ITV

Tag: Latin America

  • Q2-2016: OnMobile YoY revenue flat: EBIDTA up 41.7%

    Q2-2016: OnMobile YoY revenue flat: EBIDTA up 41.7%

    BENGALURU: Mobile music play service company OnMobile Global Limited (OnMobile) reported almost flat (decline of 0.2 per cent) consolidated revenue or Income from Operations (TIO) for the quarter ended 30 September, 2015 (Q2-2016, current quarter) at Rs 206.98 crore as compared to the Rs 207.45 crore in Q2-2015. TIO for the current quarter grew 2.6 per cent as compared to the Rs 201.82 crore in the immediate trailing quarter.

     

    Note: 100,00,000 = 100 Lakhs = 10 million = 1 crore

     

    The company’s EBIDTA in the current quarter grew 41.7 per cent to Rs 39.34 crore (19 per cent margin) as compared to the Rs 27.77 crore (13.4 per cent margin) in the corresponding year ago quarter and was 12 per cent more than the Rs 35.12 crore (17.4 per cent margin) in the immediate trailing quarter.

     

    OnMobile reported profit after tax (PAT) of Rs 1.26 crore (0.6 per cent margin) in Q2-2016 as compared to a loss of Rs 1.21 crore in Q2-2015 and a loss of Rs 0.16 crore in Q1-2016.

     

    Business Performance

     

    OnMobile says that its International revenue grew by eight per cent YoY and 2.8 per cent QoQ. Europe recorded a revenue growth of 49.2 per cent YoY and 4.4 per cent QoQ, while in Other Emerging Markets, revenue grew by 6.7 per cent YoY and seven per cent QoQ to Rs 37.3 crore (18 per cent of TIO). 

     

    Its Latin America revenue was down by 1.5 per cent QoQ and 23.9 per cent YoY respectively. However, Latin America revenue grew by five per cent QoQ, excluding the forex impact of fluctuations in local currencies.

     

    India Business

     

    OnMobile’s India revenue was Rs 45.1 crore (21.8 per cent of TIO) in Q2-2016, a growth of 1.7 per cent QoQ and reduction of 21.6 per cent YoY. It says that it has won western circles from Airtel for Ring Back Tone business to become the largest Ring Back Tone partner for Airtel in India. OnMobile says that this win increases its reach in Airtel from over six crore subscribers to over 11.5 crore subscribers.

     

    The company says that CVAS, a direct to consumer product, has been launched in a large operator in India.

     

    Let us look at some of the other numbers reported by OnMobile

     

    Total Expenditure (TE) in the current quarter declined 5.2 per cent to Rs 204.74 crore (98.9 per cent of TIO) as compared to the Rs 215.92 crore (104.1 per cent of TIO) in Q2-2015, but was 0.4 per cent more than the Rs 203.97 crore (101.1 per cent of TIO) in Q1-2016.

     

    A major expense head for the company is Content Fee and Royalty (CFR). OnMobile paid 41.3 per cent higher CFR in the current quarter at Rs 67.55 crore (32.6 per cent of TIO) as compared to the Rs 47.79 crore (23 per cent of TIO) in Q2-2015 and 5.9 per cent more than the Rs 63.76 crore (31.6 per cent of TIO) in Q1-2016.

     

    The company’s Other sales and services cost declined 52.5 per cent to Rs 9.72 crore (4.7 per cent of TIO) in Q2-2016 as compared to the Rs 20.46 crore (9.9 per cent of TIO) in Q2-2015 and was 15.6 per cent lower than the Rs 11.52 crore (5.7 per cent of TIO) in the previous quarter.

     

    OnMobile says that it has done a ‘Headcount optimization’ during the last financial year and quarter, which has resulted in a reduction of manpower cost. It says that its employee base at the end of Q2-2016 was 1,075. The company’s Employee Benefits Expense (EBE) in the current quarter declined 23.6 per cent to Rs 55.47 crore (26.8 per cent of TIO) in Q2-2016 as compared to the Rs 72.63 crore (35 per cent of TIO) in Q2-2015 and was 3.9 per cent less than the Rs 57.70 crore (28.6 per cent of TIO) in Q1-2016.

