 So, I just want to quickly run through a couple of things that we're doing at Ode to Zero. And just talk a bit about the changes we've seen in the industry from a broadcaster's perspective. We've been learning through these changes, the changes that Lien and Brody had spoken about earlier. This is something that myself and my group has made me very heavily involved in trying to understand what it means to our business, how we have to capitalise on it and where we should be positioning ourselves. So, is it a bit? Fantastic. So, the first thing, this is Mr. Rupert Menor Trump, if you may have heard of him. He is the news producer, the book producer that came out of the main wall owns the news. And Rupert had in 2006, around the time he was buying MySpace, to find something comparable. You have to go back 500 years to the printing press, the birth of mass media, technology shifting away from the editors, the publishers, the establishment of media elite. It's not the people who are taking control. And this very much goes to what my colleague was speaking about earlier. Yet, I think this euphoria that we had with technology and the opportunities that technology would bring us, I think we've lived through it with the rise of this next internet boom that was just cut short with the financial crisis. And many of us in this industry were caught up in it and were jumping around to see how we could seize elite. And at the same time, this was the time when our established industry business models were collapsing, newspapers, circulations dropping, everyone's cutting budgets, their foreign operations had been closed down, everybody's suing everybody in this business. So, we're not sure at this point whether this change in the size of technology being able to save this industry is necessarily true. And what we've seen, even with Mr Murdoch saying this and what MySpace has brought to his company, once MySpace is over, it's not even mentioned again in New School. And Murdoch probably pursued the Wall Street Journal and that became what he wanted. Because at the end of the day, Murdoch was a newspaper proprietor. And that was, and there was value in the journal for him more than anything else, something that he'd been pursuing for years and years and years. So that's not to say that technology is not important when papers are, but it really comes down to the brand and what that brings you. So, of course, just to prove how quickly news spreads and how fast you need to be in this business, this is the same picture that we had shown earlier, the US Airways flight that had crashed into the Hudson River. And as that this was invented and occurred, the first time it was reported by somebody on Twitter, which is a micro-blocking service, he had seen it. I was actually awake when this happened. It was about midnight at about just 12 o'clock, no hard time. I just got home from work. And, you know, everybody was talking about this event, this plane went down. This was the first report that came in saying, it's crazy, this plane crashed into the Hudson. But not only was it a text message that came out in Formas, it was also a picture. So this was the first picture that came out because he was in a theory that was going out to pick people who were on the plane waiting. And this was his immediacy. This event that took place immediately suddenly got reported and bring it back. But of course this is the start. And it may not even be the start because the events aren't the start of news. The event is the event. And there's lots around it. There's context. There's understanding. There's depth. So while it's important for us to capture these events and to be quick in capturing them, we shouldn't misunderstand this as this being all there is for news. Because the events, the bringing these events and being the first of the event, isn't necessarily meaning you have the best coverage. So this is a cartoon that I'd like to pick up and to show whenever I speak about the changes in our industry. And this really speaks to the heart of some of these changes that technology brings. Some of the changes that the way that we interact with news, the way that young people interact with it. The kid asks, have you seen the news? He says, no, I haven't. What's CNN? This is what's CNN. And this is the reality today. Young people don't go down to these destination news sites to find out what's happening. They'll go through the aggregators, they'll go through their friends and through their Facebook, and that's how they get the news. The destination itself isn't a destination anymore. They might have entered on CNN to read the story, but they might not have ever been to the front page of CNN. And this really causes a crisis of relevance in our industry. Because you have to understand, who are we? We're just providing these random pages of information. What makes us different from Sky and from our next competitor and Joe Block setting up down the road? So it really asks, what makes you unique? And this is the question that all news outlets need to answer. What makes us unique? What differentiates us? And what's the value we add here? Because eventually everybody could carry the same wire story. Everybody eventually could carry the same picture that I've loaded to Flickr or same messages on Twitter. So it needs to be something more than this. And, you know, so these are some of the industry challenges, you know, Viacom are suing YouTube, the content coming out, the Associated Press were suing graduate. They taught for quotes of their stories and prices are falling, bureaus are being closed. And these are very real problems our industry faces and the financial crisis this could make them worse. Now, we shouldn't mistake the financial crisis and the impact of the crisis and what it's having in this industry with these all being technical shifts. And shifts brought about by technology. Some of these may be precipitated by, in some of them, the purely financial models that are collecting. And just maybe people are not interested in specific types of news anymore, specific brands of news and they're using up new people entrances to market. So I just want to show you a quick clip by Jon Stewart talking about this phenomena of citizen journalism. Sorry to say so. But in television, things are obviously much more vital, much more happening. Matter of fact, the standard verification of CNN has an important question to ask viewers. Ever wish you could say, I report for CNN? No, no. Here's how you can join the most trusted name in the news. When you have pictures or video of breaking news or cool stories from your part of the world, go to CNN.com and click on that report. To spare them, what is currently the most arduous part of what they do? Reporting. Going to get as close as possible to an exploding building, burying a hurricane. Gee, this assignment looks dangerous. You know what would be good for that story? John Q. Schmuck, the quality of the recordage makes it to CNN's air. Here's how Ryan Kingsbury joined the most trusted name in the news. Ryan shot his photographs after Ernesto crashed and he killed Devil Hills. Hmm. And here's a picture of Ryan and his mom in front of the world's biggest ball of twine. It has no news value, but we've got 24 hours to kill. Now I've met amateur journalists and risen to the challenge in the past. There was the Zepruder film, the Rodney King video, the Paracel, the Exposé of Fault in Atrociousness. Come on, CNN. You're asking for a lot here. What's the payout for us? It's the last day of the year. The usual pictures of video are on there. You can tell your limitation. It gets mostly submissions like this. So, you know, this is pretty self-explanatory. You know, we shouldn't be caught up in the euphoria of what it is and sort of less the point of