Estta1115232 02/18/2021 in the United States

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IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91245851 Party Plaintiff Sony Corporation Correspondence MARK SOMMERS Address FINNEGAN HENDERSON FARABOW GARRETT & DUNNER LLP 901 NEW YORK AVENUE NW WASHINGTON, DC 20001 UNITED STATES Primary Email: [email protected] Secondary Email(s): [email protected], [email protected], [email protected] 202-408-4000

Submission Plaintiff's Notice of Reliance Filer's Name Mark Sommers Filer's email [email protected], [email protected], [email protected], [email protected], TTAB-Leg- [email protected] Signature /Mark Sommers/ Date 02/18/2021 Attachments 2021-02-18 Notice of Reliance No. 5 - Professional and Radio and Micr ophone.pdf(131105 bytes ) Combined Ex 1 - 35.pdf(1510100 bytes ) Combined Ex 36 - 43.pdf(3903592 bytes ) Combined Ex 44 - 45.pdf(5581408 bytes )

IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD

SONY CORPORATION, Opposition No. 91245851

Opposer Application Serial No. 87882260 v. Mark: SoniStream Filed: April 18, 2018 NEIL CAMPBELL,

Applicant

OPPOSER’S NOTICE OF RELIANCE NO. 5 UNDER 37 CFR § 2.122(e)

Pursuant to Trademark Rule 2.122(e) and TBMP § 704.08, Opposer Sony Corporation submits of record in connection with this opposition proceeding a representative sample of articles from printed publications available to the general public in libraries, on the LEXIS

NEXIS database, and in publications of general circulation (see In re Cell Therapeutics, Inc., 67

USPQ2d 1795, 1798 (TTAB 2003)), along with documents constituting “Internet Materials” under Trademark Rule 2.122(e), relating to Opposer’s products and services provided to professionals and consumers in the broadcast, radio, and music recording industries.

This evidence is relevant to the issues of likelihood of confusion and dilution, and shows, among other things, the nature and extent of the public exposure and recognition that Opposer’s

SONY brand has received over many years in connection with Opposer’s professional and consumer broadcast, radio, and music products and services. As such, the evidence supports the strength and fame of the SONY mark. This evidence also shows the nature of Opposer’s goods and services, use of the SONY mark in connection with Sony’s goods and services, and the trade

channels for Sony’s goods and services. As such, the evidence supports the relatedness of the parties’ goods and the overlap of the trade channels at issue.

Exhibit Publication Date Article Title No. 1 The Oregonian 05-30-1989 Sony Offering a Real Earful New Powerful Radios Pick Their Way Through Cluttered Airwaves of Today Accent on Home Electronics 2 Billboard 05-01-1993 Sony Establishes Colossal N.Y. Studio For Own Acts 3 Billboard 05-08-1993 Looking Inside Sony's Studio Complex; A Room-By-Room Rundown Of Facility's Gear 4 The New York Times 05-10-1993 From Newsreels to Records: A New Home for Sony Music 5 Business Wire 05-24-1994 Sony chosen by The Associated Press to provide integrated international production system for APTV launch 6 Billboard 06-04-1994 MiniDisc Makes Inroads At Radio; Format Ideal For On-Air Apps, Stations Say 7 Billboard 01-07-1995 CES Provides Music To Ears Of Audio Industry; The Show Is Home To A Range Of Cutting-Edge Formats, Multi-Channel Speakers And High-End Home Theater 8 Business Wire 05-15-1995 Americans Two-Steppin' Out of Bed to Country Music; Sony Survey Finds Country To Be Favorite Wake-Up Music 9 PR Newswire 05-18-1995 Sony Offers Aspiring Musicians A Chance To Win Their Own Mini Home Recording Studio; Nationwide Contest Designed to Showcase Sony MiniDisc Format and Help Define the 'New Sound of Today' 10 Japan Economic 06-17-1997 Sony gets NBC Olympics technology Newswire contract 11 Billboard 02-21-1998 Sony's Varied Units Add Up To One Strong Firm Global Focus, Recent Label Realignments Paying Off 12 M2 Presswire 09-24-1998 AP/SONY AP and Sony collaborate on open newsroom system-video system integration 13 Business Wire 03-08-1999 Sony Announces Launch Into Videoconferencing Set-Top Market

Exhibit Publication Date Article Title No. 14 Business Wire 04-18-1999 Sony NAB Booth Features Collaborative MPEG Demonstrations With Avid, Sun Microsystems, FAST Multimedia, ASC Leitch, Vibrint Technologies, Quantel 15 PR Newswire 02-08-2000 Sony Marks 50 Years of Mastering Media Solutions; Electronics Pioneer Kicks Off 50th Anniversary of Recording Media Innovation at NAB 2000 16 Business Wire 04-09-2000 U.S. Armed Forces Radio and Television Service Awards $17 Million Contract to Sony; NAB2000 Booth No.L12107 17 PR Newswire 06-27-2000 Sony Takes PC Expo Attendees from 'Work To Play' With Host of AV/IT Solutions 18 Billboard 05-19-2001 Audio Track 19 Billboard 09-28-2002 Studios And Recording Equipment - Top- Performing Studios 20 PR Newswire 06-09-2003 Sony Licenses Waves' Audio Technology for Use in SonicStage Mastering Studio; Sony Integrates Three Waves Audio Processors to Be Shipped With VAIO PCs Worldwide 21 Business Wire 04-14-2005 Sony and GlowPoint Unveil the First Complete IP-based Video Communications Solution for Television Broadcasters 22 PR Newswire US 04-17-2005 Sony Takes The HD Highway To NAB 2005; HD Technology Covers an Array of Applications Including TV and Movie Production, Network News, Digital Cinema, Event Videography and Electronic Cinematography 23 Daily Variety 04-18-2005 Sony vaults forward in digital deal. 24 PR Newswire US 05-29-2007 Sony Sends a Clear Signal With New HD Radio(TM)-Enabled Table Radio and Mobile Tuner; Delivers Crystal Clear Radio in the Home and in the Car 25 The Online Reporter 06-02-2007 Sony dives into HD Radio; Sony XDR- S3HD digital tabletop radio and XT- 100HD automobile radio

Exhibit Publication Date Article Title No. 26 Business Wire 04-12-2010 -- NAB Show Attendees to be Greeted by NAB President and CEO Gordon Smith, Sony Executive Hiroshi Yoshioka, Michael J. Fox, and Astronauts Aboard the International Space Station --; -- NAB Show Attendees to be Greeted by NAB President and CEO Gordon Smith, Sony Executive Hiroshi Yoshioka, Michael J. Fox, and Astronauts Aboard the International Space Station -- 27 PR Newswire 01-07-2013 Introducing Xperia(TM) Z - The Best of Sony in a Premium Smartphone 28 PR Newswire 09-04-2013 Sony Introduces High-Resolution Audio Products Which Marry Convenience And Quality; New Two-Channel Audio Components Come to Market Supported by Major Music Labels and Artists 29 Engadget HD 09-04-2013 Sony's HDR-MV1 Music Video Recorder helps your band break out of the garage, into YouTube 30 FD (Fair Disclosure) 11-25-2013 Sony Corporation Entertainment Business Wire Briefing - Final 31 TechReleased.com 01-15-2014 Sony's New Professional Wireless Microphone System 32 PR Newswire 02-10-2014 NBC Olympics' Production Of The 2014 Winter Games In Sochi To Utilize Sony HD Broadcast Equipment; F55 4K Cameras, XDCAM HD Camcorders and Decks, HDC Studio Cameras, MVS Switchers and HD Displays Support NBC's Coverage to the United States 33 Sony Electronics 02-11-2014 NBC Olympics’ Production of the 2014 Winter Games in Sochi to Utilize Sony HD Broadcast Equipment 34 PR Newswire 04-06-2014 At NAB 2014, Sony Unites Products, Systems and Services To Give Content Creators New Ways to Express Themselves; Sony provides end-to-end 4K solutions for professional production and content creation applications 35 PR Newswire 04-13-2015 Sony and WGBH Boston Launch Public Media Management; Revolutionary New System Created to Serve Public Broadcast Needs

Exhibit Publication Date Article Title No. 36 www.sony.com 04-17-2016 Sony Goes Beyond Definition at NAB 2016 37 Definition Magazine 04-18-2016 SONY at NAB 2016 38 JD Supra 10-27-2016 NAB Agreement With Sony Brings Flexibility Back to Music Streaming 39 PR Newswire 04-07-2019 At NAB 2019, Sony Unveils Products, Solutions and Workflows That Are "Powering Today and Transforming Tomorrow"; Sony is Strengthening its Commitment to the Media Industry's Needs, Making 4K and 8K Resolution, High Dynamic Range, High Frame Rate, IP and Cloud Even More Accessible 40 PR Newswire 04-07-2019 Sony Enhances "IP Live" Production Solutions with New Live Element Orchestrator and SDI-IP Converter Boards; Sony Empowers Resource Sharing across Multiple Locations to Support Broadcasters in Overcoming Budget and Productivity Challenges 41 www.youtube.com 04-18-2019 Sony Transforming Broadcast Stations | NAB 2019 42 Live Design 11-01-2019 KCRW Builds New State-of-The-Art Media Headquarters 43 www.nab.org 02-10-2021 Member Opt-In | Sony Waiver 44 www.youtube.com 02-10-2021 Sony Professional Solutions Americas 45 https://pro.sony/ue_US 02-10-2021 Studio Microphones - Sony Pro

Dated: February 18, 2021 Respectfully submitted,

/ Mark Sommers / Mark Sommers Naresh Kilaru Jessica L. Hannah FINNEGAN, HENDERSON, FARABOW, GARRETT & DUNNER, L.L.P. 901 New York Avenue N.W. Washington, DC 20001 (202) 408-4000

[email protected] [email protected] [email protected] [email protected] [email protected]

CERTIFICATE OF SERVICE

I certify that a true and accurate copy of the foregoing OPPOSER’S NOTICE OF

RELIANCE NO. 5 UNDER 37 CFR § 2.122(e) was served by e-mail on this 18th day of

February 2021 on Neil Campbell at the following address of record:

NEIL CAMPBELL 1038 5TH STREET #A SANTA MONICA, CA 90403

[email protected]

/ Judy Valusek / Trademark Legal Assistant

Exhibit 1 SONY OFFERING A REAL EARFUL NEW POWERFUL RADIOS PICK THEIR WAY THROUGH CLUTTERED AIRWAVES OF TODAYAccent on Home electronics

The Oregonian (Portland, Oregon) May 30, 1989 Tuesday Fourth Edition

Body

Tuesday, May 30, 1989 SONY OFFERING A REAL EARFUL

NEW POWERFUL RADIOS PICK THEIR WAY THROUGH CLUTTERED AIRWAVES OF TODAY

Accent on Home electronics

TEXT:

At the age of 10, I bought my first electronics toy from the proceeds of a modest paper route. It was an Emerson radio -- maroon.

The Emerson and I were best friends. On cloudy nights through static that only unspoiled ears could abide, the Emerson brought into my Pennsylvania bedroom -- well past bedtime -- the bat cracks of the Brooklyn Dodgers. Wow!

Ever since my old, reliable $19 Emerson moved on to a higher wave length in the sky, I have been searching for a radio with an AM receiver section as sensitive and far-reaching as that of my boyhood pal.

Alas, those expectations may never be met, even in today's competitive consumer electronics field.

That's because the narrow AM (amplitude modulation) band for commercial radio is so cluttered with underpowered local stations, it is difficult to receive and lock in a distant signal without the use of an auxiliary, outdoor power antenna.

Nevertheless, it is true that some radios are better than others in picking up AM signals. An example is the multiband shortwave or world-band radio.

Digital tuning is the key. It is so precise it can separate conflicting frequencies across several airwaves, allowing the fine tuning of distant signals for shortwave, longwave, mediumwave, police and weather bands, AM, FM and television frequencies.

The marketing emphasis of these units, of course, is on their shortwave or world-band circuitry. It has become the radio choice of hobbyists, emulating the citizens' band craze of the 1970s. Indeed, a whole new culture is building around these multiband receivers. Page 2 of 2 SONY OFFERING A REAL EARFUL NEW POWERFUL RADIOS PICK THEIR WAY THROUGH CLUTTERED AIRWAVES OF TODAYAccent on Home electronics

Today's world-band radios are moderately priced, most of them starting at around $200 each.

The Sony Visual World Band Radio Receiver, model CRF-V21, is the ultimate in radio receivers ever made, with a suggested retail price of $6,500. Sony's dream radio offers two bands of AM frequencies -- a wide band and a narrow band. This feature enables the listener to sometimes separate competing signals broadcast at or near the same bandwidth frequency.

In addition, the Sony also boasts a spectrum analyzer that permits visual display of active signal strengths in a definable band of frequencies. A market bar dramatically eliminates inter-station static and reduces signal fade, thus making it possible to catch -- from a location in Oregon -- all three outs of a Los Angeles Dodgers' inning.

The world-band radio, based on its many capabilities, is worth a hard look. About 160 countries and an estimated 6,000 stations (about 1 in 10 broadcast in English) crowd world-band frequenices. The strongest signals come from powerful state-sponsored transmitters.

Shortwave, though, is also used by local stations in less-developed countries where programs must reach rural areas. These shortwaves easily reach and bounce off the electrically active ionosphere, allowing them to ricochet huge distances and into Oregon homes.

The dream Sony receiver, which includes an LCD display screen, a built-in resolution printer, a satellite and radio fax machine to print out weather bulletins and facsimiles, a teletype message receiver, a 350-station memory storage and complete portability, is for the serious and affluent addict of shortwave broadcasts.

Sony also offers seven other moderately priced models, starting at about $100. Grundig and Panasonic also compete effectively in this new field, each offering shortwave radios with precise digital tuning and improved sound quality over the old Zenith standbys of the past.

World-band radios are at the cusp of a new electronic wave: Words over music, mind over audio matter. The sets appeal to the curious among us, the intellectuals who want to take international pulse beats or get closer to their geography books.

And there is something in these radios, too, for those of us who just want to fight off intermittent static and frequency drift to hear the Dodgers play.

The following fields overflowed: BYLINETITLE = WAYNE THOMPSON of the Oregonian Staff<

Load-Date: April 3, 2006

End of Document

Exhibit 2 Sony Establishes Colossal N.Y. Studio For Own Acts

Billboard May 1, 1993

Body

Sony Music is set to open a colossal multimedia studio complex May 10 on Manhattan's West Side, at the former site of the Fox movie soundstages.

Unlike other label-run recording facilities, the new Sony Music Studios will not be rented to outside clients. The building is intended solely to serve the needs of Sony's artists and staff, allowing them to pursue all their audio and video activities -- from writing, rehearsing, and recording to editing, mixing, and mastering -- in a fully integrated environment.

"We want to be the only company in the world to provide this kind of facility to nurture and develop our artists," says Sony Music president Tommy Mottola. "It shows the industry that we are intent and committed to the strategy of building from within, which we have done. That's why a facility like this will become a magnet for our artists."

Mottola did not disclose the cost of the studio beyond saying it was in the multimillion-dollar range. Asked whether Sony's vertical integration eased the financial burden of building the studio, Mottola says, "Certainly the fact that we are Sony didn't hurt."

Nevertheless, convincing the Sony board the project would be a good investment was "a pretty big undertaking," says Mottola. "Then to have them back you because they understand the essence of what you're trying to do is absolutely sensational."

NOT MEANT TO COMPETE

Ironically, what is being called the largest studio complex of its kind will not be used as a commercial facility, according to Mottola. "We're not going to have a problem" sustaining it, he says. "We're overbooked already."

Nor are the Sony Music Studios intended to draw business away from the top-of-the-line facilities that Sony artists have traditionally used. "The idea is not to be in competition at all with commercial studios," says Mottola.

Executives at the Hit Factory, which operates two hi-tech recording studio facilities on West 54th Street, a 42nd Street mastering facility, and a studio complex in London, declined comment. Executives at other major New York studios could not be reached by press time.

With the exception of A&M Recording Studios and Capitol Recording Studios in Los Angeles, the era of large- scale, major-label-owned facilities has long been considered a thing of the past by industry observers. Page 2 of 3 Sony Establishes Colossal N.Y. Studio For Own Acts

Sony hopes to make entertainment history in a site that already comes with a rich resume. Previously owned by the Fox Film Corp. and later by Manhattan Sound West and Camera Mart, the studio was used to shoot scenes for such classic films as "Miracle On 34th Street," "On The Waterfront," and "Kramer Vs. Kramer," as well as TV shows like "I Spy" and "This Is America." It also served as the headquarters for Fox's once-lucrative newsreel division.

The studio complex is the latest phase in a reorganization of Sony's main offices. In the past year, the company has relocated its Los Angeles and New York offices and refurbished its Nashville bureau.

SET FOR MAY OPENING

The five-story, 70,000-square-foot Sony complex was designed by the Dallas-based Russ Berger Design Group and wired by Sony's Systems Integration Division and David Carroll Electronics, according to Sony. It is located at 460 W. 54th St., at the corner of 10th Avenue.

The crown jewel of the complex is a 270,000-cubic-foot soundstage with a 40-foot ceiling and a 26-foot-high, three- wall cyclorama. According to Sony Music VP Al Smith, this room can handle projects ranging from the complete filming of music videos to taping and broadcasting TV concerts and shows; it can also accommodate an audio ensemble of virtually unlimited size. The room is wired for 12 video cameras and 96 microphone lines.

A smaller "insert stage," also on the main floor, is wired for five cameras and 48 mike inputs; it has a 16-foot ceiling and a three-wall cyclorama.

The ground floor also comprises the following:

* Two mix rooms, the larger of which has high-ticket equipment, including a fully automated, 96-input Solid State Logic board, Genelec, ProAc, and Mastering Lab speakers, Sony 48-track digital recorders, various 24-track analog decks with Dolby SR, analog and digital mixdown machines, and a full complement of outboard gear.

* a full-fledged, medium-sized recording studio that can accommodate an eight-piece band.

* A large, full-service mastering room.

* Two identical on-line video editing rooms.

* Two off-line video editing rooms, including one that houses a Macintosh-based Avid workstation for non-linear audio and video editing.

* A TV production control room, from which images can be broadcast to networks, cable outlets, and satellite receivers.

* A camera shading room.

* An animation room.

* The Video Central machine room, which services all the video editing rooms, the TV production room, and the animation room, and provides routing capabilities for the entire facility.

Floor two contains songwriter suites equipped with computers, keyboards, and tape recorders; an artist lounge with a kitchen and video games; and administrative offices and conference rooms.

Mottola says the writing rooms will be used by Sony Music Publishing writers, Sony recording artists, and outside writers working on Sony projects.

The third floor -- with 11 audio production studios -- is designed for Sony's vast compilation and remastering activities. Eventually, this floor will include a room dedicated to the company's Mastersound reissue series. Page 3 of 3 Sony Establishes Colossal N.Y. Studio For Own Acts

The topmost level of the building is reserved for Sony's gargantuan audio and video library of approximately 125,000 titles, including early glass masters. During a recent tour, Smith paused to show a 1903 Edison-type-disc recording of Pope Leo XIII reading a benediction.

All of Sony's archival material undergoes constant cataloging and remastering, according to Smith.

In the basement of the new building is a research-and-development lab, two real-time cassette-duplication rooms (with 50 decks apiece), and a maintenance area capable of servicing the whole studio. Sony also plans to install a state-of-the-art MIDI room in the basement in the near future.

Graphic

Picture 1, MOTTOLA; Picture 2, The centerpiece of Sony Music Studios' mix room A is a Solid State Logic 4096G mixing console featuring SSL's Ultimation Fader Automation System.

End of Document

Exhibit 3 Looking Inside Sony's Studio Complex; A Room-By-Room Rundown Of Facility's Gear

Billboard May 8, 1993

Body

Sound and video technicians are nearly finished installing an army of state-of-the-art equipment in the various rooms of Sony Music's new 70,000-square-foot studio facility here (Billboard, May 1).

According to a Sony press release all audio and video spaces in the new Sony Music Studios were designed by the Dallas-based Russ Berger Design Group and wired by Sony's Systems integration Division and David Carroll Electronics.

Following is a partial list of specs in the various rooms.

* Main soundstage: considered the "crown jewel" of the facility, the 270,000-cubic-foot room has a 40-foot ceiling with a 26-foot-high, three-wall Cyclorama; the room can be used for filming complete videos, taping and broadcasting TV programs, and audio recording of ensembles of virtually unlimited size; room is wired for 12 video cameras and 96 mike lines. * Insert stage: A smaller version of the main soundstage, this room measures 17,600 cubic feet with a 16-foot ceiling and a three-wall Cyclorama; room is wired for five video cameras and 48 mikes. * Rehearsal rooms: Two of these, each measuring 1,110 square feet, are provided for Sony artists to rehearse in. * Mix room A (main mixing room, equipped for analog and digital mixing): Contains Solid State Logic 4096G console with 96 inputs and SSL's Ultimation Fader Automation System; Genelec 1035A monitors for far-field monitoring, ProAc, and Mastering Lab speakers for near-field needs; Sony PCM 3348 48-track digital recorders and 2-inch 24-track machines with Dolby SR for analog recording; mixdown gear including Studer A-820 analog two- track recorder, Sony PCM 7010 DAT recorder, Sony 1630 3/4-inch digital two-track, and 20-bit DASH X-20 digital recorder; and full complement of outboard gear. * Studio B, a full-fledged recording studio with a sound room large enough to accommodate seven or eight musicians and an isolation booth: Contains customized Sony MXP-3056 56-input console featuring George Massenburg Fader automation; Sony and API microphone pre-amps and channel equalizers; customized UREI 813 tri-amped monitors with TAD subwoofers and Dyne Audio tweeters and Bryston crossovers and amps; and full complement of outboard gear and mikes, including vintage tube models. * Mix room C: Located next to video control room and main soundstage, room is used for mix-to-picture, recording from the main soundstage and insert stage, audio mixing, and live audio recording; uses same console, machine configuration, and outboard gear as Studio B; also has customized E. M. Long CRM 100/SS Five Channel Surround system, with ProAc Studio I MKII near-field monitors, Timeline Lynx Synchronization System, and 32- inch Sony monitor. Page 2 of 2 Looking Inside Sony's Studio Complex;A Room-By-Room Rundown Of Facility's Gear

* Mastering room: Contains Neve DTC digital mastering console featuring Siemens Audio's Prism Series EQ units and custom-modified with Cello D-A converters; Sony CD Mastering System that includes DAE-3000 editor, PCM- 1630 processor, and DMR-4000 recorders; Sonic Solutions hard-disc editing system with Sony CD writer that provides CD copy of final master; two Sony PCM 7010 DAT recorders; Scully disc-cutting lathe with Discomputer; Cello Stradivari Master monitor system with Cello Performance amplifiers; Tannoy DMT 12 monitor system; UREI analog limiters and GML equalizers; and Harmonia Mundi digital editor and Studer analog two-track machines modified with Cello playback electronics. * Edit A and Edit B: Identical, on-line, digital video production and edit rooms -- each of which contains a Sony DVS- 8000C switcher; a pair of Sony DME-5000 video effects processors; a Sony BVE-9100 editor; a Chyron iNFiNiT character generator; a Sony DMX-E3000 audio mixer; and a Sony PCM 7030 DAT recorder. * Production control room: Features similar equipment to Edit A and Edit B. Its Sony DVS-8000C switcher receives camera feeds from the main soundstage and insert stage. * Camera shading room: Contains Sony BVE 9100, Sony MXP 390 audio mixer, and Chyron iNFiNiT character generator. * Edit C: Linear, off-line editing suite that uses a Sony BVS-3200 analong switcher, six Sony BVW-75 in-room VTRs, Sony BVE-9100 editor, a Chyron iNFiNiT character generator, and Sony MXP-390 audio board. * Edit D: Nonlinear, off-line editing suite featuring the Macintosh-based Avid 2500 system, which provides eight gigabytes of hard-drive storage, 16-bit audio, and magneto-optical backup. (All video suites utilize Tannoy DMT 12 speakers and Bryston power amps.) * Animation room: Features Motion Products Manipulator 3000 Animation Stand. * Video Central: Services on- and off-line video editing rooms A-D, animation room, TV production control room, main soundstage, and insert stage; most wire-intensive room in the facility, with 22 VTRs (expandable to 31), eight Sony D2 machines, eight Betacams, four 3/4-inch machines, two 1-inch machines, 20 VHS decks, and 20 3/4-inch machines for duplication; room also houses the routing system for the entire studio complex.

End of Document

Exhibit 4 From Newsreels to Records: A New Home for Sony Music

The New York Times May 10, 1993, Monday, Late Edition - Final

By DAVID W. DUNLAP

Body

While Sony USA has been conspicuously transforming the former A.T. & T. headquarters on the East Side of Manhattan into its new home, Sony Music has been quietly transforming the former Fox Movietone studios on the West Side into a new video and audio center.

The quiet ends today.

That is when the Sony Music Studios open in an industrial red-brick barn on 10th Avenue, between 53d and 54th Streets. Once the home of Fox Movietone newsreels, it was also where "Miracle on 34th Street," "On the Waterfront," "Fail Safe," "Shaft," "The Exorcist," "Sophie's Choice" and "Kramer vs. Kramer" were filmed, as well as television series like "I Spy" and "The Adams Chronicles."

At the heart of the complex, which Sony has completely rebuilt, to the tune of perhaps $40 million, is a 75-by-100- foot sound stage, with a 40-foot-high ceiling. This is where Sony will make many of the 220 music videos it produces every year.

Nearby are a smaller sound stage, a recording studio where 7 or 8 musicians can perform, 16 audio recording production rooms, 4 video editing rooms, a television control room, 2 rehearsal rooms, 4 songwriters' offices and an audio and video library and archive.

"Every phase that happens in the career of an artist can be handled and catered to," said Thomas D. Mottola, the president of Sony Music.

The studios will be available only to artists under contract to Sony, a roster that includes Michael Jackson, Billy Joel, Bruce Springsteen and Barbra Streisand.

Mr. Mottola would not disclose the cost of the project. He said it did not involve any economic incentives or tax abatements from New York City.

Mayor David N. Dinkins is scheduled to attend the opening tonight, when the main stage will resemble a West Side streetscape.

There are few traces of the past at the studios except for the sheer volume of the main stage itself, a handsomely paneled elevator cab and holes in the fourth-floor ceiling where chimneys used to extend from the nitrate-film storage vaults. Page 2 of 2 From Newsreels to Records: A New Home for Sony Music

For 20 years, the studios were owned by Camera Mart, an equipment rental company, and leased to movie and television producers.

But Al Smith, a vice president of Sony Music, said: "It was getting to be a ghost of a building. There weren't many productions shot here." The last movie to be filmed there, he said, was "Billy Bathgate," released in 1991. Thirty- year-old equipment still filled the building after Sony acquired it, Mr. Smith said.

"If anything, we've built a more creative facility," he said. There will be about 80 full-time employees at the complex. When the studios and production rooms are booked up, there might be a few hundred people working there, Mr. Smith said.

Alan Suna, the chief executive officer of Silvercup Studios in Long Island City, Queens, said he had received inquiries from producers who might have gone to the Camera Mart stages in previous years.

Of the Sony project, he said: "Our view is that the entertainment industry hasn't lost anything. In fact, it's a reopening, a rebirth of a facility."

