:AMZN)—Mindy Kaling, Amazon Publishing, and Amazon Studios announced today the launch of Mindy’s Book Studio, a boutique story studio that will publish books selected by Kaling from emerging and established diverse voices. Starting in late 2022, Mindy’s Book Studio will publish books across genres, from fresh romantic comedies and poignant coming-of-age stories to make readers laugh—and cringe—to suspenseful dramas with unforgettable female protagonists. Amazon Studios and Kaling will team to adapt material published under Mindy’s Book Studio as feature motion pictures which will exclusively stream on Prime Video in more than 240 countries and territories worldwide; Kaling holds first-producer option on adaptations. Kaling has also signed her debut novel and new essay collection for publication with Amazon Publishing.
“I had the best time working on Nothing Like I Imagined, and I am so excited to continue my relationship with Amazon,” said Kaling. “I’m passionate about bringing unique stories to readers and viewers, and I can’t wait to help discover and support talented new voices through Mindy’s Book Studio.”
From best-selling memoirs to some of television’s most beloved shows and characters, Kaling has entertained readers, viewers, and listeners alike for nearly two decades. Building on her relatable and hilarious take on love and relationships—as seen in her Amazon Charts best-selling essay collection Nothing Like I Imagined (Except for Sometimes) and Amazon Studios’ hit film Late Night (which she co-wrote, produced, and starred in)—Mindy’s Book Studio will expand Kaling’s beloved storytelling sensibilities to a new slate of juicy, unforgettable books that readers can access through subscription programs such as Kindle Unlimited, and in print and audio.
“We are delighted to work with Mindy and Amazon Studios on Amazon’s first-ever book studio,” said Julia Sommerfeld, publisher of Amazon Publishing. “Mindy is brilliant at bringing to life highly entertaining, funny, sharp, and bingeable stories, and we can’t wait to collaborate with her on discovering and championing must-read stories from new and diverse voices.”
“With her visionary voice, trademark wit, and tremendous artistic acumen, Mindy Kaling remains a relentless innovator in the creative community,” said Jennifer Salke, head of Amazon Studios. “She is a pioneering artist, remarkable role model, and philanthropist who continues to tap into global and cultural zeitgeists as a source for her refreshingly authentic storytelling. We could not be more thrilled to expand our collaboration with her across Amazon to not only showcase her incredible talents but also introduce new, dynamic storytellers to our global customers.”
Kaling is represented by 3 Arts Entertainment, CAA, The Lede Company, and PJ Shapiro. Sommerfeld, Lauren O’Connor, head of IP & literary acquisitions at Amazon Studios, and Carmen Johnson, editorial director of Mindy’s Book Studio, will work with Kaling to find unputdownable stories with the potential to come to life on the screen.
In 2023, Amazon Publishing will also publish Kaling’s debut novel, a comedic and twisty page-turner under Mindy’s Book Studio. In 2024, Amazon Publishing will publish a new collection of personal essays in print, digital, and audio, offering Kaling’s latest reflections on life, motherhood, friendship, and being a boss. Amazon Studios has acquired first-look rights for Kaling’s forthcoming novel and essay collection.
About Amazon Publishing
Amazon Publishing is a leading trade publisher of fiction, nonfiction, and children’s books with a mission to empower outstanding storytellers and connect them with readers worldwide. We publish emerging, best-selling and critically acclaimed authors in digital, print, and audio formats.
About Amazon Studios
Amazon Studios is the home for talent, creating and producing Original films and television series for a global audience. Original series premiere exclusively on Prime Video, which is available in more than 240 countries and territories worldwide. Amazon Studios also produces and acquires Original movies for theatrical release and exclusively for Prime Video, in addition to producing Original content for IMDb TV, Amazon’s premium free streaming service.
About Amazon
Amazon is guided by four principles: customer obsession rather than competitor focus, passion for invention, commitment to operational excellence, and long-term thinking. Amazon strives to be Earth’s Most Customer-Centric Company, Earth’s Best Employer, and Earth’s Safest Place to Work. Customer reviews, 1-Click shopping, personalized recommendations, Prime, Fulfillment by Amazon, AWS, Kindle Direct Publishing, Kindle, Career Choice, Fire tablets, Fire TV, Amazon Echo, Alexa, Just Walk Out technology, Amazon Studios, and The Climate Pledge are some of the things pioneered by Amazon. For more information, visit amazon.com/about and follow @AmazonNews.
";s:14:"date_timestamp";i:1645350701;}i:4;a:11:{s:5:"title";s:65:"Audience development agency to close after Creative Scotland cuts";s:4:"link";s:123:"https://bestmovies.movs.world/movie-production-companies/audience-development-agency-to-close-after-creative-scotland-cuts/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 09:34:20 +0000";s:8:"category";s:76:"Movie Production CompaniesAgencyAudienceClosecreativecutsDevelopmentScotland";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=54895";s:11:"description";s:728:"Scotland’s national audience development agency, Culture Republic, has announced it will close next month, following the withdrawal of its annual funding by Creative Scotland. The organisation received £350k annually from Creative Scotland between 2015 and 2018 as a sector development organisation, but its bid to join the organisation’s portfolio of Regularly Funded Organisations (RFO) for ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4325:"
Scotland’s national audience development agency, Culture Republic, has announced it will close next month, following the withdrawal of its annual funding by Creative Scotland.
The organisation received £350k annually from Creative Scotland between 2015 and 2018 as a sector development organisation, but its bid to join the organisation’s portfolio of Regularly Funded Organisations (RFO) for 2018-2021 was rejected earlier this year. Instead Culture Republic was given £175k in transition funding “to maintain their commitments in 2018/19”.
“Today we informed staff and key stakeholders that regrettably, Culture Republic will cease trading on 31 August,” said the organisation’s Chair, Professor Alan Wilson. “We are particularly sorry for the impact this announcement will have on our employees – and our diverse national membership – and we will support everyone affected.”
Wilson said that the organisation had carried out a “major review” of its operations after its bid for Creative Scotland funding was rejected. But he said that an “ongoing lack of clarity at a national level” about the role of data, digital and audience development, made planning for a financially sustainable future “impossible”.
Culture Republic said that after exploring several different business models and cost-cutting measures, it had concluded that it had no option but to cease trading after receiving “no endorsement, funding or long-term investment”.
It said that the closure will affect 15 employees, as well as the “large number” of member arts and cultural organisations the organisation has worked with.
A spokesperson for Creative Scotland said: “We have been working with Culture Republic over recent months to discuss their future options following their unsuccessful application for Regular Funding 2018-21… We clearly recognise the importance of audience data collection and analysis in Scotland and are currently exploring how best to ensure this is provided effectively.”
Funding bids
Culture Republic was one of numerous organisations to be unsuccessful in its bid for multi-year funding from Creative Scotland, in a process that has been heavily criticised by the arts sector.
A backlash followed Creative Scotland’s initial announcement of its funding decisions in January, resulting in to a climbdown on planned cuts for 5 organisations. Creative Scotland Chief Executive Janet Archer apologised for any negative experiences felt by arts organisations, admitting that the national funder’s reputation had been “severely damaged”, and a parliamentary inquiry later said it was “very concerned” about the handling of some applications.
Disappointment
Julie Tait, Chief Executive of Culture Republic, said: “It is with huge disappointment that we close our doors at a time when data and digital technology – and the skills and experience to use them – have never been more essential to drive inclusion, attendance and rapid change across the arts in Scotland.
“We have worked across the country and with inspiring cultural organisations to help understand, attract and diversify their audiences, but were also in the uncomfortable position of competing with them for RFO funds.”
She continued: “We will work with Creative Scotland in the short time available to ensure that the audience insight and trend data we have gathered over the last 14 years – including our innovative software development, digital hub and online tools – are preserved where possible.”
Culture Republic was created in 2013 through a merger of Culture Sparks in Glasgow and The Audience Business in Edinburgh.
We would love to thank the author of this write-up for this awesome material
";}s:7:"summary";s:728:"Scotland’s national audience development agency, Culture Republic, has announced it will close next month, following the withdrawal of its annual funding by Creative Scotland. The organisation received £350k annually from Creative Scotland between 2015 and 2018 as a sector development organisation, but its bid to join the organisation’s portfolio of Regularly Funded Organisations (RFO) for ... Read more";s:12:"atom_content";s:4325:"
Scotland’s national audience development agency, Culture Republic, has announced it will close next month, following the withdrawal of its annual funding by Creative Scotland.
