ITV

Category: Production House

  • Shemaroo’s debut Q2-2015 result on bourses: Good

    Shemaroo’s debut Q2-2015 result on bourses: Good

    BENGALURU: After its initial public offering (IPO) in September 2014, Shemaroo Entertainment has filed reasonably good results that could  improve further towards the end of fiscal 2015, if the trends shown in some of its IPO documentation continue.
     
    Note: 100,00,000 = 100 lakhs = 10 million = 1 crore
    All numbers in this report are consolidated numbers
     
     
    The company has reported a 31.7 per cent increase in Total Income from Operations (TIO) at Rs 84.96 crore in Q2-2015 from Rs 64.49 crore in Q1-2015 and 21.4 per cent increase from the Rs 69.96 crore in the corresponding quarter of last year. The company’s net consolidated profit after tax has reduced 10.4 per cent quarter on quarter to Rs 8.57 crore (10.1 per cent of TIO) from Rs 9.56 crore (14.8 per cent of TIO) in Q1-2015, but jumped 37.1 per cent from Rs 6.25 crore (8.9 per cent of TIO) in Q2-2014.
     
    For HY-2015, PAT at Rs 18.14 crore (12.1 per cent of TIO) was 73.3 per cent more than the Rs 10.47 crore (8.3 per cent of TIO) for HY-2014. For FY-2014, PAT at Rs 27.95 crore was 10.6 per cent of TIO and PAT for FY-2013 at Rs 24.58 crore was 11.4 per cent of TIO.
     
    Diluted EPS (not annualised) is lower in Q2-2015 at Rs 4.30 versus the Rs 4.82 in Q1-2015, but higher than the Rs 3.15 in Q2-2014.  For HY-2015, diluted (not annualised) EPS was Rs 9.10 and for HY-2014, it was Rs 5.25. An EPS of Rs 14.08 for FY-2014 and Rs 12.38 for FY-2013 was reported for the company during its IPO.
     
    The company’s Total Expenditure (TE) in Q2-2015 has gone up 41.4 per cent to Rs 64.91 crore (76.4 per cent of TIO) from Rs 45.89 crore (71.2 per cent of TIO) in the immediate trailing quarter and was 21.4 per cent more than the Rs 54.85 crore (78.4 per cent of TIO) in Q2-2014. For HY-2015, TE at Rs 110.8 crore (74.1 per cent of TIO) was 14.5 per cent more than the Rs 96.76 crore in HY-2014.

     

  • Disney FY-2104 op inc grows 21 per cent; Studio Entertainment segment op inc up 234 per cent

    Disney FY-2104 op inc grows 21 per cent; Studio Entertainment segment op inc up 234 per cent

    BENGALURU: The Walt Disney Company Inc (Disney) reported operating income (op inc) of $ 13,005 million (26.6 per cent of overall revenue or TIO) in the year ended 27 September 2014 (FY-2014), up 21.3 per cent from the $ 10,724 million (23.8 per cent of TIO) in FY-2013. The company’s TIO in FY-2014 at $ 48,813 million was 8.4 per cent more than the $ 45,041 million in 2013.

     

    “Our results for fiscal 2014 were the highest in the company’s history, marking our fourth consecutive year of record performance,” said Disney chairman and CEO Robert A Iger. “We’re obviously very pleased with this achievement and believe it reflects the extraordinary quality of our content and our unique ability to leverage success across the company to create significant value, as well as our focus on embracing and adapting to emerging consumer trends and technology.”

     

    Disney’s Studio Entertainment segment reported a 234.3 per cent growth in op inc in FY-2014 at $ 1,549 million (11.9 per cent of all op inc) from $ 661 million (6.2 per cent of all op inc) in FY-2013. This segment’s revenue in FY-2014 at $ 7,278 million (14.9 per cent of TIO) grew 21.7 per cent to $ 5,979 million (13.3 per cent of TIO) in the previous year.

