ITV

Category: Television

  • US public TV stations association is testing an alert system

    US public TV stations association is testing an alert system

    MUMBAI: The Association of Public Television Stations (APTS) in the US and the Department of Homeland Security’s Federal Emergency Management Agency (Fema) have tested the second phase of its Digital Emergency Alert System (DEAS).

    This project demonstrates how the Department of Homeland Security can improve and disseminate public alerts and warnings during times of national crisis through the use of local public television’s digital television broadcasts.

    APTS president and CEO John Lawson said, “This project demonstrates how the capabilities of America’s public broadcasters can be utilised to dramatically enhance the ability of the President of the United States to communicate with the American public during a national crisis.

    “The partnership between APTS and the Department of Homeland Security and FEMA is a major step forward in laying the foundation for a new generation alert and warning system. The current EAS has it roots in the Cold War, and still relies on technology from that era. You had to be watching one of the major networks or listening to a radio station to have a chance of receiving the alert.

    Fema director David Paulison says, “What we are announcing is an alert system for the mobile, networked, and digital America of the 21st Century. Digital capabilities will improve the reliability, flexibility and security of the emergency alert system.

    “This more efficient system will better serve first responders and government officials, as well as provide the American public timely information so they can safeguard themselves and loved ones in times of emergencies.”

    APTS demonstrated the capabilities of digital broadcasting through a two- year project in the National Capital Region. The initial phases of this project included PBS, Wetas, 25 other public television stations across the US and the FCC.

    APTS and Fema were also joined by partners in the commercial television, cable, cellular, paging and radio industries. SpectraRep, a professional services firm, provides technology and anagement consulting services to the television stations.

    Lawson adds, “Public television is dedicated to public service. Our stations and the communities that support them, as well as state legislatures, foundations and the federal government, have raised over one billion for digital conversion. Our stations are using the powerful digital technology to bring new services to those they serve, including HDTV, new standard definition channels and rich media content delivered directly to PC’s.

    “Now we take a major step forward in using this same digital infrastructure to enhance public safety. The public will be safer because of this project. Public service is in the DNA of public television. Digital television is allowing us to roll out a new generation of content and services for the American people. We have always been about enhancing lives. Now we can help save lives as well.”

  • Paramount ropes in former NBC Universal hand Huntsberry as COO

    Paramount ropes in former NBC Universal hand Huntsberry as COO

    MUMBAI: The Viacom-owned film studio Paramount Pictures has announced the appointment of Frederick Huntsberry as its chief operating officer. In his new role at Paramount, Huntsberry will be responsible for worldwide strategic planning and operations for the studio.

    Huntsberry comes to Paramount after 12 years with General Electric Co., the parent company of NBC, where he served as NBC Universal Television Distribution EVP as well as Universal Pictures interim president and COO.

    “With Frederick’s unique experiences and skills, I know he will be a tremendous addition to our management team as we continue to lead Paramount to a bright future,” Paramount chairman and chief executive Brad Grey has been quoted in media reports as saying.

    Paramount has also announced the expansion of the profile of its president Rob Moore. Moore, who had been in charge of marketing and distribution, will now take charge of its home entertainment and digital operations as well.

  • Star TV makes fun of Zee Cinema

    Star TV makes fun of Zee Cinema

    Star TV is taking potshots at its former ally Zee Telefilms. It has been airing an interstitial on its Star Movies channel which takes a dig at Zee TV’s pay TV Hindi movie channel channel Zee Cinema.

    The interstitial starts with a shot of an office building with a neon sign similar in all respects to the logo used by Zee Cinema except for a small change: the brand it is advertising ‘Bee Cinema’. An executive in the Bee Cinema office is shown throwing darts at a dartboard blindfolded.

    A voiceover tells the viewer that unlike other channels (Bee Cinema), Star Movies does not show its viewers movies they would not like to see. The interstitial goes on to tell viewers to log on to the startv.com website and vote for their favourite movies in the pick of the week section. Star promises that it will will then show these movies according to the viewer’s preferences and in order of their popularity.