what reporting really is about. So, you know, one of the ways, obviously all this change is happening and I told you, Zira, the way we've initially understood this change is that we, as well as Zira, on the right-hand side of the screen we've seen the iPod and the TV and the blogs and, you know, phones and all of these things. These are these distribution platforms. And as well as Zira, we need to be on all of them. So, you know, and essentially what we're saying is if you, a viewer of Zira, a potential viewer, you should be able to receive us anyway. How you want and the format that you want, wherever you want. And we're going to make our content available through all these mechanisms. And currently, we don't know this platform if you can get us anywhere. And that's just a really distribution problem. It's not anything fancy to do with the heart of Zira. It's just how do we get content out? The second part on the left-hand side is how do we bring content in. And that's just really what the traction meta now is what now public's trying to solve and everybody in the industry is trying to solve. And our report's trying to solve is how do we get new content in. And these are user-generated content. I hate to term it. But, you know, all these sort of things. How do we really get out there and find what's being said online, what way people are uploading. Just because the cost of production has dropped so dramatically. Everybody who's got a phone in this room and because of me, that's what I know. Everybody's phone here can take video or photos and you can upload it to the web and do all these fancy things with everybody. So, how do we position ourselves in this ecosystem and really become an ecosystem? Because when we put the content out, it's going to prompt you to create new content and you're going to create content and it's going to prompt us to create content around it. So, just some of the ways that we try to deal with this. We have something called OJSR Labs where we try to address new initiatives and you look at what's new in our profession and how we're going to position ourselves. So, you know, you can go to the labs or the OJSR on the net. If you didn't look at any of those, it's, you know, where we play around with Facebook and YouTube and Twitter and anything that's cool, anything that's trending on the online world, we're trying to get involved and see how do we position ourselves and how do we take our content to our audience. It's not enough now to sit back and say, everybody should come and watch us and come to our website. So, we're going to go out and say, where are people? Where do they gather online? If they're gathering on YouTube, you're going to go out to YouTube and say, here's our content you may be interested in and you're going to try to create specific content targeted there. So, on the YouTube page, for example, we've been using Twitter, this is a micro-blogging service that everybody's been talking about, which basically, you can send a quick text message off your phone and it gets distributed to any number of people who are following you and who sign up online. So, what we've done with our Gaza coverage over the last 22 days is we've been sending out unique heartbreaking alerts of what's going on in Gaza, 140 characters long, so people can immediately find out what's new developments and these developments are happening hour-by-hour when they're being looked at. So, there's, you know, we get 6,000 people who are following us with the forgetness of these user alerts, updates written by our journalists on the website. Experiments with news visualization. How do we show news in new manners and new forms which adds insight and depth to whatever we're doing? So, can we map this data in an interesting way? So, we can go in there, explore it, and see what it really means when we're looking at this war in Gaza. Where are these bomb attacks taking place? Why does the Gaza strip exactly? We're talking about these things sometimes, doesn't really explain it. And, you know, another layer of information to go out and to examine it, but to see when a rocket goes into Israel where is that, what's the impact? When the Israeli's going to Gaza, what's the impact of that? And visually, you can see the differences in this, and visually, so you can see those big red dots, which is the Gaza strip and the casualties occurring there. And then you look at small dots and you see, okay, this is what's happening on the other side. So, very quickly, different stories can emerge and can get context to any story that you're covering. One of the really interesting things that we've done, you know, we've really missed something that was the first news broadcast in the world to have done is we've taken all our footage from Gaza, and we've made it freely available to any other broadcaster, any other blogger, any one house out there in the world, any newspaper online to take our footage and to use it as they wish, without paying Gaza's debt. So, they can take it commercially and commercially and use it. And this is something that's never been done before by a big broadcaster. And it's really an experiment that we just launched a few days ago to see what happens because we're one of the only international broadcasts in English in Gaza with, you know, we cover, this is our turf, you know, and this is what these events in this region, you know, where all the hotspots are, Palestine, Iraq, Somalia, these are places where those are used to be in Iraq at least, where we have depth of coverage. So, what happens when we take these pictures and make them available to other broadcasters. And we want to see what they're doing with it. We've seen really interesting results from this. We've had requests from South America down to Asia of other broadcasters saying, hey, we're using your footage. We're going to be putting it on tonight. We're going to be putting it on our websites. So, just look at what happens when you do this as an experiment. But finally, you know, and this is something that I think it really comes down to the heart of what we do. I want everybody in this industry needs to remember. It's not about technologies. It's not about the latest mobile phone. It's not about your interconnection. At the end of the day, it's about the person, the reporter who's on the ground, who's in that wozzle or who's in the field, who has an understanding of the story, who understands the context, who understands the historical ledger of these conflicts, who can add depth to the story when you report it. Because everything's not just a photo that gets taken. Because that's not, that's just a picture. It's a snapshot. It may not be an accurate reflection just because it's a photo that gets taken. There's depth around it. And in order for our audiences to really understand these stories, they need somebody to explain it, to crystallize it, to put it into context. And that's what we do. And it's these brave field journalists that we have who are courageous from going to the field to bring these stories back to us. So any of the innovation that we do, all those nice projects that I showed you in the previous slides, build upon their work, eventually. And, you know, we're going to see these changes and other people reporting and all of us, which are exciting, and we're very attached to being there and building upon it. But at the end of the day, the success of an organization like Ode to Zero is built on these field journalists of having 70 bureaus and locations across the world of just having people on the ground to understand local cultures, understand local languages and can go and report on their feedback like this. So I think my time is up. So let me just end here. Thank you. I think you'll have a nice discussion after this. Thank you very much.