U.S. Studios' Show of Force at MIPCOM
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OTT and Related On-Line Services in Arab Region
OTT and related on-line services in Arab Region Release 1.1 31/01/2017 Reality of OTTs in Arab Region The objective of the study is: 1- to have a global view on OTT and on-line services worldwide with the impact and trends of these services on national players and economies, 2- to have an overview on associated practices and relevant public policies worldwide and in the Region, 3- to propose recommendations on methods and approaches for preparation of associated policies and frameworks. _____________________________ The present document is the first release of the report. A draft questionnaire is proposed with this release and is intended to be submittedfor a survey to Regulators/policy Makers and Operators in the Region. The outcome of the survey with the related findings will be commented and included in a next version of this report. It is to note that, as the subject of OTT is being regularly debated in almost all regions with potential move and change in the related positions and decisions, some information reported in the present report may become outdated. __________________________________________________________________ OTT and related on-line services in Arab Region Executive Summary With the increase of global mobile broadband penetration, as well as the rapid adoption of connected devices, consumers have been provided with an access to a wide variety of on-line services which go beyond the traditional voice and messaging services provided by telecom operators (alias telcos *). These on-line services are reshaping the entire telecommunication eco-system, and are of great benefit to consumers worldwide, to the global economy and ubiquitous connectivity. -
SVOD Platforms Carried by Pay TV Operators
SVOD platforms carried by pay TV operators Source: Digital TV Research Note: Excludes SVOD platforms owned by pay TV operator Country Pay TV Operator SVOD Platform Argentina Telecentro Netflix Argentina Telecom Argentina Netflix Australia iiNet Netflix Australia Optus Netflix Austria UPC Netflix Azerbaijan Aile TV Megogo Bahrain Batelco Netflix Bahrain Viva Icflix Bahrain Viva Istikana Bahrain Viva Shahid Bahrain Viva Starz Play Bahrain Viva Telly Bahrain Zain Icflix Belgium Belgacom/Proximus Netflix Belgium Telenet Netflix Belgium Voo Canal Play Bolivia Tigo Netflix Bosnia M:tel Pickbox Brazil TIM Netflix Bulgaria Fusion TV Voyo Bulgaria Vivacom Voyo Canada Bell Netflix Canada Cogeco Netflix Canada MTS Netflix Canada Rogers Netflix Canada Telus Optik Netflix Chile VTR Netflix Colombia UNE Netflix Costa Rica Tigo Netflix Croatia T-HT Oyo Croatia T-HT Pickbox Croatia Vipnet Oyo Czech Rep T-Mobile Voyo Czech Rep UPC Netflix Denmark TDC HBO Denmark Telia HBO Denmark Waoo Netflix Denmark Waoo Viaplay Denmark YouSee HBO Egypt Telecom Egypt Icflix Egypt Vodafone Starz Play El Salvador Tigo Netflix Estonia Elion Netflix SVOD platforms carried by pay TV operators Source: Digital TV Research Note: Excludes SVOD platforms owned by pay TV operator Finland DNA C More Finland Elisa HBO Finland Elisa Netflix Finland Telia C More Finland Telia HBO Finland Telia Netflix France Bouygues Telecom Netflix France Free Canal Play France Free Filmo France Numericable Filmo France Orange Filmo France Orange Netflix France SFR Netflix Germany Deutsche Telekom -
Gulf Arabs to Create Regional Police Force
SUBSCRIPTION WEDNESDAY, DECEMBER 10, 2014 SAFAR 18, 1436 AH www.kuwaittimes.net Microsoft Lumia Cheerful Pele 535 Dual SIM leaves hospital now available after health in27 Kuwait scare20 Gulf Arabs to create Min 10º Max 27º regional police force High Tide 00:52 & 15.16 Low Tide Oil price fall hitting GCC revenues: Amir 08:38 & 20:25 40 PAGES NO: 16368 150 FILS DOHA: The six-member Gulf Cooperation Council says it will create a regional police force that will be based out of the United Arab Emirates’ capital of Abu Dhabi. The creation of the police force, known as GCC-POL, was announced yesterday at the conclusion of the Gulf bloc’s annual summit in Qatar. Local media have dubbed it the “Gulf Interpol” and