ITV

Tag: NBC Universal

  • Comcast acquires majority stake in Universal Studios Japan for $1.5 billion

    Comcast acquires majority stake in Universal Studios Japan for $1.5 billion

    MUMBAI: Comcast NBC Universal has agreed to purchase 51 per cent ownership of Universal Studios Japan in a recapitalisation transaction, partnering with the current owners including Goldman Sachs, USJ’s CEO Glenn Gumpel, Asian private-equity firm MBK Partners, and U.S. hedge fund Owl Creek Asset Management. 

     

    Comcast NBC Universal’s purchase price for the majority ownership of the theme park destination is $1.5 billion (?183 billion).

        

    Located in Osaka and featuring classic Universal attractions as well as attractions and shows specifically designed for the Japanese market, USJ opened in 2001 and has experienced continued growth in attendance and revenue.

     

    “We are excited to expand our global footprint with this wonderful theme park in Osaka and are excited by the opportunities that lie ahead in Japan and all of Asia. This investment represents a huge opportunity and commitment to creating value for our shareholders and continuing to grow internationally,” said Comcast chairman and CEO Brian L. Roberts.

     

    Acquiring majority ownership of Universal Studios Japan continues Comcast NBC Universal’s ongoing investment strategy for its US parks in Orlando and Hollywood.

     

    “We want to expand our theme park business around the world and this investment in Universal Studios Japan fits perfectly with that strategy. Our theme parks in the U.S. have performed exceptionally well and we look forward to working with our partners to achieve that success in Japan as we plan to introduce significant attractions at USJ over the next five years,” added NBC Universal CEO Steve Burke.

  • NBCU’s Fandango to acquire Brazilian online ticketing company

    NBCU’s Fandango to acquire Brazilian online ticketing company

    MUMBAI: NBC Universal’s online and mobile movie tickets company Fandango has signed an agreement with Latin American e-commerce company, B2W Companhia Digital, to purchase its entertainment ticketing subsidiary, Ingresso.com, based in Rio de Janeiro, Brazil.

     

    With more than six million registered customers, Ingresso.com is Brazil’s largest online and mobile movie ticketing service. In addition to movies, the service also sells tickets to concerts, soccer games and cultural events including the world-famous Rock in Rio music festival.

     

    The acquisition, subject to regulatory review and other customary closing conditions, is expected to close in the fourth quarter of this year.

     

    Brazil has a leading moviegoing population, accounting for 40 per cent of Latin American box office dollars in 2014, according to Rentrak. The country has seen nine continuous years of box office growth, representing the largest market in South America and the world’s 11th largest theatrical market, according to the Motion Picture Association of America. The MPAA predicts that Brazil will constitute the world’s fifth largest market by the end of 2020.

     

    “As our ongoing commitment to the domestic business continues to produce record-breaking results, we see this as an opportune moment to expand outside of the United States. We are thrilled to work with the talented Ingresso team and build upon their already successful organization.  Latin America presents the next logical growth area for Fandango, and we look forward to extending our leading online and mobile ticketing capabilities to Brazil’s entertainment fans,” said Fandango president Paul Yanover.

     

    Fandango will bring to Ingresso.com its online and mobile entertainment products, branding and marketing expertise and fast-growing international position on YouTube with Fandango Movieclips content to build an even larger presence for Ingresso.com in Brazil’s entertainment ecosystem.

     

  • Alfred Haber Television crisscrosses globe with numerous sales for its two series

    Alfred Haber Television crisscrosses globe with numerous sales for its two series

    MUMBAI: Having announced the acquisition of the two new series Dead Again (9 x 60’) and You Can’t Like Your Elbow (6 x 30’) earlier this year, Alfred Haber, President of Alfred Haber Television, Inc. (AHTI), today unveiled a number of key sales for both titles.  The sales cover every corner of the world from the UK to Africa, and from Latin America to Thailand.

