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Exam Code: 7497X Practice exam 2022 by Killexams.com team
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Avaya Solution information hunger
Killexams : Avaya Solution information hunger - BingNews https://killexams.com/pass4sure/exam-detail/7497X Search results Killexams : Avaya Solution information hunger - BingNews https://killexams.com/pass4sure/exam-detail/7497X https://killexams.com/exam_list/Avaya Killexams : Avaya: Chapter 22 Might Be In The Cards Now - Sell
Avaya-Zentrale im Silicon Valley

Sundry Photography/iStock Editorial via Getty Images

Quite frankly, I was perplexed about digital communications solutions provider Avaya's (NYSE:AVYA) disastrous warning released after Thursday's close:


Based on the information currently available for the third quarter ended June 30, 2022, the company expects revenue to be between $575 million and $580 million, compared to guidance of $685 million to $700 million, and Adjusted EBITDA to be between $50 million and $55 million, compared to guidance of $140 million to $150 million.1 The company is also finalizing testing of its goodwill and intangible assets that is expected to result in significant non-cash impairment charges as of June 30, 2022.

Avaya also announced it has initiated cost-cutting measures that are expected to primarily impact the company’s overall selling, general and administrative expenses, as well as discretionary spending. These actions are expected to generate between $225 million and $250 million in annual cost reductions beginning in the first quarter of fiscal 2023.

The company also replaced CEO and President Jim Chirico with former Vonage CEO Alan Masarek.

Remember that the company already provided Q2 guidance well below expectations on May 10 with almost six weeks of the quarter already behind it.

On the Q2 conference call, management attributed the weak guidance to a faster-than-expected shift to the company's OneCloud subscription offering and to a lesser extent to disruptions from Russia's assault on Ukraine as well as currency headwinds.

This time, Avaya has not provided any explanation for the massive miss which, in combination with the CEO removal and very aggressive cost cutting efforts, points to severe structural issues in the company's business.

Moreover, just two weeks ago, Avaya closed on an aggregate $600 million in new senior secured debt financings in order to address the upcoming maturity of $350 million in convertible notes next year.

Subsequently, the company used a portion of the proceeds to repurchase approximately $129 million principal amount of the convertible notes and terminated related hedge and warrant transactions.

Quite frankly, I don't think Avaya would have been able to secure these new capital commitments if the company had appropriately disclosed the dismal state of its business to creditors.

Even worse, with Q3 Adjusted EBITDA coming in almost $100 million below management's guidance, I would expect cash at the end of Q2 to be down by almost $150 million sequentially to approximately $175 million.

While Avaya just raised a meaningful amount of new capital and put some very aggressive cost cutting measures in place, at least in my view it is becoming increasingly clear that the company's quickly deteriorating business won't be able to support Avaya's $3+ billion debt load going forward, particularly not given the fact that the business is currently burning significant amounts of cash.

With the additional $600 million in debt raised earlier this month, the company will be paying well above $200 million in cash interest this year.

At the current quarterly revenue run rate, the company's debt service obligations (solely interest at this point) represent approximately 10% of sales which appears to be unsustainably high.

Given persistent macroeconomic headwinds, there won't be an easy cure for Avaya's structural issues and given the magnitude of the company's announced cost reduction efforts, I firmly expect revenues to decrease even further going forward.

After Thursday's news, a second bankruptcy filing has become increasingly likely.

Turning around Avaya within its current capital structure looks like a Herculean task for the company's new CEO.

While Avaya has sufficient liquidity to service its massive debt load for at least the next couple of quarters, the company's quickly deteriorating business won't be able to support $3+ billion in debt over the long term.

At least in my opinion, Avaya should hire restructuring advisors and stop servicing its unsustainable debt load as soon as possible to save valuable cash for a new start.

Considering the sheer amount of debt ranking ahead of equityholders, there's basically no chance for a meaningful recovery in case of bankruptcy.

With Avaya's business deteriorating at an alarming pace and chapter 11 an increasingly likely option, equityholders would be well-served to move to the sidelines here.

Thu, 28 Jul 2022 14:35:00 -0500 en text/html https://seekingalpha.com/article/4527241-avaya-stock-chapter-22-bankruptcy
Killexams : Outlook on the Enterprise Video Global Market to 2030 - Players Include Adobe, Avaya, Brightcove and Cisco Systems Among Others

DUBLIN, July 19, 2022 /PRNewswire/ -- The "Global Enterprise Video Market Size, Share & Trends Analysis Report by Solution, by Services, by Deployment, by Application, by Delivery Technique, by Organization Size, by End-use, by Region, and Segment Forecasts, 2022-2030" report has been added to ResearchAndMarkets.com's offering.


