/*------------------------------------------------------------------------ * PostgreSQL manual configuration settings * * This file contains various configuration symbols and limits. In * all cases, changing them is only useful in very rare situations or * for developers. If you edit any of these, be sure to do a *full* * rebuild (and an initdb if noted). * * Portions Copyright (c) 1996-2012, PostgreSQL Global Development Group * Portions Copyright (c) 1994, Regents of the University of California * * src/include/pg_config_manual.h *------------------------------------------------------------------------ */ /* * Maximum length for identifiers (e.g. table names, column names, * function names). Names actually are limited to one less byte than this, * because the length must include a trailing zero byte. * * Changing this requires an initdb. */ #define NAMEDATALEN 64 /* * Maximum number of arguments to a function. * * The minimum value is 8 (GIN indexes use 8-argument support functions). * The maximum possible value is around 600 (limited by index tuple size in * pg_proc's index; BLCKSZ larger than 8K would allow more). Values larger * than needed will waste memory and processing time, but do not directly * cost disk space. * * Changing this does not require an initdb, but it does require a full * backend recompile (including any user-defined C functions). */ #define FUNC_MAX_ARGS 100 /* * Maximum number of columns in an index. There is little point in making * this anything but a multiple of 32, because the main cost is associated * with index tuple header size (see access/itup.h). * * Changing this requires an initdb. */ #define INDEX_MAX_KEYS 32 /* * Set the upper and lower bounds of sequence values. */ #define SEQ_MAXVALUE INT64CONST(0x7FFFFFFFFFFFFFFF) #define SEQ_MINVALUE (-SEQ_MAXVALUE) /* * Number of spare LWLocks to allocate for user-defined add-on code. */ #define NUM_USER_DEFINED_LWLOCKS 4 /* * When we don't have native spinlocks, we use semaphores to simulate them. * Decreasing this value reduces consumption of OS resources; increasing it * may improve performance, but supplying a real spinlock implementation is * probably far better. */ #define NUM_SPINLOCK_SEMAPHORES 128 /* * Define this if you want to allow the lo_import and lo_export SQL * functions to be executed by ordinary users. By default these * functions are only available to the Postgres superuser. CAUTION: * These functions are SECURITY HOLES since they can read and write * any file that the PostgreSQL server has permission to access. If * you turn this on, don't say we didn't warn you. */ /* #define ALLOW_DANGEROUS_LO_FUNCTIONS */ /* * MAXPGPATH: standard size of a pathname buffer in PostgreSQL (hence, * maximum usable pathname length is one less). * * We'd use a standard system header symbol for this, if there weren't * so many to choose from: MAXPATHLEN, MAX_PATH, PATH_MAX are all * defined by different "standards", and often have different values * on the same platform! So we just punt and use a reasonably * generous setting here. */ #define MAXPGPATH 1024 /* * PG_SOMAXCONN: maximum accept-queue length limit passed to * listen(2). You'd think we should use SOMAXCONN from * <sys/socket.h>, but on many systems that symbol is much smaller * than the kernel's actual limit. In any case, this symbol need be * twiddled only if you have a kernel that refuses large limit values, * rather than silently reducing the value to what it can handle * (which is what most if not all Unixen do). */ #define PG_SOMAXCONN 10000 /* * You can try changing this if you have a machine with bytes of * another size, but no guarantee... */ #define BITS_PER_BYTE 8 /* * Preferred alignment for disk I/O buffers. On some CPUs, copies between * user space and kernel space are significantly faster if the user buffer * is aligned on a larger-than-MAXALIGN boundary. Ideally this should be * a platform-dependent value, but for now we just hard-wire it. */ #define ALIGNOF_BUFFER 32 /* * Disable UNIX sockets for certain operating systems. */ #if defined(WIN32) #undef HAVE_UNIX_SOCKETS #endif /* * Define this if your operating system supports link() */ #if !defined(WIN32) && !defined(__CYGWIN__) #define HAVE_WORKING_LINK 1 #endif /* * USE_POSIX_FADVISE controls whether Postgres will attempt to use the * posix_fadvise() kernel call. Usually the automatic configure tests are * sufficient, but some older Linux distributions had broken versions of * posix_fadvise(). If necessary you can remove the #define here. */ #if HAVE_DECL_POSIX_FADVISE && defined(HAVE_POSIX_FADVISE) #define USE_POSIX_FADVISE #endif /* * USE_PREFETCH code should be compiled only if we have a way to implement * prefetching. (This is decoupled from