     

    Here is what Disney has to say about Studio Entertainment numbers: 

     

    Higher operating income was driven by increases in worldwide theatrical distribution and worldwide home entertainment. Higher worldwide theatrical distribution results were due to the success of Guardians of the Galaxy and Maleficent in the current quarter compared to Monsters University and The Lone Ranger in the prior year quarter.

     

    The increase in worldwide home entertainment was due to higher unit sales, lower per unit costs and higher net effective price resulting from the success of Frozen. Other significant titles included Captain America 2: The Winter Soldier in the current quarter and Iron Man 3 in the prior-year quarter. 

     

    Let us look at the results for FY-2014 and Q4-2014 reported by Disney.

     

     Overall Revenue:

     

    In Q4-2014 (quarter ended September 27, 2014), Disney reported a 7.1 growth of TIO to $ 12,389 million from US$ 11568 million in the corresponding quarter of last fiscal, but was marginally less (0.6 per cent less) than the $ 12,466 million in Q3-2014. 

     

    Q4-2014 op inc at $ 2,775 million (22.4 per cent of TIO) in Q4-2014 was 11.7 per cent more than the $ 2,484 million (21.5 per cent of TIO) in Q4-2013, but 28.1 per cent lower than the $ 3,857 million (30.9 per cent of TIO) in Q3-2014. 

     

    Segment Revenue: 

     

    Five segments contribute to Disney’s numbers – Media Networks; Parks and resorts; Studio entertainment; Consumer products; and Interactive.

     

    Media Networks Segment:

     

    The company’s Media Network segment is the largest in terms of contribution to overall revenue (TIO) and op inc This segment consists of two sub-segments – Cable Networks and Broadcasting.

     

    In FY-2014, Disney’s Media Network segment reported revenue of $ 21,152 million (43.3 per cent of TIO), up 3.9 per cent from the $ 20,356 million (45.2 per cent of TIO) in FY-2013. Op inc from this segment rose 7.4 per cent to $ 7,321 million (56.3 per cent of overall op inc) in FY-2014 from $ 6,818 million (63.6 per cent of overall op inc) in FY-2013.

     

    Disney’s Media Network segment reported 5.5 per cent rise in revenue from $ 4,946 million (42.8 per cent of TIO)  in Q4-2013 to $ 5,217 million (42.1 per cent of TIO) in Q4-2014, but was 5.3 per cent less than $ 5,511 million (44.2 per cent of TIO) in Q3-2014. Op inc dropped marginally by 0.3 per cent from $ 1,443 million (58.1 per cent of overall op inc) in Q4-2013 to $ 1,437 million in Q4-2014, but was 37.2 per cent lower than the $ 2,296 million (59.5 per cent of overall Op Inc) in Q3-2014 (51.8 per cent of op rev).

     

    Parks and Resorts

     

    In FY-2014, this segment’s revenue at $ 15,099 million (30.9 per cent of TIO) grew 7.2 per cent from $ 14,087 million (31.3 per cent of TIO) in FY-2013. Op inc increased 20 per cent in FY-2014 to $ 2,663 million (20.5 per cent of overall op inc) from $ 2,220 million (20 per cent of overall op inc) in FY-2013.

     

    Disney’s Parks and resorts segment reported 6.6 per cent growth in y-o-y revenue to $ 3,960 million (32 per cent of TIO) in Q4-2014 from $ 3,716 million (32.1 per cent of TIO) in Q4-2013, but marginally less (0.5 per cent less) than the $ 3,980 million (31.8 per cent of overall revenue) in Q3-2014. This segment’s op inc grew 6.6 per cent to $ 687 million (24.8 per cent of overall op inc) in Q4-2014 from $ 571 million (23 per cent of overall op inc), but was 19 per cent less than the $ 848 million (22 per cent of overall op inc) in Q3-2014.

     

    Here is what Disney has to say about Parks and Resorts numbers:

     

    Operating income growth for the quarter was due to an increase at our domestic operations, partially offset by a decrease at our international operations.