     

    For Dead Again, the addictive, nine-episode series produced by Wolf Reality and Left/Right (Mob Wives) for A&E, sales include A&E (United Kingdom), NBC Universal (Germany), Planete Thalassa (France) and Foxtel (Australia). The series, which aired in primetime on A&E in the U.S., follows an elite team of detectives as they re-examine controversial and mysterious murder cases in which unresolved questions still linger…long after the verdict was reached

     

    You Can’t Lick Your Elbow, the remarkable, family-friendly series from producer Authentic Entertainment (Ace Of Cakes, Toddlers & Tiaras), has seen sales success with Discovery (CEEMEA), Rogers (Canada), Discovery (Latin America), NGC Network (India), and BEC World (Thailand). You Can’t Lick Your Elbow uses familiar, ordinary examples, brought to life with cutting-edge CGI and easy-to-understand explanations, to show viewers the amazing, uncnny and often extraordinary things of which the human body is capable. Segments reveal mind-boggling techniques and cool bodytricks people can employ to help them maneuver through their day-to-day lives. 

     

    “These are two very different, yet very successful shows as evidenced by our recent sales,” commented Haber. “Between the thrilling detective stories of Dead Again and the fascinating knowledge collected in You Can’t Lick Your Elbow, these programs are truly international in their appeal and our sales from around the globe certainly support that.”

  • Colors Infinity to launch amidst 25 city marketing blitzkrieg

    Colors Infinity to launch amidst 25 city marketing blitzkrieg

    MUMBAI: Moving towards a new horizon in the English entertainment space in the country, the soon to be launched Colors Infinity from Viacom18 stable is all set to break new ground by ushering in the growing trend of ‘Essential Viewing’ – An immersive experience of watching three continuous episodes of globally applauded narratives back to back. The channel is expected to launch by July end.

     

    The experience will be further augmented by the ‘First Indian Premiere’ of a new show every day of the week that includes critically acclaimed and multi-award winning series like Fargo, Orange Is The New Black, Better Call Saul, The Flash, amongst others. The channel has been co-curated by Karan Johar and Alia Bhatt, bringing in a great blend of finesse and insight to the channel through curating world class content.

     

    Viacom 18 Group CEO Sudhanshu Vats said, “In 2008 Viacom18 scripted the first few pages of its journey to establish its first milestone in Hindi general entertainment channel (GEC) Colors, thereafter disrupting the genre landscape. In 2015, we once again embark on a journey to recreate history, this time in the English entertainment space with Colors Infinity. Our first home grown English entertainment channel for India, through its many firsts, is all set to subvert convention in the genre through providing a consummate viewing experience.”  

     

    In unprecedented acquisition for the Indian market, the network has entered into major multi-year deals with Warner Bros. International Television Distribution, NBC Universal, Sony Pictures Television, Twentieth Century Fox, Lionsgate, MGM, BBC and Endemol Shine amongst others.

     

    Viacom18 EVP and head English entertainment Ferzad Palia said, “Colors Infinity is ready to be the absolute for the best in English language entertainment with its handpicked international content and extensive multi genre offering. Adding to the immersive experience, the innovation of facilitating essential viewing is set to be a definitive game changer through inviting newer audience and growing the viewership pie.”

     

    Palia added, “Till September, we will telecast seasons already aired in the US and update Indian viewers, and then eventually when the new series starts in the US we will have simultaneous screenings. This is something which will stop people from illegal streaming. Fresh content was unavailable to them as channels were telecasting repeats even in the primetime so they were forced to take the pirated route. No one indulges piracy for fun, it’s just that they lack options.”

     

    Launched after a thorough research spanning over 24 months, the network has roped in four brands as launch partners viz. L’Oreal, Renault, Grey Goose and Intigriti. All these four brands will have presence on the channel post launch too.

     

    The launch will be backed by high decibel marketing campaign in over 25 cities across the country. Karan Johar and Alia Bhatt will play the anchor role and every promotional strategy will be orchestrated around them. The promo featuring the Kjo and Alia Bhatt will reverberate both on digital and television. “Most of the creative, promos, packaging, graphics have been created by our in-house creative team and I am delighted that we have such an innovative team who has won many global accolades,” informed Palia.

     

    Programming

     

    1) My Kitchen Rules: Every day, at 8 pm.

     

    2) The Flash Season 1: Three back to back episodes, every Monday at 9 pm.

     

    3)The Musketeers: Three back to back episodes, every Tuesday at 9 pm.

     

    4) Forever season 1: Three back to back episodes, every Wednesday at 9pm.

     

    5) The Big C: Three back to back episodes, every Thursday 9pm.

     

    6)The Orange Is The New Black: Three back to back episodes, every Friday at 9pm.

     

    7)Better Call Saul: Three back to back episodes, every Saturday at 9 pm.

