text:
Methods and media are provided for objectively valuing advertising content (or the potential viewer impact thereof) that occur during the course of an event or other presentation (such as TV sitcom). In one embodiment the method includes receiving a source of media, indexing a set of sponsorship images within the media to provide a set of indices, and providing valuation factors by aggregating the indices so that valuation factors can be derived that indicate a viewer's potential awareness of the advertising content or images therein. The valuation factors can be used in connection with a benchmark, such as the 30-second spot rate or time, to determine a value associated with the media source, including a monetary value.
1. One or more computer-readable media having computer-executable instructions embodied thereon for performing a method for valuing advertising content, the method comprising:
receiving a source of media;
receiving a plurality of indications associated with indexing a plurality of sponsorship detections that were made without employing image-recognition software within the media, thereby providing a set of indices, said indexing based on a set of attributes associated with one or more images in each of said detections, said attributes including a size indication, a duration indication, and an isolation indication; and
providing one or more valuation factors by aggregating the indices, wherein the one or more valuation factors indicate the potential of a viewer's awareness of the plurality of sponsorship detections.
2. The media of
a source of video;
a source of audio, said audio including audio mentions; and
combinations thereof.
3. The media of
a live feed;
a streaming video, including video received via a network, including the Internet;
a video recording embodied on a machine-readable medium, including magnetic media or optical media.
4. The media of
an advertising sign;
a logo;
a graphic including a computer-generated graphic;
a mark;
an advertorial;
a verbal mention;
a jingle; and/or
combinations thereof.
5. The media of
said size indication indicates a portion of screen real estate consumed by said one or more images;
said duration indication indicates a length of time that said one or more images was viewable; and
said isolation indication indicates whether a first image associated with a first sponsor appears with a second image associated with a second sponsor.
6. The media of
7. The media of
a size of a sponsorship image observable on a viewing device;
a sequence identifier, wherein said sequence identifier can be used to derive a duration that a sponsorship image is observable on said viewing device;
an isolation designation that indicates whether a first sponsorship image appears with a second sponsorship image on the viewing device; and
combinations thereof.
8. The media of
9. The media of
10. The media of
a tier level of a sponsor associated with the sponsorship detections;
a flat index factor;
a diminishing-utility factor; and/or
an indication of where the sponsorship detections appeared.
11. The media of
12. One or more computer-readable media having computer-useable instructions embodied thereon for performing a method of valuing sponsorship that appears in a media source, the method comprising:
receiving an identification from within the media source of a plurality of advertising occurrences from the media source;
without employing image-recognition software, storing an indexing of the advertising occurrences according to a set of attributes, said attributes including a size indication, a duration indication, and an isolation indication; and
based on the indexing, deriving one or more valuation metrics of the plurality of advertising occurrences.
13. The media of
an advertising sign;
a logo;
a graphic including a computer-generated graphic;
a mark;
an advertorial;
a verbal mention;
a jingle; and/or
combinations thereof.
14. The media of
segmenting a video component of the media source into a plurality of segments;
associating one or more attributes with each of said plurality of segments; and
analyzing the attributes to determine which of the plurality of segments or a subset of the plurality of segments satisfy a provided criteria that, if met, qualify the segment or subset as an advertising occurrence.
15. The media of
respectively associating an individual score to each of the plurality of advertising occurrences.
16. The media of
classifying each of the plurality of advertising occurrences according to their respective individual scores.
17. The media of
18. The media of
19. The media of
20. The media of
21. The media of
scaling the individual detection scores based on the one or more attributes;
adjusting a set of duration factors associated with the advertising occurrences; and
combining the adjusted duration factors with the scaled detection scores to derive an index factor that can be applied against a benchmark valuation metric to determine a monetary value of the sponsorship,
wherein the benchmark valuation metric includes a cost of a conventional television commercial, including a 30-second spot rate.
22. The media of
an advertising sign;
a logo;
a graphic including a computer-generated graphic;
a mark;
an advertorial;
a verbal mention;
a jingle; and/or
combinations thereof.
This application is related by subject matter to the invention disclosed in the commonly assigned application U.S. application Ser. No. 10/993,185, which was filed on even date herewith (Nov. 19, 2004).
Not applicable.
The present invention relates to providing valuing the financial impact of signage and sponsorships in a media-presentation environment.
During televised events such as sporting events, reality shows, and other presentations, sponsors often use sponsorship advertising to market their products. Sponsorship advertising can take on a variety of forms, such as fixed signage, audio or visual graphics, apparel advertising, and the like. Unlike valuing a 30-second spot commercial, attempting to value sponsorship advertising has historically been a difficult, subjective, and uncertain process.
The world of advertising revolves precise duration horizons, such as the 30-second spot commercial. Almost all valuations of all forms of advertising stem from or are a function of the 30-second spot rate, which is the price paid by a company for a 30-second commercial. If a sponsor is unable to definitively and objectively ascertain metrics related to advertising data, then it will not be able to reliably value such data. These data elements, or metrics, would be important and useful various entities, such as the sponsor, an event presenter, networks or other rights holder.
A technique to try to determine occurrences of sponsorship information is to employ image-recognition technology. For example, Taylor Nelson Sofres plc of Westgate, London employs software developed by Lucent Technologies Inc. of Murray Hill, N.J. to attempt to match logos to templates. Also Margaux Matrix Limited of Godalming, Surry in Great Britain employs image-recognition technology to help identify advertising images. But the level of accuracy demanded in the industry is often too high to be met by the results obtained from image-recognition technology, which is often constrained to comparing image captures to provided templates.
Another shortcoming associated with image-recognition technology is overcoming the inherent difficulty of automatically determining the source of the signage. Signage may appear behind home plate at a baseball game, on the ball cap of a golfer, on the back wall of a stadium, on an automobile door, or in any other of almost innumerable places. Signage can also appear as a graphic (a computer animated object that appears on a viewer's television screen). No image-recognition technology has been demonstrated to accurately identify the source, distinguishing it from other sources. For instance, consider baseball stadium where the outfield is bounded by a wall with blue background, upon which is fixed a first logo. Consider a second logo that appears behind home plate, but is also on a blue background. If a camera were to zoom in on one of the logos (to capture a great catch in the outfield, or a missed catch by the catcher for example), then all that could be seen is the logo surrounded by blue. Finally, image-recognition technology often creates false hits (father positives or false negatives) that must be dealt with.
Thus, current techniques suffer from at least the exemplary shortcomings listed above, and also do not employ any form of detection indexing to arrive at an overall valuation factor or score related to sponsorship-advertising. Unfortunately, all detections are valued equally, even though some detections have greater impact potential than others. With an inability to quantify the potential impact associated with advertising seen during an event, decision makers are ill-equipped to determine the value of sponsorship advertising. The present state of the art could therefore be improved by providing a method and system for accurately and quantitatively valuing the potential impact of advertising content.
The present invention addresses at least the shortcomings above by providing a method and system to value and quantify both the potential impact that various images, such as sponsorship material (logos, graphics and more), will have on a viewing audience. Moreover, the present invention provides a method and system to associate a monetary value to the impact of one or more images on a viewing audience. An index factor is derived that can be used to quantify a monetary value of a set of sponsorship images that appear during the course of an event or program (such as would be the case if actors were drinking Cokes� during an episode of SEINFELD the sitcom. The present invention would quantify viewer potential awareness as well as monetary value of such sponsorship occurring within such a presentation.
Defined by the claims below, the present invention has several practical applications in the technical arts, not limited to reducing the time and resources associated with identifying advertisement images that occur during a presentation event, such as a sporting event; increasing the accuracy associated with identifying advertising images; providing a definite and objective measurement of the potential impact of advertising images; reducing the complexity associated with identifying the advertising images; providing a distributed-processing environment that is monitorable and portable; enabling additional attributes (such as size, source, isolation or nonisolation, type, etc.) to be associated with individual detections; and memorializing various attributes associated with individual image occurrences in a rich and easy-to-understand format.
In one aspect, the present invention provides a method for valuing advertising content. The method includes receiving a source of media, indexing a set of sponsorship images within the media to provide a set of indices, providing valuation factors by aggregating the indices, wherein the valuation factors indicate a viewer's potential awareness of the advertising content.
In another aspect, a computer-program product is provided for performing a method of valuing a set of images that appear in a media source. The method includes identifying from the video source a set of advertising occurrences from the set of images, indexing the advertising occurrences according to one or more attributes, and based on the indexing, deriving one or more valuation metrics of the set of images.
In a final illustrative aspect, a method for quantifying the impact of advertising content is provided. The method includes receiving a source of video, indexing a set of sponsorship images within the media to provide a set of indices, aggregating the indices to provide one or more valuation metrics that relate to a potential viewer's awareness of the plurality of sponsorship images; and generating one or more reports based on the valuation metrics.
The present invention is described in detail below with reference to the attached drawing figures, which are incorporated in their entirety by reference herein, and wherein:
As previously mentioned, the present invention provides an objective method for determining and valuing a set of advertisement images that are presented to the viewing audience during the course of an event or portion thereof. Television networks and other event presenters have been unable to objectively determine the potential impact, and consequently a monetary value, associated with sponsorship advertising that is presented to an audience during the course of an event, such as a sporting event for example. But the present invention makes such objective valuation possible and reliable.
