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Meet The Writers

Jill Bilzi
Jill Bilzi is the former West Coast Editor of TWICE, (This Week in Consumer Electronics), where she covered the home video and CD markets; HDTV conversion in the United States; and domestic and international retail consolidation in the consumer electronics industry. Prior to TWICE, Jill was the West Coast Editor of Video Business Magazine, a New-York-City-based trade publication. She is now a freelance writer based in the San Francisco Bay Area.
 
 
George Cole
George Cole has been writing about technology since the late 1980s, and in addition to being a long-time contributor to One to One, he has written for a wide range of newspapers, magazines, journals, and websites including The Financial Times, The Sunday Times, The Guardian, The Observer, The Daily Telegraph, Music Week, Newsweek, New Scientist, What Video, The Radio Times, Readers’ Digest, Empire, and The Register. He also writes about music for Jazzwise magazine and has had a book published, The Last Miles, which is about the music of jazz trumpeter Miles Davis.
 
 
Dan Daley
Dan Daley has covered the professional audio and multimedia industries, with articles in every major journal in the industry globally including Billboard, Mix, EQ, Resolution, One To One and Sound on Sound, as well as publications including the London Daily Telegraph, Fast Company, Wired, the Wine Spectator, History Channel Magazine and AARP The Magazine. He is also the author of several books, most recently Nashville’s Unwritten Rules: Inside the Business of Country Music (Overlook Press, 2000, New York) and the digital music technology chapter of the ninth edition of Music Business Handbook and Career Guide (Sage Books, 2009, Denver), the world’s most widely sold textbook for academic music industry programmes.
 
Dan has written hit songs for artists including the Charlie Daniels Band (‘Still In Saigon’) and Johnny Winter (‘Rain’). He was co-owner and CFO of Pyramid Recording Studios in New York City, where he also engineered and produced projects including MTV’s The Big Show. Dan is also a veteran moderator, serving as the co-chair of REPLItech Conferences in San Francisco, Miami and Amsterdam, as well as moderator of the SAE Platinum Panel Global Webcast in Miami, moderator and live interviewer for the University of Westminster’s Music Tank conference in London in 2006, and various panels at the AES Conventions, going one-on-one with industry legends including Phil Ramone and Eddie Kramer. He is a voting member of the Recording Academy and a graduate, cum laude, of the Baccalaureate program of the City University of New York. Dan lives in New York City and Nashville.
 
www.dandaley.net
 
 
Philip De Lancie
Philip De Lancie is a freelance journalist and business communications writer with an extensive knowledge of media production and manufacturing. As a mastering engineer for 13 years at Fantasy Records in Berkeley, California, Philip cut thousands of releases for CD and vinyl, including hundreds of classic jazz, blues, and R&B titles from Fantasy’s extensive vaults. He was also responsible for multimedia projects at Fantasy including a CD-ROM catalogue and an Original Jazz Classics website. As a writer, Philip has published over 350 feature articles in trade magazines serving professionals in content creation, management, and distribution, including more than 50 pieces in One to One covering media and formats, mastering, manufacturing techniques, and industry trends.
http://www.delancie.net
 
 

Doug Dixon
Douglas Dixon is an independent technology consultant, author, and speaker specializing in digital media and portable devices. Previously a product manager and software developer at Intel Corporation and Sarnoff Corporation, his consulting work now includes technology analysis and communications, and expert witness services.
 
Doug is the author of four books on digital media, and has published hundreds of feature articles in magazines including DV Magazine, Condé Nast Traveler, Digital Photographer, and Computer Shopper / CNET Reviews. He currently writes for publications including Videomaker magazine and the US 1 Newspaper in Princeton, and was previously editor-in-chief of Mediaware magazine and technical editor of Camcorder & Computer Video magazine. Doug also has presented over a hundred seminars and talks on digital media over the past decade, to professional groups, and at conferences including CES, NAB, DV Expo, and Government Video Expo. For more than a decade, he has made his articles and technical references freely available on his Manifest Technology blog and website’
http://www.manifest-tech.com
 
 
Barry Fox
Barry Fox started out with a degree in Botany but much more usefully trained in electronics in the Royal Air Force. He then worked as a patent agent, patenting inventors’ ideas. From there he slid into journalism, writing and broadcasting first about hifi and subsequently all areas of consumer electronics and computing. Barry still finds patents a very useful tool for discovering what secretive companies are doing but won’t talk about. Winner of several UK Technology Press Awards and long-term European contributing editor for Warren Publishing (the US-based publisher of trade newsletters including Consumer Electronics Daily) Barry stays independent by doing no paid consultancy work, advertising or advertorial puff writing.
 