    While the introduction of this scheme is commendable, Star’s swipe at Zee at this juncture seems surprising. For one, we all thought that the trench warfare between Star TV and Zee TV was a thing of the past. But apparently it does not seem to be.

    According to some inside sources Star’s move stems from a desire by the Star Network to get back at Zee for what many insiders believe was Zee’s hand in the controversial Channel [V] obscenity case.

    Others say that the mocking interstitial is just a teaser for the to-be-launched Star TV Hindi movie channel Star Box Office. The ground is being prepared for the launch of the classic-movies-cum new-movies channel. It is to be seen how and whether Zee will react and if we are in for another war between two industry partners-turned-rivals.

  • English entertainment channel ad revenue could rise by 25-30% should Tam introduce Elite Panel

    The lack of adequate measurement of SEC A! That is seen among media buyers as a big stumbling block for ad revenue growth in the niche English entertainment genre.This article analyses how media buyers view the genre (movies, infotainment and general entertainment) and the possibilities for more growth

    At the outset it is worth noting that the ad pie for the English entertainment genre is around Rs 2.2 billion. This represents a five to seven per cent growth from last year. Overall, growth is expected to be around eight per cent in the coming couple of years. If however Tam does introduce the elite panel these channels might see a growth of as high as 25-30 per cent.

    What will drive these numbers? According to OMS regional director Madan Mohapatra one will then be able to see more numbers among SEC A. It will thus make it easier to justify ad spends to clients who might be skeptical. Also, one will be able to slice and dice SEC A itself in different cities. Right now viewership for this genre comes mainly from Mumbai, Bangalore and Delhi. The TG mostly is C&S SEC A,B 15+.

    In the overall media plan, the niche English channels get into it to build incremental reach. Also, the affinity that a channel has with a TG that a channel has is also looked at.

    Media planner Rahul Panchal adds that the elite panel will see consolidation happening in the market. This means that not all channels will see a similar increase. Those channels that are able to show better numbers will be in a better negotiating position. Revenue will shift from one channel to its competitor. Now though, everything is a matter of perception. There is a clear segmentation of genre among the media community. This means that a Star Movies will not compete with a Zee Café. This situation will not change.

    Top 10 Advertisers in English Movie channels
    HLL
    L‘Oreal
    Pepsi
    Coca Cola
    Nestle
    Nokia
    Samsung
    Brooke Bond
    Tata Motors
    Paras Pharmaceuticals

    How the different channels are perceived: HBO and Star Movies are more or less on an even keel. The English film genre takes out around 50 per cent of the earlier mentioned Rs 2.2 billion pie. Depending on previous experience a client‘s view will favour one or the other.

    The reason why English movie channels fare better is that they are seen to be more mass compared to the infotainment and English general entertainment genres. They also offer better reach. One advantage that Star Movies and HBO have is that there are not many choices in this genre. Zee Studio is still confronting distribution issues while Pix, which recently commenced airing, has not gone to the media market as yet with this new offering. In fact planners feel that Pix should mature a bit before it can consider itself a serious player. Therefore there is less price elasticity happening in the English film genre.


    Properties like The Lord Of The Rings have helped boost HBO‘s library

    In terms of spot rates, on a comparison scale if English film channels charge Rs 100 for 10 seconds then general entertainment and infotainment charge Rs 50-60. As had been reported earlier by Indiantelevision.com, HBO has hiked its rates by 25 per cent.

    Information available with Indiantelevision.com indicates that this was possible because HBO‘s ad rates were much lower than Star Movies. When HBO moved to Turner last year the existing contracts that clients had thanks to deals negotiated by the One Alliance were cancelled. When deals were renegotiated sometime in June 2005 rates were reduced by seven to eight per cent. So the increase that HBO is now looking for is effectively around 16 per cent compared to what it was when it was with the One Alliance. Post the increase, HBO‘s effect rate per 10 seconds will stand at around Rs 85, still lower though than Star Movies price of Rs 100.