say its aim is to improve cooperation against drug trafficking, money laundering and cyber-crime. The GCC is comprised of the energy-rich nations of Saudi Arabia, the UAE, Kuwait, Qatar, Bahrain and Oman. Supporting Sisi’s Egypt Meanwhile, Qatar joined its neighbors at a summit yesterday in supporting Egypt under President Abdel Fattah El-Sisi, whose crackdown on the Doha-backed Muslim Brotherhood had divided the Gulf monarchies for months. In their final statement, leaders of the six- nation Gulf Cooperation Council (GCC) states announced their “full support to Egypt” and the “politi- cal program of President Abdel Fattah El-Sisi”. Convening the Doha summit, which had been short- ened to one day, was made possible only by last-minute Kuwaiti mediation that succeeded in resolving a dispute between Saudi Arabia, the United Arab Emirates and Bahrain with Qatar over the Brotherhood. -
Mondo TV Outlook
Mondo TV Outlook Child’s play Media 10 May 2019 Mondo TV has started FY19 in much improved financial health, with a more concentrated portfolio centred on properties with good potential globally. Price €1.35 YooHoo has been sold to Netflix as an original series and is now airing Market cap €46m internationally, generating revenues and also acting as a flagship project. Licensing revenues should pick up in its wake. Robot Trains should also Net cash (€m) at 31 December 2018 8.1 contribute from this year. The highly competitive environment between Shares in issue 34.4m terrestrial and SVoD carriers provides a strong trading backdrop as they vie for content. Post the re-basing, Mondo TV is a far less risky investment Free float 64% proposition, yet is priced at a substantial discount to global peers. Code MTVI Primary exchange Borsa Italiana Star Revenue PBT* EPS* DPS EV/EBIT P/E Secondary exchange N/A Year end (€m) (€m) (c) (c) (x) (x) 12/17 32.0 15.4 43.0 0.0 1.9 3.1 Share price performance 12/18 18.9 (30.1) (56.3) 0.0 N/A N/A 12/19e 20.8 6.0 11.0 0.0 5.3 12.3 12/20e 27.8 7.8 14.0 0.0 4.1 9.6 Note: *PBT and EPS are normalised, excluding amortisation of acquired intangibles, exceptional items and share-based payments. FY19: The start of the recovery FY18 was a very difficult year for the group, with the untimely death of founder Orlando Corradi and the deterioration in trading, particularly in Asia. -
CHLA 2017 Annual Report
Children’s Hospital Los Angeles Annual Report 2017 About Us The mission of Children’s Hospital Los Angeles is to create hope and build healthier futures. Founded in 1901, CHLA is the top-ranked children’s hospital in California and among the top 10 in the nation, according to the prestigious U.S. News & World Report Honor Roll of children’s hospitals for 2017-18. The hospital is home to The Saban Research Institute and is one of the few freestanding pediatric hospitals where scientific inquiry is combined with clinical care devoted exclusively to children. Children’s Hospital Los Angeles is a premier teaching hospital and has been affiliated with the Keck School of Medicine of the University of Southern California since 1932. Table of Contents 2 4 6 8 A Message From the Year in Review Patient Care: Education: President and CEO ‘Unprecedented’ The Next Generation 10 12 14 16 Research: Legislative Action: Innovation: The Jimmy Figures of Speech Protecting the The CHLA Kimmel Effect Vulnerable Health Network 18 20 21 81 Donors Transforming Children’s Miracle CHLA Honor Roll Financial Summary Care: The Steven & Network Hospitals of Donors Alexandra Cohen Honor Roll of Friends Foundation 82 83 84 85 Statistical Report Community Board of Trustees Hospital Leadership Benefit Impact Annual Report 2017 | 1 This year, we continued to shine. 2 | A Message From the President and CEO A Message From the President and CEO Every year at Children’s Hospital Los Angeles is by turning attention to the hospital’s patients, and characterized by extraordinary enthusiasm directed leveraging our skills in the arena of national advocacy. -
Pay-TV Programmers & Channel Distributors