 
Debbie Galante Block
Debbie Galante Block is a freelance journalist who has worked for magazines like Tape/Disc Business, Emedia and One to One. She has been covering physical media for so many years that it’s tough to count. However, she also writes extensively about the music industry for magazines such as Billboard and In Tune Monthly where she has interviewed everyone from Steven Tyler to Celine Dion. Professional audio is another area of interest which she developed working for Pro Sound News and while working on a book about Surround Sound. Debbie lives with her husband and two daughters in a suburb of New York… far enough from the city to have trees, but still close enough to experience the excitement.
 
 
Larry Jaffee
Based in New York, Larry Jaffee edited Replication News (later known as Medialine) from 1998 to 2005, and oversaw its annual DVD conference. In this capacity, he created and launched the ‘Alex Awards’ CD/DVD packaging competition, named in honour of Alex Steinweiss, who created the first album cover in 1939 for Columbia Records. In 2006, Larry began writing as a freelancer for One to One and MediaPack, of which he also edited two issues. Larry was also a regular columnist for Mediaware, and served as executive producer of the Future of Packaged Media conference in February 2009 for the Content Delivery & Storage Association (formerly IRMA) and the Media-Tech Association.
 
He also held the title of editor-in-chief at Promo magazine and Mediacentral.com, managing editor of CableVision magazine, and Washington, DC bureau chief of Multichannel News. As a freelance writer, he has been published in The New York Times, Rolling Stone, Billboard, Hollywood Reporter, and Vibe, and currently writes about music for The Audiophile Voice. He is also the publisher of the Walford Gazette, a quarterly newspaper about EastEnders (http://www.wgazette.com), and the author of a self-published book, Albert Square & Me: The Actors of EastEnders. Larry may be reached at lsjaffee@gmail.com.
 
 
Linda Lombri
Linda Lombri is a 22-year veteran of the packaging industry, with particular knowledge of the home entertainment media environment. During her career, she provided Marketing and Communications support for two of the industry’s graphic arts leaders, Shorewood Packaging, a business of International Paper, and pioneer printer/packager, the Queens Group, Inc. Along the way, she witnessed the evolution of the industry from the long box to digital delivery. Linda has worked closely with the trade media, providing press material, advertising and advertorials to key industry publications, and helping to launch and promote new and interesting packaging solutions and printing processes.
 
Linda was instrumental in the development of Shorewood’s greenchoice Environmental Solutions for Packaging and POP Displays initiative. This program addresses various sustainability issues and introduced Shorewood’s portfolio of environmentally-friendly packaging. She considers writing to be her strong suit, and has a facility for turning complex technical information into creative, benefit-driven messages for business, consumer and media audiences alike. She is currently working as a consultant and freelance writer.
Linda received her MS graduate degree from Drexel University in Philadelphia, PA and her BA degree from Queens College of City University of New York. She lives in Montclair, NJ with her teenage daughter.
 
 
Jody Raynsford
Jody Raynsford is an experienced freelance journalist specialising in entertainment, culture and travel, and based in Brighton and London. He has an NCTJ post-graduate qualification in journalism and an honours degree in law.
 
Although Jody has considerable experience in the entertainment sector, he writes across a number of subjects. He has written for publications including DVD & Blu-ray Review, Cue Entertainment, Total Film, Lovefilm.com, The Press Gazette, Journalism.co.uk and many more. He has also edited special projects, such as the commemorative brochure for the British Video Association Awards and DVD & Blu-ray Review’s Discs Of The Decade supplement.
Jody has also been commissioned to write news and features across a range of diverse subjects from the impact of blogging on media coverage of the Gulf War to the importance of The Matrix on DVD, from recounting his experience on the Royal Marines Commando assault course in Lympstone to an in-depth analysis of the effects of the European working directive on junior NHS doctors.
As a former editor of B2B entertainment publication Home Entertainment Week Jody has considerable experience in writing news, features, comment, reviews and conducting interviews.
 
www.jodyraynsford.com
 
 
Jean-Luc Renaud
Swiss-born Jean-Luc Renaud – a BAFTA member – has been involved in the film, TV and new media industries for over 25 years. After graduate studies at the universities of Lausanne and Geneva, he went to the United States where he spent seven years, earning a PhD from Michigan State University, teaching at the University of Minnesota and pursuing consulting activities.
 