     

    8) Fargo: Three back to back episodes, every Sunday at 9 pm.  

     

    The channel will have seven day programming instead of five. Not just this, the 8pm to 12 pm slot will be the primetime slot where original content will be premiered. “Colors Infinity will strictly avoid showing repeats in primetime and will offer viewers exquisite content,” concluded Palia.

  • Viacom18 bullish on English entertainment; launches Colors Infinity

    Viacom18 bullish on English entertainment; launches Colors Infinity

    MUMBAI: The English general entertainment channel (GEC) bouquet is set to get bigger with the launch of Viacom18’s Colors Infinity. The channel is in keeping with the network’s philosophy of growing and deepening its presence in the genres it is present in. 

     

    The to be launched channel will have both standard definition (SD) and high definition (HD) feeds. With the addition of the new channel, Viacom18’s English entertainment channel bouquet will now have four offerings namely VH1, Comedy Central, Colors Infinity and Colors Infinity HD. 

     

    Even before its launch Colors Infinity has acquired 2000 hours of original content from across studios, including the likes of NBC Universal, Sony Pictures Television, Twentieth Century Fox, Lionsgate, MGM, BBC, Endemol Shine and a host of other independent and small studios. “These are all multiyear deals,” said Viacom18 EVP head – English Entertainment Ferzad Palia. 

     

    Additionally, the new English GEC, which has spent close to a year and a half in curating content, will have shows from across genres like drama, comedy, super heroes, talent, lifestyle, action, mini-series and live events. 

     

    The channel, which aims to target approximately 30 million consumers countrywide, at the time of launch, is using a phase wise marketing strategy. The first of this is informing consumers about the channel by using the well entrenched ‘Colors’ brand name. 

     

    “Colors by far is perceived as a successful media brand. It is also known for its disruptive and progressive programming and that is what Colors Infinity is about. The idea behind using the name Colors Infinity is to build a broader base of people,” informed Palia. 

     

    For Viacom18 group CEO Sudhanshu Vats, using the brand Colors is part of the network’s GEC approach. “If you look at our Hindi or regional channels, it is under the ‘Colors’ brand. So from a strategic perspective it fits well. Also Colors is a very urban and inspirational brand. It will have a lot of resonance and appeal with the right set of people that we want to reach out to,” said Vats. 

     

    The channel has roped in director-producer Karan Johar and actor Alia Bhatt as co-curators. The duo has worked closely with the channel on picking shows and giving insights on the programming. “Together the two of them have over 10 million Twitter followers and through them we plan to build relevance with a greater audience. They will be integrally involved with the marketing campaign as well,” said Palia. 

     

    Colors Infinity will not charge premium subscription for the channel and will work on the advertisement and subscription model. “The Indian market has so far not grown enough for channels to make money with just subscription. In the future, may be after cable starts billing and there is addressability, it may start generating revenue,” opined Vats. 

     

    Targeting viewers in the age group of 15 – 50 years, Colors Infinity is looking at a distinctive scheduling strategy. “It will be disruptive and something which has never been done in India before. We are mapping it the way a consumer would want to watch it,” informed Palia, adding that the content will comprise Indian television premieres. 

     

    While the network already has highly targeted channels in VH1, which is a pure music and lifestyle channel and Comedy Central, a comedy channel, both Vats and Palia feel that the viewership will not get cannibalized. “We are not here to eat from a small pie, we are here to grow the pie. In fact with time, we will have more switchers from competition channels than our own cluster,” asserted Palia.

     

    According to Vats, all the channels will co-exist. “Colors Infinity is a GEC, while the others are sharply targeted channels. This is how it is worldwide,” added Vats.  

     

    The growing English entertainment genre 

     

    According to Palia, this is the ‘Golden age of television.’ “The production of TV series in the US and UK was up 400 per cent in the past five years. This can be attributed to the growth of cable, over the top services and the aggressive nature of networks in the US and UK,” he opined. 

     

    Talking from an Indian market perspective, Palia said that English entertainment in India was now becoming main stream. “Close to 250 million Indians now are English literates, whereas 10 years ago, it was close to 25-30 million. It is the second language to most now,” he pointed out. 

     

    English entertainment genre currently reaches to 200 million consumers. “We have added 20 per cent viewers in the genre post DAS and our advertising revenue over the past five years has grown by 60 per cent. Not just this, close to 60 per cent of English entertainment consumption is coming from non-metros,” informed Palia. 

