ITV

Tag: Sony Corporation

  • Sony Entertainment CEO Lynton stepping down; Hirai to take on more responsibility

    Sony Entertainment CEO Lynton stepping down; Hirai to take on more responsibility

    MUMBAI: Sony Entertainment CEO Michael Lynton will on 2 February reportedly step down as he plans to focus on his role as the chairman of the board of Snap Inc., owner of Snapchat.

    The entertainment industry is undergoing major transformative changes, and Lynton’s expertise in the media and entertainment space had been invaluable. Lynton implemented structural and management changes at Sony which would help its music business sustain its good momentum, and the pictures business to set the path for restoring profitability, although Sony recognises the challenges in the motion-pictures business would take some time.

    Lynton will however stay on as co-CEO of Sony Entertainment for six months, overseeing the music and pictures businesses, and as the CEO of Sony Corporation of America and Sony Pictures Entertainment, so as to help a smooth change-over, the World Screen has reported.

    Tokyo-based Sony Corporation president and CEO Kazuo Hirai is scheduled to take on an enhanced hands-on role within the company’s television, movie and music division.

    Lynton has said that it had been an extraordinary 13 years and an honour to work with Sony’s some of the most creative and talented people in the entertainment space. He said he had been involved with Snapchat since its early days, and, given its rise since, decided the time was ripe to focus on his role as the Snap Inc. board chairman.

    Hirai said he wanted to thank Lynton for his strong leadership at Sony throughout his illustrious career.

  • Pictures, Music and Financial Services prop Sony’s sagging Q2-17 revenue

    Pictures, Music and Financial Services prop Sony’s sagging Q2-17 revenue

    BENGALURU: Sony Corporation (Sony) reported 10.8 per cent drop in sales and operating (sales) revenue for the quarter ended 30 September 2016 (Q2-17, current quarter) vis-à-vis the corresponding year ago quarter. Sony reported sales of ¥1,688.9 billion for the current quarter as compared to ¥1,892.7 billion in Q2-16. The company says that the decrease was mainly due to the impact of foreign exchange rates.

    On a constant currency basis, sales were essentially flat year-on-year, due to a decrease in Mobile Communications (MC) segment sales reflecting a significant decrease in smartphone unit sales, substantially offset by an increase in revenues in the Financial Services segment, as well as an increase in sales in the Pictures segment. The company’s Music segment also reported a year-over-year (y-o-y) improvement in revenues for the current quarter.

    Operating income decreased ¥42.3 billion year-on-year to ¥45.7 billion. This decrease was mainly due to the deterioration of operating results in the Semiconductors and Components segments, partially offset by improvements in the Pictures and MC segments says the Sony. Net income attributable to Sony’s stockholders decreased ¥28.7 billion y-o-y to ¥4.8 billion.

    Business segments

    Mobile Communications

    Sales decreased 39.6 per cent y-o-y in Q2-17 (a 34 per cent decrease on a constant currency basis) to ¥168.8 billion from ¥279.2 billion. The company says that this decrease was mainly due to a reduction in mid-range smartphone unit sales, as well as a reduction in smartphone unit sales in unprofitable regions where downsizing measures were implemented during the previous fiscal year, partially offset by an improvement in the product mix of smartphones as a result of a concentration on high value-added models.

    Operating income of ¥3.7 billion was recorded, compared to an operating loss of ¥20.6 billion recorded in the same quarter of the previous fiscal year. Despite the effect of the above-mentioned decrease in sales, profitability improved significantly due to cost reductions, mainly resulting from the benefit of restructuring initiatives, an improvement in product mix, the positive impact of foreign exchange rates and a decrease in restructuring charges. During the current quarter, there was a ¥5.4 billion positive impact from foreign exchange rate fluctuations (net of the impact of foreign exchange hedging).

    Imaging Products & Solutions (IP&S)

    The segment’s sales decreased 25.2 per cent y-o-y (a 14 per cent decrease on a constant currency basis) to ¥135.4 billion from ¥180.9 billion. This decrease in sales was mainly due to lower sales of Still and Video Cameras, primarily reflecting a contraction of the market and the difficulty of procuring components due to the 2016 Kumamoto Earthquakes, as well as the impact of foreign exchange rates, partially offset by an improvement in the product mix of Still and Video Cameras, reflecting a shift to high value-added models.

    Operating income decreased ¥8.2 billion y-o-y to ¥14.9 billion from ¥23.9 billion. This decrease was mainly due to the impact of the above-mentioned decrease in sales and the negative impact of foreign exchange rates, partially offset by such factors as the above-mentioned improvement in product mix and a reduction of fixed costs. During the current quarter, there was a ¥9.5 billion negative impact from foreign exchange rate fluctuations.

    Home Entertainment & Sound (HE&S)

    HE&S Sales decreased 18.7 per cent y-o-y (a 5 per cent decrease on a constant currency basis) to ¥234.9 billion. This was primarily due to the impact of foreign exchange rates and a decrease in home audio and video unit sales reflecting a contraction of the market.
    Operating income increased ¥1.8 billion y-o-y in Q2-17 to ¥17.6 billion yen from ¥15.8 billion. This increase was primarily due to an improvement in product mix reflecting a shift to high value-added models and cost reductions, partially offset by the negative impact of foreign exchange rates as well as the above-mentioned decrease in sales. During the current quarter, there was a ¥6.0 billion negative impact from foreign exchange rate fluctuations.

    Semiconductors

    Semiconductors sales in Q2-17 decreased 5.0 per cent y-o-y (a 12 per cent increase on a constant currency basis) to ¥193.7 billion from ¥203.9 billion. This decrease was primarily due to a decrease in sales of image sensors, reflecting the impact of foreign exchange rates, partially offset by an increase in the unit sales of image sensors for mobile products. Sales to external customers increased 1.1 per cent y-o-y.

