Tag: Disney

  • Disney’s ‘Star Wars: The Force Awakens’ crosses $2 billion global box office mark

    Disney’s ‘Star Wars: The Force Awakens’ crosses $2 billion global box office mark

    MUMBAI: Star Wars: The Force Awakens has crossed the $2 billion mark worldwide on 6 February, which was its 53rd day of release, thus becoming only the third film ever to do so and just the second to do it in original release. 

    Additionally, the movie also crossed the $900 million mark at the North American box office and is the only film in history to reach this milestone.

    “This is a historic moment for Star Wars, for Lucasfilm, and for Disney, and all of us here are extremely gratified to be a part of this journey with fans around the world who have made Star Wars: The Force Awakens such an extraordinary success. The film’s achievements are truly astounding, and it’s our great honor to relaunch this cinematic galaxy not only for all the devoted decades-long fans but for a new generation who will keep the Star Wars legacy alive for many years to come,” said The Walt Disney Studios chairman Alan Horn.

    Through 4 February, Star Wars: The Force Awakens earned an estimated $899.1 million in North America and $1,095.6 million internationally for a global total of $1,994.7 million. Opening internationally 16 December and in the US on 18 December, Star Wars: The Force Awakens posted the all-time biggest global and domestic debuts with $528.9 million and $247.9 million respectively.

    Over the course of its eight-week run, it has set numerous other records, including:
    – Biggest domestic preview gross ($57 million)
    – Biggest opening day domestically ($119.1 million)
    – Biggest domestic second weekend ($149.2 million)
    – Biggest domestic third weekend ($90.2 million)
    – Biggest opening week domestically ($390.8 million)
    – Biggest opening weekend in 18 territories: UK (4-day), Australia, Russia, Germany, Sweden, Norway, Finland, Austria, Poland (3-day), Denmark (5-day), Romania, Hungary, Bulgaria, Croatia, Ukraine, Iceland, Serbia, New Zealand
    – Fastest film to $1 billion globally (12 days)
    – Biggest film of all time in the US and the UK

    Directed by J.J. Abrams, written by Lawrence Kasdan & Abrams and Michael Arndt, and produced by Kathleen Kennedy, Abrams and Bryan Burk, Star Wars: The Force Awakens was named one of AFI’s top ten films of 2015 and has received five Academy Award nominations, for film editing, visual effects, sound editing, sound mixing, and for series composer John Williams’ original score.

    The Star Wars Saga continues 15 December, 2017, in Star Wars: Episode VIII, picking up in the wake of Star Wars: The Force Awakens. Later this year, Rogue One, a new adventure detailing events prior to Star Wars: A New Hope, will take flight on 16 December, 2016.

  • Disney coming? Cartoon Network believes localisation gives it the edge

    Disney coming? Cartoon Network believes localisation gives it the edge

    2002 will be the year of intensified localisation for kiddies’ channel Cartoon Network. 

    Govindan – Cricket to reward viewer loyalty
    The channel that started going desi in February 2001, managed to climb to the number two position in the Hindi market in the 5 – 9 pm band by December (close on the heels of Star Plus), according to VP, marketing and PR Hema Govindan. The rapid rise in rankings is due to local acquisitions like Pandavas and Sinbad, bought from Pentamedia Graphics, which have paid off handsome ratings and Govindan sees the channel going in for more Indian folklore in animation. “Not just Indian stories, we are looking at acquiring animation from Japanese studios too, which are creating shows whose essence appeals to Indian sensibilities”, she says. 

    The channel is shifting gears to cope 
    with the imminent entry of Disney, although Govindan insists that some competition would only keep Cartoon Network fighting fit. In the last few months, the channel revamped its programming franchises and taken a whole new look at promotions, which too have received a dose of localisation. That the channel is not sparing any efforts to maintain viewer loyalty and phenomenise toon characters is clear from the massive promotion that accompanies its second Toon Cricket event in Chennai and Mumbai this year.

    Although Govindan is reluctant to put a figure on the huge promo blitz, she admits it is ‘massive, probably the largest in scale for the year.’ Apart from the hoardings and the ads on FM and local cable channels, there will be a ‘toon mobile’, a 17-foot open float depicting cricket net sessions that will move through the cities, with toon characters in tow, handing out passes in schools and entertaining the younger generation. Besides, the channel has run a contest for selecting the teams and will be flying down five children from their home towns to watch the match live. 