     

    Higher operating income at our domestic operations was driven by increased guest spending and attendance, partially offset by higher costs and lower vacation club ownership sales. The increase in guest spending was primarily due to higher average ticket prices for theme park admissions and for sailings at our cruise line and increased food, beverage and merchandise spending. Higher costs reflected increased costs for MyMagic+ and the absence of an offset in the prior-year quarter from a property sale, partially offset by lower pension and post-retirement medical costs. Decreased vacation club ownership sales reflected the prior-year success of The Villas at Disney’s Grand Floridian Resort & Spa, for which sales commenced at the end of the third quarter of fiscal 2013.

     

    The decrease at our international operations was due to lower operating performance at Disneyland.

     

    Lower operating income at Disneyland Paris was driven by higher operating and marketing costs and lower attendance, partially offset by increased guest spending, due to higher average ticket prices, and higher real estate sales.

     

    Studio Entertainment

     

    Three sub-segments of the Studio entertainment segment contribute to Disney’s revenue – Theatrical distribution; Home entertainment; and TV/SVOD distribution and other.

     

    Annual figures for this segment have been mentioned above.

     

    Disney’s Studio entertainment segment reported 18.1 per cent jump in revenue in Q4-2014 at $ 1,778 million (14.4 per cent of TIO) from $ 1,506 million (13 per cent of TIO), but was 1.6 per cent lower than the $ 1,807 million (14.5 per cent of TIO). This segment reported more than double (2.35 times) growth in op Inc in Q4-2014 at $ 254 million (9.2 per cent of overall op inc), but was 38.2 per cent lower than the $ 411 million (10.7 per cent of overall revenue) in Q3-2014. 

     

    Consumer Products 

     

    This segment has two revenue streams – licensing and publishing (licensing); and retail and other (retail).

     

    Consumer products segment reported 12.1 per cent growth in consumer products to $ 3,985 million (8.2 per cent of TIO) in FY-2014 from $ 3,555 million (7.9 per cent of TIO) in the last year. Op inc from this segment for FY-2014 grew 21.9 per cent to $ 1,356 million (10.4 per cent of overall op inc) from $ 1,112 million (10.4 per cent of overall op inc).

     

     Disney’s Consumer products segment reported 6.8 per cent increase in revenue in Q4-2014 to $ 1,072 million (8.7 per cent of TIO) from $ 1,004 million (8.7 per cent of TIO) in Q4-2013 and 18.8 per cent more than the $ 902 million (7.2 per cent of all revenues) in Q3-2014. This segment reported 9.2 per cent hike in op inc to $ 379 million (13.7 per cent of overall op inc) from $ 347 million (14 per cent of overall revenue) in Q4-2013 and 38.8 per cent more than the $ 273 million (7.1 per cent of overall Op Inc) in Q3-2014. 

     

    Disney says that higher operating income from Consumer products was due to an increase at its Merchandise Licensing business driven by the performance of Frozen and Spider-Man merchandise partially offset by lower revenues from Monsters and Iron Man merchandise.

     

    Interactive 

     

    Disney says that Interactive revenues for the quarter (Q4-2014) decreased by $34 million to $362 million, and segment operating income increased to $18 million driven by the success of our mobile game Tsum Tsum and recognition of a minimum guarantee for a games licensing contract. These increases were partially offset by lower Disney Infinity performance due to the timing of the launch of Disney Infinity 2.0, which was launched on 23 September 2014, compared to Disney Infinity 1.0, which was launched on 18 August 2013.

     

     

    Please click here for financial results

  • Partha Thakur appointed as Essel Vision non-fiction head

    Partha Thakur appointed as Essel Vision non-fiction head

    MUMBAI: Zee Entertainment Enterprises Limited (Zeel) has announced the appointment of Partha Thakur as non-fiction programming head for Essel Vision Productions. He will take charge from 3 November.

    Zeel is looking at strengthening its content and develop different genres of production. Thakur will report to Essel Vision Productions business head Akash Chawla. With over 15 years of experience in media and entertainment, he has produced content for broadcasters such as Zee TV, Star plus, Star World, Sony Entertainment Television, Colors, MTV, Sun TV, Vijay TV, NDTV, Pogo, Disney Network, UTV and Fox Traveler.

