/* SPDX-License-Identifier: GPL-2.0 WITH Linux-syscall-note */ /* * lirc.h - linux infrared remote control header file * last modified 2010/07/13 by Jarod Wilson */ #ifndef _LINUX_LIRC_H #define _LINUX_LIRC_H #include <linux/types.h> #include <linux/ioctl.h> #define PULSE_BIT 0x01000000 #define PULSE_MASK 0x00FFFFFF #define LIRC_MODE2_SPACE 0x00000000 #define LIRC_MODE2_PULSE 0x01000000 #define LIRC_MODE2_FREQUENCY 0x02000000 #define LIRC_MODE2_TIMEOUT 0x03000000 #define LIRC_VALUE_MASK 0x00FFFFFF #define LIRC_MODE2_MASK 0xFF000000 #define LIRC_SPACE(val) (((val)&LIRC_VALUE_MASK) | LIRC_MODE2_SPACE) #define LIRC_PULSE(val) (((val)&LIRC_VALUE_MASK) | LIRC_MODE2_PULSE) #define LIRC_FREQUENCY(val) (((val)&LIRC_VALUE_MASK) | LIRC_MODE2_FREQUENCY) #define LIRC_TIMEOUT(val) (((val)&LIRC_VALUE_MASK) | LIRC_MODE2_TIMEOUT) #define LIRC_VALUE(val) ((val)&LIRC_VALUE_MASK) #define LIRC_MODE2(val) ((val)&LIRC_MODE2_MASK) #define LIRC_IS_SPACE(val) (LIRC_MODE2(val) == LIRC_MODE2_SPACE) #define LIRC_IS_PULSE(val) (LIRC_MODE2(val) == LIRC_MODE2_PULSE) #define LIRC_IS_FREQUENCY(val) (LIRC_MODE2(val) == LIRC_MODE2_FREQUENCY) #define LIRC_IS_TIMEOUT(val) (LIRC_MODE2(val) == LIRC_MODE2_TIMEOUT) /* used heavily by lirc userspace */ #define lirc_t int /*** lirc compatible hardware features ***/ #define LIRC_MODE2SEND(x) (x) #define LIRC_SEND2MODE(x) (x) #define LIRC_MODE2REC(x) ((x) << 16) #define LIRC_REC2MODE(x) ((x) >> 16) #define LIRC_MODE_RAW 0x00000001 #define LIRC_MODE_PULSE 0x00000002 #define LIRC_MODE_MODE2 0x00000004 #define LIRC_MODE_SCANCODE 0x00000008 #define LIRC_MODE_LIRCCODE 0x00000010 #define LIRC_CAN_SEND_RAW LIRC_MODE2SEND(LIRC_MODE_RAW) #define LIRC_CAN_SEND_PULSE LIRC_MODE2SEND(LIRC_MODE_PULSE) #define LIRC_CAN_SEND_MODE2 LIRC_MODE2SEND(LIRC_MODE_MODE2) #define LIRC_CAN_SEND_LIRCCODE LIRC_MODE2SEND(LIRC_MODE_LIRCCODE) #define LIRC_CAN_SEND_MASK 0x0000003f #define LIRC_CAN_SET_SEND_CARRIER 0x00000100 #define LIRC_CAN_SET_SEND_DUTY_CYCLE 0x00000200 #define LIRC_CAN_SET_TRANSMITTER_MASK 0x00000400 #define LIRC_CAN_REC_RAW LIRC_MODE2REC(LIRC_MODE_RAW) #define LIRC_CAN_REC_PULSE LIRC_MODE2REC(LIRC_MODE_PULSE) #define LIRC_CAN_REC_MODE2 LIRC_MODE2REC(LIRC_MODE_MODE2) #define LIRC_CAN_REC_SCANCODE LIRC_MODE2REC(LIRC_MODE_SCANCODE) #define LIRC_CAN_REC_LIRCCODE LIRC_MODE2REC(LIRC_MODE_LIRCCODE) #define LIRC_CAN_REC_MASK LIRC_MODE2REC(LIRC_CAN_SEND_MASK) #define