The organisation received £350k annually from Creative Scotland between 2015 and 2018 as a sector development organisation, but its bid to join the organisation’s portfolio of Regularly Funded Organisations (RFO) for 2018-2021 was rejected earlier this year. Instead Culture Republic was given £175k in transition funding “to maintain their commitments in 2018/19”.
“Today we informed staff and key stakeholders that regrettably, Culture Republic will cease trading on 31 August,” said the organisation’s Chair, Professor Alan Wilson. “We are particularly sorry for the impact this announcement will have on our employees – and our diverse national membership – and we will support everyone affected.”
Wilson said that the organisation had carried out a “major review” of its operations after its bid for Creative Scotland funding was rejected. But he said that an “ongoing lack of clarity at a national level” about the role of data, digital and audience development, made planning for a financially sustainable future “impossible”.
Culture Republic said that after exploring several different business models and cost-cutting measures, it had concluded that it had no option but to cease trading after receiving “no endorsement, funding or long-term investment”.
It said that the closure will affect 15 employees, as well as the “large number” of member arts and cultural organisations the organisation has worked with.
A spokesperson for Creative Scotland said: “We have been working with Culture Republic over recent months to discuss their future options following their unsuccessful application for Regular Funding 2018-21… We clearly recognise the importance of audience data collection and analysis in Scotland and are currently exploring how best to ensure this is provided effectively.”
Funding bids
Culture Republic was one of numerous organisations to be unsuccessful in its bid for multi-year funding from Creative Scotland, in a process that has been heavily criticised by the arts sector.
A backlash followed Creative Scotland’s initial announcement of its funding decisions in January, resulting in to a climbdown on planned cuts for 5 organisations. Creative Scotland Chief Executive Janet Archer apologised for any negative experiences felt by arts organisations, admitting that the national funder’s reputation had been “severely damaged”, and a parliamentary inquiry later said it was “very concerned” about the handling of some applications.
Disappointment
Julie Tait, Chief Executive of Culture Republic, said: “It is with huge disappointment that we close our doors at a time when data and digital technology – and the skills and experience to use them – have never been more essential to drive inclusion, attendance and rapid change across the arts in Scotland.
“We have worked across the country and with inspiring cultural organisations to help understand, attract and diversify their audiences, but were also in the uncomfortable position of competing with them for RFO funds.”
She continued: “We will work with Creative Scotland in the short time available to ensure that the audience insight and trend data we have gathered over the last 14 years – including our innovative software development, digital hub and online tools – are preserved where possible.”
Culture Republic was created in 2013 through a merger of Culture Sparks in Glasgow and The Audience Business in Edinburgh.
We would love to thank the author of this write-up for this awesome material
";s:14:"date_timestamp";i:1645349660;}i:5;a:11:{s:5:"title";s:75:"CNC Malt updates old-school traditions to put Pennsylvania in a pint glass";s:4:"link";s:132:"https://bestmovies.movs.world/movie-production-companies/cnc-malt-updates-old-school-traditions-to-put-pennsylvania-in-a-pint-glass/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 08:25:12 +0000";s:8:"category";s:81:"Movie Production CompaniesapintCNCglassMaltOldSchoolPennsylvaniatraditionsUpdates";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=54854";s:11:"description";s:686:"Brendan and Oana Carroll transformed an old elementary school into one giant science project … and the end result is alcohol. The couple owns CNC Malt, a Butler County-based business that uses locally sourced grains such as barley, wheat and oats to make small-batch, craft malts for more than 20 area beer and booze makers. ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7434:"
Brendan and Oana Carroll transformed an old elementary school into one giant science project … and the end result is alcohol.
The couple owns CNC Malt, a Butler County-based business that uses locally sourced grains such as barley, wheat and oats to make small-batch, craft malts for more than 20 area beer and booze makers.
“I feel like the hops get a lot of the attention, because grains aren’t as sexy,” Oana Carroll says. “But malt is the soul of beer. We’re like the handshake between the farmers and the brewers.”
Malt contributes to the color, flavor, mouthfeel and aromas of a beverage and brewers are always experimenting with new recipes. The Carrolls are happy to help out.
In 2016, the pair purchased the former Clearfield Township Elementary School, a 70-year-old, 30,000-square-foot building in Fenelton.
The walls still boast chalkboards and children’s artwork, but the gymnasium now houses towering steel tanks, the teacher’s lounge is a laboratory and classrooms have been converted into an old-fashioned malting floor similar to ones in Europe, where most alcohol companies source their malt.
A skeleton crew keeps the operation running. Without a student body, the place is eerily quiet, unless the Carrolls’ young sons are playing inside.
A chemical engineer by trade, Brendan Carroll uses both traditional methods and modern technology to create malts that give beer and spirits their unique flavor profile.
Photo courtesy of CNC Malt.
After going through a series of silos and tanks, the grain is spread out on the malting floor, where it is turned three times a day to ensure even germination and aeration.
Typically, this tedious process is done with a rake and a shovel, but a nearby fabrication shop custom-built a machine that makes the job easier. The grain is then dried in a kiln.
The quality control process involves sipping malt teas for each batch coming out of the kiln. Additionally, the malted grains can be roasted for use in stouts and porters. This grain-to-glass concept is something Brendan Carroll takes very seriously.
He grew up on an Eastern Pennsylvania farm that grew hops, so his beer education started at an early age. After years spent working in the oil and gas industry, he wanted to get back to his literal roots.
Rather than open a brewery in an already competitive market, the Carrolls decided to start at the beginning of beer: grain.
Photo courtesy of CNC Malt.
Area farmers grow premium grains and are paid nearly three times the price of livestock feed grains. With the extra money, comes extra effort; the plants must be tended to on a regular basis. The region’s climate and soil come through in the grain and, inevitably, in the taste of the liquid.
It’s Pennsylvania in a pint.
CNC has already malted 2,500 bushels of barley this year, with another 3,200 to go. The company has seen an uptick in sales during the pandemic, as Midwest and European supply chains are backlogged.
Stick City Brewing Co. in Mars has a contracts with CNC Malt, which is just 20 miles away from the Irvine Street taproom. But their connection is more than just geographical.
“That’s the elementary school my dad went to as a kid,” says Nick Salkeld, co-owner of Stick City. “My grandfather laid the original tile floor.”
The Salkeld family named their brewery after their campsite in Cabot and some of the grains used in CNC Malt are even grown on their property.
Stick City’s latest release, Glade Run Pale Ale, is brewed exclusively with locally grown and malted grain and processed hops (CNC also dries and pelletizes them for area hop farmers).
The beer, which is 5.5% ABV, captures the character of the local terroir and is also certified by PA Preferred, a Pennsylvania Department of Agriculture program that helps residents find products grown and processed in the state.
Twenty percent of the sales of the pale ale are donated to the Glade Run Lake Conservancy — because Stick City is all about preserving natural areas and waterways.
The folks at Lincoln Avenue Brewery in Bellevue are also passionate about patronizing local businesses and protecting the environment. Approximately 90% of the company’s malt comes from CNC.
“You have to be dedicated to making an impact,” says Grant Saylor, Lincoln Avenue’s co-owner and head brewer. “The malt is more expensive, but you’re keeping the money close to home, not in Europe. It’s a no-brainer to support someone who is malting local crops.”
We wish to say thanks to the author of this article for this outstanding material
";}s:7:"summary";s:686:"Brendan and Oana Carroll transformed an old elementary school into one giant science project … and the end result is alcohol. The couple owns CNC Malt, a Butler County-based business that uses locally sourced grains such as barley, wheat and oats to make small-batch, craft malts for more than 20 area beer and booze makers. ... Read more";s:12:"atom_content";s:7434:"
Brendan and Oana Carroll transformed an old elementary school into one giant science project … and the end result is alcohol.
The couple owns CNC Malt, a Butler County-based business that uses locally sourced grains such as barley, wheat and oats to make small-batch, craft malts for more than 20 area beer and booze makers.
“I feel like the hops get a lot of the attention, because grains aren’t as sexy,” Oana Carroll says. “But malt is the soul of beer. We’re like the handshake between the farmers and the brewers.”