Graphic

Photo: Workers finishing construction of Sony Music's studios on 10th Avenue between 53d and 54th Streets, once the home of Fox Movietone newsreels. (Edward Keating/The New York Times)

Load-Date: May 10, 1993

End of Document

Exhibit 5 Sony chosen by The Associated Press to provide integrated international production system for APTV launch

Business Wire May 24, 1994, Tuesday

Body

May 24, 1994--The Associated Press (AP) has selected Sony Electronics as primary provider of equipment for APTV, AP's international television news service to be launched later this year.

The agreement calls for a multimillion dollar system, designed and built by Sony, that will add video capability to AP's existing network of 92 bureaus in 67 countries. In addition to an integrated international production system and electronic newsgathering and editing equipment, Sony will also provide installation, engineering and ongoing maintenance services.

"We selected Sony because of their capabilities in advanced technologies, their reputation for responsive service and their presence worldwide, with facilities in the Americas, Europe and Asia," said Patrick T. O'Brien, AP vice president, chief financial officer and director of business development. Stephen Claypole, managing director and chief executive of APTV, said, "The Sony system will enable APTV to provide professional-quality video resources for television news needs anywhere in the world."

"We at Sony are proud to provide The AP, one of the world's foremost suppliers of news, with a production system of this magnitude and sophistication," said Charles Steinberg, president of Sony Electronics' Broadcast and Professional Products Group. "The AP will enhance its already considerable news expertise with the latest in video technology. We're excited to participate in their important new venture in expanding the world of global news."

APTV will utilize professional quality Sony ENG video cameras, edit and feed packs for covering breaking news stories. AP bureaus in major news centers will be equipped with Sony Betacam cameras, fly-away packs, editing and feed equipment. Other AP bureaus will have Sony Hi-8 format cameras, editing and feed equipment.

The AP is adding television professionals to its newsgathering staff around the world. APTV will transmit the top international news stories via feeds from London to news organizations throughout the world.

The AP is the world's largest newsgathering organization, with over 3,200 employees. The AP presently provides news, photos, graphics and audio services to more than 15,000 television and radio outlets worldwide.

The Sony Electronics Business and Professional Products Group is a leading supplier of video and audio equipment for the broadcast production, business, industry, government, medical and education markets.

Sony will support APTV with an international service program that provides for maximum readiness, ENG availability in the field, minimum downtime for maintenance and centralized administration and monitoring. As part of the agreement, Sony is engineering APTV's global video capture, edit and distribution network and integrated control, edit and distribution center in London. Sony will install the London facility in conjunction with Sony Broadcast and Professional, Basingstoke, United Kingdom. Page 2 of 2 Sony chosen by The Associated Press to provide integrated international production system for APTV launch

Equipment and systems maintenance services will be provided by Sony Operations and Technical Services. APTV's fly-away packs will be integrated and assembled at the Sony San Jose, Calif. facility. -0- editor's note: A photograph of the signing is available from TSI at 212-505-9900. For more information on Sony products call 1- 800-635-SONY.

CONTACT: Gerrie Schmidt

Sony Electronics 201-930-7454 or Richard Schineller Technology Solutions 212-505-9900

Load-Date: May 25, 1994

End of Document

Exhibit 6 MiniDisc Makes Inroads At Radio; Format Ideal For On-Air Aps, Stations Say

Billboard June 4, 1994

Body

While the jury is still out on the MiniDisc as a consumer product, the first commercial recorder/players and players have have been endorsed enthusiastically by a growing number of radio stations.

Both KXTQ (Magic 93) Lubbock, Texas, and WDBM (Impact 89) FM on the Michigan State University campus in East Lansing saw prototypes of the Sony Professional Audio system at the 1993 National Assn. of Broadcasters Convention. Each ordered an initial recorder/player and player and, based one early usage, both have ordered more units.

Both Sony Music and Sony Software are fully supporting the first stations in their exposure to MD. The former is providing a starter pack of major releases and ongoing new product, according to Jerry Shulman, VP of marketing development. The latter, in an effort headed by Bob Sherwood, VP of sound technology marketing, is encouraging other labels to release more titles on MD and providing a regular supply of promos to to a growing list of radio stations.

However, it was not the new MD releases that attracted the format's trendsetters. Magic 93 PD Ben Gonzales and Impact 89 professional GM Gary Reid say factors like quick random access, quick track editing, memory start, and cueing functions for rapid playback -- coupled with high-quality digital sound -- make the MD ideal for on-air applications. As a long-sought successor to the obsolete NAB tape cartridge, MD also is seen as an ideal medium for transfer complete "oldies" libraries, as both stations are doing.

Reid says, "Dave Howland of Audio Broadcast Group set up a demo for me, and I ordered one recorder and one player on the spot. They arrived this past January and have been in almost constant use for various aspects of our progressive-alternative format. The MD is replacing our aging cart machines, and the primary use is for IDs, bumpers, sweepers, PSAs, and promos."

Impact 89 also has transferred local bands' tapes to MD. Working with nearby studio Harvest Productions, the station accepts cassettes and DATs from local bands, according to Reid. "We transfer them to MD with the appropriate track code, and they may be integrated seamlessly into regular programming," he says, adding that students in the station's advanced audio course handle production of this material.

Reid says that MD stands out above all other equipment available to radio stations. "It offers great flexibility, sounds good, and has a reasonable price, which is why we ordered three more," he says.

At Magic 93, Gonzalez and chief engineer Art Smith wholeheartedly agree. In fact, they believe that their enthusiasm sped up the delivery of the first MD units to any station. Page 2 of 2 MiniDisc Makes Inroads At Radio;Format Ideal For On-Air Aps, Stations Say

"We were originally seeking a solution to our tape-cartridge problem -- our 'aging beauties,' or ITC SP series cart machines," Smith notes. "We were aware of the MD for home use, called our local Sony vendor for information on the pro line, and placed the first orders last fall before they were officially announced! We got the first recorder and player in the U.S. in late October, and started using them in mid-November."

"The learning curve was so short that we got on the air very quickly," adds Gonzalez. "After some brief input from our Sony rep, it was very easy with the manual. We started with liners, shorts, and IDs to get an idea of how it would sound in playback. Then we added our AM weather sponsorship, and then all commercials. We've left cart machines in the production studio and control room as backups, but they've never been needed."

Gonzalez says the station is transferring older albums from the carts to MD, but still using CDs for new Tejano releases.

While the sound quality of the CD is theoretically superior to the MDs, Gonzalez says both formats essentially "sound the same." Recording from one MD to another results in copies with "no audible deterioration in sound, and extremely low noise," he adds.

The 2.5-inch MD uses a new digital audio compression technology called ATRAC (Adaptive Transform Acoustic Coding) that provides the same 74-minute recording as a 5-inch CD by extracting only audible frequencies.

Smith extols the MD's programmability feature, "which lets us auto-program the cuts, enter a sequence of commercials or IDs, then take a break and be sure of a smooth, tight edit. We're still learning, and the more we work with the MDs, the more uses we find for them."

GM Brad Moran notes that MD has taken Magic 93 -- which was purchased by Romar Communications last September -- from the "tape business" to "the digital age."

Sony Software's Sherwood observes, "As an ex-DJ and PD, I can see that MD could be the biggest single self- promotion in radio. We're accelerating our efforts with other labels, and we'll be talking about it in every radio market with professional units. You'll see consumer promos starting in all these areas."

Sony Music's Shulman says the total MD catalog for the label topped 300 in late April, with about a half-dozen new titles monthly, mostly by superstar artists. He reports nearly 1,000 retail outlets participating in a "mini-money" promotion.

"If you buy a selected MD model, one portable, and two auto units, you get up to $ 300 in MD mini-money coupons," he says. "We expect to give away more than 1 million in MDs in the promotion. There's also a Rolling Stone promo that will polybag a multilabel, 10-cut sampler MD to 1.1 million subscribers. Winners are encoded in the MD, with the grand prize of a Ford Mustang with an MD player."

Courtney Spencer, VP of Sony Professional Audio Marketing, says that 12-20 radio stations should be operational with MD units as of early May.

"Since [the National Assn. of Broadcasters convention in March], when the first stations reported their enthusiasm for the new system, reactions have been strong," he says. "We're feeling very good that we're fulfilling our main objective in providing a viable successor technology to the NAB cartridge with an affordable $ 1,000 player and $ 2,200 recorder/player. When we in professional audio got an inkling of the MD development in Japan, a light bulb went off, as it seemed like such a natural fit for the cartridge-use situation. The rest is history."

Load-Date: June 10, 1994

End of Document

Exhibit 7 CES Provides Music To Ears Of Audio Industry; The Show Is Home To A Range Of Cutting-Edge Formats, Multi-Channel Speakers And High-End Home Theater

Billboard January 7, 1995

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"Music is the whole purpose of this audio industry, and all of us are strictly at the service of that commodity. We're slaves to the creators, and our task is to bring that experience into the home, recreating that live experience." So says Thiel Audio Products' part-owner and president, Kathy Gornick, who is a member of the board of directors of the Electronics Industry Assn./Consumer Electronics Group and chair of the Specialty Audio Subdivision. The loudspeaker manufacturer's message will come across loud and clear at the upcoming Winter Consumer Electronics Show, Jan. 6-9 in Las Vegas.

Among highlights of interest to record-industry attendees are at least eight confirmed demonstrations of Dolby's multi-channel Surround (Sound) AC-3 circuity; third-generation portable, car and hi-fi MiniDisc (MD) players and player/recorders from Sony and others; and new 18-bit personal stereo and hi-fi Digital Compact Cassette (DCC) models from Philips Consumer Electronics.

"We have broadened our line -- as have many other hi-fi companies -- to accommodate a growing market for multi- channel audio," Gornik observes. "As more new music is released in multi-channel formats, the market as a whole is forecasting double-digit growth for speakers and any components related to home theater.

"The outlook for high-performance products is extremely positive once we -- and the consumer -- get past [thinking of] music as only a "two-channel" experience. Home theater is a great opportunity for bringing the message of high-performance audio and video to a greater audience."

HIGH-END HOME-THEATER

Both the Mirage and Sahara hotels are centers for high-end audio and home-theater exhibits, with a growing number of new multi-channel recordings expected to be heard throughout the halls. Several high-end audio workshops are expected to draw retailer interest, including "Home Theater Leader Or Audio Skid Mark?" moderated by Corey Greenberg of Home Theater Technology magazine and "Selling The High-End Home Theater Experience," moderated by Andy Regan of Transparent Audio. Also scheduled are "Editorial Roundtable: What's Hot For '95," chaired by Michael Fremer of Absolute Sound, and "What Dealers Want From Manufacturers," moderated by Steve Saunder of High Performance Review.

Larry Poor, Dolby Labs' director of technology marketing, reports eight confirmed Dolby Surround AC-3 demos at CES, from Pioneer, Denon, Yamaha, Kenwood, Enlightened Audio Designs (EAD), JBL/Runco, Perreaux and Audio Design Associates (ADA). He expects a "semi-production" model from EAD and laserdisc players from Page 2 of 3 CES Provides Music To Ears Of Audio Industry;The Show Is Home To A Range Of Cutting-Edge Formats, Multi-Channel Speakers And High-End Home Theater

Pioneer and others in the first quarter. Stand-alone and component AC-3 decoders and demodulators are expected in the second half of the year.

"With the new AC-3 circuitry, six channels of information [left, center, right, left surround, right surround and bass effect] can be folded into one," Poor explains. "When the laserdisc standards changed several years ago, freeing up one analog audio channel, Pioneer took its track for Dolby AC-3 ."

According to Mike Fidler, Pioneer senior VP of new technology, the new players will be backward compatible to play all existing laserdiscs and the first AC-3 encoded titles, due in the first quarter.

Says Poor, "It's important to note that this is evolutionary, not revolutionary, and an obvious improvement over what we've already had with Dolby Pro Logic. We're very pleased with all this industry interest, particularly from artists and recording studios, as well as from a growing number of hardware manufacturers."

MD AND DCC UPDATE

For MiniDisc, "there's good news and bad news related to titles," notes Bob Sherwood, VP of sound technology marketing for Sony Software Corp. "Sales are up two, six, eight times over a year ago, but the numbers are still very small. With a new recordable format, we're asking consumers to buy both record and playback software that carries a high price in a difficult time for the consumer electronics market."

Sherwood is very enthusiastic about results of a recent Rolling Stone promotion that polybagged an MD on the cover with 1.15 million copies earlier this year. "It produced more than 40,000 calls the first month and 100,000 total," he recalls. "Most importantly, the Rolling Stone 'MD Of The Month' feature is kicking off in this month's issue and will run for a year. Pink Floyd is the featured artist, and for the first time we've got a group's entire catalog on MD -- down to the original LP artwork; they shouldbecome collectibles.

"Our 'Mini Money' promotion earlier this year also was successful, showins how afordably the product can be priced [11 to 13 MDs were offered with various hardware purchases], and we hope to do something like that with our third- generation hardware around mid-year," Sherwood continues. "We now have nearly 500 MD titles, mostly Columbia and Epic with some Capitol, EMI and Warner, and we're constantly working to get other label commitments. We candidly expect to lose some of our record-only accounts that have been with us from the start, but we'll support the 1,300-plus that remain with something fresh on the counter every month."

On the MD hardware side, Rick Clancy, Sony Electronics VP of corporate communications, reports that Sony had sold more than 700,000 units worldwide as of September. In the U.S., there are two portables, three car models, two hi-fi decks and a table-top unit with clock radio, as well as 60- and 74-minute recordable blank MDs. In the computer area, at the November Comdex show in Las Vegas, Sony had a new portable external MD-Data unit, and an internal drive. integrated into an IBM Thinkpad.

"At CES, the focus will be on Sony's leadership in a variety of digital products and technologies, with MD a key element in the mix," says Clancy. "We expect samples and/or prototypes of several third-generation consumer products for introduction later in '95, including new hi-fi, car and portable products. Ford is the first U.S. manufacturer to offer an MD option for some of its models, and we expect other commitments this year. We're into the second generation of professional units for radio stations, where we see a growing interest in MD as an overdue replacement for the NAB cartridge system. And for retailers, we've got a second version of our in-store MD kiosk display available now, featuring portable units for consumer playback."

The picture isn't as bright for Philips' Digital Compact Cassette (DCC), but Sheryl Foyer, executive director of the DCC Group of America, emphasizes, "It was always meant to be a long-term commitment, and we knew there would be a lot of ups and downs." While there are more than 500 titles available in the U.S. and more than 1,000 worldwide, she confirms that there have been only scattered releases the past 10 months "due to the vast catalog we've already got out there." Page 3 of 3 CES Provides Music To Ears Of Audio Industry;The Show Is Home To A Range Of Cutting-Edge Formats, Multi-Channel Speakers And High-End Home Theater

David Blaine, senior VP of business development and new technology for PolyGram Group Distribution, was more candid. "The PolyGram labels haven't released very much key product because the retail climate was just not supportive," he says. "Our retailer support has been very good, and we continue to work with them to maintain a DCC presence with key accounts. We're now in a holding pattern until we see how things go in Europe, where Philips is assessing the climate for new hardware at lower price points. If they believe they can jump-start DCC in Europe, we will do the same here through Philips Consumer Electronics."

The hardware company will introduce two new DCC models at CES, notes Andy Mintz, director of marketing, and Rocky Caldwell, director of product planning. Both will be available in the first quarter. The DCC-170 personal portable stereo is very compact, with 18-bit resolution for superior recording and playback, at $ 399 suggested list. The DCC-951 component hi-fi home unit, at $ 499 list, also offers 18-bit resolution, vs. 16-bit for earlier models, and a faster-tracking turbo drive. Philips expects an upturn in interest for the recording features and blank tape sales for both 60- and 90-minute lengths.

Foyer notes that a new DCC Music Source software-fulfillment program is in place by which hardware purchasers use an 800 number for convenient title ordering. She also anticipates more joint hardware/software promotions like the successful August event with Panasonic at Los Angeles' Universal Studios Amphitheater during the "Tommy" engagement.

"We think [CES] will be a blockbuster for the audio industry," concludes Thiel's Gornick. "All our key dealers and distributors from around the world are coming -- from about 23 countries -- and we hear the same from many other hi-fi and consumer electronics firms. We expect to see even more record/tape retailers than last year, and we promise them a real 'earful' to remember."

Graphic

Picture, Kathy Gornick of Thiel Audio Products

Load-Date: January 13, 1995

End of Document

Exhibit 8 Americans Two-Steppin' Out of Bed to Country Music; Sony Survey Finds Country To Be Favorite Wake-Up Music

Business Wire May 15, 1995, Monday

Body

May 15, 1995--This is your wake-up call. Kick up your heels, grab your partner, the Country craze has reached the bedroom. In a recent survey conducted by Opinion Research Corp. of Princeton, N.J., for Sony Electronics, 20 percent of Americans cite the down-home beat of Country music as their favorite music to wake up to. That figure increases to 37 percent for 55-64 year-old clock radio owners. Further, more women prefer to rise to Country music than men. "It's not surprising to find that Country music is as popular as it is -- with all age groups. It now tops the charts and has emerged as a forerunner in listening preference," said Mark Viken, vice president of Sony Electronics' General Audio Products Division. Other findings of the survey show: 13 percent of those who wake to music prefer soft rock; 10 percent, classical; 9 percent, rock; 6 percent, jazz; and 5 percent, top 40 popular tunes. The Sony survey also found that men are twice as likely to wake to rock music as women. Additionally, 18-24 year olds are most likely to wake to any type of music, with 91 percent of those surveyed using music as a wake-up call. To meet such diverse consumer tastes, Sony offers more than 16 different clock radios. Sony's popular clock radios are available in various colors to match individual style and decor. Additionally, Sony's newest clock radios emphasize a more sleek and space conscious design. Most models feature a large LED display, dreambar, sleep timer, AM/FM tuner, CD or cassette tape option and brightness control. The Opinion Research Corp. survey was conducted by telephone among a national probability sample of 1001 adults comprising 500 men and 501 women, 18 years of age and older, living in private households in the continental United States. The results have a margin error of plus or minus 3 percent. The General Audio Division is part of Sony Electronics' Consumer Products Group which is the largest of four sales and marketing groups at Sony Electronics. The company posted record sales of more than 7 billion dollars in the fiscal year that ended March 31, 1994. Headquartered in Park Ridge, the company has more than 17,000 employees working in consumer and professional product sales, marketing, distribution, customer service, manufacturing and R&D. Sony Electronics currently has nine U.S. manufacturing centers and more than a dozen R&D operations. Sony was the developer of the MiniDisc and Trinitron(R) television technology and the co-developer of the compact disc and CD-ROM. It also leads the camcorder market with its 8mm Handycam(R) line.

CONTACT: Sony Electronics Brian Levine 201/930-6443

[email protected] or Technology Solutions Page 2 of 2 Americans Two-Steppin' Out of Bed to Country Music; Sony Survey Finds Country To Be Favorite Wake-Up Music

Cheri Grand 212/696-2000

[email protected]

Load-Date: May 16, 1995

End of Document

Exhibit 9 SONY OFFERS ASPIRING MUSICIANS A CHANCE TO WIN THEIR OWN MINI HOME RECORDING STUDIO; Nationwide Contest Designed to Showcase Sony MiniDisc Format and Help Define the 'New Sound of Today'

PR Newswire May 18, 1995, Thursday - 18:05 Eastern Time

Body

For all those "breaking" recording artists accustomed to spending long, expensive nights at the recording studio, help is on the way. Sony Electronics announced today that the company will sponsor a nationwide "Win Your Own Mini Recording Studio" contest which offers aspiring musicians the opportunity to win a genuine home recording studio, featuring Sony consumer and professional recording equipment.

The nationwide "Win Your Own Mini Recording Studio" contest is designed to raise awareness of Sony's revolutionary MiniDisc format by showcasing its recordability, instant random access and other easy-to-use functions.

The contest, which kicks-off May 15 and runs through July 31, is also designed to help Sony better determine the "new sound of today." The contest will provide an opportunity for music lovers, 18 and older, to submit an original recording that they feel "defines" the newest sound in music.

PARK RIDGE, N.J., May 18

The contest will be promoted nationally via a heavy radio schedule and full-page advertisements in music and pro- audio trade publications.

"The 'Win Your Own Mini Recording Studio,' is the centerpiece of a year-long, grassroots campaign designed to raise awareness of MiniDisc, which we are convinced is the natural succesor to the analog cassette," said Marty Homlish, senior vice president of Sony Electronics' Consumer Audio Company. "The contest provides us with an excellent opportunity to showcase the recording capabilities of the MiniDisc system. MiniDisc is recordable, portable, erasable and durable -- it's practically a mini digital recording studio in its own right."

Win Your Very Own Professional Home Recording Studio To enter the contest, U.S. residents 18 and older are invited to record and mail an original recording (no longer than four minutes in length) that they feel best exemplifies the "New Sound of Today." Entries must be sent on either a cassette tape, DAT or MiniDisc.

All recordings will be judged by a qualified panel of Sony executives, based on the following criteria: creativity (50%), performance (30%), and recording quality (20%). One grand prize winner Page 2 of 3 SONY OFFERS ASPIRING MUSICIANS A CHANCE TO WIN THEIR OWN MINI HOME RECORDING STUDIO;Nationwide Contest Designed to Showcase Sony MiniDisc Format and Help Define.... will win a home recording studio featuring the latest Sony equipment, including:

-- Digital PCM 800 8-track recorder with RM-D800 remote control and MXP-210 mixer -- DTC-2000 ES DAT master recorder -- MDS-302 MiniDisc home deck and MZ-E3 portable player

-- F-780 microphones (2)

-- Recording media for all of the above, including 20 recordable MDs, 20 DAT cassettes and 20 Hi8 tapes The total prize package is valued at more than $14,000. The grand prize winner also will receive a three-day, expense-paid trip to New

York City for three people, including a full-day recording session with professional engineers at Sony Music Studios. Five semi-finalists will be awarded an MD home deck and five recordable MiniDiscs.

How To Enter All entries are subject to the contest's complete official rules. To obtain the complete official rules and an entry blank, call 1-800-640-6242 or send a self-addressed, stamped envelope to: Sony

MiniDisc "Win Your Own Mini Recording Studio" Contest Rules, P.O. Box 658, Sayreville, NJ 08871-0658.

Contestants can enter as many times as they wish, but each recording must be different, mailed separately and recorded on a cassette tape, DAT or MiniDisc. The contest is void in Maryland, Vermont, Puerto Rico and where prohibited by law. The deadline to submit entries is July 31, 1995, and finalists will be notified in early September 1995.

Entries can be sent to Sony MiniDisc "Win Your Own Mini Recording

Studio" Contest, P.O. Box 8190, Grand Rapids, MN 55745-8190.

Entries must include: -- Name of entrant/band name -- Age of entrants/members -- Address and telephone number -- Name of song and running time -- Equipment and format used in production -- Entrant signature Page 3 of 3 SONY OFFERS ASPIRING MUSICIANS A CHANCE TO WIN THEIR OWN MINI HOME RECORDING STUDIO;Nationwide Contest Designed to Showcase Sony MiniDisc Format and Help Define....

"The 'Win Your Own Mini Recording Studio,' provides aspiring recording artists with a unique and exciting opportunity to demonstrate why they think their music typifies today's sound," added Homlish. "This is an exciting and innovative contest and we welcome all aspiring musicians to participate -- especially those who wouldn't mind owning their very own MiniDisc home recording studio!" Sony Electronics has annual sales approaching $8 billion. Headquartered in Park Ridge, N.J., the company has nearly 17,000 employees working in consumer and professional product sales, marketing, distribution, customer service, manufacturing and R&D. Sony created the personal entertainment market with the introduction of the Walkman(R) personal stereo in 1979 and recently celebrated the 25th anniversary of the Tinitron(R) television, which helped usher in the era of home entertainment. The company also co-developed the compact disc, CD-ROM and MiniDisc and leads the market for compact camcorders with its 8mm Handycam(R) line.

212-593-6387)

CONTACT: Brian Levine of Sony Electronics, 201-930-6443, or [email protected], or Howard Solomon of Kahn Communications Group, 212-593-6387

End of Document

Exhibit 10 Sony gets NBC Olympics technology contract

Japan Economic Newswire JUNE 17, 1997, TUESDAY

Body

Sony Electronics Inc. said Monday it has signed a contract with National Broadcasting Co. (NBC) to serve as NBC's technology provider for the U.S. broadcasts of the Olympic Games in 2000, 2002, 2004, 2006 and 2008.

Under the contract, NBC, one of three major U.S. broadcasting companies, will use Sony's products and system integration for international broadcasts of all five summer and winter Olympic Games, the U.S. subsidiary of Sony Corp. said.

Sony will provide engineering expertise to create a self-contained facility for an NBC broadcast center, the California-based Sony Electronics said at a broadcasting equipment fair in Montreux, Switzerland.

The broadcasting center will be based on Sony's core digital systems architecture, enabling it to function as a state- of-the-art center to be utilized for the five Olympic Games, the company added.

Meanwhile, Sony Broadcast and Professional Europe, Sony's British subsidiary, said at the same fair that Sony will provide more than 65 digital videocassette recorders to TVRS 98, the host broadcaster for the 1998 World Cup soccer championship finals in France.

The Sony machines will be used by TVRS 98 during the event to deliver international audio and video programming, it said.

TVRS 98, a joint venture formed by French broadcasting companies including TF 1, Canal Plus, France 2, France 3 and Radio France, will be responsible for complete multimedia radio and television coverage of the event on behalf of the international radio and TV broadcasting companies which hold broadcasting rights, it added.

In a separate announcement, Sony Broadcast and Professional Europe said it has agreed with France 2 to provide more than 200 digital editing machines to the major French TV broadcasting company.

Load-Date: June 17, 1997

End of Document

Exhibit 11 Sony's Varied Units Add Up To One Strong Firm Global Focus, Recent Label Realignments Paying Off

Billboard FEBRUARY 21, 1998

Body

Think globally, act locally. That popular bumper sticker could be the slogan for Sony Music Entertainment. The tremendous success many divisions of the company are experiencing is the result of several years of development and, more recently, realignments at many of the labels.

This issue, Sony claims the top three positions on The Billboard 200 for the first time since January 1994. The "Titanic" soundtrack (Sony Classical

/Sony Music Soundtrax) remains at No. 1 for the fifth week in a row, while Pearl Jam's "Yield" (Epic) debuts at No. 2 and Celine Dion's "Let's Talk About Love" (550 Music) stands at No. 3.

Among the other Sony acts experiencing success on The Billboard 200 include Savage Garden (Columbia) at No. 8, Will Smith (Columbia) at No. 10, Mariah Carey (Columbia) at No. 18, and Barbra Streisand (Columbia) at No. 31.

"It's incredible having the No. 1, No. 2, and No. 3 positions and five of the top 10 records in America, but what's even more gratifying is that our success is very broad-based," says Thomas D. Mottola, president/COO of Sony Music Entertainment. "These releases represent five different genres and come from new, developing, and established artists."

Sony executives say the seeds of the current success were planted in 1993, when Mottola added president/COO of Sony Music Entertainment (SME) to his title, putting him in charge of the music division's worldwide operations. (He retained his title of president of Sony Music, the U.S. division of SME.) One of Mottola's first moves was to knock down the borders of the music division. "Previously, the company was like most other record companies: There was very much a U.S. company and an international company," says Bob Bowlin, president of Sony Music International. "What Tommy and [Sony Music International chairman] Mel Ilberman did [was to make] us one company" (see story, page 76).

