Men and Movies to launch on Sky - no longer a "freesat exclusive" channel

Men & Movies will be launching on Sky TV on Monday 4th April

Men and Movies was previously a Freesat exclusive channel, but from 4th April, it will be available on Sky channel 228

From their twitter account:
Men&Movies launching on Sky on Monday 4th April...all new action content with the best of WORLD OF SPORT. Sky 228!

Men and Movies has also changed frequency, and can now be found on

Lawrence of South Dakota

Well, here we go again. The ol' silver screen is alight once more with images of Indians swirling through the murky mists of time, replete with all the paint, ponies and feathers demanded by the box office. True, we are not confronted in this instance with the likes of Chuck Conners playing Geronimo, Victor Mature standing in as Chief Crazy Horse, or Jeff Chandler cast in the role of Broken Arrow's Cochise. Nor are we beset by the sort of wanton anti-Indianism which runs so rampant in John Ford's 'Stagecoach,' 'Fort Apache,' 'She Wore a Yellow Ribbon' and 'Sergeant Rutledge.' Even the sort of 'rebel without a cause' trivialization of Indian anger offered by Robert Blake in 'Tell Them Willie Boy Was Here' - or Lou Diamond Philips in 'Young Guns' and 'Young Guns II' - is not at hand. Yet, in some ways the 1990 'Indian movie,' a cinematic extravaganza packaged under the title 'Dances With Wolves,' is just as bad.

This statement has nothing to do with the entirely predictable complaints raised by reviewers in the New York Times, Washington Post and similar bastions of the status quo. Self-evidently, the movie's flaws do not as such reviewers claim rest in a 'negative handling' of whites or 'over-sentimentalizing' of Indians. Rather, although he tries harder than most, producer-director-star Kevin Costner holds closely to certain sympathetic stereotypes of Euroamerican behavior on the 'frontier,' at least insofar as he never quite explains how completely, systematically and persistently the invaders violated every conceivable standard of human decency in the process of conquest. As to these media pundits who have sought to 'debunk' the film's positive portrayal of native people, they may be seen quite simply as liars, deliberately and often wildly inaccurate on virtually every point they have raised. Theirs is the task of (re)asserting the reactionary core of racist mythology so important to conventional justifications for America's 'winning of the West.'

Contrary to the carping of such paleo-critics, Costner did attain several noteworthy breakthroughs in his production. For instance, he invariably cast Indians to fill his script's Indian roles, a Hollywood first. And, to an extent surpassing anything else ever to emerge from tinsel-town - including the celebrated roles of Chief Dan George in 'Little Big Man' (1970) and Will Sampson in 'One Flew Over the Cuckoo's Nest' (1975) - these Indians were allowed to serve as more than mere props. Throughout the movie, they were called upon to demonstrate motive and emotion, thereby assuming the dimensions of real human beings. Further, the film is technically and geographically accurate, factors superbly captured in the cinematography of Photographic Director Dean Semler and his crew.

But let's not overstate the case. Costner's talents as a film-maker have been remarked upon ad nauseam, not only by the motion picture academy during the orgy of Oscars bestowed upon him and his colleagues, but by the revenues grossed at the nation's theaters and by the misguided and fawning sort of gratitude expressed by some Indians at their culture's having finally been cinematically accorded a semblance of the respect to which it has been entitled all along. The vaunted achievements of 'Dances With Wolves' in this regard should, by rights, be commonplace. That they are not says all that needs saying in this regard.

In any event, the issue is not the manner in which the film's native characters and cultures are presented. The problems lie elsewhere, at the level of the context in which they are embedded. Stripped of its pretty pictures and progressive flourishes in directions and affirmative action hiring, 'Dances With Wolves' is by no means a movie about Indians. Instead, it is at base an elaboration of movieland's 'Great White Hunter' theme, albeit one with a decidedly different ('better') personality than the usual example of the genre, and much more elegantly done. Above all, it follows the formula established by 'Lawrence of Arabia' (1962): Arabs and Arab culture handled in a superficially respectful manner, and framed by some of the most gorgeous landscape photography imaginable. So much the better for sophisticated propagandists to render 'realistic' the undeniably heroic stature of Lt. Lawrence, the film's central - and ultimately most Eurocentric - character.

In order to understand the implications of this structural linkage between the two movies, it is important to remember that despite the hoopla attending Lawrence's calculated gestures to the Bedouins, the film proved to be of absolutely no benefit to the peoples of the Middle East (just ask the Palestinians and Lebanese). To the contrary, its major impact was to put a 'tragic' but far more humane face upon the nature of Britain's imperial pretensions in the region, making colonization of the Arabs seem more acceptable - or at least more inevitable - than might otherwise have been the case. So too do we encounter this contrived sense of sad inevitability in the closing scenes of 'Dances With Wolves,' as Lt. Dunbar and the female 'captive' he has 'recovered' ride off into the proverbial sunset, leaving their Lakota 'friends' to be slaughtered by and subordinated to the United States. Fate closes upon Indian and Arab alike, despite the best efforts of well-intentioned white men like the two good lieutenants. ('We're not all bad, y'know.')

It's all in the past, so the story goes; regrettable, obviously, but comfortably out of reach. Nothing to be done about it, really, at least at this point. Best that everyone - Euroamericans, at any rate - pay a bit of appropriately maudlin homage to 'our heritage,' feel better about themselves for possessing such lofty sentiments, and get on with business as usual. Meanwhile, native people are forced to live, right now, today, in abject squalor under the heel of what may be history's most seamlessly perfected system of internal colonization, out of sight, out of mind, their rights and resources relentlessly consumed by the dominant society. That is, after all, the very business as usual that films like 'Dances With Wolves' helps to perpetuate by diverting attention to their sensitive reinterpretations of yesteryear. So much for Costner's loudly proclaimed desire to 'help.'

If Kevin Costner or anyone else in Hollywood held an honest inclination to make a movie which would alter public perceptions of Native America in some meaningful way, it would, first and foremost, be set in the present day, not in the mid-19th century. It would feature, front and center, the real struggles of living native people to liberate themselves from the oppression which has beset them in the contemporary era, not the adventures of some fictional non-Indian out to save the savage. It would engage directly with concrete issues like expropriation of water rights and minerals, involuntary sterilization, and FBI repression of Indian activists. It would not be made as another 'Pow Wow Highway'-style entertainment venture, or one more trite excursion into spiritual philosophy and the martial arts a la the 'Silly Jack' (AKA 'Billy Jack') movies. Cinema focusing on the socio-political and economic realities of Native America in the same fashion as these themes were developed with regard to Latin America in 'Salvador' (1986), 'El Norte' (1983) and 'Under Fire' (1983). Such efforts are woefully long overdue.