LIRC_CAN_SET_REC_CARRIER (LIRC_CAN_SET_SEND_CARRIER << 16) #define LIRC_CAN_SET_REC_DUTY_CYCLE (LIRC_CAN_SET_SEND_DUTY_CYCLE << 16) #define LIRC_CAN_SET_REC_DUTY_CYCLE_RANGE 0x40000000 #define LIRC_CAN_SET_REC_CARRIER_RANGE 0x80000000 #define LIRC_CAN_GET_REC_RESOLUTION 0x20000000 #define LIRC_CAN_SET_REC_TIMEOUT 0x10000000 #define LIRC_CAN_SET_REC_FILTER 0x08000000 #define LIRC_CAN_MEASURE_CARRIER 0x02000000 #define LIRC_CAN_USE_WIDEBAND_RECEIVER 0x04000000 #define LIRC_CAN_SEND(x) ((x)&LIRC_CAN_SEND_MASK) #define LIRC_CAN_REC(x) ((x)&LIRC_CAN_REC_MASK) #define LIRC_CAN_NOTIFY_DECODE 0x01000000 /*** IOCTL commands for lirc driver ***/ #define LIRC_GET_FEATURES _IOR('i', 0x00000000, __u32) #define LIRC_GET_SEND_MODE _IOR('i', 0x00000001, __u32) #define LIRC_GET_REC_MODE _IOR('i', 0x00000002, __u32) #define LIRC_GET_REC_RESOLUTION _IOR('i', 0x00000007, __u32) #define LIRC_GET_MIN_TIMEOUT _IOR('i', 0x00000008, __u32) #define LIRC_GET_MAX_TIMEOUT _IOR('i', 0x00000009, __u32) /* code length in bits, currently only for LIRC_MODE_LIRCCODE */ #define LIRC_GET_LENGTH _IOR('i', 0x0000000f, __u32) #define LIRC_SET_SEND_MODE _IOW('i', 0x00000011, __u32) #define LIRC_SET_REC_MODE _IOW('i', 0x00000012, __u32) /* Note: these can reset the according pulse_width */ #define LIRC_SET_SEND_CARRIER _IOW('i', 0x00000013, __u32) #define LIRC_SET_REC_CARRIER _IOW('i', 0x00000014, __u32) #define LIRC_SET_SEND_DUTY_CYCLE _IOW('i', 0x00000015, __u32) #define LIRC_SET_TRANSMITTER_MASK _IOW('i', 0x00000017, __u32) /* * when a timeout != 0 is set the driver will send a * LIRC_MODE2_TIMEOUT data packet, otherwise LIRC_MODE2_TIMEOUT is * never sent, timeout is disabled by default */ #define LIRC_SET_REC_TIMEOUT _IOW('i', 0x00000018, __u32) /* 1 enables, 0 disables timeout reports in MODE2 */ #define LIRC_SET_REC_TIMEOUT_REPORTS _IOW('i', 0x00000019, __u32) /* * if enabled from the next key press on the driver will send * LIRC_MODE2_FREQUENCY packets */ #define LIRC_SET_MEASURE_CARRIER_MODE _IOW('i', 0x0000001d, __u32) /* * to set a range use LIRC_SET_REC_CARRIER_RANGE with the * lower bound first and later LIRC_SET_REC_CARRIER with the upper bound */ #define LIRC_SET_REC_CARRIER_RANGE _IOW('i', 0x0000001f, __u32) #define LIRC_SET_WIDEBAND_RECEIVER _IOW('i', 0x00000023, __u32) /* * Return the recording timeout, which is either set by * the ioctl LIRC_SET_REC_TIMEOUT or by the kernel after setting the