    The channel’s Night Shift, launched in November is targeting an entire new viewership comprising teens and young adults. Not surprisingly, the move has widened the channel’s ad client base, with clients like Gili’s diamonds entering into tie-ups for Valentine’s Day packages. While Govindan says it is early days to gauge the increase in viewership post the launch of Night Shift (timed to wean adults away from soaps and thrillers on mainstream channels), she says the channel currently reaches between 12 to 15 million Indian households.

    Announcing the details of ‘Toon Cricket 2002’, Govindan said that the three-hour match will be held at the Andheri Sports Complex on 24 February. Beverage conglomerate Pepsi is the main sponsor. The co-sponsors are Solana, Colgate, Cadbury Gems, Boost, ACT II Popcorn, TI Cycle’s. Positioning as a highly interactive event, she said that cricket was chosen because today’s cricketer’s are role models for aspiring youngsters. The initiative is targeted at kids as well as the young at heart. The tagline is ‘It’s a mad game but soomeone’s got to play it’. The network hopes that it will make audiences as well as rival channels aware that the toons seek a larger slice of the action pie.

    In a move inspired by the ESPN Star Sports show ‘Super Selector’ the channel invited toon addicts to be ‘Super Selectors’. The channel claims that thousands of entries were received in a contest to decide who the captains should be and 450 winners will be given passes to the event. Elaborating further on the strategy, Govindan said that the aim is to blur the line between the real world and the toon world. To achieve this the rules of the game have been tweaked to make it unusual and refreshing. The tie-up with Pepsi involves hoardings where cricketers who appear in the cola’s ads give hilarious tips to the toons.

  • Disney coming? Cartoon Network believes localisation gives it the edge

    Disney coming? Cartoon Network believes localisation gives it the edge

    2002 will be the year of intensified localisation for kiddies’ channel Cartoon Network. 

    Govindan – Cricket to reward viewer loyalty
    The channel that started going desi in February 2001, managed to climb to the number two position in the Hindi market in the 5 – 9 pm band by December (close on the heels of Star Plus), according to VP, marketing and PR Hema Govindan. The rapid rise in rankings is due to local acquisitions like Pandavas and Sinbad, bought from Pentamedia Graphics, which have paid off handsome ratings and Govindan sees the channel going in for more Indian folklore in animation. “Not just Indian stories, we are looking at acquiring animation from Japanese studios too, which are creating shows whose essence appeals to Indian sensibilities”, she says. 

    The channel is shifting gears to cope 
    with the imminent entry of Disney, although Govindan insists that some competition would only keep Cartoon Network fighting fit. In the last few months, the channel revamped its programming franchises and taken a whole new look at promotions, which too have received a dose of localisation. That the channel is not sparing any efforts to maintain viewer loyalty and phenomenise toon characters is clear from the massive promotion that accompanies its second Toon Cricket event in Chennai and Mumbai this year.

    Although Govindan is reluctant to put a figure on the huge promo blitz, she admits it is ‘massive, probably the largest in scale for the year.’ Apart from the hoardings and the ads on FM and local cable channels, there will be a ‘toon mobile’, a 17-foot open float depicting cricket net sessions that will move through the cities, with toon characters in tow, handing out passes in schools and entertaining the younger generation. Besides, the channel has run a contest for selecting the teams and will be flying down five children from their home towns to watch the match live. 

    The channel’s Night Shift, launched in November is targeting an entire new viewership comprising teens and young adults. Not surprisingly, the move has widened the channel’s ad client base, with clients like Gili’s diamonds entering into tie-ups for Valentine’s Day packages. While Govindan says it is early days to gauge the increase in viewership post the launch of Night Shift (timed to wean adults away from soaps and thrillers on mainstream channels), she says the channel currently reaches between 12 to 15 million Indian households.