On second thought, maybe it wouldn't be such a good idea. Hollywood's record on Indian topics is such that, if it were to attempt to produce a script on, say, the events on Pine Ridge during the mid-70s, it would probably end up being some twisted plot featuring an Indian FBI agent (undoubtedly a cross between Mike Hammer and Tonto) who jumps in to save his backwards reservation brethren from the evil plots of corrupt tribal officials working with sinister corporate executives, and maybe even a few of his own bureau superiors. They'd probably cast a nice blond guy like Val Kilmer as the agent-hero and call it something Indian-sounding, like 'Thunderheart.' It stands to reason, after all: now that we're burdened with the legacy of 'Lawrence of South Dakota,' we can all look forward to what will amount to 'South Dakota Burning.'

[This article is by Ward Churchill and was originally published under the title 'Lawrence of South Dakota: Dances With Wolves and the Maintenance of the American Empire' in Churchill's book of essays Fantasies of the Master Race: Literature, Cinema and the Colonization of American Indians (City Light Books, 1998). It has been slightly edited for inclusion here.]

Harris Corporation presents three new TV transmission products at this year's 2011 NAB Show

Harris Corporation will be launching three new TV transmission products for the terrestrial broadcast space at this year's 2011 NAB Show that are designed to help with the transition to digital and to improve over the air services.

The three new products are its Maxiva UAX Compact Class transmitter; the Apex M2XTM exciter IP and satellite receiver modules; and Harris Outdoor Transmission Enclosures(OTE).

The Maxiva UAX Compact Class is an air-cooled, UHF TV transmitter/transposer/SFN gap filler incorporates Harris PowerSmart technology and the Apex M2X multimedia exciter to provide today’s broadcaster unmatched performance, reliability and quality that provides terrestrial TV and mobile DTV broadcasters with several options to boost over-the-air services.

The transmitter is designed with future broadcasting needs in mind, the Maxiva UAX Compact Class is a single platform available as a transmitter, transposer or SFN gap filler for DVB-T/H, DVB-T2, ATSC, ATSC-MDTV, FLOTV™, ISDB-Tb, CMMB, CTTB and other emerging digital standards to extend market coverage in challenging situations, including busy urban areas that require greater building penetration.

The Maxiva UAX Compact Class transmitter range system family will also include translators and transposers and single-frequency network gap-fillers with adaptive echo cancellation to allow DTV broadcasters to better cover their markets and reach viewers in suburban or rural areas that are blocked by mountains and other obstacles.

Complementing Harris’ Maxiva UAX medium power series, the Maxiva UAX Compact Class provides pre-filter power levels from 5W to 50W, in a compact space-saving, 2 RU package. Maxiva UAX Compact Class utilizes field-proven complementary technologies from several existing Harris products: the Apex M2X multimedia exciter, the Maxiva UAX and ULX series and the Harris PowerSmart design initiative for RF amplification. This powerful blend provides best-in-class performance with respect to size and functionality.

All transmitters in the Maxiva UAX Compact Class series use Harris’ reliable and field-proven Real-Time Adaptive Correction (RTAC) technology, enabling optimum utilization the power amplifier, while maintaining spectral mask compliance of the digital signal. The only system with simultaneous, linear and nonlinear, adaptive, memoryful precorrection, RTAC provides the highest level of system correction capability. With RTAC, the UAX Compact Class transmitter continuously monitors and corrects for linear distortions at the output of the mask filter, while automatically adapting for amplifier non-linearity - keeping your station well within compliance and maximizing your coverage.

Featuring Harris PowerSmart technology in its transmitter architecture, the Maxiva UAX line offers superior power and efficiency. New 50-volt LDMOS device technology delivers a dramatic increase in power density, lower operating costs and reduced cost of ownership over the life of the transmitter.

New modules for the Harris Apex M2X multimedia exciter product line include an IP input for ASI streams and a new DVB-S/DVB-S2 satellite receiver module, which allows broadcasters to download satellite content and feed it directly into the exciter without external device requirements.

Harris is also exhibiting its new range of Outdoor Transmission Enclosures, which provides a pre-built solutions for high-power broadcasters by adding repeater sites to improve market coverage. The products are also designed for low-power, mobile and radio broadcasters that rely on shared sites or single-frequency networks.

Losing Sky channels when using a non Sky box?

Some non Sky boxes can be used to read a Sky card, and access Sky channels.

However, it looks like Sky have increased their security, and there are rports that, as from yesterday, C4 and C4+1 on frequency 12480, the Irish regional variations, are no longer watchable on non Sky boxes.

This morning some reports are suggesting Sky 3 / Pick TV is also unavailable on non Sky boxes.

It looks like

DISH Network Renews Contract For Greek Programming

DISH Network renews contract for Greek programming with Antenna Group:
DISH Network, the leader in international programming in the United States, today announced a multi-year renewal agreement with Antenna Group.

Read More

An update on the new C4HD frequency:

an update on the new C4HD frequency:

C4HD may only just be available to users with a 80cm satellite dish here in Spain, but not for all day.

And there are reports that even on 2,4m satellite dishes, that C4HD can be lost for an hour or so between 3 and 6pm.

Why? Well according to reports,. C4HDs frequency of 12606v is similar to that on another satellite. In fringe reception areas, like the

DISH Network Offers

DISH Network is the leader in the satellite TV service industry in the USA. DISH Network offers are always compared with DirecTV, another very popular choice of US pay TV customers and both serve a huge number of subscribers. Both DISH Network and DirecTV offer a large number of channels, plenty of exciting programming packages and excellent services which includes HD programming and "HD Free For Life" by DISH.

Read More

Combine Bump 3d and Bump 3d together

connect multi-Bump 3d node and keep their it's own bump value control:

First show Left and Right hidden

Out Normal -> Normal Camera


This also work on 2d bump chan, too! And also chan 3d bump and 2d bump together...

This give you different level of bump control, and easy to see!
sample maya file!

Other bump resource on internet!

NOLAN’S CHEDDAR

Nolan's Cheddar

Two Ethnographic Films on Muslim Music

Ethnomusicologist John Baily researched, directed and edited two films during a two-year Leverhulme Film Training Fellowship at The National Film and Television School (NFTS) in the United Kingdom. 'Amir: An Afghan Refugee Musician's Life in Peshwar, Pakistan' was made in 1985 (with photography by Wayne Derrick), and 'Lessons from Gulam: Asian Music in Bradford' in 1986 (with photography by Andy Jillings). In each film Baily worked with a student cameraman who was in his last year of studies. The films are very much in the documentary style of the NFTS, forged by its director, Colin Young. The film making process is acknowledged in the films rather than hidden, and the (short) commentaries are spoken by the film maker in the first person. While editing the films, Baily was able to benefit from feedback by other film makers at the NFTS during regular weekly screening of the work in progress.