For Mottola, that was the only way to achieve the success he envisioned for the company. "When you have a big, multibillion-dollar, multinational corporation, and it doesn't have one reporting structure, you get turf problems," says Mottola. "In making a one-world situation, there's no more breakdown in the way of having a separate international unit. All the presidents and chairmen of the companies here in America communicate daily, weekly, monthly with all of the managing directors [in other territories]."

The results of such thinking are obvious. The "Titanic" soundtrack is No. 1 in at least eight other countries besides the U.S.; according to Sony, it has sold 9.2 million albums worldwide (see story, page 76). Where it isn't No. 1, in many cases Dion is. Her "Let's Talk About Love" album has sold 4 million units in the U.S., according to SoundScan, and it has passed the 15 million mark globally, according to Sony. Page 2 of 6 Sony's Varied Units Add Up To One Strong Firm Global Focus, Recent Label Realignments Paying Off

According to Sony, Mariah Carey's "Butterfly" is at 8 million worldwide, while Jamiroquai's "Travelling Without Moving" (Work Group) is at 6.2 million, and Oasis' "Be Here Now," a relative disappointment in the U.S. for Epic Records, is at 6 million.

With the international operation moving in a direction he liked, Mottola turned his focus to the internal structures of the U.S. companies.

"Around three years ago, we began redefining, reinventing, and regenerating [ourselves] as a company," Mottola says. "We were very specific about what we did, and I think we're seeing the results of that right now."

Among the changes Mottola oversaw:

Columbia revamped its A&R department, recruiting high-profile A&R execs from around the industry.

Polly Anthony was named president of Epic Records, in addition to retaining the title of president of 550 Music. She replaced Richard Griffiths, who left in September, and Epic began a major restructuring

Mottola wooed former Virgin co-presidents Jordan Harris and Jeff Ayeroff into the Sony fold. There they launched the very successful Work Group.

Carey started her own label, Crave Records, presided over by Rick Bisceglia.

Sony assumed total ownership of Relativity, installing industry vet Sal Licata to guide the label/indie distribution company.

Although Sony Music's third-quarter operating profits were down due to release cycle changes and increased artist development costs, Mottola says the division will set a new record when the fiscal year ends March 31.

All the while, Sony keeps its eye on developing new artists, such as Fiona Apple, Savage Garden, and Uncle Sam. Retailers say few companies set up a record like Sony does.

"Their developing-artist program is one of the most admirable in the business," says John Grandoni, director of purchasing at Carnegie, Pa.-based National Record Mart.

At a commercial high, Sony Music is also at a critical peak. It got 87 Grammy nominations this year, a record for the company. Epic artist Babyface led all nominees with eight.

COLUMBIA SETS NEW MISSION

For Columbia Records Group chairman and Columbia Records president (U.S.) Don Ienner, the time came a few years ago to take a hard look at the label. He saw it wasn't living up to its potential.

"So I empowered a lot of people to bring in more music, because we were trying to grow the company and yet stay consistent," he says. "We went through a real metamorphosis." In addition to a slew of new A&R people, Ienner made a number of new deals, such as with the Trackmasters and Jermaine Dupri.

Most recently, the label has signed a deal with producer Rick Rubin, who brings his American Recordings, formerly distributed through WEA, to the label as a West Coast-based imprint.

Although Ienner would not comment, it looks like American will also be the home of a soundtrack to the TV series "South Park."

Columbia has had tremendous success this past year with superstars like Streisand, Bob Dylan, and James Taylor. "I don't think we ever took these artists for granted," says Ienner, "but maybe we just juiced it up a little bit more [for them]." Page 3 of 6 Sony's Varied Units Add Up To One Strong Firm Global Focus, Recent Label Realignments Paying Off

It has also broken new acts like Our Lady Peace and Savage Garden, whose self-titled debut has sold more than 2.5 million units worldwide.

Upcoming are the debut album from Destiny's Child, an album from the late Jeff Buckley, and new releases from Alice In Chains' Jerry Cantrell, Stabbing Westward, the Fugees' Lauryn Hill, and Soul Asylum.

With sales of more than 14 million worldwide, the Fugees, on Columbia Records Group's Ruffhouse label, have truly benefited from the company's worldwide approach. "Their global reach is incredible," says the Fugees' Wyclef Jean, who also has a solo record out on Ruffhouse/Columbia. "Someone like Donnie knows what goes on in the street and what goes on in South America. That's pretty incredible to know you can have a record out here and in Brazil, and they both get that same push."

Mentioning tracks such as Wyclef Jean's "Gone Till November," rhythmic top 40 KKFR Phoenix (Power 92) PD Bruce St. James praises Columbia's ability to nurture projects. "When you're dealing with Sony, everything is the next Mariah Carey," says St. James. "They push a little harder."

EPIC LOOKS TO THE FUTURE

The home of some of the world's biggest recording acts, from Michael Jackson to Pearl Jam, Epic is in a period of rebuilding. As Mottola says simply, "Polly's mandate is to give Epic a new focus."

The label has its first hit of '98 with Pearl Jam's "Yield." According to SoundScan, it has sold 359,000 units.

Epic has also recruited new A&R staffers expected to build the label's rock and pop rosters. Kaz Utsunomiya, who has a strong background in publishing, joined the label last year from Virgin Records. Former VH1 senior VP of programming Lee Chesnut came on board in January.

"Lee's hiring sent a message to the creative community that Epic needs to create and develop the pop side," says Anthony. "Lee will give us an edge in an area where, frankly, we didn't have much strength."

Epic is already showing its muscle at pop with new artist Jimmy Ray. His first single, "Are You Jimmy Ray?," is No. 26 on the Hot 100 this issue.

Many of the changes were already in motion by the time Anthony became label president, especially in the R&B arena. Ron Sweeney, president of black music for Epic Records Group, "was given a mandate to build the urban music department," says Epic Records Group chairman Dave Glew.

In addition to the label's direct signings and an existing deal with Immortal Records, Sweeney has overseen new deals with Razor Sharp Records, Ruthless Records, Stonecreek, and Untertainment.

Although neither Anthony nor Glew would comment, Epic is also expected to soon announce a deal with former Motown president Andre Harrell.

Uncle Sam, on Epic through Stonecreek, is enjoying his first blush of success with the hit single "I Don't Ever Want To See You Again," at No. 6 on this issue's Hot 100. He already feels the global machinery. "Without a strong label behind you, it's like singing in an auditorium that holds 50,000 people, and you don't have a microphone," he says. "You need a strong microphone, and Sony is a worldwide microphone."

550 MUSIC HITS IT BIG

Although officially formed four years ago, Glew says, Epic Records Group label 550 Music really sprang to life when it solidified its A&R staff two years ago. "I see the benchmark as our signing Ben Folds Five," Glew says. "It hadn't been a stand-alone company until the last few years. It was [previously] mainly a marketing company." Page 4 of 6 Sony's Varied Units Add Up To One Strong Firm Global Focus, Recent Label Realignments Paying Off

But now, Ben Folds Five's "Whatever And Ever Amen" has gained gold certification. R&B artist Ginuwine has hit platinum with his "Ginuwine . . . The Bachelor" album; its worldwide sales are at 2 million. And a number of the label's artists are also experiencing global success.

"Ben Folds Five has sold more than 200,000 units in Japan and is also doing well in Europe," says label president Anthony. "550 has gone beyond my wildest expectations." Other artists on the roster include Jon B., Des'ree, and Deep Forest.

Of course, no other 550 Music artist has succeeded on the global scale of Celine Dion. Already at 15 million, Dion's current album, "Let's Talk About Love," is expected to surpass the worldwide sales of 25 million for 1996's "Falling Into You." "We've only started with this album," says Glew. "We have massive television appearances, and we won't even be going for the next official single until the summer."

Dion's current single, the "Titanic" theme "My Heart Will Go On," has reached more than 105 million broadcast listeners, setting a record for the largest audience ever monitored in Billboard's Broadcast Data Systems era.

Dion, who moved from Epic to 550 when the new label launched, says feeling valued and appreciated from day one has been crucial to her global success.

"When we went to Sony, I wanted to trust the people I was going to work with," she says. "So when I started to meet Tommy and Polly and [550 GM] John Doelp and Dave Glew and their wives and husbands and friends, I didn't want to see a deal in their eyes, or hard work and money. I just wanted to see faith, trust, and belief."

Ginuwine is now seeing that same support. "They've let me take my music around the world," he tells Billboard minutes before performing in Germany. "I can't tell you how much they've backed me."

"I'd like to see [550] grow from a revenue standpoint, but I'd like to keep it a small company," says Anthony. "Our goal is that at the end of our fifth full year, in September 1999, we'd like to have a maximum of 40 artists on the label . . . We need to sign a few more urban acts." Right now, the label's roster stands at approximately 25.

SONY NASHVILLE REGROUPS

Sony Music Nashville is emerging out of a somewhat desultory period into an era of breaking new acts and taking its flagship artists to new heights, says its president, Allen Butler.

Butler acknowledges that the past few years have been flat for his company, as they were for all country music labels. Yet he points to the recent successes of the label's newer artists, such as the Kinleys and the Dixie Chicks, as well as to the reinvigorated Wade Hayes.

Last year, Sony was No. 5 among country labels in the number of charted singles and albums.

"This year has started off bigger than any year in the past four," Butler says. "Our plan this year is to increase our business by 20%."

On this issue's Hot Country Singles & Tracks chart, the following Sony acts are featured within the top 50: Collin Raye, Wade Hayes, the Dixie Chicks, the Kinleys, Patty Loveless, and Sons Of The Desert.

Butler added two new labels to the existing Columbia and Epic labels under the Sony umbrella last year. Monument is intended as a home for edgy modern country, like the Dixie Chicks and Gil Grand. Lucky Dog will spotlight heritage acts like Johnny PayCheck.

At Epic, Butler says, "Collin is our flagship artist, [and] Patty, with her Grammy nominations, continues to be an industry favorite." At Columbia, Mary Chapin Carpenter is a cornerstone. The total company roster for all four labels now numbers 22 artists. Page 5 of 6 Sony's Varied Units Add Up To One Strong Firm Global Focus, Recent Label Realignments Paying Off

The Kinleys say they made a very deliberate decision in signing with Sony. "We had gotten very good responses from several labels," says Jennifer Kinley. "So we had a choice. But Sony felt like a family from the first. We felt at home."

APPLE A DAY FOR WORK GROUP

The Work Group's co-presidents, Jordan Harris and Jeff Ayeroff, went into 1997 with something to prove. "The success of Jamiroquai and Fiona Apple were so crucial to us last year in our development and identity," says Harris. "We've broken artists who will have long, long careers, [and] without the resources of Sony, we couldn't have done it . . . Three years is a very short time to be having this kind of success. That's part of the reason we felt Sony was the right home for us, because of the strength of its domestic and international companies."

Apple's 1996 debut, "Tidal," has been certified by the Recording Industry Assn. of America (RIAA) for sales of more than 2 million units in the U.S., while Jamiroquai's "Travelling Without Moving," which had a similarly slow build, has sold more than 1 million in the U.S., also according to the RIAA.

The newest kid on the Sony block, the Los Angeles-based Work Group was formed in 1995. It switched to Epic Records Group last year. It sees its role in the Sony family as representing the West Coast. "We had to be able to put ourselves in competition with other West Coast-based labels like Geffen, Capitol, Warner Bros., and Virgin," Harris says.

The Work Group's Diana King is the perfect example of a U.S. signing who has experienced more success outside the U.S. than within. According to Ayeroff, she has sold more than 5 million records worldwide. King broke in Japan; she has only recently begin to experience mainstream success in the U.S. via "I Say A Little Prayer," featured on the soundtrack to "My Best Friend's Wedding," issued on Work Group/Sony Music Soundtrax.

Despite the slow build in the U.S., King says the label has been nothing but encouraging. "They could have signed me and then wanted me to be like all these other artists, but they've been behind me 100%," she says. "They have never pressured me about what I want to do; they just give me the room to do it."

Work's roster stands at 20 artists, five fewer than Harris and Ayeroff say they expected to have at this point. Releases are forthcoming from Dan Penn, Canadian artist Esthero, and new signee Mighty Blue Kings. With a few artists' records selling in the millions and the remaining acts still developing with smaller numbers, Ayeroff says, "I think we need a better middle class, so to speak. We need some 300,000-400,000 sellers. I'd like to take Heather Nova to a gold record. It's a matter of growing careers."

THE NEXT 10 YEARS

In April, Mottola celebrates his 10th anniversary with Sony. "I feel like I'm just starting," he says. "The first 10 years really just got us to a place where we're in a global position to dominate the charts and have a really diverse roster of artists all over the world. We have what I consider the best management team in the U.S. and internationally."

Many of Sony's top execs, including Ienner, Ilberman, Glew, and Anthony, have been at the company for close to a decade or more.

"When you have a really stable management team, it's really easier in some ways to continuously build and grow because you have stability," says Michele Anthony, who joined Sony in 1990 and is now executive VP of SME. "You're not starting at square one every three or four years."

Assistance in preparing this story was provided by Chuck Taylor and Ed Christman in New York, Chet Flippo in Nashville, and Doug Reece in Los Angeles.

Load-Date: February 17, 1998 Page 6 of 6 Sony's Varied Units Add Up To One Strong Firm Global Focus, Recent Label Realignments Paying Off

End of Document

Exhibit 12 AP/SONY AP and Sony collaborate on open newsroom system-video system integration

M2 PRESSWIRE September 24, 1998

Body

- Companies are Working Together on Broadcast News System Projects

The Associated Press and Sony Corporation announced today that they are working together to add new video editing and video server control features to ENPS, AP's Electronic News Production System.

With AP, Sony has developed the interface for ENPS based on the open-standard Media Object Server protocol proposed by AP and is also helping AP refine and enhance that protocol. With this capability, an ENPS desktop also becomes a Sony media control station, allowing users to conduct a single search of both the text-based content of ENPS servers and video content of Sony servers, plus record events on a timed basis.

Through Sony ClipEdit components embedded in ENPS, users can browse and edit Sony video server material from within the ENPS application using familiar VTR-like controls. Users may combine material from multiple files to produce their finished video clips and may make sophisticated dynamic audio adjustments as required. Items can be played to air from the Sony video server, with the ENPS workstation providing playlist control of the Sony server system.

"Integrating ENPS and Sony non-linear products will give broadcast journalists the ability to write news stories and to browse and edit news video at their desks within a single desktop application," said Peter Lude, senior vice president of Sony Electronics' Broadcast and Professional Company. "This means journalists will have greater control over the pictures edited to their news stories, allowing them to work faster and more creatively as they prepare items for broadcast."

"AP is committed to providing broadcasting's best content and technology," said Lee Perryman, Deputy Director of AP's broadcast division and Director of Broadcast Technology. "We're excited about this opportunity to work with Sony on connecting our respective broadcast system products and creating a new combination of features so important to the future of the industry."

ENPS represents a new concept in newsroom computer system technology, built to maximize usability and productivity with unique drag-and-drop operation invented by news people for news people. It has an impressive list of powerful, easy-to-use features, including the only fully-integrated search engine, scripting, program lineups, planning, contacts, messaging, news wire management, third-party device control, and complete off-line and remote access capabilities for field staff. A Windows-based system, it can be localized in almost any language.

According to Sony, the advantages of its fully integrated server and non-linear editing system over traditional systems are that it offers a revolutionary advance over tape-based editing with dramatically increased speed and the ability for multiple users to have shared access to source material through the broadcast network without requiring multiple copies. Sony's ClipServer and ClipEdit will provide low-resolution video and audio browsing and editing on the ENPS desktop, along with a seamless automatic link to the broadcast quality video server system. Page 2 of 3 AP/SONY AP and Sony collaborate on open newsroom system-video system integration

According to Lude, these servers offer built-in redundancy, audio-video security through the use of RAID technology, and are designed to insure that any and all filing or playback operations always proceed without interruption no matter how heavily the system is being used.

ENPS was designed to take advantage of best-fit solutions for all external systems, now and in the future. AP is working with leading vendors and developers on interfaces and component compatibility strategies, and the goal of ongoing development, and non-exclusive partnerships with organizations such as Sony, is to meet the needs of all types of broadcast newsrooms, leveraging proven, standard, desktop and server hardware and operating systems. Since its introduction in 1996, ENPS has won two European awards for technical excellence.

ENPS is currently used by major broadcasters worldwide, including the British Broadcasting Corporation (BBC), sports network ESPN, and U.K. network Independent Television News (ITN). CBS News will complete deployment of ENPS in its television and radio network newsrooms this year, as will other television stations, radio stations and networks in the Americas, Europe and Asia.

AP and Sony expect that the combination of these proven systems, to be completed and available in early 1999, will quickly offer broadcast stations and networks significant operational benefits with unique video browsing, editing and playback control capabilities through newsroom computer workstations.

About AP

The Associated Press is the world's oldest and largest newsgathering organization, providing text, audio, graphics, video and technology to more than 15,000 news outlets worldwide. AP's broadcast newsroom software systems, including ENPS, AP NewsCenter, AP NewsDesk and AP GraphicsBank, are used in more than 16,000 desktops in television stations, radio stations and networks in some 50 countries. Currently celebrating its 150th anniversary, AP employs more than 3,500 staffers in 237 bureaus. Its broadcast division is based in Washington, D.C.

About Sony

The Broadcast and Professional Company of Sony Electronics is an Emmy award winning, leading U.S. provider of video and audio equipment for the broadcast, production, business, industrial, government, medical, and education markets. Sony offers a wide array of products and systems for image capture, production, and display. Sony also provides specialized equipment and systems for data recording, duplication, electronic photography/publishing, video conferencing, high definition video, interactive and security applications. In the fiscal year that ended on March 31, 1998, Sony Electronics had record sales of $10.5 billion.

*AP's Media Object Server communications protocol is intended to be an open industry standard to allow better and more complete integration between newsroom computer systems and media server devices such as still stores, graphics systems, audio servers and video servers.

*Sony, ClipServer and ClipEdit are trademarks of Sony Corporation.

*AP and ENPS are registered trademarks of The Associated Press.

*Windows is a trademark of Microsoft Corp.

CONTACT: Lee Perryman, Director of Broadcast Technology, AP Tel: +1 202-736-1135 e-mail: [email protected] Jim Cundiff, Director of Sales and Marketing, Broadcast Technology, AP Tel: +1 202-736-9662 e-mail: [email protected] Page 3 of 3 AP/SONY AP and Sony collaborate on open newsroom system-video system integration

Eric Bowman, Director of International Business Development, AP Tel: +44 (0)171-427-4340 e-mail: [email protected] Mike Palmer, Technology Development Manager, AP Tel: +1 202-736-9664 e-mail: [email protected] Lisa Young, Press Contact, Sony Tel: +1 408-955-5683 e-mail: [email protected] Ed Casaccia, Marketing Manager, Newsroom Server Systems, Sony Tel: +1 408-955-5808 e-mail: [email protected] Chris Lee, Newsroom Integration Specialist, Sony Tel: +1 707-833-4205 e-mail: [email protected]

Load-Date: September 24, 1998

End of Document

Exhibit 13 Sony Announces Launch Into Videoconferencing Set-Top Market

Business Wire March 8, 1999, Monday

Body

March 8, 1999--MultiMediaCom, (Booth No. 609)--Adding to its family of award-winning videoconferencing systems, Sony Electronics announced today its worldwide launch into the set-top market with its plug and play videoconferencing system, the PCS-1500. Weighing in at only 6lbs 10oz, the PCS-1500 is one of the most compact set-top videoconferencing systems in the world. About the size of a textbook, the system is H.320 compliant as well as H.323 ready (with full H.323 capability planned for October 1999). Sony's PCS-1500 videoconferencing system is priced under $ 5,000 and is designed with ease of use in mind. "As videoconferencing becomes a mainstream technology with international reach, the profile of the videoconferencing user is expanding," said Glenn Adamo, vice president of videoconferencing for Sony's Broadcast and Professional Company. "Sony has created this new system to meet the demands of the variety of users asking for high-quality set-top, plug and play systems at an affordable price point." Features The PCS-1500 is the industry's first set-top videoconferencing system to offer a dockable pan/tilt/zoom camera. Whether docked to the station or mounted strategically in the room, the camera can follow a subject, allowing him or her to move freely. Auto-tracking motion detection, automatic back-light compensation, auto focus, built-in 12x zoom lens and resolution of more than 460 TV lines provide image quality and a natural meeting environment. The system is supplied with a compact, Remote Commander(R) unit that is as easy to use as a television remote. All command functions, including easy install, dialing, camera select and control, picture-in- picture, volume, microphone control, and basic Sony Trinitron(R) television controls are available on the remote.

Future Ready The new system is H.320 compliant and is H.323 ready (with full H.323 capability planned for October 1999). The H.323 board option enables videoconferencing over local area networks (LAN) and wide area networks (WAN). The H.323 option also incorporates Simple Network Management Protocol (SNMP) that allows IS specialists to manage their network environments while employing videoconferencing. An optional V.35 interface is also available to support dedicated networks.

System Capabilities and Options The basic system runs at speeds of up to 128kbps at 15 frames per second (fps) and is available in two additional versions, the PCS-1500U (PCS-1500-Upgraded) and the PCS-1500ME (PCS- 1500-Multiple Endpoints). The PCS-1500U is capable of 384kpbs at 30fps and PCS-1500ME is also capable of running at speeds of up to 384kbps, and has built-in, standards based multipoint functionality. An enhanced built-in multipoint feature on the PCS-1500ME, technology first brought to market by Sony in its award winning TriniCom(R) 5100Plus System, allows up to four H.320 standard sites to participate in a videoconference without using an external bridge or bridging service. All three versions offer an optional wireless document station, the PCS-DS150, with a built-in VGA/SVGA/XVGA scan converter. The document station, with built-in 18x zoom lens, provides 470 lines of resolution and is ideal for 3D-object capture and graphics display. The wireless capability allows the user to bring the station to the conference table or work area. PowerPoint(R) Presentation, or any other PC-based presentation, can be easily integrated into the videoconference by simply connecting a PC/laptop to the document station. In another industry first, image transmission of the presentation is continuous, about every four seconds on Page 2 of 2 Sony Announces Launch Into Videoconferencing Set-Top Market

128K transmission and about every second on 384K. This allows the presenter the freedom to concentrate on the presentation without concern for manually advancing to the next slide. Function keys for control are located on the remote control as well as on the document station.

Fast and Efficient According to Adamo, PCS-1500 integrates the use of the new H.263 standard in the codec algorithm to provide visible improvement of the display in moving subjects at speeds from 128 kbps up to 384kbps.

Pricing and Availability The PCS-1500 will be available in June from authorized Sony videoconferencing resellers, at a suggested retail price of $ 4,995. PCS-1500U is also available in June at a suggested retail price of $ 7,995. PCS-1500ME and the PCS-DS150 document station will be available in September, at a suggested list price of $ 9,995 and $ 3,199 respectively.

Editor's Note: More information about Sony products can be found on the World Wide Web at http://www.sony.com/videoconference, or readers may call 1-800-686-SONY. Additional press information is available at http://www.sony.com/news. Sony Electronics offers a wide array of products and systems for image capture, production and display. Sony also provides specialized equipment and systems for data recording, duplication, electronic photography/publishing, videoconferencing, high definition video, interactive and security applications. In the fiscal year that ended on March 31, 1998, Sony Electronics had record sales of $ 10.5 billion.

CONTACT: Sony Electronics Inc. Mary Abram 201-930-6367

[email protected] or Technology Solutions, Inc., New York Karen Sussman 212-320-2218

[email protected]

Today's News On The Net - Business Wire's full file on the Internet with Hyperlinks to your home page.

URL: http://www.businesswire.com

Load-Date: March 9, 1999

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Exhibit 14 Sony NAB Booth Features Collaborative MPEG Demonstrations With Avid, Sun Microsystems, FAST Multimedia, ASC Leitch, Vibrint Technologies, Quantel

Business Wire April 18, 1999, Sunday

Body

April 18, 1999--Continuing with Sony Electronics' emphasis on open architecture, the company's NAB booth will feature demonstrations of Sony products operating seamlessly with servers and non-linear editors from a wide variety of popular video component manufacturers.

"For broadcasters to create the solutions that will take them into the DTV era, manufacturers need to come together on key transport technologies," said Michael Vitelli, executive vice president of Sony Electronics' Broadcast and Professional Company. "MPEG, with its international acceptance, and high quality 4:2:2 video and editing flexibility, more than qualifies for the widespread adoption we are seeing at NAB '99. Our partners represent some of the most important names in editing and server technology and their presence in the Sony booth makes a strong statement about MPEG acceptance to NAB visitors."

"MPEG World" Participants

Leading manufacturers supporting non-linear editing -- Avid, Quantel and FAST Multimedia -- have announced endorsement of MPEG-based systems for future generations of their non-linear editors.

Avid and Sony have announced an agreement to pursue the development of new post production and broadcast news products. The result will be an Avid non-linear system that will interoperate with Sony's new line of MPEG- based broadcast equipment.

"We are pleased to announce our alliance with Sony, the leader of the broadcasting industry," said Bill Miller, chairman and CEO of Avid Technology, Inc. "By combining Sony's MPEG expertise and technology with Avid's world-class NewsCutter(R) non-linear technology, we can provide our customers a great MPEG news editing solution."

Quantel will demonstrate interoperability with Sony's I-frame VTRs in the Pro-MPEG Forum area, where Quantel's Cachebox(R) distribution server will be sourced from a 50 Mbps serial data transport interface -- content package (SDTI-CP) bitstream.

"Quantel's implementations will be based on the use of 50 Mbps I-frame MPEG 4:2:2, which has sufficient quality headroom for DTV operation, giving predictable high-performance results for every day editing requirements in the broadcast environment," said Jon Pannaman, vice president of engineering for Quantel USA. "As storage costs continue to fall, the use of 50 Mbps I-frame is both practical and affordable and will help speed the introduction of complete MPEG systems."

Sony will also provide MPEG-2 4:2:2P@ML encoder modules to FAST Multimedia for "blue.", a professional non- linear editing system. Sony and FAST will jointly demonstrate MPEG-2 bit stream interoperability at NAB '99 Page 2 of 3 Sony NAB Booth Features Collaborative MPEG Demonstrations With Avid, Sun Microsystems, FAST Multimedia, ASC Leitch, Vibrint Technologies, Quantel between Betacam SX(R) and the "blue." non-linear editing system. The newly introduced SDTI-CP interface card for DNW-A75/A65 Betacam SX editing recorders will transcode Betacam SX recorders' MPEG data to 50 Mbps, I- frame data stream, ensuring that Betacam SX acquisition products are integrated into the total production system.

"We are extremely pleased to be among the first companies to integrate genuine Sony MPEG technology into our flagship editor, 'blue.'," said Matthias Zahn, CEO and founder of FAST Multimedia.

Vibrint Technologies, Inc. and Sony will provide broadcasters with a high-quality, cost-effective, end-to-end solution for capturing and editing news content. The companies' initial collaboration is focused on SDTI-CP connectivity between Sony's Betacam SX products and Vibrint's NewsEdit(R), a computer-based hard news editing system. The digital transfer capabilities of SDTI-CP will allow broadcasters to capture in the Betacam SX format and then edit directly from tape-to-disk on Vibrint's NewsEdit without any generation loss.