Specific hardware devices, programming languages, components, processes, and numerous details including operating environments and the like are set forth to provide a thorough understanding of the present invention. In other instances, structures, devices, and processes are shown in block-diagram form, rather than in detail, to avoid obscuring the present invention. But an ordinary-skilled artisan would understand that the present invention may be practiced without these specific details. Computer systems, workstations, and other machines may be connected to one another across a communication medium including, for example, a network or networks. That is, reference to objects such as "a server" contemplates multiple servers coupled together; and what is referenced herein as being performed perhaps on multiple machines, is understood to be capable of being performed on a single device.
Throughout the description of the present invention, several acronyms and shorthand notations are used to aid the understanding of certain concepts pertaining to the associated system and services. These acronyms and shorthand notations are solely intended for the purpose of providing an easy methodology of communicating the ideas expressed herein and are in no way meant to limit the scope of the present invention. An illustrative list of such terms follows in Table 1:
As one skilled in the art will appreciate, the present invention may be embodied as, among other things: a method, system, or computer-program product. Accordingly, the present invention may take the form of a hardware embodiment, a software embodiment, or an embodiment combining software and hardware. In one embodiment, the present invention takes the form of a computer-program product that includes computer-useable instructions embodied on one or more computer-readable media.
Computer-readable media include both volatile and nonvolatile media, removable and nonremovable media, and contemplates media readable by various machines such as computers, handheld devices, and dedicated devices. By way of example, and not limitation, computer-readable media comprise computer-storage media and communications media.
Computer-storage media, or machine-readable media, include media implemented in any method or technology for storing information. Examples of stored information include computer-useable instructions, data structures, program modules, and other data representations. Computer-storage media include, but are not limited to, RAM, ROM, EEPROM; flash memory or other memory technology; CD-ROM; digital versatile discs (DVD); holographic media or other optical disc storage; magnetic cassettes; magnetic tape; magnetic disk storage; and other magnetic storage devices. These memory components can store data momentarily, temporarily, or permanently.
What follows is a description of one or more preferred embodiments. The present invention is not limited to the following explanations.
Turning now to
With reference to
Video-capture component 112 receives native footage 110 and stores it for manipulation. Video-capture component 112 is coupled to segmenting component 114, which segments native footage 110 into a plurality of segments, such as frames. Segmenting component 114 and video-capture component 112 may be housed as a single unit as indicated by circumferential line 116.
Segmenting component 116 is coupled to a server 118, which includes an administrative website 120, a database component 122, and a parsing component 124. Server 118 receives a set of frames 126 from segmenting component 114 and communicates a set of frames 126 to respective detection sites, such as detection site 128. Detection site 128 includes a detection application 130, which will be explained in greater detail below, and facilitates the association of a plurality of data metrics to frames 126. Detection site 128 communicates a detection report 132 back to server 118. Detection report 132 includes a set of data items that can be analyzed to determine additional attributes associated with frames 126 and their content. As shown, server 118 is preferably in communication with multiple detection sites to facilitate a distributed-computing environment whereby multiple instances of detection processing can be implemented simultaneously.
Database component 122 can store a variety of information including the information associated with frames 126 vis-�-vis detection report 132. In addition to the data in detection report 132, output data that originates as a result of analyzing detection report 132 can also be stored in database 122. Parsing component 124 parses the data in detection report 132 to clean additional information and attributes associated with images in frames 126. Server 118 uses the data stored in database 122 to create a set of reports 134 (see
Turning now to
Turning now to
Other links available on introductory screen 314 include a "Dashboard" link 334, which is a link to this screen 314; a "Clients" link 336, which links to the various client stored in database 122; and events link 338, which links to the various events stored database 122, a "Detectors" link 340, which presents the various detectors stored; and an "Administrator's" link 342, which presents a screen to modify attributes associated with administrators of the system. A log-out link 344 enables people to log-out at will. As can be seen in
At a step 210A, a client is created. With reference to
If the details associated with a client need to be modified, then administrator 138 can follow button 364 to be presented with screen 372, which is depicted in
Returning to
Turning now to
An array of additional information not shown can also be created and associated with an event as one skilled in the art would readily appreciate. For example, the network associated with airing the event can be inputted via textbox 416. If an administrator wished to provide information associated with other event attributes such as the size of the event, the primary language to be spoken at the event, and the like, that could be done as easily as providing the information illustratively depicted.
The illustrative screen shots of the various user interfaces of the present invention, including user interface 390, are exemplary in nature and none of them should be construed as a limitation of the present invention. Rather, each is provided for referential purposes and to illustrate one embodiment of the present invention. Administrator 138 may save and exit work by pressing button 418, merely save work by pressing button 420, or cancel the entries made by using button 422. Although the creation of shows will be discussed below, a "create show" button 424 is provided along with a "modify show" button 426.
Assume for exemplary purposes that an event entitled "Winter X Games Vif" is to be created.
If administrator 138 desires to modify an event, then the present invention presents a user interface 430, illustratively depicted in
Clicking on the event ID ("WXGM08" in this example) would be present user interface 432, which is illustratively depicted in
Illustrative controls that offer exemplary functional aspects are depicted on managed-event tab 434. Having received a selection of the "Winter X Games VIII" event to modify, the present invention presents a client associated with that event by automatically populating a dropdown box 442. The ID of the client 444 is also preferably shown so that administrator 138 is aware of the event being modified or populated.
The name of the event is depicted in a text box 446. The date that an event starts and ends can be modified by manipulating the contents of textboxes 448 and/or 450. Two calendar buttons 452 and 454 are provided to reduce the likelihood of inadvertent errors occurring with respect to entry of dates. The location of the event can be changed by manipulating the data in box 456. Similarly, the dates associated with when the event broadcast is to start and end can be varied by manipulating the data in textboxes 458 and 460, preferably using calendar buttons 462 and/or 464. The broadcast network associated with the event may also be changed using textbox 466. Buttons to save and exit, save, cancel, and even delete are shown by reference numerals 468, 470, 472, and 474.
At step 210D, tiers can be created and managed according to an embodiment of the present invention. As used herein, a "tier" refers to a sponsorship level. For example, an event may consist of three sponsorship tiers, such as a first tier, a second tier, and a third tier; or a platinum-level sponsor, a gold-level sponsor and a silver-level sponsor. The ability to define tiers provides an illustrative example of the amount and different types of data that can be gathered and associated with individual advertising-image occurrences, to be subsequently used for data analysis. The ability to allocate an attribute, such as a tier, to various sponsors of an event is an illustrative improvement over the prior art.
As depicted in
An attribute ID can be generated automatically or provided by administrator 138 using textbox 496. The logo can be named using textbox 498. A tier associated with the logo can be provided by making a selection from dropdown menu 500. For example, "Tostitos" may be a presenting sponsor of a game held at the Tostitos Bowl, and thereby associated with a "Tier 1" designation.
A logo key map can be inputted via a textbox 502. A logo key map is a key sequence that will be used to enter the logo during detection process 210C. A logo key map of "17" for example may be associated with a particular frame by merely typing in the number "17." A logo image can be provided and identified by control 504. The image can be selected using a browse button 506, or its path can be manually entered into a textbox 508. Familiar save, exit, and cancel buttons are also provided on user interface 494. A logo listing 509 is provided in one embodiment to enable administrator to read the various attributes that have been assigned or associated with various logos. A name column 510, key map column 512, name column 514, and last-modified column 516 are illustrative columns depicted according to an embodiment of the present invention. The data in list 509 can be searched according to a dropdown menu 518 or by data entered into a search box 520.
As previously mentioned, additional logo attributes can also be entered at this stage. For instance, as previously mentioned, an image that corresponds to the logo of interest can be uploaded and associated with a particular logo. During detection process 210C, the presence of the logo picture will make possible detection by a person who is not familiar with the logo. For instance, if somebody was unaware of the "Nike" logo, this would not be concern because a picture of the familiar swoosh would appear when the user types in the key map associated with the logo. The screen shot of
Returning to
As shown in a logo-location list 530, illustrative locations, or sources, also may include a bib logo, corral signage, fixed signage, gate signage, a graphic (which is often a computer animated image depicted on a viewer's viewing device), rotational signage, start house signage, or tower signage. Location options are limitless. The preceding eight examples of sources of advertisement images are illustrative in nature and should not be construed as a limitation of the present invention. Rather, administrator 138 may define as many locations as desired. Similarly, attributes in addition to an identifier, name, and key map may also be associated with a logo. One skilled in the art would appreciate that as many such attributes as desired could be included and configured in user interface 522.
Identifying logos and associating various attributes with those logos illustrates another improvement over the prior art offered by the present invention. Historically, the sources of advertisements images has not been able to easily be captured and associated with the identified images. But by predefining logos and attributes associated with those logos, the present invention offers a method whereby the logos will be able to be easily be associated with advertising images during the detection process. This methodology can be extrapolated to include any information that is desired to be tracked, all the way down to logo versions, colors, anything.