The global enterprise video market size is expected to reach USD 48.85 billion by 2030, registering a CAGR of 13.8% from 2022 to 2030.

The drastic rise in the number of online video viewers is playing a major role in driving the market growth. According to the popular video streaming platform, YouTube, it has over 2 billion users, and around 5 billion videos are watched every day on the site. Moreover, several businesses are now including video as a part of their content marketing strategy, which, in turn, is positively influencing the market statistics.

The growth of the market is being further proliferated by the burgeoning demand for video conferencing and webcasting solutions across various organizations. They use these services to Excellerate the collaboration between internal and external stakeholders and facilitate effective customer engagement.

The synergy between enterprise video and digital signage has helped organizations increase their brand awareness, product awareness, and customer engagement which will drive the market growth in the upcoming years. For instance, banks use signage and kiosks at branch locations to develop distinguished business strategies and create customer value. It helps banks to promote their products and services, such as loans, credit cards, etc.

Moreover, several venture capital firms are now providing funds to the startups developing enterprise video solutions. For instance, in March 2022, an Indian startup 100ms, Inc., engaged in the development of live video conferencing infrastructure, raised USD 20 million in a Series A funding round to enhance the next-generation video apps. The major players in the market are introducing innovative live streaming applications to gain a competitive edge in the industry. For instance, IBM Corporation provides an IBM Video Streaming platform that helps users broadcast multiple live-streamed content. This platform offers full control to the organizations over the content.

The emergence of the COVID-19 pandemic created remunerative opportunities for the enterprise video market due to increased demand for video conferencing solutions across various organizations and government institutions. As a response to the global health crisis, the governments across various countries are now allocating funds to the law enforcement agencies to help them incorporate enterprise video solutions to conduct their operations. To illustrate, in April 2020, the Ohio Supreme Court announced to allocate USD 4 million to the high courts for deploying video conferencing systems.

Enterprise Video Market Report Highlights

  • The video content management segment is expected to gain traction with increasing investments in the social media and content sharing platforms by the gaming companies to target potential customers.

  • The managed services segment is anticipated to grow significantly with the increased consumer demand as these services help in saving costs. These services cut the recurring in-house costs by around 30 to 40%.

  • The increasing emphasis on cloud deployment by the major tech companies such as Amazon Web Services, Inc., and Microsoft to establish robust security and compliance standards, is expected to enhance the cloud segment outlook.

  • The marketing and client engagement segment is set to record a substantial CAGR of 14.5% with rising demand for influencers across numerous advertising and marketing firms.

  • The SME segment is estimated to witness a CAGR of more than 15.4% through 2030 owing to the increasing demand for freemium services, such as the one offered by Zoom Video Communications, Inc.

  • The healthcare segment in the market is expected to showcase substantial growth as several government agencies, including Healthcare U.K., and the U.S. Department of Health, etc. are focusing on holding webcasts.

Key courses Covered:

Chapter 1 Methodology and Scope

Chapter 2 Executive Summary

Chapter 3 Enterprise Video Industry Outlook
3.1 Market Segmentation & Scope
3.2 Market Size and Growth Prospects
3.3 Enterprise Video Market-Value Chain Analysis
3.3.1 Vendor landscape
3.4 Enterprise Video Market-Market Dynamics
3.4.1 Market Driver Analysis Growing need to reduce operational expenses and increase efficiency Increasing internet penetration and growing demand for video streaming Enterprise video as an effective tool for marketers
3.4.2 Market Restraint Analysis Security concerns
3.4.3 Market opportunity analysis Enterprise video as an effective tool for marketers
3.5 Penetration & Growth Prospects Mapping
3.6 Enterprise Video Market-Porter's Five Forces Analysis
3.7 Enterprise Video Market-Company Ranking Analysis, 2021
3.8 Enterprise Video Market-PESTEL Analysis

Chapter 4 Enterprise Video Solution Outlook
4.1 Enterprise Video Market Share By Solution, 2021
4.2 Video Conferencing
4.2.1 Enterprise video conferencing market, 2018-2030
4.3 Video Content Management
4.3.1 Enterprise video content management market, 2018-2030
4.4 Webcasting
4.4.1 Enterprise webcasting market, 2018-2030