#GreatJobs C NTENT page 5 www.contentasia.tv l www.contentasiasummit.com Asia-Pacific sports Game over: StarHub replaces Discovery rights up 22% to 7 new channels standby for July rollout in Singapore US$5b in 2018 Digital rights driving inflation, value peaks everywhere except India Demand for digital rights will push the value of sports rights in the Asia-Pacific region (excluding China) up 22% this year to a record US$5 billion, Media Partners Asia (MPA) says in its new re- port, Asia Pacific Sports In The Age of GoneGone Streaming. “While sports remains the last bastion for pay-TV operators com- bating subscriber churn, OTT delivery is becoming the main driver of rights infla- tion, opening up fresh opportunities for rights-holders while adding new layers of complexity to negotiations and deals,” the report says. The full story is on page 7 Screen grab of Discovery’s dedicated campaign site, keepdiscovery.sg CJ E&M ramps up While Singapore crowds spent the week- StarHub is extending bill rebates to edu- Turkish film biz end staring at a giant #keepdiscovery cation and lifestyle customers and is also Korean remakes follow video display on Orchard Road, StarHub offering a free preview of 30 channel to 25 local titles was putting the finishing touches to its 15 July. brand new seven-channel pack includ- StarHub’s decision not to cave to Dis- ing, perhaps ironically, the three-year-old covery’s rumoured US$11-million demands Korea’s CJ E&M is ramping up its Turkish CuriosityStream HD channel launched by raised questions over what rival platform operations, adding 25 local titles to its Discovery founder John Hendricks. -
JAMES KILTON Editor
JAMES KILTON Editor PROJECTS DIRECTORS PRODUCERS/STUDIOS THE ENEMY WITHIN David Tuttman Ken Woodruff, O’Shea Read Season 1 Universal Television / NBC GENIUS PICASSO Greg Yaitanes Ken Biller, Raf Green Season 2 EUE / Sokolow / National Geographic THE GIFTED Stephen Surjik Matt Nix, Len Wiseman, Jason Harkins Seasons 1 & 2 & Scott Peters Marvel TV / Fox SALVATION Juan Carlos Fresnadillo Juan Carlos Fresnadillo, Paul M. Leonard Pilot & Season 1 & Robert Duncan McNeill Alex Kurtzman / CBS Studios / Amazon EYEWITNESS Catherine Hardwicke Jackie de Crinis, Andrew Cholerton Pilot & Series & Scott Peters Universal Cable Productions / USA NOTORIOUS Michael Engler Josh Berman, Mike Listo, Anne Uemura Pilot & Series (Supervising Editor) & James Whitmore Jr. Sony Pictures TV / ABC OF KINGS AND PROPHETS Duane Clark Chris Brancato, Jason Reed Series (Supervising Editor) & David Boyd ABC Studios / ABC RUSH HOUR Jon Turteltaub Andrew Cholerton, Emily Fenster Pilot (Co-Editor) Doozer / CBS LEGENDS Ken Biller Ken Biller, Anne Uemura Season 2 & Alrick Riley Fox 21 / TNT COMPLICATIONS Michael Nankin Matt Nix, Mike Horowitz, Doug Hannah Series & Scott Peters Fox 21 / USA RED BAND SOCIETY Tricia Brock Jason Ensler, Arturs Rusis Assistant Editor ABC Studios / Disney RECTIFY Stephen Gyllenhaal Lori Slomka, Steven Lang Assistant Editor & Jim McKay Mark Johnson / SundanceTV SAF3 Gary Capo Gregory J. Bonann, Casey Brown Series WGN THE SHOOT Feature Film John Adams Blu de Golyer Visual Effects & Toby Poser NECESSARY ROUGHNESS Daniel Sackheim Kevin Dowling, Kelly A. Manners Pilot (Assistant Editor) & Season 2 (Editor) & John Fortenberry Sony TV / USA THE FIRM Peter Wellington Joseph Berger-Davis, Lukas Reiter First Assistant Editor & Helen Shaver Entertainment One Television / NBC EL COCODRILO Short Film Steve Acevedo Alfred Barrios Jr. -
BRYAN PARKER Supervising Sound Editor, Sound Designer
BRYAN PARKER Supervising Sound Editor, Sound Designer BULL Phil McGraw CBS SSE THE MIST Christian Torpe Spike TV SSE SCREAM: THE TV SERIES Jay Beattie MTV SSE AWKWARD Lauren Iungerich MTV SSE THOSE WHO CAN'T Adam Cayton-Holland TruTV SE IDIOTSITTER Jillian Bell Comedy Central SE FINDING CARTER Terri Minsky MTV SSE CAKE WARS (1 EPISODE, SE Michael Shea Food Network SEASON 2) RRM, DRUNK HISTORY Jeremy Konner Comedy Central SSE, SE THE CREATIVE LIVES G. Lewis Heslet RRM SHARK TANK Ken Fuchs ABC SE THE VOICE Alan Carter NBC SE FERRELL TAKES THE FIELD Brian McGinn HBO SE SE, TEEN WOLF Jeff Davis MTV SSE BOOM! Bob Boden Fox SE ANOTHER PERIOD Natasha Leggero Comedy Central SE AMERICA'S GOT TALENT Simon Cowell NBC SE BRIDGET EVERETT: SE Lance Bangs Comedy Central GYNECOLOGICAL WONDER