    He has worked with Wizcraft Television, Miditech Productions, Optimystix Entertainment, Searchlight Productions and MTV India. He has worked on multiple seasons of shows such as Entertainment Ke Liye Kuch Bhi Karega, Indian Idol, Fame Gurukul, IIFA Awards, GIMA Awards, Apsara Awards, Zee Rishtey Awards, Dare to Dance, amongst others.

    Thakur has also worked on shows in South Africa, Dubai, Singapore, Malaysia, Thailand and Sri Lanka. His last assignment was at Sol Productions as the non-fiction head and creative director.

    Essel Vision’s objective is to be a one-stop shop for all film, television, digital, events and IP creation related services where it will produce, co-produce, market and distribute.

     

  • Bollywood pins hope on the new Maharashtra government

    Bollywood pins hope on the new Maharashtra government

    MUMBAI: As the new Maharashtra Chief Minister took oath to serve the state, the Film and Television Producers Guild of India has come up with a list of issues and challenges the industry currently faces. 

     

    The entertainment capital of India – Mumbai has been the centre of the Indian entertainment industry since its inception and this industry provides employment directly or indirectly to almost 5 million people in the country. However, serious implications caused by the various archaic laws and heavy burden of taxation on the Hindi film sector has stunted the growth of this industry and made several stalwarts displeased with the system, said the statement issued by the organisation.

     

    According to the Film and Television Guild of India, the high taxes imposed on the Hindi film industry in the state, like the Entertainment Tax on films, applicability of VAT on television production business and stamp duty to keep local bodies taxes out of the proposed GST, have cast a dark spell for the ‘Film Guild’.

     

    The absence of single window mechanism has resulted in systematic harassment and malpractices over the years, and has increased costs for the producers thereby significantly discouraging producers from shooting in the state. In addition to this, the lack of adequate cinema halls in the state (much lower than southern states) has hampered the growth of the film industry and directly resulted in increase in piracy and loss of revenues to the government, as well as the industry, states the guild.

     

    These issues are not only detrimental to the growth of the industry but will result in an inevitable breakdown of the entire film industry, it added.

     

    Speaking about the various concerns weighing down the sector, Film and Television Producers Guild of India president Mukesh Bhatt said, “Maharashtra has always been the home for the Hindi film industry. Sadly, we have been made to feel like an orphan in our own home state. Leave aside any support; we are penalized for making films in a language which does not belong to any other state in the country including Maharashtra. The impartial treatment given to Hindi film industry in our own state in the past is obvious when it comes to the high tax structure, archaic laws and multiple complications restricting growth of the film industry in the state.”

     

    However, showcasing hope in the new chapter of Maharashtra politics, he added, “We are confident that the new BJP government in Maharashtra will address these pending issues and help the film industry achieve newer heights.”

     

    Mumbai has been the dream city for a lot of Bollywood actors, who have carved their space in the history of cinema and in the hearts of their fans over the years. It’s time that the entertainment industry is rewarded for all these years of service to the people and required changes be made in the system, as they hinge their hope on the newly elected BJP government.

  • Q2-2015: Commissioned programmes cushion Balaji Telefilms’ loss

    Q2-2015: Commissioned programmes cushion Balaji Telefilms’ loss

    BENGALURU: Balaji Telefilms reported less than half the q-o-q total income from operations (TIO) (1/2.3 times) for Q2-2015 at Rs 58.89 crore versus the Rs 136.03 crore in Q1-2015 and less than a third (1/3.3 times) of the Rs 194.62 crore in Q2-2014. For HY-2015, the company’s TIO at Rs 195.89 crore was 29.8 per cent lower than the Rs 279.07 crore in HY-2014.

     

    Note: 100,00,00 = 100 Lakhs = 10 million = 1 crore

     

    Commissioned programs cushioned the loss from the company’s film segment. Revenue from commissioned programs went up 7.2 per cent to Rs 49.33 crore in Q2-2015 from Rs 46 crores in Q1-2015 and was 64 per cent more than the Rs 30.09 crore in Q2-2014. For HY-2015, this segment had 81.7 per cent higher revenue at Rs 95.32 crore versus the Rs 52.46 crore in HY-2014.