In 'Amir,' all the dialogue and interviews are subtitled, as well as the song texts. In 'Lessons from Gulam' the performers, Asian immigrants in the British city of Bradford, speak English, thus subtitling was unnecessary, but Baily did not subtitle the song texts (for financial reasons or to leave the image free, or for both reasons?). The audience that does not speak and understand Urdu would certainly be grateful for translations of the songs, and not every film spectator will have the opportunity to read the forthcoming booklet where the translations are given.

It is worthwhile reproducing the film maker's stated aims, since some ethnomusicologists and anthropologists claim that ethnographic or ethnomusicological films should be made (and judged) with a well defined audience in mind (e.g. archive, university, museum, TV, etc.). The accompanying booklet indicates that the film 'Amir' had to satisfy several audiences: '1.The general audience. 2. Specialists in ethnomusicology, anthropology and regional studies. For them the film is a report on the condition of Afghan refugee musicians in Peshawar. 3. The Afghan audience, for whom very few films had ever been made in their own languages, Pashto and Dari. 4. It had to satisfy the cinematic criteria of the NFTS audience, concerned less with anthropology than with making good movies.' The film

'Lessons from Gulam' had similar aims, with exception of the general audience: '1. The Bradford audience; not only had the interests of the musicians themselves to be paramount, but if one of the goals of the film was to help promote Asian music education in Bradford then it was important to present the musicians in as positive a way as possible according to Muslim values. 2. The film had to have an educational content and be of interest to school teachers who were faced with the problem of introducing Asian music into their curricula. 3. The film had to be ethnomusicologically sound.' 4. was identical with point 4 for 'Amir.'

According to the film aesthetics of the NFTS (summarized by Baily), there should be 'no supplementary information, all the information needed to interpret the action (or to arrive at an interpretation) is provided by the action itself'. In other words, each film should stand by itself. I have seen (and enjoyed) Baily's films on several occasions (ethnomusicology and film colloquia) without supplementary information other than his introduction and answers to the audience's questions. But in reading the manuscripts of the forthcoming booklets, I was struck by how much more informative the films become when complemented by the written texts. These not only give a general introduction to the historical and social context, and to the research, but also discuss shooting and editing strategies, and provide shot by shot analyses describing the conditions in which each shot was made and why it was edited in that way, as well as what happened before or after the shot, and what had not been kept in the final editing of the film. There are also transcriptions of Baily's spoken commentaries and translations of the song texts (but not of the dialogues and interviews).

Many ethnographic film makers claim that films should be accompanied by printed study guides. John Baily provides an outstanding model for such booklets for ethnomusicological films. One might only regret the absence of musical transcriptions and analyses. The main focus of the booklets is film making, and on this topic I would have liked to know a bit more about the actual working methods with the cameraman during shooting. Who made decisions about focal length, angle, framing, length of the shots, mobility or fixity to the camera, etc.? From the booklet we learn that, in the case of 'Lessons from Gulam,' 'the shoot was characterized by endless self-questioning and discussions with Andy Jillings (the cameraman) about what we were doing, about the subject of the film, with constant reviews of what had been shot and what else required to be shot.' I have heard from other film makers that it is difficult to control efficiently the shooting while simultaneously making the sound recordings. The soundman has to choose the best position to pick up the best sound without being in frame, he has to be careful not to get extraneous noises from the microphone and cables, and he cannot communicate in sign language with the cameraman, tap on his shoulder or guide him in lengthy sequence-shots. Ethnomusicologists who consider making films with a similar minimal crew would certainly be grateful for more information about how Baily managed to both direct and record the sound. As the study guides are not printed yet, it is maybe not too late to include something about that.

'Amir' is a film portrait of an Afghan professional musician, a refugee in Pakistan. Amir is presented in a wide range of situations, showing the environment and conditions of a refugee's life: in Peshwar's street, at his home, in his band leader's ‘office,’ in a cemetery and at a shrine, etc. He plays the rubab in the band of a well-known singer and harmonium player, and we see him playing solo and in the group at private sessions and during a Pakistani wedding. He takes music lessons from a Pakistani master musician who speaks with some beautiful metaphors about the value of music. While the spectator might expect that refugees perform many resistance songs, an interesting discussion about an audio cassette reveals that their condition forces them to record love songs ‘for business’ instead. There are some striking cinematographic high points in the film. At the wedding nationalistic songs which have meaning for the Pakistani wedding guests as well as for the Afghan musicians are filmed in a virtuoso sequence-shot. The camera follows the playing, dancing, offering of money and the shooting of a rifle (with the additional dramatic insert of a Kalashnikov being fired). Another strong emotional impact is achieved by a special editing effect in image and sound. Speaking about his life as a refugee Amir starts to weep and, hearing an aircraft approaching, he looks up to the sky. This, of course, evokes bombers devastating his homeland. The sound amplifies and cross-fades into the sound of the next image showing a river, a ‘metaphorical river of tears.’ After the first surprise, the emotion is taken away as quickly as it arose when we discover Amir sitting by the river in his usual cheery mood, speaking about this resort where he passes Ramadan in the cool mountain air.