    Operating loss of ¥4.2 billion) was recorded, compared to operating income of ¥34.1 billion recorded in the same quarter of the previous fiscal year. This deterioration was primarily due to the negative impact of foreign exchange rates and ¥9.4 billion in inventory write-downs of certain image sensors for mobile products, partially offset by the above-mentioned increase in the unit sales of image sensors for mobile products. Operating loss in the current quarter includes the net expense of 1.2 billion yen resulting from the 2016 Kumamoto Earthquakes. During the current quarter, there was a ¥19.7 billion negative impact from foreign exchange rate fluctuations.

    Components

    Sales decreased 23.7 per cent y-o-y (an 11 per cent decrease on a constant currency basis) to ¥46.7 billion. This decrease was primarily due to the impact of foreign exchange rates and a decrease in sales in the battery business due to increasingly competitive markets.
    Operating loss increased ¥35.1 billion y-o-y to ¥36.6 billion. This increase was primarily due to a ¥32.8 billion yen impairment charge related to the planned transfer of the battery business. During the current quarter, there was a ¥1.6 billion negative impact from foreign exchange rate fluctuations.

    Pictures

    Pictures sales increased 4.6 per cent y-o-y (a 25 per cent increase on a U.S. dollar basis) to ¥192.1 billion. The increase in sales on a US dollar basis was due to higher sales for Motion Pictures, Television Productions and Media Networks. The increase in Motion Pictures sales was primarily due to higher theatrical revenues from films released in the current quarter including Ghostbusters, Sausage Party and Don’t Breathe. Sales in Television Productions increased significantly due to higher subscription video-on-demand licensing revenues for The Crown and The Get Down. Media Networks sales increased primarily due to higher advertising and subscription revenues in India, Europe and Latin America.

    Operating income of ¥3.2 billion was recorded, compared to an operating loss of ¥22.5 billion recorded in the same quarter of the previous fiscal year. This significant improvement in operating results was primarily due to the above-mentioned increase in sales.

    Music

    Music Sales increased 8.0 per cent y-o-y (a 19 per cent increase on a constant currency basis) to ¥150.2 billion from ¥139.1 billion. The increase in sales was primarily due to an increase in sales of Visual Media and Platform as well as Recorded Music, partially offset by the negative impact of the appreciation of the yen against the US dollar. Visual Media and Platform sales increased due to the strong performance of Fate/Grand Order, a game application for mobile devices. Recorded Music sales increased primarily due to an increase in digital streaming revenues. Best-selling titles included Celine Dion’s Encore un soir, Nogizaka46’s Hadashi de Summer and Kana Nishino’s Just Love.

    Operating income increased ¥2.3 billion y-o-y to ¥16.5 billion. This increase was primarily due to the higher sales of Recorded Music as well as Visual Media and Platform above, partially offset by the negative impact of the appreciation of the yen against the US dollar.

    Financial Services

    Financial services revenue increased 23.6 per cent yo-y to ¥260.5 billion primarily due to a significant increase in revenue at Sony Life. Revenue at Sony Life increased 29.9 per cent y-o-y to ¥230.8 billion due to an improvement in investment performance in the separate account. This improvement was mainly due to a rise in the Japanese stock market during the current quarter, as compared with a decline in the same quarter of the previous fiscal year.

    Operating income decreased ¥7.6 billion y-o-y to ¥33.6 billion yen. This decrease was mainly due to a foreign exchange loss incurred at Sony Bank on foreign currency-denominated customer deposits compared to a gain in the same quarter of the previous fiscal year. Operating income at Sony Life decreased ¥3.7 billion y-o-y to ¥31.0 billion mainly due to a decline in net gains on sales of securities in the general account.

  • Pictures, Music and Financial Services prop Sony’s sagging Q2-17 revenue

    Pictures, Music and Financial Services prop Sony’s sagging Q2-17 revenue

    BENGALURU: Sony Corporation (Sony) reported 10.8 per cent drop in sales and operating (sales) revenue for the quarter ended 30 September 2016 (Q2-17, current quarter) vis-à-vis the corresponding year ago quarter. Sony reported sales of ¥1,688.9 billion for the current quarter as compared to ¥1,892.7 billion in Q2-16. The company says that the decrease was mainly due to the impact of foreign exchange rates.

    On a constant currency basis, sales were essentially flat year-on-year, due to a decrease in Mobile Communications (MC) segment sales reflecting a significant decrease in smartphone unit sales, substantially offset by an increase in revenues in the Financial Services segment, as well as an increase in sales in the Pictures segment. The company’s Music segment also reported a year-over-year (y-o-y) improvement in revenues for the current quarter.

    Operating income decreased ¥42.3 billion year-on-year to ¥45.7 billion. This decrease was mainly due to the deterioration of operating results in the Semiconductors and Components segments, partially offset by improvements in the Pictures and MC segments says the Sony. Net income attributable to Sony’s stockholders decreased ¥28.7 billion y-o-y to ¥4.8 billion.

    Business segments

    Mobile Communications

    Sales decreased 39.6 per cent y-o-y in Q2-17 (a 34 per cent decrease on a constant currency basis) to ¥168.8 billion from ¥279.2 billion. The company says that this decrease was mainly due to a reduction in mid-range smartphone unit sales, as well as a reduction in smartphone unit sales in unprofitable regions where downsizing measures were implemented during the previous fiscal year, partially offset by an improvement in the product mix of smartphones as a result of a concentration on high value-added models.

    Operating income of ¥3.7 billion was recorded, compared to an operating loss of ¥20.6 billion recorded in the same quarter of the previous fiscal year. Despite the effect of the above-mentioned decrease in sales, profitability improved significantly due to cost reductions, mainly resulting from the benefit of restructuring initiatives, an improvement in product mix, the positive impact of foreign exchange rates and a decrease in restructuring charges. During the current quarter, there was a ¥5.4 billion positive impact from foreign exchange rate fluctuations (net of the impact of foreign exchange hedging).