     

    Palia is of the opinion that from an advertiser’s perspective, the genre is lucrative as English entertainment consumers have 35 per cent higher disposable income. 

     

    Addressing the issue of ‘torent’ing, Palia said that the habit has been inculcated by broadcasters themselves. “We have forced consumers to go and download. Research shows that people do not download just because they want to watch content immediately after the US launch. The real reason is that they aren’t getting enough content that they should be. There is plethora of content that is not even brought to the country,” he said.

     

    While the shows are first aired in the US in September and go on till May, Palia points out that in India viewers have to wait for the first episode till May. “There is a huge time gap and through our new offering, we will be taking care of this aspect,” he informed. 

     

    According to Palia, the English entertainment genre has never really invited a much larger base of people who understand the language and are watching the content in their personal space and not on TV. “We want to be that channel, which takes the category to a larger audience. We are not going mass, but since English is now main stream, we are reaching out to a wider base,” concluded Palia.

  • Universal Pictures to restore 15 classic silent films over the next four years

    Universal Pictures to restore 15 classic silent films over the next four years

    MUMBAI: Building on its 2012 Centennial celebration, Universal Pictures will be restoring some of the world’s most classic silent films.

     

    During the next four years, the studio will restore approximately 15 silent film titles from Universal’s early years. The complete list of films is still in development in collaboration with outside film historians, institutions, and preservationists. Partners and collaborators in the initiative include the Library of Congress, The Film Foundation, Academy of Motion Picture Arts & Sciences, George Eastman House, UCLA Film & Television Archives, Association of Moving Image Archivists, and Hollywood Heritage.

     

    The announcement was made at the Opening Night of the San Francisco Silent Film Festival. 

     

    “The company understands its responsibility and need to preserve our silent film legacy. This early art of filmmaking is the foundation on which Universal Pictures was built more than 100 years ago, and it’s important we honor our rich history,” said NBC Universal vice chairman Ron Meyer.

     

    The silent film era is best known for instantly recognizable storylines, settings, costumes, and characters. Most early silent films were accompanied by a full-fledged orchestra, organist or pianist to provide musical background and to underscore the narrative on the screen. Some even included live actors or narrators. The major genre emphasis was on swashbucklers, historical extravaganzas, and melodramas, although all kinds of films were being produced throughout the decade.

     

    According to a report released by the Library of Congress, 70 per cent of the America’s silent feature films have been completely lost. Universal’s restoration team will work with archives and collectors worldwide to secure copies of prints and additional elements needed to complete this restoration effort and augment the silent film titles currently in its library.

     

    Universal Pictures silent film restoration initiative builds on the company’s ongoing restoration commitment. Since the program was first announced in 2012, nearly 30 titles have been restored and 25 more titles are expected to be restored by 2017. Fully restored titles to date include All Quiet on the Western Front, The Birds, Buck Privates, Dracula (1931), Dracula Spanish (1931), Frankenstein, Jaws, Schindler’s List, Out of Africa, Pillow Talk, Bride of Frankenstein, The Sting, To Kill a Mockingbird, Touch of Evil, Double Indemnity, High Plains Drifter, and Holiday Inn.

  • NBC Universal elevates Anand Kini as CFO

    NBC Universal elevates Anand Kini as CFO

    MUMBAI: NBC Universal has promoted Anand Kini as its chief financial officer.

     

    Most recently, Kini served as executive vice president, strategy and business insights and since February 2015 as interim CFO.

     

    Kini helped shape NBC Universal’s long term strategic direction, led the data-driven consumer and business insights division and the Information Technology group.In addition to his role as CFO, he will maintain responsibility for these other areas.He remains a member of the Executive Committee and reports to NBC Universal CEO Steve Burke.

     

    “Anand is a very important member of our executive team and his contributions have played a key role in our success. His business sense and his strategic vision have been invaluable.I know that he will bring that same focus and commitment to this new position,” said Burke.

     

    Prior to joining NBC Universal in July 2011, Kini was with Comcast Cable Communications as senior vice president, financial planning and analysis. In that role he managed Comcast Cable’s forecasting, annual budget, and three-year planning process, and served as a key analytical resource to help the cable businesses identify emerging market trends, evaluate competitive positioning and determine attractive growth strategies to drive strong financial returns.