PRETEND TIME Nick Swardson Comedy Central SSE SO YOU THINK YOU CAN DANCE Simon Fuller Fox SE I CAN DO THAT (3 EPISODES, SE Alan Carter NBC Universal SEASON 1) ARE YOU SMARTER THAN A 5TH SE GRADER? (1 EPISODE, SEASON Barry Poznick 20th Century Fox 6) THE ISLAND Sean McClocklin Geach Studios Entertainment SE 500 QUESTIONS (1 EPISODE, SE Mark Burnett ABC SEASON 1) Formosa Broadcast www.FormosaGroup.com/Broadcast 323.853.0008 [email protected] Page 1 KEN JEONG MADE ME DO IT (TV SE Peter Segal MTV MOVIE) EYE CANDY Christian Taylor MTV SSE KOBE BRYANT'S MUSE (TV SSE Gotham Chopra Showtime SPECIAL) REDNECK ISLAND Nick Murray CMT SE THE AMAZING RACE Elisa Doganier CBS SE Image not found or type unknown HAPPYLAND (TV MINI SERIES) Ben Epstein MTV SE ON THE MENU (1 EPISODE, SE Richard A. -
Digital Disruptors: Digital Streaming Services
+44 20 8123 2220 [email protected] Digital Disruptors: Digital Streaming Services https://marketpublishers.com/r/D5875CD12D9EEN.html Date: July 2020 Pages: 58 Price: US$ 1,325.00 (Single User License) ID: D5875CD12D9EEN Abstracts Digital streaming services have widely disrupted traditional media consumption, particularly in developed markets, and new services continue to launch. This briefing includes profiles of the following companies: Apple Music, Amazon Prime Video, BluTV, DAZN, Hooq, Hotstar, Icflix, Molotov, Netflix, QQ Music, Rakuten TV, Spotify, Stan, StarzPlay and others Strategy Briefings offer unique insight into emerging trends world-wide. Aimed squarely at strategists and planners, they draw on Euromonitor International’s vast information resources to give top line insight across markets and within consumer segments. Written by some of our most experienced analysts, they are designed as provocations for senior management to use in their own forum, allowing them to stand back and reflect on the behaviour and motivation driving global markets today and tomorrow Data coverage: market sizes (historic and forecasts), company shares, brand shares and distribution data. Why buy this report Identify factors driving change now and in the future Understand motivation Forward-looking outlook Briefings and presentation should provoke lively discussion at senior level Take a step back from micro trends Digital Disruptors: Digital Streaming Services +44 20 8123 2220 [email protected] Get up to date estimates and comment Euromonitor International has over 40 years' experience of publishing market research reports, business reference books and online information systems. With offices in London, Chicago, Singapore, Shanghai, Vilnius, Dubai, Cape Town, Santiago, Sydney, Tokyo and Bangalore and a network of over 800 analysts worldwide, Euromonitor International has a unique capability to develop reliable information resources to help drive informed strategic planning. -
Yearbook 2019/2020 Key Trends
YEARBOOK 2019/2020 KEY TRENDS TELEVISION, CINEMA, VIDEO AND ON-DEMAND AUDIOVISUAL SERVICES - THE PAN-EUROPEAN PICTURE → Director of publication Susanne Nikoltchev, Executive Director → Editorial supervision Gilles Fontaine, Head of Department for Market Information → Authors Francisco Javier Cabrera Blázquez, Maja Cappello, Laura Ene, Gilles Fontaine, Christian Grece, Marta Jiménez Pumares, Martin Kanzler, Ismail Rabie, Agnes Schneeberger, Patrizia Simone, Julio Talavera, Sophie Valais → Coordination Valérie Haessig → Special thanks to the following for their contribution to the Yearbook Ampere Analysis, Bureau van Dijk (BvD), European Broadcasting Union - Media Intelligence Service (EBU-M.I.S.), EURODATA-TV, LyngSat, WARC, and the members of the EFARN and the EPRA networks. → Proofreading Anthony Mills → Layout Big Family → Press and public relations Alison Hindhaugh, [email protected] → Publisher European Audiovisual Observatory 76 Allée de la Robertsau, 67000 Strasbourg, France www.obs.coe.int If you wish to reproduce tables or graphs contained in this publication please contact the European Audiovisual Observatory for prior approval. Please note that the European Audiovisual Observatory can only authorise reproduction of tables or graphs sourced as “European Audiovisual Observatory”. All other entries may only be reproduced with the consent of the original source. Opinions expressed in this publication are personal and do not necessarily represent the view of the Observatory, its members or of the Council of Europe. © European Audiovisual Observatory (Council of Europe), Strasbourg 2020 YEARBOOK 2019/2020 KEY TRENDS TELEVISION, CINEMA, VIDEO AND ON-DEMAND AUDIOVISUAL SERVICES - THE PAN-EUROPEAN PICTURE 4 YEARBOOK 2019/2020 – KEY TRENDS TABLE OF CONTENT INTRODUCTION 0 Six keywords for 2019 and, possibly, 2020 . -
