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EDITED TRANSCRIPT Eros STX Global Corporation – Business Update Call
NOVEMBER 04, 2020 / 9:30PM GMT, Eros STX Global Corporation – Business Update Call REFINITIV STREETEVENTS EDITED TRANSCRIPT Eros STX Global Corporation – Business Update Call EVENT DATE/TIME: NOVEMBER 04, 2020 / 9:30PM GMT REFINITIV STREETEVENTS | www.refinitiv.com | Contact Us ©2020 Refinitiv. All rights reserved. Republication or redistribution of Refinitiv content, including by framing or similar means, is prohibited without the prior written consent of Refinitiv. 'Refinitiv' and the Refinitiv logo are registered trademarks of Refinitiv and its affiliated companies. 1 NOVEMBER 04, 2020 / 9:30PM GMT, Eros STX Global Corporation – Business Update Call CORPORATE PARTICIPANTS Adam Fogelson: STX Films - Chairman Andy Warren: Eros STX Global Corporation - CFO Bob Simonds: Eros STX Global Corporation - Co-Chairman & CEO Drew Borst: Eros STX Global Corporation - EVP Investor Relations & Business Development Noah Fogelson: Eros STX Global Corporation - Co-President Rishika Lulla Singh: Eros STX Global Corporation - Co-President & Director CONFERENCE CALL PARTICIPANTS Eric Katz, Wolfe Research, LLC - Research Analyst Robert Routh, FBN Securities, Inc., Research Division - Research Analyst Robert Fishman, MoffettNathanson LLC - Analyst Ted Cronin, Citigroup Inc., Research Division - Research Analyst Tim Nollen, Macquarie Research - Senior Media Analyst PRESENTATION Operator Good afternoon, ladies and gentlemen, and welcome to Eros STX Global Corporation Business Update Call. This call is being broadcast live on the Internet, and a replay of the call will be available on the company's website. The company published earlier certain financial information, including a 20-F transition report and 6-K filing which are available on the company's website. The company would like to remind everyone listening that during this call, it will be making forward- looking statements under the safe harbor provisions of the federal securities laws. -
Balaji Telefilms Limited
Balaji Telefilms Limited Company Overview BSE Code 532382 Balaji Telefilms Limited is in Media & BSE Symbol BALAJITELE Entertainment sector and it is in film production, distribution & entertainment industry. BTL was Key Highlights incorporated in 1994 as a private limited Latest Date 17 Sept 2018 company and became listed in the year 2000. Latest Price (Rs.) 106.5 BTL produces Television serial content, Movies 52 Week High (Rs.) 181 and digital content. 52 week low (Rs.) 102 BTL has produced 18000 hours of Television Face Value (Rs.) 2 content since its inception. BTL has produced Market Cap. (Rs. in Cr.) 1112 some of the best television serials in the country Net Worth (Rs. in Cr.) 853 including the famous K series of daily soap: TTM EPS (Rs.) -4.61 ‘Kyunki Saas Bhi Kabhi Bahu Thi', ‘Kahani PE Ratio (x) 0 Ghar Ghar Ki' and more recently created ‘Naagin-1', ‘Naagin-2' a weekend fiction based PB Ratio (x) 1.34 programming. EV/ EBITDA (x) -31.01 Market Cap./ Sales (x) 3.19 Segment Summary Shareholding Pattern The company operates in 3 segments. Promoters 33% FII 18% 1. TV Serial Production DII 35% The backbone of the company is their TV serial Non-Institutional 14% production business. BTL is in this business from the incorporation of the company in 1994. The returns from the TV Business are steady because the company operates on a cost-plus model, whereby company adds profit to the whole cost of production and bill that to the broadcaster. 2. Movie Production The company started movie production in 2001. -
Broadcasting Decision CRTC 2011-43
Broadcasting Regulatory Policy CRTC 2011-43 PDF version Ottawa, 25 January 2011 Revised lists of eligible satellite services – Annual compilation of amendments 1. In Broadcasting Public Notice 2006-55, the Commission announced that it would periodically issue public notices setting out revised lists of eligible satellite services that include references to all amendments that have been made since the previous public notice setting out the lists was issued. 2. Accordingly, in Appendix 1 to this regulatory policy, the Commission sets out all amendments made to the revised lists since the issuance of Broadcasting Regulatory Policy 2010-57. In addition, the lists of eligible satellite services approved as of 31 December 2010 are set out in Appendix 2. 