    Announcing the details of ‘Toon Cricket 2002’, Govindan said that the three-hour match will be held at the Andheri Sports Complex on 24 February. Beverage conglomerate Pepsi is the main sponsor. The co-sponsors are Solana, Colgate, Cadbury Gems, Boost, ACT II Popcorn, TI Cycle’s. Positioning as a highly interactive event, she said that cricket was chosen because today’s cricketer’s are role models for aspiring youngsters. The initiative is targeted at kids as well as the young at heart. The tagline is ‘It’s a mad game but soomeone’s got to play it’. The network hopes that it will make audiences as well as rival channels aware that the toons seek a larger slice of the action pie.

    In a move inspired by the ESPN Star Sports show ‘Super Selector’ the channel invited toon addicts to be ‘Super Selectors’. The channel claims that thousands of entries were received in a contest to decide who the captains should be and 450 winners will be given passes to the event. Elaborating further on the strategy, Govindan said that the aim is to blur the line between the real world and the toon world. To achieve this the rules of the game have been tweaked to make it unusual and refreshing. The tie-up with Pepsi involves hoardings where cricketers who appear in the cola’s ads give hilarious tips to the toons.

  • Kids channels’ ratings pick pace; ‘Motu Patlu’ leads: BARC Week 4

    Kids channels’ ratings pick pace; ‘Motu Patlu’ leads: BARC Week 4

    MUMBAI: No drastic movements were witnessed in the top five positions in the kids channels’ genre as per the all India (U+R) data published by Broadcast Audience Research Council (BARC) India for week 4 in NCCS All 4-14 Individuals category.

    Seeing a slight dip in ratings, Nick continued to lead the brat pack with 82521 (‘000s sums). On the other hand, Cartoon Network maintained its position in the second place with 62316 (000s sums), which is an improvement from last week. The third most rated channel on the list was Pogo TV with 59544(‘000s sums) viewership ratings.

    Hungama takes the fourth spot with viewership ratings of 53317 (‘000s sums) followed by Disney Channel with viewership ratingss of 44504 (‘000 sums).

    When it comes to the five most watched programmings in the genre, the battle for the top slot between two of Nick’s shows — Motu Patlu series and Shiva continues.

    Week 4 sees Motu Patlu 36 Ghantey Race Against Time taking the lead with 746 (000s sums), which is a huge jump from its last week’s ratings of 576 (‘000 sums). It is closely followed by last week’s chart topper teen adventure series Shiva with 573 (‘000s sums).

    The third spot on the rankings list has been taken over by Pogo TV’s Once Upon a Time in Dholakpur with viewership ratings of 506 (‘000 sums), followed by Bheem Mastana from the same channel in the fourth position with 470 (000 sums) ratings. Last but not the least, is Pogo TV’s Bheem Krishna Aur Balaram with viewership ratings of 453 (‘000 sums).

  • Kids channels’ ratings pick pace; ‘Motu Patlu’ leads: BARC Week 4

    Kids channels’ ratings pick pace; ‘Motu Patlu’ leads: BARC Week 4

    MUMBAI: No drastic movements were witnessed in the top five positions in the kids channels’ genre as per the all India (U+R) data published by Broadcast Audience Research Council (BARC) India for week 4 in NCCS All 4-14 Individuals category.

    Seeing a slight dip in ratings, Nick continued to lead the brat pack with 82521 (‘000s sums). On the other hand, Cartoon Network maintained its position in the second place with 62316 (000s sums), which is an improvement from last week. The third most rated channel on the list was Pogo TV with 59544(‘000s sums) viewership ratings.

    Hungama takes the fourth spot with viewership ratings of 53317 (‘000s sums) followed by Disney Channel with viewership ratingss of 44504 (‘000 sums).

    When it comes to the five most watched programmings in the genre, the battle for the top slot between two of Nick’s shows — Motu Patlu series and Shiva continues.

    Week 4 sees Motu Patlu 36 Ghantey Race Against Time taking the lead with 746 (000s sums), which is a huge jump from its last week’s ratings of 576 (‘000 sums). It is closely followed by last week’s chart topper teen adventure series Shiva with 573 (‘000s sums).

    The third spot on the rankings list has been taken over by Pogo TV’s Once Upon a Time in Dholakpur with viewership ratings of 506 (‘000 sums), followed by Bheem Mastana from the same channel in the fourth position with 470 (000 sums) ratings. Last but not the least, is Pogo TV’s Bheem Krishna Aur Balaram with viewership ratings of 453 (‘000 sums).