  • WPP Q3 revenue up 5.9% at ?2.927 billion

    WPP Q3 revenue up 5.9% at ?2.927 billion

    MUMBAI: UK-based advertising behemoth WPP reported a 5.9 per cent growth in revenues in Q3 2015 at ?2.927 billion.

     

    In US dollar basis, revenues fell 1.6 per cent to $4.533 billion, while it was up 17 per cent in euros to €4.075 billion. In Japanese yen, revenues were up 15.4 per cent to ?554 billion.

     

    The company’s third quarter constant currency revenue was up 7.9 per cent (like-for-like revenue up 4.6 per cent). Despitesoftening in the United Kingdom, WPP’s like-for-like revenue growth in the third quarter continued at similarly strong levels in the US.

     

    Net sales in Q3 stood at ?2.518 billion, which was up 4.2 per cent on a reported basis and 6.1 per cent in constant currency. Like-for-like net sales went up 3.3 per cent, compared to 2.3 per cent in the first half, partly the result of easier comparatives, with the gap compared to revenue growth less in the third quarter than the first half, as the scale of digital media purchases in media investment management and data investment management direct costs continued at a similar slightly lighter level to the second quarter.

     

    Nine months reported revenue was up 6.5 per cent at ?8.766 billion (approximately $13.4 billion).

     

    While the company’s nine months constant currency revenue was up 6.9 per cent, the nine months constant currency net sales were up 5.2 per cent.

     

    Operating margin for the nine months period were up 0.5 margin points in constant currency, 0.3 margin points in reported and targeted to be up 0.3 margin points in constant currency for full year in line with objective.

     

    WPP’s net new business in Q3 was at ?1.9 billion pounds, whereas for the first nine months it stood at ?3.312 billion, resulting in the number one position in all net new business tables. Results to date in the tsunami of largely United States based media investment management reviews have been highly satisfactory with major retentions and wins and limited losses, and with significant opportunities still to be decided, where we have relatively limited exposure.

     

    The company saw constant currency revenue growth in Q3 in all regions and business sectors, with particularly strong growth geographically in North America, the United Kingdom and Asia Pacific, Latin America, Africa & the Middle East and Central & Eastern Europe, and functionally in advertising and media investment management and sub-sectors direct, digital and interactive and specialist communications.

     

    WPP’s average net debt for the first nine months increased by ?403 million to ?3.436 billion compared to last year, at 2015 constant rates. This continued to reflect significant incremental net acquisition spend and share repurchases of ?374 million in the twelve months to 30 September, 2015, compared with the previous twelve months, more than offsetting the improvements in working capital over the same period.

  • Indian advertising market leads BRIC with 11% growth rate in 2015: Carat

    Indian advertising market leads BRIC with 11% growth rate in 2015: Carat

    MUMBAI: The Indian advertising market is all set to witness a double digit growth rate of 11 per cent in 2015, which is the highest growth rate amongst the BRIC markets. The growth boost came from the ICC Cricket World Cup, which was held earlier in the year. Moreover, in 2016, India is poised to see a growth rate of 12 per cent, according to the Carat Ad Spend Report of September 2015.

    The year 2015 looks buoyant for the Indian advertising market as optimism continues to flood the market with growth prospects remaining high in the country, propelled by the election of a pro-business government in 2014 and the revival in investment.

    Of the other BRIC countries, while the advertising market in both Brazil and China is expected to see a growth rate of six per cent each in 2015, Russia will be an aberration as the economy has been affected by the sharp drop in oil prices and Western sanctions following the annexation of Crimea last year. The Russian advertising market has been severely affected with advertising revenues decreased by 16 per cent in 1H 2015. Carat predicts the total is market forecast to decrease by 14 per cent in 2015, a revision down from the decrease of 7.1 per cent previously forecast in the March 2015 report.

    DIGITAL AND MOBILE FORECAST

    From a regional perspective, Carat confirms on-going positive momentum in 2015 for most regions although volatility occurs in some individual markets, with Western Europe at 2.6 per cent, 4.2 per cent in North America, 4.1 per cent in Asia Pacific and 12.7 per cent in Latin America.

    Despite a slight decline in growth forecasts due to China’s economic downturn, Asia Pacific remains strong in 2015 with an above global spend rate of 4.1 per cent, driven by high-performing India at 11 per cent and growing Australia at 2.4 per cent. 