Chapter 5 Enterprise Video Services Outlook
5.1 Enterprise Video Market Share By Services, 2021
5.2 Integration & Deployment
5.2.1 Enterprise video integration & deployment service market, 2018-2030
5.3 Managed Service
5.3.1 Enterprise video managed services market, 2018-2030
5.4 Professional Service
5.4.1 Enterprise video professional services market, 2018-2030

Chapter 6 Enterprise Video Deployment Outlook
6.1 Enterprise Video Market Share By Deployment, 2021
6.2 Cloud
6.2.1 Cloud-based enterprise video market, 2018-2030
6.3 On-premise
6.3.1 On-premise enterprise video market, 2018-2030

Chapter 7 Enterprise Video Application Outlook
7.1 Enterprise Video Market Share By Application, 2021
7.2 Corporate Communications
7.2.1 Enterprise video market in corporate communications, 2018-2030
7.3 Training & Development
7.3.1 Enterprise video market in training & development, 2018-2030
7.4 Marketing & Client Engagement
7.4.1 Enterprise video market in marketing & client engagement, 2018-2030

Chapter 8 Enterprise Video Delivery Technique Outlook
8.1 Enterprise Video Market Share By Delivery Technique, 2021
8.2 Downloading/Traditional Streaming
8.2.1 Enterprise video downloading/traditional streaming market, 2018-2030
8.3 Adaptive Streaming
8.3.1 Enterprise video adaptive streaming market, 2018-2030
8.4 Progressive Downloading
8.4.1 Enterprise video progressive downloading market, 2018-2030

Chapter 9 Enterprise Video Organization Size Outlook
9.1 Enterprise Video Market Share By Organization Size, 2021
9.2 Large Enterprise
9.2.1 Enterprise video market in large enterprise, 2018-2030
9.3 SME
9.3.1 Enterprise video market in SME, 2018-2030

Chapter 10 Enterprise Video End Use Outlook
10.1 Enterprise Video Market Share By End Use, 2021
10.2 IT & Telecom
10.2.1 Enterprise video market in IT & telecom, 2018-2030
10.3 BFSI
10.3.1 Enterprise video market in BFSI, 2018-2030
10.4 Healthcare & Life Sciences
10.4.1 Enterprise video market in healthcare & life sciences, 2018-2030
10.5 Media & Entertainment
10.5.1 Enterprise video market in media & entertainment, 2018-2030
10.6 Education
10.6.1 Enterprise video market in education, 2018-2030
10.7 Retail & Consumer Goods
10.7.1 Enterprise video market in retail & consumer goods, 2018-2030
10.8 Others
10.8.1 Enterprise video market in other end use, 2018-2030

Chapter 11 Enterprise Video Regional Outlook

Chapter 12 Competitive Landscape
12.1 Adobe, Inc.
12.1.1 Company overview
12.1.2 Financial performance
12.1.3 Product benchmarking
12.1.4 Strategic initiatives
12.2 Avaya Inc.
12.2.1 Company overview
12.2.2 Financial performance
12.2.3 Product benchmarking
12.2.4 Strategic initiatives
12.3 Brightcove Inc.
12.3.1 Company overview
12.3.1 Financial performance
12.3.2 Product benchmarking
12.3.1 Strategic initiatives
12.4 Cisco Systems, Inc.
12.4.1 Company overview
12.4.2 Financial performance
12.4.3 Product benchmarking
12.4.4 Strategic initiatives
12.5 IBM
12.5.1 Company overview
12.5.2 Financial performance
12.5.3 Product benchmarking
12.5.4 Strategic initiatives
12.6 Kaltura
12.6.1 Company overview
12.6.1 Financial performance
12.6.2 Product benchmarking
12.6.1 Strategic initiatives
12.7 Microsoft Corporation
12.7.1 Company overview
12.7.2 Financial performance
12.7.3 Product benchmarking
12.7.4 Strategic initiatives
12.8 Polycom, Inc.
12.8.1 Company overview
12.8.2 Financial performance
12.8.3 Product benchmarking
12.8.4 Strategic initiatives
12.9 VBrick Systems
12.9.1 Company overview
12.9.2 Financial performance
12.9.3 Product benchmarking
12.9.1 Strategic initiatives
12.10 Vidyo
12.10.1 Company overview
12.10.2 Financial performance
12.10.3 Product benchmarking
12.10.4 Strategic initiatives

For more information about this report visit https://www.researchandmarkets.com/r/c5r9z0

Media Contact:

