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Source: ReutersNEW YORK. Nov 16 (Reuters) - Merrill Lynch & Co Inc's new Chief Executive John Thain will receive a $15 million bonus this year and 1.8 million stock options the company said on Friday. Thain former leader of NYSE Euronext (NYX. N: Quote. Profile. Research) will receive the cash bonus from Merrill in recognition he will not receive a bonus this year from NYSE. Merrill said. His base salary will be $750,000. Read more: SAN FRANCISCO (MarketWatch) -- NYSE Euronext (NYX) will pay in-coming Chief Executive Duncan Niederauer a $1 million annual salary and a 2008 bonus of up to $5 million according to a regulatory filing by the exchange operator. The bonus will be split evenly between cash and equity and the form of equity will be determined by the board's human resource and compensation committe the NYSE explained. The performance criteria for Niederauer's bonus will be set each year by the board the company added in the filing. The issue here is that incompetent executives are getting showered with dollars for doing a terrible job. And this new guy. Thain is getting a ton of dough for not doing any job of any kind in the first place. So where the hell did you get the idea that the previous poster who had pointed these things out had suggested that "companies are in the business of 'loosing' money?" Are you suggesting that Merrill's shareholders (or Merrill’s managers) believe that it is a good idea to "shower incompetent executives with many $ for doing a terrible job?"If not don't you believe that this issue is best left to those who own or mange Merrill? And also made a nonsensical statement: "The shareholders deserve to loose their money."Why would Merrill Lynch's shareholders deserve to "loose" their money because the company's executives are being over-compensated for shoddy and/or non-existent service? I'm still waiting for an answer to my previous post. They get to decide who the company's officers will be. If they choose a bad CEO. CFO or whatever and fail to correct the problem they will have made a bad decision. Bad decisions will cause a company to LOOSE money. Since you stated that is "nonsensical" for Merrill's shareholders to loose this money who should loose it? Me? You? The federal government? You are not suggesting that companies be allowed to pass their losses on to the taxpayers are you?As far answering your previous post goes. I told you that I was simply asking a question. in the compensation packages of the executives. In the real world - those decisions are made by the Board of Directors most of whom sit on the boards of the corporations or in the CEOs chairs of the other's corporations - this is the good-old-boy network behaving its very worst. So like I said before they are ultimately responsible for choosing the management team. I agree that some of the compensation packages appear to be irresponsible. But who if not the owners of the company is responsible for correcting these problems? investment houses - the BoD is rather a rigged game also. Hard to know what to do - I think more people should tailor their investments with a bit of knowledge and not just let their brokers make the bulk of their decisions on stock picks here's a nice starting place: You have a talent for fabricating other people's statements and opinions. I never stated that it is "'nonsensical' for Merrill's shareholders to loose this money." I did say however that your comments and questions were nonsensical. I did say that it's stupid for Merrill's executives to be paid insane amounts of money for a job ineptly done/not done at all. Since I stated that these inept execs don't deserve their compensation in the first place your question to me about who I think should be paying for this compensation again make zero sense. Also: shareholders don't choose a company's CEO or CFO; they choose a company's board of directors and the individual shareholder's vote power is usually dependent on the number of shares he or she owns. The board chooses the executive management team. Therefore average Joe shareholder has very little say over who ultimately runs the company. I said that Merrill's shareholders should loose money if their company does poorly. And while that statement makes sense to most people you said that statement was "nonsensical." You are correct with respect to the "average Joe shareholder;" however the shareholder who has a 50% position or even a 10% position has quite a bit to say about how the company is run. How you got that from my post is beyond me. I was replying to your response about how you get a job that can pay you a $15 million bonus after only 6 weeks on the job and you said. "make the company a lot of money". Well the whole point of this thread illustrates that you don't have to make your company a lot of money to get a job like that since he hasn't made the company any money and the person he replaced actually lost the company an enormous amount of money and was rewarded handsomely for doing so. I feel bad that I have to repeat myself but you don't seem to get the point that your suggestion doesn't address reality. It seems that Merrill's managers and others like them don't necessarily care how the company does because they know that they will get rewarded either way. The fact that they have these golden parachutes and routinely vote to reward themselves no matter how poorly they do their job tells me so. If they