Briefly returning to
To modify a show, administrator 138 can click "modify" button 426 to be presented with a user interface 570, which is depicted in
Detectors can be assigned by clicking on tab 580, which will present user interface subsection 582 (see
A list of available detectors is presented in box 584. One or more of the available detectors may be assigned to detect advertisement images of a show by clicking the "add" button 586. Similarly, an assigned detector may be removed by highlighting that detector and clicking the "remove" button 588. If all of the available detectors are to be assigned to the given show, then they can be easily assigned by clicking the "add all" button 590. A listing of detectors assigned to the instant show is depicted in box 592. Attributes associated with detectors can be accessed by following link 340.
Following link 340 causes exemplary screenshot 600 (depicted in
Returning now to
Turning now to
The data segments are then sampled at a step 220C. Based on the fidelity of native footage 110, a certain number of data segments will be selected from the set of all data segments. For instance, if needed footage 110 exists in 30-FPS (frames per second) format, then 30 data segments will correspond to one second of video. In one embodiment, a select number of frames is chosen to be examined, thereby reducing the amount of data that needs to be managed. For example, three frames can be sampled at step 220C. Assuming the data in frame 1 is present in the first sampled frame, each frame represents about one third of a second. In this embodiment, three contiguous frames would correspond to one second. In an alternative embodiment, five out of thirty frames could be sampled to provide a greater level of granularity. In this case, three contiguous frames would correspond to 0.6 seconds. For exemplary purposes, the explanation will continue assuming a sampling rate of every ten frames for simplicity and so as not to obscure the present invention.
By sampling the frames in this manner, the present invention offers the ability to definitively know the duration that a given image persists on the screen. An image present in three frames would be presented over the span of one second of native footage 110. Partitioning native footage 110 into a set of frames 126 allows each frame to be examined carefully. By sampling frames, the process can be completed quickly without sacrificing accuracy.
At a step 220D, each frame is uniquely identified and sequenced. With forethought in mind, the name of each frame is preferably indicative of the respective event and/or show to which the frames 126 correspond. At a step 220E, the frames are compressed according to a compression algorithm to further reduce the size of data that needs to be managed. In one embodiment, the frames are compressed according to the JPEG compression scheme to a fraction of their original filesize. This scheme will maintain a high level of fidelity in the compressed format. Returning now to
Turning now to
Returning now to
Table 656 preferable includes an event-ID column 660, an event-name column 662, a show-ID column 664, a show-name column 668, and a status column 670. From this screen 650, a user can select a row, such as row 658, and choose to begin detecting advertising images by clicking on the "detect" button 672. An option to print a corresponding logo can be exposed by clicking print-logo button 674. A user may download frames 126 corresponding to the event 658 by clicking download button 676. A synchronization function is also offered by clicking button 678 whereby detection site 128 can be synchronized to server 118.
A detector then begins a detecting session by choosing a pending show and selecting the "detect" button 676, as indicated in
But if frames 126 include periods that of no interest, then a set of play-control buttons 708 are provided to rapidly advance past uninteresting content, such as television commercials as the case may be. This assumes that the sponsor is only interested in the appearance of its advertising images during the shooting of an event.
The title of the event is indicated in event-box 710 and the corresponding show is indicated in box 712 in one embodiment. In one embodiment, a detector observes a current frame 714 and identifies each occurrence of advertising images that corresponds to a set of advertisers 716. The list 716 of advertisers, or sponsors, lists each advertiser of interest. When a specific advertiser is selected from list 716, an exemplary sponsorship-logo image 718 is depicted in image preview box 720. By providing image preview 718, hits can be logged by detectors who are unfamiliar with a specific sponsor's logo. Viewing each frame, a detector logs individual hits.
As summarily defined above, a hit is any frame that includes the occurrence of an advertising image of interest. A hit is not necessarily a detection, although it may help compose a detection. During the analysis phase (230F), detections will be determined based on attributes logged and associated with each individual frame.
In one embodiment, a detector may rapidly log a hit by entering only three snippets of data: the logo key map, a size indication, and a source indication. A logo is preferably identified by entering the key map sequence of list 716. Next, the present invention receives one of a plurality of size indicators, such as small 724, medium 726, and large 728. In the embodiment shown, small-indicator 724 corresponds to the letter "A." Similarly, a medium-sized image is entered by depressing the letter "S" and a large image is indicated by depressing the letter "D." The present invention is not limited to only three sizes identifiers, but three have been shown to illustrate the functionality offered by one embodiment of the present invention.
Image size is preferably determined with respect to the amount of screen real estate that an image consumes. This way, a small image will be considered small whether viewed on a 13-inch television screen or on a much larger projection screen. Various screen-real-estate percentages can be attributed to size indicators 724, 726, and 728.
For example, a small image may be an image that consumes 5% of the viewing screen. Alternatively, a small image may be defined to cover 7.5% or 10%, etc. of the screen. A medium image may be defined to be any image larger than a small image but smaller than say some multiple of a small image. Finally, a large image would be any image larger than a medium image. If more precise detail is desired, then a greater number of size delineators can be provided. A sizing tool can also be provided whereby a user can use a pointing device such as a mouse to outline an image on the screen. Its size will then be automatically determined based on the size of the outline.
The final key sequence to be entered to tag an image is a source identifier selected from list 730. Exemplary sources of advertising images are provided in
An example of logging a hit for a given sponsorship image will now be provided. Suppose that a detector wishes to indicate the occurrence of a "Right Guard" logo in image 714. According to one embodiment, the present invention need only receive the following input, which can take the form of key sequences: "3, A, 5." Thus, by merely entering the numeral "3," clicking the letter "A," and typing the numeral "5," a detector is able to rapidly indicate that a small "Right Guard" image appears at the start house.
This entry is indicated by row 736 of list 734 in frame log 732. Also indicated in frame log 732 is data that indicates a small "Jeep" image is also present with the "Right Guard," as well as a small "Mountain Dew" image and a small "Taco Bell" image. In one embodiment, the present invention automatically populates frame log 732 with the current frame number 702. In one embodiment, a detector provides a delimiting action (such as pressing the plus "+" key) before adding each addition hit sequence to a frame. Detection application 130 is preferably coded to receive only certain types of key sequences, and when those key sequences are received, it automatically processes the data based on the input received. For example, detection application 130 can be coded to first receive a numeric string, then a single letter, and finally another numeric string.
Detection application 130 can be further developed so as to recognize numerical strings only within the specific ranges. In this embodiment, logos can be key mapped to a given range, say one through twenty, while source identifiers 730 can be associated with a different range, perhaps thirty through forty. In this manner, detection application 130 expects to receive three snippets of data: first, a numeral one through twenty, second, a letter, and finally a numeral thirty through forty. Infinite to receiving the numeral thirty through forty, detection application 130 knows to advance to the next line, pre-populating it with the respective frame number 702. Such a scheme would make for very rapid image tagging.
If an error was made in entering data into frame log 732, then a user may remove an entry by clicking the "remove button 738. Other helpful data items can be included in user interface 700. For example, a preview of one or more frames can be provided, such as indicated by a first frame-preview pane 740 and a second frame-preview pane 742. A detector may navigate to a predefined screen by selecting the "home" button 744. A detector continues in this manner to associate a set of attributes with each frame of a given frame set, such as frame-set 126. After this is completed, the data in frame log 732 will be used to create a detection report, which in one embodiment takes the form of an XML file.
After a detector has completed viewing all images of a given frame set, that job is indicated as "completed" as can be seen by
As previously mentioned, detection report 132 takes the form of an XML file in one embodiment. Turning now to
If a logo appeared by itself, in the absence of other advertising images, then it is referred to herein as being in isolation. If more than one logo was observable in a given frame, then each logo is the to be in non-isolation. The determination as to whether a logo is in isolation can be gleaned by analyzing detection report 132. For example, if a given frame number appears in multiple records, with differing logo IDs, then each logo was not in isolation. But if a frame number is associated with only a single logo ID, and no other records share that frame number with a different logo ID, then it can be determined that the image in question appeared in isolation. An example of a logo appearing in isolation can be seen with reference to record 782.
Record 782 indicates that a "Mountain Dew" logo appeared in frame number 2453. And because no other records indicate a hit associated with frame number 2543, it can be determined that the "Mountain Dew" logo appeared in isolation in frame 2543. This data will ultimately be used in the valuation process to attribute a higher value to those images that appeared in isolation as compared to those images that did not.
Another illustrative metric that can be gleaned by examining detection report 132 is whether an image is repeated or not. A repeating image is an image that appears in duplicate in a single frame. For example, consider records 776 and 780. Record 776 indicates that a "Right Guard" image appeared in frame number 2544, and record 780 also indicates that a "Right Guard" Image appeared in frame number 2544. But because records 776 and 780 have different detection keys, it can be determined that two "Right Guard" images appeared in frame 2544. Thus, the present invention allows data to be analyzed very quickly by a computer, and data to be gathered very accurately by a human being.