    The Oscars are high impact property for Star Movies

    As already pointed out, HBO and Star Movies are at an advantage here due to there not being many choices available. Of course, it is also true that English movie channels also need to charge more as their acquisition costs are higher and they have operated on a higher bargaining level for a longer period of time, opine industry observers.

    Star Movies‘ cause has been helped by high profile properties like the Oscar Awards. HBO, industry observers though note, has improved the quality of its library.

    For the third player Zee Studio, the biggest hurdle continues to lie in its distribution. This does not mean that cable operators are not carrying it. It is just that the band placement is poor and so too by extension the reception. The number of viewers, therefore, who are able to sample its properties like a few foreign films that one normally catches at film festivals are fewer. Not surprinsgly its rates are around 45 per cent less than what Star Movies charges.

    Top 10 Advertisers in English General Entertainment channels
    HLL
    L‘Oreal
    Coca Cola
    Nestle
    Nokia
    Pepsi
    Brooke Bond Lipton
    Titan Industries
    Tata Motors
    Ponds

    The English general entertainment segment takes out around 30 per cent of the Rs 2.2 billion ad pie. Star World is still seen as having a more upmarket image compared to Zee Café. Its rates are also around 30 per cent more. Panchal though was appreciative of Zee Café‘s efforts like its new look and feel which was done to make it appear more youthful. The fact though is that Star World is at an advantage because it, of the three channels (including AXN), has done the most to improve the variety of content it offers.


    Shows like Desperate Housewives make Star World attractive for advertisers targetting women

    This means that there will always be a trial audience for new shows which offers good visibility for advertisers. Star World is also unique in that of all the channels in the niche English entertainment space it is the only channel besides Zoom which is seen as having a few shows that will mainly appeal to women.

    A case in point is Desperate Housewives. Of course that is not say that women do not tune in to the other English channels as well. It is just that if you look at the programming skew it is slightly more towards men points out Panchal. So advertisers on the niche English channels usually target the male first.


    Local shows like Simply Style have Zee Cafe differentiate itself

    While Zee Café‘s local initiatives work both as a differentiator and a revenue generator Panchal feels that the channel needs to bear in mind the cost factor. Local shows help build a stronger identity for any channel. Of course, it is easier for Zee TV to do local stuff as its revenues are that much more. Both Zee Café and Star World are used in some measure to target the upwardly mobile youth. So its TG would mainly be 15-45. For AXN though, the perception is that men 25+ comprise its main audience. Here the reality shows like Fear Factor are perceived as being a strong draw.

    On the infotainment front, while Discovery was at one time much ahead, that gap has come down to some extent as NGC did a lot of things. Its Think Again repositioning last year helped in this regard. Discovery‘s rates though are still higher to go with their better viewership. It also started selling Animal Planet separately from last year.


    TV films like Hitler are key in history Channel‘s repositioning

    One channel that has improved perception wise is The History Channel. Observers note that previously it was a touch monotonous. However in April it shifted its positioning to being an entertainment channel. Products like Hitler, Nero mean that it can show quality films, series while sticking to its basic positioning of history. The opinion is that in the near future it could go ahead of NGC in terms of the cost of spot rates. In the near future it can also position itself as an alternative to the likes of Star World for ad revenue. October should be a good period to see the progress made since the revamp.

    Not much fluctuation: Planners feel that the English entertainment channels are not as badly affected by events like cricket to the extent that mass channels are. That gives them confidence to put money on them even during October – November 2006 when the ICC tourney is on. If a person wants to see an English film he will more likely do so compared to a Hindi soap when the Indian cricket side is playing.