Malt contributes to the color, flavor, mouthfeel and aromas of a beverage and brewers are always experimenting with new recipes. The Carrolls are happy to help out.
In 2016, the pair purchased the former Clearfield Township Elementary School, a 70-year-old, 30,000-square-foot building in Fenelton.
The walls still boast chalkboards and children’s artwork, but the gymnasium now houses towering steel tanks, the teacher’s lounge is a laboratory and classrooms have been converted into an old-fashioned malting floor similar to ones in Europe, where most alcohol companies source their malt.
A skeleton crew keeps the operation running. Without a student body, the place is eerily quiet, unless the Carrolls’ young sons are playing inside.
A chemical engineer by trade, Brendan Carroll uses both traditional methods and modern technology to create malts that give beer and spirits their unique flavor profile.
Photo courtesy of CNC Malt.
After going through a series of silos and tanks, the grain is spread out on the malting floor, where it is turned three times a day to ensure even germination and aeration.
Typically, this tedious process is done with a rake and a shovel, but a nearby fabrication shop custom-built a machine that makes the job easier. The grain is then dried in a kiln.
The quality control process involves sipping malt teas for each batch coming out of the kiln. Additionally, the malted grains can be roasted for use in stouts and porters. This grain-to-glass concept is something Brendan Carroll takes very seriously.
He grew up on an Eastern Pennsylvania farm that grew hops, so his beer education started at an early age. After years spent working in the oil and gas industry, he wanted to get back to his literal roots.
Rather than open a brewery in an already competitive market, the Carrolls decided to start at the beginning of beer: grain.
Photo courtesy of CNC Malt.
Area farmers grow premium grains and are paid nearly three times the price of livestock feed grains. With the extra money, comes extra effort; the plants must be tended to on a regular basis. The region’s climate and soil come through in the grain and, inevitably, in the taste of the liquid.
It’s Pennsylvania in a pint.
CNC has already malted 2,500 bushels of barley this year, with another 3,200 to go. The company has seen an uptick in sales during the pandemic, as Midwest and European supply chains are backlogged.
Stick City Brewing Co. in Mars has a contracts with CNC Malt, which is just 20 miles away from the Irvine Street taproom. But their connection is more than just geographical.
“That’s the elementary school my dad went to as a kid,” says Nick Salkeld, co-owner of Stick City. “My grandfather laid the original tile floor.”
The Salkeld family named their brewery after their campsite in Cabot and some of the grains used in CNC Malt are even grown on their property.
Stick City’s latest release, Glade Run Pale Ale, is brewed exclusively with locally grown and malted grain and processed hops (CNC also dries and pelletizes them for area hop farmers).
The beer, which is 5.5% ABV, captures the character of the local terroir and is also certified by PA Preferred, a Pennsylvania Department of Agriculture program that helps residents find products grown and processed in the state.
Twenty percent of the sales of the pale ale are donated to the Glade Run Lake Conservancy — because Stick City is all about preserving natural areas and waterways.
The folks at Lincoln Avenue Brewery in Bellevue are also passionate about patronizing local businesses and protecting the environment. Approximately 90% of the company’s malt comes from CNC.
“You have to be dedicated to making an impact,” says Grant Saylor, Lincoln Avenue’s co-owner and head brewer. “The malt is more expensive, but you’re keeping the money close to home, not in Europe. It’s a no-brainer to support someone who is malting local crops.”
We wish to say thanks to the author of this article for this outstanding material
";s:14:"date_timestamp";i:1645345512;}i:6;a:11:{s:5:"title";s:68:"How the Chip Shortage Is Affecting CNC Machine Dealers – ELE Times";s:4:"link";s:122:"https://bestmovies.movs.world/movie-production-companies/how-the-chip-shortage-is-affecting-cnc-machine-dealers-ele-times/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 04:22:48 +0000";s:8:"category";s:63:"Movie Production CompanieschipCNCDealersELEMachineshortageTimes";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=54695";s:11:"description";s:710:"The global chip shortage is affecting all kinds of industries. After all, semiconductor chips are used in millions of products, including cars, smartphones, washing machines, and even electric toothbrushes. Chips are used in computer numerical control machinery too. That means CNC machine dealers are also feeling the effects of the chip shortage. How CNC Machining ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8552:"
The global chip shortage is affecting all kinds of industries. After all, semiconductor chips are used in millions of products, including cars, smartphones, washing machines, and even electric toothbrushes.
Chips are used in computer numerical control machinery too. That means CNC machine dealers are also feeling the effects of the chip shortage.
How CNC Machining Is Being Affected by the Chip Shortage
CNC machining produces numerous parts used in dozens of industries, including the medical, aerospace, and military industries, to name just a few.
Due to the computers and machines used in CNC manufacturing, intricate and precise designs can be produced in a wide variety of materials, more than can be achieved by other production methods.
CNC machining is a crucial element of many of today’s manufacturing processes. Seeing as CNC machines use chips, the chip shortage has heavily affected the CNC manufacturing industry throughout the world.
Not only are products that contain chips being delayed. Products that use parts manufactured with CNC machines are also being delayed.
How CNC Machine Dealers Are Being Affected by the Chip Shortage
The shortage has affected CNC machine dealers in two ways.
Firstly, the production of new CNC machinery is much slower due to the unavailability of chips. That means dealers of new CNC equipment are often unable to keep up with demand.
Secondly, due to the effect that the chip shortage has had on making new CNC machines, the second-hand CNC machinery market is thriving. Dealers selling used but fully-working CNC machines are selling equipment much quicker than before.
If your company is located in the United States and you are looking for an excellent CNC machine dealer company, you will find a fantastic range of options at Revelation Machinery in the USA.
What is causing the chip shortage?
While problems associated with the pandemic and lockdowns have had a major impact on the chip shortage since 2020, the shortage situation has actually been developing for years.
Manufacturers have been faced with the pressures of increased demand for some time, due to numerous factors. For one thing, the rise of 5G massively increased the demand for semiconductor chips.
And in the United States in 2018, there was a restriction on importing semiconductor chips made in China, due to the trade war between China and the Trump administration. China’s Semiconductor Manufacturing International Corporation alone supplies around 11% of the global chip market.
The ban on importing chips in the United States resulted in many manufacturers going with chip manufacturers in Taiwan and South Korea, but those manufacturers were already working at full capacity.
Another factor that further complicated the availability of chips was a shortage of water in Taiwan. Semiconductor fabrication methods need lots of ultra-clean water to clean production parts at crucial stages to ensure no impurities are left.
In Taiwan, the monsoon never came in 2021, as it should have. That meant the country’s water reserves fell by a whopping 70%.
Furthermore, the drought-affected power supplies, which had a knock-on effect within the manufacturing industry.
The fact that the monsoon never came is due to global warming. So, water shortage issues are not likely to be solved in the immediate future.
Since 2020, the measures brought in to control the Covid-19 pandemic have had a major effect on the availability of semiconductor chips.
For example, with the lockdowns imposed around the world, everyone started working from home or being schooled at home. In turn, there was a huge demand for new devices like laptops, tablets, phones, and routers.
It is estimated that the demand in that market grew more than 26% in 2020, compared to the previous year. That increased global demand for electronic devices significantly contributed to the chip shortage.
Other less obvious complexities have contributed to the shortage too, but the above reasons alone are enough to have caused such global supply problems.
Final Thoughts
With production problems and an increase in demand, the chip shortage continues to be a problem around the world. The shortage has affected CNC machine dealers and numerous industries.
While the shortage of semiconductor chips will undoubtedly improve over time, unfortunately, experts are predicting that the shortage will continue for at least another two years. Only time will tell if they are right.
We want to thank the writer of this short article for this incredible content
";}s:7:"summary";s:710:"The global chip shortage is affecting all kinds of industries. After all, semiconductor chips are used in millions of products, including cars, smartphones, washing machines, and even electric toothbrushes. Chips are used in computer numerical control machinery too. That means CNC machine dealers are also feeling the effects of the chip shortage. How CNC Machining ... Read more";s:12:"atom_content";s:8552:"
The global chip shortage is affecting all kinds of industries. After all, semiconductor chips are used in millions of products, including cars, smartphones, washing machines, and even electric toothbrushes.