     

    Commissioned programs reported an operating profit of Rs 5.85 crores in Q2-2015, which was 5 per cent lower than the Rs 6.16 crore in Q1-2015 and 60.8 per cent more than the Rs 3.64 crore in Q2-2014. For HY-2015, operating profit from commissioned programs more than tripled (went up 3.1 times) at Rs 12.01 crore versus Rs 3.86 crore in HY-2014.

     

    Overall, Balaji has returned a loss of Rs 7.58 crore in Q2-2015 versus a profit of Rs 10.56 crore in Q1-2015 and a profit of Rs 12.32 crore in Q2-2014. For HY-2015, Balaji Telefilms reported a profit of Rs 2.98 crore which was less than a fifth (19.7 per cent) of the Rs 15.94 crore in HY-2014.

     

    The company’s film segment, which contributes a major percentage to its TIO, reported poor results. Revenue of Rs 9.43 crore from this segment in Q2-2014 was less than one-ninth (1/9.5 times) the Rs 89.34 crore in Q1-2015 and less than one seventeenth (1/17.4) the Rs 164.05 crore in Q2-2014. For HY-2015, Film segment revenue of Rs 98.77 crore in HY-2015 was less than half (1/2.3 times) the Rs 225.70 crore in HY-2014.

     

    Films segment reported a loss of Rs 7.46 crore versus operating profit of Rs 10.97 crore in Q1-2015 and an operating profit of Rs 11.81 crore in Q2-2014. Operating profit in HY-2015 at Rs 3.52 crore was less than half the Rs 8.24 crore in HY-2014.

     

    Click here for the financial statement

  • Keshet International’s ‘Master Class’ builds momentum in Europe

    Keshet International’s ‘Master Class’ builds momentum in Europe

    MUMBAI: It’s time for some transformation. Keshet International’s kids singing format Master Class is making steady progress in Europe with a new sale in Slovenia, a stellar launch in Greece and a third season commission in Hungary.

    The talent show, in which children sing all-time popular songs with only positive reviews and no eliminations, will be produced locally in Slovenia by Paprika Latino for Planet TV; it will also be available on a dedicated channel on Telekom Slovenia. A 12 episode series is planned in the first season for 2015.

    The news follows the show’s recent launch on MegaTV channel in Greece where it became the leading show of the night in prime time, achieving a 33.5 per cent share in the channel’s target group (15 – 44) and an increase of 50 per cent on the same slot a month earlier.

    Hungary’s TV2 has commissioned a third series of the show, following ratings in excess of a 250 per cent increase on the average for its timeslot. Master Class will also soon launch a first season of 12 x 90 episodes on Beijing Satellite TV in China following a co-development deal with 3C Media.  

    So what is the reason behind the expansion? Entitled School of Music in Israel and produced by Tedy Productions, headed by Tmira Yardeni, the children’s singing show became a breakthrough hit on Keshet Broadcasting Channel 2 making it the highest-rated talent show to appear in Israel and the second highest rated show of 2011, with a season average of 48.1 per cent share and 32.5 per cent rating.     

     

           
    Background  

    Master Class is a music talent show where children sing popular songs with only positive reviews and without elimination. It has become a critically acclaimed programme that taps into the global trend of family viewing because of its warm and humane approach.

    It avoids the intrigue and harsh judgment of a ruthless competition, focusing on the nurturing relationships formed between the teachers and their young students, as they become familiar with the country’s rich musical history and cultural heritage.

    The 16 stars of the show are children aged 8-14, with the most promising voices in the country. Four teachers – leading artists in the music industry – train them to make the most of their potential and become the best singers they can. The program is set at the music school and its auditorium, where the weekly performances take place. Towards the end of the season the best student in each performance is awarded a place in the graduation show. Six sing for the last time in front of the committee, where one will be selected as the best in the class.