'Lessons from Gulam' is a film about ethnomusicological research. As Baily says: ‘The data shown - the lessons and rehearsals - are the research data, they are not illustrative of a wider investigation or set of conclusions. They show some facets of musical enculturation in Bradford, but the film does not tell us what these add up to. Rather, they should prompt further inquiry.’ The film is also a double portrait of two friends, Gulam and Shaukat, amateur musicians respectively of Gujerati and Pakistani origin, living in the British city of Bradford, who specialize in a type of Muslim religious music called qawali, which has been popularized through films and records. Inter-titles introduce each scene and thus reveal the overall structure of the film. Scene 1’Introduction to Gulam and Shaukat’ presents the two friends in their environment: John Baily has a short lesson from Gulam. In scene 2 ‘Shaukat’s Ghazal Lesson,’ Shaukat has problems in playing harmonium and singing at the same time. Scene 3 ‘Workshop’ focuses on rhythm: a third member of Gulam's group appears. Norman, an English guitarist and sitar player, who demonstrates metric cycles to a school class; later a young boy teaches an adult tabla playing, Gulam's father, formerly a professional drummer, gives a demonstration of his art. Scene 4 ‘Qawali Rehearsal’ shows the main performance context for Gulam’s group: playing on Sunday afternoons for the musicians' own enjoyment. In scene 5 'The Touchstone', we are again at a workshop where Norman teaches the schoolchildren a well known movie-song, and Shaukat performs another song. Scene 6 'Ramadan: The month of Fast' is a section without music but which talks about the fast. The high point of the final scene 7 'Celebrating the End of the Fast' is the performance of a song by Gulam accompanied by his group. The film ends somewhat abruptly with a very short shot showing Shaukat arriving in the street and saying to the camera: 'Am I a bit late?' In the booklet, Baily justifies his choice of cutting in this shot taken on a different day, saying that for cinematographic reasons it was essential to end the film with Gulam and Shaukat in close proximity.’ To that I would argue that with his last shot the proximity is not shown (they are not together), and that this abrupt ending gives the film a conclusion which is at odds with its main focus, musical enculturation. Baily honesty reports Shaukat's complaint that ‘it made him look as though he was always late.’ But apart from this ending, which I dislike as much as Shaukat, I admire the way the film is carefully thought out and edited. Those who believe that making movies is simply a matter of pressing a video camera button and putting the shots together as they come may learn a lot through studying the booklet and analysing the film at a micro level (cutting from one shot to another) and at a macro level (the overall structure). Besides taking ‘Lessons from Gulam’ in performing qawali music, one can take 'Lessons from Baily' in how to structure a film.

Despite this compliment about the editing of 'Lessons from Gulam' (which was more difficult to edit than 'Amir'), I think 'Amir' is more successful from the cinematographic point of view, since the success of portrait films relies heavily on the personality of the figure portrayed. Amir is a stronger personality, more articulate and more open about himself, and his situation as a refugee contributes to the emotional power of the film. In contrast, in 'Lessons from Gulam,' Gulam and Shaukat are shy, 'even when performing,' as Baily writes in his booklet, admitting that he had to ask 'too many questions in order to elicit information.' Indeed, the viewer gets the impression that every bit of information had to be squeezed out of the musicians. This situation, of which Baily was fully aware and about which he felt uncomfortable, prompted him to resign his status as unseen film maker and interviewer, and enter the film as an actor, a learning and performing musician. 'Through joining them on the other side of the camera I was able to experience something of what I was asking of them, and at the same time give them more confidence.' Besides the difference in personality and the social and political context, Amir's more open response may also come from the fact that he is an old friend of John Baily who had worked with him in Afghanistan 10 years before, and they share memories of life in Herat before the Soviet invasion. On the other hand, Baily's short period of fieldwork with Gulan anti Shaukat in Bradford was conducted just before filming started.

Both films have longer shots than most conventional TV documentaries, with many spectacular takes, for example when the walking cameraman accompanies walking people, even following them during changing light conditions (these are ‘training films’ and the cameraman wanted to show his professional skill). The remarkable long sequence shots are particularly relevant since they allow one to see the performance techniques of the different musicians of the group, and the interaction amongst themselves and with their audience.

For ethnomusicologists who judge the quality of a film by the quantity of musical performance (I know at least one who criticized 'Amir' - and other films - for having too little music), 'Lessons from Gulam' should be slightly more satisfying since it has more than 25 minutes of musical performance and lessons, while 'Amir' has 'only' 19 minutes out of a 52-minute film. In my opinion, both films are fascinating for ethnomusicologists and music lovers. Furthermore, 'Amir' appeals very strongly to a general audience through its human and emotional portrait of a refugee. Thanks to this film we become close to him and we would greet him as an old friend it we had the opportunity to meet him in reality. At the fifth ‘Bilan du Film Ethnographique,’ Paris 1986, a ‘Prix special du jury’ for film schools was attributed to the NFTS in England for the film 'Amir.'

Both films show that with good training in film making, lengthy work in editing and careful reflexion about what one is doing cinematographically, it is possible to make films which are 'ethnomusicologically sound' as well as being 'good movies.' Accompanied by their study guides (and John Baily’s other publications), the two films should be acquired by every ethnomusicology program, institution, archive and museum department. Not only are both films highly interesting for area studies in Asian music, but they are also outstanding examples in the methodology of filming music and musicians.

[The foregoing was written by Hugo Zemp and originally published in the Yearbook for Traditional Music, Vol. 20, 1988, pp. 257-60. Both films were originally shot and edited in 16mm but they're now available on DVD with study guides in PDF from Documentary Educational Resources here and here.]

A Brief History of Title Design....

A Brief History of Title Design from Ian Albinson on Vimeo.

ITV1HD no longer available on a small satellite dish in Spain

ITV1HD no longer available on a small satellite dish in Spain

The strong and nice and easy reception version of ITV1HD on 11973 has been replaced with ITV1+1.

The region of ITV1HD that was on that frequency is now on the BBCHD frequency, meaning NO ITV1HDs are available on small satellite dishes in Spain.

Keep up to date with the new ITV1HD frequencies and changes on this thread on out Costa

Channel 4 HD changes to new frequency

Channel 4 HD changes to new frequency, and moves from 11798 H to 12606 V, in anticipation of its move from Sky HD only, to Sky HD and Freesat HD.

Keep up to date with the new Channel 4 HD frequencies and changes on this thread on out Costa Blanca Satellite TV Forum

The Sat and PC Guy - Digital Satellite and Terrestrial Installations and Maintenance for the Costa Blanca

or the forum

The Sat

animation on the wheel....

The Cyclotrope from tim Wheatley on Vimeo.

sigh......................................................

bake OCC texture from maya / mentalray

Thanks Bernard's info....

Baking Ambient Occlusion Maps using Maya from Duylinh Nguyen on Vimeo.

DISH Network Offers MLS Direct Kick Beginning March 19

The Major League Soccer season is just around the corner, and DISH Network customers can follow their favorite teams when they subscribe to MLS Direct Kick Package, available beginning March 19.

Read More

DISH Network Reaches Agreement With LIN Media on Local Channels

LIN Media restores local TV channels in 17 markets! DISH Network reaches agreement with LIN Media just in time for NCAA March Madness.

Read More

Egypt Medical Insurance - Here is one option to consider

Recently our social club manager became very ill and required extensive hospitalization. He will be fine, in time. The experience brought the question of medical insurance to the forefront. In our research we came across this coverage plan that lends itself to the "train wreck" type coverage one should consider and rates seem reasonable to me, and many others. We came across this plan by Allied Doctors as one of our members, and others in his company had this coverage and were pleased.

I am posting here as  public service to expats and Egyptians alike. One real plus is coverage while travelling.