Research and Markets
Laura Wood, Senior Manager

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SOURCE Research and Markets

Tue, 19 Jul 2022 07:15:00 -0500 en-AU text/html https://au.news.yahoo.com/outlook-enterprise-video-global-market-191500140.html
Killexams : Venice 2022 Lineup: ‘Blonde,’ ‘Bardo,’ ‘The Whale,’ ‘Eternal Daughter,’ and More

After the existential crisis of the pandemic, film festivals seem stronger than ever. “CODA” was the first-ever Sundance premiere to win Best Picture at the Academy Awards earlier this year. And Cannes, returning to its usual May dates, introduced the world to art house wonders like Palme d’Or winner “Triangle of Sadness” that may make a dent on next year’s Oscar race. Now, it’s time for awards season to kick into high gear with the one-two-three punch of Venice, Telluride, and TIFF. As per usual, Venice is first, with its 79th gathering kicking off August 31. And now its lineup has been revealed.

It was previously announced that Noah Baumbach’s Don DeLillo adaptation “White Noisewould be the opening night film, the first time a Netflix movie has had that honor. It will screen in competition and contest for the Golden Lion. The film follows a renowned professor of Hitler studies at a U.S. liberal arts college (Adam Driver) who, with his fourth wife (Greta Gerwig), faces an “airborne toxic event” hanging over his town that threatens everyone’s lives.

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Baumbach’s previous film “Marriage Story” was also a Venice debut, and the festival has been a particularly strong launchpad for Oscar contenders: that film won Best Supporting Actress for Laura Dern. The Golden Lion winner two years ago, “Nomadland,” ended up winning Best Picture and Best Director. The year before that, Golden Lion Winner “Joker” ended up winning Best Actor at the Oscars for Joaquin Phoenix. Just last year, blockbuster “Dune” debuted at the festival before going on to win six Oscars.

Netflix has had a particularly strong track record at Venice in latest years, with “Roma” winning the Golden Lion in 2018 before taking multiple statuettes, and “The Power of the Dog” debuting at the festival last year before ultimately winning Best Director for Jane Campion in March.

This year, Netflix’s Andrew Dominik reverie on Marilyn Monroe, “Blonde,” was all but guaranteed to be part of the Venice lineup, as well as the streamer’s first collaboration with Alejandro González Iñárritu, “Bardo.” Luca Guadagnino’s “Bones and All,” Todd Field’s “TÁR,” Olivia Wilde’s “Don’t Worry Darling,” Martin McDonagh’s “The Banshees of Inisherin,” Joanna Hogg’s “The Eternal Daughter,” Florian Zeller’s “The Son,” and Darren Aronofsky’s “The Whale” were all on many observers’ lists as highly likely to debut at the festival. And they all made the cut.

This year’s Venice jury is chaired by Julianne Moore. She’ll be joined by Mariano Cohn, Leonardo di Costanzo, Audrey Diwan, Leila Hatami, Kazuo Ishiguro, and Rodrigo Sorogoyen.

The 2022 Venice Film Festival runs August 31 to September 10. Check out the full official lineup for the festival below.

Opening Night
“White Noise,” Noah Baumbach (in competition)

Competition/Venezia 79

“Il Signore delle Formiche,” Gianni Amelio
“The Whale,” Darren Aronofsky
“L’Immensita,” Emanuele Crialese
“Saint Omer,” Alice Diop
“Blonde,” Andrew Dominik
“TÁR,” Todd Field
“Love Life,” Koji Fukada
“Bardo,” Alejandro González Iñárritu
“Athena,” Romain Gavras
“Bones and All,” Luca Guadagnino
“The Eternal Daughter,” Joanna Hogg
“Beyond the Wall,” Vahid Jalilvand
“The Banshees of Inisherin,” Martin McDonagh
“Argentina, 1985,” Santiago Mitre
“Chiara,” Susanna Nicchiarelli
“Monica,” Andrea Pallaoro
“No Bears,” Jafar Panahi
“All the Beauty and the Bloodshed,” Laura Poitras
“A Couple,” Frederick Wiseman
“The Son,” Florian Zeller
“Our Ties,” Roschdy Zem
“Other People’s Children,” Rebecca Zlotowski

Out of Competition (Fiction)

Closing Film: “The Hanging Sun,” Francesco Carrozzini
“When the Waves Are Gone,” Lav Diaz
“Living,” Oliver Hermanus
“Dead for a Dollar,” Walter Hill
“Call of God,” Kim Ki-duk
“Dreamin’ Wild,” Bill Pohlad
“Master Gardener,” Paul Schrader
“Siccita,” Paolo Virzi
“Pearl,” Ti West
“Don’t Worry Darling,” Olivia Wilde