     

  • DirecTV orders ‘Kingdom’ from Byron Balasco and Endemol Studios

    DirecTV orders ‘Kingdom’ from Byron Balasco and Endemol Studios

    MUMBAI: DirecTV, one of the world’s leading providers of digital television entertainment has ordered an additional 20 episodes of the critically acclaimed premier of Kingdom. It has proven to be one of audience network’s most popular shows of all time.

    DirecTV has bought the series from creator Byron Balasco (Detroit 1-8-7) and Endemol Studios (Hell on Wheels, Low Winter Sun, Red Widow). Series creator Balasco is the executive producer and showrunner. Kingdom is produced by Endemol Studios. The series is distributed internationally by Endemol Worldwide Distribution.

    Production on the new order is expected to begin in spring 2015, with the first batch of 10 episodes set to air on DirecTV’s Audience Network that fall. The following 10 episodes will air in 2016.

    Kingdom is a visceral family saga that takes place in Venice, California and is set against the backdrop of the renegade subculture of Mixed Martial Arts (MMA). It is a world rife with complex characters and relationships that unfurl in surprising and deeply human ways. The next 20 episodes will continue to focus on the characters portrayed by Frank

    Grillo (Captain America: The Winter Soldier; Warrior), Kiele Sanchez (The Purge; Lost), Matt Lauria (Friday Night Lights), Jonathan Tucker (Parenthood), Nick Jonas and Joanna Going (House of Cards; Mad Men).

    “DirecTV could not be more thrilled by the response that last week’s premiere of Kingdom elicited from both critics and our viewers,” said DirecTV SVP original content and production Chris Long. “The series very clearly resonated with DirecTV’s subscribers and we eagerly anticipate sharing these additional 20 episodes with them and further exploring the compelling world that Byron Balasco has created.”

    Agreeing to him, writer/creator Balasco said: “I want to thank DirecTV and Endemol Studios for their passion and support for the show. I truly couldn’t ask for better creative partners. I’m excited to get back to work with my incredible cast and crew.”

    “Knowing that Kingdom will be on the schedule for years to come is a milestone. Getting an additional 20 episodes is a great testament to Kingdom, to Byron’s talent as a writer and show runner and to our cast and crew,” stated Endemol Studios CEO Philippe Maigret. “We are fortunate to have a show that premiered out of the gate to critical acclaim. We are grateful to DirecTV for being a supportive partner. This speaks volumes to the DirecTV subscribers and fans of the show who are on this journey with us.”

     

  • FremantleMedia International completes momentous multi-year, multi-format deal with MBC Group

    FremantleMedia International completes momentous multi-year, multi-format deal with MBC Group

    MUMBAI – FremantleMedia International has completed a landmark multi-year deal with pan-Arab media conglomerate, MBC Group. The agreement will see the renewal of both the pan-Arab versions of Idol and Got Talent for three more seasons. In addition, MBC Group has taken the pan-Arab format rights to the Syco TV which created the hit entertainment format, The X Factor and the globally renowned fashion competition, Project Runway. These two shows will also be commissioned for three seasons each.

     

    FremantleMedia International SVP Middle East, Africa and South Eastern Europe Anahita Kheder said: “We are immensely proud to be the first company to have completed a deal of this magnitude with MBC Group. Together we have already launched the very successful pan-Arab versions of Arabs Got Talent and Arab Idol; both of which were propelled onto the international press stage. The Middle East region has evolved a great deal in recent years with audiences wanting something a little special, and with the introduction of The X Factor and Project Runway, MBC will deliver just that. We are enormously excited to continue our partnership with MBC to introduce more future audience favorites to its enormous Middle Eastern reach.”

     

    MBC Group TV director Ali Jaber said: “MBC is always keen on delivering premium content coupled with the best TV productions in the MENA region. With the introduction of global formats, such as Idol and Got Talent, amongst others, a couple of years ago, they soon became top-rated TV shows and have created unprecedented engagement with the audiences on multi-platforms.” Jaber added: “It only makes sense that we renew our contracts with FremantleMedia – thus keeping the momentum of these formats at its peak.