Below is a summary of the coverage. For the entire brochure contact Allied Doctors. If english speaking ask for Mr Mohamed Rashed.  Click on the various parts to enlarge to read more clearly

An Interview with Ousmane Sembene

A slight but sturdy Senegalese, Ousmane Sembene is a charming and provocative conversationalist, a committed revolutionary. He is also a Third World film-maker of major force and accomplishment, whose international reputation as Africa's most important director is based remarkably on a total output of five films by the early 1970s, though he was previously well known as a novelist. As a leading spokesman of sub-Sahara's black artistry, Sembene travelled the world personally, projecting his films and spreading his basic message of pride and confidence in the heritage and culture of Africa's native peoples. On such occasions in America and on the Continent, the films of Sembene have been heralded. In Africa, however, these volatile works are often banned, typically through pressure brought by the French government, which maintains a vigilant watch over its former colonies. By the mid 1970s, only Sembene's first full-length feature, 'Mandabi,' had been widely distributed outside of Senegal.

Ousmane Sembene was born at Ziguinchor in the rural southern region of Senegal, where the action of 'Emitai,' his 1971 film, takes place. Unlike other European-educated African film-makers and writers, Sembene had little formal schooling - only three years of vocational training beyond the primary grades. Sembene's life paralleled the story of French recruitment of unwilling African natives told in 'Emitai': he fought in the French army during World War II as a forced enlistee. He remained afterward for a time in France, employed as a dockworker and union organizer in Marseilles while training himself to be a writer. Sembene has published five novels and a collection of short stories, a body of work so impressive as to place him at the forefront of African writers. His most famous novel, Les Bouts de Bois de Dieu (translated in America as God's Bits of Wood) documents in semi-fictional form the historic Dakar-Niger railroad strike of October 1947, a major step toward Senegalese independence from the French. His 1966 novel, Le Mandat, was the basis for his celebrated film, 'Mandabi.'

Sembene trained briefly in the Soviet Union before turning his talents to film in the early sixties. But to try to detect Russian influence on his work, or indeed any influences, is mostly futile, for Sembene is very much his own creator. He is one of those rare talents who make film production seem an absolutely natural act. Nevertheless, one might view 'Mandabi' as no less than an African 'Bicycle Thief,' with the same universal power and appeal. It relates a similar story of a simple, uneducated man in the city (a non-actor, as in the DeSica film) who is reduced to hopelessness in his circular confrontation with the bureaucracy, and brought to despair when stolen from by a younger generation made corrupt by a society which has lost its human values. 'Emitai,' Sembene's 1971 film, trades the slightly abstract social consciousness of 'Mandabi' for a direct, historically oriented attack on French colonial practices in the African rural areas. In its use of a provincial setting, in its almost surreal treatment of tribal rites, in its absurdly comical caricatures of the fascistic oppressors, and in its utilization of a mass hero, 'Emitai' also offers a parallel to Rocha's Antonio das Mortes, a film from another neo-colonialized country, Brazil.

Sembene toured the United States late in the fall of 1972, in order to raise funds for his next film project. He stopped in Madison, Wisconsin, for a day, exhibited 'Emitai,' and spoke at length to student groups at the University. Visibly exhausted from his tour, he nevertheless answered a continuous stream of questions with seemingly endless patience, a task made doubly difficult by the fact that he speaks only halting English. Luckily, the questions were skillfully translated into French for Sembene's benefit, then the answers back again into English by his superb American interpreter, Carrie Moore. The following interview is an edited version of Ousmane Sembene's day at Madison.

Q: Originally you were a highly successful acclaimed novelist. Why did you make the switch to film-making?

A: I've just finished another book but I think it is of limited importance. First, 80% of Africans are illiterate. Only 20% of the populace possibly can read it. But further, my books indispose the bourgeoisie, so I am hardly read at home. My movies have more followers than the political parties and the Catholic and Moslem religions combined. Every night I can fill up a movie theater. The people will come whether they share my ideas or not. I tell you, in Africa, especially in Senegal, even a blind person will go to the cinema and pay for an extra seat for a young person to sit and explain the film to him. He will feel what's going on. Personally, I prefer to read because I learned from reading. But I think that cinema is culturally much more important, and for us in Africa it is an absolute necessity. There is one thing you can't take away from the African masses and that is having seen something.

Q: But are the films by native black Africans being seen at home?

A: In West Africa, distribution remains in the hands of two French companies that have been there since colonial times. Because of the active push of our native film-makers, such as our group in Senegal, they are forced to distribute our films, though they do so very slowly. Of the twenty films we have made in Senegal, five have been distributed. It is a continuous fight, for we don't think we can resolve the problems of cinema independent of the other problems of African society. Neocolonialism is passed on culturally, through the cinema. And that's why African cinema is being controlled from Paris, London, Lisbon, Rome, and even America. And that's why we see almost exclusively the worst French, American, and Italian films. Cinema from the beginning has worked to destroy the native African culture and the myths of our heroes. A lot of films have been made about Africa, but they are stories of European and American invaders with Africa serving as a decor. Instead of being taught our ancestry, the only thing we know is Tarzan. And when we do look on our past, there are many among us who are not flattered, who perceive Africa with a certain alienation learned from the cinema. Movies have infused a European style of walking, a European style of doing. Even African gangsters are inspired by the cinema. African society is in a state of degeneracy, reflected also in our imitative art. But fortunately, unknown even to many Africans themselves, African art has continued, even as the black bourgeoisie had aped European and American models. In African cities is produced what we call 'airport art,' whittled wood that has been blackened; true art remains in the villages and rural communities, preserved in the ceremony and religion. It is from believing in this communal art that we can be saved from the internal destruction.

Q: What are the particular circumstances in making films in Senegal?

A: We produce films in a country where there is only one political party, that of Senghor. If you are not within the party, you are against it. Thus we have lots of problems, and they will continue while Senghor is in control. For instance, his government has just vetoed distribution of the film of a young director, the story of a black American who discovers Senegal. The film began with cinema verite style, but soon became oriented and plotted out to focus on our problems, as it should be. When the government saw the change, it vetoed the film. We are approximately twenty film-makers in Senegal. Last year we made four long films. They were of unequal value, but we produced them through our own means. Financing is our most complex problem. We go all over the world giving talks, carrying our machines and tape recorders, projecting our movies, trying to find distribution. When we secure a little bit of money and have paid our debts, we can begin a new film. The sources of the money vary. You can find a very small group of people who have money which they might lend you in exchange for participating in the filming. Perhaps you can locate a friend who has credit at the bank. But most of us make only one film every two years. The editing of 'Emitai' was financed with laboratory credit. But the laboratories that know us are-in France, where we have to go for our montage and technical work. That's very ex- pensive. We're not against France, but we'd prefer to stay at home. 'Emitai' was shot on money I received on a commission from an American church for making a film called 'Tauw.' We do not refuse any money, even from a church. Our films are shot in 35mm for the city theaters, then presented in 16mm in the rural areas where there is no 35mm. It is difficult to find 16mm projectors in the cities, a problem created intentionally by those in charge of distribution. We began by making our films in 16mm-much more economical. But the distributors would refuse to project the films in the cities because of the 16mm, so we had to adapt ourselves to their game. On paper, we could have our own distribution company. But we think that isn't the solution. Why create a parallel market, spend a lot of money, then be beaten down? What exists already should be nationalized.