protocols. */ #define LIRC_GET_REC_TIMEOUT _IOR('i', 0x00000024, __u32) /* * struct lirc_scancode - decoded scancode with protocol for use with * LIRC_MODE_SCANCODE * * @timestamp: Timestamp in nanoseconds using CLOCK_MONOTONIC when IR * was decoded. * @flags: should be 0 for transmit. When receiving scancodes, * LIRC_SCANCODE_FLAG_TOGGLE or LIRC_SCANCODE_FLAG_REPEAT can be set * depending on the protocol * @rc_proto: see enum rc_proto * @keycode: the translated keycode. Set to 0 for transmit. * @scancode: the scancode received or to be sent */ struct lirc_scancode { __u64 timestamp; __u16 flags; __u16 rc_proto; __u32 keycode; __u64 scancode; }; /* Set if the toggle bit of rc-5 or rc-6 is enabled */ #define LIRC_SCANCODE_FLAG_TOGGLE 1 /* Set if this is a nec or sanyo repeat */ #define LIRC_SCANCODE_FLAG_REPEAT 2 /** * enum rc_proto - the Remote Controller protocol * * @RC_PROTO_UNKNOWN: Protocol not known * @RC_PROTO_OTHER: Protocol known but proprietary * @RC_PROTO_RC5: Philips RC5 protocol * @RC_PROTO_RC5X_20: Philips RC5x 20 bit protocol * @RC_PROTO_RC5_SZ: StreamZap variant of RC5 * @RC_PROTO_JVC: JVC protocol * @RC_PROTO_SONY12: Sony 12 bit protocol * @RC_PROTO_SONY15: Sony 15 bit protocol * @RC_PROTO_SONY20: Sony 20 bit protocol * @RC_PROTO_NEC: NEC protocol * @RC_PROTO_NECX: Extended NEC protocol * @RC_PROTO_NEC32: NEC 32 bit protocol * @RC_PROTO_SANYO: Sanyo protocol * @RC_PROTO_MCIR2_KBD: RC6-ish MCE keyboard * @RC_PROTO_MCIR2_MSE: RC6-ish MCE mouse * @RC_PROTO_RC6_0: Philips RC6-0-16 protocol * @RC_PROTO_RC6_6A_20: Philips RC6-6A-20 protocol * @RC_PROTO_RC6_6A_24: Philips RC6-6A-24 protocol * @RC_PROTO_RC6_6A_32: Philips RC6-6A-32 protocol * @RC_PROTO_RC6_MCE: MCE (Philips RC6-6A-32 subtype) protocol * @RC_PROTO_SHARP: Sharp protocol * @RC_PROTO_XMP: XMP protocol * @RC_PROTO_CEC: CEC protocol * @RC_PROTO_IMON: iMon Pad protocol */ enum rc_proto { RC_PROTO_UNKNOWN = 0, RC_PROTO_OTHER = 1, RC_PROTO_RC5 = 2, RC_PROTO_RC5X_20 = 3, RC_PROTO_RC5_SZ = 4, RC_PROTO_JVC = 5, RC_PROTO_SONY12 = 6, RC_PROTO_SONY15 = 7, RC_PROTO_SONY20 = 8, RC_PROTO_NEC = 9, RC_PROTO_NECX = 10, RC_PROTO_NEC32 = 11, RC_PROTO_SANYO = 12, RC_PROTO_MCIR2_KBD = 13, RC_PROTO_MCIR2_MSE = 14, RC_PROTO_RC6_0 = 15, RC_PROTO_RC6_6A_20 = 16, RC_PROTO_RC6_6A_24 = 17, RC_PROTO_RC6_6A_32 = 18, RC_PROTO_RC6_MCE = 19, RC_PROTO_SHARP = 20, RC_PROTO_XMP = 21, RC_PROTO_CEC = 22, RC_PROTO_IMON = 23, }; #endif