    The report predicted continued optimism through positive global and regional outlook and solid growth in Digital and Mobile. Based on data received from 59 markets across the Americas, Asia Pacific and EMEA, global advertising spend will grow by four per cent in 2015 to $529 billion, a slight decline from the 4.6 per cent predicted in March 2015. Moreover, in 2016 it is predicted to grow by 4.7 per cent, accounting for an additional $25 billion in spend as per Carat’s latest global advertising expenditure report. 

    Fuelled by the rise of Mobile and Online Video spending trends, the report reconfirms the continued solid growth for Digital media, evident through the upsurge in the predicted share of advertising spend in 2015 of 24.3 per cent and 26.5 per cent in 2016. For 10 of the markets analysed, including the UK, Ireland, Canada and Australia, Digital is now the principle media used based on spend, with the US market predicted to join this list in 2018 when digital advertising spend is forecast to overtake TV advertising by more than $4 billion.

    DIGITAL

    By media, Digital with 15.7 per cent growth in 2015, continues to be the only channel warranting double digital growth and is predicted slightly lower at 14.3 per cent in 2016. This is driven by the high demand for Mobile and Online Video advertising especially across social media, with 51.2 per cent and 22 per cent year-on-year growth expected this year.

    TELEVISION

    Programmatic buying is also experiencing rapid growth at a rate of 20 per cent each year. TV remains both dominant and resilient with a steady 42 per cent market share of global advertising spends in 2015 and is predicted to grow by more than three per cent in 2016, as the upcoming Olympic Games and US elections are expected to drive considerable viewership.

    Thirty eight out of the 59 markets analysed, report TV still as their leading medium, with 17 out of these 37 markets showing that more than 50 per cent of their advertising spend is still placed on TV, including Italy, China and Brazil. 

     

    ONLINE VIDEO

    Online Video is forecast to grow at a rate of 22 per cent this year and a forecast of 19 per cent in 2016, as previously predicted in the March 2015 report. With cross-device measurement tools becoming more robust, and access to premium content increasingly available, greater investments from TV budgets are being allocated into Digital, moving from a ‘channel-first’ mind set to an ‘audience-first’ focused approach. Brands are starting to understand the reach and potential of moving their investment to Online Video as the lines between linear broadcasts and digital increasingly blur. Growth in Online Video will also be fuelled by the rise of programmatic video and more efficient/scalable video production via media partners.

    MOBILE

    Mobile is experiencing the greatest spend growth across all media. The opportunities
    to re-target consumers closer to purchase activity is a big driver. Carat forecasts growth in Mobile spend at 51.2 per cent in 2015, up from the previous prediction of 49.7 per cent in the March 2015 report and a predicted 44.5 per cent in 2016 up from the previous prediction in March 2015 of 41.9 per cent. In the US, Mobile ads targeted to both smartphones and tablets are predicted to capture up to 40 per cent of online display spend by 2019, currently accounting for 24 per cent of digital budgets.

    SOCIAL MEDIA

    Mobile and Online Video are also the key factors for Social Media advertising spend growth. Social Media advertising spend is rising, and moving to mobile and in-app placements. Both Twitter and Facebook report that over 70 per cent of their advertising revenue now comes from mobile, and the vast majority of this is now likely to be in-app rather than through the mobile web.

    NEWSPAPERS

    The age old Newspaper continue to capture the third highest share of total advertising spend, being the second most popular media type in India, and the third most popular for nine of the 13 top spending markets, including the US, Japan and UK. However, the market as a whole continues to fight against a difficult structural trend of spend shifting to digital platforms. As a result, traditional Print spend has been declining every year since 2008. Newspaper share of total advertising spend has been falling by over a percentage point each year, from 23 per cent in 2008 to a predicted 13 per cent in 2015 and 12 per cent in 2016.

    MAGAZINE, CINEMA, RADIO, OOH

    Despite the ongoing decline in Print spend, Carat’s forecasts confirm year-on-year growth for all other media with updated predictions for 2015 highlighting year-on-year growth in Cinema at 4.7 per cent, Radio at 1.3 per cent and Outdoor at 3.4 per cent, with the latter two slightly revised down from March 2015 figures.