    Imaging Products & Solutions (IP&S)

    The segment’s sales decreased 25.2 per cent y-o-y (a 14 per cent decrease on a constant currency basis) to ¥135.4 billion from ¥180.9 billion. This decrease in sales was mainly due to lower sales of Still and Video Cameras, primarily reflecting a contraction of the market and the difficulty of procuring components due to the 2016 Kumamoto Earthquakes, as well as the impact of foreign exchange rates, partially offset by an improvement in the product mix of Still and Video Cameras, reflecting a shift to high value-added models.

    Operating income decreased ¥8.2 billion y-o-y to ¥14.9 billion from ¥23.9 billion. This decrease was mainly due to the impact of the above-mentioned decrease in sales and the negative impact of foreign exchange rates, partially offset by such factors as the above-mentioned improvement in product mix and a reduction of fixed costs. During the current quarter, there was a ¥9.5 billion negative impact from foreign exchange rate fluctuations.

    Home Entertainment & Sound (HE&S)

    HE&S Sales decreased 18.7 per cent y-o-y (a 5 per cent decrease on a constant currency basis) to ¥234.9 billion. This was primarily due to the impact of foreign exchange rates and a decrease in home audio and video unit sales reflecting a contraction of the market.
    Operating income increased ¥1.8 billion y-o-y in Q2-17 to ¥17.6 billion yen from ¥15.8 billion. This increase was primarily due to an improvement in product mix reflecting a shift to high value-added models and cost reductions, partially offset by the negative impact of foreign exchange rates as well as the above-mentioned decrease in sales. During the current quarter, there was a ¥6.0 billion negative impact from foreign exchange rate fluctuations.

    Semiconductors

    Semiconductors sales in Q2-17 decreased 5.0 per cent y-o-y (a 12 per cent increase on a constant currency basis) to ¥193.7 billion from ¥203.9 billion. This decrease was primarily due to a decrease in sales of image sensors, reflecting the impact of foreign exchange rates, partially offset by an increase in the unit sales of image sensors for mobile products. Sales to external customers increased 1.1 per cent y-o-y.

    Operating loss of ¥4.2 billion) was recorded, compared to operating income of ¥34.1 billion recorded in the same quarter of the previous fiscal year. This deterioration was primarily due to the negative impact of foreign exchange rates and ¥9.4 billion in inventory write-downs of certain image sensors for mobile products, partially offset by the above-mentioned increase in the unit sales of image sensors for mobile products. Operating loss in the current quarter includes the net expense of 1.2 billion yen resulting from the 2016 Kumamoto Earthquakes. During the current quarter, there was a ¥19.7 billion negative impact from foreign exchange rate fluctuations.

    Components

    Sales decreased 23.7 per cent y-o-y (an 11 per cent decrease on a constant currency basis) to ¥46.7 billion. This decrease was primarily due to the impact of foreign exchange rates and a decrease in sales in the battery business due to increasingly competitive markets.
    Operating loss increased ¥35.1 billion y-o-y to ¥36.6 billion. This increase was primarily due to a ¥32.8 billion yen impairment charge related to the planned transfer of the battery business. During the current quarter, there was a ¥1.6 billion negative impact from foreign exchange rate fluctuations.

    Pictures

    Pictures sales increased 4.6 per cent y-o-y (a 25 per cent increase on a U.S. dollar basis) to ¥192.1 billion. The increase in sales on a US dollar basis was due to higher sales for Motion Pictures, Television Productions and Media Networks. The increase in Motion Pictures sales was primarily due to higher theatrical revenues from films released in the current quarter including Ghostbusters, Sausage Party and Don’t Breathe. Sales in Television Productions increased significantly due to higher subscription video-on-demand licensing revenues for The Crown and The Get Down. Media Networks sales increased primarily due to higher advertising and subscription revenues in India, Europe and Latin America.

    Operating income of ¥3.2 billion was recorded, compared to an operating loss of ¥22.5 billion recorded in the same quarter of the previous fiscal year. This significant improvement in operating results was primarily due to the above-mentioned increase in sales.

    Music

    Music Sales increased 8.0 per cent y-o-y (a 19 per cent increase on a constant currency basis) to ¥150.2 billion from ¥139.1 billion. The increase in sales was primarily due to an increase in sales of Visual Media and Platform as well as Recorded Music, partially offset by the negative impact of the appreciation of the yen against the US dollar. Visual Media and Platform sales increased due to the strong performance of Fate/Grand Order, a game application for mobile devices. Recorded Music sales increased primarily due to an increase in digital streaming revenues. Best-selling titles included Celine Dion’s Encore un soir, Nogizaka46’s Hadashi de Summer and Kana Nishino’s Just Love.

    Operating income increased ¥2.3 billion y-o-y to ¥16.5 billion. This increase was primarily due to the higher sales of Recorded Music as well as Visual Media and Platform above, partially offset by the negative impact of the appreciation of the yen against the US dollar.

    Financial Services

    Financial services revenue increased 23.6 per cent yo-y to ¥260.5 billion primarily due to a significant increase in revenue at Sony Life. Revenue at Sony Life increased 29.9 per cent y-o-y to ¥230.8 billion due to an improvement in investment performance in the separate account. This improvement was mainly due to a rise in the Japanese stock market during the current quarter, as compared with a decline in the same quarter of the previous fiscal year.

    Operating income decreased ¥7.6 billion y-o-y to ¥33.6 billion yen. This decrease was mainly due to a foreign exchange loss incurred at Sony Bank on foreign currency-denominated customer deposits compared to a gain in the same quarter of the previous fiscal year. Operating income at Sony Life decreased ¥3.7 billion y-o-y to ¥31.0 billion mainly due to a decline in net gains on sales of securities in the general account.

