Tag: Japan

  • DNS Overseas partners ‪Indiantelevision.com‬ for the 15th Indian Telly, Technical, Trade and Programming Awards

    DNS Overseas partners ‪Indiantelevision.com‬ for the 15th Indian Telly, Technical, Trade and Programming Awards

    MUMBAI: ‪Indiantelevision.com has announced a partnership with multinational company DNS Overseas (first ones to launch XP-Pen in India) for the 15th edition of its Indian‬ Telly, Technical, Trade and Programming (TT&P) Awards. Under this, the company has come on board as Support Partner for The Indian Telly TT&P Awards. The awards ceremony is to be held ‪on 28 October‬ at Mumbai’s Sahara Star hotel.

    The announcement of the tie-up between the two brands is significant on three counts. First, the hugely successful Indian Telly Awards are back after a two-year period. Second, in its new avatar, the Indian Telly Awards will be conducted in two legs – technical and popular. Third, this is the first collaboration of XP-Pen with ‪Indiantelevision.com‬'s The Indian Telly TT&P Awards.

    XP-Pen started its journey in 2005 in Japan and since then has been deeply involved in the research, design and development of graphic tablets. Today, XP-Pen graphic tablets and tools are used by over a million students, professionals and artists in 46+ countries across the world every year. It was launched in India among much fanfare last year, and in a relatively short span has become a preferred tool in the creative arts industry.

    Given the scope and scale of the work XP-Pen has accomplished over the years, it becomes not just a natural but also a perfect fit as a partner for the Indian Telly, TT&P Awards which are supported by the entire television fraternity in India.

    The awards show is expected to attract an audience of over 1000+ video editors, producers, post-production specialists and TV directors this year.

    Over 100 production houses have sent their entries, covering screenwriters, editors, TV directors, post-production supervisors and creative directors.

    Over the years more than 1,500 statuettes have been given away, with close to 40 awards up for grabs at the 15th edition.

  • YouTube joins the race of making original localised content

    YouTube joins the race of making original localised content

    MUMBAI: Till now in several markets including India, YouTube’s ad based model is more popular than the premium ad-free service. Now, in order to draw new customers to its paid subscription service, YouTube is creating scripted series and other original programing for international markets including India, France, Germany, Japan and Mexico. However, in India, YouTube Premium is still not available.

    YouTube global head original programming Susanne Daniels said in an interview that the programming will include music documentaries, reality series, talk shows and scripted series as reported by Reuters. Moreover, it will be produced in local languages which will make the platform more relevant in local markets. The localised content will be subtitled or dubbed for other markets too.

    “We are targeting markets where we believe we have a tremendous upside in potential subscribers,” Daniels said. She also mentioned the talk show on cricket in Hindi, UnCricket, has performed “beyond expectations”. A reality show starring South Korean pop band Big Bang had boosted subscriptions.

    Some of the content will be available on YouTube Premium, the monthly subscription service formerly called YouTube Red while other content will be available on YouTube’s free service.

    The emphasis on localised content from Alphabet Inc’s YouTube will increase the challenge for Netflix and Amazon which are already heavily investing in localised content. Both the platforms are trying to expand their footprint in India too.

    However, YouTube does not hold any plan for more original children’s programming as the company does not believe children’s content will drive subscriptions to YouTube Premium at this time.

  • BARC week 27: Sony sports cluster captures all top five slots

    BARC week 27: Sony sports cluster captures all top five slots

    MUMBAI: The 2018 FIFA World Cup Russia continues its strong run for football viewership in India in its fourth week and guided Sony Pictures Network (SPN) India’s sports cluster to obtain all top five positions in the BARC all India ratings.

    The tournament that is being telecast live on Sony Ten 2, Sony Ten 3 and Sony ESPN channels and live streamed on SonyLIV app and website.

    According to BARC, Sony Ten 3 is at the top spot with 149384 impressions (000s) sum, followed by Sony Ten2 with 146283 impressions (000s) sum. Sony Six, Sony Ten1 and Sony ESPN were the other channels in the list in week 27 data.