Q: Are your films distributed throughout Africa?

A: The only film I've made that has been shown all through Africa is 'Mandabi,' because every other country claims that what happens in the movie occurs only in Senegal. And I say it isn't true. 'Emitai' has been banned everywhere in Africa except in Senegal, where it was allowed only after a year of protests. We tried to show 'Emitai' in Guadeloupe, but the ambassador from France interceded. The film had one night of exhibition in Upper Volta but never again. When I was invited by the government and students of the Ivory Coast to show it, 'Emitai' was first screened the night before by a censor board of eight Africans and two Frenchmen. The eight were in agreement but the two Frenchmen went to the French ambassador who went to see the head of the government. I was told that it wasn't an 'opportune time' to show this film. They were all very polite, so I didn't say anything. I took my film and left.

Q: Has 'Emitai' been seen in France?

A: Every time I want to show this film, the date falls on 'a day of mourning for de Gaulle.' De Gaulle dies every day for my film.

Q: Who were the actors in 'Mandabi'?

A: They weren't professionals. The old man who plays the main role, we found working near the airport. He had never acted before. I had a team of colleagues and together we looked around the city and country for actors. We didn't pay a lot, but we did pay, so it was very painful to choose. There was always the influence of my parents, my friends, and even the mistresses of my friends, and we had to struggle against all of that. You laugh, but I assure you it was very difficult. Once the police telephoned me and soon this fellow arrived who was their representative. I was a little disturbed. But he had just come to tell us that he had a friend who wanted us to put his mistress in the film. I was forced to accept or else it would have cost me. It is concessions like this one which makes work difficult.

Q: How did you rehearse 'Mandabi'?

A: We rehearsed for one month in a room very much like this lecture hall. 'Mandabi' was the first film completely in the Senegalese language and I wanted the actors to speak the language accurately. There was no text, so the actors had to know what they were going to say, and say it at the right moment. Cinema is very arbitrary, yet there is a limited time and during it the actors must state what needs to be stated. people often reproach Senegalese film-makers for slowness, so we must be aware that cinema is not only the image but it is a question of punctuation.

Q: Could you talk about the role of music in 'Mandabi'?

A: Contrary to what many people around the world think, that Africa only spends its time dancing, our music sometimes has served a significantly more important political purpose. During the colonial period, all of the information that was diffused among the people was passed on by music at the large central gathering places, such as the water fountains or wells in the city. The musical refrain was dispersed like a serpent that bites its tail. I composed the music for 'Mandabi,' and tried to make it of maximum importance. After the film was presented in Dakar, people sang the theme song for a while. But the song was "vetoed" from the radio, which belongs to the government and is sacred. (Since the coup d'etat, the radio station is guarded even more than the government.) So things changed. All you needed was a new sound and it chased away the old one. Another factor: we who make films in Senegal are looking for music that is particularly suitable for our type of film. I think it is here where African cinema still suffers certain difficulties. We are undergoing Afro-American music and Cuban music. I'm not saying that's bad, but I would prefer that we would be able to create African music.

Q: Are you satisfied with your conclusion to 'Mandabi'?

A: I don't think I really have to like the ending. It's only up to me to give the situation. The ending is linked to the evolution of the Senegalese society, thus it is as ambiguous. As the postman says, either we will have to bring about certain changes or we will remain corrupt. I don't know. Do you like the ending?

Q: What we wonder is this: do you believe it is the duty of the political artist to go beyond presenting a picture of corruption - to offer a vision of the future, of what could be?

A: The role of the artist is not to say what is good, but to be able to denounce. He must feel the heartbeat of society and be able to create the image society gives to him. He can orient society, he can say it is exaggerating, going over- board, but the power to decide escapes every artist. I live in a capitalist society and I can't go any further than the people. Those for change are only a handful, a minority, and we don't have that Don Quixote attitude that we can transform society. One work cannot instigate change. I don't think that in history there has been a single revolutionary work that has brought the people to create a revolution. It's not after having read Marx or Lenin that you go out and make a revolution. It's not after reading Marcuse in America. All the works are just a point of reference in history. And that's all. Before the end of an act of creation, society usually has already surpassed it. All that an artist can do is bring the people to the point of having an idea of the thing, an idea in their heads that they share, and that helps. People have killed and died for an idea. If I understand your criticism, then I'm happy. I had no belief that after people saw 'Mandabi,' they would go out and make a revolution. But people liked the film and talked about it, though my government didn't. They wanted to censor the movie at the point where it said that 'Honesty is a crime in Senegal.' People discussed 'Mandabi' in the post office or in the market and decided they were not going to pay out their money like the person in my movie. They reported those trying to victimize them, which led to many arrests. But when they denounced the crooks, they would say it was not the person but the government which was corrupt. And they would say they were going to change the country. I know my own limits. But through nothing more than just supplying these people with ideas, I am participating in their awareness.

Q: Do you find that people in America find similar associations with 'Mandabi'?

A: Initially, the film was not destined for other people than Africans, but we can see that certain films, whether made in Africa or in America, can give us something and teach us, and that a contact is possible from people to people. There is an old film that I like a lot, The Grapes of Wrath, which dates from a moment of crisis in America. But the present-day peasants in Africa are at that level. So, you see there are works that create communication.

Q: Do you find similar communication and inspiration in the cinema verite of the Frenchman, Jean Rouch?

A: Inspired by Rouch? He applied his methods a few years ago to the French problem, but didn't go far and didn't bring a revolution to the French cinema. I think the New Wave of Godard and Truffaut has contributed something. But cinema verite in the fashion of Rouch is not really cinema verite, nor is it his invention. The methods date from the Russian socialist films of Dziga-Vertov.

Q: Would you comment on your own experiences as a student of filmmaking in Russia?