    Magazines are forecast to decline by two per cent in 2015 and by 1.9 per cent in 2016. Magazine share of spend is forecast at 6.9 per cent in 2015 and 6.5 per cent in 2016.

    Dentsu Aegis Network CEO Jerry Buhlmann said, “Carat’s latest advertising spend forecast shows optimism balanced with realism during a year of increased volatility in major markets such as Russia and China. Noticeably, the landscape is becoming increasingly complex as previously grouped markets, such as the BRIC economies are now operating differently and economic situations can quickly change markets at pace. Our teams are well positioned to navigate our clients through this multi-faceted marketplace and successfully assimilate new market opportunities at speed.”

    “Digital media continues to achieve outstanding growth as the effectiveness of this medium and results achieved, especially with the millennials, warrants the upsurge in spend levels. As digital rapidly evolves into a more established asset and programmatic and search bring stronger performance and efficiency, we continue to add value to our clients by delivering innovative solutions that are different and better,” he added.

    Carat Global chief strategy officer Sanjay Nazerali said, “The media landscape is more complex and multi-faceted than ever before. The diversity of media, market volatility and the rising impact of geographical events are all influencing advertising spend. For global clients, this means a greater need to be aware of such evolving scenarios, to be agile and able to move spend where it can deliver the greatest return.”

  • Fourteen films make it to co-production Forum of San Sebastian

    Fourteen films make it to co-production Forum of San Sebastian

    NEW DELHI: Fourteen projects from a total of 181 projects submitted from 22 countries are taking part in the third Europe-Latin America Co-Production Forum as part of the 67th San Sebastian International Film Festival.

     

    The Forum will be held from 22 to 24 September. The selected films are largely from Latin American countries  including Argentina, Belgium, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, France, Guatemala, Mexico, Panama, Peru, Puerto Rico, Spain, Sweden, United Kingdom, Uruguay and Venezuela.

     

    During the Forum, those responsible for the projects will work to a busy meeting agenda with industry professionals from across the world. The aim by attending the Forum is to make contact with potential co-producers, financial partners and sales agents in order to complete their funding and ensure their international production and distribution. 

     

    In addition, and as part of the festival’s collaboration with the Ibermedia Programme, a project selected in the workshop to develop film projects from Central America and the Caribbean will also participate in the Co-Production Forum.

     

    The Europe-Latin America Co-Production Forum is fostered by the Basque Government Department of Economic Development and Competitiveness and the Ministry of Industry, Energy and Tourism.

     

    As in previous editions, the final selection includes projects by directors and producers of recognised prestige alongside others by new directors and recently created production companies. Nine of the 17 projects presented in 2012 have been completed, while three of the 16 presented in 2013 have been filmed, and shooting is expected to start on another six in the coming months.

      
    For the second year running, the EGEDA Award for Best Project at the Europe-Latin America Co-production Forum 2014 will be presented. The Award comes with a cash prize of €10,000 and is sponsored by EGEDA, the Audiovisual Producer’s Rights Management Association.

     

    As a new feature this year, the Festival will also organise a Focus on Canada with Telefilm Canada. A delegation of 12 Canadian producers will come to San Sebastian to experience the Festival in person, make professional contacts and participate in the Co-production Forum and the other Industry Club activities.

     

  • Sony’s video service Crackle leaves UK shores

    Sony’s video service Crackle leaves UK shores

    MUMBAI: The Sony run video service – Crackle – is no more crackling among UK users and the media conglomerate has had to take the tough call of shutting it down completely from 1 April.  

     

    The company posted a notice about the closure on Crackle’s UK homepage that read: “We’d like to thank all those who have supported and enjoyed Crackle UK. As of April 1, 2014 Crackle’s UK service will no longer be operating.”

     

    Crackle offers viewers free, ad-supported video content, including full-length movies and TV series. The service also operates in US as well as Canada, Australia and close to 20 countries across Latin America, and those operations will not be affected by this closure.

     

    One of the major reasons for the call to shut shop in UK seems to be the increasingly competitive market in the country. Netflix entered UK two years ago and reached out to an estimated 1.5 million subscribers and there is also Amazon, which has been fighting hard to stay relevant by closely aligning its Lovefilm service with its core brand.