  • MIPCOM 2016 sets new records

    MIPCOM 2016 sets new records

    CANNES: Record attendances at MIPJunior and MIPCOM, more World Premiere TV and International Screenings than ever, a remarkable Japan Country of Honour programme, a Personality of the Year, Shonda Rhimes, who packed delegates into her keynote interview and a tour de force opening keynote from Sony Corporation’s president and CEO Kazuo Hirai, combined to make for a highly successful and memorable MIPCOM 2016.

    MIPJunior (October 15-16) set the tone for the week with a record 1,600 participants including more than 630 buyers (+10%), 1,200 programmes in the screening library and 260 new development projects presented to potential partners. Delegates were treated to a double helping of World Premiere TV Screenings with “Splash and Bubbles” (produced by the Jim Henson Company and Herschend Enterprises) and “Grizzy and the Lemmings” from Studio Hari Production.

    Illustrating the wide international appeal of programming for kids, MIPJunior hosted presentations covering new animation from Finland, animation coproduction opportunities with India, hot kids shows in Norway, how to work in China and how to coproduce with MIPCOM Country of Honour Japan – where animation accounts for 62% of the country’s television exports.

    At the main MIPCOM event, which drew delegations from 108 countries, attendance reached some 14,000 with 4,900 buyers registered including 1,500 acquisition executives working for digital platforms and SVOD.

    In all, 2,000 exhibiting companies packed the Palais des Festivals with new national pavilions bringing together companies from Chile, New Zealand, Morocco, the Philippines, Russia and Japan. Outside the Palais des Festivals exhibition hall, ITV Studios’ revolutionary two-storey stand, made of massive containers, drew plenty of attention.

    Following the successful launch of the MIPDrama Screenings in April 2016, MIPCOM hosted a record number of major drama launches in the World Premiere TV Screenings and International Drama Screenings.

    Among the mega-productions on view, the World Premiere TV Screenings showcased ‘Mata Hari’ (presented by Red Arrow International), ‘The Halcyon’ (presented by Sony Pictures Television), ‘The Same Sky’ (presented by Beta Film), ‘The Rocky Horror Picture Show: Let’s do the Time Warp Again’ (presented by 20th Century Fox Television Distribution’) and an exclusive episode of ‘The Catch, Season 2’ (presented by Disney Media Distribution). For the first time, two of the Screenings, ‘Mata Hari’ and ‘The Rocky Horror Picture Show,’ were open to the Cannes public who reacted enthusiastically to both shows.

    “The interest in the World Premiere TV Screenings and the International Drama Screenings continues to grow and it was great to be able to invite the Cannes public to ‘Mata Hari’ and ‘The Rocky Horror Picture Show: Let’s do the Time Warp Again.’ This bodes well for our plans to expand the 2017 MIPDrama Screenings next April and helps us as we continue to look at bringing a high-end drama festival element to our future events,” noted Laurine Garaude, Director of Reed MIDEM’s Television Division.

    With Japan as MIPCOM’s Country of Honour, 500 Japanese executives from 104 companies attended MIPCOM. Japan’s Prime Minister, Shinzo Abe, sent a special video message to the international television community in Cannes welcoming the MIPCOM Country of Honour programme and the possibility to promote the best in Japanese tech skills and content.

    Delegates enthused that the Japan-themed Opening Party, complete with a host of Japanese chefs, specially-imported Japanese food and beverage and Japanese live music, was one of the most memorable MIPCOM openers in recent years. On the conference front, Sony Corporation President and CEO Kazuo Hirai, opened proceedings with his keynote during a MIPCOM which saw the spotlight turned on Japan’s tech prowess with the latest developments of HD, 4K, 8K and Virtual Reality showcased alongside the newest animation programmes coming to the international market from Japan.

    Undoubted star of MIPCOM 2016 was Personality of the Year Shonda Rhimes. In her various (and often combined) roles as Creator, Writer, Showrunner or Executive Producer, Shonda Rhimes is the driving force behind ‘Grey’s Anatomy,’ ‘Scandal,’ ‘How to Get Away With Murder’ and ‘The Catch.’

    Rhimes was honoured at the annual MIPCOM Personality of the Year gala dinner October 19, which included live and moving tributes to her from ‘The Catch’s’ Mireille Enos, Tony Goldwyn from ‘Scandal’ and fellow ‘Grey’s Anatomy’ Executive Producer Betsy Beers.

    With so much high-end drama at MIPCOM, international talent was in abundance as stars accompanied their respective shows to the market.

    Household names in Cannes included keynote speaker and actor Kiefer Sutherland with ‘Designated Survivor,’ Kyle MacLachlan promoting the new ‘Twin Peaks,’ Dennis Quaid for season 2 of ‘Fortitude,’ ‘Unreal’s’ Constance Zimmer and Shiri Appleby, ‘Conviction’s’ Hayley Atwell, ‘Victoria’ star Jenna Coleman and representing ‘Mata Hari’ Christopher Lambert and Vahina Giocante.

    As part of the Country of Honour programme, Japanese star Kento Hayashi flew in for a special screening of ‘Moribito 2: Guardian of the Spirit.’

    French thespians in town were also numerous with Leila Bekhti, Tcheky Karyo, Emma de Caunes, and Clementine Poidatz all attending MIPCOM.

    “This has been an excellent edition of MIPCOM. Through the central theme of New Television we have showcased technical innovation, discussed how to reach out to younger audiences who consume entertainment when, where and how they want and brought together traditional television leaders with newer online companies. This year has seen a combination of plentiful deal-making, celebration, exchange of knowledge and keynotes from major industry leaders,” concluded Reed MIDEM’s Laurine Garaude.

    At MIPCOM every October, industry’s major players converge in Cannes to turn every moment into an opportunity, transforming four days of meetings, screenings and conferences into deals, from blockbuster programming to ground-breaking partnerships. And MIPJunior is the leading showcase for kids programming, uniting the world’s most influential buyers, sellers and producers the weekend before MIPCOM.