I don't talk about my Russian experiences in America just as I didn't talk of my American experiences in Russia. Every country has its methods and every system of education tries to perpetuate what it represents. Their teaching is socialist or communist just as teaching in America is linked to the establishment. You can take it or leave it. And since I was ignorant, I was forced to take what was given to me, and afterwards I used it as I thought I should.

Q: Why did you make 'Emitai,' 'God of Thunder,' a political film addressed particularly to the peasantry?

A: In African countries, the peasants are even more exploited than the workers. They see that the workers are favored and earn their pittance each month. Therefore, the element of discontent is much more advanced among the peasants than with the workers. This fact doesn't give the peasantry the conscience of revolutionaries, but it can lead to movements of revolt which bear positive results. There are many peasants who live fragmented in a closed economy, producing enough to eat without commercial relationship to the government. But there are other peasants involved in commercial activities who are beginning to understand economic exchange. Last year there were rumors of discontent among the peasants. To tear apart this discontent, Senghor distributed three billion francs to the peasants. You see, you can have hope in the peasant, but you can't base your revolutionary movement around them. But we're not discouraged. The peasantry is a force on which we can depend.

Q: What is the historical background of 'Emitai'?

A: I came myself from this rural region and these true events of the Diolla people inspired me to present an image of French conduct in my home territory during my early manhood. During the last World War, those of my age, 18,were forced to join the French army. Without knowing why, we were hired for the liberation of Europe. Then when we returned home, the colonialists began to kill us, whether we were in Senegal, the Ivory Coast, Algeria, or Madagascar. Those of us who had returned from the French war involvement in Vietnam in 1946 came back to struggle against the French. We were not the same as the black soldiers at home from French-speaking Africa who participated in colonialism instead of demonstrating against it. Now, 10 years after independence, it is these same ex-soldiers who are bringing about coups d'etat.

Q: Aren't the women the true heroes of 'Emitai,' as they also were in your revolutionary novel, called in America 'God's Bits of Wood'?

A: As 'Emitai' shows, when the French wanted our rice, the women refused but the men accepted the orders. Women have played a very important part in our history. They have been guardians of our traditions and culture even when certain of the men were alienated during the colonial period. The little that we do know of our history we owe to our women, our grandmothers. The African women are more liberated than elsewhere. In certain African countries, it is the women who control the market economy. There are villages where all authority rests with the women. And whether African men like it or not, they can't do anything without the women's con- sent, whether it be marriage, divorce, or baptism.

Q: What were the circumstances in filming 'Emitai'?

A: The Diollas are a small minority with a native language about to disappear. For two years, I learned and practiced it. Then I set out to make contact with the Chief of the Sacred Forest. In order to be able to speak to him, I needed to bring a gift offering. He preferred alcohol but I myself drank it up along the way. When I arrived and was hungry, the chief ate without inviting me. That hurt me. Afterwards he said, 'You know well that to speak to the king you have to bring something. Since you didn't bring anything, I couldn't invite you.' The people in the movie are not actors, but people from the village. I had a limited time to tell my story, so I couldn't permit them to do only what they wanted. We would rehearse beginning fifteen minutes before the filming, but all the movements were free. I brought red bonnets for the young people to wear who played soldiers. They refused at first because such bonnets are reserved for the chief. The chief is not chief by birth, incidentally, but initiated after receiving an education and training. No elected person holds advantage over another. There have been moments when the Diollas elected leaders who then left during the night. That's the reality.

Q: Were you aware of evolving in your choice of a hero from the individual in 'Mandabi' to the collective hero of 'Emitai'?

A: I'm not the one who's evolving. It's the subject which imposes the movement. This story happened to be a collective story. I wanted to show action of a well-disciplined ethnic group in which everyone saw himself only as an integral part of the whole.

Q: Have the Diolla people seen the film?

A: Before premiering the film for the Senegalese government, I went back to the village to project it. I remained three nights. All of the villagers from the whole area came and, because they have no cinema, their reaction was that of children looking at themselves in a mirror for the first time. After the first showing, the old men withdrew into the sacred forest to discuss the film. When I wanted to leave, they said, "Wait until tomorrow.' They came back the second evening, then returned to the rain forest. The third evening there was a debate. The old men were happy to hear that there was a beautiful language for them, but they weren't happy with the presentation of the gods. Though these forces obviously did not manifest them- selves when the French arrived, the gods still were sacred and helped the old men maintain authority. The young people accused the old of coward- ice for not resisting at the end of the war. The women, of course, agreed, but were very proud of their own role.

Q: And the reaction in the cities?

A: Many asked me why I wanted to make a film about the Diollas. You have to know that the majority of maids in Senegal are Diollas to give you an idea of the superiority felt by others in relation to them. (The African bourgeois have two or three maids. It's not very expensive.) To see 'Emitai,' the maids left the children. They invited each other from neighborhood to neighborhood to see the film. Finally, the majority Ouloofs went to see the film and realized that the history of Senegal and of the resistance was not just the history of the majority of Ouloofs. The Diollas are a part of Senegal. And so are the other ethnic groups. And when the Senegalese government finally decreed that they were going to teach Ouloof, they were in a hurry to add Diolla. I don't know if that is because of the film, but that's what happened.

Q: Your films obviously are influential political instruments in Senegal. Could films made in the United States have the same effect?

A: Alone, no. With the people, yes. There are those who stay secluded and say that artists are creating important works and everything is going to change. Nothing will change. You can put all the revolutionary works on the television, but if you don't go down into the streets, nothing will change. That is my opinion.

[This interview (including the introduction) was originally published under the title 'Ousmane Sembene: An Interview' by G. M. Perry and Patrick McGilligan with Ousmane Sembene in Film Quarterly (Vol. 26, No. 3, Spring, 1973, pp. 36-42). 'Emitai' can be viewed in its entirety on YouTube beginning with Part 1, and 'Mandabi' is available in several parts beginning here.]

WoW!....

Missing MBC channels on Nilesat at 7 West

Today I have noticed that the MBC channels
MBC1, MBC2, MBC3, MBC4, MBC Action and MBC Max
on frequency 11938 27500 3/4
are not longer operating.

It may mean that they have moved to a new frequency.
This new frequency is being reported as being
12437 H 27500 2/3
However, this is no longer on the Nilesat satellites, but on Atlantic Bird, a new satellite in the same location.
Atlantic Bird has a

New channel on SKy - Sony to launch new channel in April

Sony Pictures Television (SPT) has announced that its new television channel will launch next month on Sky.

The channel, titled Sony Entertainment Television or SET, will become available on April 7
It will be on Sky channel 157.

Sony Entertainment Television will broadcast a range of dramas and comedies, including new show HawthoRNe, award-winning series Huff and marital comedy 'Til Death.

what is GOBO?????