Chips are used in computer numerical control machinery too. That means CNC machine dealers are also feeling the effects of the chip shortage.
How CNC Machining Is Being Affected by the Chip Shortage
CNC machining produces numerous parts used in dozens of industries, including the medical, aerospace, and military industries, to name just a few.
Due to the computers and machines used in CNC manufacturing, intricate and precise designs can be produced in a wide variety of materials, more than can be achieved by other production methods.
CNC machining is a crucial element of many of today’s manufacturing processes. Seeing as CNC machines use chips, the chip shortage has heavily affected the CNC manufacturing industry throughout the world.
Not only are products that contain chips being delayed. Products that use parts manufactured with CNC machines are also being delayed.
How CNC Machine Dealers Are Being Affected by the Chip Shortage
The shortage has affected CNC machine dealers in two ways.
Firstly, the production of new CNC machinery is much slower due to the unavailability of chips. That means dealers of new CNC equipment are often unable to keep up with demand.
Secondly, due to the effect that the chip shortage has had on making new CNC machines, the second-hand CNC machinery market is thriving. Dealers selling used but fully-working CNC machines are selling equipment much quicker than before.
If your company is located in the United States and you are looking for an excellent CNC machine dealer company, you will find a fantastic range of options at Revelation Machinery in the USA.
What is causing the chip shortage?
While problems associated with the pandemic and lockdowns have had a major impact on the chip shortage since 2020, the shortage situation has actually been developing for years.
Manufacturers have been faced with the pressures of increased demand for some time, due to numerous factors. For one thing, the rise of 5G massively increased the demand for semiconductor chips.
And in the United States in 2018, there was a restriction on importing semiconductor chips made in China, due to the trade war between China and the Trump administration. China’s Semiconductor Manufacturing International Corporation alone supplies around 11% of the global chip market.
The ban on importing chips in the United States resulted in many manufacturers going with chip manufacturers in Taiwan and South Korea, but those manufacturers were already working at full capacity.
Another factor that further complicated the availability of chips was a shortage of water in Taiwan. Semiconductor fabrication methods need lots of ultra-clean water to clean production parts at crucial stages to ensure no impurities are left.
In Taiwan, the monsoon never came in 2021, as it should have. That meant the country’s water reserves fell by a whopping 70%.
Furthermore, the drought-affected power supplies, which had a knock-on effect within the manufacturing industry.
The fact that the monsoon never came is due to global warming. So, water shortage issues are not likely to be solved in the immediate future.
Since 2020, the measures brought in to control the Covid-19 pandemic have had a major effect on the availability of semiconductor chips.
For example, with the lockdowns imposed around the world, everyone started working from home or being schooled at home. In turn, there was a huge demand for new devices like laptops, tablets, phones, and routers.
It is estimated that the demand in that market grew more than 26% in 2020, compared to the previous year. That increased global demand for electronic devices significantly contributed to the chip shortage.
Other less obvious complexities have contributed to the shortage too, but the above reasons alone are enough to have caused such global supply problems.
Final Thoughts
With production problems and an increase in demand, the chip shortage continues to be a problem around the world. The shortage has affected CNC machine dealers and numerous industries.
While the shortage of semiconductor chips will undoubtedly improve over time, unfortunately, experts are predicting that the shortage will continue for at least another two years. Only time will tell if they are right.
We want to thank the writer of this short article for this incredible content
";s:14:"date_timestamp";i:1645330968;}i:7;a:11:{s:5:"title";s:60:"Screen Australia announces $2.3 million for 10 documentaries";s:4:"link";s:117:"https://bestmovies.movs.world/movie-production-companies/screen-australia-announces-2-3-million-for-10-documentaries/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 00:23:30 +0000";s:8:"category";s:63:"Movie Production CompaniesannouncesAustraliadocumentariesScreen";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=54537";s:11:"description";s:695:"Share Tweet Share Email Screen Australia has announced $2.3 million of documentary production funding for eight projects through the Producer Program and two projects through the Commissioned Program. The projects include feature documentaries about Australian music icons John Farnham, Ruby Hunter and Archie Roach, and legendary racehorse WINX; as well as Embrace Kids, a follow ... Read more";s:7:"content";a:1:{s:7:"encoded";s:15823:"
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Screen Australia has announced $2.3 million of documentary production funding for eight projects through the Producer Program and two projects through the Commissioned Program.
The projects include feature documentaries about Australian music icons John Farnham, Ruby Hunter and Archie Roach, and legendary racehorse WINX; as well as Embrace Kids, a follow up to hit 2016 documentary Embrace.
Alex West, head of documentary at Screen Australia said, “We’re proud to announce this impressive mix of projects which rounds out our documentary funding for 2019/20. It’s great to support so many feature documentaries covering a range of exciting topics, including shining a light on a number of Australian icons, and I’m confident they will captivate audiences.”
The commissioned projects are:
Nurses: A 10-part series from ITV Studios Australia for the Seven Network about the nurses in NSW – save a life, you’re a hero. Save 100 lives, you’re a nurse. With privileged access to three of Sydney’s busiest hospitals, this documentary will shine a light on the diverse workforce and the life-or-death decisions they make every day. Director/producer Lisa Storer (Medicine or Myth?) is joined by producer Lexi Landsman (Australia’s Deadliest) and executive producers Ben Ulm (Who Gets to Stay in Australia?) and Steve Bibb (Great Southern Land).
Outback Ringer series 2: A seven-part series from Ronde Media for the ABC about the families that risk their lives catching feral bulls and buffalo in the Australian Outback. Returning for series 2 are series producer Liam Taylor, series director (field) Tom Lawrence, producer Jess Brown (The Secret Life of Four Year Olds) and executive producer Ben Davies. They are joined by producer Cian McCue. This project has received production investment from the ABC.
The producer program projects are:
Embrace Kids: A feature documentary from filmmaker and activist Taryn Brumfitt, following on from her breakout documentary Embrace which explored the global issue of negative body image. Written, directed and produced by Taryn, this film will focus on why 70% of Australian school kids consider body image to be their number one concern, and what can be done about it. The creative team includes producers Anna Vincent (Chasing Wonders) and Bonnie McBride (Demonic) and the executive producers are comedian Celeste Barber, actor Teresa Palmer and Natasha Stott Despoja AO, Australia’s former Ambassador for Women and Girls. This project is financed with support from the South Australian Film Corporation and is being distributed in ANZ by Transmission Films.
Gloriavale: A feature documentary about the infamous Gloriavale Christian Community and the institutional failures that have allowed one of the world’s biggest and longest running cults to continue. Told through the personal journey of a man fighting to save his family, the film follows a group of unlikely heroes as they interrogate accusations of abuse and modern day slavery within this isolated community. Gloriavale is written, directed and produced by Noel Smyth and Fergus Grady who previously collaborated on Camino Skies. The executive producers are Kim Ingles (Impact Producer on The Australian Dream) and Richard Fletcher (This Could Go Anywhere).
Ithaka: A feature documentary that follows Julian Assange’s father John Shipton as he teams up with Assange’s fiancé and legal advisor, Stella Moris to fight to free his son. Directed by Ben Lawrence whose 2018 documentary Ghosthunter won Best Documentary at Sydney Film Festival, this film is produced by Assange’s half-brother Gabriel Shipton (Emu Runner) along with Moris’s brother Adrian Devant. This project is financed with support from Film Victoria and will premiere at this year’s Melbourne International Film Festival.
John Farnham – Finding the Voice: A feature documentary about John Farnham’s life and career, his journey to find an artistic voice and become one of Australia’s most beloved performers. This project is the feature debut from director Poppy Stockell (Miracle Hospital), who teams up with producer Olivia Hoopmann (Destination Flavour China) and executive producer Martin Fabinyi and writer/executive producer Paul Clarke whose credits together include Blood + Thunder– The Story of Alberts, and Whitlam: The Power and the Passion. This project is supported by the ABC and Sony Pictures.