3. The Commission notes that, as set out in Broadcasting Regulatory Policy 2010-839, it approved a request by TELUS Communications Company for the addition of 17 new language tracks to Baby TV, a non-Canadian service already included on the lists of eligible satellite services for distribution on a digital basis. Secretary General Related documents • Addition of 17 new language tracks to Baby TV, a service already included on the lists of eligible satellite services for distribution on a digital basis, Broadcasting Regulatory Policy CRTC 2010-839, 10 November 2010 • Revised lists of eligible satellite services – Annual compilation of amendments, Broadcasting Regulatory Policy CRTC 2010-57, 4 February 2010 • A new approach to revisions to the Commission’s lists of eligible satellite services, -
The Export of European Films on SVOD Outside Europe
The export of European films on SVOD services outside Europe Christian Grece September 2019 A publication of the European Audiovisual Observatory Table of Contents Overview of 79 SVOD services in 21 countries worldwide Analysis by region and country ▪ North America – Canada and USA ▪ Latin America – Argentina, Brazil and Mexico ▪ South East Asia – Indonesia, Malaysia, Philippines, Singapore and Thailand ▪ East Asia – China and Japan ▪ India ▪ Oceania –Australia and New Zealand ▪ Middle East – The United Arab Emirates, Egypt and Saudi Arabia ▪ Individual countries - Russian Federation, South Africa and Turkey Introduction The aim of this report is to give a picture on the export of EU films on SVOD services outside of the European Union. 79 SVOD services in 21 countries worldwide are part of the sample. The report looks at the circulation of unique film titles and the volume/occurrences of films available on these services, on a regional and service basis. The first part gives a snapshot of the availability of EU films around the globe after which a overview for each region is provided. Methodology The analysis has been carried out based on data provided by Ampere Analysis and comprehends SVOD catalogue data collected in June 2019. A film is defined as a feature film, fiction film, documentary or other film content available in the “Film” / “Movie” section of the SVOD catalogues part of the sample. For the origin of a film, only the first country of production is taken into account. The production countries are based on data collected from the Observatory’s LUMIERE database on admissions to films in Europe, IMDb and the Movie database. -
Watch Free Movies No Signup Required
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Executive Summary and Recommendations
Monitoring of Russian TV channels | 2015 Executive Summary and Recommendations Supported by This publication has been produced with the assistance of the European Union. The contents of this publication are the sole responsibility of the implementing partners and can in no way be taken to reflect the views of the European Union. Monitoring Russian channels 2015 EaP Civil Society Forum Secretariat | European Endowment for Democracy | Krajowa Rada Radiofonii i Telewizji Executive summary From 1 – 31 March 2015, MEMO 98, a Slovak non-profit specialist media-monitoring organization, Internews Ukraine, a leading Ukrainian non-governmental organization supporting independent media, along with Yerevan Press Club (Armenia), Independent Journalism Center (Moldova), “Yeni Nesil” Union of Journalists (Azerbaijan), Belarusian Association of Journalists (Belarus), and Georgian Charter for Journalistic Ethics (Georgia) jointly monitored eight Russian TV channels to evaluate the level of political diversity in their news coverage of various international and local topics. This monitoring was implemented thanks to the support of the Eastern Partnership Civil Society Forum Secretariat (EaP CSF), the European Endowment for Democracy (EED) and the Krajowa Rada Radiofonii i Telewizji (KRRiT). The methodology for the media monitoring was developed by MEMO 98 which has carried out similar monitoring projects in some 50 countries in the last 16 years. It included quantitative analysis of the coverage, which focused on the amount of time allocated to each subject, as well as the tone of the coverage in which the relevant political subjects were portrayed: positive, neutral or negative. Qualitative analysis assessed the performance of the media against specific principles or benchmarks – such as ethical or professional standards – that cannot be easily quantified. -