    Reed MIDEM is an organiser of professional, international markets that are essential business platforms for key players in the sectors concerned. Reed MIDEM is a division of Reed Exhibitions, the world’s leading event organiser, with over 500 events in 43 countries.

  • MIPCOM 2016 sets new records

    MIPCOM 2016 sets new records

    CANNES: Record attendances at MIPJunior and MIPCOM, more World Premiere TV and International Screenings than ever, a remarkable Japan Country of Honour programme, a Personality of the Year, Shonda Rhimes, who packed delegates into her keynote interview and a tour de force opening keynote from Sony Corporation’s president and CEO Kazuo Hirai, combined to make for a highly successful and memorable MIPCOM 2016.

    MIPJunior (October 15-16) set the tone for the week with a record 1,600 participants including more than 630 buyers (+10%), 1,200 programmes in the screening library and 260 new development projects presented to potential partners. Delegates were treated to a double helping of World Premiere TV Screenings with “Splash and Bubbles” (produced by the Jim Henson Company and Herschend Enterprises) and “Grizzy and the Lemmings” from Studio Hari Production.

    Illustrating the wide international appeal of programming for kids, MIPJunior hosted presentations covering new animation from Finland, animation coproduction opportunities with India, hot kids shows in Norway, how to work in China and how to coproduce with MIPCOM Country of Honour Japan – where animation accounts for 62% of the country’s television exports.

    At the main MIPCOM event, which drew delegations from 108 countries, attendance reached some 14,000 with 4,900 buyers registered including 1,500 acquisition executives working for digital platforms and SVOD.

    In all, 2,000 exhibiting companies packed the Palais des Festivals with new national pavilions bringing together companies from Chile, New Zealand, Morocco, the Philippines, Russia and Japan. Outside the Palais des Festivals exhibition hall, ITV Studios’ revolutionary two-storey stand, made of massive containers, drew plenty of attention.

    Following the successful launch of the MIPDrama Screenings in April 2016, MIPCOM hosted a record number of major drama launches in the World Premiere TV Screenings and International Drama Screenings.

    Among the mega-productions on view, the World Premiere TV Screenings showcased ‘Mata Hari’ (presented by Red Arrow International), ‘The Halcyon’ (presented by Sony Pictures Television), ‘The Same Sky’ (presented by Beta Film), ‘The Rocky Horror Picture Show: Let’s do the Time Warp Again’ (presented by 20th Century Fox Television Distribution’) and an exclusive episode of ‘The Catch, Season 2’ (presented by Disney Media Distribution). For the first time, two of the Screenings, ‘Mata Hari’ and ‘The Rocky Horror Picture Show,’ were open to the Cannes public who reacted enthusiastically to both shows.

    “The interest in the World Premiere TV Screenings and the International Drama Screenings continues to grow and it was great to be able to invite the Cannes public to ‘Mata Hari’ and ‘The Rocky Horror Picture Show: Let’s do the Time Warp Again.’ This bodes well for our plans to expand the 2017 MIPDrama Screenings next April and helps us as we continue to look at bringing a high-end drama festival element to our future events,” noted Laurine Garaude, Director of Reed MIDEM’s Television Division.

    With Japan as MIPCOM’s Country of Honour, 500 Japanese executives from 104 companies attended MIPCOM. Japan’s Prime Minister, Shinzo Abe, sent a special video message to the international television community in Cannes welcoming the MIPCOM Country of Honour programme and the possibility to promote the best in Japanese tech skills and content.

    Delegates enthused that the Japan-themed Opening Party, complete with a host of Japanese chefs, specially-imported Japanese food and beverage and Japanese live music, was one of the most memorable MIPCOM openers in recent years. On the conference front, Sony Corporation President and CEO Kazuo Hirai, opened proceedings with his keynote during a MIPCOM which saw the spotlight turned on Japan’s tech prowess with the latest developments of HD, 4K, 8K and Virtual Reality showcased alongside the newest animation programmes coming to the international market from Japan.

    Undoubted star of MIPCOM 2016 was Personality of the Year Shonda Rhimes. In her various (and often combined) roles as Creator, Writer, Showrunner or Executive Producer, Shonda Rhimes is the driving force behind ‘Grey’s Anatomy,’ ‘Scandal,’ ‘How to Get Away With Murder’ and ‘The Catch.’

    Rhimes was honoured at the annual MIPCOM Personality of the Year gala dinner October 19, which included live and moving tributes to her from ‘The Catch’s’ Mireille Enos, Tony Goldwyn from ‘Scandal’ and fellow ‘Grey’s Anatomy’ Executive Producer Betsy Beers.

    With so much high-end drama at MIPCOM, international talent was in abundance as stars accompanied their respective shows to the market.

    Household names in Cannes included keynote speaker and actor Kiefer Sutherland with ‘Designated Survivor,’ Kyle MacLachlan promoting the new ‘Twin Peaks,’ Dennis Quaid for season 2 of ‘Fortitude,’ ‘Unreal’s’ Constance Zimmer and Shiri Appleby, ‘Conviction’s’ Hayley Atwell, ‘Victoria’ star Jenna Coleman and representing ‘Mata Hari’ Christopher Lambert and Vahina Giocante.

    As part of the Country of Honour programme, Japanese star Kento Hayashi flew in for a special screening of ‘Moribito 2: Guardian of the Spirit.’

    French thespians in town were also numerous with Leila Bekhti, Tcheky Karyo, Emma de Caunes, and Clementine Poidatz all attending MIPCOM.

    “This has been an excellent edition of MIPCOM. Through the central theme of New Television we have showcased technical innovation, discussed how to reach out to younger audiences who consume entertainment when, where and how they want and brought together traditional television leaders with newer online companies. This year has seen a combination of plentiful deal-making, celebration, exchange of knowledge and keynotes from major industry leaders,” concluded Reed MIDEM’s Laurine Garaude.