Knowing the Score: A feature documentary from Serendipity Productions centred on trailblazer Simone Young, the first woman to be Chief Conductor of the Sydney Symphony Orchestra in its 90-year history. Getting up close and personal with Young, this documentary also explores gender parity in the classical music industry and the impact of COVID-19 on the arts more broadly. The creative team features writer/director Janine Hosking (The Eulogy), director Simon Target (The Talented Mr Stone), producer Margaret Bryant (Who Do You Think You Are?) and executive producer Jonathan Page (In My Blood It Runs). This project is supported by Autlook Distribution, Bonsai Films, the ABC, Arte, the Sydney Symphony Orchestra and philanthropy via Documentary Australia Foundation.
The Giants: A feature documentary that paints a cinematic portrait of environmentalist Bob Brown intertwined with the Forest. This film draws on emerging science about trees and Brown’s life of activism to inspire a new chapter in our relationship with trees. The creative team features General Strike director/producer Laurence Billiet and executive producer Helen Panckhurst of Matchbox Pictures, who previously collaborated on FREEMAN. This project is developed with assistance from Film Victoria and financed with support from Madman Entertainment and philanthropy via Documentary Australia Foundation.
Wash My Soul In The River’s Flow: A feature documentary about the lives and love story of musicians Ruby Hunter and Archie Roach, as told by their own songs in a cinematic reinvention of their 2004 Helpmann Award-winning concert Kura Tungar: Songs from the River – a collaboration with Paul Grabowsky and the Australian Art Orchestra. This film will explore Hunter’s connection to country and the joy of coming home. Roach is a producer and the film will be written and directed by Philippa Bateman (Jindabyne). The creative team also includes producer Kate Hodges (Frackman) and executive producers Emma Donovan, who has toured with Roach and Hunter, and Ian Darling (The Final Quarter). This project is financed with support from the Shark Island Institute, philanthropic donations and Screen NSW.
WINX: A feature documentary that tells the story of the bay filly from Lot 329 who went on to be crowned the best race horse in the world. Writer, director and producer Janine Hosking (The Eulogy) teams up with writer Andrew Rule (author of WINX: The Authorised Biography, Underbelly) and producer Katrina McGowan (associate producer on The Eulogy). This project will be distributed by Transmission.
Changes to Screen Australia online documentary funding:
Since 1 July 2021, documentary projects that have a primary release on a social media platform are able to apply for funding via the Screen Australia Online Production fund. Applicants with documentary projects designed for release on other platforms, including on SVOD services, should continue to apply through the Documentary funding programs. More information is available here.
Top Image: Ruby Hunter and Archie Roach
We wish to say thanks to the author of this post for this incredible material
";}s:7:"summary";s:695:"Share Tweet Share Email Screen Australia has announced $2.3 million of documentary production funding for eight projects through the Producer Program and two projects through the Commissioned Program. The projects include feature documentaries about Australian music icons John Farnham, Ruby Hunter and Archie Roach, and legendary racehorse WINX; as well as Embrace Kids, a follow ... Read more";s:12:"atom_content";s:15823:"
Share
Tweet
Share
Email
Screen Australia has announced $2.3 million of documentary production funding for eight projects through the Producer Program and two projects through the Commissioned Program.
The projects include feature documentaries about Australian music icons John Farnham, Ruby Hunter and Archie Roach, and legendary racehorse WINX; as well as Embrace Kids, a follow up to hit 2016 documentary Embrace.
Alex West, head of documentary at Screen Australia said, “We’re proud to announce this impressive mix of projects which rounds out our documentary funding for 2019/20. It’s great to support so many feature documentaries covering a range of exciting topics, including shining a light on a number of Australian icons, and I’m confident they will captivate audiences.”
The commissioned projects are:
Nurses: A 10-part series from ITV Studios Australia for the Seven Network about the nurses in NSW – save a life, you’re a hero. Save 100 lives, you’re a nurse. With privileged access to three of Sydney’s busiest hospitals, this documentary will shine a light on the diverse workforce and the life-or-death decisions they make every day. Director/producer Lisa Storer (Medicine or Myth?) is joined by producer Lexi Landsman (Australia’s Deadliest) and executive producers Ben Ulm (Who Gets to Stay in Australia?) and Steve Bibb (Great Southern Land).
Outback Ringer series 2: A seven-part series from Ronde Media for the ABC about the families that risk their lives catching feral bulls and buffalo in the Australian Outback. Returning for series 2 are series producer Liam Taylor, series director (field) Tom Lawrence, producer Jess Brown (The Secret Life of Four Year Olds) and executive producer Ben Davies. They are joined by producer Cian McCue. This project has received production investment from the ABC.
The producer program projects are:
Embrace Kids: A feature documentary from filmmaker and activist Taryn Brumfitt, following on from her breakout documentary Embrace which explored the global issue of negative body image. Written, directed and produced by Taryn, this film will focus on why 70% of Australian school kids consider body image to be their number one concern, and what can be done about it. The creative team includes producers Anna Vincent (Chasing Wonders) and Bonnie McBride (Demonic) and the executive producers are comedian Celeste Barber, actor Teresa Palmer and Natasha Stott Despoja AO, Australia’s former Ambassador for Women and Girls. This project is financed with support from the South Australian Film Corporation and is being distributed in ANZ by Transmission Films.
Gloriavale: A feature documentary about the infamous Gloriavale Christian Community and the institutional failures that have allowed one of the world’s biggest and longest running cults to continue. Told through the personal journey of a man fighting to save his family, the film follows a group of unlikely heroes as they interrogate accusations of abuse and modern day slavery within this isolated community. Gloriavale is written, directed and produced by Noel Smyth and Fergus Grady who previously collaborated on Camino Skies. The executive producers are Kim Ingles (Impact Producer on The Australian Dream) and Richard Fletcher (This Could Go Anywhere).
Ithaka: A feature documentary that follows Julian Assange’s father John Shipton as he teams up with Assange’s fiancé and legal advisor, Stella Moris to fight to free his son. Directed by Ben Lawrence whose 2018 documentary Ghosthunter won Best Documentary at Sydney Film Festival, this film is produced by Assange’s half-brother Gabriel Shipton (Emu Runner) along with Moris’s brother Adrian Devant. This project is financed with support from Film Victoria and will premiere at this year’s Melbourne International Film Festival.
John Farnham – Finding the Voice: A feature documentary about John Farnham’s life and career, his journey to find an artistic voice and become one of Australia’s most beloved performers. This project is the feature debut from director Poppy Stockell (Miracle Hospital), who teams up with producer Olivia Hoopmann (Destination Flavour China) and executive producer Martin Fabinyi and writer/executive producer Paul Clarke whose credits together include Blood + Thunder– The Story of Alberts, and Whitlam: The Power and the Passion. This project is supported by the ABC and Sony Pictures.
Knowing the Score: A feature documentary from Serendipity Productions centred on trailblazer Simone Young, the first woman to be Chief Conductor of the Sydney Symphony Orchestra in its 90-year history. Getting up close and personal with Young, this documentary also explores gender parity in the classical music industry and the impact of COVID-19 on the arts more broadly. The creative team features writer/director Janine Hosking (The Eulogy), director Simon Target (The Talented Mr Stone), producer Margaret Bryant (Who Do You Think You Are?) and executive producer Jonathan Page (In My Blood It Runs). This project is supported by Autlook Distribution, Bonsai Films, the ABC, Arte, the Sydney Symphony Orchestra and philanthropy via Documentary Australia Foundation.
The Giants: A feature documentary that paints a cinematic portrait of environmentalist Bob Brown intertwined with the Forest. This film draws on emerging science about trees and Brown’s life of activism to inspire a new chapter in our relationship with trees. The creative team features General Strike director/producer Laurence Billiet and executive producer Helen Panckhurst of Matchbox Pictures, who previously collaborated on FREEMAN. This project is developed with assistance from Film Victoria and financed with support from Madman Entertainment and philanthropy via Documentary Australia Foundation.
Wash My Soul In The River’s Flow: A feature documentary about the lives and love story of musicians Ruby Hunter and Archie Roach, as told by their own songs in a cinematic reinvention of their 2004 Helpmann Award-winning concert Kura Tungar: Songs from the River – a collaboration with Paul Grabowsky and the Australian Art Orchestra. This film will explore Hunter’s connection to country and the joy of coming home. Roach is a producer and the film will be written and directed by Philippa Bateman (Jindabyne). The creative team also includes producer Kate Hodges (Frackman) and executive producers Emma Donovan, who has toured with Roach and Hunter, and Ian Darling (The Final Quarter). This project is financed with support from the Shark Island Institute, philanthropic donations and Screen NSW.