Out of Competition (Non Fiction)

“Freedom on Fire: Ukraine’s Fight for Freedom,” Evgeny Afineevsky
“The Matchmaker,” Benedetta Argentieri
“Gli Ultima Giorni Dell’Umanita,” Enrico Ghezzi, Alessandro Gagliardo
“A Compassionate Spy,” Steve James
“Music for Black Pigeons,” Jorgen Leth and Andreas Koefoed
“The Kiev Trial,” Sergei Loznitsa
“In Viaggio,” Gianfranco Rosi
“Bobby White Ghetto President,” Christopher Sharp and Moses Bwayo
“Nuclear,” Oliver Stone

Out of Competition (Series)

“The Kingdom Exodus,” Lars von Trier
“Copenhagen Cowboy,” Nicolas Winding Refn


“Princess,” Roberto de Paolis
“Victim,” Michal Blanko
“On the Fringe,” Juan Diego Botto
“Trenque Lauquen,” Laura Citarella
“Vera,” Tizza Covi, Rainer Frimmel
“Innocence,” Guy Davidi
“Blanquita,” Fernando Guzzoni
“Pour La France (For My Country,” Rachid Hami
“A Man,” Kei Ishikawa
“Bread and Salt,” Damian Kocur
“Luxembourg, Luxembourg,” Antonio Lukich
“Ti Mangio IL Cuore,” Pippo Mezzapesa
“To the North,” Mihai Mincan
“Autobiography,” Makbul Mubarak
“La Syndicaliste (The Sitting Duck),” Jean-Paul Salomé
“World War III,” Houman Seyedi
“The Happiest Man in the World,” Teona Strugar Mitevska
“The Bride,” Sérgio Tréfaut

Horizons/Orizzonti Extra

“Origin of Evil,” Sébastien Marnier
“Hanging Gardens,” Ahmed Yassin Al Daradji
“Amanda,” Carolina Cavalli
“Red Shoes,” Carlos Eichelmann Kaiser
“Nezouh,” Soudade Kaadan
“Notte Fantasma,” Fulvio Risuleo
“Without Her,” Arian Vazirdaftari
“Valeria Is Getting Married,” Michal Vinik
“Goliath,” Adilkhan Yerzhanov

Updated, July 27 at 9:53 a.m. ET: The official XR competition category of the 2022 Venice International Film Festival marks the return of the exhibition for the first time since 2019 to the island Lazzaretto Vecchio. Close to the Lido, Festival goers, industry members, and press will have the opportunity to screen 43 projects from 19 countries within the XR exhibit.

The Venice Immersive, the new title of the Venice VR Expanded section, intends to acknowledge the growth of immersive media beyond the technologies of Virtual Reality and to include all means of creative expression in XR – Extended Reality: 360° videos and XR works of any length, including installations, live performances and virtual worlds. The Venice Immersive section of the 79th Venice International Film Festival will be held in person again this year, with the technical support of Meta and HTC Vive.

Returning Grand Prize winners like Celine Tricart (“Fight Back”) and special projects from Chanel (“Rencontre(s)”) and Mercedes Benz (“Mrs. Benz: Vojage”) are among the highlights of the lineup. The documentary feature “We Met in Virtual Reality,” which was filmed in VRChat and created by Joe Hunting, will also host a special screening. The Venice Immersive World on VRChat, designed with the technical support of VRrOOm, will present a virtual version of the Venice Immersive Island.

Members of the international Jury of Venice Immersive include Jury President May Abdalla, co-founder of Anagram;  David Adler (“Taste of Hunger VR”); and dancer Bianca Li (“Le bal de Paris de Blanca Li”). The jury will award the Best Experience, Grand Jury Prize, and Special Jury Prize for the Venice Immersive.

See below for the full list of XR Extended Reality showcases.