     

    Both companies have also tried to outbid each other on content rights for British viewers, undeniably raising the costs for Crackle and any other third-party service to compete. And in the case of Crackle, Sony also had to monetise the service through ads, which may be even harder in a comparably small market like UK.

  • Endemol inks deal with Turner International for New Mr.Bean animated series

    Endemol inks deal with Turner International for New Mr.Bean animated series

    MUMBAI: Endemol, the world’s largest independent production and distribution company, today announced that Turner Broadcasting System International has acquired the all-new second series of MR BEAN ANIMATED SERIES for their services throughout Asia Pacific, Latin America, the Middle East and several European markets including the United Kingdom, Turkey, Spain and Italy.

     

    This deal comes off the back of the announcement that the series has been pre-sold to CITV in the UK and Super RTL in Germany.

     

    Mark Eyers, Chief Content Officer, Kids Networks, Turner International Asia Pacific, said: “This extraordinary universal comedy truly delivers on a premium and compelling content experience for both our audiences and affiliates. We’re proud to welcome Mr Bean into the Turner fold and to partner with Endemol, Tiger Aspect and the exceptionally talented Rowan Atkinson. This unique non-dialogue brand of funny, will delight viewers around the world.”

     

    Cathy Payne, CEO of Endemol Worldwide Distribution commented: “We are excited that Turner has come on board to join our other partners CITV and Super RTL Germany. To have such support at this early stage is incredible and proves the popularity of the wonderful Mr Bean”.

     

    Cecilia Persson, Turner’s Vice President of Acquisitions and Co-productions for EMEA and International, added: “It’s great to announce this deal across our international business. Our kids channels provide the best in animated comedy entertainment for young audiences and Mr Bean is truly an iconic comedy character which kids across the globe will love! Mr Bean has performed excellently across our EMEA region where our second flagship channel Boomerang brings contemporary iterations of timeless and classic properties to a family audience.”

     

    The 52 x 11 minute series follows on the success of the first series which has been licensed in over 70 territories and continues to be a ratings winner for a host of international broadcasters.

     

     

     

    Mr Bean will be produced in house by Tiger Aspect Productions using Celaction2D. Production commenced in October 2013 and delivery is scheduled for 2014/2015.

     

    Rowan Atkinson is across all aspects of the creative and will continue to voice the series which has a huge global audience.

  • Pokemon set to stream on Netflix

    Pokemon set to stream on Netflix

    MUMBAI: Two seasons of the hit animated franchise Pokémon, as well as two of its movie spin-offs, are becoming available to stream on Netflix beginning today.

     

    The agreement will allow Netflix customers in the US, Canada, Latin America, the Nordic countries, UK, Ireland and the Netherlands to watch the animated adventures. The content includes a season of Pokémon: Black & White, as well as a season of Pokémon: Indigo League. Also featured are the dual films Pokémon the Movie: Black-Victini and Reshiram and Pokémon the Movie: White-Victini and Zekrom.

     

    The popular franchise follows aspiring Pokémon Master Ash and Pikachu, his Pokémon partner, as they embark on several adventures.

  • FremantleMedia’s ‘Ella the Eelephant’ now available across Disney Junior channel Latin America

    FremantleMedia’s ‘Ella the Eelephant’ now available across Disney Junior channel Latin America

    MUMBAI: FremantleMedia Kids & Family Entertainment today announced that the preschool show, Ella the Elephant, has been sold to Disney Junior Channel Latin America.  Having already sold to 23 children’s TV platforms in more than 50 territories,Disney Junior Channel Latin America is the latest network to fall for the adorable elephant with a charmingpersonality.

    Ella the Elephant is an animated preschool series about an adventurous elephant and her magic hat.  The series is based on the popular books by Carmela and Steve D’Amico and follows the adventures of Ella, the little elephant with a giant heart.  Ella loves to play and explore Elephant Islands with her friends Tiki, Frankie and Belinda, but sometimes their adventures create challenges along the way.  Luckily through a combination of imagination and “hat magic,” Ella is able to transform her hat into numerous objects that can come to her aid.  