WINX: A feature documentary that tells the story of the bay filly from Lot 329 who went on to be crowned the best race horse in the world. Writer, director and producer Janine Hosking (The Eulogy) teams up with writer Andrew Rule (author of WINX: The Authorised Biography, Underbelly) and producer Katrina McGowan (associate producer on The Eulogy). This project will be distributed by Transmission.
Changes to Screen Australia online documentary funding:
Since 1 July 2021, documentary projects that have a primary release on a social media platform are able to apply for funding via the Screen Australia Online Production fund. Applicants with documentary projects designed for release on other platforms, including on SVOD services, should continue to apply through the Documentary funding programs. More information is available here.
Top Image: Ruby Hunter and Archie Roach
We wish to say thanks to the author of this post for this incredible material
";s:14:"date_timestamp";i:1645316610;}i:8;a:11:{s:5:"title";s:32:"Red Art Concrete CNC Pro Machine";s:4:"link";s:90:"https://bestmovies.movs.world/movie-production-companies/red-art-concrete-cnc-pro-machine/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sun, 20 Feb 2022 00:21:49 +0000";s:8:"category";s:53:"Movie Production CompaniesArtCNCCONCRETEMachineproRed";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=54531";s:11:"description";s:551:"At the 2020 World of Concrete, we saw something that really caught our eye. Red Art Technologies had created a programmable concrete CNC Pro machine that could quickly and efficiently create graphics, custom logos, and text in a multitude of materials. It was a show-stopper, and it didn’t take long for us to see the ... Read more";s:7:"content";a:1:{s:7:"encoded";s:20777:"
At the 2020 World of Concrete, we saw something that really caught our eye. Red Art Technologies had created a programmable concrete CNC Pro machine that could quickly and efficiently create graphics, custom logos, and text in a multitude of materials. It was a show-stopper, and it didn’t take long for us to see the potential of such a tool. In fact, we included it in our Top 10 Tools of World of Concrete video for the show.
Fast forward a year or so and we partnered with Red Art to explain more about how both this product and process works. But first, it helps to understand a little bit more about the company behind this innovative concrete CNC machine.
Read our article on the Top 10 Best Tools at World of Concrete.
Red Art Technologies Invents a Concrete CNC Machine
RedArt Technologies was created by Henry Ashworth of Bountiful, Utah. After a year of research and development, Henry patented the world’s first truly portable CNC engraving machine—the Red Art CNC Pro. It could customize surfaces with any typeface, logo, pattern, graphic, or image you could imagine—largely because the system removed the engraving deck. The target market was businesses, entrepreneurs—even non-profit organizations.
Henry Ashworth of Bountiful, Utah in front of a fleet of Red Art CNC Pro machines
The Red Art Concrete CNC Machine links to the software on a laptop which transforms virtually any image from the computer into a precise engraving on any desired surface. Specifically, the CNC Pro utilizes standard G codes to operate and Vcarve serves as the principal vector design software. Using Vcarve also enables CNC Pro operators to engrave wood, HDPE, aluminum, and other soft metals.
Vectric VCarve Pro software
The product—in addition to having a revolutionary design, boasts durability, versatility, and portability. The design has remained the same milled aluminum frame for the past 6 years. Red Art has made some improvements like using beefier step motors which now allow the machine to engrave vertically onto walls. These motors also allow engravings to get down to .006-inches of precision. The Red Art CNC Pro is designed to advertise, commemorate, brand, or customize any sign, landmark, bridge, walkway, or building. Basically…if you can imagine it, this thing can help you make your mark.
Cool Concrete CNC Machine Engraving Projects
Some of the most impressive are these larger engravings that require much more space than you find within the confines of the CNC Pro. This concrete CNC machine accomplishes this via a process called “tiling”. Tiling is where you pick up the Machine and position it relative to the adjacent tile or engraving area. Red Art has training videos that take owners through this entire process.
Carving a Periodic Table of Elements
The largest tiled job we’ve seen this system tackle was performed by an owner out of Baton Rouge, LA. He engraved a large Periodic Table of Elements into the Science Plaza at the Episcopal School of Baton Rouge. The project took around 5 days to complete.
Each of the Elements was sponsored. As the school auctioned off each element to donors, it engraved their names alongside their element.
Engraving Poems in Walkways and Fundraising Opportunities
Another cool project happened when the city of Las Vegas contacted Red Art. They wanted them to use the CNC Pro concrete engraving machine to help improve the historic Artistic District by engraving poems into area walkways.
So how else do we see the SNS Pro being used? Many individuals want their favorite team engraved onto their driveway, garage, pool deck, or shop. Businesses tend to make requests for street signage or to have their logo engraved onto the lobby or in recreational areas. Educational institutions and nonprofits often utilize engraving services for fundraising such as engraving donor names.
The Red Art CNC Pro Concrete Engraving Process
No matter the application, the design process for creating custom engraved artwork is pretty straightforward. The turnaround time from when a customer walks into a CNC Pro shop and when they get to take home or have a design engraved is anywhere from a few minutes to 24 hours. The process, if you want to call it that, entails a customer bringing in a photo, text, or design they want engraved. With Vcarve, you can trace any logo, text, or design and send it to the machine for engraving. The software accepts virtually every image or vector format including JPEG, PNG, Illustrator, EPS, and CAD. The CNC Pro operator drafts a design and gets the customer to sign off on it. Lastly, they engrave the design and optionally add pigment or epoxy to make it pop.
Creating a Business Model
But how would you create a business around the CNC Pro? Well, in this case, the project not only raised money for the school but also brought in a secure source of income for years to come. It ended up being one of the most exciting jobs Red Art has ever seen completed with the CNC Pro—and it also did something really great for the community.
Red Art ships the CNC Pro in a waterproof, high-density plastic case secured in customized foam lining. It makes it a very transportable CNC solution that can handle going on location and making it safely back to the shop. And that’s the point—while you can use this system in your workshop—it’s designed to go boldly where no CNC machine has gone before…to coin a phrase.
So here’s where it gets interesting, Red Art Technologies makes it so that you don’t have to have any CNC knowledge to buy and use this concrete engraving machine. The reason is that they include in-depth training materials with every CNC Pro. Red Art even offers one-on-one training with every CNC Pro purchase. While most owners are ready to go with only the training videos, if you need more, the company provides 24/7 support with an actual real-live CNC Pro engineer.
For some, that makes this a business investment opportunity. That’s true whether the CNC engraving machine becomes your main source of income and opportunity or it supplements the concrete work you already do for your clients.
Four Compelling Aspects of Owning a Red Art CNC Pro
Red Art gives four reasons why you might want to add the CNC Pro to your professional tool arsenal. First, it lets you generate long-term income on existing surfaces. That comes from the potential to market your services to facilities and organizations interested in commemorating donors or contributors. Colleges, businesses, municipalities, private industries—the possibilities seem endless.
Second, you could really make an impact in your community. Imagine beautifying a downtown art district or commemorating fallen heroes at a central park or memorial. From schools to community centers, you could literally make a lasting impression in the cities where you work and live.
The third reason has to do with the nature of the business a concrete CNC machine generates. This market is largely untapped—so you have the potential to offer a valuable and unique service. With no deck, the CNC Pro travels wherever you want it and engraves on both horizontal and vertical surfaces for nearly endless applications. Currently, Red Art Technologies says less than 200 CNC Pro owners exist worldwide. Between them, they’ve logged over 30,000 hours netting over $10,000,000 in sales.
The fourth reason? Well, that goes back to where we started. This CNC engraving machine and technology are simply cool. It’s rare that a tool contains an entire business model—but this one does. Aside from concrete, the right bits and techniques also give you the potential to engrave wood, stone, tile, brick, high-density polyethylene (HDPE), and even glass. On top of that, it’s built to last, with components milled from solid aluminum and backed with a 2-year warranty and support. Add to that the self-paced training program and owners group, and you’ve got something you can build on for years to come.
Final Thoughts
CNC machines used to take up entire warehouses and airport hangers. Now you can carry one in the back of your pickup. Is the Red Art Technologies CNC Pro Concrete Engraving Machine right for your business? Hit the link in the description below and find out. You might be surprised at what you can accomplish with this tool. At the very least you can leave your mark in your community. You see what I did there?