    Another trend in this genre is that while the share of the English genre in the overall landscape has gone down, their ad revenue has gone up. Clients like Nokia have stayed loyal.


    MythBusters on Discovery. The channel has managed to keep itself in front of archrival NGC

    It may be that a client will shift from one channel to another. However, the number of clients available for English channels will never go down. Clients are also encouraged by the fact that appointment viewing generally is increasing. However, there is still room for improvement in this area.

    In terms of the yield per unit, the infotainment channels fare worse than movie and English general entertainment, say observers. Be that as it may, the quality of the audience is the USP of niche english entertainment channels. A Star Plus may give reach but quite a few of those viewers might not be relevant for example to an advertiser selling an expensive PDA phone. On the niche English entertainment genre there is a certain amount of passion involved and around 80 per cent of those viewers are likely to buy high end products. There is therefore a high amount of relevance translating into a good quality rating point.

    The more expensive a product is, the more likely a client will be to choose a niche English channel. Also, the fact is that while these channels may not contribute much revenue to the network kitty, they help augment the mother brand. They help the broadcaster offer a complete solution to clients, which is why Sony launched Pix after HBO moved to Turner.

    Top 10 advertisers in infotainment channels
    Nokia
    Coca Cola
    Pepsi
    HLL
    L‘Oreal
    Tata Motors
    Parle
    Lenovo
    Motorola
    Paras Pharmaceuticals

    A stronger focus: Media buyers also feel that the niche English channel sellers are more evolved and mature. There is a better focus on how their property fits in with a client‘s needs. This is imperative as these channels are selling an intangible space. They also do not have the ratings.

    So a certain amount of street smartness is key, especially when one considers the fact that clients and channels have opposite goals. The channel wants to get as much revenue as possible while the buyer wants the best (though not always the cheapest) price. The infotainment channels are clearly at a disadvantage in terms of revenue potential. There are six of them (three from the Discovery stable, two from Nat Geo and Zoom) fighting for 20 per cent of the Rs 2.2 billion pie.

    Revenues the channels will get going forward rest on four factors – how seriously they take their content, how well they time the launch of new shows and initiatives to get the most impact (it is not just a matter of quantity), how competitive the rates being offered are and how well they are promoted at both a client and consumer level.

    If a channel is not perceived to be as good as its competition then it needs to offer more customised packages. A case in point is what Zee Café did with Asian Paints on the sitcom Friends. A Friends makeover was done to emphasise the fact that red is the colour of love and friendship. Since Star World is perceived to be better in the market it does not have to go that extra mile if it chooses not to.

    It is also worth pointing out that a niche channel focusses more on chasing those clients who spend a lot of money on this genre rather than merely trying to increase the number of clients. That is because if the number of clients increase beyond a certain point they run the risk of spreading themselves too thin. So while a Sony will have around 230 clients, a niche channel will have far fewer clients, often by choice.

    At the end of the day skill and the level of negotiation are what count. Therefore, the head of the ad sales team is a crucial pivot. His/her attitude and strategy dictates to a large degree the performance and how successful a channel is in meeting targets. Zee Café and Zee Studio have benefitted from recently getting a separate sales team. Panchal notes that the need for sales people with strong persuasion skills is why there is so much poaching happening.

    Buying for the English channels is a mix of round on daypart (RODP) and key properties. However, most of them insist on a client not just paying a premium for a key property but also on increasing their outlay on the channel. Competition for ad revenue among niche English channels, Mohapatra notes, is at both a genre level and a channel level. However, usually the client first chooses the genre and then looks at the channel.

    There are times though when channels from different segments reflect the same values. For instance, AXN has a good duplication with the infotainment audience as it is aspirational. So now if a brand does not have Discovery or NGC in its plan then AXN can add value by giving incremental reach. On the other hand, if one advertises on Star World it does not necessarily mean that one can ignore AXN as the TG is different though they are in the same genre.