    At MIPCOM every October, industry’s major players converge in Cannes to turn every moment into an opportunity, transforming four days of meetings, screenings and conferences into deals, from blockbuster programming to ground-breaking partnerships. And MIPJunior is the leading showcase for kids programming, uniting the world’s most influential buyers, sellers and producers the weekend before MIPCOM.

    Reed MIDEM is an organiser of professional, international markets that are essential business platforms for key players in the sectors concerned. Reed MIDEM is a division of Reed Exhibitions, the world’s leading event organiser, with over 500 events in 43 countries.

  • YouTube Red announces list of new originals; ‘Step Up’ to release in 2017

    YouTube Red announces list of new originals; ‘Step Up’ to release in 2017

    CANNES: With Japan being the country of honour this year, one of the biggest content markets in the world MIPCOM took off with a great start by having Sony Corporation CEO and president, Kazuo Hirai, delivering a keynote session on the company’s work and its recent Playstation VR launch. While Japan promises to be 8K-ready by 2017, there was another interesting keynote session by YouTube global head of content Susanne Daniels about the original series and movies being featured on YouTube Red.

    She was joined on stage by: Lionsgate TV chairman Kevin Beggs and Rooster Teeth co-founder and chief creative officer Burnie Burns.

    Susanne Daniels starts off by introducing what YouTube Red is. While YouTube’s content is available at free of cost, YouTube Red is a paid membership that enables the ultimate YouTube experience. Members get all of YouTube uninterrupted, a premium YouTube music experience, and exclusive access to new original series and movies from top YouTube creators. YouTube Red is currently available in the United States, Australia and New Zealand, with plans for additional international expansion throughout 2017.

    “People have asked me what’s our original programming strategy? Are we planning to mirror Netflix or Amazon in bringing TV to digital, or recreate the programming themes of MTV? The answer to those questions is no. Our goal is to be uniquely YouTube. And our thesis is simple: Identify YouTube’s most engaging stars and top genres, and invest in the content that fans tell us they want. In other words, let our community drive our content.”

    Daniels goes on to mention that over the last year, YouTube Red has seen its original series become one of the leading drivers of subscriptions, with viewership that rivals cable shows in the US. Over half the time people spend watching originals on their mobile phones. And in the living room, Red members watch over 75 per cent more YouTube on their TV’s than the average YouTube viewer.

    Talking about their digital strategy, Kevin Beggs says, “At Lionsgate, we pride ourselves on going new places and forming innovative new partnerships that have never been tried before. Time and again, we’ve been first movers on new platforms. I believe YouTube is embarking on something big, a new chapter in its history that has the potential to change the way people think about its brand in a way that can benefit all of us here.”

    “I often get asked about the secret of our success. And to me, it easily comes down to two things: community and conversation,” a cheery Burnie Burns says. Talking about his journey, Burns elaborates, “When Rooster Teeth was born there was no YouTube and no real online advertising opportunity. So we had to engage our audience not only to watch our content, but also invest in it as well. We learned early on that talking “at” our audience was not enough. We knew we had to start a conversation, take them from being just viewers, to fans and friends, and ultimately create an engaged community around our brand for our business to succeed.”

    In the end, good news came in for YouTube fans as new season renewals and shows was announced. These include:

    Renewal of another season of the series Foursome, the sequel to Burnie Burns’s Lazer Team movie, and season two of Scare PewDiePie.

    They have greenlit a second season of Joey Graceffa’s murder mystery series, “Escape the Night.”

    YouTube Red has commissioned a drama with Universal Cable Productions called IMPULSE, from director Doug Liman. IMPULSE is a sci-fi thriller about a young girl who discovers her ability to teleport away from danger. The series will feature top YouTubers and will have Jeff Lieber – best known for the TV series “Lost” – attached to write and produce.

    Next is a scripted comedy series from Dan Harmon’s Emmy Award-winning production company Starburns Industries. The series will feature YouTube stars Dan Avidan and Arin Hanson of Game Grumps and follows a newly-formed team of eSports players trying to make it to the top in the cutthroat world of competitive gaming.

    The next original is going to excite you as together with Studio 71 and Corridor Digital, Dwayne Johnson will executive produce a new half hour action series about a life insurance company that send its agents forward 33 days in time to prevent the accidental deaths of its clients.

    Along with these, the announcement made by Kevin Beggs would be loved by all the dance lovers as he disclosed that Lionsgate will be coming out with episodes of their hit movie franchise Step Up in 2017.

  • YouTube Red announces list of new originals; ‘Step Up’ to release in 2017

    YouTube Red announces list of new originals; ‘Step Up’ to release in 2017

    CANNES: With Japan being the country of honour this year, one of the biggest content markets in the world MIPCOM took off with a great start by having Sony Corporation CEO and president, Kazuo Hirai, delivering a keynote session on the company’s work and its recent Playstation VR launch. While Japan promises to be 8K-ready by 2017, there was another interesting keynote session by YouTube global head of content Susanne Daniels about the original series and movies being featured on YouTube Red.

    She was joined on stage by: Lionsgate TV chairman Kevin Beggs and Rooster Teeth co-founder and chief creative officer Burnie Burns.

    Susanne Daniels starts off by introducing what YouTube Red is. While YouTube’s content is available at free of cost, YouTube Red is a paid membership that enables the ultimate YouTube experience. Members get all of YouTube uninterrupted, a premium YouTube music experience, and exclusive access to new original series and movies from top YouTube creators. YouTube Red is currently available in the United States, Australia and New Zealand, with plans for additional international expansion throughout 2017.

    “People have asked me what’s our original programming strategy? Are we planning to mirror Netflix or Amazon in bringing TV to digital, or recreate the programming themes of MTV? The answer to those questions is no. Our goal is to be uniquely YouTube. And our thesis is simple: Identify YouTube’s most engaging stars and top genres, and invest in the content that fans tell us they want. In other words, let our community drive our content.”