For more information, visit the Red Art Technologies website here.
We want to thank the author of this post for this amazing web content
";}s:7:"summary";s:551:"At the 2020 World of Concrete, we saw something that really caught our eye. Red Art Technologies had created a programmable concrete CNC Pro machine that could quickly and efficiently create graphics, custom logos, and text in a multitude of materials. It was a show-stopper, and it didn’t take long for us to see the ... Read more";s:12:"atom_content";s:20777:"
At the 2020 World of Concrete, we saw something that really caught our eye. Red Art Technologies had created a programmable concrete CNC Pro machine that could quickly and efficiently create graphics, custom logos, and text in a multitude of materials. It was a show-stopper, and it didn’t take long for us to see the potential of such a tool. In fact, we included it in our Top 10 Tools of World of Concrete video for the show.
Fast forward a year or so and we partnered with Red Art to explain more about how both this product and process works. But first, it helps to understand a little bit more about the company behind this innovative concrete CNC machine.
Read our article on the Top 10 Best Tools at World of Concrete.
Red Art Technologies Invents a Concrete CNC Machine
RedArt Technologies was created by Henry Ashworth of Bountiful, Utah. After a year of research and development, Henry patented the world’s first truly portable CNC engraving machine—the Red Art CNC Pro. It could customize surfaces with any typeface, logo, pattern, graphic, or image you could imagine—largely because the system removed the engraving deck. The target market was businesses, entrepreneurs—even non-profit organizations.
Henry Ashworth of Bountiful, Utah in front of a fleet of Red Art CNC Pro machines
The Red Art Concrete CNC Machine links to the software on a laptop which transforms virtually any image from the computer into a precise engraving on any desired surface. Specifically, the CNC Pro utilizes standard G codes to operate and Vcarve serves as the principal vector design software. Using Vcarve also enables CNC Pro operators to engrave wood, HDPE, aluminum, and other soft metals.
Vectric VCarve Pro software
The product—in addition to having a revolutionary design, boasts durability, versatility, and portability. The design has remained the same milled aluminum frame for the past 6 years. Red Art has made some improvements like using beefier step motors which now allow the machine to engrave vertically onto walls. These motors also allow engravings to get down to .006-inches of precision. The Red Art CNC Pro is designed to advertise, commemorate, brand, or customize any sign, landmark, bridge, walkway, or building. Basically…if you can imagine it, this thing can help you make your mark.
Cool Concrete CNC Machine Engraving Projects
Some of the most impressive are these larger engravings that require much more space than you find within the confines of the CNC Pro. This concrete CNC machine accomplishes this via a process called “tiling”. Tiling is where you pick up the Machine and position it relative to the adjacent tile or engraving area. Red Art has training videos that take owners through this entire process.
Carving a Periodic Table of Elements
The largest tiled job we’ve seen this system tackle was performed by an owner out of Baton Rouge, LA. He engraved a large Periodic Table of Elements into the Science Plaza at the Episcopal School of Baton Rouge. The project took around 5 days to complete.
Each of the Elements was sponsored. As the school auctioned off each element to donors, it engraved their names alongside their element.
Engraving Poems in Walkways and Fundraising Opportunities
Another cool project happened when the city of Las Vegas contacted Red Art. They wanted them to use the CNC Pro concrete engraving machine to help improve the historic Artistic District by engraving poems into area walkways.
So how else do we see the SNS Pro being used? Many individuals want their favorite team engraved onto their driveway, garage, pool deck, or shop. Businesses tend to make requests for street signage or to have their logo engraved onto the lobby or in recreational areas. Educational institutions and nonprofits often utilize engraving services for fundraising such as engraving donor names.
The Red Art CNC Pro Concrete Engraving Process
No matter the application, the design process for creating custom engraved artwork is pretty straightforward. The turnaround time from when a customer walks into a CNC Pro shop and when they get to take home or have a design engraved is anywhere from a few minutes to 24 hours. The process, if you want to call it that, entails a customer bringing in a photo, text, or design they want engraved. With Vcarve, you can trace any logo, text, or design and send it to the machine for engraving. The software accepts virtually every image or vector format including JPEG, PNG, Illustrator, EPS, and CAD. The CNC Pro operator drafts a design and gets the customer to sign off on it. Lastly, they engrave the design and optionally add pigment or epoxy to make it pop.
Creating a Business Model
But how would you create a business around the CNC Pro? Well, in this case, the project not only raised money for the school but also brought in a secure source of income for years to come. It ended up being one of the most exciting jobs Red Art has ever seen completed with the CNC Pro—and it also did something really great for the community.
Red Art ships the CNC Pro in a waterproof, high-density plastic case secured in customized foam lining. It makes it a very transportable CNC solution that can handle going on location and making it safely back to the shop. And that’s the point—while you can use this system in your workshop—it’s designed to go boldly where no CNC machine has gone before…to coin a phrase.
So here’s where it gets interesting, Red Art Technologies makes it so that you don’t have to have any CNC knowledge to buy and use this concrete engraving machine. The reason is that they include in-depth training materials with every CNC Pro. Red Art even offers one-on-one training with every CNC Pro purchase. While most owners are ready to go with only the training videos, if you need more, the company provides 24/7 support with an actual real-live CNC Pro engineer.
For some, that makes this a business investment opportunity. That’s true whether the CNC engraving machine becomes your main source of income and opportunity or it supplements the concrete work you already do for your clients.
Four Compelling Aspects of Owning a Red Art CNC Pro
Red Art gives four reasons why you might want to add the CNC Pro to your professional tool arsenal. First, it lets you generate long-term income on existing surfaces. That comes from the potential to market your services to facilities and organizations interested in commemorating donors or contributors. Colleges, businesses, municipalities, private industries—the possibilities seem endless.
Second, you could really make an impact in your community. Imagine beautifying a downtown art district or commemorating fallen heroes at a central park or memorial. From schools to community centers, you could literally make a lasting impression in the cities where you work and live.
The third reason has to do with the nature of the business a concrete CNC machine generates. This market is largely untapped—so you have the potential to offer a valuable and unique service. With no deck, the CNC Pro travels wherever you want it and engraves on both horizontal and vertical surfaces for nearly endless applications. Currently, Red Art Technologies says less than 200 CNC Pro owners exist worldwide. Between them, they’ve logged over 30,000 hours netting over $10,000,000 in sales.
The fourth reason? Well, that goes back to where we started. This CNC engraving machine and technology are simply cool. It’s rare that a tool contains an entire business model—but this one does. Aside from concrete, the right bits and techniques also give you the potential to engrave wood, stone, tile, brick, high-density polyethylene (HDPE), and even glass. On top of that, it’s built to last, with components milled from solid aluminum and backed with a 2-year warranty and support. Add to that the self-paced training program and owners group, and you’ve got something you can build on for years to come.
Final Thoughts
CNC machines used to take up entire warehouses and airport hangers. Now you can carry one in the back of your pickup. Is the Red Art Technologies CNC Pro Concrete Engraving Machine right for your business? Hit the link in the description below and find out. You might be surprised at what you can accomplish with this tool. At the very least you can leave your mark in your community. You see what I did there?
For more information, visit the Red Art Technologies website here.
We want to thank the author of this post for this amazing web content
";s:14:"date_timestamp";i:1645316509;}i:9;a:11:{s:5:"title";s:79:"CEC, CNC carbon assessments spread narrows on rising interest in CORSIA credits";s:4:"link";s:136:"https://bestmovies.movs.world/movie-production-companies/cec-cnc-carbon-assessments-spread-narrows-on-rising-interest-in-corsia-credits/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 19 Feb 2022 20:20:33 +0000";s:8:"category";s:81:"Movie Production CompaniesassessmentscarbonCECCNCCORSIAcreditsnarrowsrisingspread";s:4:"guid";s:38:"https://bestmovies.movs.world/?p=54367";s:11:"description";s:725:"Highlights Platts CNC, CEC assessments converge on various dates in September Rise in prices of CORSIA credits leads to higher CEC assessment CEC overshoots CNC price assessment on several days the last month The spread between the S&P Global Platts CEC and CNC carbon assessments has narrowed significantly since the start of September on increased ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5574:"
Highlights
Platts CNC, CEC assessments converge on various dates in September
Rise in prices of CORSIA credits leads to higher CEC assessment
CEC overshoots CNC price assessment on several days the last month
The spread between the S&P Global Platts CEC and CNC carbon assessments has narrowed significantly since the start of September on increased interest in CORSIA credits.