According to both companies, the relationship is a positive response to the industry's desire for a common digital signal interface between leading technology providers.

"When it comes to news acquisition, the Sony Betacam SX format makes an excellent choice for broadcasters," said Roland Boucher, vice president of marketing for Vibrint. "By integrating the SDTI-CP technology into NewsEdit, Vibrint now can offer broadcasters the flexibility of capturing and transferring native MPEG video streams, from Betacam SX product through SDTI-CP and standard computer network interfaces. Either way, editing occurs directly from tape-to-disk without decoding and re-encoding media from one system to the other. There's no generation loss and the entire process becomes faster."

Server Partners

To address the broadcast industry's growing demand for interoperable digital systems, Sun Microsystems and Sony Electronics will demonstrate MPEG-2 system interoperability at NAB '99. Sun and Sony will demonstrate MPEG file transfers between Sun's new video server platform and Sony's new MAV-70 MPEG server, over a 100BaseT Ethernet connection. Using the MPEG standard and a fast Internet connection, content transferred to Sun's server can then be stored, replayed or edited, creating an open, end-to-end solution for content creation through archiving and asset management.

ASC Leitch's VR400(TM) Series video server systems will incorporate technology to support faster-than-real-time acquisition of MPEG-2 video files from Sony's Betacam SX digital acquisition equipment.

"Leitch is very pleased to be working with Sony to offer industry-standard solutions for the digital future," stated Frederick L. Godard, president and COO of Leitch Technology. "This collaboration allows Sony's growing base of Betacam SX customers to choose best-in-class solutions to meet their server, storage, and on-air playback needs."

Sony's New MPEG Products

Sony's MPEG solutions encompass all stages of professional video acquisition, contribution and distribution, production, editing, archiving, and transmission.

Adding to its current line of MPEG-based Betacam SX cameras, camcorders, portable editors and VTRs, Sony will introduce at NAB the MAV-555 MPEG-2 disk recorder, which operates using the same MPEG 4:2:2 algorithm, and offers conventional VTR-like operation for editing with the benefits of disk technology. This multi-channel MPEG disk recorder is perfectly suited for news editing and live/sports applications.

Sony will exhibit an MPEG-based transcoder board for the Betacam SX VTR as part of its overall MPEG interoperability strategy and plans to deliver the product this year. To support other manufacturers' MPEG development, an "MPEG development box" will be featured at "MPEG World."

"At 'MPEG World' we will show how Sony's MPEG products interface with other manufacturers' editing servers and non-linear editing systems," Vitelli added. "This is evidence of the tangible progress of MPEG-based solutions. The Page 3 of 3 Sony NAB Booth Features Collaborative MPEG Demonstrations With Avid, Sun Microsystems, FAST Multimedia, ASC Leitch, Vibrint Technologies, Quantel key benefits of MPEG as an open standard are only achieved when real-world acquisition, broadcast, production and transmission equipment interoperate seamlessly in a multi-vendor system environment."

Pro-MPEG Forum

In another area of NAB, the Pro-MPEG Forum plans its first demonstration of MPEG interoperability with 22 major equipment manufacturers, showing equipment integration spanning from acquisition through transmission. The Forum is an independent, worldwide organization of broadcast equipment manufacturers and end-users which was established to promote end-to-end interoperability of multi-vendor systems in the broadcast environment.

"Since the inception of MPEG video compression, Sony has supported this important open industry standard with both equipment and applications," Vitelli noted. "We are proud to be an active participant in the Pro-MPEG Forum to help encourage dialog between broadcasters and manufacturers to implement open network solutions."

Editor's Note: More information about Sony products can be found on the World Wide Web at http://www.sony.com/nab, or readers may call 1-800-686-SONY. Additional press information is available at http://www.sony.com/news.

The Broadcast and Professional Company of Sony Electronics is a leading U.S. provider of video and audio equipment for the broadcast, production, business, industrial, government, medical and education markets. Sony offers a wide array of products and systems for image capture, production and display. Sony also provides specialized equipment and systems for data recording, duplication, electronic photography/publishing, videoconferencing, high-definition video, interactive and security applications. Sony Electronics' annual sales exceed $ 10.5 billion. The company has nearly 25,000 employees in the U.S. and Mexico.

CONTACT: Sony Electronics Inc. Lisa Young, 408/955-5683

[email protected] or Technology Solutions, Inc. Gregory Wind, 212/320-2221

[email protected]

Today's News On The Net - Business Wire's full file on the Internet with Hyperlinks to your home page.

URL: http://www.businesswire.com

Load-Date: April 19, 1999

End of Document

Exhibit 15 Sony Marks 50 Years of Mastering Media Solutions; Electronics Pioneer Kicks Off 50th Anniversary of Recording Media Innovation at NAB 2000

PR Newswire February 8, 2000, Tuesday

Body

Before making its first transistor radio, Trinitron(R) television, compact disc player, or video game, Sony was a recording media company. In 1950, Sony introduced the first recording tape in Japan -- the KA series Soni-tape. Together with the Type G audio recorder, it put Sony on the map. In fact, this first innovation became the basis for the company's namesake - Sony.

(Photo: NewsCom: http://www.newscom.com/cgi-bin/prnh/20000125/NYTU121

http://www.newscom.com/cgi-bin/prnh/19990804/SNYLOGO )

In more recent history, Sony's recording media business throughout the world has been responsible for the development of a number of consumer and professional tape, disc and battery firsts. These include the 3.5-inch floppy disk in 1980, the first Lithium-Ion battery in 1990 and the first 1/2-inch videocassette for Digital Betacam(R) digital videocassette recorders in 1993.

"From MiniDisc and Memory Stick(R) media to MPEG 50 and HDCAM(R) tape, the quality and technology behind media has become increasingly important to our customers in this new digital networked era," said Mike Fasulo, president of Sony Electronics' Media Solutions Company.

"Recording media is integral to providing the highest performance, access and speed to digital audio, video and data," he added. "Sony adds value by offering integrated hardware and media solutions to professionals and consumers alike."

50 Years of Meeting The Needs of Professionals

Sony's collaborative hardware and media approach is at the foundation of 50 years of recording technology innovation. This "simultaneous development" engineering philosophy continues today, whereby recorder head technology and media are conceived and designed together within the Recording Media lab. "This unique co- development approach continues to provide customers with practical, cost effective and high performance recording solutions," added Mike Fasulo.

From the development of Sony's first magnetic tape in 1950 to today's complex digital audio and video products, Sony is now moving toward more networked solutions that can best take advantage of a new range of broadband services to support the diverse needs of professionals and broadcasters. Page 2 of 3 Sony Marks 50 Years of Mastering Media Solutions;Electronics Pioneer Kicks Off 50th Anniversary of Recording Media Innovation at NAB 2000

For the broadcast market, Sony hardware and media engineers are developing solutions within an open system strategy based on MPEG standards that will be demonstrated at NAB 2000 this April in Las Vegas. The company will showcase new products that offer a worldwide DTV migration path from production and distribution to post production, transmission and archiving.

An important part of this solution is Sony's new BCT-MX Series cassettes, designed for the Sony MPEG 50 recorders with innovations that include: -- A new binder system and basefilm that enhances durability; -- A new coating process and calendering system that delivers a smoother tape surface, with +1.0 dB higher output (vs. Betacam SX(R) media); -- New coating technology that allows production of a variety of extended recording times (up to 60 minutes in small and 184 minutes in large cassettes).

All of which provide the user with a robust 1/2-inch metal particle tape that can achieve a C/N ratio of 40dB with the format's shortest wavelength of 0.56um.

Sony's market leadership in media solutions is based upon a 50-year history in magnetic media manufacturing and innovation. Here are some of the product development highlights during that time:

Sony Innovations In Recording Media - A History of Firsts 1950 The first magnetic recording tape in Japan is marketed. The Soni-Tape KA series used paper-based tape.

1962 The PV-100 two-inch open-reel videotape goes on sale to support the world's first transistor videotape recorder .

1971 The KC-60, the world's first 3/4" videocassette for the U-matic(R) VTR goes on sale.

1977 Sony introduces 1-inch tape for Type C VTRs.

1980 Sony develops and markets the world's first 3.5-inch Micro Floppy Disk throughout the world.

1981 Sony introduces professional 1/2" Betacam(R) cassette tape for it's Betacam component recording system.

1986 Twelve-inch and eight-inch write once optical disks go on sale. The two-inch still image disks, called Mavipak(R), to accompany the first Mavica(R) camera, go on sale.

1987 Sony begins marketing: D1 Series videocassettes for the world's first 4:2:2 format component digital VTR and DAT (Digital Audio Tape) cassettes for high sound quality, high density digital recording on a par with CDs.

1988 Sony introduces world's first 19mm D-2 format digital videocassettes for composite digital VTRs. Page 3 of 3 Sony Marks 50 Years of Mastering Media Solutions;Electronics Pioneer Kicks Off 50th Anniversary of Recording Media Innovation at NAB 2000

1990 Sony becomes the first media manufacturing company to receive a prestigious Emmy award for metal tape technology.

1992 The NTC-60/90 and MTC-120 - the world's smallest digital microcassette - goes on sale.

1992 The world's first recordable MiniDisc is marketed.

1993 Sony introduces BCT-D Digital Betacam videocassettes and VTRs. The 3.5-inch 260-megabyte Magneto Optical (MO) disk goes on sale.

1994 The first DV videocassette, the DVM60, is launched with the breakthrough DCR-VX1000 Handycam(R) camcorder.

1996 Introduction of DVCAM(R) digital video cassettes with revolutionary IC memory and AME (Advanced Metal Evaporated) tape technology.

Sony introduces BCT-SX Betacam SX videocassettes and VTRs with MPEG-2 4:2:2 Profile @ Main Level recording.

1998 Unveils HDCAM 1/2" metal particle digital videocassettes and recorders; the first high definition recorders designed for portable electronic field production / cinematography.

1999 Sony announces MDView(TM) discs, MinDisc for video, that holds 650 megabytes, enabling the first consumer digital video recording on a disk from a palm-sized camcorder.

2000 Sony launches BCT-MX Series MPEG tape, the first 1/2-inch metal particle digital videocassette tape that offers three-hour record time in MPEG 50 format.

Sony Electronics Background: Headquartered in Park Ridge, N.J., Sony Electronics (SEL) has more than 26,000 employees in North America. SEL is the largest operating unit of Sony Corporation, with annual sales of more than $10.6 billion. Sony Corporation is a leading manufacturer of audio, video, communications and information technology products for the consumer and professional markets. Its music, pictures and computer entertainment operations make Sony one of the most comprehensive entertainment companies in the world. In the most recent fiscal year, Sony Corporation recorded consolidated annual sales of more than $56 billion.

SOURCE Sony Electronics

CONTACT: Deborah Szajngarten, 201-930-6357, [email protected], or Dulcie Neiman, 201- 930-6981, [email protected], both of Sony Electronics Inc.

URL: http://www.prnewswire.com

Load-Date: February 9, 2000

End of Document

Exhibit 16 U.S. Armed Forces Radio and Television Service Awards $17 Million Contract to Sony; NAB2000 Booth No.L12107

Business Wire April 9, 2000, Sunday

Body

Sale Includes Digital Asset Management System

The U.S. Armed Forces Radio and Television Service (AFRTS) has awarded a $17 million dollar contract to be distributed over a base period of two years with an optional three-year extension to Sony Systems Integration Co., a division of Sony Electronics' Broadcast and Professional Co. The contract includes the purchase of a state-of- the-art DMS-8400 Petasite(R) and nine MAV-70 video servers.

The agreement includes a digital assets management system, with an on-line, near-line storage system and a low- resolution browser. AFRTS also purchased traffic and scheduling and automation equipment.

"AFRTS needs to digitize over 16,000 hours of existing tape material and all incoming feeds into broadcast operations," said Mel Russell, director of AFRTS. "Our overall goal is to create a streamlined operation."

The DMS-8400 Petasite is a reliable high-performance mass storage system. Sony is meeting these requirements with their Sony Digital Tape Format (DTF(TM)) 1/2" computer tape drives. The Sony DTF tape drives offers exciting new possibilities for scientific, commercial and MIS applications using mainframe, client/server, UNIX, NT and mid- range systems. Featuring an uncompressed sustained transfer rate of 24 Mbytes/sec (40 Mbytes/sec burst). with compression-and the ability to store 200 Gbytes of uncompressed data or 518 Gbytes compressed-on a single cassette, Sony DTF drives and tape libraries offer a breakthrough combination of performance and economy for backup, processing, archiving and data collection.

With recent advances in digital technology, the MAV-70 has made it possible to utilize computer disks for the storage of video signals. The promise of non-linear access, loss-less generation of copies and lower operating and maintenance costs are driving the industry to replace analog systems and tape-based recording technology. The Sony MAV-70 Series of multi-access A/V servers are designed to meet the growing customer's business requirements by providing even greater flexibility, reliability and versatility than they have long enjoyed with our analog products.

Sony Electronics' Broadcast and Professional Company (BPC) provides advanced products and systems for a variety of professional and broadcast markets, including production, corporate, industrial, government, security, medical and education. BPC products, systems and applications are designed to facilitate the transition to digital technologies and the emerging broadband network era, while managing current assets. Sony BPC products and services include those for broadcast and professional acquisition, production, storage, data management, system integration, digital imaging, digital printing, large and small venue display and projection needs. BPC is a division of Sony Electronics Inc., a U.S. company that had record sales exceeding $11 billion for fiscal year 1999. For more information, visit www.sony.com/professional. Page 2 of 2 U.S. Armed Forces Radio and Television Service Awards $17 Million Contract to Sony;NAB2000 Booth No.L12107

Editor's Note: For information regarding the nearest Sony authorized dealer or service location, call 1-800-686- SONY. Press releases and digital images are available online at www.sel.sony.com/news. CONTACT: Sony Electronics Inc.

Robert Christie, 201-930-6342 [email protected] or Sony Electronics Inc.

Dulcie Neiman, 201-930-6981 [email protected]

URL: http://www.businesswire.com

Load-Date: April 10, 2000

End of Document

Exhibit 17 Sony Takes PC Expo Attendees from 'Work To Play' With Host of AV/IT Solutions

PR Newswire June 27, 2000, Tuesday

Body

PC EXPO, Booth 4204 -- At PC Expo 2000, Sony Electronics is unveiling a variety of audio/video (A/V) and information technology (IT) products and services that offer consumers and business professionals greater connectivity, creativity and convenience.

(Logo: http://www.newscom.com/cgi-bin/prnh/19990804/SNYLOGO )

Building on the theme, "Work to Play," Sony's exhibit links the worlds of audio, video, computers and communications in a variety of lifestyle vignettes: "At Work," "On the Go," "At Home" and "At Play." The featured environments where convergence comes together include corporate office and more creative office settings; an aircraft interior; a home office and home entertainment center; and a variety of personal demonstration stations.

"Sony is focused on making AV/IT products and services that are well designed, easy to use, work well together and enhance people's lives," said Michael A. Vitelli, president of Sony Electronics' Consumer Electronics Group. New products, technologies and services on display include:

VAIO(R) Desktop Computers

-- VAIO Desktop PC PCV-J100 -- This new system, which is available now for an estimated selling price of $899*, is ideal for first-time PC buyers.

It comes equipped with Sony's MovieShaker(TM) digital video editing application, a 600MHz** Intel(R) Celeron(TM) processor, a CD-RW drive, 15GB*** hard drive, 64MB of SDRAM (expandable to 256MB) and a V.90 integrated modem.

-- VAIO Digital Studio PCs PCV-R553DS/556DS/558DS -- These new computers offer the latest Intel(R) Pentium(R) III processors (650MHz/733MHz/866MHz, respectively), dual optical drives (CD-RW and DVD) and an Ethernet port. The supplied MovieShaker software, when combined with Cyber-shot(R) digital cameras or digital Handycam(R) camcorders, provides a powerful digital imaging experience. The new PCs are available this month at estimated selling prices ranging from Page 2 of 5 Sony Takes PC Expo Attendees from 'Work To Play' With Host of AV/IT Solutions

$1,499* to $2,499*.

-- VAIO Slimtop LCD Computer PCV-L640 -- This high speed (Intel Pentium III 700MHz* processor), Internet-ready PC adds panache, not space, to the desktop. Occupying roughly one-third the desktop space of conventional PCs, the new VAIO Slimtop comes bundled with a 15-inch TFT LCD display with integrated Harman/Kardon(R) audio, 30GB*** hard drive, 128MB SDRAM and a dedicated Memory Stick(R) media slot. It is available this month at an estimated selling price of $2,599*.

VAIO Notebook Computers

-- VAIO SR Series -- The new PCG-SR5K/7K VAIO notebooks are lightweight and virtually legacy-free computers for design-conscious AV/IT users and highly mobile executives. The units, which come in a high polished silver and slate gray color scheme, feature a Pentium III processor (500MHz/600MHz* Intel SpeedStep(TM) technology, respectively) in a slim form factor. Estimated selling prices range from $1,999* to $2,499*.

-- VAIO XG Series -- Designed for mid- to large-sized business owners or

traveling professionals, the new VAIO PCG-XG28/28K and XG29/29K

notebooks offer hot-swappable multi-drive bays and Sony's unique, expandable intercooler flap. The flap maintains the product's svelte figure while enclosing an advanced cooling system and keyboard with reflective key text, and a convenient tilt angle. The XG series will be available this summer for estimated selling prices of $2,999* and $3,600*, respectively.

-- VAIO F Series -- Power and innovation reunite in nine new all-inclusive

Sony VAIO notebooks (PCG-F520, 540/540K, F560/560K, F580/580K,

F590/590K). The F500 Series provides an enhanced feature set that Sony calls the 3MAX+ commitment -- maximum screen size (up to 15-inch XGA TFT display), maximum battery life (simultaneous dual battery with the CD-ROM, floppy and DVD-ROM drives) and maximum mobility (swappable bay for a floppy drive or an extra battery). The units will be available this summer at estimated selling prices ranging from $2,299* to $3,800*.

-- VAIO Z505 SuperSlim Pro(TM) Series -- Sony's new notebooks are the quintessential super-models for the high-end business traveler and executive road warrior. They are wafer-thin and feather-light, but certainly not shy on power, speed or DV editing capability. The four models (PCG-Z505JS/JSK/JE/JEK) are available this month at estimated selling prices ranging from $2,499* to $2,999*. Page 3 of 5 Sony Takes PC Expo Attendees from 'Work To Play' With Host of AV/IT Solutions

Digital Imaging

-- MVC-CD1000 Mavica(R) Camera -- The world's first CD-Recordable based digital still camera uses a high capacity (156MB) 3 1/2-inch CD-R to hold up to 160 1600 x 1200 (2.1 mega-pixel) images at a price that encourages archiving and sharing. At around $4 a disc and with no processing required, the camera provides instant gratification at a fraction of the cost. Images captured with the camera can be recorded in several modes, including JPEG compression or TIFF in UXGA, SXGA, XGA or VGA image sizes. It ships with five CD-Rs and will be available in August for about $1,300.

-- DCR-PC5 Digital Handycam(R) Camcorder -- This new Mini DV camcorder is the company's smallest and lightest, measuring 2 1/8" (W) x 4" (H) x 3 7/8" (D) and weighing less than one pound (15 ounces). It offers

digital still image capability using Sony's Memory Stick digital media, Carl Zeiss(R) optics, and a 2.5-inch SwivelScreen(TM) LCD monitor with Touchscreen controls. Available this month, the camcorder will sell for about $1,500.

-- DPF-P7/P7D Picture Park(TM) Digital Picture Filing System -- This compact device allows consumers to archive, organize, display and transfer digital images from numerous digital storage media (such as Memory Stick(R), SmartMedia(R), CompactFlash(TM), IBM(R) MicroDrive(TM)) to a universal and affordable 5-inch CD-R or CD-RW -- without being tethered to a PC. The units will be available in August for about $700 and $1,000, respectively.

-- DSC-F505V Cyber-Shot(R) Camera -- This new digital camera combines a 3.34 mega-pixel CCD, effective 2.62 mega-pixel resolution, new interpolation technology and advanced features for improved imaging and user control. Bundled with an 8MB Memory Stick storage media, it is available this month for about $900.

-- ImageStation(SM) -- The on-line digital imaging web site

(http://www.imagestation.com) offers consumers the ability to transfer, share and view digital images and video.

Peripherals

-- Palm OS-Based PDA Prototype -- Sony is previewing a prototype of its much-anticipated PDA. Features include a sleek, new design; Jog Dial(TM) control for one-handed operation; Memory Stick media slot to store backup information; USB interface; and integrated docking cradle. Specific product plans for the U.S. market will be announced in the fall. Page 4 of 5 Sony Takes PC Expo Attendees from 'Work To Play' With Host of AV/IT Solutions

-- VPL-CX10 SuperLite(TM) LCD Projector -- This lightweight (7.7 lbs.) unit is designed for flexible and multi-purpose use with ceiling-mount, tabletop and rear projection capabilities. It's three-panel LCD system provides 1200 ANSI lumen brightness and XGA (1024 x 768) resolution for a suggested list price of $6,000. It will be available in the fall.

-- VAIO Wireless LAN -- This wireless local area network (WLAN) solution provides 11 Mbps data transfer rate, ideal for sharing files, drives and Internet connection within the home and small business environments. It is an IEEE 802.11b-compliant product that provides a simple and cost effective way to wirelessly surf the Internet or share resources between VAIO PCs. Available mid-July, the access point with PC card carries an estimated selling price of $599*, while the PC card version will be available for $179.

-- FIU-700 Fingerprint ID Unit -- The next generation of secure, convenient Internet identification technology is at users' fingertips,

literally. Sony's new fingerprint ID unit is a credit card-sized biometric device that provides both authentication and data security, and is designed to make Internet transactions secure. It is expected to be available in the fall for about $300.

Displays

-- Digital CRT Display Technology -- Sony is embarking on a new display frontier with the development of Diginex(TM) technology. Utilizing DVI (Digital Visual Interface), Diginex technology sustains a computer's video signal in digital form beyond just the interface, and far into the display's system -- longer than ever before achieved by other manufacturers. The video signal's image properties are not only

preserved, but also enhanced through Sony's frame memory system.

-- SDM-N50PS Multiscan(R) XGA LCD Display -- This award-winning 15-inch

(viewable image size) display combines Sony's latest advanced flat panel technologies with a black photo frame cosmetic design. It comes with picture hook slots built into the back, allowing the display to literally be hung flush against a wall like a traditional picture frame, or placed on a desktop using its tilt-adjustable, detachable photo stand. The unit will be available in July for an estimated selling price of $1,499*.

-- GDM-FW900 Multiscan FD Trinitron(R) Display -- Sony's flagship display offers a wide aspect 24-inch (22.5-inch viewable image size) screen featuring the world's flattest aperture grille technology -- the exclusive FD Trinitron virtually flat CRT. It will be available in Page 5 of 5 Sony Takes PC Expo Attendees from 'Work To Play' With Host of AV/IT Solutions

July for an estimated selling price of $2,499*.

Personal Audio

-- MZ-R70PC MiniDisc Walkman(R) Player/Recorder Bundle -- This new MD bundle allows consumers to record a combination of Internet music,

tracks from personal CD collections and favorite songs off the radio, making anyone the ultimate mixologist. The bundle includes a plug-and- play USB interface called the MD Link interface that automatically configures itself when connected to a Windows(R) 98/2000-enabled PC. The bundle will be available later this summer in silver or blue and is expected to sell for about $250.

* Estimated U.S. retail selling prices. Actual prices may vary. ** MHz denotes microprocessor internal clock speed. Other factors may affect application performance. *** GB means one billion bytes when referring to hard drive capacity. Accessible capacity may vary.

Sony Electronics Inc.: Headquartered in Park Ridge, N.J., Sony Electronics has more than 26,000 employees in the U.S. and Mexico. Sony is the co-developer of CD and DVD technologies, and noted for such recent developments as Memory Stick(R) IC card digital media, the MiniDisc digital audio system, Digital 8(TM) Handycam(R) camcorders, flat-screen FD Trinitron(R) televisions and computer displays, and VAIO notebook and desktop PCs. Sony Electronics had record sales of about $12.2 billion in fiscal year 1999. For more SEL information, please see the company's Web site at http://www.sel.sony.com.

SOURCE Sony Electronics Inc.

CONTACT: Brian Levine, 201-930-6355, [email protected], or Gretchen Griswold, 201-930-6136, [email protected], both of Sony Electronics Inc.

URL: http://www.prnewswire.com

Load-Date: June 28, 2000

End of Document

Exhibit 18 Audio Track

Billboard May 19, 2001

Body

NEW YORK

In all major recording markets and across musical genres, surround-sound mixing is on the rise. At Manhattan Center Studios, producer/engineer Jimmy Douglass created a 5.1 mix of Missy Elliott's Miss E . . . So Addictive on the Neve VR console in Studio 7 (the 2-channel CD's release date is Tuesday [15]). "I'm going to do as much surround as I can," says Douglass, who has recorded such artists as Ginuwine, Jay-Z, Bette Midler, and Aretha Franklin. Also, I think that as people hear more of it, they're going to want to do more of it, especially current artists."

Producer/engineer Eddie Kramer remixed a 1-inch, 8-track recording of a Jimi Hendrix concert in Studio A at Clinton Recording. The mixdown went to a Studer A80 one-half-inch analog deck loaded with BASF 900 tape. The project is for an upcoming installment in the ongoing MCA/ Experience Hendrix series.

John Siket, with assistant Raeann Zschokke, mixed live material from Phish with producer/Phish keyboardist Page McConnell at Theater 99 Recording on the Lower East Side.

Recent sessions at Sound on Sound Recording include Olivia with producer Rufus Black and engineer Charles Alexander; Destiny's Child with engineers Rob Fusari and Matt Hathaway; and Funkmaster Flex with mix engineer Steven George, all in Studio B on the Solid State Logic 9072 J Series console. In Studio A, Nate Dogg worked with producer Allstar and engineer Andy Blakelock; David Clayton-Thomas with producer Steve Gutman and engineer Mark Partis; and Dark Blue with Fusari producing.

Luna's latest album was recorded at Jolly Roger Recording in Hoboken, N.J., by Gene Holder, who co-produced with the band.

On April 20, E-MU/ENSONIQ demonstrated its PARIS Pro Digital Audio Workstation with Version 3.0 software at the School of Audio Engineering Institute. Version 3.0 offers such features as 24-bit OMF File import/export, integrated MIDI support, a dedicated waveform editor, and a more intuitive user interface.

LOS ANGELES

Advanced Audio Rentals (AAR) helped producer Brendan O'Brien transform a Mediterranean-style villa overlooking the Pacific Ocean into a world-class studio, the better to record Stone Temple Pilots' latest project.

Using the library as a control room, O'Brien had AAR's Paul Levy set up an Otari Concept One console, Studer A827 24-track recorder, and Pro Tools system. A Sony 3348 digital multitrack recorder ran as an "archival" machine. Additional gear supplied by AAR included a Tascam DA-45 DAT machine, a Panasonic 3700 DAT machine, an 8-channel rack of Neve 1073 microphone preamplifier/EQ modules, and microphones that included a Telefunken 251, Neumann U 47s, MK 84s, KM 86s, and AKG 451s. Page 2 of 3 Audio Track

Studio Atlantis has purchased a Solid State Logic 9080 J console with 959 Surround Sound Monitor Panel for Studio A, a 5.1 mix suite designed by Los Angeles-based design firm studio bau:ton. Already equipped with a Neve VR, that console will be housed in the new 60-foot-by-60-foot tracking room, which is expected to open in mid-2002.