     

    He joined Comcast in 2007 from Activision Blizzard, a video game publisher in Southern Calif., where he was vice president of financial planning. Prior to that, he was director of financial planning for Disney’s Parks and Resorts division.

  • Q3-2014: Rating’s lower Comcast’s NBC Cable Networks Ad Rev; Cable Communications Ad Rev up

    Q3-2014: Rating’s lower Comcast’s NBC Cable Networks Ad Rev; Cable Communications Ad Rev up

    BENGALURU: A few days ago, Comcast Corporation (Comcast) reported a 4 per cent y-o-y growth in consolidated revenue (TR) in Q3-2014 to $ 16,791 million from US$ 16151 million in Q3-2013. However, q-o-q, the company’s revenue was almost flat with a fractional drop of 0.3 per cent from $ 16,844 million.

    As per the company’s press release, it receives advertisement revenue (Ad Rev) from two business streams:  Cable Communications and its subsidiary NBC Universal.

    Ad revenues from two segments that contribute to NBC Universal’s ad revenues include Cable Networks and Broadcast Television while NBC Universal’s other segments includes Filmed Entertainment and Theme Parks.

    Advertisement Revenue dropped in the earlier quarter Q2-2014 by 14.1 per cent as compared to Q1-2014 and it has dropped further q-o-q by 8.4 per cent in Q3-2014. Over the 11 quarter period (period under consideration) starting Q1-2012 (quarter ended 31 March, 2012) till Q3-2014 (quarter ended 30 September, 2014 or current quarter), the company’s Total advertisement revenue (Ad Rev) shows a downward linear trend in terms of percentage of TR.

    However during the period under consideration, the company’s Ad Rev in absolute dollar terms shows a slight upward trend, as do the Ad Rev from Comcast’s Cable Communication as well as NBC Universal business streams.

    For Q3-2014, as mentioned above, the company’s Ad Rev was down 8.4 per cent to $ 2,556 million (15.2 per cent of TR) from $ 2,789 million (16.6 per cent of TR) in Q2-2014, but was 3.1 per cent more than the $ 2,480 million (15.4 per cent of TR) in the corresponding year ago quarter.

    Over the 11 quarters under consideration, the company’s average Ad Rev in terms of percentage of Comcast TR has been reported at 17.3 per cent.  As mentioned above, the company’s Ad Rev in terms of percentage of TR was much lower during Q3-2014 at 15.2 per cent of TR and at 16.6 per cent of TR during Q2-2014.

    Also, for the period under consideration, the highest contribution by Ad Rev in terms of percentage of TR as well as absolute value in dollars was in Q3-12 at $ 3,403 million (20.6 per cent of TR), while the lowest figure for the same period was in Q1-2013 at 14.8 per cent of TR and $ 2,268 million. Please refer to figure 1 for details of Comcast’s Ad Rev during the eleven quarters under consideration.

    Cable Communications Ad Rev

    As shown in figure 1, Ad Rev from Cable Communications is at a lesser fraction of the company’s Total Ad Rev, averaging around 20.3 per cent of the company’s total Ad Rev during the period under consideration.  This trend however seems to be changing with Cable Communications Ad Rev increasing for the second quarter in a row. In Q3-2014, Ad Rev from Cable Communications was 1.3 per cent higher at $ 607 million (5.5 per cent of Cable Communications TR, 23.7 per cent of Comcast Ad Rev, 3.6 per cent of Comcast TR) than the $ 599 million in Q2-2014 (5.4 per cent of Cable Communications TR, 21.5 per cent of Comcast Ad Rev, 3.6 per cent of Comcast TR) and 12.2 per cent more than the $ 541million in Q3-2013 (5.2 per cent of Cable Communications TR, 21.8 per cent of Comcast Ad Rev, 3.3 per cent of Comcast TR).

    Impact of NBC Universal Ad Revenue on Comcast Revenue

    NBC Universal Ad Rev contributes around 80 per cent to Comcast’s Ad Rev. Obviously, a drop in Ad Rev by both or either of these NBC Universal’s segments will affect Comcast Ad Rev and Comcast TR.

    About 60 per cent of NBC Universal’s Ad Rev comes from Broadcast Television. Please refer to figure 2 below for the breakup of NBC Universal’s Ad Rev break-up. In Q3-2014, both of NBC Universal’s segments’ Ad Revs have de-grown. 