    Daniels goes on to mention that over the last year, YouTube Red has seen its original series become one of the leading drivers of subscriptions, with viewership that rivals cable shows in the US. Over half the time people spend watching originals on their mobile phones. And in the living room, Red members watch over 75 per cent more YouTube on their TV’s than the average YouTube viewer.

    Talking about their digital strategy, Kevin Beggs says, “At Lionsgate, we pride ourselves on going new places and forming innovative new partnerships that have never been tried before. Time and again, we’ve been first movers on new platforms. I believe YouTube is embarking on something big, a new chapter in its history that has the potential to change the way people think about its brand in a way that can benefit all of us here.”

    “I often get asked about the secret of our success. And to me, it easily comes down to two things: community and conversation,” a cheery Burnie Burns says. Talking about his journey, Burns elaborates, “When Rooster Teeth was born there was no YouTube and no real online advertising opportunity. So we had to engage our audience not only to watch our content, but also invest in it as well. We learned early on that talking “at” our audience was not enough. We knew we had to start a conversation, take them from being just viewers, to fans and friends, and ultimately create an engaged community around our brand for our business to succeed.”

    In the end, good news came in for YouTube fans as new season renewals and shows was announced. These include:

    Renewal of another season of the series Foursome, the sequel to Burnie Burns’s Lazer Team movie, and season two of Scare PewDiePie.

    They have greenlit a second season of Joey Graceffa’s murder mystery series, “Escape the Night.”

    YouTube Red has commissioned a drama with Universal Cable Productions called IMPULSE, from director Doug Liman. IMPULSE is a sci-fi thriller about a young girl who discovers her ability to teleport away from danger. The series will feature top YouTubers and will have Jeff Lieber – best known for the TV series “Lost” – attached to write and produce.

    Next is a scripted comedy series from Dan Harmon’s Emmy Award-winning production company Starburns Industries. The series will feature YouTube stars Dan Avidan and Arin Hanson of Game Grumps and follows a newly-formed team of eSports players trying to make it to the top in the cutthroat world of competitive gaming.

    The next original is going to excite you as together with Studio 71 and Corridor Digital, Dwayne Johnson will executive produce a new half hour action series about a life insurance company that send its agents forward 33 days in time to prevent the accidental deaths of its clients.

    Along with these, the announcement made by Kevin Beggs would be loved by all the dance lovers as he disclosed that Lionsgate will be coming out with episodes of their hit movie franchise Step Up in 2017.

  • Digital signage market likely to reach $27.34 billion by 2022

    Digital signage market likely to reach $27.34 billion by 2022

    MUMBAI: A ‘Digital Signage Market by Product (Kiosks, Menu Boards, Billboards, Signboards), Offering (Hardware (Display Panels, Media Players, Projectors), Software, and Services), Application, and Geography – Global Forecast to 2022’, published by MarketsandMarkets says that the digital signage market was valued at $16.88 billion in 2015 and is expected to reach $27.34 billion by 2022, at a CAGR of 6.7 percent between 2016 and 2022. The base year considered for the study is 2015, and the market size forecast is provided for the period between 2016 and 202

    The demand for emerging technologies used in ultra-high definition (UHD), LED-LCD, OLED displays is likely to accelerate the growth of the digital signage market during the forecast period says the report. With the increasing demand for digital signage, improvements in technology offerings, and infrastructure expansion is likely to fuel the digital signage market to continue the positive outlook during the forecast period. In addition, the integration of real-time data management tools, big data analytics, and smart content with multiple presentations and dynamic interfaces would further drive the market for public commercial displays.

    The market for software offerings is expected to grow at the highest rate during the forecast period. The expected growth of the digital signage market for software offerings is higher than that for hardware offerings as hardware devices such as displays, media players, projectors, and mounts and other accessories do not require frequent purchases or replacements. The high growth of the market for software offerings is because software licenses need to be regularly updated.

    Kiosks held the largest market share of the global digital signage market for products in 2015 and are expected to dominate the market till 2022. Kiosks plays a significant role in the digital signage market for providing access to information and communication, commerce, entertainment, education, and other applications. Kiosks are quick and effective solutions which can be used virtually in all locations.

    North America is expected to hold the largest market share and dominate the Digital Signage Market between 2016 and 2022, owing to the large number of suppliers of digital signage technologies and services in the region. The digital signage market in APAC and Europe is expected to have a promising future with tremendous opportunities, especially in commercial and infrastructural sectors.

    The major players in the digital signage market include Samsung Electronics Co., Ltd. (South Korea), LG Display Co., Ltd. (South Korea), Sharp Corporation (Japan), Sony Corporation (Japan), and Panasonic Corporation (Japan) among others.

  • Digital signage market likely to reach $27.34 billion by 2022

    Digital signage market likely to reach $27.34 billion by 2022

    MUMBAI: A ‘Digital Signage Market by Product (Kiosks, Menu Boards, Billboards, Signboards), Offering (Hardware (Display Panels, Media Players, Projectors), Software, and Services), Application, and Geography – Global Forecast to 2022’, published by MarketsandMarkets says that the digital signage market was valued at $16.88 billion in 2015 and is expected to reach $27.34 billion by 2022, at a CAGR of 6.7 percent between 2016 and 2022. The base year considered for the study is 2015, and the market size forecast is provided for the period between 2016 and 202

    The demand for emerging technologies used in ultra-high definition (UHD), LED-LCD, OLED displays is likely to accelerate the growth of the digital signage market during the forecast period says the report. With the increasing demand for digital signage, improvements in technology offerings, and infrastructure expansion is likely to fuel the digital signage market to continue the positive outlook during the forecast period. In addition, the integration of real-time data management tools, big data analytics, and smart content with multiple presentations and dynamic interfaces would further drive the market for public commercial displays.

    The market for software offerings is expected to grow at the highest rate during the forecast period. The expected growth of the digital signage market for software offerings is higher than that for hardware offerings as hardware devices such as displays, media players, projectors, and mounts and other accessories do not require frequent purchases or replacements. The high growth of the market for software offerings is because software licenses need to be regularly updated.