    “With its upbeat tone and expression of positive values, Ella the Elephant is sure to be a great addition to children’s programming across Latin America,” said Sheila Aguirre, Senior Vice President, Sales and Development Latin America, Caribbean and Hispanic USA, FremantleMedia International.  “While we have had success with shows such as Merlin and My Babysitter’s A Vampire on Disney XD Latin America, we’re excited to have a show like Ella that’s filled with great messages for preschoolers find a home on Disney Junior Channel Latin America.”

    In addition to the upcoming premiere in Latin America, Ella the Elephant will launch on Disney Junior in the U.S. this spring.  The show also premiered on TVO, Knowledge Networkand Tele-Quebec in Canada and Tiji in Franceandis also currently airing in Poland where it performs well amongst girls aged 4-9, with an average share of 16.4%.  Additional territories expected to begin airing Ella the Elephant during the first half of 2014 include Finland (MTV3 Juniori), Norway (TV2), Australia (ABC), Spain (Clan) and Singapore (Okto), with additional territories to follow later in the year.  

    Ella the Elephant is an animated series produced in CGI against 2D backgrounds by DHX Media in association with TVO Kids and FremantleMedia Kids & Family Entertainment.  DHX Media has international distribution rights in Canada, USA, Middle East and India, with FremantleMedia Kids & Family Entertainment handling the rest of the world.  DHX Media and FremantleMedia Kids & Family Entertainment are also currently exploring multiple opportunities for consumer products programs including toys and apparel.

    Visit FremantleMedia at NATPE 2014 at Fontainebleau Resort in Miami, Tresor Tower, Suite 2-3003 from January 27 – 29.

     

  • Fremantlemedia international heads into natpe throughout latin america

    Fremantlemedia international heads into natpe throughout latin america

    MUMBAI: FremantleMedia International today announced that the company is continuing to bring world class entertainment to the Latin American market with a line-up of prominent programming sales throughout the region.  

    “FremantleMedia International continues to have a strong presence across Latin America as we head into this year’s NATPE market,” said Sheila Aguirre, Senior Vice President, Sales and Development Latin America, Caribbean and Hispanic USA, FremantleMedia International.  “We continue to offer diverse content and formats that meet the needs of a wide range of broadcasters, and remain dedicated to building our business within the region.”

    Welcoming every type of performer, the leadingFremantleMedia and Syco Television co-owned format,Got Talentcontinues to celebrate artistic spirits throughout the region.  SonyPictures Television Networks in Latin America, as well as CNC-3 Trinidad, will continue taking America’s Got Talentwith Season9 premiering in 2014. In addition, the Got Talentformat has been re-commissioned for a localized versionwith TalentoChileno on Chilevision entering into its fifth season.  

    In additional format sales, the original music show phenomenon, Idols, co-owned by FremantleMedia and 19 Entertainment, will be adapted for the Colombian market for the first time.  Idol Colombia is set to premiere on RCN in spring 2014 and will become the 47th local version of Idols to be produced worldwide.

    Reality television will continue to be a focus with the sale of Seasons 1 and 2 of Tattoo Nightmares(34 x 30’). Highlighting real people with really bad tattoos, the show will be premiering onTruTVin 2014.  In addition, hidden collectibles will be uncovered asthe modern-day treasure hunt,Storage WarsCanada (36 x 30’)heads to A&E Networks throughout the Latin American region.  Also havingjust launched is Fractured Families – The Long Ride Home on Chilevision.  Estranged parents and children are followed as they undertake a tough adventure to re-build their damaged relationships in this locally produced version.

    Exploring the factual categorywith a sale to Discovery Networks Latin America, Dark Matters: Twisted But True(6 x 1 hour) presents unbelievable tales from the strange side of science.  

    In lifestyle programming, Martha Stewart’s Cooking School(26 x 30’) stars the famed business woman and explores her classic techniques for making everything in the home perfect.  Seasons 1 and 2 of the show will be premiering on Chello Latin America.  And the hilarious game show formatsThe Noiseand Face Itfrom Fuji TV, are being produced byTelefeand recently premiered in Argentina.  The Noiseproves that silence really is golden as teams battle it out to perform tasks without a sound, while contestants useonly their faces to complete tasks in Face It.

    Visit FremantleMedia at NATPE 2014 at Fontainebleau Resort in Miami, Tresor Tower, Suite 2-3003 from January 27 – 29.