Clearly, size and location can easily be determined from detection report 132. Significantly, extensive analysis can be performed on all occurrences of images in native footage 110. A human being does not need to keep track of whether an advertising image occurred with other images. Similarly, a human being does not need to track whether an image appeared in duplicate in various presentations of an event. Rather that processing is preferably done by server 118. The present invention marries the best of two worlds by enabling rapid association of multiple attributes with each selected frame of a given event with the processing power of a computer such as server 118. For example, a human being is relieved of the task of quantifying the precise duration that an advertising image persists in native footage 110.
Having sampled a select number of frames, an accurate and objective determination can be made as to how long an image was viewable to a human audience. If an image occurred in three contiguous frames, and each frame can be associated with a specific duration, then a total duration can be computed. For example, with reference to
As used herein, a detection refers to an image that has persisted past a threshold duration, whereas a hit is merely the occurrence of an image in a single frame. If a sponsor determined that only images that had a duration of at least one second were to be counted as detections, then the present invention would not count as detections any images that did not appear in at least five contiguous frames. Those skilled in the art will appreciate that virtually any threshold can be met by commensurately sampling native footage 110.
Thus, one aspect of the analyzing phase (see
Valuation Metrics
As summarily mentioned in Table 1, the term "Image Monetary Indicator" (IMI) is used herein to denote a measurement of the monetary value of a sponsor's signage package, graphics, and audio mentions for a televised event. Audio mentions include sounds related to an item to be promoted, such as a sponsor's name, jingle, or identifying sound. Similar to rose being known by another name, those practicing in the art may use other names to denote a monetary value, but such other names indicate a valuation concept contemplated within the scope of the present invention. The IMI is used to indicate a monetary value of the impact potential (as measured by the Image-Impact Indicator) relative to a benchmark metrics, such as a negotiated 30-second spot value programming ratings.
The Image-Impact Indicator (III) metric measures viewer impression, or the degree to which a signage package (images, graphics, audio mentions, etc.) leverages the opportunities provided through a televised broadcast of a sponsored event. As with the IMI above, artisans may use other names, acronyms, or abbreviations to refer to what the III measures, and such other references are contemplated within the scope of the present invention. The Image-Impact Indicator is derived from an aggregation of the impact ratings for the individual detections of a sponsor's signage during a televised event. Generally, the impact potential of a detection increases as a detection's duration and size increase. The impact potential is greatest when a sponsor's signage appears in isolation of competing signage and diminishes as detection clutter grows.
The impact potential of an individual detection is also affected by its type. A graphic detection, and audio detection, or a combination audio/graphic detection will generally have greater impact value than signage. The impact value of a sustained detection diminishes over long duration periods. The monetary value of a signage package can be affected by other variables, such as by the sponsorship tier. These and other variables (including all of the variables mentioned above and those to be described below) can be taken in by present invention to generate relevant and comprehensive valuation scores.
Prior to describing in detail how an Ell is derived according to an embodiment of the present invention, the following description is provided as a high-level introduction: First, an IDS is determined for each detection of interest (step 240,
*A preferred method of calculating the IMI (at an introductory level) begins with adjusting the actual duration of a detection for each sustained detection. Then, for each detection, the individual detection scores are scaled to create a duration adjustment factor (DAF). Next, an adjusted signage duration (ASD) is calculated as the sum of the products of the corrected durations and the duration adjustment factor. Finally, the ASD is converted to a monetary value based on a benchmark metric, such as a negotiated 30-second spot value and adjusted for other variables of interest such as ratings, sponsorship tiers, event size, viewing ratings, viewing audience, etc.
A more in-depth discussion of the technologies, algorithms, and other factors that realize the valuation metrics will now be provided, beginning with Table 2, which describes various functions, arguments, values, and resources.
As previously mentioned, a detection is an appearance of a sponsor's logo during a televised event that meets certain criteria, such as at least a minimum size or persisting for at least a minimum duration. An individual detection is preferably described by three primary attributes: duration, size, and isolation.
Detections are preferably classified according to the values of their primary attributes (duration, size isolation).
The number of different detection classes defined by the primary attribute categories is the product of the number of divisions associated with each attribute in one embodiment. If there are n duration categories, m size categories and I isolation categories, then there are n*m*l detection categories. Thus, three duration divisions, three size divisions and two isolation divisions would result in 18 of detection classes or categories. What is most important here, is that individual detection scores are indexed and then used to generate an overall impact factor. An artisan could as easily opt to use two variables that could take on four different values to create 16 categories; or six values that take on two attributes to create 64 categories; etc. The present invention advances the art, in one aspect, by provided an indexing methodology at all, not necessarily the exemplary one described and to be described in greater detail below.
If x is the duration category index, y is the size category index and z be the isolation category index, then <x, y, z> uniquely identifies a detection class. In accordance with the category definitions above, <3, 3, 2> would be the name of the detection class consisting of all long, large and isolated detections. Similarly, <1, 1, 1> would be the name the detection class consisting all detections having short duration, small size, and appearing simultaneously with logos of other sponsors. Those skilled in the art would readily appreciate alternative naming schemes. The aforementioned naming or identification format is arbitrary. The number of individual detections in detection class <x, y, z> is represented herein as n<x,y z>.
Deriving Individual Detection Scores
IDS values are preferably determined by the duration, size, and isolation attributes of an individual detection. Both the duration and size attribute values are classified as being in one of three different categories—d(1), d(2), or d(3); and s(1), s(2), or s(3) respectively. The isolation attribute value is currently in one of two categories —i(1) or i(2). For convenience, the concatenation of the category subscripts is used as an identifier of the 18 different categories used in one embodiment. The duration subscript occurs first, the size second, and the isolation identifier appears third. Therefore, the category 3,2,1 represents a detection of long duration, medium size, of appearing in isolation.
To understand how the IDS values are determined and how they relate to one another, it is beneficial to understand first how the value of a detection changes with respect to changes in its duration and size.
Duration: The value of a detection increases as duration increase. The present invention contemplates a model whereby detection value increases linearly with duration, although other scaling valuations could be used. If one second of duration is worth x, then two seconds of duration would be worth 2x, three seconds would worth 3x, and so on. That is, each additional unit of duration adds a constant amount of additional value to the detection if all other attributes (e.g. size, isolation, . . . ) of the detection remain unchanged.
Size: The value of a detection also increases as size increases. But the present invention contemplates in its preferred embodiment valuation increasing at an increasing rate as the size of the detection increases. The value of a detection is directly related to the amount of screen real estate it occupies on the screen. In this sense, the value can be explained similar to the value associated with the duration of a detection. If a detection that occupies x square units of space on the screen is worth y, then a detection that occupies 2x square units of space on the screen will be worth 2y. However, this explanation can be unintentionally misleading. What one must realize is that the amount of real estate gained by an increase in the height and width of a small detection may be significantly less than the amount of real estate gained by the same increase in the height and width of a large detection.
The following example will illustrate this point. Consider a detection that is 10�20=200 pixels. A one-unit increase in both the height and the width of the detection will result in an 11�21=231 pixels detection. The increase in the area of the detection is 31 pixels. Now consider a detection that is 50�100=5000 pixels. A one unit increase in both the height and the width of the detection will result in an 51�101=5151 pixels detection. The increase in the area of the detection is 151 pixels which is almost 5 time the absolute value of the increase of the smaller detection for the same absolute increase in the length and width dimensions of the detection. Accordingly, the present invention embraces stands to reason that the value of a larger detection changes more than the value of a small detection for the same absolute change in the detection dimensions.
Isolation: A value of a detection decreases when another detection appears simultaneously on the screen because viewers must split their attention between the two or more different images. The magnitude of the change in a detection's value as it moves from an isolated state to a non-isolated state is specifically related to its duration. Specifically, moving from an isolated state to a non-isolated state has less of a negative effect on a longer duration detection than it does on a shorter duration detection. For longer duration detections, the eye and the brain have more time and therefore a higher probability of seeing the detections even if they are not in isolation.
Detection Class Values: In the implementation, the number "1" is arbitrarily chosen for illustrative purposes as the IDS value of a detection that would be in the smallest duration category, smallest size category and not appearing in isolation. This detection would be in detection class 1,1,1. All the IDS values for the remaining 17 detection classes are built from the IDS of the 1,1,1 class in this example.
Based on experience in the industry, it has been reasoned that the value of a class 1,1,2 detection is twice the value of a class 1,1,1 detection. That is, small detections of small duration, in isolation is worth double the value of a detection that is not in isolation. Because the IDS of class 1,1,1 is "1" (i.e. ids1,1,132 1) then the IDS of class 1,1,2 is "2" (i.e. ids1,1,2=2).
Duration increments. Fixing the size attribute, for example all small detections—size category s(1)—an increase in duration category (e.g. from d(i) to d(i+1)), a detection is awarded a value increment of "2" while the isolation attribute is held constant. Because ids1,1,1=1 and ids1,1,2=2, then
Size increments: For each category increase in size, the value of the detection is doubled according to one embodiment. In other embodiments, a different factor could be attributed or no factor at all. Although the doubling occurs independent of the duration category, the following example illustrates the effect for the d(1) duration category. Because ids1,1,1=1 and ids1,1,2 2, then
Table 5 completes the construction of the IDS values for all 18 detection classes according to the provided example.