    According to the broadcaster, the network’s sports channel and Sony LIV’s total cumulative reach of the tournament is 192.7 million viewers for 58 matches which includes the viewership of live matches, wraparound shows, highlights, repeats, surround programming of FIFA World Cup for a TG of All India CS2+.

    If the broadcaster’s live streaming numbers are to be believed, Sony crossed 96 million viewers across India on the sports cluster TV channels. The channel has got most of its live traction from West Bengal with 20.4 million reach followed by Kerala with 16.9 million reach. Rural market has also shown some interest in FIFA and clocked 63.1 million viewers

    According to BARC, top three matches till now were Nigeria versus Argentina, Japan versus Senegal and Korea versus Mexico with 5.1 million, 4.6 million and 4.3 million impressions across India for a TG above 2+.

    SPN India also informed that 47 per cent of the overall viewership is contributed by local language feeds like Hindi, Malayalam, Bengali, Tamil and Telugu.

  • PwC predicts global emergence of ‘Convergence 3.0′ as services’ distinctions blur

    PwC predicts global emergence of ‘Convergence 3.0′ as services’ distinctions blur

    MUMBAI: PwC’s Global Entertainment and Media Outlook 2018-22 has predicted global revenues are expected to grow with a CAGR of 4.4 per cent from 2017-22 to $ 2.4 trillion in a digitally-driven world where the distinction between print and digital, video games and sports, wireless and fixed internet access, pay TV and over-the-top (OTT), social and traditional media will blur in what has been described as `Convergence 3.0’.

    Explaining the new concept, PwC said that `Convergence 3.0’ is redefining the competitive playing field. Differing from earlier waves of convergence, it’s creating an ever-expanding group of “supercompetitors” and specialized, niche brands that are striving to “secure the engagement and spending of increasingly demanding consumers”.

    The fastest growth will be in digitally driven segments, with virtual reality leading the way, followed by over-the-top content (OTT). Esports will be the second fastest-growing segment if it were separated from the overall video games and e-sports segment. By contrast, newspapers and magazines will see declines in revenues to 2022.

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    While the sector is largely dominated by Netflix, Amazon, and Hulu, PwC said SVOD revenue accounted for 79.6 per cent of OTT revenue in 2017 as niche players increasingly make a dent in the overall business. 

    The potential power of artificial intelligence or AI in E&M is further increased by the opportunity to combine it with other emerging technologies, especially virtual reality and augmented reality. Revenues from VR apps, gaming and video, which were US$3.9bn in 2017, are expected to soar more than fivefold by 2022.

    The VR revenue is expected to grow at 40.4 per cent CAGR till 2022 in the 10 key markets including US, Japan, China, South Korea, UK, France, Germany, Russia, Italy, Spain. The revenue will be close to $ 170 million.

    Even among the most dynamic segments, there are sharp differences among sub-segments. Although the video games and e-sports segment will grow at an overall CAGR of 7.2 per cent, the e-sports component will leap by 20.6 per cent compounded annually. Conversely, global recorded music is projected to rise at a robust 6.1 per cent CAGR, but three of its sub-components – physical, downloads and ringtones/ringbacks – will see significant declines. 

    According to Ennèl van Eeden, Global Entertainment & Media Leader, PwC Netherlands: “The story behind the Outlook’s global figures is a near-infinite accumulation of micro-stories, and a dizzying array of different trends, at a territory and segment level. For almost every trend, there’s a counter-trend somewhere among the 15 segments and 53 territories. Also, the pace of change isn’t going to let up: technologies such as artificial intelligence and augmented reality will continue to redefine the battleground. Across all segments, technology is enabling content delivery to become progressively cheaper and more personalised. This heightens the urgency for companies to invest in technologies that will enable them to compete more effectively.”

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    The global internet advertising revenue is expected to grow with a CAGR of 8.7 per cent from 2017-22 and will be around $ 345 billion, whereas the broadcast TV advertising revenue will grow by CAGR of 2.3 per cent and reach till $180-200 billion.