RE-INVENTING THE TELEVISION NEWS BUSINESS*

A revolution in video storytelling

Creating entirely new & cost-effective production methods

From the world leaders in video production training and the creators of Character Driven Storytelling™

*and every other business that uses video

WHAT WE DO

Over the past 35 years, we have designed, built or restructured some of the most powerful news and journalism companies in the world.

We replace the traditional TV news ‘crew’ with one highly trained journalist, working alone with nothing but an iPhone.

No more TV news ‘crews’, no editors and no field producers.

This is television news done the way newspaper journalism is done – one reporter with their electronic pad and pencil.

In doing this, we can cut the cost of production by as much as 75% while increasing ratings and audience engagement.

In the place of conventional TV news ‘packages’ – ie, reporter stand up, interview, b-roll, man on the street, we marry great journalism with Netflix and Hollywood storytelling.

It’s a combination that works.

We have taken most of our clients to #1 in their respective markets.

And it’s not just for news. Any company, any profit, any NGO and anyone else who is online needs to tell their story in compelling yet cost-effective video. We can teach you to do that. Either in person or virtually.

EXAMPLES OF WHAT WE CAN TEACH YOUR STAFF TO PRODUCE

ITAY HOD

Itay Hod, MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2018.

Because he works alone, with only an iPhone, he was able to embed himself with a homeless family.

Here’s the story he produced in a one-day turn.

KIET DO

Kiet Do, an MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2021.

Here is a story he produced, all on his own, with only an iPhone and in a one-day turn.

TAYLOR SCHAUB

Taylor Schaub, an MMJ with Spectrum News 1 in LA, took the 5-Day Intensive Video Storytelling Bootcamp in 2023.

Here is a story he turned in only one day, using only an iPhone. It was the first video story he ever did and it was nominated for an Emmy.

THE BOOTCAMP

How do we convert stations and whole networks to working in this way?

Since 1988, we have run intensive 5-Day Video Storytelling Bootcamps

We have done these all over the world.

These are hands-on bootcamps, and participants learn an entirely new way of creating TV news stories.

-We shoot at a 3:1 ratio or lower, so turnaround times are fast.

-We go directly from camera to timelilne and edit – no written scripts. We work in the medium of pictures and sound.

-We are entirely character-driven.

-We are driven by pictures and real events.

-We are focused almost entirely on ’the viewer experience’.

Since 1988, more than 70,000 journalists around the world have taken our bootcamps, either in person on virtualy.

Case Studies

CBS News

We have started to work with CBS News, bringing our ideas of character-driven storytelling to one of the most successful and biggest networks in the United States. Since beginning to work with them ratings have climbed and more importantly, audience engagement is through the ceiling.

Learn More

New York Times Television

We started New York Times Television in 1990 and it was the first paper to be brought into the world of TV. It quickly became one of the most successful non-fiction production companies in the United States. The series and documentaries we produced won many awards including multiple Emmys.

Learn More

The BBC

We have been working with the BBC since the year 2000 helping to convert their national news network to our visual storytelling technique. Most recently we have trained teams from their sports, documentaries, and comedy divisions to make character-driven stories using only smartphones.

Learn More

Spectrum News

For the past five years we have worked with Spectrum News to introduce and train their journalists on visual, character driven storytelling using smartphones helping to create a different kind of local news for their network of 24-Hour News Stations across the United States.

Learn More

The United Nations

In 2006, we were approached by the United Nations. Rather than rely on news outlets, it would be much easier to train the field operatives to produce their own stories. We spent two years working with the UN, training more than 100 of their staff in bootcamps in Geneva and Nairobi.

Learn More

The Newark Star-Ledger

We trained 50 print reporters at the paper to shoot and tell their own stories, in conjunction with their print work. We built a TV newsroom in their existing print newsroom – you could not ask for a better set and they began to live stream their stories in conjunction with their print work.

Learn More

Mcgraw Hill

We spent two years with McGraw Hill, training more than 150 of their staffers, making them completely video literate. McGraw/Hill media properties we transit included Business Week, Aviation Week, (what was the name of the architecture magazine), and JD Power and Associates.

Learn More

Voice of America

In 1990, we were approached by The Voice of America, the official broadcasting agency for the United States Government. When we met with VOA, they were only a short wave radio broadcaster, but working with them, we took them into television, launching VOA-TV.