Duplicate IDS values for different detection Classes: Duplicates occur as a natural part of the building process but can be explained in terms of value changes related to simultaneous changes in detection attribute values. Five values are repeated in the IDS value matrix. They are 2, 4, 6, 8, and 12 and occur as the IDS values of the following detection classes:
In each case, moving from one detection class to another that has the same IDS value involves a trade-off in values related to detection attribute changes that result in a wash. For example, in the first case (ids1,1,2=ids1,2,1=2), the value lost in moving from an isolated state a non-isolated state is offset by the value gained by an increase in size. Similarly, in the fourth case (ids1,3,2=ids2,2,2=8), the value gained by an increase in the detection's duration is offset exactly by the value lost from the decrease in the detection's size. All duplicate IDS values can be explained by these types of value trade-offs due to changes in detection attribute values.
Detection Class Attributes
A detection class is characterized by one primary attribute: the individual detection score category value (IDS-cat). The IDS-cat of a detection class is a value indicating the relative impact of an individual detection in that class. For example, if the <3, 3, 2> detection class has an IDS-cat value of "24" and the <1, 1, 1> detection class has a IDS-cat value of "1," then the impact potential of a <3, 3, 2> detection is taken to be 24 times greater than that of a <1, 1, 1> detection. The IDS-cat value is a function the size-category, duration-category, and isolation-category attribute values that define the detection class. ps Computing IDS-cat Values
Give Table 6 above IDS-cat is preferable computed as follows:
Exemplary detection rules are set forth in Table 7 below.
Table 8 sets forth a more formal specification for the computation for all IDS-cat values.
Regarding the above, all category values for size, duration, and isolation are preferably taken from ranges of consecutive integers between the respective minimum and maximum values. The magnitude of the difference between the iso-n-seed-value-s determine the relative differential between the various degrees of isolated detections. The value of the variable size-inc-factor determines the rate at which the IDS-cat increases with one unit increases in the detection size category. The rate of increase in IDS-cat with respect to duration category increases is a function of the value of the two previous duration category IDS-cat values within the same isolation and size categories.
Detections Attributes
Table 9 describes attributes of individual detections. Their values are either supplied from the analysis process (step 230F,
Each duration category is preferably referenced by an integer value ranging from *min,dur.cat.value* to *max,dur.cat.value*, where n is the total number of duration categories allowed.
The category boundaries will be specified by the parameters outlined in Table 10 below.
A sustained detection is one whose duration value exceeds *dur-max*. *dur-max* bounds the outer limit of the largest duration category. The value of any time in excess of *dur-max* is uniformly devalued until the minimum duration adjustment value (*dur.adj.floor*) is reached at the time *dur-flat*≧*dur-max*. The longer the detection persists after the threshold, the less the excess duration is subsequently valued on average. The value of any excess duration never goes below *dur.adj.floor*.
An individual detection score (IDS) of a detection is the IDS-cat score of the detection's detection class adjusted for detection-type. The IDS value captures the impact potential of an individual detection relative to other detections.
Duration Adjustment Factor (DAF): The DAF of a detection is an adjustment factor for the individual duration of a detections. The DAF is used to adjust the duration of an individual detection to reflect its relative impact potential when considering a detection's contribution to the overall monetary value of the signage package.
The DAF is a function of the IDS value for the individual detection of interest.
Where the IDS value captures the impact potential of a detection relative to other detections, the DAF value is a transformation of the IDS into a duration adjustment factor for the ultimate purpose of calculation monetary value. The relationship between IDS and DAF is a proportional scaling of the IDS value to the DAF range defined by *DAF.max* and *DAF.min*.
The formula for the DAF of the ith detection is set forth in Table 13:
The DAF.range determines the relative magnitudes of the duration adjustment factors.
As previously mentioned, the III is an indicator of the collective impact potential realized by a sponsor from an entire signage package as it was detected on a televised event. The III value is independent of market and the venue. The III is also preferably independent of variations in TV ratings and sponsor specific signage features. The III is computed over a set of detections.
The III for an event is calculated as follows in Table 14.
The Adjusted Signage Duration (ASD) of an event is the sum of the adjusted durations for all of a sponsor's detections for an event. In one embodiment, the durations are actually adjusted twice: once during the duration* calculation process and again using the DAF value. The ASD is computed over a set of detections, which are recited in Table 15 below.
As previously mentioned, the Image Monetary Indicator (IMI) of a signage package is preferably a function a standard benchmark, such as the negotiated 30-second spot rate (n30ss$) for a televised event and is also a function of other factors, such as the adjusted signage duration, TV ratings for the event, and sponsorship tier adjustment factors. The IMI is computed over a set of detections.
The IMI is calculated as follows:
The *sponsorship.adj.factor* reflects adjustments in the negotiated 30-second spot value for a sponsor.
The TV.adj.factor accommodates accounting for actual ratings of a show determined to be significantly different than the anticipated rating values. The IMI adjusts accordingly. Actual ratings that are significantly higher than the anticipated ratings will result in an upward adjustment in the IMI. Actual ratings that are significantly lower than the anticipated ratings will result in a downward adjustment in the IMI.
Actual ratings are considered to be significantly different than anticipated ratings if the anticipated rating falls outside the published confidence range of the realized rating for the event of interest.
For example, suppose an event's realized rating is published as p with an error of plus of minus e and that the anticipated rating had been determined to be q. Then, q is considered to be significantly different that p if q≦(p−s) or if q≧(p+s). In the former case the IMI is adjusted down. In the later case the IMI is adjusted upward. If (p−s)≦q≦(p+s) then no adjustment is made. The IMI can also be adjusted based on other factors.
The TV.adj.factor is computed as described in Table 17.
The values provided in Table 18 below are exemplary values and are provided merely to illustrate the III/IMI calculation algorithms.
Those skilled in the art will readily appreciate the vast uses for the methods described herein, but not detailed by the letter for the sake of feasibility. Moreover, many different arrangements of the various components depicted, as well as components not shown, are possible without departing from the spirit and scope of the present invention. Those skilled in the art will appreciate the litany of additional network components that can be used in connection with the present invention. The present invention has been described in relation to particular embodiments, which are intended in all respects to be illustrative rather than restrictive. Alternative embodiments will become apparent to those skilled in the art that do not depart from its scope. Many alternative embodiments exist but are not included because of the nature of this invention
Certain features and subcombinations are of utility and may be employed without reference to other features and subcombinations and are contemplated within the scope of the claims. Not all steps listed in the various figures need be carried out in the specific order described. Not all steps of the aforementioned flow diagrams are necessary steps.
Patent Citations
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Blues announce street to be renamed 'Brett Hull Way'
Updated: December 6, 2006, 10:47 PM ETAssociated Press
ST. LOUIS -- The St. Louis Blues didn't stop at retiring Brett Hull's No. 16 jersey on Tuesday night. They also arranged to name a street after him.
Just the jersey would have been plenty for Hull, who thanked his enforcers for taking good care of him, admitted to his old coaches that he knew he could be a handful and even thanked the media while bragging that his exploits certainly made their job easier.
"To have an organization think that much of you is more than one guy can ...
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Declare Your Name
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Declare Your Name (The Brooklyn Tabernacle Choir). By Brooklyn Tabernacle Choir. Arranged by Carol Joy Cymbala. For SAT(B) Choir. Collection. Choral Book. Published by Word Music (WD.080689909177).
The Brooklyn Tabernacle Choir breaks new ground with this thirteen song collection co-written entirely by Carol Cymbala and other members of the their extraordinarily talented music staff! Singularly focused on proclaiming the goodness and faithfulness of Jesus Christ, Declare Your Name is a masterful blend of hand-clapping Black Gospel, soaring inspo ballads, and a fresh mix of compelling praise-and-worship songs.


text:
Pictures On You
Virgin Steele
I got pictures on you baby
I'm gonna turn em loose
Oh, don't you cry honey
I'm gonna cook your goose, yeah.
Well, I ain't mean, it's just that you've been bad.
And you're makin, you're makin me, oh so mad
How would you mama like it?
How would your daddy take it?
To see you lyin naked
Right on my bead, ha ha
Watch the birdie baby, I'm taking one more shot!!
Stop that naggin noise, etc.
Composição: David Defeis / Joey Ayvazian · Esse não é o compositor? Nos avise.
Enviada por Glauber
Enviada por Glauber


text:
The Hundred-Foot Journey: Culinary mash-up
By Stephanie Zacharek
Into the Storm tears up America
By Alan Scherstuhl
Land Ho!'s seniors never quite charm
By Amy Nicholson
Teenage Mutant Ninja Turtles fails
By Amy Nicholson
Get On Up is an inspired James Brown biopic
By Stephanie Zacharek
Guardians of the Galaxy misses the mark
By Stephanie Zacharek
Magic in the Moonlight doesn't cast its spell
By Alan Scherstuhl
Michel Gondry's Mood Indigo gets richer as it darkens
By Amy Nicholson
Together, their characters offset the grandeur of the king and his dreams, the idea that the suffering of a few is worth enduring for the greater good of many. This U.S. release bears a new, sharper English translation that emphasizes Hero's found paradox: the beauty and fleetingness of the individual life. In the movie, China's first ruler finally accepts the challenge of that paradox. In our America, one is "partisan" for noticing the raw absences of 900-plus rare individuals, not to mention thousands of civilian Iraqis. For the good of whom?