Snapshot an Extraordinary Shift in Media Behaviour Patterns During an Extraordinary Time
April 2020 Global Digital Subscription Snapshot An extraordinary shift in media behaviour patterns during an extraordinary time The arrival of the Coronavirus has brought about a dramatic shift in media behaviour globally. As people’s freedom of movement is severely restricted, they have flocked to high-quality content providers as they seek out entertainment, escapism, inspiration and trustworthy news coverage. Since its inception, the Global Digital Subscription Snapshot has served as a celebration of the success achieved by publishers in finding new revenue streams and expanding audiences paying for high-quality, curated content in the digital era. In this report, we continue to do so but have to acknowledge the extraordinary circumstances contributing to success at the moment. The extreme limitations imposed on the ways and means in which people can spend their time and money has translated into a surge in people consuming more content online. Interestingly, it has also highlighted the role that high-quality content has to play in people’s lives as they return to established content brands for trusted content. While we expect behaviour patterns to shift again once the pandemic recedes, the current situation does provide an unprecedented opportunity for publishers and streaming services to connect with, engage and nurture new audiences. The increased use of video streaming services has been widely reported in recent weeks. Since February alone, Disney+ has added 20 million new subscribers taking its subscriber base to 50 million. On the back of this, the company is close to hitting subscription targets it originally set for 2024. While publishers are yet to release digital subscription figures which shows their performance since lockdowns started, internet traffic numbers hint that local news publishers might be the biggest beneficiaries of changing internet behaviour. -
Channel Listing Fibe Tv Current As of June 18, 2015
CHANNEL LISTING FIBE TV CURRENT AS OF JUNE 18, 2015. $ 95/MO.1 CTV ...................................................................201 MTV HD ........................................................1573 TSN1 HD .......................................................1400 IN A BUNDLE CTV HD ......................................................... 1201 MUCHMUSIC ..............................................570 TSN RADIO 1050 .......................................977 GOOD FROM 41 CTV NEWS CHANNEL.............................501 MUCHMUSIC HD .................................... 1570 TSN RADIO 1290 WINNIPEG ..............979 A CTV NEWS CHANNEL HD ..................1501 N TSN RADIO 990 MONTREAL ............ 980 ABC - EAST ................................................... 221 CTV TWO ......................................................202 NBC ..................................................................220 TSN3 ........................................................ VARIES ABC HD - EAST ..........................................1221 CTV TWO HD ............................................ 1202 NBC HD ........................................................ 1220 TSN3 HD ................................................ VARIES ABORIGINAL VOICES RADIO ............946 E NTV - ST. JOHN’S ......................................212 TSN4 ........................................................ VARIES AMI-AUDIO ....................................................49 E! .........................................................................621 -
Greek Police Fear New Terrorist Groups Forming Fundraiser Underway by Shots at ND Offices and Violence Toward Greek Am
S O C V ΓΡΑΦΕΙ ΤΗΝ ΙΣΤΟΡΙΑ Bringing the news W ΤΟΥ ΕΛΛΗΝΙΣΜΟΥ to generations of E ΑΠΟ ΤΟ 1915 The National Herald Greek- Americans N c v A wEEkly GrEEk-AmEriCAN PuBliCATiON www.thenationalherald.com VOL. 16, ISSUE 797 January 19-25, 2013 $1.50 Project Hope for Greece Greek Police Fear New Terrorist Groups Forming Fundraiser Underway by Shots at ND Offices and Violence Toward Greek Am. Foundation Media Spark Worry By Constantine S. Sirigos tonakopoulos, and Chris Pa - By Andy Dabilis TNH Staff Writer pavasiliou. The Consuls general TNH Staff Writer of Greece and Cyprus, respec - NEW YORK – Because nobody tively, George Eliopoulos and ATHENS – The gunshot attack knows how much