Short day length is associated with reduced milk production in dairy ruminants. Dairy ruminants have been kept in lit sheds during winter to extend the day length and stimulate milk production. ...However, there studies are few on the effect of an extended photoperiod on the ensuing reproductive performance of dairy goats. The aim of this study was to examine the effect of long day photoperiod (LDPP) and exposure to bucks on milk production and plasma progesterone and prolactin in dairy goats. The study was conducted in 122 non-pregnant lactating dairy goats over 18 weeks from April to August (late autumn and winter in the Southern Hemisphere). The goats were kept in open sided sheds in which the control treatment received ambient lighting while the LDPP treatment received 16 h of light, including artificial lighting. In June, July and August synchronised does were randomly assigned each month to the presence or absence of a buck and ovulatory activity determined from plasma progesterone. Plasma progesterone concentrations were reduced (0.73 vs. 0.46 pmol, p < 0.001) while prolactin concentrations were increased (0.095 vs. 1.33 ng/mL, p < 0.001) in LDPP goats. The former response was most marked in late winter (0.58 vs. 0.004 pmol, p < 0.001) indicating a lack of functional corpora lutea. While there was no overall effect of buck exposure on plasma progesterone concentrations there was a three-way interaction such that plasma progesterone concentrations were increased (p < 0.05) by exposure to bucks in LDPP goats in August (late winter) but not at other times. Milk production was increased in LDPP goats over the latter stages of the study (1. 55 vs. 1.82 L/d, p < 0.05). Also, persistency of lactation was greater in LDPP goats with fewer goats drying off (13 vs. 0%, p < 0.05). These findings suggest that LDPP can increase milk production and persistence while decreasing ovulatory activity in dairy goats.
From his intimate yet bustling mijfilm production office in tehran, two days out From principal photography of his next project, iranian director bahman ghobadi speaks to Sandy Cameron about the ...necessarily clandestine nature of his Filmmaking, his unique Financing and development processes and his upcoming Feature.
Scope: Screen industry views Cameron, Sandy; Edwards, Russell; Gutiérrez, Peter ...
Metro (Melbourne),
01/2013
178
Magazine Article
There is a certain accepted template for raising finance for a feature film in Australia. After around three years of script development, a project is shown to the marketplace to attach local ...distribution and an international sales agent for cash advances or market¬ing guarantees. These attachments trigger state- and federal-agency funding, and then the Producer Offset (40 per cent of qualifying Australian expenditure) is cash-flowed into the budget through an agency or private film fund. It’s a proven template up to a point, but it’s increasingly difficult to execute. In the current landscape, there is a paucity of Australian distributors and a high demand on limited government investment. Perhaps most crucially, this is a project-by-project financing model, with mostly small operators struggling for overheads and ongoing capital. Veteran director, producer and head of Adelaide Motion Picture Company (AMPCO) Mario Andreacchio, whose films include Napoleon (1995), The Real Macaw (1998) and The Dragon Pearl (2011), is someone who has been looking outside of this template for many years., There is a certain accepted template for raising finance for a feature film in Australia. After around three years of script development, a project is shown to the marketplace to attach local distribution and an international sales agent for cash advances or market ing guarantees. These attachments trigger state- and federal-agency funding, and then the Producer Offset (40 per cent of qualifying Australian expenditure) is cash-flowed into the budget through an agency or private film fund. It's a proven template up to a point, but it's increasingly difficult to execute. In the current landscape, there is a paucity of Australian distributors and a high demand on limited government investment. Perhaps most crucially, this is a project-by-project financing model, with mostly small operators struggling for overheads and ongoing capital. Veteran director, producer and head of Adelaide Motion Picture Company (AMPCO) Mario Andreacchio, whose films include Napoleon (1995), The Real Macaw (1998) and The Dragon Pearl (2011), is someone who has been looking outside of this template for many years.
From his intimate yet bustling mijfilm production office in tehran, two days out From principal photography of his next project, iranian director bahman ghobadi speaks to Sandy Cameron about the ...necessarily clandestine nature of his Filmmaking, his unique Financing and development processes and his upcoming Feature.
From his intimate yet bustling mijfilm production office in tehran, two days out From principal photography of his next project, iranian director bahman ghobadi speaks to Sandy Cameron about the ...necessarily clandestine nature of his Filmmaking, his unique Financing and development processes and his upcoming Feature.
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