     

    We are delighted with this partnership that helps to bring the best TV global practices to our region while allowing our own creative teams to excel, deliver and succeed.”

     

    Arab Idol became immensely popular in 2013 with Mohammed Assaf, a former wedding singer from Gaza, winning the competition in the second season. The MENA region united as Assaf’s finale performance generated viewership over five times higher than the broadcaster average. The Idol format, co-owned by FremantleMedia and 19 Entertainment, has now been produced in 51 territories worldwide.

     
    Arabs Got Talent’s third season made international headlines when Syrian dancing troupe, SIMA, was declared the winner in the competition. The Arabic version of the format became MBC4’s number one show in both 2012 and 2013 consecutively. Co-owned by Syco Entertainment and FremantleMedia, the global Got Talent phenomenon officially became the Guinness World Records’ most successful reality TV format worldwide in April this year and has now been commissioned in 65 territories worldwide.

     

    MBC’s remarkable list of programs will be enhanced by the addition of the international singing competition, The X Factor for the very first time. The pan-Arab version will take the format to 51 territories internationally. While the format is owned and created by The Syco Entertainment, it is also co-produced and licensed by FremantleMedia worldwide. Since the launch of The X Factor UK in 2004, the British-born TV show has been watched by more than 360 million people around the world and can be seen in almost every country on earth. The X Factor format has discovered and launched more international break-out artists than any other singing competition show, with more than 160 million record sales by The X Factor artists globally.

     
    The fashion reality series, Project Runway on MBC will also showcase its first pan Arab version. The program gives aspiring fashion designers the chance of a lifetime as they compete through a string of demanding challenges to have their collection shown at a major catwalk show. The winner also gets featured in a leading fashion magazine. The Weinstein Company owned, Project Runway has become the most successful fashion format worldwide having been produced in 23 territories including the US, Australia, Canada, Latin America and the UK.

     

  • 21st Century Fox, Apollo combine Shine, Endemol and Core Media to create content powerhouse

    21st Century Fox, Apollo combine Shine, Endemol and Core Media to create content powerhouse

    BENGALURU: Rupert Murdoch’s 21st Century Fox and private equity firm Apollo Global Management LLC (Apollo) announced an awaited agreement to create a leading global multi-platform content provider. The agreement brings together Apollo’s Endemol and Core Media with 21st Century Fox Shine Group and to form one of the largest content creators in the world. Sophie Turner Laing, former managing director of content at BSkyB, will serve as the group’s CEO.

    Financial terms of the agreement were not disclosed, and completion of the transaction is subject to regulatory clearances and other customary closing conditions. Industry sources say that this is a 50:50 partnership between 21st Century Fox and Apollo.

    In 2011, Apollo bought Core Media, which owns the Idol franchise. Also, in 2011, Murdoch’s News Corp (now 21st Century Fox) paid $ 673 million for Shine Group, a UK producer of Biggest Loser. Elizabeth Murdoch then owned 80 per cent of the Shine Group.

     
    Prior to completion of the transaction, Endemol, Shine and Core will continue to operate as separate companies. Upon completion of the transaction, Core will retain its own capital structure. The transaction is expected to be completed by the end of the calendar year. AGM Partners is serving as financial advisor to 21st Century Fox.

     
    Current Endemol CEO Just Spee and Shine Group CEO Alex Mahon will remain with their respective companies for an extended period following the close of the transaction, working with Turner Laing on the transition and integration of business operations. Following the transition period, both will step down in 2015 to pursue new opportunities. Upon the transaction’s close Elisabeth Murdoch will step down as non-executive chairman of Shine Group.

     

     
    “This partnership advances our strategy of accelerating Fox’s growth in worldwide television production,” said 21st Century Fox president and CEO Chase Carey. “The combination of these assets will create a leading global format business with a deep and diverse portfolio of products, enhanced distribution capabilities, and world-class creative talent. We are extremely grateful to Alex Mahon for her leadership of Shine and are delighted to partner with Apollo in supporting Sophie Turner Laing, and the talent at Shine, Endemol and Core, in our shared mission to form an unrivalled team to lead this truly global content creation business.”