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Pursuant to authority granted to it under the Dodd-Frank Wall Street Reform and Consumer Protection Act (the "Dodd-Frank Act"), the U.S. Treasury Department has proposed excluding foreign exchange swaps and forwards from the definition of a "swap" under the Commodity Exchange Act ("CEA").
In its notice, Treasury stresses that the definitions of foreign exchange swap and foreign exchange forward in the CEA are quite narrow. The following types of currency derivatives are covered by the exclusion:
• "Foreign exchange forwards," which involve the physical exchange of two different currencies at a fixed rate on a fixed future date; and
• "Foreign exchange swaps," which involve a physical exchange of two different currencies at a fixed rate on a fixed date, followed by a reverse exchange of these two currencies at a fixed rate at a later date.
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My name is
I'm from Sydney, Australia.
I build websites
and web applications.
I'm into HTML5, JavaScript, Haskell, Ruby,
Responsive Design, Drupal,
and am always interested in
learning about new stuff.
I've worked on
corporate sites,
community websites , corporate intranets, etc.
I've done
a few presentations,
but I feel like I could always
do with some practice.
When I'm not working, you can
probably find me with
headphones on, playing games...
Or maybe just on a walk.
I thought for a while about
why I wanted my site to look
a bit like a bunch of cards.
When I was little I played a lot
with HyperCard on the family Mac,
trying to build video games.
It was difficulty considering
it could only animate icon-sized
regions at a time.
I figured that if it were possible
to build Mario Bros. out of sprites,
you could build Monkey Island
out of icons if you
really felt like it!
I think I was ten or so,
and frustration got the best of me.
When I was in high school, I'd play
blackjack with friends during P.E.
No stakes, just cards and idle chat.
I'm not very good at blackjack.
When I got into the web,
the things I had learnt playing
with HyperCard fell into place.
It might be understating it
to say that it mattered.
I'd like to play cards
with you sometime. Hit me up.
Also, if you're after someone
who can help make your website interesting and useful,
or make your applications better,
let me know.
If you'd like to contact me,
here are some details:
Thank you!


text:
Do efficient story writers make efficient story tellers? Not always! Thanks to the hype surrounding the film as also the fact that the real-life father and son duo of Feroz Khan and Fardeen Khan have been teamed yet again, expectations from Ek Khiladi Ek Haseena run sky-high. But never judge a book by its cover... and a film by its promos. For, looks can be quite deceptive!
Koena Mitra


text:
Recorde-Setting Astronaut Departs NASA
Michael Lopez-Alegria, NASA's most experienced spacewalker and the American holding the record for the single longest spaceflight mission, has left the agency.
Lopez-Alegria flew on four missions and performed 10 spacewalks during his career. He most recently served in the Flight Crew Operations Directorate at NASA's Johnson Space Center in Houston as assistant director for the International Space Station (ISS).
"Mike has faithfully served the Flight Crew Operations Directorate for many years," said Janet Kavandi, director of Flight Crew Operations at Johnson. "His unique background and diplomatic skills have made him an outstanding FCOD assistant director for space station and lead for the Multilateral Crew Operations Panel. Mike's tireless dedication to the safety and well-being of space station crews is well known. We will miss him and wish him well in his future endeavors."
During his career, Lopez-Alegria logged more than 257 days in space, including 215 days as commander of the Expedition 14 mission to the ISS, which stands as the single longest spaceflight by an American. Lopez-Alegria also logged more than 67 hours during his 10
spacewalks, more than any other American, and second only in the record books to Russian cosmonaut Anatoly Solovyev.
"Mike has been a huge asset to the astronaut office during the course of his career," said Peggy Whitson, chief of the Astronaut Office at Johnson. "His contributions in spacewalking, shuttle, space station and Soyuz operations are notable and very distinguished. Personally, we will miss his humor and insights and wish him all the best."
Lopez-Alegria flew on three space shuttle missions. The first, STS-73 in 1995, focused on science experiments. He then served as NASA's director of operations at the Yuri Gagarin Cosmonaut Training Center in Star City, Russia, where he was in charge of American astronauts training for flights to the Russian space station Mir and the ISS.
Lopez-Alegria later flew on STS-92 in 2000 and STS-113 in 2002, delivering critical truss elements to the station.
Expedition 14 Commander Lopez-Alegria and his crew launched to the ISS on a Soyuz spacecraft from the Baikonur Cosmodrome in Kazakhstan on Sept. 18, 2006. This fourth and final mission earned Lopez-Alegria the spaceflight record. The crew conducted a seven-month mission to operate, maintain, build and use the station and its science facilities. During the expedition, two uncrewed Russian Progress cargo vehicles arrived and departed the station and a space shuttle assembly mission reconfigured the station's power supply. Lopez-Alegria's mission ended with a Soyuz landing on the Kazakh steppe on April 21, 2007.
Image Caption: Astronaut Michael E. Lopez-Alegria in March, 2003 (Credit: NASA)
On the Net:


text:
May 25, 2012
SPARTA — It wasn't hard for the Ashley American Legion Post 518 baseball team to get started Saturday and Sunday in the 2011 Ohio Division 6 Tournament, but the team hit a wall on Wednesday.
Post 518 had trouble at the outset but rallied in the late going, only to fall to the Knox County Royals/Utica Post 92 11-5 in the Upper Bracket Championship game at Highland Community Park in Sparta.
Mistakes bit Ashley (12-12) in the posterior early on. A two-out hit, a balk call, a wild pitch and a throwing error allowed Utica (23-7-1) to take the early 1-0 lead, but things only worsened in the second.
Utica scored four times on a double, two singles, two walks and two sacrifice flies to push its advantage to 5-0. Three more runs in the fourth and the Royals held a intimidating 8-0 lead.
But Post 518 responded in the sixth. Kyle Whetro hit a leadoff single and went to second on a wild pitch. Kenny McCambridge followed with a walk, and both runners moved up on a passed ball.
Joe Curran then ripped a grounder through the left side of the infield to score Whetro, and after Curran stole second, Jimmy Waterwash hit a sacrifice fly to right to plate McCambridge. Sean Leonard then singled through the right side, allowing Curran to come home.
Utica kept the pressure on, adding two runs in the sixth, but Ashley negated that inning with a two-run seventh. A.J. Veach led off with a walk and took third when Blake Hampshire reached second on a two-base error by the Utica first baseman.
A lineout and strikeout followed, putting the pressure on Post 518 again, but McCambridge lined a two-out double to right center that scored both Veach and Hampshire.
But Utica clamped down after that. The Royals added a run in the bottom of the seventh then used its bullpen to shut down Ashley the rest of the way.
Marcus Caplin, the first of six Ashley pitchers in the game, was hit for the loss, allowing four earned runs, four hits and two walks in 1 2/3 innings. Christian Watson worked an inning and a third, giving up a hit and two walks while striking out one.
Chad Townley surrendered three runs on a hit and three walks with one strikeout in a third of an inning, while Chad Nugen pitched three innings, giving up three runs, five hits and a walk while fanning one. Josh Badal went a third of an inning and walked two, while Griffin Binkley pitched the last 1 1/3, walking two and striking out one.
Veach and Whetro had two hits apiece and McCambridge his double and two RBIs to lead Ashley's offense. Curran, Leonard and Adam Collier also had a single apiece, with Curran, Leonard and Waterwash each driving in one run.
Kenny Rucker had three hits and one RBI while Ethan Abell had a pair of hits and two RBIs to lead Utica. Nathan Chilcote worked seven-plus innings, allowing just three earned runs, seven hits and four walks with three strikeouts to earn the win.
Ashley 18, London 2, 7 inn.
Post 518 fell behind in the opening inning, but never trailed after the second in their opening game rout of London Post 105 Saturday in Sparta.
Ashley scored a run in the bottom of the first to tie the game, then added three in the second before posting a 10-run third, essentially putting the game on ice.
Curran was 4 for 4 with a triple, double, two singles and three RBIs to lead Ashley. McCambridge was 3 for 3 with three singles, driving in three more runs. Collier added a triple, double and three RBIs, Waterwash a triple, single and one RBI, Leonard a double, single and two RBIs and Drew Martindale two singles and two more RBIs.
Caplin went five innings and allowed just one earned run on five hits with four strikeouts for the win. Watson pitched two shutout innings, walking three while fanning one.
Ashley 21, Johnstown 2, 7 inn.
Ashley left little doubt who controlled this game, posting 13 runs in the top half of the first en route to its blowout win over the Johnstown Post 254 Hawks in the second round Sunday in Sparta.
Ashley received early offense and a great deal of help from Johnstown. Hawks pitchers walked seven in the opening inning alone, including five in a row at one point, and the defense committed two errors to help Post 518.