  • Disney, Fox, Lionsgate invest $50 million in Atom Tickets

    Disney, Fox, Lionsgate invest $50 million in Atom Tickets

    MUMBAI: Three Hollywood studios namely The Walt Disney Company, 20th Century Fox and Lionsgate have invested $50 million in a theatrical mobile ticketing platform and app company Atom Tickets.

    Atom Tickets is a social, mobile ticketing platform designed to make movie-going simple. Movie fans can use the service to purchase tickets and concessions, coordinate and invite friends without having to pay for them, and skip the lines at the theater. The app is available in both the Apple App Store and Google Play Store.

    “We’re thrilled to partner with some of the most forward-thinking media companies, exhibitors and trailblazers in the entertainment business. By bringing convenience to consumers and innovation to theaters, we will enhance the movie-going experience and bring additional revenue to studios and exhibitors,” said Atom Tickets co-founder and executive chairman Matthew Bakal.

    “The Atom Tickets app and platform is bringing innovation to the ticketing market by empowering social networks and mobile devices to make the movie-going experience seamless and convenient. Their technology not only adds value to the consumer, but also helps movie studios and theaters by providing deep consumer insights, advanced analytics, and concession and ticket couponing,” added The Walt Disney Company chief strategy officer Kevin Mayer.

    “Our innovative e-commerce platform utilises cutting edge data analysis and targeting techniques to help connect movie-goers to films that they and their friends will love,” said Atom Tickets co-founder and CEO Ameesh Paleja.

    “This is an exciting opportunity for us and more importantly, for our audiences. Atom Tickets provides an enhanced social experience for consumers to discover and purchase tickets to movies, designed for ease of use on mobile devices. Atom’s unique interface and integration with movie fans’ social networks creates a streamlined, fun way to go to movies with friends,” said 20thCentury Fox chairman and CEO Jim Gianopulos.

    “We believe that Atom Tickets has the potential to revolutionize the way audiences go to the movies, and we’re delighted to partner with blue chip studios like Disney and Fox in this cutting edge initiative for the theatrical business. More than four billion seats go unsold in theaters each year, and Matthew, Ameesh and the Atom team have developed a state-of-the-art app that offers exciting new opportunities to pre-purchase tickets and concessions as well as paving the way for the successful introduction of dynamic ticket pricing,” said Lionsgate vice chairman Michael Burns.

    Established in 2014, Atom Tickets’ Series A funding was led by Lionsgate. The app is currently available in select test markets, with a full national rollout planned for later this year.

  • Disney, Fox, Lionsgate invest $50 million in Atom Tickets

    Disney, Fox, Lionsgate invest $50 million in Atom Tickets

    MUMBAI: Three Hollywood studios namely The Walt Disney Company, 20th Century Fox and Lionsgate have invested $50 million in a theatrical mobile ticketing platform and app company Atom Tickets.

    Atom Tickets is a social, mobile ticketing platform designed to make movie-going simple. Movie fans can use the service to purchase tickets and concessions, coordinate and invite friends without having to pay for them, and skip the lines at the theater. The app is available in both the Apple App Store and Google Play Store.

    “We’re thrilled to partner with some of the most forward-thinking media companies, exhibitors and trailblazers in the entertainment business. By bringing convenience to consumers and innovation to theaters, we will enhance the movie-going experience and bring additional revenue to studios and exhibitors,” said Atom Tickets co-founder and executive chairman Matthew Bakal.

    “The Atom Tickets app and platform is bringing innovation to the ticketing market by empowering social networks and mobile devices to make the movie-going experience seamless and convenient. Their technology not only adds value to the consumer, but also helps movie studios and theaters by providing deep consumer insights, advanced analytics, and concession and ticket couponing,” added The Walt Disney Company chief strategy officer Kevin Mayer.

    “Our innovative e-commerce platform utilises cutting edge data analysis and targeting techniques to help connect movie-goers to films that they and their friends will love,” said Atom Tickets co-founder and CEO Ameesh Paleja.