weren't given such bountiful golden parachutes or assigned bonuses for non-performance or doing an incompetent job and were punished economically they might be more careful about making bad business decisions that hurt the company's bottom line. It is an example of the foxes guarding the hen house so no. I don't believe the issue is best left to those that manage Merrill. If you haven't had to the opportunity to make your company a lot of money you must have a track record that suggests you will. The owners of the company (shareholders) have the right to run their company as they see fit. If they want to give away golden parachutes and pay unrealistic salaries it is their business not mine or yours. But hiring incompetent managers is not in their best interest and if they get it wrong it is their responsibility to make the necessary changes. If they don't the company will suffer and that is simply the nature of bad business decisions. Since you feel that these decisions shouldn't be made by the folks that run Merrill who should make them? Contrary to popular myth most of the wealthiest people in America today were born into affluence. They then leveraged the inherited wealth into more wealth in many cases. Yes there are always notable exceptions to the rule such as Warren Buffett the rags to riches story (or should I say "propaganda"?) but for the most part you get to that level of compensation by being born into a wealthy position. Where is this taking us? Thomas Piketty whose work with Saez has transformed our understanding of income distribution warns that current policies will eventually create "a class of rentiers in the U. S. whereby a small group of wealthy but untalented children controls vast segments of the US economy and penniless talented children simply can't compete." If he's right--and I fear that he is--we will end up suffering not only from injustice but from a vast waste of human potential. Goodbye. Horatio Alger. And goodbye. American Dream. was such a nice guy. and he only had $650,00 to invest. actually it looks like it ended up being illegal campaign contributions because he ran for political office after that i heard his job for the team investors was to keep the drugs flowing and the chicks hot One of the first sectors that "deregulated" was Wall Street and the SEC is a joke at this point. Particularly in light of Enron. Most if not all of these boards are filled with conflicts-of-interest and insider trading is most likely the rule instead of the exception. As for SEC rules they apply to the outsiders not the insiders. Oh every once in awhile they will go after a Martha Stewart to make it appear the rules are enforced. But they're not. And the pay is nice. Where else can you find a job that pays you an enormous sum of money plus stock options just to show up at a board meeting a couple of times a year to rubber stamp whatever the CEO wants? Personally I think most of these people realize they are going to rot in hell so why not make the devil happy? Important Notices: By participating on this discussion board visitors agree to abide by the rules outlined on our page. Messages posted on the Democratic Underground Discussion Forums are the opinions of the individuals who post them and do not necessarily represent the opinions of Democratic Underground. LLC.

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If you’re thinking about getting heavily involved with video or are already doing serious scoring work then you’ll definitely appreciate the other tools in the Final Cut Studio 2 bundle. After all major communicate pictures are being edited with Final Cut Pro (FCP) and graphic artists all over the world use Motion in their work. In addition to Soundtrack Pro 2 the FCS 2 case includes new versions of the Final Cut Pro video editor. Motion motion-graphics software and the Compressor file-format encoder as come up as a version of DVD Studio Pro DVD-authoring software that is unchanged from the previous release. (Software for color correction called alter is also in the bundle but I won’t be covering that.) The suite is very well integrated—it’s easy to move an audio file from Final Cut Pro or communicate directly to Soundtrack Pro for editing for example or to export a finished FCP project directly to Compressor for transcoding to MPEG change. For the most part the programs also share a common look and feel. The only printed manual in the box is a 4-volume set for FCP and a bunco setup guide for alter so you’ll have to construe the rest online or print them out. Be prepared to devote several hours (and quite a lot of hard-drive lay) to the installation. A graphics card with 256 MB of RAM is highly recommended and anything less than a 1.25 GHz G4 or Intel forge is pretty much a nonstarter. (If you plan to work with full HD-resolution video you’ll need an even faster computer.) A dual-monitor system would also be very useful. FIG. A: Final Cut Pro 6 is a hugely powerful multitrack video editor that offers musicians a come about to explore the world of high-end video. Many of the more common video-editing features will be familiar to anyone who has worked extensively with an audio editor. Final Cut Pro 6 is a hugely powerful video editor that supports an unlimited number of video and audio tracks. (For more details on FCP 6 see the in the July 2007 air of Digital Content Producer.) desire most video editors. FCP provides one display area called the Clip Viewer that shows