Elton John tracked at Sony Music Studios with producer Pat Leonard and engineers Joe Chiccarelli and Jon Merritt. In recent months, Chiccarelli has also recorded Rufus Wainwright, with Leonard producing, at Capitol Studios. And Kronos Quartet has recorded with producer Gus Santaolla at O'Henry Studios.

In order to accommodate increased demand for surround mixing, Cherokee Studios has redesigned Studio 2, a mix/overdub room. It will feature a 96-channel SSL 4000 G+ console. Recent sessions include Maverick artist Showoff with producer Mark Trombino in Studio 1 and Anthrax with John Carpenter in Studio 3, the latter tracking for the upcoming The Ghosts of Mars soundtrack.

At Track Record, drummer Matt Sorum collaborated with engineer Kevin Smith, guitarist Lanny Cordola, and bassist Chuck Wright on songs for Sorum's upcoming release. Eric Williams assisted. Also, producer Rick Nowels and engineer Randy Wine overdubbed songs for Geri Halliwell with assistant engineer Ai Fujisaki in the Neve- equipped North Room.

Cypress Hill tracked their latest release in Studios A and B at Ameraycan Studios with engineers Troy Staton and Brandon Abeln. Also tracking in Studio A was gospel artist Aledriane Elmore of Madison Records, with producer Paul Jackson Jr. Kent Hitchcock assisted.

Busta Rhymes tracked in Studio B at Paramount Recording Studios with producer DJ Battlecat and engineer John Myers. Also at Paramount, Zakk Wylde and Ozzy Osbourne both tracked new songs on Studio C's Focusrite console and mixed on Studio A's SSL 6056 with engineers Barry Conley and Scott Gutierrez.

Precision Mastering has been busy. Engineer Tom Baker, who mastered Crazy Town's "Butterfly," Fuel's "Innocent" and "Hemorrhage (In My Hands)," and Buckcherry's "Ridin'," has recently finished projects for Cyclefly, Puya, and Fenix TX, all for MCA; Geffen's Big Dumb Face; and DreamWorks act Papa Roach.

Alanis Morissette was at Scream Studios working on her forthcoming Maverick album with mix engineer Rob Jacobs. Lior Goldenberg assisted. Also at Scream, Live was mixing with engineer Tim Palmer, assisted by Alex Uychocde; and Matt Wallace was producing and mixing H2O.

Slipknot was in Studio A at Sound Image Studios with producer Ross Robinson. Mike Frazer engineered, assisted by Matt Lavella. Rick Springfield was also in Studio A working on an A&E program with producer/engineer Bill Drescher.

NASHVILLE

Alison Krauss & Union Station have been tracking in the Neve room at Seventeen Grand Recording with engineer Gary Paczosa and assistant Chris Scherbak. Krauss also lent vocals to a Willie Nelson project. In the Euphonix room, producer Brown Bannister worked on CeCe Winans' upcoming release. Steve Bishir engineered with assistant Hank Bishir.

Recent mix sessions at East Iris Recording include Chely Wright with co-producer Brad Paisley and engineers Justin Niebank and Kevin Szymanski; Kansas with producer/engineer Jeff Glixman and Szymanski; and Rustic Overtones with engineers David Leonard and Szymanski.

At Ocean Way Recording, recent sessions include Holly Lamar with producer Byron Gallimore and engineer Julian King; Toby Keith with producer James Stroud and King engineering; Lennon Murphy with producer Jeff Pringle and engineer Warren Riker; Trisha Yearwood, producer Mark Wright, and engineer Greg Droman recording strings for her forthcoming release; and Collin Raye with Stroud producing.

ON THE ROAD Page 3 of 3 Audio Track

Uncle Kracker's platinum album Double Wide was entirely recorded and mixed in Pro Tools by Mike Bradford, who co-wrote four songs and shared production duties with producer Kid Rock. While this alone is not especially newsworthy, nearly all recording and mixing took place in the back of a bus and in hotels across the U.S.-an indication of the profound impact technology is having on professional recording.

Bradford set up in the rear lounge of the tour bus, where most of the recording took place, with a Pro Tools system, MIDI rack, Mackie HUI interface, and a pair of Mackie HR824 powered monitors.

"We did a couple of things in Detroit-in a garage or my basement," Bradford adds, "but almost the whole album was recorded on the bus, even though space was tight."

Load-Date: October 17, 2001

End of Document

Exhibit 19 Studios And Recording Equipment - Top-Performing Studios

Billboard September 28, 2002

Body

Christopher Walsh profiles the recording studios with the biggest hits.

Baseline Recording Studios / New York

Essentially the in-house studios for Jay-Z's Roc-A-Fella label, Baseline Recording Studios are a two-room commercial facility in the Chelsea area of Manhattan, home to many thriving audio production facilities. Baseline features a Solid State Logic 4000 G+ console in Studio A, while Studio B is a Pro Tools MIXplus-based room with Control|24 interface (Studio A is also Pro Tools MIXplus-equipped). Analog and digital coexist at Baseline: Producer Just Blaze and engineer Gimel "Young Guru" Keaton recorded and mixed Cam'ron's summer 2002 smash, "Oh Boy," featuring Juelz Santana, employing both an Otari MTR 90 multitrack recorder and Pro Tools.

Bernie Grundman Mastering / Hollywood

With 35 years experience, Bernie Grundman is one of the premier mastering engineers in the world, his career dating to the studios of the Contemporary Records label in 1966. Bernie Grundman Mastering, opened in 1984, outgrew its original space, expanding into the Hollywood facility it has occupied since 1998. A Bernie Grundman Mastering facility was established in Tokyo in 1997. Along with Grundman, engineers Chris Bellman, Brian Gardner and Pat Sullivan continue to provide finishing work for recordings destined for the top of various Billboard charts, including recent hits "Oops (Oh My)" by Tweet, "Always on Time" by Ja Rule featuring Ashanti and "Family Affair" by Mary J. Blige. "We have a new room coming online," Grundman announced in late summer, "our first 5.1 room."

The Castle Recording Studios / Franklin, Tenn.

"I'm Gonna Miss Her (The Fishin' Song)" by Brad Paisley, and Alan Jackson's "Where I Come From" are recent hits tracked and/or mixed on the SSL 4064 G console with Total Recall and Ultimation at the Castle, one of the recording industry's unique facilities. A stone castle built at the tail end of the Roaring '20s, the Castle once served as a bootlegging site and gambling house and was developed into a commercial studio upon its purchase by the Nuyens family in 1983. Through its long history, the Castle has weathered many changes, including the mixed fortunes of country music in recent years. "It's not over yet," says studio manager Mike Janas, "but it definitely looks better. Alan Jackson was just here cutting tracks for a traditional Christmas record, and now we have the Iguanas with Justin Niebank producing." As in the industry at large, Janas notes, "Pro Tools is the new tape machine" at the Castle. "In the year 2001, we had seven days' use of an Otari 1-inch digital machine," he recalls. "We had 12 days' use of our 2-inch analog Studer. The rest was RADAR 24 and Pro Tools."

Cool Tools Audio / Nashville

Cool Tools Audio, located in the former offices of Giant Records, continues to thrive. The Michael Cronin-designed control room, in which engineer Ed Seay mixed Blake Shelton's No. 1 hit "Austin," recently upgraded to Pro Tools HD. "Wow, is it better," says Seay. "Absolutely better in every way." What's more, Seay adds, Nashville is emerging Page 2 of 6 Studios And Recording Equipment - Top-Performing Studios from the doldrums of a lackluster 2001. "Compared to a year ago, it's a lot better," he reports. "Good music is starting to come out; labels are starting to loosen up and try things." Case in point: In summer 2002, Joe Nichols was making his way up the charts with "The Impossible" from his Universal South debut. Like then-newcomer Shelton in 2001, Nichols is benefiting from Seay's Cool Tools Audio mix. "New blood, I think, embraces new technology easier than the old blood," says Seay. "I'm kind of old-blood, but I'm certainly embracing the new technology."

Crackhouse / New York

Rap producer Irv Gotti's Murder Inc. label continues to generate hits, casting the spotlight on its New York City in- house studio. In the period surveyed, Gotti and engineer Milwaukee Buck helped craft hits including Ashanti's "Foolish"-which had closely followed that artist's duet with Ja Rule, "Always On Time"-and "I'm Real" by Jennifer Lopez featuring Ja Rule from the latter's Pain Is Love, collectively owning the R&B and Hot 100 charts for an astonishing 18 and 17 weeks, respectively. Reflecting modern recording technique and technology, Crackhouse is a two-room, Pro Tools-based studio with a wide variety of microphones, keyboards, outboard gear and 2-inch analog multitrack. "When you walk in," says Chris Gotti, "you feel the vibe instantly. Every artist that comes in there loves it."

Electric Lady Studios / New York

Have you ever been to Electric Ladyland? Russell Elevado has: The engineer mixed Alicia Keys' smash "Fallin'" on a Solid State Logic 9000 J console at the famed Electric Lady Studios in New York's Greenwich Village. Founded by guitar-god Jimi Hendrix, the studio opened just weeks before the revolutionary musician's untimely passing in 1970. But the three-room, all-SSL 9000 J Series facility continues to serve as the recording and mix studio for today's hitmakers. Electric Lady's Studio B is home to the world's only purple SSL console, an 80-input 9000 J Series with Ultimation and Total Recall.

Emerald Sound Studios / Nashville

Despite their international clientele, Music Row studios are not immune from the fortunes of country music. Emerald Entertainment Group, which grew and grew in the 1990s, acquiring Masterfonics' stunning Tracking Room studio and mastering facilities after the latter entered Chapter 11 bankruptcy proceedings, was itself forced to seek Chapter 11 protection in 2001, after a prolonged drought in Music City. Happily, though, Emerald has emerged with a strong schedule in 2002, attracting artists as diverse as Sheryl Crow, Mark Knopfler, Dixie Chicks and Lynyrd Skynyrd. "The first six months of this year have been great," says Emerald president/COO Andrew Kautz, "probably better than we've seen for a long time. Hopefully, the industry will continue the trend that we've seen." Most recently, Emerald is finalizing plans to install a Solid State Logic 9000 J Series console in its renowned Mix Room, the facility's second J console.

Georgetown Masters / Nashville

Engineer Denny Purcell, one of the premier mastering engineers in the U.S., had plenty to boast about. His Georgetown Masters, located on Music Sq. West, provided the finishing work for seven No. 1 songs on the Hot Country Singles & Tracks chart in the period surveyed: "Living and Living Well" by George Strait; "Blessed" by Martina McBride; "What I Really Meant to Say" by Cyndi Thomson; "Austin" by Blake Shelton; and Toby Keith's "My List," "I Wanna Talk About Me" and "I'm Just Talkin' About Tonight" from Pull My Chain. Purcell, whose discography would fill a book, was also a pioneer in surround sound and high-resolution audio.

Hit Factory / New York and Miami

Quite possibly the best-known recording studio in the world, New York's Hit Factory is always active. Most recently, the Hit Factory, which includes the legendary Criteria Recording in Miami, completed Studios 6 and 7 in New York, each a new 5.1-capable studio equipped with Solid State Logic's new XL K Series console. Over the late spring and early summer, engineer Ray Bardani and BMG's David Bendeth transferred and remixed Elvis Presley's RCA No. 1's for Elv1s 30 #1 Hits, bringing classic tracks from the King to a new generation. In the spring, Page 3 of 6 Studios And Recording Equipment - Top-Performing Studios the Hit Factory renovated the fire-damaged Studio 5, addressing the high-resolution needs of contemporary audio production by installing a Pro Tools HD system, a Euphonix System 5-M digital console, a 48-track Euphonix R-1 hard-disk recorder, a standard Pro Tools 24 system, a Sony 3348HR digital multitrack tape machine and Studer A827 24-track analog machine in the adjacent machine room. With the return of mastering engineer Herb Powers, the Hit Factory resumes its dominance in the R&B and dance genres.

Krucial Keys / New York

"Fallin'," from her sterling J Records debut, Songs in A Minor, topped the Hot 100 and Hot R&B/Hip-Hop Singles and Tracks charts and made a star of newcomer Alicia Keys. Though mixed at Electric Lady, Songs in A Minor was created at Krucial Keys, the private New York facility of Kerry "Krucial" Brothers. Krucial Keys, where the artist's follow-up album is under way, affirms the adage of a quality front-end recording chain. "We used the Neumann U 87 microphone with Anthony DeMaria Labs ADL 1000 Tube Compressor/Limiter," Brothers explains. Tracks went through a Mackie 32Y8 console to Tascam DA-88 and DA-38 digital multitrack recorders. With Songs in A Minor, Keys took four honors at the second annual Billboard R&B/Hip-Hop Awards, held in Miami in August.

Larrabee Sound Studios / Los Angeles

Comprised of seven state-of-the-art studios in three locations, Larrabee Studios is a favorite of many of the industry's top mix engineers, including Rob Chiarelli (Will Smith, K-Ci & JoJo, LeAnn Rimes) and Dave Way (Macy Gray, Christina Aguilera, Ronan Keating). Both have taken to the recent installation of the first Solid State Logic XL K Series console, in the fully renovated Studio A at Larrabee West. With five SSL consoles-three J Series boards at the Larrabee North location, the K Series and a G Series at West-and two classic Neve 8078 boards at Larrabee East, the facility serves an elite clientele. "As long as there's a music business that earns a buck," says owner Kevin Mills, "there will always be commercial studios for the simple reason of the collaborative effort-especially in pop music, where there is a collaborative effort between an A&R person, a singer-songwriter, a producer, a mix engineer. They want to be able to get together in a space they can all agree on and work in, which generally isn't someone's home."

Loud Recording / Nashville

With a Sony OXF-R3 "Oxford" digital console in Studio A, Loud Recording, owned by producers James Stroud, Paul Worley and Blake Chancey, was the mix studio for more No. 1 songs on the Hot Country Singles & Tracks chart than any other. "My List," "I Wanna Talk About Me" and "I'm Just Talkin' About Tonight," all featured on Toby Keith's Pull My Chain, were mixed by Julian King on the Oxford at Loud and spent a combined 11 weeks atop the country chart in the period surveyed. Cyndi Thomson's "What I Really Meant to Say" and Martina McBride's "Blessed," both mixed by Clarke Schleicher, were also mixed on the Oxford at Loud. Loud's Studio B features a Trident 80 Series console.

Mastering Lab / Hollywood

It may seem unlikely, but an abundance of No. 1 country singles are mastered at this two-room Hollywood mainstay. Over the years, says Mastering Lab engineer Robert Hadley, the facility's owner, Doug Sax, has mastered numerous country recordings. Tim McGraw's 1995 album All I Want, mixed by L.A. engineer Chris Lord- Alge, led to a long relationship with country, extending to recent No. 1 songs "The Cowboy in Me" (McGraw), "Bring on the Rain" (Jo Dee Messina with McGraw), "Angry All the Time" (McGraw) and "I'm Already There" (Lonestar). Most recently, Dixie Chicks' "Long Time Gone" was on its way to the top of the Hot Country Singles & Tracks chart. Sax and Hadley work in a SADiE workstation-equipped suite, says Hadley, while a second room features a Sonic Solutions workstation.

Mastermix / Nashville

The challenging country-music market hit a low point in 2001, but the Grammy success of O Brother, Where Art Thou? and recent hits from such stars as Alan Jackson, Brad Paisley and Brooks & Dunn signal an emerging return to form for Music City. Nashville's Mastermix, while not immune to market forces, has nonetheless enjoyed a strong Page 4 of 6 Studios And Recording Equipment - Top-Performing Studios schedule at its five-room, 6,000-square-foot facility, mastering several No. 1 country singles and albums. "We feel pretty blessed," says owner Hank Williams, "considering the tough time the music industry is in. We'd like the business to be stronger, and we'll do anything we can to make it stronger. But, unlike some people who report that their businesses were 30% and 50% down, we're not in that situation, thankfully. And the peers that I talk to now seem to be a lot more buoyant in their attitude."

Money Pit / Nashville

Owned by Eddie Bayers, Sr., Eddie Bayers, Jr., and producer Paul Worley, the Money Pit is a two-room facility featuring a 64-input Trident 80 Series in Studio A. A Pro Tools room featuring a Digidesign ProControl interface anchors Studio B. "August was a little slow," says assistant manager Wade Hachler, "but, for the most part, we've been cranking pretty hard. I think Nashville is back up and rocking, maybe thanks to O Brother, Where Art Thou?" Cyndi Thomson's "What I Really Meant to Say" and Martina McBride's "Blessed," both No. 1 songs, were recorded on the Trident at the Money Pit by engineer Clarke Schleicher.

Ocean Way Nashville / Nashville

In the end, the Oct. 17, 2001, announcement that Ocean Way Nashville, one of Music Row's top facilities, had been acquired by Belmont University had little, if any, effect on its day-to-day existence. On the contrary, the three-room facility picked up where it left off in 2001, continuing to account for more No. 1 songs on the Hot Country Singles & Tracks chart than any other, including hits by George Strait, Toby Keith, Tim McGraw and Jo Dee Messina. "Everybody around town is seeing that it's exactly the way I said it was going to be," says Sharon Corbitt, studio manager of the all-Neve facility, "and they're all happy. The only changeover was Belmont acquiring us, but they're maintaining it as a commercial facility. This isn't a classroom. We just utilize downtime when I don't have clients in the building, like weekends, and just in controlled groups, about two or three at a time, working with Sal [Greco, chief technical engineer]."

Quad Recording / New York

This all-Solid State Logic facility is a New York mainstay, featuring three SSL 9000 J Series boards, a 96-input G+ with Ultimation and a 32-input 4000 E Series with G Series computer and Total Recall. Additionally, Quad recently added a Pro Tools HD system. As with most New York facilities, Sept. 11 and the national economy have impacted Quad's recent fortunes, but a combination of regular clients and day-to-day bookings is keeping the Times Square facility active, says studio manager Mark Springer. "We're doing pretty well, overall," says Springer. "We're looking for more consistency-that's the main thing. Hanging in there is the main thing. Finding a little client base, and not faltering or playing the rate game with everybody else."

Record One / Sherman Oaks, Calif.

Part of Allen Sides' Ocean Way Recording complex since 1988, Record One is a very private, luxurious, two-room facility. With long-term clients like Dr. Dre, who mixed Mary J. Blige's "Family Affair" here, Record One and Ocean Way are thriving despite the forces of music-industry consolidation, low-cost digital recording technology and a shaky economy. Anchored by the custom 100-input SSL 8000 G Plus with Ultimation and Ocean Way modification- the largest of its type in the world-and 80-input SSL 9000 J series with advanced Ultimation and Total Recall, Record One's two rooms are rarely idle. Classic Equipment Rentals and Ocean Way to Go, which specializes in setting up a complete studio in the client's building of choice, are additional profit centers to supplement the firm's five traditional studios. "We've got three full-on Ocean Way studios running right now in the Hills," says Sides, who recently remixed Phil Collins recordings in both stereo and 5.1 for upcoming release. "Our clients-who are used to that level of comfort and service-find the spot. We make it work."

Record Plant / Hollywood

"We cater to a very elite group," says Record Plant president Rose Mann Cherney, "and we do a lot of repeat business." The legendary Record Plant, founded in 1968 in New York City, remains a mainstay in the L.A. recording market it joined the following year. The four-room, all-Solid State Logic facility has recently hosted such Page 5 of 6 Studios And Recording Equipment - Top-Performing Studios clients as Britney Spears, Justin Timberlake, Backstreet Boys, Toni Braxton, Brandy and the Neptunes, Mann reports. Record Plant's Studio 1, known as SSL 1, was employed for an all-star contribution to the "We Are Family" sessions in September 2001, recorded by engineers Rich Hilton and Ed Cherney in L.A. and produced by Nile Rodgers at Avatar Studios in New York. The same weekend, Record Plant hosted the Artists Against AIDS Worldwide session, a recording of Marvin Gaye's "What's Going On" featuring U2 vocalist Bono via EDNet.

Right Track Recording / New York

"Let me quell all these rumors," says Barry Bongiovi of Right Track Recording. The 2001 expansion of Right Track, for decades a New York mainstay at 168 W. 48th St., in the heart of Manhattan, has been the subject of abounding speculation. The facility's newest room, an immense tracking space equipped with an 80-input Solid State Logic 9000 J Series console at 509 W. 38th St., was the talk of Manhattan long before its opening. When it opened weeks after Sept. 11 and the grim atmosphere wrought by the terrorist attacks, one could rightly wonder about the viability of such an investment. Fortunately, says Bongiovi, the Dennis Janson-designed Studio A509 has done well in its first year. "We've done all the major Broadway plays this season," he reports, "as well as a couple of film scores, some stuff for Sony Classical and some 9/11 stuff." Back on W. 48th Street, regulars such as engineer/producers Frank Filipetti and Duro, who mixed Ashanti's "Foolish" on the 9000 J Series in Studio C, keep the flagship facility rocking.

Rosewood Studios / Tyler, Texas

"We've been doing business for about 26 years," says Gary Leach of Rosewood Studios, where Steve Holy recorded, mixed and mastered "Good Morning Beautiful," topping the Hot Country Singles & Tracks chart for five consecutive weeks. Leach and owner/chief engineer Greg Hunt have been busy at the Pro Tools/Control|24-based facility, Leach confirms, with artists including Perfect Stranger and Lila McCann, as well as television mixes for the September 2002 Billy Graham broadcast. "We just finished Steve Holy's second album, which Greg and I produced," Leach adds. Located halfway between Shreveport, La., and Dallas, Rosewood hosts musicians from L.A. and Nashville and as far away as Boston and Colorado Springs. "We've had some great players here," says Leach. "Business is great."

Sony Music Studios / New York

Home to New York City's first Neve 88R console, Sony Music Studios, located at the former 20th Century Fox film stages on West 54th Street in Manhattan, is one of the largest and most diverse facilities in the world, offering a wealth of services from music recording, mixing and mastering to audio and video production and post-production, DVD authoring, DSD recording for Super Audio CD (SACD), and ISDN and satellite transmission. Sony's Main Stage has been the site of innumerable, memorable performances seen on such popular TV programs as Sessions at West 54th Street, Hard Rock Live, MTV Unplugged and A&E's Live by Request. On any given day, one might find projects in progress by artists as diverse as Whitney Houston, Sheryl Crow, LL Cool J, Wynton Marsalis and Kathleen Battle. Often, says Andy Kadison, senior VP, Sony Music Studios/Automatic Productions, artists literally move in to the facility's superbly appointed, opulent studios for long-term projects. "The commitment," says Kadison, "is to make the artist feel like there is no limit."

Sony Tree / Nashville

Blake Shelton's "Austin," created almost entirely within the Pro Tools environment, was tracked at Sony Tree Studios, a Russ Berger-designed facility featuring modifications by Michael Cronin. Serving both in-house and outside clients, Sony Tree features a 56-input Sony 3056 console and Sony 3348 digital multitrack tape machine, but the latter sees little action, says studio manager/chief engineer Pat McMakin. "We use Pro Tools with Apogee converters," says McMakin. "Our approach is to make the best of both worlds. We've got an analog console with a bunch of API strips in it-API made retrofits for the Sony console-and a really good selection of analog outboard equipment and vintage microphones. We feel like the best utilization of both technologies is available here, especially using great analog stuff on the front end and then Pro Tools in the mix process." Sony Tree is planning a Page 6 of 6 Studios And Recording Equipment - Top-Performing Studios fourth room, McMakin adds, "and our studios recently put in an A/V SAN system, so all of our Pro Tools systems are linked together, which is wonderful."

Sound Station / Nashville

Sound Station is a two-room, Pro Tools-based studio owned by producer Paul Wright, known for his work with such gospel artists as Fred Hammond and Hezekiah Walker. More recently, says studio manager Josh Babyer, the facility is concentrating on hip-hop and rock sessions. Both rooms, Babyer explains, are well-equipped. "The A room has a 32-fader ProControl, Kawai grand piano and Hammond with Leslie speaker," he notes. "It has 16 API microphone preamplifiers, a Manley Vox Box and one strip of Neve [preamplifiers]. The B room has a Control|24 with 16 Focusrite microphone preamplifiers; there's also a [Crane Song] Flamingo preamp, and any day we should be getting an Avalon 737 compressor. Both rooms have Mackie HR824 speakers."

Southside / Atlanta

Jermaine Dupri's private facility, Southside, features a Solid State Logic 4064 G+ console with Sony 3348HR digital multitrack tape machine, RADAR 24 hard-disk recorder and Pro Tools. Additionally, Southside houses Dupri's writing/pre-production room, explains studio manager Brian Remenick. "We track directly from there into the RADAR," says Remenick, "and transfer it over to whatever other format later on." Usher's "U Got it Bad" was recorded and mixed here, as was "Where the Party At" by Jagged Edge featuring Nelly. "We're more about fun than work," says Remenick, before adding, "We're pretty much always busy. As long as Jermaine's working, we're up and running."

Sterling Sound / New York

With its luxurious, 25,000-square-foot headquarters in Manhattan's Chelsea neighborhood complete, Sterling Sound continues to master recordings destined for No. 1 on various Billboard charts. Along with that continuity, says the facility's chief, Murat Aktar, "Sterling is experiencing a time of dynamic change. In many ways, we have found the creative role of mastering engineers expanding. Engineers and producers are bringing projects to Sterling at an earlier stage than ever before, relying on the precision listening environments to finalize the broad strokes of a mix and master in the same session. At the same time, we are implementing the complex infrastructure to address the changing requirements of the labels as they move away from physical media and toward secure electronic transmission of CD and other masters to manufacturing plants."

Load-Date: September 24, 2002

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Exhibit 20 Sony Licenses Waves' Audio Technology for Use in SonicStage Mastering Studio; Sony Integrates Three Waves Audio Processors to Be Shipped With VAIO PCs Worldwide

PR Newswire June 9, 2003, Monday

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Waves Ltd., the worlds' leading supplier of audio signal processing solutions for the professional, broadcast and consumer electronics audio markets, today announced that Sony will license three of Waves' audio processors to be integrated into Sony's SonicStage Mastering Studio application. Sony will include Waves' Renaissance Bass, S1 StereoImager and L1 Ultramaxizer in SonicStage Mastering Studio applications, which has begun shipping on all new Sony VAIO personal computers in Japan and will be shipping on models worldwide in the Summer of 2003. The Waves audio processing tools dramatically improve the audio quality for VAIO users, particularly when recording analog source music to PCs and writing to audio CDs with very high quality sound.

"Sony VAIO personal computers emphasize improved video and audio performance over standard PCs, and Waves processors further strength Sony's position of delivering our customers superior audio quality," stated Dave Yamamoto, General Manager of Product Planning, Sony VAIO Computer Company. "Waves processors have established themselves in professional audio editing and master environments as the highest quality solutions available anywhere, and these processors add to the capability of SonicStage Mastering Studio by allowing consumers to substantially improve the quality in mastering and transferring music to portable audio devices. Previously audiophile customers required more than a thousand dollars of Waves software to obtain the functions that will be standard in new VAIO computers."