    Conclusion: In the months to come, this genre will see competition growing more fierce. It will get a boost should Tam introduce an Elite Panel. At the same time, better strategising both on air and on ground will be key.

  • Mark Burnett plays ‘Devil’s Advocate’ for Sci Fi Channel

    Mark Burnett plays ‘Devil’s Advocate’ for Sci Fi Channel

    MUMBAI: US broadcaster Sci Fi Channel has unveiled a slate of original series and miniseries. Reality TV guru Mark Burnett The Apprentice and Dreamworks Television will make Devil’s Advocate.

    This is a one-hour conspiracy thriller about a theology professor who is thrust into the world of secret societies, religious espionage and genetic research.

    Hired by a global corporation, but motivated by his own personal search for the truth, the professor forms an eclectic team of ‘devil’s advocates’ who are charged with deciding whether bizarre cases can be explained naturally, or whether there are larger, more supernatural forces at work.

    The channel will also unveil a miniseries Outpost. It centers on a group of private explorers in the near future, that takes over an abandoned Nasa research base after the government has abandoned space exploration as too expensive. The intrepid explorers travel to a distant planet in our solar system to establish a potentially lucrative off-world colony. But, the real adventure begins when they discover an ancient artifact buried deep beneath the planet’s surface.

  • EU court reverses EC decision on approval of Sony BMG deal

    EU court reverses EC decision on approval of Sony BMG deal

    MUMBAI: In what has come as a shock to the global music industry, The Court of First Instance of the European Communities annulled a decision made by the European Commission a couple of years ago.

    That decision had given the nod to the merger of Japan’s Sony and Germany’s Bertelsmann. The ruling marks the first time that the courts have overturned a commission decision to clear a deal. It could affect other acquisitions in the music space. Warner and EMI are belieevd to be talking to merge.

    Media reports indicate that Sony BMG which is the world’s second largest music company has to return to the European Commission within a week to seek new approval. The EC will decide in a month’s time whether to approve the merger while considering current market conditions. The 2004 decision was annulled on the argument that regulators did not show whether a monopolistic situation would be created in the event of the merger or that there wasn’t one at the time of the merger.

    In a statement Bertelsmann said, “Today’s judgment does not affect the validity of the Sony BMG joint venture, which has been up and running since August 2004.” If the EC does not aprove the merger things will get tricky.

    A suit had been filed by Impala, the Independent Music Publishers and Labels Association, in December 2004 due to concern over dominance of the market by firms like Sony BMG, a newly created joint venture.

  • Animal Planet to showcase ‘Great Savannah Race’

    Animal Planet to showcase ‘Great Savannah Race’

    MUMBAI: The great wildebeest migration in East Africa is an annual feature. For over a million years, 1.4 million wildebeest and 200,000 zebras and gazelles undertake a dramatic journey from the vast open plains of the Serengeti to the champagne coloured hills of Kenya’s Masai Mara.

    Animal Planet uses cutting edge technology to show this natural wonder. The event will be presented as a wildlife reality show, following the million-plus participants as they run the frantic 800-kilometer Great Savannah Race. The three part series will air on 17, 18 and 19 July at 8 pm.

    Why do the animals carry out this yearly migration? Is it the wind that guides them? Or a sixth sense which leads them in search of rain-ripened grass? And, who will survive the journey and cross the finish line first? The show filmed in high-definition sets out to answer all these questions. The journey begins in Tanzania with veterinarian Patrick Garcia and scientists Anja Brinch Jensen and Sophie Grange.

    Their first goal is to fit 10 animals (seven wildebeests and three zebras) with collars so they can be tracked throughout the epic journey via satellite. The collars, equipped with miniature Global Positioning System (GPS) monitors, satellite transmitters and a VHF radio system, allows the participants to be located within a radius of 1 meter. With the help of Technical Coordinator Sébastien Lafont, the scientists hope to gain a better understanding of the great migration which will help them preserve the fragile equilibrium of the eco-system.