Learn More

Oyster Yachts

British based Oyster Yachts makes some of the finest yachts in the world. Like every other company, they had to find a way to feed the never-ending video demands of social media – sites like Instagram and TikTok. We trained the Oyster staff to tell their own stories, using only iPhones.

Learn More

Scottish Environmental Protection Agency

We were approached by SEPA, the Scottish Environmental Protection Agency because they had to continually find a way to ‘feed the media beast’. The result was that SEPA was able to tell their own stories, whenever they wanted, and at almost no additional cost.

Learn More

Michael on Media

Michael Rosenblum has been writing about the media since 1988. His work and ideas have appeared in The Guardian, The Huffington Post, Ilkeston Life and many other publications.

He has been blogging regularly for the past 35 years on this subject. Having taught media studies at Columbia University, NYU and now the University of Oxford, he is considered an expert on this subject.

Continue reading this post or look back at previous posts.

Do You Have Questions About Learning Video Skills?

If you would like to know more about our courses contact us and one of our training advisors will be happy to call you.

Your IP : 216.73.216.159

RE-INVENTING THE TELEVISION NEWS BUSINESS*

A revolution in video storytelling

Creating entirely new & cost-effective production methods

From the world leaders in video production training and the creators of Character Driven Storytelling™

*and every other business that uses video

WHAT WE DO

Over the past 35 years, we have designed, built or restructured some of the most powerful news and journalism companies in the world.

We replace the traditional TV news ‘crew’ with one highly trained journalist, working alone with nothing but an iPhone.

No more TV news ‘crews’, no editors and no field producers.

This is television news done the way newspaper journalism is done – one reporter with their electronic pad and pencil.

In doing this, we can cut the cost of production by as much as 75% while increasing ratings and audience engagement.

In the place of conventional TV news ‘packages’ – ie, reporter stand up, interview, b-roll, man on the street, we marry great journalism with Netflix and Hollywood storytelling.

It’s a combination that works.

We have taken most of our clients to #1 in their respective markets.

And it’s not just for news. Any company, any profit, any NGO and anyone else who is online needs to tell their story in compelling yet cost-effective video. We can teach you to do that. Either in person or virtually.

EXAMPLES OF WHAT WE CAN TEACH YOUR STAFF TO PRODUCE

ITAY HOD

Itay Hod, MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2018.

Because he works alone, with only an iPhone, he was able to embed himself with a homeless family.

Here’s the story he produced in a one-day turn.

KIET DO

Kiet Do, an MMJ with KPIX/CBS in San Francisco, took the 5-Day Intensive Video Storytelling Bootcamp in 2021.

Here is a story he produced, all on his own, with only an iPhone and in a one-day turn.

TAYLOR SCHAUB

Taylor Schaub, an MMJ with Spectrum News 1 in LA, took the 5-Day Intensive Video Storytelling Bootcamp in 2023.

Here is a story he turned in only one day, using only an iPhone. It was the first video story he ever did and it was nominated for an Emmy.

THE BOOTCAMP

How do we convert stations and whole networks to working in this way?

Since 1988, we have run intensive 5-Day Video Storytelling Bootcamps

We have done these all over the world.

These are hands-on bootcamps, and participants learn an entirely new way of creating TV news stories.

-We shoot at a 3:1 ratio or lower, so turnaround times are fast.

-We go directly from camera to timelilne and edit – no written scripts. We work in the medium of pictures and sound.

-We are entirely character-driven.

-We are driven by pictures and real events.

-We are focused almost entirely on ’the viewer experience’.

Since 1988, more than 70,000 journalists around the world have taken our bootcamps, either in person on virtualy.

Case Studies

CBS News

New York Times Television

The BBC

Spectrum News

The United Nations

The Newark Star-Ledger

Mcgraw Hill

Voice of America

Oyster Yachts

Scottish Environmental Protection Agency

Michael on Media