    NBC reported a fall of 11 per cent in Ad Rev in Q3-2014 to $ 1,949 million (32.9 per cent of NBC Universal TR, 76.3 per cent of Comcast Ad Rev, 11.6 per cent of Comcast TR) from $ 2,190 in Q2-2014 (36.4 per cent of NBC Universal TR, 78.5 per cent of Comcast Ad Rev, 13 per cent of Comcast TR), but was just 0.5 per cent more than $ 1,939 million in Q3-2013 (33.1 per cent of NBC Universal TR, 78.2 per cent of Comcast Ad Rev, 12 per cent of Comcast TR).

    Cable Networks, on the other hand reported a bigger drop of 15.8 per cent in their Ad Rev reported at $ 796 million (40.8 per cent of NBC Universal Ad Rev, 13.4 per cent of NBC Universal TR, 31.1 per cent of Comcast Ad Rev, 4.4 per cent of Comcast TR) from $ 945 million in Q2-2014 (43.2 per cent of NBC Universal Ad Rev, 15.7 per cent of NBC Universal TR, 33.9 per cent of Comcast Ad Rev and 5.6 per cent of Comcast TR), and 4.7 per cent less than the $ 835 million in Q3-2013 (43.1 per cent of NBC Universal Ad Rev, 14.3 per cent of NBC Universal TR, 33.7 per cent of Comcast Ad Rev and 5.2 per cent of Comcast TR). The company attributes lower Ad Rev from this segment to a drop in ratings.

    In Q3-2014, Broadcast TV Ad Rev fell 7.4 per cent in Q3-2014 to $ 1,153 million (59.2 per cent of NBC Universal Ad Rev, 19.5 per cent of NBC Universal TR, 45.1 per cent of Comcast Ad Rev and 6.9 per cent of Comcast TR) from $ 1,245 million in Q2-2014 (56.8 per cent of NBC Universal Ad Rev, 20.7 per cent of NBC Universal TR, 44.6 per cent of Comcast Ad Rev and 7.4 per cent of Comcast TR), but 4.4 per cent more than $ 1,104 million  in Q3-2013(59.2 per cent of NBC Universal Ad Rev, 19.5 per cent of NBC Universal TR, 45.1 per cent of Comcast Ad Rev and 6.9 per cent of Comcast TR).

  • Q3-2014: Comcast income up 50 per cent y-o-y; NBC Universal’s posts TV Broadcasting strong results

    Q3-2014: Comcast income up 50 per cent y-o-y; NBC Universal’s posts TV Broadcasting strong results

    BENGALURU:  Comcast Corporation (Comcast) reported a 4 per cent y-o-y growth in consolidated revenue (TR) in Q3-2014 to $ 16,791 million from $ 16,151 million in Q3-2013. However, q-o-q, the company’s revenue was almost flat with a fractional drop of 0.3 per cent from $ 16,844 million.

     

    Talking about the latest earnings, Comcast chairman and CEO Brian L Roberts said, “I am pleased to report strong revenue, operating cash flow and free cash flow growth for the third quarter of 2014. Cable results highlight the consistent strength of high-speed Internet and business services, and video customer results were the best for a third quarter in seven years. We continue to focus on innovation and providing the best experience for our customers, and we are thrilled with the response to our superior X1 platform, which recently reached five million boxes deployed. At NBC Universal, we had another outstanding quarter with double-digit operating cash flow growth, driven by ratings momentum at NBC Broadcast and the successful opening of The Wizarding World of Harry Potter-Diagon Alley in Orlando.”

     

    Comcast’s consolidated operating expenditure (Expenditure) in Q3-2014 at $ 11,087 million was 2.5 per cent more than the $ 10,821 million in Q3-2013 and 0.4 per cent more than the $ 11,040 million in Q2-2014.

     

    Comcast’s Earnings per Share (EPS) for the third quarter of 2014 was $ 0.99, a 52.3 per cent increase from the $ 0.65 reported in the third quarter of 2013. EPS for Q2-2014 was $ 0.76, (excluding gain on a sale and transaction-related costs, EPS in Q2-2014 was $0.75). Excluding income tax adjustments and transaction-related costs in Q3-2014, EPS increased 12.3 per cent to $ 0.73.