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Receive daily email alerts, subscriber notes & personalize your experience.
Register Now
The CEC is reflective of CORSIA-eligible credits while the CNC reflects nature-based credits in the global voluntary carbon market. On Sept. 20, the Platts CEC was assessed at $7.40/mtCO2e, while the CNC was assessed at $7.70/mtCO2e — a difference of only 30 cents.
In comparison, on June 14, when the CNC was launched, it was assessed at $4.65/mtCO2e. On the same date, the CEC — launched in January — was trailing behind at $2.61/mtCO2e.
According to Platts data, a turning point was seen on Aug. 25. The CNC had seen a gradual dip the previous week and slowly started picking up after Aug. 25. But, the CEC saw a steep incline upwards post Aug. 25.
It was assessed at $5.15/mtCO2e on Aug. 25 to soon reach neck and neck with the CNC by Sept. 2, when the CNC was assessed at $7.25/mtCO2e while the CEC was assessed at $7/mtCO2e.
The spread has remained relatively narrow since, with the CEC and CNC even converging on various dates in September. On Sept. 6 and Sept. 9, the CEC and CNC were assessed at $7.30/mtCO2e and $7.55/mtCO2e, respectively. On Sept. 7, Sept. 8 and Sept. 10, the CEC was assessed higher than the CNC — a trend not seen before in Platts’ assessments.
CORSIA interest
The spread has narrowed primarily because of the surge of prices in the CORSIA space. Platts had earlier reported that there was a significant difference between the prices seen on exchange platforms like CBL and ACX and those taking place in over-the-counter market. However, that lag has now closed, according to market sources.
“The CORSIA space has gone ballistic. People seem to be holding credits and that is driving up prices. The sudden interest seems to be coming out of nowhere,” a market source said on the price surge in the CORSIA space.
The price surge has led to more players getting interested in playing the market — both in the OTC space as well as on standardized contracts like CBL’s GEO and ACX’s CET. Both GEO and CET are based on CORSIA eligible credits.
“Prices are going up in CBL because of speculation. Price shoots on platforms have been happening as key players are trading with each other. We, however, see a lot of interest in OTC as well,” a second market source said.
When asked about the recent higher price on the GEO contract, a spokesperson from CBL told Platts that price trends on the contract recently are reflective of heightened interest overall in carbon credits.
ACX said the markets have been very active in recent months. “Previously, Nature Credits (GNT and GNT+) were valued higher than CORSIA (CET) credits. We have seen an increase in demand for CORSIA but lagging supply which contributed to the recent jump in prices narrowing the spread between CET and GNT/GNT+,” said ACX when contacted by Platts.
The GNT+ contract is similar to GNT except there is a requirement to have additional CCB Certifications and more recent vintages.
Eligibility barriers
Market participants also pointed to eligibility barriers regarding entering the CORSIA segment. According to the eligibility criterion set by the International Civil Aviation Organization, or ICAO, for the various standards, the crediting period for CORSIA credits is 2016 to 2020.
As a result, 2021 vintages are not yet CORSIA-eligible due to which certain participants cannot belatedly enter the market unless they trade older vintages.
An African developer who spoke to Platts said that it was difficult to enter the GEO contract as only vintages from 2016 to 2020 could be traded. “For those issuing credits in 2021 like us, we can’t trade in GEO. We are unable to trade newer vintages. We are struggling with that,” he said. The developer creates cookstoves credits and was interested in entering the CORSIA segment because of the recent price rise.
CBL had earlier highlighted the resulting certification arbitrage taking place, with players buying 2021 vintage credits at a discount in the hope that they will soon be CORSIA-eligible.
We would love to thank the author of this article for this amazing web content
";}s:7:"summary";s:725:"Highlights Platts CNC, CEC assessments converge on various dates in September Rise in prices of CORSIA credits leads to higher CEC assessment CEC overshoots CNC price assessment on several days the last month The spread between the S&P Global Platts CEC and CNC carbon assessments has narrowed significantly since the start of September on increased ... Read more";s:12:"atom_content";s:5574:"
Highlights
Platts CNC, CEC assessments converge on various dates in September
Rise in prices of CORSIA credits leads to higher CEC assessment
CEC overshoots CNC price assessment on several days the last month
The spread between the S&P Global Platts CEC and CNC carbon assessments has narrowed significantly since the start of September on increased interest in CORSIA credits.
Not registered?
Receive daily email alerts, subscriber notes & personalize your experience.
Register Now
The CEC is reflective of CORSIA-eligible credits while the CNC reflects nature-based credits in the global voluntary carbon market. On Sept. 20, the Platts CEC was assessed at $7.40/mtCO2e, while the CNC was assessed at $7.70/mtCO2e — a difference of only 30 cents.
In comparison, on June 14, when the CNC was launched, it was assessed at $4.65/mtCO2e. On the same date, the CEC — launched in January — was trailing behind at $2.61/mtCO2e.
According to Platts data, a turning point was seen on Aug. 25. The CNC had seen a gradual dip the previous week and slowly started picking up after Aug. 25. But, the CEC saw a steep incline upwards post Aug. 25.
It was assessed at $5.15/mtCO2e on Aug. 25 to soon reach neck and neck with the CNC by Sept. 2, when the CNC was assessed at $7.25/mtCO2e while the CEC was assessed at $7/mtCO2e.
The spread has remained relatively narrow since, with the CEC and CNC even converging on various dates in September. On Sept. 6 and Sept. 9, the CEC and CNC were assessed at $7.30/mtCO2e and $7.55/mtCO2e, respectively. On Sept. 7, Sept. 8 and Sept. 10, the CEC was assessed higher than the CNC — a trend not seen before in Platts’ assessments.
CORSIA interest
The spread has narrowed primarily because of the surge of prices in the CORSIA space. Platts had earlier reported that there was a significant difference between the prices seen on exchange platforms like CBL and ACX and those taking place in over-the-counter market. However, that lag has now closed, according to market sources.
“The CORSIA space has gone ballistic. People seem to be holding credits and that is driving up prices. The sudden interest seems to be coming out of nowhere,” a market source said on the price surge in the CORSIA space.
The price surge has led to more players getting interested in playing the market — both in the OTC space as well as on standardized contracts like CBL’s GEO and ACX’s CET. Both GEO and CET are based on CORSIA eligible credits.
“Prices are going up in CBL because of speculation. Price shoots on platforms have been happening as key players are trading with each other. We, however, see a lot of interest in OTC as well,” a second market source said.
When asked about the recent higher price on the GEO contract, a spokesperson from CBL told Platts that price trends on the contract recently are reflective of heightened interest overall in carbon credits.
ACX said the markets have been very active in recent months. “Previously, Nature Credits (GNT and GNT+) were valued higher than CORSIA (CET) credits. We have seen an increase in demand for CORSIA but lagging supply which contributed to the recent jump in prices narrowing the spread between CET and GNT/GNT+,” said ACX when contacted by Platts.
The GNT+ contract is similar to GNT except there is a requirement to have additional CCB Certifications and more recent vintages.
Eligibility barriers
Market participants also pointed to eligibility barriers regarding entering the CORSIA segment. According to the eligibility criterion set by the International Civil Aviation Organization, or ICAO, for the various standards, the crediting period for CORSIA credits is 2016 to 2020.
As a result, 2021 vintages are not yet CORSIA-eligible due to which certain participants cannot belatedly enter the market unless they trade older vintages.
An African developer who spoke to Platts said that it was difficult to enter the GEO contract as only vintages from 2016 to 2020 could be traded. “For those issuing credits in 2021 like us, we can’t trade in GEO. We are unable to trade newer vintages. We are struggling with that,” he said. The developer creates cookstoves credits and was interested in entering the CORSIA segment because of the recent price rise.
CBL had earlier highlighted the resulting certification arbitrage taking place, with players buying 2021 vintage credits at a discount in the hope that they will soon be CORSIA-eligible.
We would love to thank the author of this article for this amazing web content