But the Ashley offense also came up with six hits in that inning and blew the game open right off the bat.
Nugen worked the first three innings and allowed just one run on six hits with one strikeout. Whetro pitched the next two innings and earned the victory, giving up just one hit while striking out three. Hampshire worked the final two frames, giving up a run, a hit and a walk with one strikeout.
Leonard was 3 for 3 with a double, two singles and three RBIs, Waterwash had two singles and drove in three more runs, and Martindale had two more singles and two RBIs to lead the Ashley offense.
Ashley also lost their final game in the Buckeye Elite Tournament on Friday, losing a tight 12-11 decision to the Pittsburgh Crusaders 18U team.


text:
Archive for Wednesday, December 20, 2000
Barney and Janice Baragary, Boonville, Mo., will celebrate their 50th wedding anniversary with a reception for family and friends from 1:30 p.m. to 4 p.m. Dec. 30 at the church hall in Jarbalo.
Barney Baragary and Janice Mason were married Dec. 30, 1950, in Platte County, Mo. The Baragarys were in the real estate business in Leavenworth County for several years before moving in 1974 to Boonville. They have recently retired from the land development business and reside at 13881 Wendy Lane, Boonville, 65233.
Hosts for the reception are their children, Denise and Steve Shelly of Lansing; and Rita and Larry Sanders, and Don and Joy Bargary all of Boonville; and their seven grandchildren.
The couple request no gifts.
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New York City, New York
My Rating
What a fantastic trip Every one who has never been to New York should do this trip.
The staff where great .Really enjoyed !!
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I'm going to stick my head in the sand and ignore this thread, just like I did the other one about quantity... I'm far from extreme, but I still don't really want to know. Ignorance is bliss.
How much money since becoming interested in Fragrances have you spent on your hobby and how much is your current collection worth?
Also how many bottles do you have and is there a limit you will not go beyond?
I own about fourteen bottles and have spent about eight hundred pounds, ouch.
I'm going to stick my head in the sand and ignore this thread, just like I did the other one about quantity... I'm far from extreme, but I still don't really want to know. Ignorance is bliss.
I shudder to think.
I sold off about 60% of my collection, mostly designer stuff, and used to the money to buy 4 Amouages, 1 Guerlain Parisienne and 1 Mazzolari. So the value to bottle ratio has risen, but the amount of bottles has decreased.
If I had to replace my collection I'd say it would take around $3000.
Last edited by Kevin Guyer; 5th December 2009 at 01:33 PM.
around $900, just started collecting a month or 2 ago
Hmmm...let's just say I've decided to make a list of their values (or at least what they sell for new) for my husband and daughter just in case they have to deal with my estate.
A rough estimate would lead me to an approximate figure of about 1750 $, but then again it could always be more or less. Probably less, since: a) I do not own ALL of the frags I have spent my money on any longer, for various reasons- like using them up, giving them away or even loss and/or deterioration, mainly of the bottle or the spraying mechanism, not the frag itself and b) also due to the fact that a tiny fraction of my scents came as gifts- never asked or requested, not even suggested in the slightest way- from friends and relatives who know certain things about my fragrance passion.
But then again, my (entirely self-financed) "Christmas collection" has yet to arrive, most likely about 5-6 designer frags (neither mass-market nor niche and half of them backup bottles of some of the frags I already have), which might set me back
an additional figure around 250-300 $, at most.
Last edited by Ken_Russell; 5th December 2009 at 02:44 PM.
I've probably spent close to $4000 USD for the entire hobby combined since starting this Summer. But if my recent sell-off activity is any indication, and the value is worth what others would pay for it, then it's worth much, much less than what I spent. I've spent at least a thousand on samples from Luckyscent, TPC, Scentmonkey and various niche houses directly in the past year.
I've toned down my spending dramatically but now I desire higher-end niche fragrances from Montale, Amouage, Creed etc. So I'm buying fewer and spending less overall but I'm spending much more per bottle than my initial spending spree. I was buying everything that smelled good until I calmed down.
Would love to hear what Maz24 has to say.
I have about 12 bottles right now, worth about $400.
This doesn't seem like a good topic for BN because the people here seem pretty meek, I doubt they'd answer...
Last edited by Big Punisher; 5th December 2009 at 03:52 PM.
My collection is almost worth the amount I learned from them.
I indulge myself. I have spare cash, and love to spend it. Ever since starting this hobby, I'll estimate that I spent an average of 23 dollars a bottle. That leads to a rough estimate of 3 grand, or three months pay, spent on fragrances. For the amount of joy this hobby gives me, that's pocket change.
I refuse to sink.
The cost of happiness is money well spent as regards fragrance. Who says you can't by happiness?
EDIT: For a more extreme example, I blind bought The Dreamer. From Perfumania. With a tester sitting right in front of me. Even the SA asked if I wanted to spray the tester first. Nope! I'd done my research and knew I'd like it.
Last edited by Royal; 5th December 2009 at 04:51 PM.
I refuse to sink.
Replacement cost - approx. $7000. I'm sure I've spent triple that on all the things that have come and gone over the years though.
Price of 30+ bottles and 50+ samples/decants = US$1200
Knowledge gained and enjoyment = PRICELESS
What he said!
This is a new hobby for me, so it's my current entertainment and will probably remain so for a while. Whatever I've spent has been actually less than what previous hobbies cost me, take up less room or require less effort. The enjoyment factor is beyond measure.
7 bottles ......350 usd I think
"Burn their homes and churches.Then see if they will not laugh, sing and pray again.
For when two of them meet anywhere in the world, see if they will not create a new Armenia."
William Saroyan.
Using: Antaeus, The Dreamer, Eau Sauvage and Voyage d Hermes
Wishing: Tuscan Soul by Ferragamo and Concentré d Orange Verte
I have also streamlined and consolidated dozens of more common designer scents into a couple of Amouages, a Malle, my favorite discontinued Jil Sander Scents...some Cuiron...
And then there are the vintages...
I am thinking in the 5000 USD ballpark...perhaps?
Though I suppose if I were pressed to 'liquidate', I would be very sorely disappointed indeed...
I'd probably need over US$2k to replace my whole collection.
But if I were only to buy things that I like say because I lost my whole collection, 1 full 100 ml bottle each, I'd only have 5 fragrances worth about US$450.
Q: How do you make a feminine fragrance masculine?
A: Add 'Pour Homme' to the bottle
- Pierre Bourdon
Money is odorless.
in the past year I've probably spent much more on postage swapping frragrances than acutally purchasing them... shipping overseas costs me about 20 bucks a bottle, and even domestic shipping priority can run over 10 bucks... my collection is starting to dwindle as I've found my HGs are all in pretty much the same family, and it makes it much easier when deciding what to buy
At your service
i have about $150 worth on 4 bottles, but gave one to my brother, so technically 3 bottles left
Gucci PH, DKNY Men, DKNY Be Delicious, Perry Ellis 360 Red, Burberry London, Burberry Brit, Nautica Voyage, Nautica Classic, Nautica Blue, Adidas Victory League
Oh, terrible thought. A few thousand US dollars without a doubt.
For sale. Carnal Flower and Vero Profumo Onda.
Last edited by moreda; 6th December 2009 at 11:03 AM.
I am not ready to do this calculation. The best moves I have made so far are to buy used bottles when available and to stick with non-niche scents as there are so many to sample before I even think about going to the expensive stuff.
So in this case, ignorance is bliss. However, I do know that this hobby is less than my other hobbies, such as audio, music collecting and motorcycling.
6 months, ~$2500 in bottles and ~$500 in samples.
Last edited by Griff; 6th December 2009 at 06:18 PM.
Less than $200, even with the addition of YSL L'Homme coming soon.
30+ bottles
I'm guessing they're worth about $400
Money well spent in my opinion. You could never put a price on how my collection makes me feel.
Well over $1000AU. Which is a little bit worrying since I just started collecting these less than 3 months ago.
960 + = lots.
I thoroughly did the math in the other similar thread, it was a bargain for sure, something like 22% of it's retail value. Retail value was stupid high.
I've since willingly overpaid for 16oz of Windsor, so my thriftiness has met it's match.
Started about 3-6 months ago, have about 15 bottles and 100 samples with 15 on the to get list and 30-50 more to sample in full. Probably about $500 spent at this point, with the expectation to spend about another $500 before I'm content for a while... with that base of 20-30 bottles I'll probably just keep sampling until something really grabs me or my larger decants run out and I buy a FB
Tom Ford Splits!!!! - Tobacco Vanille, Tuscan Leather, Oud Wood, Noir de Noir - PATCHOULI ABSOLU
Plum Japonais, Italian Cypress, Neroli Portofino, Costa Azzura, Azure Lime, Champacca Absolute
HARD TO FIND - Lavender Palm, Arabian Wood, and AMBER ABSOLUTE, etc...
Most of the time I am very proud of the Basenotes community. Time after time I have witnessed the thoughtfulness, empathy & genuine friendship that members of this community extend to others - oldtimers & newcomers alike. There are other times, however, when egos get the upper hand and civility goes out the window. My philosophy is that I won't say anything here that I would not say if you were standing in front of me. Welcome to Basenotes, each and every one of us. ~ TwoRoads
*eyes glaze over and sees self to the door*
I'm a colognosaurus. Rawr!