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    Smartphone data consumption will see a huge spike and will overtake fixed broadband by 2020, according to the PwC report. Smartphone data consumption will reach around 650,000 billion megabytes with a CAGR of 33.3 per cent from 2017-22. Whereas the fixed broadband data consumption will grow at a CAGR of 18.8 per cent in the same time span and will reach till 500,000 billion MB. 

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    As people continue to change the way they access content across increasingly sophisticated devices, more robust data is required to build a deeper understanding of consumer habits.

    Christopher Vollmer, Global Advisory Leader for Entertainment and Media, PwC US, in a statement said: “To succeed in the future that’s taking shape, companies must revisit every aspect of what they do and how they do it. This means going ‘above and beyond’ in how they envision their business, generate revenues, create and organise their capabilities and build and retain trust. And given the pace and scale of change under way, speed is vital. For many companies, the models, assets, practices and capabilities that support their businesses today will simply not be enough in the future. Standing still is not an option.”

    Also Read :

    India to enter top 10 OTT video markets in 2022: PwC

  • Japan’s most popular show Doctor-X is now streaming on ZEE5

    Japan’s most popular show Doctor-X is now streaming on ZEE5

    MUMBAI: ZEE5, India’s largest digital entertainment platform, has released Doctor-X, its first Japanese show dubbed in Hindi. The medical drama follows the story of Daimon Michiko, a charismatic and unorthodox freelance surgeon who works at different university hospitals, where her questionable practices bring her into conflict with the administrators.

    Starring Japanese actress and former model Ryoko Yonekura as Daimon Michiko (also known as Doctor-X), the eight-episode first season that is streaming on ZEE5 has been produced by Seiko Uchiyama and directed by Miho Nakazono. Veteran actors Ito Shiro and Ittoku Kishibe are also part of the cast. The show first aired from October 18 to December 13, 2012, on TV Asahi in Japan, and was one of the top ranked dramas on private television in its time slot.  Ryoko Yonekura was awarded best actress at the 21st Hashida Awards for her performance as Doctor-X.

    Viewers in India will love the fearless Doctor-X, who is willing to take on the most difficult surgeries turned down by other surgeons because she does not believe in failure. Her success in treating high-risk patients is a result of her always putting patients first, prioritising their health above performing medical firsts or innovative techniques. This practice often brings her in conflict with other doctors.

    “We are thrilled to bring Japan’s most popular show Doctor-X in Hindi to our viewers in India, said Archana Anand, EVP & Head of Digital- ZEE5 India Business. “We are proud to be the only digital platform in India that is transcending the language barrier at such a scale to entertain viewers. Other than Japan, we are also curating top rated international TV shows from USA, United Kingdom, Korea, Turkey, China, Ukraine and Spain and dubbing them in Hindi to bring the best of international content to our viewers”.

    Viewers can watch Doctor-X by subscribing to ZEE5 at a special launch offer of Rs 99. As India’s largest, most comprehensive digital entertainment platform for language content, ZEE5 offers its viewers the best of Originals, Indian and international movies and TV shows, music, Live TV, and health and lifestyle content in 12 languages.

  • Coca-Cola set to debut in Japan’s alcoholic drink market

    Coca-Cola set to debut in Japan’s alcoholic drink market

    MUMBAI: Iconic soft drink brand Coca-Cola is set to start a new chapter with a plan to launch its first alcoholic drink. Stepping out of its area of expertise, the company will make a debut in the low-alcohol category with the creation of a popular type of Japanese alcopop known as chu-hi.

    Often sold as a canned drink, chu-hi is an alcoholic drink originating from Japan, which is made of local sochu alcohol and carbonated water. The product often contains between 3 per cent and 8 per cent alcohol and has been marketed as an alternative for beer.

    “We haven’t experimented in the low-alcohol category before but it’s an example of how we continue to explore opportunities outside our core areas,” said Jorge Garduno, Coca-Cola’s Japan president.

    “The chu-hi category is found almost exclusively in Japan. Globally, it’s not uncommon for non-alcoholic beverages to be sold in the same system as alcoholic beverages. It makes sense to give this a try in our market,” he added. However, the timeline has not been specified for the product.