    The long and dangerous trek is fraught with danger. More than 250,000 animals will die along the way from sheer exhaustion, and the migration is relentlessly tracked by Africa’s great predators – lions, cheetahs, hyenas, vultures and crocodiles – waiting for an opportunity to strike weak prey. Most dramatic of all is the moment when the migration arrives at the crocodile infested Mara River, which must be crossed in order to reach the rich grazing. As the bravest takes the initial plunge into the swirling currents, thousands follow – many to inevitable death.

    The series follows the daily trials and tribulations of the 10 main characters, all of whom have been earmarked by the scientists as those most likely to complete the journey. Who amongst the main competitors is predicted to win the race? The young male bursting with energy; the old, yet experienced veteran or the female and her newborn calf?

    For the first time, The Great Savannah Race follows the vast migration from the start to the finish line, capturing all the drama, mystery, intrigue, tragedy and heroic deeds of this truly epic saga.

  • Eurodata TV to provide research on Pakistan channels

    Eurodata TV to provide research on Pakistan channels

    MUMBAI: Eurodata TV Worlwide has announced a new partnership with Gallup in Pakistan to provide TV ratings. This includes ratings by programme or by quarter hours for more than 35 new TV channels in Pakistan including cable and satellite ones.

    The audience results are available from January 2000 and socio-demographic profiles may also be provided for the standard targets (sex, age, income). The Pakistanese audiovisual landscape is dominated by the Pakistan Television Corporation, a public television group, with a 77.2 per cent total audience share in 2005. With a viewership of more than 62 million, its main channel PTV is the market leader with an audience share of 57.7 per cent.

    The best audiences are performed by generalist channels: PTV, ATV and Star Plus, followed by KTN, in Sindhi language and GEO composed of 2 channels: an entertainment and a news channel.

    Last year, the number of cable TV channels increased notably thanks to the diffusion of regional channels, which primarily broadcast in regional languages.

    Among the programmes with commercial breaks, the most popular one is the series Sassi based on a love story relating to the Sindh province. In 2005, this series allowed PTV to reach a record audience of more than 25 million people.

    This new agreement shows that Eurodata TV Worldwide wants to expand its activities to all the countries as they equipped themselves with an audience measurement system. Since 1991 and the launch of Eurodata TV Worlwide, partnerships with audience measurement companies across the whole world are multiplying and constantly enlarging the access to audiences results worldwide for its customers, TV channels, producers, distributors, studios, medias agencies and rights managers.

    Created by Médiamétrie, Eurodata TV Worldwide distributes programming and audience information, based on its partnership with the national institutes operating people meter systems throughout the world.

  • Zee TV to defend turf with ‘Cinestar ki Khoj’, ‘Sa Re Ga Ma Pa Challenge’

    Zee TV to defend turf with ‘Cinestar ki Khoj’, ‘Sa Re Ga Ma Pa Challenge’

    MUMBAI: Zee TV is planning to launch the second season of its reality talent hunt show Zee Cinestar Ki Khoj in September-October 2006. The channel also has plans to bring back the 2006-2007 edition of its landmark property, Sa Re Ga Ma Pa Challenge, this year itself.

    “Zee TV will be launching the second edition of its reality talent hunt Cine Star Ki Khoj. The channel is targeting September-October for the launch of the new season. Zee will be taking the property to the market very soon. Also, inspired by the success of the Sa Re Ga Ma Pa series, the channel will be bringing back the flagship property Challenge this year,” says a source close to Zee.

    When contacted for confirmation of the developments, Zee TV marketing head Tarun Mehra agreed that plans were on to bring back Cine Star Ki Khoj and Sa Re Ga Ma Pa Challenge. However, he was quick to add that no time frame had been fixed as yet on the launch.

    “We have plans to launch Cine Star Ki Khoj’s second season this year. Sa Re Ga Ma Pa Challenge may also come back in 2006. But, we are yet to finalise the details,” says Mehra.