Waves' Professional Audio Tools Delivers New Standard of Audio Quality To Consumer PC Market

"Waves tools are used today in mastering practically every major music release and movie soundtrack, because of their unsurpassed acoustic quality, and Waves is pleased to cooperate with Sony to deliver these tools to their VAIO customers," stated Gilad Keren, CEO and co-founder of Waves. "The Waves processors integrated into Sony's SonicStage Mastering Studio will deliver the same award-wining quality as our standard professional tools. Some additional presets for consumers have been added and there are some minor functional limitations in order to simplify their use." Waves tools are recognized by top professionals for delivering clear transparent sound quality. The Renaissance Bass, S1 StereoImager and L1 Ultramaximizer processors do not provide users a sound "effect", rather they make the music more natural by compensating for limitations in the frequency range, dynamic range, a compression loss in audio systems. Renaissance Bass is the 2nd generation MaxxBass algorithm, a patented bass extension technology. MaxxBass delivers perceived bass frequency response up to 1.5 octaves below the physical loudspeaker limitations using the Page 2 of 3 Sony Licenses Waves' Audio Technology for Use in SonicStage Mastering Studio;Sony Integrates Three Waves Audio Processors to Be Shipped With VAIO PCs Worldwide proven psycho-acoustic Phenomenon of the Missing Fundamental. It dramatically improves bass performance on small loudspeakers and headphones, which are not physically capable of reproducing bass frequencies. S1 StereoImager is stereo processing tool kit for mastering and digital editing. It corrects for faults in the stereo mix and can be used to creatively enhance the stereoism of existing material. It is also a powerful tool to improve audio quality of highly compressed music. L1 Ultramaximizer is the world's most popular digital limiter that maximizes level without distortion or clipping. This is ideal for recording cassettes, LPs or other non-mastered audio material. The L1 also includes a re- quantization noise shaping technology that improves the resolution of compressed music.

About Waves Ltd.

Waves is the world's leading provider of audio signal processing solutions for professional, broadcast, and consumer electronics audio markets. With more than a decade of expertise in the development of psycho-acoustic signal processing algorithms that leverage knowledge on the human perception of hearing to radically improve perceived sound quality, Waves' award-winning processors are utilized to improve sound quality in the creation of the world's most popular music, movie sound tracks and multimedia titles. Waves offers computer software solutions and hardware plus software solutions for the professional and broadcast markets. For more information, visit www.waves.com

Waves also offers semiconductor and licenses audio algorithms under the Maxx brand for consumer electronics audio applications. Waves' Maxx technology dramatically enhances audio performance in consumer applications and has been licensed to several leading companies, including Motorola, Microsoft, Samsung and Sony. For more information visit: www.maxx.com

Reader Contact Information North America Offices Waves, Inc., 306 West Depot Avenue, Suite 100, Knoxville, TN, 37917,

Tel: 865-546-6115, Fax: 865-546-8445, [email protected] ,

http://www.waves.com .

Corporate Headquarters Israel: KS Waves, Ltd., Azrieli Center, The Round Tower, 21st Floor, Tel-Aviv 67011, Israel

Tel: 972-3-6081648, Fax: 972-3-6081656, [email protected] ,

http://www.waves.com .

Waves Consumer OEM Division Public Relations: Alan Weinkrantz and Company 3737 Broadway, Suite 280 San Antonio, Texas, U.S.A. 78209 Phone: 210-820-3070, Fax: 210-820-3080

SOURCE Waves Ltd.

CONTACT: Michael Matthey of Alan Weinkrantz and Company, +1-210-820-3070 x 106, or fax, +1-210-820-3070, or [email protected] , for Waves Ltd. Page 3 of 3 Sony Licenses Waves' Audio Technology for Use in SonicStage Mastering Studio;Sony Integrates Three Waves Audio Processors to Be Shipped With VAIO PCs Worldwide

URL: http://www.prnewswire.com

Load-Date: June 10, 2003

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Exhibit 21 Sony and GlowPoint Unveil the First Complete IP-based Video Communications Solution for Television Broadcasters

Business Wire April 14, 2005 Thursday 12:30 PM GMT

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Powerful Combination of Advanced Equipment, Network Connectivity and Applications Empowers Broadcasters to Create and Transport Content in New, Cost-Effective Ways

Sony Electronics Inc., and Glowpoint, Inc. (NASDAQ: GLOW), the world's leading broadcast-quality IP-based video communications service provider, today introduced the first complete standards-based IP video communications solution designed to meet the specific needs of television broadcasters. The bundled offering combines Sony's state-of-the-art line of audio/visual communication systems with GlowPoint's patent-pending advanced IP-based video applications and network services. The solution will be demonstrated at the National Association of Broadcasters Show (NAB) taking place April 18-21 at the Las Vegas Convention Center in booth #SU6406.

"The broadcasting industry is transforming itself to meet the rapidly evolving demands of viewers and maximize new technologies to streamline operations," said Michael McCausland, vice president and general manager of Sony Electronics' IP Communications division. "This IP-based broadcasting solution, which has already been proven in live broadcasting environments, enables broadcasters to meet these two imperatives by making it simple and cost- effective to create and transport high-quality content using Sony's state-of-the-art equipment and GlowPoint's unique applications and services."

The standard IP Broadcast solution includes:

-- Sony PCS-G70 Systems - For redundant use in any broadcast production center, the rack-mountable PCS-G70 system connects seamlessly to standard video editing devices. The PCS-G70 systems can be used for direct-to- broadcast, live-to-tape, satellite uplink or Internet playback.

-- GlowPoint IP Broadcast Video Communication Package - GlowPoint provides a fully managed, "All You Can See" unlimited usage broadcast communication package that combines advanced IP-based video applications and redundant T-1 connectivity to provide broadcast-quality video transmissions in a 99.99% QoS environment. With a 24/7 network operations center, advanced management tools and available on-site support, GlowPoint is the world's leading provider of IP-based broadcast services for major networks and live broadcast events.

-- Sony PCS-1 Systems - For high-quality content capture at remote locations or for long-term installations, the PCS-1 system reaches speeds up to 2 Mps over IP networks and offers second-camera support.

-- Sony Broadcasting Event Server - Bringing a new level of versatility and convenience to IP-based video broadcasting, the Sony Broadcasting Event Server has been specially designed and configured for remote content acquisition. Developed to be easily transported between production facilities and remote broadcast Page 2 of 3 Sony and GlowPoint Unveil the First Complete IP-based Video Communications Solution for Television Broadcasters locations, the Sony Broadcasting Event Server comes in a hardened shipping case and includes a high-end Sony video monitor, camera and codec that together provide advanced technical capabilities.

-- Sony PCS-TL50 System - Bringing a new level of versatility and convenience to videoconferencing, the Sony PCS-TL50 is a desktop videoconferencing system that allows producers to easily navigate between video feeds and desktop important desktop computer applications.

The IP broadcast solution can be customized for special package configurations, including the quantity of Sony systems, network bandwidth and connectivity capabilities and the addition of compatible hardware including advanced microphone configurations and advanced three-chip cameras. The IP-based broadcasting solution from Sony and GlowPoint is immediately available.

Sony and GlowPoint have developed the package to be used for a variety of applications within the broadcast production environment and builds on the two companies' expertise and relationships in the broadcasting sector. A number of leading television networks and broadcast programs are already using both Sony equipment and GlowPoint services. Key applications for the combined offering include remote interviews, special events, back-end production, and reporter/affiliate connections. The solution provides on-demand broadcasting, with always-on network connectivity, and reduces transport costs by up to 80 percent as compared to satellite feeds.

"Broadcasters today are tasked with delivering more content at a higher quality - in less time and for less money - than ever before," said David Trachtenberg, president and CEO of GlowPoint. "This one-of-a-kind solution helps them do the seemingly impossible and illustrates that IP-based video communications offers a reliable complement to traditional broadcasting technologies."

The development and marketing of this advanced offering is a result of the recently announced Sony-GlowPoint alliance. Together the two companies are changing the way people communicate via video and are actively expanding the use of IP-based video in and out of traditional office environments. This alliance and the introduction of an IP-based broadcast solution directly support Sony's recently introduced IPELA vision to make global visual communications as commonplace as a telephone call by combining Sony's high-resolution audio/visual equipment with the universal reach of IP networks and advanced services such as those delivered by GlowPoint.

Editor's Note: Sony Electronics Inc.

For Sony press releases and digital images, please visit www.sony.com/news.

Readers looking for product information can click on www.sony.com/videoconference. More information regarding the nearest Sony authorized dealer or service location is available by calling 1-800-686-SONY.

About GlowPoint

Glowpoint, Inc. (NASDAQ: GLOW) is the world's leading broadcast quality, IP-based video communications service provider. GlowPoint operates a video communications service featuring broadcast quality images with telephone-like reliability, features and ease-of-use and is a member of the Cisco Powered Network Program and COVAD Partner Program. The GlowPoint network spans three continents and carries on average over 20,000 video calls per month worldwide. Since the network was introduced in 2000, GlowPoint has carried over 23 million IP video minutes. GlowPoint is headquartered in Hillside, New Jersey. To learn more about GlowPoint, visit us at www.glowpoint.com.

The statements contained herein, other than historical information, are or may be deemed to be forward-looking statements and involve factors, risks and uncertainties that may cause actual results in future periods to differ materially from such statements. These factors, risks and uncertainties include market acceptance and availability of new video communication services; the nonexclusive and terminable-at-will nature of sales agent agreements; rapid technological change affecting demand for the Company's services; competition from other video communications service providers; and the availability of sufficient financial resources to enable the Company to Page 3 of 3 Sony and GlowPoint Unveil the First Complete IP-based Video Communications Solution for Television Broadcasters expand its operations, as well as other risks detailed from time to time in the Company's filings with the Securities and Exchange Commission.

"GlowPoint," is a registered trademarks or service marks of Glowpoint, Inc. in the United States and certain foreign countries. All other marks are trademarks or service marks of their respective owners.

Note to Editors: Sony and GlowPoint executives are available for interviews before, during and after the NAB show April 18-21 at the Las Vegas Convention Center. Please contact Kelley Joyce at [email protected] or 212- 931-5204 to schedule an interview.

CONTACT: Media Contacts: The Hoffman Agency for Sony Colleen Cavanaugh, 770-448-2261 [email protected] or Horn Group, Inc. for GlowPoint Kelley Joyce, 212-931-5204 [email protected] or Investor Contact: Aurelius Consulting Group for GlowPoint Dave Gentry / Chris Bermudez, 407-644-4256 [email protected] www.runonideas.com http://www.businesswire.com

Load-Date: April 15, 2005

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Exhibit 22 Sony Takes The HD Highway To NAB 2005; HD Technology Covers an Array of Applications Including TV and Movie Production, Network News, Digital Cinema, Event Videography and Electronic Cinematography

PR Newswire US April 17, 2005 Sunday 10:00 PM GMT

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LAS VEGAS, April 17 /PRNewswire-FirstCall/ -- (NAB Booth SU6406) -- With more than 60 percent of U.S. households expected to have high definition television (HDTV) sets in 2005, the demand for HD production equipment is rapidly rising. At this week's National Association of Broadcasters (NAB) convention, Sony Electronics is ready to meet this demand, with more than 50 percent of its professional broadcast products on display featuring HD production capabilities.

Under the theme of "HD Highway," the new Sony professional products at NAB include cameras, camcorders, optical disc technology, production switchers, non-linear editors, tape recorders and videotape, for use by television and motion picture directors, network and affiliate news organizations and post production facilities.

"Sony broadcast and professional products are helping to drive the growth of HD consumer entertainment in every form, from the digital production of TV shows and movies, and even to digital projection in your local movie theater," said John Scarcella, president of Sony Electronics' Broadcast and Business Solutions Company. "And the applications for these products stretch out beyond broadcast and video and into all aspects of everyday life, from medical and education to corporate and government uses."

For broadcasters, Sony's XDCAM(TM) Professional Disc(TM) system, which uses blue-laser optical media to capture footage instead of tape, has been adopted by leading news organizations and at NAB, Sony is announcing that the 10 owned-and-operated networks of the ABC Television Network will adopt XDCAM technology over the next 18 months for their newsgathering and production processes. This announcement comes on the heels of CBS Television's decision to adopt XDCAM technology for its network news division and 16 owned-and- operated stations.

Other high-profile XDCAM customers being announced at NAB include the E! Entertainment Network and five stations within the Gray Televsion Group.

Also on display at NAB will be a technology demonstration of a high- definition version of Sony's XDCAM system.

For the growing digital cinema industry, Sony is showing its SXRD digital projector, which is capable of displaying images at nearly four times the resolution of current HD displays, and higher levels of contrast than competing technology.

Sony's SXRD technology is driving the introduction of digital cinema to the American mainstream, starting this summer Landmark Theatres takes delivery of six Sony projectors. The theatre chain, co-owned by Mark Cuban and Todd Wagner, will eventually convert all of its 59 theaters to digital projection. Page 2 of 3 Sony Takes The HD Highway To NAB 2005; HD Technology Covers an Array of Applications Including TV and Movie Production, Network News, Digital Cinema, Event Vide....

Sony HD production equipment is also prominent throughout the current television primetime schedule, with more than 50 new and returning shows shot digitally with Sony's CineAlta(TM) line of acquisition and recording products.

CineAlta technology is also at the forefront of motion picture production. Recent digital releases that have taken advantage of Sony technology include Michael Mann's "Collateral," Robert Rodriguez's "Sin City" and the soon-to- be released "Star Wars Episode III: Revenge of the Sith."

Other planned exhibits and demonstrations from Sony at NAB will focus on current and future HD products and technologies, and the roads customers can take to migrate from their standard definition infrastructures to HD- based operations.

"We've revamped existing Sony SD and HD product lines with new products featuring 24P production capability and built-in up-converters," said Scarcella. "Sony can offer a cost effective road to take towards an HD future without compromising current SD or HD investments."

In the Sony exhibit, visitors can also view applications of Sony products that extend beyond traditional broadcast markets: Sony LUMA professional LCD monitors that bring HD viewing capabilities into medical operating rooms; Sony H.264 products that define a higher level of videoconferencing; Sony MPEG4 security cameras that extend customers' ability to protect premises; and digital signage networks that offer new levels of IP-based communications and control.

While HD is clearly on customers' minds, Sony remains strongly committed to those who have significant SD investments and seek a cost-effective migration path to HD. Sony is rolling out four new SD camcorders that can extend current infrastructures while providing new levels of image quality, functionality and ergonomics.

The DSR-400 and the DSR-450WS (wide-screen) models expand Sony's line of DVCAM professional camcorders. Both are based on 2/3-inch Power HAD(TM) EX CCDs, and the DSR-450WS is a wide-screen model that can capture images in 60i as well as 24PsF, 25PsF (PAL models) and 30PsF.

Continuing the 24P imaging capability across all SD formats, the new MSW- 970 MPEG IMX camcorder and the DVW-970 Digital Betacam camcorder complete the SD 24P line up. The new models are based on a common platform, bringing 14-bit A/D and high-end image quality and production flexibility to their respective camcorder families.

"These new features and enhancements to our widely used acquisition and storage solutions, including 24P options and i.LINK(R) connectivity, reaffirm our commitment to our customer bases," said Scarcella. "While we're clearly developing products for the future, no other company in the industry supports its legacy systems the way Sony does. There are many lanes on Sony's HD Highway. Our goal is to support our customers at any speeds they choose to travel."

CONTACT: Tom Di Nome, +1-201-930-6357, [email protected] , or David

Migdal, +1-201-930-7394, [email protected] , both of Sony Electronics Inc.

Web site: http://www.sony.com/news

SOURCE Sony Electronics Inc. http://www.prnewswire.com Page 3 of 3 Sony Takes The HD Highway To NAB 2005; HD Technology Covers an Array of Applications Including TV and Movie Production, Network News, Digital Cinema, Event Vide.... Notes

NOTE TO EDITORS: For more detailed product information, your readers can visit http://www.sony.com/professional. To find the nearest Sony authorized dealer or service location, readers can call 1-800-686-SONY. For additional press information and digital images, please visit Sony Electronics' news and information web site at http://www.sony.com/news.

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Exhibit 23 Sony vaults forward in digital deal.

Daily Variety April 18, 2005

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LAS VEGAS -- Sony, Fox and DreamWorks are among the big media players forming partnerships with tech companies as the National Assn. of Broadcasters show opens today in

Politics also will be on the agenda as FCC commissioners and congressmen meet with reps from the world of broadcasting to discuss issues such as indecency and digital television.

Biggest studio deal to be unveiled at the show is a pact among Sony Pictures, post-production conglom Ascent Media and tech company HP to digitize the Sony library.

HP and Ascent are providing Sony with technology andservices that lets the studio transfer its entire 3,500-picture library, recently bolstered by another 4,000 titles from MGM, to digital files.

Partnership has already turned 500 Sony pics digital and will continue with both newly produced films and library movies that are being processed for homevideo or other markets. Sony will be able to keep pics digital from production through editing, post-production and even distribution to TV stations or DVD manufacturers.

"This eliminates the need for analog tapes and lets us stay in an entirely digital environment all the way to delivery," noted Sony senior veep of worldwide product fulfillment Jeff Hargleroad.

Exec said the process allows Sony to keep files in high resolution and secure from piracy.

Meanwhile, Fox is working with IBM on a process to allow consumers to transfer content on a home network that is distributed with the new broadcast flag. Government-mandated technology, which goes into effect in July, prevents Internet piracy of digital television content.

But the tech giant and media conglom are developing a technology that will be able to respect the geographic restrictions on broadcast content. For instance, users watching a Dodgers game in Los Angeles might be able to move the file onto their PC but not transfer it over the Internet to other cities where the game didn't air.

IBM will show off a prototype at NAB with hopes of launching it by early next year.

Chipmaker AMD, which competes with Intel to provide processing power for computers, also will be making a major push to align itself with Hollywood at NAB.

Company's young digital media and entertainment group will reveal a three-year strategic partnership with DreamWorks Animation to be "preferred provider" and marketing partner for the studio's CGI animation pics. Pact is similar to one signed by DWA, which needs significant computing power to render its 3D animated productions, with HP, which provides tech services. Page 2 of 2 Sony vaults forward in digital deal.

HP is also working with cell phone maker Nokia in a new pact to deploy the two companies' Visual Radio service in the U.S. with Infinity Radio. First announced last year and set to launch initially in Europe, service will deploy on many of the Viacom unit's 185 stations in the U.S.

Visual Radio lets users see pictures, text and interactive applications as well as listen to radio broadcasts on wireless handsets.

Taste of Apple

In a pre-show event Sunday, Apple Computer revealed an even more aggressive approach into Hollywood production as it upgraded its Final Cut high-definition editing program and debuted Soundtrack Pro for professional audio editing. Company is now packing a complete suite of video and audio editing, effects and DVD production programs under the umbrella of Final Cut Studio that it hopes will let it make further inroads into high-end work.

"We're well established with independent creatives, but we want to sell our products in more heterogeneous production environments as an information technology purchase," applications marketing veep Rob Schoeben told Daily Variety.

Amid the tech partnerships and developments on display, politics also will be on the top of many attendees' agendas with a new FCC chairman in place and a Congress aggressively legislating on some key industry issues.

Today, several congressmen who've been active on the indecency and intellectual property fronts will be featured panelists at a breakfast address. Senate Commerce Committee chairman Conrad Burns (R-Mont.), House Commerce Committee chairman Joe Barton (R-Texas), House Judiciary Committee chairman James Sensenbrenner (R-Wisc.), House Telecommunications Subcommittee chairman Fred Upton (R-Mich.) and House Commerce Committee members Michael Bilirakis (R-Fla.), Gene Green (D-Texas) and Greg Walden (R-Ore.) are expected to talk about industry-related actions Congress is likely to take this year.

Kevin Martin, the recently appointed chairman of the FCC, was scheduled to go one-on-one with NAB topper Eddie Fritts Tuesday but had to withdraw at the last minute because of a death in the family. Org hasn't yet said whether there will be a replacement, though attendees will surely be looking for a discussion with government reps on issues the chairman has discussed recently, including expand FCC indecency authority to cable.

At the cablers' convention earlier this month, Martin tried to suggest that the decision to expand indecency authority would be made by Congress alone. But during his time on the commission, Martin has repeatedly advocated a wider role.

In another issue important to NAB, Martin has also indicated he would welcome another attempt by broadcasters to raise the digital must-carry issue. Last February the FCC voted against compelling cablers to carry more than one of the possible six channels broadcasters will be able to send after the digital transition. Martin was the only commissioner to vote in the broadcasters' favor.

Later that day, several industry execs will speak on the need for "responsible programming," as NAB is calling it. Hearst-Argyle Television prexy David J. Barrett, Clear Channel Worldwide chief operating officer Mark Mays, Fox Networks Group topper Tony Vinciquerra and LIN Television chairman Gary Chapman will join others in discuss possible alternatives--such as voluntary measures broadcasters can take to government regulation of content.Copyright 2005 Reed Business Information910

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Exhibit 24 Sony Sends a Clear Signal With New HD Radio(TM)-Enabled Table Radio and Mobile Tuner; Delivers Crystal Clear Radio in the Home and in the Car

PR Newswire US May 29, 2007 Tuesday 3:00 AM GMT

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SAN DIEGO, May 28 /PRNewswire/ -- Crafted to soothe even the keenest golden ear, Sony's table radio and in- car audio adapter with HD Radio(TM) technology embody both high-quality sound and design. With these two products, Sony today announced its long-term commitment to developing and distributing a range of HD Radio- enabled consumer products over the next several years.

(Photo: http://www.newscom.com/cgi-bin/prnh/20070528/LAM005-a http://www.newscom.com/cgi-bin/prnh/20070528/LAM005-b )

With more than 1300 radio stations available nationwide and a growing listener base, HD Radio technology is the future of traditional radio. It enables FM stations to offer new channels as well as AM and FM stations to broadcast in crystal-clear digital sound. It displays the artist name and song title information and doesn't require any monthly subscription fees.

"Sony is one of the first leading consumer electronics companies to offer quality HD Radio-enabled devices," said Steve Haber, Sony's senior vice president of marketing for the Digital Imaging and Audio Division. "We're adding it to a long list of technologies that support digital music trends."

The Radio of the Future

With a simple yet classic design that complements nearly any living room, the AM/FM/HD table radio (model XDR- S3HD) features a large back-lit blue LCD display set in a mesh-covered front panel and cabinet with rich cherry wood finish. Sporting stereo speakers with a simulated surround sound function, a built-in AM/FM/HD digital tuner and separate bass and treble controls, the table radio with HD Radio capability offers high-quality stereo sound in a small package.

With an auxiliary input jack and supplied cable to connect an external music device, the XDR-S3HD radio lets you play back your favorite MP3 files from your digital music player. The XDR-S3HD radio has 20 AM and 20 FM presets that can be used to store favorite stations for quick access. Additional features include a wireless remote control and a built-in clock with sleep timer and alarm. It will be available in July 2007 for about $200.

HD Radio Ride

Designed to receive high-quality HD Radio broadcasts for most Sony car stereos, the mobile HD Radio tuner (model XT-100HD) is a hideaway module that connects through the Sony head unit's bus interface. It feeds rich information, including artist names and song titles, to the car stereo's display. Additionally, it can display radio station names and genres, where available. The new tuner will be available in July 2007 for about $100. Page 2 of 2 Sony Sends a Clear Signal With New HD Radio(TM)-Enabled Table Radio and Mobile Tuner; Delivers Crystal Clear Radio in the Home and in the Car

The mobile HD Radio tuner works with most Sony head units to provide additional support for digital music habits. Many of Sony's car stereos come with front aux-in and USB inputs, play MP3 CDs and are iPod(R) and satellite radio-ready. For a complete list of compatible Sony products, please visit http://www.sony.com/xplod .

The HD Radio-enabled table radio and car adapter will be available online at http://www.sonystyle.com/ and at participating retailers nationwide.

HD Radio 101

HD Radio technology improves sound quality so that AM radio stations sound like FM and FM stations sound like CDs. According to iBiquity Digital Corporation, the developer of HD Radio technology, there are more than 1,300 stations already on-air broadcasting with the HD Radio system. There are more than 2,500 additional stations committed to HD Radio broadcasting, as well as over 600 new HD Radio channels. The company predicts that approximately 90 percent of Americans will have access to HD Radio broadcasts within the next two years. A full list of HD Radio stations is available at http://www.hdradio.com/ .

HD Radio(TM) and the HD Radio logos are trademarks of iBiquity Digital Corp.

CONTACT: Linda Barger of Sony Electronics Inc., +1-858-942-2986,

[email protected] ; or Amy Hamaoui of Paine PR, +1-949-809-6778,

[email protected] , for Sony Electronics Inc.

Web site: http://www.sony.com/news

http://www.hdradio.com/

SOURCE Sony Electronics Inc. http://www.prnewswire.com

Notes

NOTE TO EDITORS: News releases and digital images with captions are available at http://www.sony.com/news. For information regarding the nearest Sony authorized dealer or service location, your readers can call 1-800-222- SONY.

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Exhibit 25 Sony dives into HD Radio; Sony XDR-S3HD digital tabletop radio and XT- 100HD automobile radio

The Online Reporter June 2, 2007

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- Over-the-air Radio: The Last Digital Frontier

- Competition for iPod, Satellite Radio, Online Subscription Services

Sony promised this week to join the HD Radio crowd in July with its first two HD Radio products, a tabletop version and one for the car. HD Radio proponents promise FM stations with CD-quality sound and AM stations with FM- quality sound--all with "crystal-clear reception with no audio distortion."

More than 1,200 radio stations in the States say they are already using or will use the technology, according to the HD Digital Radio Alliance, a group of broadcasters that want to make the next-generation digital radio technology a standard feature in radios.

HD Radio allows radio stations to broadcast in higher fidelity on up to four "side" channels on the same frequency they already use. Consumers have to purchase HD Radio radios to pick up the reception.

Higher fidelity over-the-air radio stations mean competition for portable music players such as the iPod, for satellite radio services with their $12.95 monthly fees and even for the online music subscription services.

Sony is not the first to go HD Radio. There are already 50 or moreHD Radio-compatible products on the market, including car stereos. All of them pick up traditional analog AM and FM radio signals. HD Radios cost $800+ when they were first launched two years ago.

"Digital terrestrial radio is the last frontier in audio," said Andrew Sivori, a senior product marketing manager at Sony's personal audio division. "And it's coming to price points that are becoming morereasonable for consumers."

The Sony XDR-S3HD model is a $200 tabletop AM/FM/HD radio. The XT-100HD is a $100 tuner module for vehicles that works with most Sony car stereo units.

The HD Radio Alliance projects that more than 1.5 million HD Radiodevices will be sold in 2007.

The Power of Free: No Monthly Subscription

The Alliance promises "new music, new sounds with no subscription fee." HD Radio can also be used to show more information on the radio's display, such as traffic data, stock prices and the names of songsand artists. Page 2 of 2 Sony dives into HD Radio; Sony XDR-S3HD digital tabletop radio and XT-100HD automobile radio

Content is the king in driving consumer acceptance of HD Radio. Two weeks ago, the HD Digital Radio Alliance announced a major milestone had been reached with the addition of 15 new markets, completing the rollout in the top 100 markets. It took less than 18 months for HD Radio to reach the nation's top 100 markets.