     

    The company’s net income after taxes, attributable to Comcast in Q3-2014 increased 49.7 per cent to $ 2,592 million from $ 1,732 million in Q3-2013. Net Income attributable to Comcast Corporation in Q2-2014 was $ 1,992 million.

     

    Comcast Business Streams

     

    Two main business streams contribute to Comcast: Cable Communications (between 60 and 65 per cent of TR) and NBC Universal (between 35 and 40 per cent of TR). 

     

    Video, high speed internet, voice, business services and other businesses are a part of Cable Communications. Cable Communications Video Revenue consists of analogue, digital, premium, pay-per-view, equipment services and residential video installation revenue. Other Cable Communications Revenue include franchise and other regulatory fees, digital media centre, commissions from electronic retailing networks and fees for other services.

     

    NBC Universal comprises of Cable Networks, Broadcast Television, Filmed Entertainment and Theme Parks businesses.  

     

    Cable Communications

     

    Overall, Cable Communications reported a 5.2 per cent growth in Q3-2014 to $ 11,041 million dollars (65.8 per cent of TR) from $ 10,491 million (65 per cent of TR) in Q3-2013 and was almost flat (grew by 0.1 per cent) from the $ 11029 million (65.5 per cent of TR) in Q2-2014.

     

    Cable Communications Expenditure in Q3-2014 at $ 6,577 million was 5.3 per cent more than the $ 6,245 million in Q3-2013 and 1.7 per cent more quarter on quarter than $ 6,465 million.

     

    Here is what the company has to say about Cable Communications:

     

    ‘Customer relationships increased by 82,000 to 26.9 million during the third quarter of 2014, more than three-times the customer relationship net additions in the third quarter of 2013. At the end of the third quarter, penetration of our triple product customers increased to 36 per cent compared to 34 per cent in the third quarter of 2013. High-speed Internet customer net additions improved versus last year and were the strongest for a third quarter in five years. Video customer net losses improved 36 per cent year-over-year and were the best result for a third quarter in seven years. Voice net additions slowed, reflecting a focus on double play during the back-to-school season, as well as X1 availability that was more focused on triple play customers last year, making for a difficult comparison.’

     

    NBC Universal:

     

    Comcast’s NBC Universal grew 1.2 per cent in Q3-2014 to $ 5,921 million (35.3 per cent of TR) from $ 5,851 million (36.2 per cent of TR) in Q3-2013, but shrank 1.6 per cent from $ 6,016 million (35.7 per cent of TR) in Q2-2014. Operating Cash Flow increased 13.3 per cent in Q3-2014 to $ 1.4 billion as compared to $ 1.3 billion in Q3-2013, driven by strong results at Broadcast Television and Theme Parks, says the company.

     

    NBC Universal Expenditure in Q3-2014 at $ 4,505 million was 6.6 per cent lower than the $ 4,601 million in Q3-2013 and 1.7 per cent lower than the $ 4,582 million in Q2-2014.

     

     

    Cable Networks:

     

    NBC Universal’s Cable Networks’ revenue in Q3-2014 at $ 2,255 million was 0.7 per cent more than $ 2,239 million in Q3-2013, but 8.9 per cent lower than $ 2,476 million reported for Q2-2014.

     

    Cable Networks’ expenditure in Q3-2014 at $ 1,387 million was 0.1 per cent more than the $ 1,386 million for the corresponding quarter year ago and 11.2 per cent lower than the $ 1,562 million in Q2-2014.

     

    Advertising revenue from Cable Networks shrank 4.7 per cent to $ 796 million in Q3-2014 from $ 835 million in Q3-2013 and was 15.8 per cent lower than $ 945 million in Q2-2014.

     

    Cable Networks’ distribution revenue grew 5.1 per cent in Q3-2014 to $ 1,281 million in Q3-2014 from $ 1,219 million in Q3-2013 and grew 0.9 per cent from $ 1,270 million in Q2-2014.

     

    Its content licensing and other revenue shrank 3.8 per cent to $ 178 million in Q3-2014 from $ 185 million in Q3-2013 and fell a massive 31.8 per cent from $ 261 million in the immediate trailing quarter.

     

     

    Television Broadcasting:

     

    NBC Universal’s Television Broadcasting revenue grew 7.7 per cent to $ 1,770 million in the current quarter from $ 1,644 million in Q3-2013, but was 2.5 per cent less than the $ 1,816 million in Q2-2014.