Jean-Luc was then invited as a Research Fellow at the European Institute for the Media in Manchester where he co-authored The Future of the European Audiovisual Industry. He then joined Logica, the UK’s largest independent IT company. There he worked on broadcast/media technology assignments and took an active part in Europe’s debate on advanced TV standard, MAC, digital television and video delivery over telecom networks.
In 1991, he set up Globalcom Ltd, where he continued to carry out consultancy assignments and develop the company’s publishing activities with the newsletter Advanced Television Markets. In 1997, Jean-Luc launched DVD-Intelligence, and the annual companion DVD and Beyond magazine. He also organizes conferences and seminars.
 
www.dvd-intelligence.com
 
 
Elizabeth Toppin
Elizabeth Toppin has been writing on a variety of topics for over 20 years, from real estate and architecture to London local history, and the history of denim jeans to the collectability of maps and classic cars. Since 1994 she has been writing about the recorded media industry, first as a staff writer for One to One magazine, and then as its editor, with a brief foray into office equipment along the way. She has also been the moderator at industry conferences of various panels, from test equipment to studios and the supply chain.
 
Elizabeth was born in the US and grew up in Barbados, where she attended Queens College, before returning to the US and receiving her high school diploma at Phillips Exeter Academy and a BA magna cum laude in English and Philosophy at Boston University. She has lived in the UK for many years.
 
 
Steve Traiman
Steve Traiman has been covering multimedia audio, video and game equipment, production, replication, packaging and distribution since 1974-1979 when he was Tape/Audio/Video Editor for Billboard Magazine, including creation of the first Billboard International Video Music Conference. He spent five years with RIAA as Vice President & Executive Director, where he created the Compact Disc Group of CD manufacturers and record companies for the successful launch of the CD.
 
He was also Director of Promotions & Special Events for CES Publishing/International Thomson Retail Press (Consumer Electronics, Audio Times, Video Business, Autosound Marketing, Home Satellite Business), producing two successful Post-CES Conferences; Associate Publisher/Marketing for Coming Attractions, sold in bulk to home video stores; and a consultant to what is now the Content Delivery & Storage Association (CDSA), producing pre- and post-Conference editorial coverage for three years, as a client of his own Creative Copy by Steve Traiman freelance business writing company, which he launched in 1993. He was a frequent contributor to One to One and MediaPack since 1994.

Current Issue

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Magazine Features

SECOND SCREENS AND SOCIAL TV - Making waves in the broadcast world

Second screening is the new way to consume broadcast content, with companies beginning to look at ways to control the way consumers second screen - and how to make money out of it. George Cole provides an overview of this 21st century viewing trend.

Second screen is making waves in the broadcast, social media and video worlds. In essence, second screen involves using a second display device, like a smartphone, laptop or tablet, while watching television. Many people are now second screening: research by Nielsen found that 70% of tablet users and 68% of smartphone owners used their device while watching television. “There are a lot of stats that show that a very large percentage of people who watch TV are doing it with a second screen on their lap,” says Chuck Parker, former Chief Commercial Officer of Technicolor.

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CONTENT LEVERAGE - Not just content protection

Fingerprinting or watermarking? Is there a difference and does it make a difference? Anti-piracy specialist Richard Atkinson explains what they are and how they work but, most of all, why they are important for content management – and leveraging it for monetization – as much as content protection.

In comparing watermarking and fingerprinting, some aspects are similar and some are different. But, more importantly, as they continue to evolve, those differences are becoming less important. The main issue will be how it is used, because the business is driving things: it’s not just about content protection anymore, but about content leverage. With these capabilities, I can know exactly what the content is (whether there’s a mark in it or whether there’s metadata about it)...and leverage that knowledge in real-time.

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THE BATTLE OF THE E-READERS - Poised for double-digital growth in 2012

Following the best Christmas sales ever for Amazon.com’s Kindle devices, the total e-reader category is expected to once again deliver double-digit growth this year, Jill Bilzi learns, as she looks at how it continues to revolutionize the publishing industry and forever change ‘books’ as we know them.

The exploding demand for digital reading devices and downloaded e- books during the fourth quarter of 2011 brought a flurry of news among the leading suppliers in the market.

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CD PACKAGING - Back with a twist!

Music on CD dead? Not so, say the fans - retro continues to be cool and collectors continue to collect. Debbie Galante Block talks to designers and artists who listen to fans and give them what they want in terms of desirable physical media.

Like vinyl, music packaging was scaled back by major record labels way before consumers were ready to let it go. Also, like vinyl, it’s back! With the advent of digital music, it originally seemed that designers were doomed to designing postage size pictures for iTunes, but artists and their true fans have clamoured for more.

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COLLABORATIVE DOCUMENTARIES - New visions and production models 

The concept of the interactive documentary as something controlled by the producer is changing, as Michael Mascioni reveals.

Interactive documentaries have traditionally been conceived as a genre allowing users to select and explore different informational segments, elements, and themes in a framework largely circumscribed by the producers. Now, that concept is expanding significantly with the rise of ‘collaborative documentaries’ that have adopted crowdsourcing elements and extensive use of user-generated content.

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