    Initially, Coca-Cola’s plan is to stay within Japanese market due to the “unique and special” qualities of the market. This is one of its kind move from Coca Cola in its 130-year-long history.

    Also Read:

    Should Coca-Cola pull the plug on Diet Coke?

    Coca-Cola launches Maaza Gold 

  • Japan’s KDDI adopts TiVo’s remote-recording service

    Japan’s KDDI adopts TiVo’s remote-recording service

    MUMBAI: TiVo Corporation, a leader in entertainment technology and audience insights, has announced that KDDI Corporation, a leading Japanese telecommunications provider, has selected TiVo’s remote recording service for G-GuideÒ and will also implement new voice control features to deliver one of the most advanced entertainment discovery experiences in Japan.

    KDDI has deployed TiVo’s latest G-Guide HTML on its Cable Plus Set-Top Boxes (STB) to provide customers with the ability to find and discover programming. This capability is an enhancement to KDDI’s existing deployment of the G-Guide HTML for IPTV STBs last year, enabling KDDI to deliver an expanded range of solutions to cable TV service providers.

    KDDI has also adopted TiVo’s remote recording service and mobile application, G-Guide xD, allowing subscribers to record programs at any time right from their smart phones, enabling greater convenience and accessibility to the latest entertainment. This feature is available to service providers for the first time in Japan.

    With the new voice control features, subscribers can find content quickly and change between channels by giving verbal commands to the cable STB remote control, thus connecting to their favorite entertainment with ease. This is the first deployment of the voice control feature for G-Guide HTML in Japan.

    “We are very pleased to be working with KDDI to introduce these advanced functions to the Japanese market,” said TiVo SVP & GM – user experience Michael Hawkey. “Japanese consumers are often ahead of the curve when it comes to technology adoption so this latest development is a testament to KDDI’s dedication to providing its customers with new functionality to enhance their entertainment experience.”

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  • GRB Entertainment announced sales of it’s top 4 documentaries

    MUMBAI: GRB Entertainment announced sales of four of its top documentaries to broadcasters in Brazil, Japan and the U.K.

    Globosat Brazil renewed Remembering Whitney, a documentary featuring legendary singer Whitney Houston, just in time to celebrate the icon’s August 9thbirthday. This breathtaking one-hour special celebrates the legacy of the six-time Grammy winner, featuring “never-before-seen footage” of Whitney, including interviews with the pop icon, exclusive concerts, private home videos, and candid insights from her family, including her daughter, Bobbi Kristina Brown.

    Nippon Television Network in Japan acquired Michael Sam, a 65-minute doc spotlighting the life of Michael Sam, the first openly gay U.S. football player in the NFL. Cameras follow Sam along his brave journey – from a football player at the University of Missouri to the biggest professional sports league in America as he works to earn a spot on a NFL team.

    Sky UK acquired two docs: Confessions of a Superhero follows the lives of three mortal men and one woman who make their living working as superhero characters on the sidewalks of the infamous Hollywood Boulevard. This deeply personal view into the daily routines of these characters reveal their hardships, and triumphs, while they pursue and achieve their own kind of fame; and The Mona Lisa Myth, narrated by Morgan Freeman, is a lavish period docu-drama that takes viewers from Leonardo Da Vinci’s happy sojourn in the duchy of Milan to his struggling years in Florence, through the controversy surrounding his famous painting The Mona Lisa and finally, his retirement at the French royal court in Amboise.

    “GRB is well-known around the globe for its wide-ranging portfolio of factual programs and we are fortunate to also represent many top-notch documentaries. From a sports’ figure with a ground-breaking story to a great singer and her tragic life to a group of people chasing a Hollywood dream to the great artist Da Vinci, GRB has programs that transcend borders and language barriers,” said Michael Lolato, SVP of International Distribution, GRB Entertainment.