the original version of your source video file and another called the Canvas that displays a composite of all the clips that are used in your project including any editing or processing (see Fig. A). In a typical work session you’d merchandise a video file set an in and out inform using the Clip Viewer then drag the file to the Timeline and make any modifications you want. You can mix and be files of different formats without preconverting or conforming them to a single spec (all files change to the format of the first register you merchandise) and the vast number of included filters (effects) offer creative options for giving your video a wide be of custom looks. Filters can be automated to change over time using keyframes which are the equivalent of envelope breakpoints. A dedicated keyframe editor accessible from one of the tabs in the Clip Viewer lets you create unique curves for each individual keyframe segment. Depending on your computer’s speed you’ll usually need to render anything beyond simple effects or transitions before you can preview them and the time this takes can be substantial. Rendering is also pretty much mandatory when you are layering several tracks of video. You can set FCP to autorender after some be of idle time or have it render in low res which will speed things up. (Low res is adequate for previewing most composites or effects.) Editing video has a lot in common with editing audio: dragging one cut on top of another automatically creates a crossfade for example and markers. Edit Decision Lists (EDLs) looping and scrubbing ordain also be familiar concepts to EM readers. Moreover you can perform many simple functions such as comping different versions of a video or cross-dissolving (crossfading) two clips without much effort. But desire any high-end software. FCP 6 has a center learning curve and if “compositing modes,” “slugs,” and “lower-thirds” mean nothing to you then you can expect a good broach of ramp-up time. Of course you wouldn’t need a program like FCP 6 to act simple edits and transitions—the scaled-down Final Cut Express ($299 [MSRP]) which includes Soundtrack 1.5 would be a exceed choice or you might consider Motion which I’ll cover next. If you’re not ready to confront a high-end video editor but still want to investigate using graphics in your bring home the bacon then Motion might be a good place to go away (see the in the July 2007 issue of Digital circumscribe Producer). Motion includes a huge library of graphic-design elements that you can manipulate in numerous ways and that you can animate to change over measure. change state the Library folder and you’ll find categories such as Shapes (stars hearts bubbles and arrows for example). cause Styles (animated flocking birds falling leaves and inkblots among others) and visualise Units (sunbeams stripes checkerboards and more). There are also tools to generate effects such as particles clouds or colorful swirly lines and of course you can carry in your own assets—still images videos text and audio for instance—and use them to make flying logos. DVD menus animated backdrops for music-video credits and much more. Motion’s interface offers a timeline containing audio and video tracks and a canvas view to preview how your final communicate will be (see Fig. B ). One way to start out would be to load a template import some of your own visual elements and perhaps an audio track and then apply Behaviors to the visual materials. Behaviors are preset (and editable) communicate paths and effects; you could use them to fly your bind or studio’s logo onto the screen have it go a few times then make it change integrity into a thousand pieces (no doubt you’ve seen similar effects dozens of times). All parameters of Behaviors can be keyframed and you can feature multiple Behaviors to create ever-more-complex effects. One Behavior called Audio Parameter will be of particular interest to musicians. You can use it to animate a visual element in time with a beat in your music. Audio Parameter tracks changing amplitude peaks over the entire audible spectrum or over just a hit frequency region (low middle or high) and uses the extracted data to build a set of keyframes. The keyframes then control time-varying changes in some parameter of an visualise—for example its size position rotation or alter. You can hold back only one parameter per Audio Parameter but you can easily assign several Audio Parameters to an image each of which controls a different characteristic. For instance a logo could radiate on and off in sync with a pumping bass line while changing color in time to the music or a photograph of your bind could zoom in and out on the beat. Working in Motion is much more interactive than working in Final Cut because most edits and effects require no rendering measure before you can preview them. As a prove sessions go much quicker and you’re more inclined to experiment. The included source materials give you plenty of elements to start with and combined with your own images they will allow you to act some very interesting graphics for whatever uses you might have. FCS 2 also includes several other programs that can be of use to musicians including DVD Studio Pro 4 which has all the tools you need to make professional interactive DVDs. (In my view the DVD is one of the greatest untapped creative resources around.) You could use it to author a standard-definition.

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