     
    Turner Laing said, “Content has never been more creatively vibrant and exciting and our exceptional production and distribution capabilities will be a magnet for talent to realise their creative ambitions across all platforms on a regional and global scale.”

     
    Apollo senior partner Aaron Stone said, “The group will have impressive capabilities to offer the creative community and to invest in all aspects of media’s future.  At the heart of this partnership are the businesses’ thousands of employees around the world.”

     
    The combined company will have disparate shows like the MasterChef which has more than 50 editions around the world, Big Brother, Hell on Wheels, Idol and So You Think You Can Dance properties.

    Turner Laing has spent the last decade at BSkyB, where she oversaw content strategy and was instrumental in the expansion of its portfolio of entertainment channels, including the Company’s partnership with HBO says 21st Century Fox.
     

     

  • Prime Focus Technologies’ first trip to MIPCOM

    Prime Focus Technologies’ first trip to MIPCOM

    MUMBAI: As MIPCOM, the biggest content market in the world celebrates its 30th anniversary this year, Prime Focus Technologies (PFT) is happy to debut there and transform the interactions at MIP into valuable opportunities.

     

    PFT offers customers transformational solutions that help virtualise the content supply chain and digitally mediate enterprise workflows to manage not just the content, but the business of content. CLEAR, its award-winning hybrid cloud technology enabled media ERP platform and digital content services helps drive creative enablement, enhance ecosystem efficiencies and sustainability, reduce cost and realise new monetisation opportunities.

     

    Prime Focus Technologies associate VP Sanjeev Das says that the  reason for participating at the exhibition is because he believes MIPCOM is a global market for entertainment content across all platforms and it is a great opportunity for PFT to showcase its portfolio of cloud enabled services. “We have a strong and proven services portfolio. We deliver to some of the biggest broadcast networks, studios, brands and sports bodies in the world. In terms of breadth of services offered as well as volumes handled, PFT is unrivalled. With such a strong portfolio, we believe we are in the best position to help the content owners manage their content efficiently.”

     

    PFT annually manages 350,000 hours of content; delivers over 100,000 hours of digitisation and more than 10 million files for TV everywhere platforms. Moreover it has over 35,000 hours of subtitling/closed captioning and 5,000 hours of dubbing and about 50,000 tags daily.

     

    15000 hours of content is processed on operations cloud in two months, 70,000 assets published to new media annually and manage content workflows across 168 physical sites. Plus, PFT is also certified by YouTube for audience development.

     

    “Prime Focus’ network of studios and world sourcing model ensures we have infrastructure across all major content markets and ability to source expert talent locally to deliver the service. We are ISO 27001 certified and the only company to offer SLAs on cloud,” says Das.

     

    Also, with its latest offer – ‘Journey to the cloud’, Das feels that content owners can now enjoy CLEAR’s operations cloud where they don’t just store and transcode, but also perform end-to-end content operations on cloud.

     

    Das has scheduled meetings at the event, predominantly one to one interactions where it will be in a position to assess and talk through concerns/challenges and see how PFT can help manage the business of content better.

     

    So what content and property, PFT plans to sell at MIPCOM? PFT offers cloud-enabled content services like bulk digitisation, mastering, localisation services like dubbing and subtitling, digital play-out services, contextual advertising and metadata services at high quality and low costs.
    “We achieve that by leveraging our global delivery model and ‘True North’, the world’s largest digital media services cloud. Operations Cloud, part of the CLEAR Media ERP Suite is ready-to-deploy with a wide range of preset robots to (TVE, customer portal etc, Netflix, YT, DPP) – they enjoy faster time-to-market at lowest costs. All this with pre-defined SLAs and timely counsel,” says Das.

     

    PFT aims to tap into EMEA and SEA markets with a focus on both linear and non-linear platforms.

     

    It expects to meet as many content owners and familiarise them with CLEAR and the value PFT can bring to them. “We help drive greater efficiencies, cost rationalisation and business certainty,” concludes Das.