A gobo (or GOBO) derived from "Go Between" or GOes Before Optics -originally used on film sets between a light source and the set is a physical template slotted inside, or placed in front of, a lighting source, used to control the shape of emitted light.





Thanks Danny's info, learning new thing everyday....

When to change smoke detector batteries!

A wee bit of useless information but cute I think...............

The smoke detector rule of thumb. Many home smoke detectors rely on batteries. To ensure they work when needed, a good rule of thumb says to check the batteries when you turn your clocks ahead in the spring, and change the batteries when you turn your clocks back in the fall.

But Egypt no longer has DST

The trailer for Disney XD's upcoming Tron Uprising animated series.

March Madness on DISH Network Update

For the first time ever, ALL the March Madness games will be televised, giving fans more access to their favorite teams than ever before!
The games will be shown across four networks: CBS, TNT, TBS, and TruTV. With 68 teams, your favorite sports fan is in for the biggest season of college basketball yet!
DISH Network offers ALL March Madness games in HD! Competitors like DirecTV and other pay-tv providers do not offer every game in HD, making DISH the leader in sports for March Madness.

Read More

Find the Best Dish Network Deal

It can be a long process wading through all the various online Dish Network Satellite TV deals. In the end, you want to make sure that you find the best Dish Network deal. Be assured that if you sign up for 24 months, you don’t come across a better satellite TV deal the next day! Even the creators of the Wikipedia, will tell you how confusing it can be. At the end of the day, you don’t want something in the back of your mind telling you that maybe you could have signed up to a better deal elsewhere.

Read More

New update for SHAW DIRECT HDPVR 630 and HDDSR605 receivers

Over the last week Shaw Direct has been rolling out new firmware – version 04.06 – for the company’s  Motorola (Shaw Direct) HDDSR 605 and Motorola (Shaw Direct) HDPVR 630 direct-to-home satellite receivers.Shaw says the new firmware leaves the user interface largely unchanged but includes numerous bug fixes which make for a smoother and problem free experience.

Response to the new firmware update among Digital Home readers has been generally positive with many readers saying the devices have become much faster and more responsive with fewer freeze ups.

The Motorola (Shaw Direct) HDPVR 630 combines HDTV and a 320GB PVR to deliver dazzling programming and convenient interactive features. The Motorola(Shaw Direct) HDPVR 630 combines a full-featured,MPEG-4 capable digital receiver with an advanced high-definition television(HDTV) decoder and personal video recording(PVR) functionality.It delivers dazzling high-definition programming, an easy-to-use menu, and advanced interactive capabilities.In addition to the standard audio and video ports, the HDPVR 630 includes component high-definition and HDMI outputs.

The Shaw Direct HDPVR 630 also includes a hard disk drive that allows users to record programs for later viewing,as well as pause and resume live programming. The Motorola HDPVR 630 enhanced viewer menu system contains an on-screen program guide that provides extensive program information to help viewers plan ahead.Future upgrades to the guide can be downloaded via satellite.The easy-to-use menu system is conveniently integrated in the remote control.

Highlights of the new firmware for the Motorola (Shaw Direct) HDPVR 630 include:

• Tuning Rebuild – Audio/video are now presented much faster when turning on the receiver, changing channels, or stopping PVR playback. Tuner lockup/phantom recordings have been eliminated.
• HDD Space Remaining – a disk remaining bar has been added to the PVR List and PVR/Upcoming menus. The bar has been made more compact and is now colour coded depending on how full your hard drive is.
• Parental Controls – The experience with Parental Controls enabled should be more stable, with occurrences of the “false PIN” screen reduced and no more “No Data” blocks for programs that cross the GMT boundary.
• Guide changes – Channel line-up changes (like new channels being launched) will now appear within 60 minutes, or immediately by turning the receiver off and back on. A Front Panel Reset should no longer be required to fix missing or duplicated channels in your Guide.
• LIVE and 3D programs now have an icon in the Guide. “Live” programs will now be included when selecting “Record new episodes”. Note that these icons do not appear in the full-screen INFO pages.
• Search Enhancements – Interests Search genres are now sorted in correct alphabetical order when the language is set to French; Programs beginning with accented characters are no longer grouped at the bottom of the results list; and programs with accented characters can now be properly searched.
• Tune in Satellite Signal – The OPTIONS 4-3-1 menu now provides signal level from both tuners, an indication of signal strength, satellite, modulation, and transponder ID for both tuners. If no background recording is taking place, some values will not be available. This menu is primarily for self-installation and dish alignment and advanced troubleshooting. Audio will be lost when exiting the menu, change channels to resolve.

The Motorola (Shaw Direct) HDDSR 605 combines a full-featured, MPEG-4 capable digital satellite receiver with an advanced high-definition television(HDTV) decoder to deliver dazzling high-definition programming and an easy-to-use interactive menu.Television has never looked better with HD TV.The Motorola HDDSR 605 includes multiple output connectors and formats, including HDMI and Component Video outputs for the highest quality output to capable televisions.The HDDSR 605 also provides a full selection of Standard-Definition video and audio outputs to connect with anz home theater component.

The Shaw Direct HDDSR 605's enhanced viewer menu szstem contains an interactive program guide (IPG) that provides extensive program information to help viewers plan for the week or weekend ahead.The easy-to-use viewer menu system is conveniently integrated in the remote control.

Highlights of the new firmware for the Motorola (Shaw Direct) HDDSR 605 include:

• Tuning Rebuild – Audio/video are now presented much faster when turning on the receiver or changing channels.
• Cast Tab – The HDDSR 605 now includes expanded Cast information in the middle tab when pressing INFO.
• Instant PPV in Advance – Pay Per View programs can now be purchased in advance by selecting “Purchase and auto-tune this airing”. PPV messaging has been enhanced to be more informative.
• Parental Controls – The experience with Parental Controls enabled should be more stable, with occurrences of the “false PIN” screen reduced and no more “No Data” blocks for programs that cross the GMT boundary.
• Guide changes – Channel line-up changes (like new channels being launched) will now appear within 60 minutes, or immediately by turning the receiver off and back on. A Front Panel Reset should no longer be required to fix missing or duplicated channels in your Guide.
• LIVE and 3D programs now have an icon in the Guide. “Live” programs will now be included when selecting “Set a reminder for new episodes”. Note that these icons do not appear in the full-screen INFO pages.
• Search Enhancements – Interests Search genres are now sorted in correct alphabetical order when the language is set to French; Programs beginning with accented characters are no longer grouped at the bottom of the results list; and programs with accented characters can now be properly searched.