<><><><><><><><><><><><><><><><><><><><><><><><><> <><><><><><><><><><><><><><><><>
Obsessions of the Moment- Kristiansand EDC, Green Irish Tweed, Zizan
Granted, we've known each other for some time. It don't take a whole day to recognize sunshine. ~ Common Sense
$519.44 for 7 100ml bottles. I'm not sure about samples.. maybe $30? For about 6 months that I've gotten back into this hobby
50 + 100 + 50 + 50 + 40 + 20+ 40 = $350 give or take. Though I do have some money saved up after selling a couple bottles for a bottle of Vetiver Extraordinaire, if that counts
Spring/Summer Wardrobe: vetiver extraordinaire, rose 31, terre d'hermes!
I suppose I could spend a couple of hours trying to tally up what I've actually spent (or been given) over the last 40 odd years. Or I could attempt to calculate the current resale value (which would likely be very much higher- I once found black bottles of Joy (new) for $6 each. I bought them all.) I probably should, if only to purchase a bit of insurance on them.
But my collection? Is priceless.
Lets put it this way, i've spent around $3778 on my Oriscent oud oils alone!
I can't remember the exact cost of all of them, but that is a close estimate.
I am afraid to add in the rest of my collection.
"You can ignore reality, but you can't ignore the consequences of ignoring reality." - Ayn Rand
"I hold it that a little rebellion now and then is a good thing, and as necessary in the political world as storms in the physical...It is a medicine necessary for the sound health of government." - Thomas Jefferson
My collection belongs in a Mastercard commercial
Sales thread here
Since my girlfriend and I got into an argument about this last night I happen to have totals handy, not including the frags I bought her that are also in my wardrobe.
Total spent, 2.5 years: $495
Replacement value: approx retail $1100
I would estimate my current collection to have close to $10,000 in resale value. Thats just a wild guess.
Amazingly I just heard from a Basenoter that they own 6,000 full size bottles!
Oriscent, AgarAura Pure Ouds, Creed, LIDGE, Patou Pour Homme, tons of niche and rare stuff for sale!
2-3 grand (rough estimate) since February... And I have every single one of you to (blame) thank :brolly:
Started 2 years back and it is around 2000 AUD.


text:
The aftermath of Ramona Singer's infamous wine glass toss continued to unravel, as Kristen Taekman searched for a genuine apology from her Real Housewives of New York City co-star.
"What she did to me was white trash: I'm pissed," Taekman said about Singer throwing a plastic wine glass at her face.
"You're going to have to get revenge," LuAnn de Lesseps advised her.
"Ramona can snap in a second," Carole Radziwill told Taekman, as Heather Thomson called Singer a "psycho b*tch."
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In another room, Singer confided with Sonja Morgan.
"I can't believe I hit her lip and it bled; that wasn't my intention," Singer said.
Talking to the cameras, Morgan revealed that Singer didn't want to go on the trip to the Berkshires, because it brought back painful memories from her childhood.
"She has suffered childhood abuse, physical abuse, so I empathize this with her," Morgan said.
"I'm turning into my dad," Singer said, revealing that she threw a glass at her father 30 years ago when he provoked her.
PHOTOS: Secrets & Scandals Of 'Real Housewives of New York City'
"Don't say that, Singer!" Morgan yelled. "You are not your dad! Do not say that. You are not your dad, Ramona."
"It was a knee-jerk reaction: I threw something back without thinking," Singer said, before she went outside to talk to Taekman.
"I was never intending to hurt you. I'm sorry," Singer said to Taekman, who questioned if her's was a genuine apology.
"Sort of, I guess," Singer said.
The pair got into a heated confrontation, as Singer yelled about not wanting to get water on her hair, but Taekman was clearly annoyed with Singer's pseudo- apology.
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"What are you, the Wicked Witch of the Hamptons? Are you going to melt?" she asked. "You have to get over yourself and calm the f*ck down."
"She can't even say, 'I'm sorry I broke your face,' without it turning into another argument," Taekman added.
Watch the video on RadarOnline.com
Unable to stand being around her co-stars, Singer secretly called her friend with a private plane to "save" her from the Berkshires.
While she waited, she decided to go on a hike with the ladies but broke down as uncomfortable childhood memories surfaced.
"Oh my god. This is f*cking unreal. Now I'm freaking," Singer said abruptly stopping in the middle of the woods. "This looks exactly like my backyard."
Singer opened up to Radziwill about her childhood and what it was like living with a verbally abusive, alcoholic father.
PHOTOS: Sonja Morgan Flirts With Co-Star Aviva Drescher's Ex-Husband Harry Bubin
"I believe my father moved us to the country so he could just hurt my mother and the neighbors couldn't hear," she said, recalling the painful memories. "It brought back memories of my parents arguing, and that's just something I don't want to remember.
"As a child to hear that every day is stressful."
Suddenly, Singer lost it, telling Radziwill she needed to get out of the woods because she felt "someone was going to attack" her.
"I'm having a meltdown … you bury memories so deep, you don't want to remember that," Singer said crying. "I have to go. I have to get out of here, seriously!"
Singer confronted Thomson and told her she had to leave and couldn't handle being in the Berkshires any longer.
PHOTOS: Stunning & Single! Ramona Singer The Belle Of RHONY's Sixth Season Ball In Manhattan
"I feel like it's best if I leave. Look I've been crying, I feel like I'm back where I grew up. I'm going back into time and it's not a good place," Singer told Thomson.
Once alone with Radziwill, Singer admitted that she needed to be driven to the airport and that one of her friends would be picking her up.
"She had me for a minute. That was some act, not Oscar-worthy, but People's Choice or Daytime Emmy," Radziwill joked.
"I'm ecstatic that Ramona left early," Taekman admitted. "She's just another angry b*tch. Let's be clear. There is no competition between Ramona and I."
Watch the video on RadarOnline.com
Hours after Singer jetted off, the ladies found out she ditched them to be in the Hamptons. Lesseps revealed that she got a text from a friend, who was partying with Singer at actress Molly Sims' bash.
"She knew she was leaving. This whole 'Milking the abuse story' is getting old. There is no doubt that she was abused in her life, but now she's using it to get out of situations she didn't want to be in," de Lesseps told the gals over dinner.
"Seriously guys, come on," Morgan pleaded. "She wouldn't lie to me."
"She lied to you," de Lesseps repeated multiple times to Morgan, before showing her a photo of Singer at the Hamptons party.
PHOTOS: See Ramona and Mario Singer Celebrate His Birthday Together
"Ramona is 150 percent out of control on every level," Taekman said.
"I'm getting a little concerned. She had to lie to get away from us," de Lesseps added. "I think we need to have an intervention."
Taekman high fived all the ladies and added: "Finally Ramona, you're going to get what's coming to you!"
"We've never confronted Ramona about her master manipulation, so at this point, we are done. It's going to end right here," de Lesseps.
In one final slam, Radziwill blasted Singer.
"You know how to tell if Ramona is lying? If her lips are moving," she said, as the housewives erupted in laughter.
The Real Housewives of New York City airs Tuesdays on Bravo at 9/8c.


text:
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. The ability to endure or carry on with an activity.
My one and only complaint is the lack of intermission between Vorspiel and "opera" proper, especially since the wooden seats of the Bayreuth-like Prinzregenten Theater begin to test the physical limits of the audience for such a long period, reminding one why German, apparently alone among languages, has that particular word Sitzfleisch, or sitting endurance.
It had not been an easy passing, but it exemplified the perseverance, or, as the Germans say, Sitzfleisch stick-to-it-iveness with which she lived.
If, like me, you spend a lot of time sitting around on your arse, maybe you could use a little extra "Sitzfleisch" … flesh for sitting.
The daily blogging ritual does indeed encourage the development of Sitzfleisch.
The people, therefore, appreciating that these near-sighted authors were incapable of any genial vision of comradeship, called them Sitzfleisch haben, because of the very long sittings which their works represented.
The Four Horsemen of the Apocalypse. (Los Cuatro Jinetes del Apocalipsis) from the Spanish of Vincente Blasco Ibanez; authorized translation by Charlotte Brewster Jordan.
That was what this cousin was for him, a mere Sitzfleisch haben.
The Four Horsemen of the Apocalypse. (Los Cuatro Jinetes del Apocalipsis) from the Spanish of Vincente Blasco Ibanez; authorized translation by Charlotte Brewster Jordan.
Sitzfleisch: a term used in chess to indicate winning by use of the glutei muscles -- the habit of remaining stolid in one's seat hour by hour, making moves that are sound but uninspired, until one's opponent blunders through boredom.
Build Your Sitzfleisch via Timed Writing Exercises
Hillary Rettig: How to Get Past the NaNoWriMo Danger Point and Finish Your Novel
I was impressed by Quincy Jones using MJ as an example of a hard-working artist in his concept of "ass power" writers called it Sitzfleisch, I guess given in Nelson George's "City Kid":


text:
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