    “This is an exciting opportunity for us and more importantly, for our audiences. Atom Tickets provides an enhanced social experience for consumers to discover and purchase tickets to movies, designed for ease of use on mobile devices. Atom’s unique interface and integration with movie fans’ social networks creates a streamlined, fun way to go to movies with friends,” said 20thCentury Fox chairman and CEO Jim Gianopulos.

    “We believe that Atom Tickets has the potential to revolutionize the way audiences go to the movies, and we’re delighted to partner with blue chip studios like Disney and Fox in this cutting edge initiative for the theatrical business. More than four billion seats go unsold in theaters each year, and Matthew, Ameesh and the Atom team have developed a state-of-the-art app that offers exciting new opportunities to pre-purchase tickets and concessions as well as paving the way for the successful introduction of dynamic ticket pricing,” said Lionsgate vice chairman Michael Burns.

    Established in 2014, Atom Tickets’ Series A funding was led by Lionsgate. The app is currently available in select test markets, with a full national rollout planned for later this year.

  • FCC action could stifle TV innovation

    FCC action could stifle TV innovation

    On Wednesday, FCC chairman Tom Wheeler proposed a new technology mandate that would require satellite and cable TV providers to disaggregate or separate their services so that a few companies could repackage them as their own without negotiating for content rights like everybody else in the market does today. While the chairman touts consumer benefits to his proposal, the opposite is the case. 

     

    The proposal, like prior federal government technology mandates, would impose costs on consumers, adversely impact the creation of high-quality content, and chill innovation. It also flies in the face of the rapid changes that are occurring in the marketplace and benefitting consumers.

     

    As a member of the technical advisory committee that the FCC formed, I, along with others on the committee, put in an extraordinary amount of time examining these issues. The Report we produced comprehensively discussed the widely-adopted apps-based model. The chairman ignores the less regulatory apps-based approach that is already expanding the array of choices that consumers have to access content on retail devices.  

     

    In the 21st century, television has been on a tear of innovation. In the 1980s, wanting your MTV became an anthem. The 1990s saw an explosion of channels and diversity of voices on television, and the beginnings of HDTV. Change has been accelerating ever since. 

     

    Netflix now has more customers in the US than any traditional TV provider; tablets, smartphones, smart TVs, connected devices for accessing video are ubiquitous; and new online video services are announced all the time. There are services from online powerhouses like Amazon; from new entrants like Sony’s Play Station Vue and Dish’s Sling TV that sell packages including linear channels; and from programmers like HBO, Showtime, and CBS. Just this week, we’ve seen the influence of these new services in locking up content at Sundance.

     

    These changes are bringing enormous consumer benefits — the quantity and variety of high-quality programming is better than ever, and consumers expect access to content anytime, anywhere, and on devices of their choice.

     

    Comcast is responding with our innovative X1 platform, and enabling access on a growing array of devices. Like other traditional TV distributors, online video distributors, networks, and sports leagues, Comcast is using apps to deliver its Xfinity service to popular customer-owned retail devices.

     

    These apps are wildly popular with consumers. Comcast customers alone have downloaded our apps more than 20 million times. This apps revolution is rapidly proliferating, and we are working with others in the industry and standards-setting bodies to expand apps to reach even more devices.

     

    Given these exciting, pro-consumer marketplace developments, it is perplexing that the FCC is now considering a proposal that would impose new government technology mandates on satellite and cable TV providers with the purported goal of promoting device options for consumers. 

     

    A little background here. Congress enacted “navigation device” legislation twenty years ago that directed the FCC to foster retail alternatives to cable set-top boxes. The FCC responded with a CableCARD mandate. Despite the cable industry’s longstanding and ongoing support for CableCARDs, consumers showed little interest in the technology; it saddled cable operators and their customers with over $1 billion in unnecessary costs; and, it was overtaken by the explosive growth in connected devices and apps. 

     

    It is strange now that the FCC is ignoring the important lesson of history that intrusive federal governmental regulatory interference in the market just doesn’t work by proposing new mandates at a time when Congress’s goals are being realized in the marketplace and consumers have unprecedented device choices that go well beyond what anyone could possibly have imagined even a decade ago. 