  • Virtual screens to start replacing TVs & theaters in a year, consumers expect: Ericsson

    MUMBAI: Ericsson ConsumerLab has reported that seven out of 10 consumers believe that virtual reality (VR) and augmented reality (AR) will become mainstream in media, education, work, social interaction, tourism and retail. Consumers expect virtual screens to start replacing televisions and theaters in less than a year.

    For VR and AR to merge with physical reality and become mainstream, 5G is crucial to provide mobility, improve social experiences and address nausea concerns.

    Ericsson has published its latest ConsumerLab report – Merged Reality – revealing insights into how consumers expect virtual reality (VR) and augmented reality (AR) to merge with physical reality, and that 5G will be a key technology for such experiences to become mainstream. The report reveals that when boundaries between people’s perception of physical and virtual reality start to blur, this could result in a drastic impact on lives and society. The way we live, work, and consume information and media will fundamentally change.

    Realities will not merge if the user is tethered to a computer or cut off from physical reality. Early adopters of VR/AR expect next-generation networks like 5G to play a central role. Thirty-six per cent have expectations on 5G to provide VR/AR mobility through a stable, fast and high-bandwidth network. Thirty per cent of early adopters also expect 5G to enable tethered headsets to become wireless.

    Key findings of the latest report include that seven out of 10 early adopters expect VR/AR to change everyday life fundamentally in six domains: media, education, work, social interaction, travel and retail. Media is already being transformed and consumers expect virtual screens to start replacing televisions and theaters in less than a year.

    The qualitative research in the report included an innovative focus group discussion series completely in VR with participants from North America and Europe, as well as traditional focus groups with current users of VR from Japan and South Korea. A series of qualitative VR tests with 20 Ericsson employees were also done to understand how lag in VR can trigger nausea.

    In the quantitative part of the study, the report presents insights from a survey of 9,200 consumers in France, Germany, Italy, Japan, South Korea, Spain, the UK and the US, aged between 15-69 with awareness of the concept of VR.

  • India’s UK TV content imports rise to Rs 125 crore in 2015-2016

    MUMBAI: India is the second fastest growing market for the UK content. That’s the findings of the latest TV export report for 2015-2016 released by the Producers Alliance for Cinema & Television (PACT). The report states that imports of British content by Indian broadcasters grew a handsome 43 per cent in the year to pounds sterling 15 million (Rs 125 crore) as against pounds sterling 10 million last year.

    The highest growth came from Japan which imported 48 per cent more of UK content at 15 million pounds in 2015-2016, whereas China saw a 40 per cent rise in the same period to 23 million pounds (16 million in the corresponding period). South Korea registered a growth of 39 per cent to 8.1 million pounds (5.8 million pounds).

    The US continued to occupy its premier position of the leader by shipping in 16 per cent more British content to account for 497 million pounds of the UK TV sector’s revenue. Next in line was the Australia and New Zealand market with content imports of 131 million pounds. France with imports of 73 million pounds and a growth of five per cent came next In line.

    Overall, the UK TV content export sector grew by 10 per cent to 1.33 million pounds in 2015-2016 as against pounds 1.21 billion pounds in 2014-2015, when sales fell by 0.6 per cent.

    Exports of finished TV programmes were flat at pounds 668 million whereas digital sales seem to be exploding. The growth to these outlets was a hurricane like 79 per cent to £248 million. Digital sales accounted for almost 19 per cent of the total British TV content sales.

    North America accounted for 41 per cent of revenue that UK’s content makers make selling their programmes to the world, while Europe contributed 31 per cent and the rest of the world 29 per cent.

    Shows such as Deutschland 83 and The Returned have gone global while the ever so popular Sherlock and Dr Who have travelled beyond 200 countries

    One wonders whether India’s TV content creating community will start looking at programme syndication deals as a good source of revenue, especially in times when subscription revenue is not budging too much northwards. India is estimated to be distributing between Rs 350 crore to Rs 400 crore of its content annually. Which is much lower than Turkish drama exports which notched up some $320 million exports and is targeting $1 billion in exports of its TV content by 2020 and $2 billion by 2023.

    Clearly, India has a lot headroom to grow.