USE_POSIX_FADVISE because there * might in future be support for alternative low-level prefetch APIs.) */ #ifdef USE_POSIX_FADVISE #define USE_PREFETCH #endif /* * This is the default directory in which AF_UNIX socket files are * placed. Caution: changing this risks breaking your existing client * applications, which are likely to continue to look in the old * directory. But if you just hate the idea of sockets in /tmp, * here's where to twiddle it. You can also override this at runtime * with the postmaster's -k switch. */ #define DEFAULT_PGSOCKET_DIR "/var/run/postgresql" /* * The random() function is expected to yield values between 0 and * MAX_RANDOM_VALUE. Currently, all known implementations yield * 0..2^31-1, so we just hardwire this constant. We could do a * configure test if it proves to be necessary. CAUTION: Think not to * replace this with RAND_MAX. RAND_MAX defines the maximum value of * the older rand() function, which is often different from --- and * considerably inferior to --- random(). */ #define MAX_RANDOM_VALUE (0x7FFFFFFF) /* * Set the format style used by gcc to check printf type functions. We really * want the "gnu_printf" style set, which includes what glibc uses, such * as %m for error strings and %lld for 64 bit long longs. But not all gcc * compilers are known to support it, so we just use "printf" which all * gcc versions alive are known to support, except on Windows where * using "gnu_printf" style makes a dramatic difference. Maybe someday * we'll have a configure test for this, if we ever discover use of more * variants to be necessary. */ #ifdef WIN32 #define PG_PRINTF_ATTRIBUTE gnu_printf #else #define PG_PRINTF_ATTRIBUTE printf #endif /* * On PPC machines, decide whether to use the mutex hint bit in LWARX * instructions. Setting the hint bit will slightly improve spinlock * performance on POWER6 and later machines, but does nothing before that, * and will result in illegal-instruction failures on some pre-POWER4 * machines. By default we use the hint bit when building for 64-bit PPC, * which should be safe in nearly all cases. You might want to override * this if you are building 32-bit code for a known-recent PPC machine. */ #ifdef HAVE_PPC_LWARX_MUTEX_HINT /* must have assembler support in any case */ #if defined(__ppc64__) || defined(__powerpc64__) #define USE_PPC_LWARX_MUTEX_HINT #endif #endif /* * On PPC machines, decide whether to use LWSYNC instructions in place of * ISYNC and SYNC. This provides slightly better performance, but will * result in illegal-instruction failures on some pre-POWER4 machines. * By default we use LWSYNC when building for 64-bit PPC, which should be * safe in nearly all cases. */ #if defined(__ppc64__) || defined(__powerpc64__) #define USE_PPC_LWSYNC #endif /* *------------------------------------------------------------------------ * The following symbols are for enabling debugging code, not for * controlling user-visible features or resource limits. *------------------------------------------------------------------------ */ /* * Define this to cause pfree()'d memory to be cleared immediately, to * facilitate catching bugs that refer to already-freed values. * Right now, this gets defined automatically if --enable-cassert. */ #ifdef USE_ASSERT_CHECKING #define CLOBBER_FREED_MEMORY #endif /* * Define this to check memory allocation errors (scribbling on more * bytes than were allocated). Right now, this gets defined * automatically if --enable-cassert. */ #ifdef USE_ASSERT_CHECKING #define MEMORY_CONTEXT_CHECKING #endif /* * Define this to cause palloc()'d memory to be filled with random data, to * facilitate catching code that depends on the contents of uninitialized * memory. Caution: this is horrendously expensive. */ /* #define RANDOMIZE_ALLOCATED_MEMORY */ /* * Define this to force all parse and plan trees to be passed through * copyObject(), to facilitate catching errors and omissions in * copyObject(). */ /* #define COPY_PARSE_PLAN_TREES */ /* * Enable debugging print statements for lock-related operations. */ /* #define LOCK_DEBUG */ /* * Enable debugging print statements for WAL-related operations; see * also the wal_debug GUC var. */ /* #define WAL_DEBUG */ /* * Enable tracing of resource consumption during sort operations; * see also the trace_sort GUC var. For 8.1 this is enabled by default. */ #define TRACE_SORT 1 /* * Enable tracing of syncscan operations (see also the trace_syncscan GUC var). */ /* #define TRACE_SYNCSCAN */ /* * Other debug #defines (documentation, anyone?) */ /* #define HEAPDEBUGALL */ /* #define ACLDEBUG */ /* #define RTDEBUG */

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 : 216.73.216.103

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