    According to reliable sources, Zee has awarded the production duties of Cinestar Ki Khoj 2 to Optimystix Entertainment. The production house has earlier produced the Manoj Bajpai-anchored gameshow Kam Ya Zyaada for Zee TV. The winning couple of the contest will be awarded title roles in a movie.

    Race, the movie which stars the winners of the first season, is presently nearing completion, according to a Zee TV executive. Zee has associated with Subhash Ghai’s Mukta Arts for the film. Zee owns the world rights for the film while Mukta owns the India theatrical rights.

    THE STRATEGY
    Why would Zee TV exhaust all its key properties in the last quarter of the calendar year? Though settled comfortably in the second spot behind Star Plus in the Hindi General Entertainment Channel (GEC) space, the channel is in no mood to rest on its laurels. Reason? Competitors are gearing up to launch some key prime time properties in order to set off a fight-back.

    Sony Entertainment Television will be launching the Indian version of the popular international reality show Big Brother in November this year. The upcoming Champions Trophy, to be telecast on Max and Sab, will also be there in the running for the prime time stakes as the matches will be played Day/Night.

    Star One, on the other hand, has already announced its intention to launch the second seasons of two of its most successful properties Naach Baliye and Remix. However, the immediate priority for Zee TV would be to beef up its 8 pm slot, which is presently occupied by the long running soap Tumhari Disha. The channel will wind up Tumhari Disha in the first half of August with a new prime time property Dulhan.

    The latest Tam data for C&S 4+, HSM, shows that, the rest of the Zee TV properties have already established in their respective time bands. As per the Tam figures provided by the channel for the period of 3 July to 10 July, Saath Phere has recorded a rating of 6.54 TVR in the Zee TV charts, followed by Kasamh Se at 6.11 TVR. In the 8:30 pm slot, the soap Jab Love Hua has recorded a rating of 2.4 TVR. Shabaash India, at 10:30 pm, has delivered a rating of 2.7 TVR, while the 10 pm show Johny Aala Re scored 2.4 TVR. The Sa Re Ga Ma Pa L’iL Champs is averaging at 2.7 TVR.

  • Lionsgate expands into television syndication business

    Lionsgate expands into television syndication business

    MUMBAI: US independent film studio Lionsgate has acquired television distributor Debmar-Mercury.

    Helmed by Mort Marcus and Ira Bernstein, the company will continue to operate under the Debmar-Mercury banner as a wholly-owned subsidiary.

    Debmar-Mercury recently completed a successful test of Tyler Perry’s TV shows (Diary Of A Mad Black Woman, Madea’s Family Reunion and the upcoming Daddy’s Little Girl), the comedy series House Of Payne with select major market stations representing a cross section of key station groups. Lionsgate’s acquisition of Debmar-Mercury extends the company’s relationship with Tyler Perry across not only feature film and video product but original television programming, as well.

    The acquisition follows on the heels of Lionsgate’s successful move into international feature film and library self-distribution, through the October 2005 acquisition of UK-based distributor Redbus, which was renamed Lionsgate UK. It also creates a major new distribution portal for Lionsgate by giving it the capacity to syndicate its own television programming and feature film packages as well as creating a new television distribution revenue stream from third-party franchise properties.

    Lionsgate CEO Jon Feltheimer says, “We again have the opportunity to combine our resources with a culturally similar, entrepreneurial company that is a leader in its market segment and whose principals we know well.

    “Debmar-Mercury has become one of the leading independent distributors in the industry. With our fiscal 2007 slate of nine prime time television series, the acquisition of Debmar-Mercury’s television distribution capabilities across new and traditional media outlets is a natural growth opportunity for our content business.”

    Feltheimer noted that the acquisition continues to further Lionsgate’s game plan of broadening its distribution footprint and aggregating rights to important content and properties.