Current analog radios will continue to receive the analog broadcast, according to the Alliance, allowing for a smooth transition to a digital world. It says that specific features have been designed into HD Radio-supported receivers to improve the existing analog reception.

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Exhibit 26 -- NAB Show Attendees to be Greeted by NAB President and CEO Gordon Smith, Sony Executive Hiroshi Yoshioka, Michael J. Fox, and Astronauts Aboard the International Space Station --; -- NAB Show Attendees to be Greeted by NAB President and CEO Gordon Smith, Sony Executive Hiroshi Yoshioka, Michael J. Fox, and Astronauts Aboard the International Space Station --

Business Wire April 12, 2010 Monday 3:45 PM GMT

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The 2010 NAB Show , the world's largest annual conference and expo for professionals who create, manage and distribute entertainment across all platforms, moves into high-gear today with a Monday morning opening session that contains a mix of thought-provoking and entertaining speakers. More than 85,000 audio, video and film content professionals from 156 countries are expected to attend the event, which runs through Thursday, April 15 in Las Vegas.

Sony Corporation's President Hiroshi Yoshioka, actor and activist Michael J. Fox, and NAB President and CEO Gordon H. Smith will address opening session attendees, who will also receive a special welcoming message from the crew aboard the International Space Station.

NASA astronaut Timothy J. Creamer and crewmate Soichi Noguchi, members of the Expedition 23 crew, will welcome attendees to the NAB Show from the International Space Station, currently located approximately 220 miles above Earth. As previously announced , the NAB Show Content Theater will feature a Tuesday session exploring how IMAX collaborated with NASA to produce "Hubble 3D."

Giving his first state of the industry address since being named president and CEO of NAB in October, Smith will discuss the legislative and regulatory challenges and opportunities broadcasters face in the digital age and NAB's advocacy efforts on behalf of radio and television broadcasters.

Sony Corporation Executive Deputy President and President of the Consumer Products & Devices Group Hiroshi Yoshioka will deliver the NAB Show opening keynote, focusing on the global and U.S. consumer demand for 3D technology as well as Sony's vision for the future of 3D. Yoshioka will also share a 3D presentation to include footage recently shot at the Masters Golf Tournament.

Michael J. Fox, the Emmy Award-winning actor and advocate for Parkinson's disease research, will be honored with the NAB Distinguished Service Award. That honor recognizes individuals who have made significant and lasting contributions to the broadcasting industry.

The NAB Show will feature more than 1500 exhibitors displaying the latest in media technology and more than 500 conference and training sessions. Other highlights of the NAB Show this week include the presentation of the NAB Television Chairman's Award to "Big Bang Theory" actor Jim Parsons , Q&A sessions with "Mad Men" creator Page 2 of 2 -- NAB Show Attendees to be Greeted by NAB President and CEO Gordon Smith, Sony Executive Hiroshi Yoshioka, Michael J. Fox, and Astronauts Aboard the Internatio....

Matthew Weiner and comic book legend Stan Lee , a keynote speech from Federal Communications Commission Chairman Julius Genachowski , and several sessions devoted to the latest advances in 3D television and film , transmedia storytelling , social media , and augmented reality .

Video footage from various events at the 2010 NAB Show will be posted all week at www.nabshow.com . For the most recent updates, follow the NAB Show on Twitter @NABShow .

About the 2010 NAB Show

The NAB Show takes place 10-15 April, 2010 in Las Vegas (exhibits open 12 April). It is the world's largest electronic media show covering filmed entertainment and the development, management and delivery of content across all mediums. Complete details are available at www.nabshow.com .

About NAB

The National Association of Broadcasters is the premier advocacy association for America's broadcasters. NAB advances radio and television interests in legislative, regulatory and public affairs. Through advocacy, education and innovation, NAB enables broadcasters to best serve their communities, strengthen their businesses and seize new opportunities in the digital age. Learn more at www.nab.org .

Photos/Multimedia Gallery Available: http://www.businesswire.com/cgi-bin/mmg.cgi?eid=6244976&lang=en

CONTACT: For NAB Show Inquiries Beck Media & Marketing Laura Hart, 310-689-7215 or

For NAB Inquiries Kristopher Jones April 10-15 only: 702-943-3525 After April 15: 202-429-5486 http://www.businesswire.com

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Exhibit 27 Introducing Xperia(TM) Z - The Best of Sony in a Premium Smartphone

PR Newswire January 7, 2013 Monday 8:00 PM EST

Body

Full HD 5" Reality Display with Mobile BRAVIA Engine 2 for super brightness and clarity Sony's media applications deliver rich user experiences and instant access to entertainment services Easy and fast One-touchfunctions to wirelessly share music, photos and videos across devices New stand-out Sony design with water and dust resistance

Sony Mobile Communications ("Sony Mobile") today introduces its new flagship Androidsmartphone, Xperia Z. With a 5" Full HD 1080p Reality Display, Snapdragon(TM) S4 Pro quad-core processor, 13 megapixel fast-capture camera and 4G LTE, Xperia Z has all the specifications expected from a premium smartphone. On top of this, it brings the best of Sony's unique technology, content, design and connectivity to deliver rich user experiences. Xperia Z will launch globally in Q1 2013.

(Photo:http://photos.prnewswire.com/prnh/20130108/586515)

"With Xperia Z, we are bringing over half a century of innovation in TV, imaging, music, film and gaming to create a superphone experience that truly stands out," said Kuni Suzuki, President and CEO, at Sony Mobile Communications. "With great specifications, Sony's media applications One-touch functions and outstanding battery life, Xperia Z is well positioned for leadership in the smartphone market. By putting smartphones at the heart of our strategy, Sony is enabling people to create, enjoy and share content and experiences like never before."

Intelligent Sony Technology

Xperia Z's razor sharp Reality Display, powered by Mobile BRAVIA® Engine 2, brings Sony's long-standing TV expertise to the smartphone and delivers an immersive viewing experience with super brightness and clarity. The smartphone shares capabilities with Sony digital cameras and features Exmor RS for mobile, the world's first image sensor with HDR (High Dynamic Range) video for smartphones. HDR technology gives clear images against strong backlight, so users can capture razor sharp pictures and videos whatever the conditions.

Xperia Z also includes Battery STAMINA Mode that can improve the standby time by four times or more*by automatically shutting down battery-draining apps whenever the screen is off and starting them up again when the screen is back on.

Discover, enjoy and share entertainment with Sony's media applications and One-touch functions

Sony media applications offer a consistent entertainment experience across a range of Sony devices. Pre-loaded on Xperia Z, the "WALKMAN", Album and Movies apps, enable discovery of on-line and off-line content through a single access point with new ways to enjoy and share that content. The "WALKMAN" application provides access to all your downloaded music, a library of 18 million songs to explore from Music Unlimited and Facebook social integration. The Movies application gives consumers access to over 100,000 movies and TV series from Video Page 2 of 6 Introducing Xperia(TM) Z - The Best of Sony in a Premium Smartphone

Unlimited while the Album application enables easy access to Facebook friends' photos as well as browsing photos by location.**

One-touch functions enable consumers to easily share music, photos and videos from their smartphone to an array of NFC-enabled Sony devices, including speakers, headphones and now TVs. With the new BRAVIA TV, also announced today, simply touch Xperia Z to the remote control of the TV to instantly enjoy your photos and videos on the big screen.

Two additions to Sony's range of NFC-enabled headsets were also introduced today, theStereo Bluetooth(TM) Headset SBH20and theWireless Headset DR-BTN200M. Touch Xperia Z to either headset and begin listening to tracks instantly.

Stand-out design and durability

Precision engineered with premium materials, Xperia Z introduces a unique OmniBalance design with subtly rounded edges and smooth reflective surfaces on all sides. Despite its slim 7.9mm body, Xperia Z is highly durable with tempered glass and anti-shatter film on the front and back, as well as the highest levels of dust and water resistance*** (IP55 and IP57) found in a premium smartphone.

In selected markets, a design variant of Xperia Z - Xperia ZL - will also be released in Q1 2013.Xperia ZLdelivers the same immersive entertainment experiences as Xperia Z but in a smaller form factor.

Xperia Z and Xperia ZL will launch on Android 4.1 (Jelly Bean) and will be upgraded to 4.2 shortly after launch for the latest Android user experience.

Key features for Xperia Z

5" 1080 x 1920p full HD Reality Display with Mobile BRAVIA® Engine 2 13MP Fast Capture camera with Exmor RS for mobile, HDR video, Superior Auto and Noise Reduction to effortlessly capture razor sharp pictures and videos in any conditions Dust and water resistant (IP55 & IP57) with a durable glass display 1.5 GHz asynchronous quad- core Snapdragon S4 processor with 2GB RAM Battery STAMINA mode improves standby time by at least 4 times

* Based on testing done with default settings, default accounts and applications for Skype(TM) and Twitter downloaded to the phone. The more applications installed, the bigger the effect of Battery STAMINA Mode.

**Sony Entertainment Network services are subject to availabilityby region, please see http://www.sonyentertainmentnetwork.com for more details.

*** In compliance with IP55 and IP57, Xperia Z is protected against the ingress of dust and is water resistant. Provided that all ports and covers are firmly closed, the phone is (i) protected against low pressure jets of water from all practicable directions in compliance with IP 55; and/or (ii) can be kept under 1 meter of freshwater for up to 30 minutes in compliance with IP 57.

About Sony Mobile Communications

Sony Mobile Communications is a subsidiary of Tokyo-based Sony Corporation, a leading global innovator of audio, video, game, communications, key device and information technology products for both the consumer and professional markets. With its music, pictures, computer entertainment and online businesses, Sony is uniquely positioned to be the leading electronics and entertainment company in the world. Through its Xperia(TM) smartphone portfolio, Sony Mobile Communications delivers the best of Sony technology, premium content and services, and easy connectivity to Sony's world of networked entertainment experiences. For more information:http://www.sonymobile.com

Legal Page 3 of 6 Introducing Xperia(TM) Z - The Best of Sony in a Premium Smartphone

1) Facts and features may vary depending on local variant. 2) Operational times are affected by network preferences, type of SIM card, connected accessories and various activities e.g. playing games. Kit contents and colour options may differ from market to market. The full range of accessories may not be available in every market. 3) Icons displayed are for illustrative purposes only. The homescreen may appear different in your product. Some features may not be available in your country or area.

Sony, make.believe, WALKMAN, WALKMAN W logo, Sony Entertainment Network, PlayMemories Online, Exmor RS, Clear phase, BRAVIA, and xLoud are trademarks or registered trademarks of Sony Corporation. Xperia, Xperia Z, Xperia ZL PlayNow, SensMe, and TrackID are trademarks or registered trademarks of Sony Mobile Communications AB. PlayStation is a trademark or registered trademark of Sony Computer Entertainment. Media Go is a trademark of Sony Electronics. Android, Google Play, Google Chrome, Google Voice, Latitude, YouTube, Google Maps and Google Mail are trademarks of Google Inc. Snapdragon is a trademark of Qualcomm Incorporated. Twitter is a trademark or registered trademark of Twitter, Inc. Facebook is a trademark or registered trademark of Facebook, Inc. Microsoft ActiveSync is a trademark or registered trademark of Microsoft, Inc. Bluetooth is a trademark or registered trademark, and any use of such mark is under license by Sony Mobile. Neoreader is a trademark or registered trademark of NeoMedia Technologies Inc. microSD is a trademark or registered trademark of SanDisk Corporation. eCompass is a trademark or registered trademark of Genoptix, Inc. Wi-Fi is a registered trademark of the Wi-Fi Alliance. DLNA Certified is a trademark or registered trademark of the Digital Living Network Alliance. SyncML is a trademark or registered trademark of the Open Mobile Alliance. Skype is a trademark or registered trademark of Skype, Ltd. LTE is a trademark or a registered trademark of ETSI. Other product and company names mentioned herein may be the trademarks of their respective owners. Any rights not expressly granted herein are reserved. All terms are subject to change without prior notice.

Additional information regarding trademarks may be located on our website at:http://www.sonymobile.com/global- en/legal/trademarks-and-copyright/.

Xperia Z specifications All services mentioned in this leaflet may not be available in every market. Colours Black Purple White Facts Size: 139x71x7.9 mm Weight: 146 grams 1.5 GHz Qualcomm APQ8064+MDM9215M Quad Core Adreno 320 Google(TM) Android(TM) 4.1 (Jelly Bean) Camera 13.1 megapixel camera 16x digital zoom Auto focus Burst Mode HDR for both picture/movie Face detection Flash/Pulsed LED Flash/Photo light Front-facing camera 2.1MP (1080p video)) Geotagging HD video recording (1080p) Image stabiliser Object tracking Picture Effect Quick Launch Red-eye reduction Scene recognition Self-timer Send to web Smile detection Sony Exmor RS(R) for mobile image sensor Superior Auto Sweep Panorama Page 4 of 6 Introducing Xperia(TM) Z - The Best of Sony in a Premium Smartphone

Touch capture Touch focus White balance Music 3D Surround Sound (VPT) Album art Bluetooth(TM) stereo (A2DP) ClearAudio+ Clear bass Clear Phase(TM) Clear stereo Dynamic normalizer Music tones (MP3/AAC) PlayNow(TM) service* SensMe(TM) TrackID(TM) music recognition* "WALKMAN" application xLoud(TM) Experience Internet Bookmarks Google Chrome(TM) Google Play(TM) Google(TM) search* Google Voice(TM) Search* Google Maps(TM) for Mobile with Street view and Latitude(TM)* NeoReader(TM) barcode scanner Pan & zoom Web browser (WebKit(TM) Communication Call list Facebook(TM) application* Google Talk(TM) application* Noise suppression Polyphonic ringtones Speakerphone Twitter(TM)* Messaging Conversations Email Google Mail(TM)* Handwriting recognition Instant messaging Multimedia messaging (MMS) Predictive text input Sound recorder Text messaging (SMS) Voice input Design Auto rotation Face Unlock Gesture input IP57 (Water-resistant) & IP55 (Dust-proof) On-screen QWERTY keyboard Sensor on Lens Display Screenshot capturing Throw Touch screen Wallpaper Wide color gamut Entertainment 3D games Media browser Motion gaming PlayStation(R) Certified

Radio (FM radio with RDS)

Sony Entertainment Network* Page 5 of 6 Introducing Xperia(TM) Z - The Best of Sony in a Premium Smartphone

TV launcher Video streaming YouTube(TM)* Organiser Airplane mode Alarm clock Calculator Calendar Contacts Document readers eCompass(TM) Infinite button Notes Setup guide Stopwatch Tasks Timer Connectivity 3.5 mm audio jack (CTIA) aGPS* Bluetooth(TM) 4.0 wireless technology DLNA Certified(R) GLONASS* HDMI via MHL support Media Go(TM) Media Transfer Protocol support Micro USB support Native USB tethering NFC PC Companion Screen mirroring Synchronisation via Exchange ActiveSync(R) Synchronisation via Facebook(TM) Synchronisation via Google(TM) Synchronisation via SyncML(TM) USB charging USB High speed 2.0 support Xperia(TM) Link Wi-Fi(R) Wi-Fi(R) Hotspot functionality Display 16,777,216 colour TFT HD Reality Display with Sony Mobile BRAVIA(R) Engine 2 1920x1080 pixels 5.0 inches Shatter proof sheet on scratch-resistant glass Memory 2 GB RAM Up to 16 GB* microSD(TM) card, memory card slot (supporting up to 32GB) Networks UMTS HSPA+ 850 (Band V), 900 (Band VIII), 2100 (Band I) MHz GSM GPRS/EDGE 850, 900, 1800, 1900 MHz LTE (Bands 1, 3, 5, 7, 8, 20) Battery life Talk time GSM: Up to 11 hrs* Standby time GSM: Up to 550 hrs* Talk time UMTS: Up to 14 hrs* Standby time UMTS: Up to 530 hrs* Standby time LTE: Up to 510 hrs* Music listening time: Up to 40 hrs Video playback time: Up to 5.5 hrs Battery: 2330 mAh minimum *Values are according to GSM Association Battery Life Measurement Technique. Battery performance Page 6 of 6 Introducing Xperia(TM) Z - The Best of Sony in a Premium Smartphone

may vary depending on network conditions and configurations, and phone usage. In the kit Xperia(TM) Z, embedded battery, Sony MH-EX300AP headset, charger, micro USB cable for charging, synchronisation and file transfer, and user documentation.

FOR MEDIA INFORMATION PLEASE CONTACT:

For more information, images and videos please visit:http://www.sonymobile.com/pressreleases Sony Mobile Communications, Global Communications & PR department General Press: +44-208-762-5858

SOURCE Sony Mobile Communications

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Exhibit 28 Sony Introduces High-Resolution Audio Products Which Marry Convenience And Quality; New Two-Channel Audio Components Come to Market Supported by Major Music Labels and Artists

PR Newswire September 4, 2013 Wednesday 1:00 PM EST

Body

Sony Electronics today introduced a range of high-resolution audio products that help music lovers conveniently access and enjoy the digital music they love with the best playback quality. As part of its line of home entertainment products, the new Hi-Res devices capture the very essence of recorded music and support playback for virtually all high-resolution formats.

What's old is new again

Whether working analog or digital, sound engineers and musicians have always pursued the highest quality recording with the best technology available to them. The introduction of Compact Discs (CDs) offered high quality digital sound and portability, but were limited in capacity. In contrast, MP3s made music more portable than ever, but the files required compression due to storage and bandwidth limitations and that significantly compromised sound quality.

With the growth of high-resolution audio technology, including formats like PCM (44.1kHz/ 48kHz/ 88.2kHz/ 96kHz/ 176.4kHz/ 192kHz in 24 bit depth) and DSD (DSF, DSDIFF); plus a variety of music files including, MP3, WAV, WMA, AAC, FLAC, ALAC, ATRAC, ATRAC Advanced Lossless and AIFF; themusic industry has now come full circle. It's now possible to listen to performances as the recording artists intended. And with decreasing costs of storage media and faster internet speeds, the ability to have music in its purest form is more of a reality for listeners everywhere.

"High-resolution audio brings music lovers closer than ever to experience the original studio recording or live performance," said Neal Manowitz, director of Sony Electronics' Home Audio group. "Artists, producers, and music companies - have all come together to bring the emotional connection back and provide enthusiasts their favorite recordings in stunning quality and clarity in a way that they never have before."

Hear what's new Sony's initial line-up of high-resolution audio components, which was demonstrated for the first time in New York today, includes three devices. The flagship model, part of Sony's ES (Elevated Standard) line, HAP-Z1ES Hi-Res HDD Music Player features a one-terabyte hard disc drive and DSD Re-mastering engine to convert and enhance virtually any music files to DSD (5.6M) quality. As with all of Sony's ES products, build-quality and sound performance technics have been instituted including, Analog FIR filter, low-phase noise liquid crystal oscillator, large capacity twin transformers and many more.

The HAP-S1 Hi-Res Music Player System with two-channel Class AB amplifier. It incorporates Digital Sound Enhancement Engine (DSEE) which uses Sony's noise-shaping technology that offers natural sound with a Page 2 of 4 Sony Introduces High-Resolution Audio Products Which Marry Convenience And Quality; New Two-Channel Audio Components Come to Market Supported by Major Music Lab.... spacious feel by restoring high frequency sound and tail shape of the waveform, typically lost through file compression.

Both the HAP-Z1ES and HAP-S1 enable music files stored on a PC or Mac® to be automatically synced, using the supplied HAP Music Transfer software. They can also be controlled via a simple-to-use, free HDD Audio Remote app available for both Android(TM) and iOS® tablets and smartphones.

For a computer-centric listening experience, the UDA-1 offers multiple options. This Hi-Res DAC Amplifier incorporates an asynchronous USB connector and is compatible with virtually every PC-based music player application, including iTunes®, Windows Media Player®, KORG® Audio Gate, and Media Go®. In addition, the UDA-1 supports coaxial, optical and analog inputs.

Finally, beginning this fall, owners of Sony's STR-DA2800ES and 5800ES receivers will also benefit from high- resolution playback capability in their home theater, thanks to a simple firmware upgrade that provides convenient access to high-resolution audio files through the integrated USB input.

Sony is also launching two speakers that are optimized for high-resolution audio and specially tuned for the HAP-S1 and UDA-1 products. The SS-HA1 and SS-HA3 use a wide-dispersion (WD), W-super tweeter to complement high band energy from high resolution music sources. For users who prefer a more personal listening experience, Sony also added to its line of high-resolution headphones. Designed for performance and comfort, these headsets join the MDR-R1 headphones to deliver a balanced, highly accurate reproduction from any digital format. Ideal matches for today's high-resolution audio recordings, the XBA-H3 ear bud headphones, MDR-10R and MDR-10RBT over the ear headphones reveal every nuance of your music collection - from delicately-detailed highs to full, rich bass.

Because you care about music(TM) All of Sony's new devices are capable of playing back virtually any file format available. Whether listeners experience MP3s or the latest 5.6 DSD files, Sony's high-resolution devices will decode them and play the music at the highest quality. They also simplify the process and make file transfers more convenient and do it all automatically. Further, all of the controls, including the user interfaces, have been designed to make storing, organizing and accessing high-resolution digital music a breeze. Whether listeners access music from their library or stream it from the cloud, Sony's new lineup includes the right High-Resolution Audio device for their lifestyle.

New experiences, right out of the box

Sony's new lineup of high resolution products is poised to deliver an amazing listening experience for audiophiles. Thanks to collaboration with the major record labels, select high resolution media players with hard drives will be preloaded with music from award-winning artists.

Sony Hi-Res Products - Details, Pricing and Availability

Sony HAP-Z1ES 1TB Hi-Res HDD Music Player

Stores, plays back and decodes virtually all Hi-Res audio formats Built-in 1TB hard drive with expandable storage Front panel LCD and HDD Audio Remote mobile app (Android and iOS) for browsing and playback Supports virtually all Hi-Res formats including: PCM (44.1kHz/ 48kHz/ 88.2kHz/ 96kHz/ 176.4kHz /192kHz in 24 bit depth); DSD (DSF, DSDIFF); MP3, WAV, WMA, AAC, FLAC, ALAC, ATRAC, ATRAC ADVANCED LOSSLESS, AIFF DSD Re-mastering Engine upscale music files to DSD(5.6) quality DSEE restores missing data from compressed files HAP Music Transfer software compatible with both Windows and Mac computers for automatic copy of music files to HDD when new files are added on computer Available Fall 2013 for $1,999 in silver

Sony HAP-S1 Hi-Res Music Player System

Stores, plays back and decodes virtually all Hi-Res audio formats Built-in 500GB hard drive with expandable storage Front panel LCD and Mobile apps (Android and iOS) for browsing and playback 2-channel Class AB Page 3 of 4 Sony Introduces High-Resolution Audio Products Which Marry Convenience And Quality; New Two-Channel Audio Components Come to Market Supported by Major Music Lab.... amplifier (40 Watts x 2) Supports virtually all Hi-Res formats including: PCM (44.1kHz/ 48kHz/ 88.2kHz/ 96kHz/ 176.4kHz /192kHz in 24 bit depth); DSD (DSF, DSDIFF); MP3, WAV, WMA, AAC, FLAC, ALAC, ATRAC, ATRAC ADVANCED LOSSLESS, AIFF DSD Re-mastering Engine upscale music files to DSD(5.6) quality DSEE restores missing data from compressed files HAP Music Transfer software compatible with both Windows and Mac computers for automatic copy of music files to HDD when new files are added on computer Available Fall 2013 for $999 in black or silver

Sony UDA-1 USB Hi-Res DAC System for PC Audio

Allows enjoyment of Hi-Res music as well as conventional compressed music restored by DSEE technology 2- channel 20 amplifier (20 Watts x 2) Supports virtually all Hi-Res formats including PCM (44.1kHz/ 48kHz/ 88.2kHz/ 96kHz/ 176.4kHz /192kHz in 24 bit depth); DSD (DSF, DSDIFF); MP3, WAV, WMA, AAC, FLAC, ALAC, ATRAC, ATRAC ADVANCED LOSSLESS, AIFF Compatible with virtually every PC music player application, including iTunes, Windows Media Player, KORG Audio Gate, and Media Go USB connectivity to PC (USB-A x 1 and USB-B x 1) Multiple connection terminals include Optical in, Coax in, and Analog RCA in, with RCA analog out and Headphone out Available Fall 2013 for $799 in black or silver

Sony SS-HA1 Hi-Res Speaker

Wide Dispersion (WD) W-Super Tweeter complements high band energy for high resolution music sources Mica Reinforced Cellular (MRC) fiber for supremely light and extraordinarily rigid woofer cones, producing exception musical transients that are clear and with minimal distortion Baffle shape for diffraction effect reduction Rigid aluminum body for optimized sound Available Fall 2013 for $599 / pair in black

Sony SS-HA3 Hi-Res Speaker

Wide Dispersion (WD) W-Super Tweeter complements high band energy for high resolution music sources Baffle shape for diffraction effect reduction Rigid aluminum body for optimized sound Available Fall 2013 for $349 / pair in black

Sony MDR-10R Headphones

High resolution capable, featuring 40mm driver units that deliver a balanced, highly accurate reproduction of today's up-front vocals, mid-range details, as well as rich, powerful lows and extended highs High-definition HD driver assures ultra-wideband audio performance extending from 5Hz to 40kHz matching today's high resolution music sources Designed for hours of comfortable listening, with pressure-relieving ear cushions that provide a supportive, wrap-around feel, as well as a highly effective acoustic seal, further reinforcing the headphones' powerful sub-bass reproduction Detachable cable provides an innovative design that eliminates friction between cable surfaces and reduces the source of frustrating tangles. A smartphone cable with microphone and remote is also included, to easily switch from music to calls. Available in October for $199.99 in black and white

Sony MDR-10RBT Headphones

High resolution capable (with wired connection), this Bluetooth® headset brings the same innovative sound processing technologies to music lovers who demand the ultimate in sound quality without wires Incorporating Near Field Communication (NFC) technology, the new MDR-10RBT eliminates the cumbersome process of pairing and connecting. Users can simply tap an NFC-enabled smartphone or tablet to the MDR-10RBT Bluetooth® headset to instantly stream high-quality music or crystal-clear phone calls via Bluetooth Stream music wirelessly from iPhones® and iPads® as well as Android(TM) smartphones and tablets that are not NFC equipped Support AptX and AAC codecs to ensure higher quality sound while streaming wirelessly Up to 18 hours of battery life between charges, though can also be used as standard headphones without the battery Available in November for $249.99 in black

Sony XBA-H3 Ear Bud Headphones Page 4 of 4 Sony Introduces High-Resolution Audio Products Which Marry Convenience And Quality; New Two-Channel Audio Components Come to Market Supported by Major Music Lab....

High resolution capable, featuring dedicated high-definition hybrid three-way driver unit (16mm dynamic driver unit and two Balanced Armature driver units) for music enjoyment throughout all frequencies Driver unit delivers radiant highs and deep, bellowing bass, including even the most subtle musical nuances Rigid, yet responsive Liquid Crystal Polymer Film diaphragm provides the needed rigidity and internal loss for balanced and highly accurate sound reproduction Smartphone cable with microphone and remote is also included, to easily switch from music to calls Available in December for $349.99

For more information and high-resolution images, please visithttp://www.sony.com/news.