P04 Africa Analysis Mea18v2st.Indd
MIDDLE EAST & AFRICA ISSUE November 2018 pOFC DTVE MEA18.indd 1 30/10/2018 16:25 pXX Amos Spaceceom MEA18.indd 1 24/10/2018 12:57 Digital TV Europe Middle East & Africa 2018 > Contents November 2018 Streaming to success Middle East & Africa emerging markets of Africa and the Middle East remain domi- 2018 The nated by free-to-air TV, with satellite-delivered pay TV growing steadily. But streaming services have gained a foothold in both markets and are helping stimulate interest in local original content. Issue no 342 In Africa, OTT TV providers face the challenge of poor terrestrial fixed-line infrastructure, the high cost of mobile data and a fractured market. Never- Published By: theless, subscription video-on-demand services have gained some traction KNect365 TMT in key markets. High mobile data charges remain a barrier, however, while Maple House regional diversity could stand in the way of pan-regional players building scale, explaining why 149 Tottenham Court Road existing providers have typically focused on a few major markets. Digital TV Europe’s Middle London W1T 7AD East & Africa 2018 looks at some of the challenges and opportunities facing OTT providers in Tel: +44 (0) 20 7017 5000 the sub-Saharan Africa market. Fax: +44 (0) 20 7017 4953 In the Middle East, despite elements of a common language and culture, regional variations Website: www.digitaltveurope.com also stand in the way of providers achieving dominance. Other hurdles include piracy and the highly politicised nature of media competition – as illustrated by the way the conflict between Saudi Arabia and Qatar has spilled over into the media business.Digital TV Europe’s Middle East Editor Stuart Thomson & Africa 2018 tracks some of the key developments over the last year, including Saudi Arabia’s Tel: +44 (0) 20 7017 5314 attempts to establish itself as a regional media powerhouse and the development of multiple Email: [email protected] OTT services that are helping stimulate the local content business. -
CMGT 574 TELE-MEDIA: STRATEGIC and CRITICAL ANALYSIS FALL 2015 Updated 8/25/2015
CMGT 574 TELE-MEDIA: STRATEGIC AND CRITICAL ANALYSIS FALL 2015 Updated 8/25/2015 Room: ANN L116 Day: Wednesdays Time: 6:30-9:20pm Professors: Lisa Vebber Contact: [email protected] Phone: (213) 604-5819 Office Hrs: Wed, 5-6:30pm (alternate times may be arranged via e-mail) COURSE DESCRIPTION: Better, affordable technology that is accessible to the masses has created a seismic shift in the entertainment industry, and it will never be the same. The business of television, even the very definition of what is considered television, has changed more in the last five years than in the previous 50. The biggest shift: Power and control moving from the big media companies to the consumer. It seems like a great thing for consumers, right? Unfortunately, it’s not so black and white. Every action has a consequence, and the decisions being made in television today will impact the business and the consumer for a long time. To predict the future, we must understand the past. The first part of the semester will look at how the business worked for the last 50 years. We will learn how each sector makes money – broadcast and cable networks, cable companies and studios. Then we will learn about the issues facing the industry today, their impact on each sector, and use that knowledge to make predictions on how it will all shake out. COURSE OBJECTIVES Students will be able to: • analyze current and future entertainment industry issues using historical entertainment business models to generate strategies and programming (position paper) • research and compare