     

    The proposal would require traditional TV distributors like satellite and cable providers – but not other video distributors – to re-architect their networks and develop an undefined new piece of customer equipment just so device companies can take apart the video service and selectively reassemble it. 

     

    Consumer costs would rise, content security would weaken, and consumer protections such as privacy would erode. It would undermine intellectual property rights and content licensing agreements. The Chairman has said that his proposal addresses these concerns, but the simple fact is that the proposal strips away the tools that video distributors use to present service in a way that satisfies security, regulatory, and licensing requirements.

     

    As noted, the FCC’s track record on these types of technology mandates has been less than stellar. CableCARD is just one example. Another is the 1394 output mandate. The FCC required cable operators to include 1394 outputs on their set-top boxes, the mandate went on for years even after it was clear that other outputs had won out in the marketplace.

     

    Already, a broad range of parties is weighing in to support the innovation that is occurring in the marketplace and raising concerns including Disney, 21st Century Fox, NBCUniversal, and Viacom as well as small, independent, and diverse programmers like TV One, Fuse Media, Crossings TV , Revolt, and Baby First Americas; device manufacturers like Roku, Cisco, and ARRIS; diversity organizations such as the Hispanic Technology and Telecommunications Partnership (HTTP), a coalition of Hispanic organizations; and legislators, including 30 members of the Congressional Black Caucus and the National Black Caucus of State Legislators.

     

    As the Commission considers taking this initial step to launch a rulemaking proceeding to determine whether to impose new mandates and if so, what those should ultimately be, we look forward to studying the proposal and providing constructive input. We hope the FCC will decide to avoid this major step backward for consumers and video innovation. 

     

     

    (Disclaimer: The article has been sourced from Comcast’s website. The views expressed here are purely personal views of the author, who is Comcast Cable SVP – business and industry affairs and chief technology officer Mark Hess and Indiantelevision.com does not necessarily subscribe to them.)

  • FCC action could stifle TV innovation

    FCC action could stifle TV innovation

    On Wednesday, FCC chairman Tom Wheeler proposed a new technology mandate that would require satellite and cable TV providers to disaggregate or separate their services so that a few companies could repackage them as their own without negotiating for content rights like everybody else in the market does today. While the chairman touts consumer benefits to his proposal, the opposite is the case. 

     

    The proposal, like prior federal government technology mandates, would impose costs on consumers, adversely impact the creation of high-quality content, and chill innovation. It also flies in the face of the rapid changes that are occurring in the marketplace and benefitting consumers.

     

    As a member of the technical advisory committee that the FCC formed, I, along with others on the committee, put in an extraordinary amount of time examining these issues. The Report we produced comprehensively discussed the widely-adopted apps-based model. The chairman ignores the less regulatory apps-based approach that is already expanding the array of choices that consumers have to access content on retail devices.  

     

    In the 21st century, television has been on a tear of innovation. In the 1980s, wanting your MTV became an anthem. The 1990s saw an explosion of channels and diversity of voices on television, and the beginnings of HDTV. Change has been accelerating ever since. 

     

    Netflix now has more customers in the US than any traditional TV provider; tablets, smartphones, smart TVs, connected devices for accessing video are ubiquitous; and new online video services are announced all the time. There are services from online powerhouses like Amazon; from new entrants like Sony’s Play Station Vue and Dish’s Sling TV that sell packages including linear channels; and from programmers like HBO, Showtime, and CBS. Just this week, we’ve seen the influence of these new services in locking up content at Sundance.

     

    These changes are bringing enormous consumer benefits — the quantity and variety of high-quality programming is better than ever, and consumers expect access to content anytime, anywhere, and on devices of their choice.

     

    Comcast is responding with our innovative X1 platform, and enabling access on a growing array of devices. Like other traditional TV distributors, online video distributors, networks, and sports leagues, Comcast is using apps to deliver its Xfinity service to popular customer-owned retail devices.

     

    These apps are wildly popular with consumers. Comcast customers alone have downloaded our apps more than 20 million times. This apps revolution is rapidly proliferating, and we are working with others in the industry and standards-setting bodies to expand apps to reach even more devices.

     

    Given these exciting, pro-consumer marketplace developments, it is perplexing that the FCC is now considering a proposal that would impose new government technology mandates on satellite and cable TV providers with the purported goal of promoting device options for consumers. 

