Production Tools. AOL shall determine in its sole discretion, which of its proprietary publishing tools (each a "Tool") shall be made available to ICP in order to develop and implement the Licensed Content during the Term. ICP shall be granted a nonexclusive license during the Term to use any such Tool, which license shall be subject to: (i) ICP's compliance with all rules and regulations relating to use of the Tools, as published from time to time by AOL, (ii) AOL's right to withdraw or modify such license at any time, and (iii) ICP's express recognition that AOL provides all Tools on an "as is" basis, without warranties of any kind. Training and Support. AOL shall make available to ICP standard AOL training and support programs necessary to produce any AOL areas hereunder. ICP can select its training and support program from the options then offered by AOL. ICP shall be responsible to pay the fees associated with its chosen training and support package. In addition, ICP will pay travel and lodging costs associated with its participation in any AOL training programs (including AOL's travel and lodging costs when training is conducted at ICP's offices).
Production Tools. 10.1 Supplier shall provide all Production Tools at its own cost unless otherwise agreed. Production Tools provided by Sandvik shall fully remain and be marked as the property of Sandvik. Production Tools paid for by Sandvik and provided by Supplier shall become the property of Sandvik.
Production Tools. 18.1. With respect to all of the production tools which the Product Tree prescribes are to be supplied by the Customer and at its expense, but which will in fact be supplied to the Supplier by the Customer and at its expense (hereinafter: the “Production Tools”), the Supplier undertakes: (a) To keep and maintain all of the Production Tools and to store them in the Supplier's warehouses, all at the Supplier's expense; (b) to store the Production Tools at its own facility separate from materials that are not related to the performance of this Agreement and/or that belong to any third party whatsoever, and to mxxx them clearly as being the property of the Customer; (c) to keep the Production Tools in good order, with the exception of reasonable wear and tear, and to replace and repair them at its expense, if they are damaged as a result of an act of malice or negligence of the Supplier.
Production Tools. AOL shall determine in its sole discretion, which of its proprietary publishing tools (each a "PUBLISHING TOOL") shall be made available to ICP in order to develop and implement the Licensed Content during the Term (e.g., to build Rainman sites). ICP shall be granted a nonexclusive license to use any such Tool, which license shall be subject to: (i) ICP's compliance with all rules and regulations relating to use of the Publishing Tools, as published from time to time by AOL, (ii) AOL's right to withdraw or modify such license at any time, and (iii) ICP's express recognition that AOL provides all Publishing Tools on an "as is" basis, without warranties of any kind.
Production Tools. All items used by or on behalf of Mito Solar for the production, such as but not limited to dies, moulds, stamps, prototypes, special tools and drawings (the ‘production tools’) manufactured or purchased by Mito Solar for the Other Party, will remain the property of Mito Solar, unless stipulated otherwise in the Agreement.
Production Tools. 20.1. All items used by or on behalf of the Supplier for the benefit of the production – such as moulds, templates, stamps, prototypes, special tools and drawings (‘production tools’) – and which were supplied by Plukon or manufactured or purchased by the Supplier will continue to be or, immediately after their production, become the property of Plukon.
Production Tools. A set of tools and plugins for offline and live video editing with functionality of synchronization and combining multiple 2D and omnidirectional video sources and auxiliary data together. These data come from Video Acquisition and Capture and Stitching blocks. • Content distribution - This block handles the communication between offline encoded contents or live streams and the end-user’s player. It encapsulates selected video streams into network protocols and provides synchronized video and auxiliary streams to the player. • Reception and display - End-user’s reception side and display. This block takes care of selecting proper video streams, receiving them, decoding and displaying them. It also handles the synchronization of multiple received streams in order to present them to the end-user. • Quality of Experience – This module assesses the quality of content produced by the ImmersiaTV system by means of subjective and objective metrics and gives the feedback and recommendations of changes to the Capture and Stitching, Encoding and Reception modules. The architectural definition of all mentioned functional blocks is defined in the following sections. The work related to capture and stitching for this document concentrates on off-line capture according to Pilot 1 requirements. For capturing and processing off-line visual content the ImmersiaTV system will use existing 360° camera rigs that are available on the market. In later pilots, it will also rely on a distributed video capture architecture ground up designed for omnidirectional video in a live TV broadcasting context. In such solution (for later Pilots) we will address the issues of high equipment cost, too low perceived image resolution and frame rate, too low video processing performance and/or quality, lack of versatility in deployment of current systems. For Pilot 1 we will rely on hardware available on the market in order to test all other components of the workflow. Two directions are foreseen: • Using off-the-shelf and professional cameras in conjunction with VideoStitch commercial products (VideoStitch Studio and VahanaVR), that will be adapted to answer the constraints and requirements of broadcast-quality omnidirectional production workflows; VideoStitch Studio is dedicated to offline post-production, importing video files, stitching them together, and producing a 360° video file, while VahanaVR stitches live video streams. These solutions will be deployed in pilot 1 (offline production...
Production Tools. In order to interface with the production and content-editing tools, one or several codecs and/or output interfaces will have to be agreed upon, if we need to depart from AVC encoded-files for post-production and media servers, and SDI/HDMI/RTMP outputs for live productions.
Production Tools. In the event that VLOW Medical forms a new item from items such as (but not limited to) dies, molds, stamps, prototypes, special tools and drawings (the 'production tools') that are owned by third parties, it will form these items for itself and will become the owner of the new item.
Production Tools. In his case study of the British dance music industry, Xxxxx Xxxxxxxxxxxx (1998) captures the significance of the decentralization of British sub-cultural music production, which he attributes in part to the widespread availability of production technology in the 1990s. Whereas the recording industry as a whole is marked by concentration and centralization, the British dance music industry of the 1980s and 1990s was unusual in that it was relatively decentralized and was primarily comprised of small, independent record companies. Hesmondhalgh (1998) demonstrates how the accessibility of “relatively affordable (though not ‘cheap’) compact digital recording technology” (p.