more the peo - Koula Sophianou, were also pre - on the ruling conservative New ple of Greece can withstand, or sent. Democracy Party headquarters which act of solidarity and phil - TRIAGE FIRST, THEN BUILD in which a bullet was fired into anthropy will convey to a critical A NEW GREECE the office of Prime Minister An - mass of Greeks that the diaspora Pappas said the Project was tonis Samaras, and a spate of stands at their side and that created “with three distinct ar - bombings at the homes of jour - there is hope, every new initia - eas of funding that we will sup - nalists and political parties has tive from the Greek-American port. He calls the first he calls Greek police reportedly fearful community is more than wel - “‘triage,’ helping the sick, the that new terrorism enclaves are come. homeless, the hungry, and the assembling. At Manhattan’s Stix restau - -
SVOD Digest: Table of Contents
SVOD Digest: Table of Contents Published in November 2017, the SVOD Digest report provides succinct state-of-play detail for 337 SVOD platforms across 50 countries. Price: £500/€600/$650 The 54-page report saves time for busy executives by presenting tabular information with one-page per country (OK – India and the US are two pages). Not every platform is listed – just the main ones in each country. We have concentrated on platforms providing TV episodes and movies – so not sports, for example. Our subscriber estimates only include paying subscribers at end-2017 – not trialists or those receiving free access. SVOD Digest platforms covered by country Country No of Platforms covered platforms Argentina 9 Netflix; Amazon Prime Video; Blim; Claro Video; Telefonica On Video; Arnet Play; HBO; Crackle; Qubit Australia 6 Netflix; Amazon Prime Video; Stan; Foxtel Play; YouTube Red; Hayu Austria 10 Netflix; Amazon Prime Video; Amazon Channels; Sky Ticket; Maxdome; A1 Now; TV Now Plus; Flimmit; Rakuten; 3TV Belgium 7 Netflix; Amazon Prime Video; Videoland; Yelo; RTL a l'Infiniti; Movies & Series; Be TV Brazil 6 Netflix; Amazon Prime Video; Claro Video; Globo Play; HBO; Crackle Bulgaria 4 Netflix; Amazon Prime Video; Voyo; Maxi Canada 5 Netflix; Amazon Prime Video; CraveTV; Illico; Fibe Alt TV Chile 8 Netflix; Amazon Prime Video; Blim; Claro Video; Movistar Play; HBO; Crackle; Qubit China 5 Youku Tudou; Iqiyi; Tencent Video; TMall Box Office; LeEco Colombia 8 Netflix; Amazon Prime Video; Blim; Claro Video; Movistar Play; HBO; Crackle; Qubit SVOD -
Russian in the U.S.*
IRINA DUBININA, MARIA POLINSKY (BRANDEIS-HARVARD) Russian in the U.S.* According to the 2007 Census, the U.S. is home to 851,170 immigrants from Russia (Community Survey, US Census). Whatever their ethnic identity (“natio- nality”) was according to their Soviet passports, in America they become “Russians.” Russian is one of the ten most spoken languages in the U.S., exclu- ding English, and according to the latest Censuses, the number of native speak- ers of Russian is steadily increasing (Potowski 2010, Kagan – Dillon 2010). This increase owes to a significant influx of Russian speakers who left the Soviet Union in the 1970s and 1980s, as well as to a more recent wave of immigrants from Russia and the Commonwealth of Independent States in the post-Soviet period. Although Russians first set foot on American territory in the 18th century and arrived in a number of “waves” throughout the 20th century, only a few descendants of these old immigrants speak Russian.1 In this paper, we will focus on the most recent immigrants from Russia and the CIS because unlike the representatives of the earlier immigration waves, they still speak Russian en masse. The bulk of those who came from the Soviet Union to the U.S. in the 1970s and 1980s were Jews, who were able to immigrate (officially, to Israel) * The authors thank Vladimir Belikov, Elena Beshenkova, Nikolai Vakhtin, Vera Gribanova, Olga Kagan (UCLA), Olga Kagan (Hebrew University), Maxim Krongauz, Oksana Laleko, Anna Mikhailova, Elena Muravenko, Sasha Nikolaev, Ekaterina Protasova, Irina Sekerina, Yakov Testelets, members of the Laboratory of Linguistic Studies at Harvard University, as well as participants of the conferences “Slavic Languages in Emigration and Remigration,” held at the University of Vienna, and “Russian Language Abroad,” held at the Russian State University for the Humanities, for valuable comments on this work. -
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 .