     

    A little background here. Congress enacted “navigation device” legislation twenty years ago that directed the FCC to foster retail alternatives to cable set-top boxes. The FCC responded with a CableCARD mandate. Despite the cable industry’s longstanding and ongoing support for CableCARDs, consumers showed little interest in the technology; it saddled cable operators and their customers with over $1 billion in unnecessary costs; and, it was overtaken by the explosive growth in connected devices and apps. 

     

    It is strange now that the FCC is ignoring the important lesson of history that intrusive federal governmental regulatory interference in the market just doesn’t work by proposing new mandates at a time when Congress’s goals are being realized in the marketplace and consumers have unprecedented device choices that go well beyond what anyone could possibly have imagined even a decade ago. 

     

    The proposal would require traditional TV distributors like satellite and cable providers – but not other video distributors – to re-architect their networks and develop an undefined new piece of customer equipment just so device companies can take apart the video service and selectively reassemble it. 

     

    Consumer costs would rise, content security would weaken, and consumer protections such as privacy would erode. It would undermine intellectual property rights and content licensing agreements. The Chairman has said that his proposal addresses these concerns, but the simple fact is that the proposal strips away the tools that video distributors use to present service in a way that satisfies security, regulatory, and licensing requirements.

     

    As noted, the FCC’s track record on these types of technology mandates has been less than stellar. CableCARD is just one example. Another is the 1394 output mandate. The FCC required cable operators to include 1394 outputs on their set-top boxes, the mandate went on for years even after it was clear that other outputs had won out in the marketplace.

     

    Already, a broad range of parties is weighing in to support the innovation that is occurring in the marketplace and raising concerns including Disney, 21st Century Fox, NBCUniversal, and Viacom as well as small, independent, and diverse programmers like TV One, Fuse Media, Crossings TV , Revolt, and Baby First Americas; device manufacturers like Roku, Cisco, and ARRIS; diversity organizations such as the Hispanic Technology and Telecommunications Partnership (HTTP), a coalition of Hispanic organizations; and legislators, including 30 members of the Congressional Black Caucus and the National Black Caucus of State Legislators.

     

    As the Commission considers taking this initial step to launch a rulemaking proceeding to determine whether to impose new mandates and if so, what those should ultimately be, we look forward to studying the proposal and providing constructive input. We hope the FCC will decide to avoid this major step backward for consumers and video innovation. 

     

     

    (Disclaimer: The article has been sourced from Comcast’s website. The views expressed here are purely personal views of the author, who is Comcast Cable SVP – business and industry affairs and chief technology officer Mark Hess and Indiantelevision.com does not necessarily subscribe to them.)

  • Nick continues to reign over kids genre with ‘Motu Patlu:’ BARC week 2

    Nick continues to reign over kids genre with ‘Motu Patlu:’ BARC week 2

    MUMBAI: The second week of 2016 sees Viacom 18’s kids channel Nick staying strong in its position at the top as per Broadcast Audience Research Council (BARC) India’s all India (U+R) data in NCCS All 4-14 Individuals category.

     

    Nick, with 87947 (000s sums) ratings, was followed by Cartoon Network with 69169 (000s sums) at the second spot. On the other hand, Pogo TV trailed closely behind with 65903 (000s sums).

     

    Hungama took the fourth spot with viewership rating of 53475 (000s sums), while Disney Channel stood at the fifth position in the genre with a rating of 41479 (000s sums).

     

    When it comes to top five programs in the kids genre, Nick’s Motu Patlu Deep Sea Adventure stole the show with ratings of 670 (000s sums) and was closely followed byMotu Patlu In Carnival Island – Part 1 with 617 (000s sums) ratings. 

     

    Pogo TV’s Bang Bang With Bheem took the third spot with a slightly lower rating of 594 (000s sums), while the same channel’s Chhota Bheem: Master of Shaolin followed in the fourth spot with 551 (000s sums) ratings.

     

    Last but not the least on the top five programs’ list was Nick’s latest original show Shivawith ratings of 545 (000 sums). It is to be noted that the top program ranking is based on average rating across all airings in the week, including original telecasts and repeats.