     

    Television Broadcasting Expenditure in Q3-2014 at $ 1,628 million was 1.1 per cent more than the $ 1,610 million in Q3-2013 and 3.3 per cent more than the $ 1,576 million in Q2-2014.

     

    Television Broadcasting advertising revenue in Q3-2014 grew 4.4 per cent to $ 1,153 million from $ 1,104 million in Q3-2013, but was 7.4 per cent lower than the $ 1,245 million in Q2-2014. Broadcast Television content licensing revenue grew by 13.2 per cent from $ 355 million in Q3- 2013 to $ 402 million in the current quarter and was 16.9 per cent higher than $ 344 million in Q2-2014. Other revenue for Broadcast Television grew 16.2 per cent to $ 215 million in Q3-2014 from $ 185 million in Q3-2013, but was 5.3 per cent lower than $ 227 million in Q2-2014.

     

    Filmed Entertainment:

     

    NBC Universal’s Filmed Entertainment revenue in Q3-2014 was 15.3 per cent lower at $ 1,186 million from $ 1,400 million in Q3-2013 and 0.9 per cent more than $ 1,176 million in Q2-2014. The company attributes this drop to the tough competition with the strong box office performance of Despicable me 2 in Q3-2013.

     

    Filmed Entertainment Expenditure in Q3-2014 at $ 1,035 million was 14.5 per cent lower than the $ 1,211 million in Q3-2013, but 5.5 per cent higher than the $ 981 million in Q2-2014.

     

    Theatrical revenue in Q3-2014 at $ 265 million was 52.6 per cent lower than the $ 550 million in Q3-2013, and 35.9 per cent more than $ 195 million in Q2-2014. Filmed Entertainment content licensing revenue at $ 439 million was 15.8 per cent more than $ 355 million in Q3-2013 but 5 per cent lower than the $ 462 million in Q2-2014.

     

    Home Entertainment revenue at $ 321 million in Q3-2014 fell 10.6 per cent from $ 359 million in Q3-2013 and was 11.8 per cent less than the $ 364 million in Q2-2014. Filmed Entertainment’s other revenue at US$ 161 million in Q3-2014 was 58.3 per cent more than the $ 103 million in Q3-2013 and was 3.9 per cent more than the $ 159 million in Q2-2014.

     

    Theme Parks

     

    NBC Universal’s Theme Park revenue at $ 786 million was 18.9 per cent more than the $ 661 million in Q3-2013 and 27.8 per cent more than the $ 615 million in Q2-2014.

     

    Theme Park Expenditure in Q3-2014 at $ 384 million was 20.8 per cent more than the $ 318 million in Q3-2013 and 3.5 per cent more than the $ 371 million in Q2-2014.

     

    Click here for earnings presentation

     

    Click here for financial results

  • NBC is set to showcase elite football

    NBC is set to showcase elite football

    MUMBAI: Fox Sports 1, Rupert Murdoch’s challenge to ESPN, will face tough competition from NBC Universal as it opens the first season of its three-year, $250 million deal with England’s Premier League, which will show every game on television or on digital streams.

     

    NBC is augmenting the games, which are being produced by the league, with its announcers, saving on costs.

     

    “It’s a blue-chip property that has not been exploited in the way that we will take advantage of it,” said NBC Sports president programming Jon Miller, which is being rebranded as NBCSN. “It provides all 380 games to every fan at no additional cost, which has never been done before.”

     

    True, but the 184 games that will be digitally streamed free on Premier League Extra Time will be accessible only to those who pay for cable, satellite or telephone company subscriptions that include NBCSN. The strategy underscores how important NBCSN is to its parent company’s sports future and how media companies like NBC Universal want to keep subscribers from cutting their cords to pay-TV providers. Extra Time is widely available; the only major cable provider that has not signed up is Charter.

     

    Those cable, satellite and telephone subscriptions will also be required for laptop and smartphone users looking to watch the full Premier League schedule on NBC Sports Live Extra, the TV Everywhere platform.

     

    In all, NBCSN will carry 154 games, the surest sign that the deal was structured to benefit the cable network by filling a lot of time slots with elite soccer, with replays of the day’s and week’s best matches, and studio programming. In addition to Extra Time’s 184 games, NBC will broadcast 21 games, CNBC eight, USA six, and the remaining seven have not been assigned.