    Kiosks held the largest market share of the global digital signage market for products in 2015 and are expected to dominate the market till 2022. Kiosks plays a significant role in the digital signage market for providing access to information and communication, commerce, entertainment, education, and other applications. Kiosks are quick and effective solutions which can be used virtually in all locations.

    North America is expected to hold the largest market share and dominate the Digital Signage Market between 2016 and 2022, owing to the large number of suppliers of digital signage technologies and services in the region. The digital signage market in APAC and Europe is expected to have a promising future with tremendous opportunities, especially in commercial and infrastructural sectors.

    The major players in the digital signage market include Samsung Electronics Co., Ltd. (South Korea), LG Display Co., Ltd. (South Korea), Sharp Corporation (Japan), Sony Corporation (Japan), and Panasonic Corporation (Japan) among others.

  • FY-16: Games, Music dampen Mobile’s drop in Sony revenue; reports profit

    FY-16: Games, Music dampen Mobile’s drop in Sony revenue; reports profit

    BENGALURU:  Sony Corporation (Sony) reported 1.3 percent drop in sales for the year ended 31 March 2016 (FY-16, current year). Sony’s revenue for the current year was ¥8,105.7 billion, for the previous year it was ¥8,215.9 billion. Sony attributes the decrease to a decline of 20 percent in sales of its Mobile Communications (MC) segment which was offset by a 11.8 percent increase in sales of its Games and Network Services (G&NS) segment, and a 10.4 percent in sales from its Music segment. The increase in sales from Sony’s G&NS segment reflects an increase in sales of its PlayStation 4 (PS4).

    Sony’s reported net income attributable to stockholders at ¥147.8 billion for the current year as compared to a loss of ¥126 billion yen in the previous year.

    Of special significance from the India perspective was the increase in Media Networks sales which was primarily due to higher advertising revenues in India and the United Kingdom. The Media Networks is a category in Sony’s Pictures segment.

    Mobile Communications

    MC segment reported 20 percent drop in sales in FY-16 to ¥1,127.5 billion from ¥1,410.2 billion in the previous year. The segment reported a lower operating loss of ¥61.4 billion as compared to an operating loss ¥217.6 billion in the previous year. The company says that this was because of a strategic decision not to pursue scale in order to improve profitability.

    Game & Network Services

    G&NS segment reported an increase of 11.8 percent in sales to ¥1,551.9 billion in the current year as compared to ¥1,388 billion in the previous year. The above mentioned gains from PS4 were offset by a decline in PS3 hardware and software sales. Operating income in FY-16 increased 84.4 percent in the current year to ¥88.7 billion from ¥48.1 billion in the previous year. Sony attributes the increase to increase in PS4 software sales and PS4 hardware cost reductions as well as the absence of write down of ¥11.2 billion in the current year of PS Vita and PS TV components that was recorded in FY-15.

    Imaging Products & Solutions (IP&S)

    IP&S segment reported a 1.7 percent decline in sales in FY-16 to ¥712.2 billion as compared to ¥723.9 billion in the previous year. Sony says that sales of video cameras and digital cameras were lower due to the contraction of the market. This segment reported a 72.1 increase in operating profit in FY-16 at ¥72.1 billion from ¥41.8 billion in the previous year. The increase was due to improvement in product mix of digital cameras and price reductions.

    Home Entertainment & Sound (HE&S)

    HE&S segment reported a 6.4 percent decline in sales in FY-16 to ¥1,159 billion from ¥1,238.1 billion in FY-15. Sony says that this was due to a decline in unit sales of LCD televisions and a decline in home audio and video unit sales, reflecting a contraction of the market. Television sales declined 4.5 percent in FY-16 to ¥797.8 billion as compared to last year.

    The segment’s operating income increased to ¥50.6 billion in the current year from ¥24.1 in FY-15, primarily due to cost reductions and increase in product mix.

    Devices

    Devices segment revenue in FY-16 was flat (increased by 0.9 percent) to ¥735.8 billion from ¥927.1 billion in FY-15. The segment reported an operating loss of ¥28.6 billion in the current year as compared to an operating profit of ¥89 billon in FY-15.

    Pictures

    Pictures segment sales increased 6.8 percent to ¥938.1 billion in FY-16 from ¥878.7 billion in the previous year. Sony’s Pictures segment is primarily comprises of Motion Pictures, Televisions Productions and Media Networks categories. The impact of forex rates and lower sales in Motion Pictures was offset by higher sales in Televisions Productions and Media Networks. The increase in Media Networks was primarily due to higher advertising revenues in India and the United Kingdom. The increase in Television Productions sales was primarily due to higher subscription video-on-demand (VOD) revenues from Breaking Bad, The Blacklist and Better call Saul.

    Operating income for the segment declined 51.9 percent in the current year to ¥38.5 billion from ¥58.5 billion in FY-15.

    Music

    Sony’s Music segment comprises of Recorded Music, Music Publishing and Visual Media and Platform categories. The segment reported a 10.4 percent increase in sales to ¥617.6 billion in FY-16 from ¥559.2 billion in FY-15. Sony says that the increase was primarily due to the depreciation of the yen versus the US dollar. There was a significant increase in Visual Media and Platform sales reflecting the continued strong performance of a game application for mobile devices. In Recorded Music digital streaming revenues significantly increased, partially offset by a worldwide decline in physical and digital download sales. The current year includes the record breaking sales of Adele’s new album 25. Other best-selling titles include One Direction’s Made in the A.M., David Bowie’s Black Star and Meghan Trainor’s Title.

    The segment’s operating income increased 44.1 percent in FY-16 to ¥87.3 billion from ¥60.6 billion in the previous year.

    Besides the above, Sony has two other segments – Financial Services and All Other services. Numbers of these segments have not been mentioned in this report.