XR Venice Immersive 

In Competition

“Ascenders,” Jonathan Astruc and Jonathana Tamene

“Tu Vivras, Mon Fils,” Voctira Bousis

“Reimagined Volume 1: Nyssa,” Julia Cavaliere and Michaele Holland

“Rencontre(s),” Mathias Chelebourg

“The Man Who Couldn’t Leave,” Chen Singing

“All Unsaved Progress Will Be Lost,” Mélanie Courtinat

“Eurydice, Een Afdaling in Oneindigheid [Eurydice, A Descent into Infinity],” Celine Daemen

“Okawari,” Landia Egal and Amaury Burthie

“Dazzle: A Re-Assembly of Bodies,” Ruth Gibson, Bruno Martelli, Alexa Pollmann, and Bine Roth

“Peaky Blinders: The King’s Ransom,” Russell Harding, Tim Jones, and Marcus Moresby

“From the Main Square,” Pedro Harres

“Sorella’s Story,” Peter Hegedus

“Eggscape,” German Heller, Jorge Tereso, and Federico Heller

“Typeman,” Keisuke Itoh

“Kindred,” Bambou Kenneth

“Shineui Bang [Poet’s Room],” Bomsok Ku

“Gumball Dreams,” Deirdre V. Lyons and Christopher Davis

“Namuanki,” Kevin MAck

“Tmání [Darkening],” Ondrej Moravec

“All That Remains,” Quintero Craig

“Rock Paper Scissors,” Alex Ruhl

“Thank You For Sharing Your World,” Yu Sakudo and Toshiaki Hanzaki

“Eternelle, Notre Dame,” Bruno Seillier

“Framerate: Pulse of the Earth,” Matthew Shaw and William Trossell

“Mrs. Benz: Vojace of Discovery,” Eloise Singer

“Uncanny Alley,” Rick Treweek

“Fight Back,” Celine Tricart

“Treasure Heist,” Luan Trinh

“Mandala: A Brief Moment in Time,” Thomse Villepoux

“Red Tail,” Wang Fish”

Out of Competition: Best of Venice Immersive (international selection
of the best XR works presented since the 2021 edition) 

“On the Morning You Wake (to the End of the World),” Mike Brett, Steve Jamison, Pierre Zandrowicz, and Arnaud Colinart

“(Hi)story of a Painting: The Light in the Shadow,” Quentin Darras and Gaelle Mourre

“Area Man Lives,” Amy Green and Ryan Green

“Lustration,” Ryan Griffen

“Alex Honnold: The Soloist VR,” Jonathan Griffith

“Space Explorers: The ISS Experience: Episode 3, Unite,” Félix Lajeunesse and Paul Raphael

“Space Explorers: The ISS Experience: Spacewalkers,” Félix Lajeunesse and Paul Raphael

“Kingdom of Plants with David Attenborough,” Iona McEwan

“The Miracle Basket,” Abner Preis

“Shores of Loci,” Ellen Utrecht, James Sundra, Dani Bittman, and Daisy Berns

Biennale College Cinema: Out of Competition 

“Elele,” Sjoerd Van Acker

“Firat Sezgin, Ecegul Bayram,” produced with a grant from Biennale College Cinema VR

“Mono,” Chiara Troisi, developed during the Biennale College Cinema VR

“Chroma,” Tsang Tsui-Shan, developed during the Biennale College Cinema VR

Worlds Gallery

“Adrift,” MERC

“Baroque Cathedral,” OPCherry

“Cava Okinawa,” Tokoyoshi

“Cue,” ob4k3

“Disconnected: Video Feedback World,” MomoTheMaster

“District Roboto,” Fins

“Dreams,” Zanderthaw

“Dubrovinik Main Street and Old Part,” nobelchoco

“Fire Tornado,” BigChickenLover

“Fractal Explorer,” ikamon

“Fractal Explorer,” 1001 by 1001

“Fractal Love,” pema99

“Friction [!] Function: Particle Live,” Norimaki

“Initium,” Artsy Glitch

“LLL Silent Dawn Release Party,” PK

“Magic Heist,” Fins

“Night Church,” OPCherry

“Olympia Nights,” DrMorro

“Organism,” DrMorro

“Oxymore,” VRrOOm

“Particle Live Fixer,” ฅらいちちゃんฅ

“Shadow Factory,” emymin

“The Dice Dimension,” FlyingFly

“The Dinosaur Bone Gallery Museum,” topgunsi

“The Great Inventor Escape,” FlowersRite花之祭P

“The Rat King,” _Digital

“Venice Basilica Salute,” nobelchoco

“Venice Canal Widmann,” nobelchoco

“VMV CC TYPE 01,” skkn


Special Event: Out of Competition 

“We Met in Virtual Reality,” Joe Hunting

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Tue, 26 Jul 2022 21:53:00 -0500 en-US text/html https://www.yahoo.com/now/venice-film-festival-lineup-announcement-090041419.html
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