SOURCE Sony Electronics

CONTACT: Rob Manfredo, Sony Electronics Inc., (201) 930-6032, [email protected], or Ray Hartjen, Sony Electronics Inc., (408) 352-4818, [email protected], or Elizabeth Boukis, Sony Electronics Inc., (408) 352-4593, [email protected]

Load-Date: September 5, 2013

End of Document

Exhibit 29 Sony's HDR-MV1 Music Video Recorder helps your band break out of the garage, into YouTube

Engadget HD September 4, 2013 Wednesday 3:27 PM EST

Body

Sep 04, 2013 (Engadget HD:http://www.engadget.com/ Delivered by Newstex)

http://www.engadget.com/2013/09/04/sony-hdr-mv1-music-video- recorder/?utm_source=Feed_Classic_Fullncid=rss_fullutm_medium=feedutm_campaign=Engadget

Here at IFA[1], Sony thinks it has just the thing to help struggling musical artists become breakout successes. Say hello to the $300 HDR-MV1 Music Video Recorder. Set to take on the likes of the Zoom Q2 HD[2], this stereo field recorder / HD camcorder might just be the best ticket to getting high quality music videos on the web painlessly. The POV-style[3] shooter features 120-degree stereo microphones that record in AAC or uncompressed linear PCM (CD quality), and there's also an input for external mics. Better yet, you can manually set levels and check them using the onboard 2.7-inch screen and speaker -- a four-way toggle switch lets you change settings.

The back houses a replaceable battery and a Micro SD card slot, and the rear gives you access to HDMI, line in, headphone and USB ports. Video gets captured at 1080/30p by a wide 120-degree Carl Zeiss lens and a back- illuminated Exmor R CMOS sensor that's ready to handle low light situations. Recording is simply enabled by hitting a red record buttons at the top of the unit. To keep things extra worry-free, the recorder also features automatic Audio Lip Syncing. Lastly, on-board WiFi lets you share your clips with Sony's PlayMemories Mobile app, while NFC allows for tap-to-pair with Android devices. Aspiring video rockstars can get their hands on the Music Video Recorder this December. For now, get a closer look in the embedded galleries. Show full PR text

SONY MAKES RISING TO STARDOM A LITTLE EASIER WITH THE ALL NEW MUSIC VIDEO RECORDER

Premium Video Camera Allows Music Artists to Record and Instantly Share Full HD Videos with Pro-Quality Sound

SAN DIEGO, September 4, 2013 - Sony has announced a new camcorder concept designed and engineered specifically for musicians - the HDR-MV1 Music Video Recorder. From stage to web, the video camera lets artists shoot and share every performance with superb Full HD image quality and dynamic studio-quality sound.

"Marrying Sony's industry-leading audio and digital imaging technology, HDR-MV1 is the perfect video capture solution when audio is key," said Hidenori Toyoda, director of the camcorder business at Sony Electronics. "With the web being a major hub for established and budding music talent, the camcorder's ability to easily upload high quality content sets it apart from other devices." Page 2 of 3 Sony's HDR-MV1 Music Video Recorder helps your band break out of the garage, into YouTube

UNPARALLELED AUDIO

Ideal for band rehearsals, practice sessions and live gigs, Sony's new camcorder records CD-quality audio in uncompressed Linear PCM or internet-ready AAC. The slim, portable MV1 music video recorder captures every detail of musical performances - from soloists and groups, to orchestras and bands - in rich audio with its 120- degree X-Y stereo microphone that can be tuned for clear, undistorted recordings. Adding versatility, external microphones or instruments can be directly connected to the device and there's also a convenient speaker on- board so users can check their recordings instantly.

FIRST CLASS VIDEO

To complement its superior audio capabilities, the Music Video Recorder offers Full 1920x1080/30p HD video. Its back-illuminated Exmor R(R) CMOS sensor allows for a sharp picture even in dimly-lit clubs or recording studios. And the wide-angle 120-degree Carl Zeiss lens takes in the whole scene so no one in the band gets left out of the action, perfect for cramped rehearsal spaces as well as expansive stages.

The HDR-MV1 camcorder features Audio Lip Sync to ensure that music stays precisely matched to the video playback, with no lag, and a vibrant 2.7" color LCD to allow frame checking or adjusting. The camera also offers manual or auto audio level control with an on-screen meter to monitor the input levels and modify for diverse environments.

CONNECT SHARE

Built-in Wi-Fi(R) works with Sony's free PlayMemories Mobile[TM] application that allows users to instantly share their Music Video Recorder content to a smartphone or tablet for easy upload. The Wi-Fi connection also allows control of the camera with any compatible device, for start/stop recording as well as to select movie/audio modes. And with NFC support, it's even easier to make a one-touch connection to Xperia(R) phones, tablets and other compatible Android devices.

AVAILABILITY

The new HDR-MV1 Music Video Recorder from Sony will be available in December for a suggested retail price of $299.99. The camcorder and its accessories will be sold at http://store.sony.com, Sony retail stores and other authorized retailers nationwide. For images and information, please visit www.sony.com/news. Find out more through http://blog.sony.com and make sure to catch what people are saying about #MusicRecorder online. # # #

Filed under: Portable Audio/Video[4], Sony[5] Comments[6]

Source: Sony[7]

[1]: http://www.engadget.com/event/ifa2013/articles/?utm_source=Feed_Classic_Fullncid=rss_fullutm_medium=feedut m_campaign=Engadget [2]: http://www.engadget.com/2012/07/16/zoom-q2hd-handy-video-recorder-lets- you-stream-and-record-on- the/?utm_source=Feed_Classic_Fullncid=rss_fullutm_medium=feedutm_campaign=Engadget [3]: http://www.engadget.com/2013/09/04/sony-action-cam-HDR- AS30V/?utm_source=Feed_Classic_Fullncid=rss_fullutm_medium=feedutm_campaign=Engadget [4]: http://www.engadget.com/category/portable-audio- video/?utm_source=Feed_Classic_Fullutm_medium=feedutm_campaign=Engadget [5]: http://www.engadget.com/category/sony/?utm_source=Feed_Classic_Fullutm_medium=feedutm_campaign=Engad Page 3 of 3 Sony's HDR-MV1 Music Video Recorder helps your band break out of the garage, into YouTube get [6]: http://www.engadget.com/2013/09/04/sony-hdr-mv1-music-video- recorder/?utm_source=Feed_Classic_Fullutm_medium=feedncid=rss_fullutm_campaign=Engadget#comments [7]: http://blog.sony.com

Load-Date: September 4, 2013

End of Document

Exhibit 30 Sony Corporation Entertainment Business Briefing - Final

FD (Fair Disclosure) Wire November 25, 2013 Monday

Body

Corporate Participants

* Yoshinori Hashitani

Sony Corporation - VP IR

* Kazuo Hirai

Sony Corporation - President & CEO

* Michael Lynton

Sony Corporation - CEO of Sony Entertainment, Chairman & CEO of Sony Pictures Entertainment

* David Hendler

Sony Corporation - CFO of Sony Pictures Entertainment

* Kevin Kelleher

Sony Entertainment - CFO of Sony Music Entertainment

Conference Call Participants

* Takashi Watanabe

Goldman Sachs - Analyst

* Kota Ezawa

Citigroup - Analyst

* Masahiro Ono

Morgan Stanley - Analyst

* Junya Ayada

Daiwa Securities - Analyst Page 2 of 25 Sony Corporation Entertainment Business Briefing - Final

Presentation

YOSHINORI HASHITANI, VP IR, SONY CORPORATION: (Interpreted). Ladies and gentlemen, good morning. I'd like to now start the Entertainment Investor Day for Sony Corporation, and we'd like to thank all of you for participating in this event.

Last week, on November 21, we held our Entertainment Investor Day in California, United States, at the headquarters of Sony Pictures Entertainment. And today we would like to also provide you with the information provided at the event in the United States to these market participants who are based in Japan.

Let me introduce to you the executives on the stage. CEO of Sony Entertainment and also Chairman and CEO of Sony Pictures Entertainment, Michael Lynton. Next is David Hendler, who is the CFO of Sony Pictures Entertainment. Next, Kevin Kelleher, who is the CFO of Sony Music Entertainment, and Steve Kober, who is the CFO of Sony Corporation of America.

As for today's agenda, we will show you a video message from Hirai, our President and CEO, who is unable to attend today. And then there will be a presentation on the entertainment business as a whole and also the outline of the pictures business by Michael Lynton, after which there'll be a presentation on the financial aspect of the pictures business by David Hendler.

As for music, the outline of the business and financial aspect, Kevin Kelleher will be making his presentation, and there will be a Q&A session at the end. And in this Q&A session, along with the three presenters, we will also have Steve Kober joining us.

All the presentations will be made in English and there will be simultaneous interpretation into Japanese, and if you need the interpretation services please use the receivers. Channel one is for Japanese. Channel two is for English. And if you do not have the receiver unit, please raise your hand and staff will bring one to you.

The presentation materials for today is in English. Thank you for your understanding.

And let me give you some points for you to take note for the presentations today. For both music and the pictures presentations, the figures are given in dollar base.

Figures for the pictures segment is consistent with the dollar figures that Sony Pictures Entertainment consolidates from its global operations before reporting to Sony Corporation in Tokyo. In the music segment, the yen figures for Sony Music Entertainment Japan is converted into US dollars, after which it's added to the dollar figures for the companies in the United States. The details for the calculation method is included in the press release which is dated November 22.

And also, we talk of adjusted OIBDA in the presentation, operating income before depreciation, amortization and restructuring charges. This is not a measure in accordance with US GAAP, so please take note of that as well. And also the reconciliation or the reconciled figures with US GAAP will be posted on our website in the presentation material.

As for the fiscal year, we use the term FYE in the United States and we will use that term today. For example, FYE14 means the fiscal year ending March 31, 2014, meaning fiscal year 2013. This expression is not the usual expression that we use in other press releases.

Without further ado, I would like to introduce to you Mr. Hirai on a video message.

KAZUO HIRAI, PRESIDENT & CEO, SONY CORPORATION: (Interpreted). Good morning, everyone. My name is Hirai. Today, thank you very much for coming to this Sony Entertainment Investor Day. Please accept my apology for not being able to attend the meeting in person but through video message.

I assumed the position of President and CEO of Sony Corporation in April last year, but I began my business career in 1984 when I joined CBS Sony, predecessor to Sony Music Entertainment. Since then, for 25 years, I was Page 3 of 25 Sony Corporation Entertainment Business Briefing - Final involved in music business in Japan and the United States and the game business, and from 2009 as corporate executive officer and EVP of Sony Corporation in charge of game, PC and mobile audio, as President of Network Products and Services Group.

Through my career, I gained experiences and perspective on Sony's global business, that is to say, electronics and entertainment and network services, and accumulated my experiences in business and as the management. Based on my own experiences, after I became CEO last year, I set Sony's mission as a company that inspires and fulfills your curiosities and (inaudible) work on the products and content services to realize that mission and launch such a product and services and content.

And to that end, myself and everyone in top management and everyone in Sony are united in passion to create innovative content services and products that capture people's imagination and hearts, that deliver value to our investors.

When I look at the Sony Entertainment business, that history started in 1968, and Sony established a CBS Sony in Japan together with CBS Records of the United States, and CBS Sony is the predecessor to the current Sony Music Entertainment. And in 1988, Sony made the CBS Records, which is the predecessor of Sony Music Entertainment, and in 1989 Columbia Pictures, which is the predecessor of Sony Pictures Entertainment, a part of Sony Group and welcomed them in our Group.

We employees of Sony are inspired and motivated by the vision of our founder Akio Morita. Mr. Morita said that hardware and software are the wheels of a car that must move in synch, and he foresaw the advent and the spread of high definition image and the growth of cable and satellite networks and understood that software assets will have a high value. And the vision Mr. Morita upheld has been realized now.

Sony owns the Hollywood movie studio and succeeded in developing a home game console platform, and also took the leadership in establishing the high picture quality video format like the Blu-ray disc. And these results have been achieved by having hardware and software as the two wheels of a car.

And Sony now has a very important content asset, which will enable us -- differentiate us and entertainment business with these content assets is indeed essential for Sony Group's future.

Under the principle of One Sony, I emphasized since I became CEO the end-to-end 4K promotion, from the contents production to TV viewing, and also the pleasant music enjoyment, film and the TV program viewing over on smartphone Xperia and also the unique contents production which could only be enjoyed in PlayStation 4.

These are the activities only Sony can do with electronics and entertainment business in our Group, and the electronics business plays a very important role. With the collaboration of electronic content and services business and by combining the strengths, we can create new value which is greater than the sum of each business.

Now, let me defer to the contribution of entertainment business to our profit and revenue. Pictures and music entertainment segments of Sony have achieved positive annual operating income for 17 straight years, but in the meantime the industry itself has not been stable. The negative aspects, such as the spread of illegal copy and packaged media contraction, but on the other hand there's been a growth of cable and satellite network and the increase in sales of content through network and the video streaming distribution new movements.

And under these rapidly changing circumstances, entertainment business could achieve good results because all these efforts have been accumulated. For instance, Sony Pictures has had 89 movies reach number one at the US box office since the turn of the century.

Sony is producing 38 television series in this fiscal year. That is the highest in our history. Sony's media networks business is also -- is reaching nearly 800m homes in more than 150 countries around the world.

Sony Music now has 1,500 artists on our roster and operations in 44 countries, and are developing new artists with the highest track records in the industry. And with the acquisition of EMI, Sony ATV Music Publishing now administers more than 2m songs, making it number one in the world. Page 4 of 25 Sony Corporation Entertainment Business Briefing - Final

Now, about the strategy of entertainment business going forward, there will be a detailed explanation after me but I'd like to talk about the future direction to some extent.

In pictures, we will look for new opportunities and invest in our fast-growing areas and higher-margin businesses, particularly television production and media network. Motion picture category, we will strengthen the green-light process where we pass our management judgment, and also clarify the profit target for each slate and exercise strict control over production cost and add-in product.

And for both pictures and music, we will solidify the foundation and business to take advantage of the current content asset, but at the same time enhance the content by producing new films, TV programs and new music hits. And also, we will strengthen the global strategy to cover business opportunities other than US and Japan. And also, by providing contents to various platforms such as hardware devices, broadcast and distribution networks, we will enhance the business opportunities and sales channels.

And by strengthening both music and pictures, we will push forward a One Sony strategy and strengthen the collaboration between entertainment, electronics, mobile and games, so we can establish a solid position at Sony Group.

Now I'd like to introduce to you Michael Lynton, CEO of Sony Entertainment and Chairman and CEO of Sony Pictures Entertainment. Michael has accomplished a great deal in his nearly 10 years at Sony and has led many important projects, especially in Sony Pictures, to a great success, and he has been at the forefront of a shift from analog technology to digital world.

And not only his deep understanding of technology but with the appropriate allocation of funds and the exercise of financial discipline, he has led Sony Pictures in a correct direction and it will contribute to the greater profit margin as well as return to the investors. And I trust Michael's vision, technological savvy and business acumen.

I will continue to maintain close contact and collaboration with Michael and realize a transformation of Sony, so that we can achieve a higher level of performance, especially revenue and income. And we'll continue to work towards that and I'd like to ask for your continuous support and cooperation.

Thank you very much for your attention.

YOSHINORI HASHITANI: (Interpreted). Thank you for your attention. In the video message by Mr. Hirai, the key messages is included in the handout material and also the strategic priorities are also included in your document.

Now, in this message, there are some differences that I'd like to point out here. The first one, in the media network, in the pictures segment, it states that Sony's media networks business is also having a record-breaking year, now reaching 800m homes. But it is now 950m homes that we are reaching, so please make a correction or update your document.

And also, regarding music publishing, it says that music publishing now administers more than 2m songs. That's what he said in the video message, but it is now administrating 3m songs, so please also take note of that. Thank you.

Without further ado, I'd like to now invite Mr. Michael Lynton for your presentation.

MICHAEL LYNTON, CEO OF SONY ENTERTAINMENT, CHAIRMAN & CEO OF SONY PICTURES ENTERTAINMENT, SONY CORPORATION: Good morning. Thank you, Hashitani-san, and welcome all of you to the Sony Entertainment business briefing. We hope all of you leave here today with a deeper understanding of the strength of our business and why we are so enthusiastic about the future.

Today, we will explain more about the following businesses; motion pictures, television productions, media networks, recorded music, music publishing and visual media and platforms. Page 5 of 25 Sony Corporation Entertainment Business Briefing - Final

Driving us forward under the leadership of Kazuo Hirai are three key ingredients; global growth, technological innovation and financial discipline. And when we combine those ingredients with our determination to create new entertainment franchises and to contribute to our One Sony strategy, we will achieve our overarching goals, to create powerful content that entertains our audiences and delivers value to our shareholders.

Premium content has never been more valuable than it is in our digital age. High-speed connectivity with nearly ubiquitous access has given rise to dazzling new devices, as well as a multitude of new online services like Pandora and Netflix. And the consumers who use these devices and services demand great movies like The Amazing Spider-Man, great television shows like Breaking Bad and great music, from Elvis to Adele.

Each of our businesses has taken advantage of the world's growing appetite for premium content. Sony Pictures established new film labels to meet the diverse demands of different demographic groups around the world. Sony Music took legendary labels like Columbia, RCA and Epic and rebuilt them to take advantage of rapidly evolving musical tastes and hired cutting-edge talent to find and develop new musical artists and bring them to the world.

Sony, with partners, acquired EMI Music Publishing and now Sony ATV administers the largest library in the world, right at the time when streaming and subscription services and other digital platforms have made the premium content in music libraries more valuable than ever. And in Japan, Sony Music has seized the visual media and platform opportunities that new technology affords to revolutionize the creation and delivery of entertainment to audiences.

There is one more important point to make about the rising value of premium content in Sony. We not only make that kind of content; Sony makes the devices through which billions of people experience it. Sony Entertainment is collaborating more closely and productively than ever with Sony's electronics businesses.

Just look at how Sony Pictures and Sony Electronics are working together on the launch of 4K televisions. Each set features special access to a selection of our movies which were mastered into 4K, to support the debut of this premier product line. No other studio or electronics company in the world is doing that today.

And just 10 days ago, we all witnessed the highly successful launch of the PlayStation 4, the latest and greatest games console in the world. Sony Entertainment has teamed up with Sony Computer Entertainment to bring new and exclusive content experiences to the PlayStation network, so that people who have the PS4 can get special and unique access to Sony produced entertainment.

Let me now say a few words about one of the most important aspects of our strategy; how we're enforcing the kind of financial discipline we need across our businesses to boost revenues, lower costs, increase profits and maximize our margins. Here's a guiding principle for us. No cost is too sacred to cut or too small to examine.

David and Kevin will explain in more detail the rigorous cost reduction plans we have implemented in the past and we will implement in the future. They will outline the financial targets we have set for the next fiscal year and beyond. We have ambitious goals, but I believe we have the right strategy, tactics and team to achieve them.

We will focus our investment in those parts of our business that hold the greatest promise for higher-margin growth, as we have done in the past in digital music and music publishing. Going forward, for example, you will see a significant shift in emphasis in our pictures business from motion pictures to higher-margin television productions and media networks.

We will focus relentlessly on creating hits and developing powerful franchises in our motion pictures, television and music businesses, because they can help ensure a steadier and more predictable flow of revenue and margin growth over a period of years.

We will concentrate on global opportunities for music, film and television, particularly in high-growth markets. International expansion is essential to our long-term financial success.

We will take maximum advantage of the premium content we create and own, especially in the extremely valuable movie, television and music libraries we possess. In this digital age, where mobile access to and demand for Page 6 of 25 Sony Corporation Entertainment Business Briefing - Final entertainment is on the rise around the world, Sony's catalogs of premium content are an invaluable asset we intend to fully exploit.

And we will expand our contributions to the One Sony strategy in a way that helps ensure a rising tide of success raises all of Sony's ships.

As we gather here today, I can honestly say that there has never been a more exciting and promising moment for entertainment than the present one. We intend to seize this opportunity and deliver to our audiences more of the great music and shows and movies they want, and deliver to our shareholders more of the profits that you deserve.

So now, let's dive right into the individual businesses, beginning with Sony Pictures.

Next year marks the 25th anniversary of Sony's acquisitions of Columbia Pictures and the creation of Sony Pictures Entertainment. The early years of Sony's venture into Hollywood were tumultuous ones, so tumultuous that the Company had to take a multi-billion dollar write-down.

But Sony Pictures today is vastly different from the Sony Pictures of the 1990s. We are leaner and more profitable; we make a more diverse slate of films; we have a burgeoning global television production business; we have built an international television networks business primarily in emerging markets.

Now, some of the routes of our reinvention were planted in the 1990s, with the creation of Imageworks and the establishment of Sony Entertainment Television in India, for example. But much of our progress can be traced to 21st century investments and reforms.

In the 1990s, we relied mostly on the Columbia label to produce our films. It is still the workhorse of our motion picture division, but over the past decade we've created or rebooted labels including Sony Pictures Animation, Screen Gems, Worldwide Acquisitions, TriStar and Sony Pictures Classics. These labels today enable us to diversify our film-making, innovating to meet the evolving tastes of audiences and the trajectory of technology.

Columbia brings you the studio's tent-pole movies like Spider-Man, Men in Black, 2012 and James Bond. The bulk of the resources we put into Columbia go toward acquiring and developing tent-pole movies, because increasingly they are the foundation of every studio.

Columbia also has a very successful R-rated comedy business with films like Superbad and Zombieland and upscale films like The Social Network and the recently released Captain Phillips with Tom Hanks. We know the formula to make these work; keep production costs down low and make sure that filmmakers have skin in the game by keeping their fixed compensation low. If we don't make money, they don't make money.

The last decade has also seen an explosion in animation and family films. Recognizing this, we built Sony Pictures Animation out of our in-house visual effects company Imageworks. This had two key benefits. It allowed us to get better utilization out of our investments in Imageworks, and it gave Sony a running start into the highly profitable family film market.

Screen Gems grew out of the lucrative home entertainment division and produces genre films for targeted audiences.

In August, we announced a deal with Tom Rothman, whose movies will be released under our TriStar label. Tom is going to be focused on targeted action movies with mid-range budgets.

We also supplement our slate with films from our Worldwide Acquisitions Group.

Lastly, Sony Pictures Classics continues to deliver critically acclaimed Academy Award winning releases like Woody Allen's biggest box office success ever, Midnight in Paris.

And while all of these teams develop, produce and acquire their own movies, they are supported by the strength of a single efficient worldwide marketing and distribution operation to minimize overhead expenses. Page 7 of 25 Sony Corporation Entertainment Business Briefing - Final

Another key development of our -- element of our strategy is to focus on the markets with the greatest capacity for growth. Territories such as Brazil, China, Russia and South Korea are increasingly important theatrical markets for Hollywood films. We seek stories with universal themes that can be enjoyed across cultures and languages, and we partner with some of the finest international filmmakers to give films broad appeal.

We also recognize that many territories have their own thriving local film markets, and we see this as an opportunity rather than a challenge. We partner with key local film talent and have already seen success in countries such as China, Germany and Russia.

Another priority of ours is managing talent relationships, because in addition to the label strategy this is the other piece of the puzzle that keeps the studio fresh and vital. We think about talent relationships in a couple of ways.

One way is about creating the right pipeline of intellectual property, or IP. We partner with existing IP brands that have a proven following and are a good fit for our studio. An example of this is Angry Birds, the worldwide gaming phenomenon that we are making into a movie for summer 2016.

We are also making movies out of Uncharted and Gran Turismo, two incredibly successful PlayStation games. And we begin filming the next book in the Da Vinci Code trilogy, Inferno, with Tom Hanks next fall.

But the other approach to franchises is about building rather than buying. Our strategy is to be in partnership with the most creative minds in the industry so we will have the first look at the next great franchise, and that means investing in filmmakers that we believe are going to be tomorrow's George Lucas.

While fostering and maintaining strong relationships with talent is therefore incredibly important, the key is to develop those relationships in a financially disciplined way. We examined every aspect of our filmmaking process, starting with development, where we have cut term deals, which are a contractual relationship with the producer for a concrete period of time, by more than 50% from their peak.

And we followed this with a revised green-light process that is more onerous from end to end. Key stakeholders from across the businesses work with me to methodically review the line-by-line economics of each film. More specifically, we take a hard look at talent costs, which we have reformed in recent years, cutting back on so-called first dollar gross deals and instead making the talent our partners in success.

We scrutinize production budgets, to be sure we are keeping shooting days to a minimum, controlling special effects costs and getting the most out of our tax incentives.

We give equal scrutiny to a detailed marketing budget, including the impact of seasonality on our releasing costs. If the releasing date is creating an unacceptable burden on marketing, we determine a more suitable date for that film.

We examine all revenue assumptions that are included for theatrical receipts and ancillary sales, to ensure that current market conditions and the competitive landscape are accurately reflected. The times demand that a higher bar be set, and we have done just that.

You heard me mention talent, and as an aside let me clarify a misperception about our strong talent relationships. This is not about giving talent perks or relinquishing financial control of our productions. Rather, it means that Sony fosters an environment where a wide variety of creative visions are respected and realized.

We want our partners to bring the studio cutting-edge opportunities, but only if they meet our standards for profitability. And that means having some very difficult conversations; saying no when in the past we might have said yes; telling an actor we will not make a film in their city of choice when we have an alternative location that offers incremental cost savings; telling a director that the film is absolutely not going over budget and putting them on the financial hook for any overruns; and telling our own development people no when they're in a bidding war for a project and the price starts to jeopardize an attractive return. Page 8 of 25 Sony Corporation Entertainment Business Briefing - Final

These are just some of the examples of how we have tightened controls to ensure that our relationships are working for us.

Beyond the filmmaking process, we are focused on operational efficiencies to reduce costs. We united our domestic and international film marketing and distribution teams, to save money and allow for more seamless promotion of films with global appeal.

We implemented shared services for corporate tasks, like finance and IT. We formed joint ventures in key markets for more efficient regional operations in home entertainment and motion picture marketing and distribution, which enabled us to cut a territory's overhead by 30% to 50%. In addition, we engaged in several rounds of layoffs studio wide, totaling more than 800 positions over the past four years, and we continue to find new ways to reduce costs.

Even as we meet today, we are in discussions with experts to help us identify more efficient ways to do business in the future. We are proud of our record of financial responsibility, but we are not satisfied with it.

Now, let me turn to our television business. Right now, we are in a golden age of television and the possibilities are limitless. The writing and production value of shows has never been better, and unique projects are finding ever more dedicated audiences.

In the United States and other developed markets, new devices and platforms are driving an increasing appetite for premium content. Yet, even with the explosion of smartphones, tablets and online platforms, traditional television viewing continues to grow.

In many international markets, paid television platforms are adding new channels, investing in programming, increasing viewers every day. Hit shows and formats are finding more global distribution, which increases revenues while reducing financial risk. At the same time, the market for local programming is thriving, which offers yet more opportunities for studios like ours.

Before we look ahead, let me spend a minute taking you back. In 2000, things looked very different than they do today. We had basically exited US television production, with few new shows in development and just a handful of international networks. Since then, we have rebooted our US television production and are now scaling that business up dramatically, and we have invested in international production companies and channels.

Today, Sony Pictures Television encompasses a diverse, stable set of businesses in two distinct categories; television productions and media networks. We produce, license and broadcast some of the world's most recognizable entertainment content, giving us one of the strongest worldwide television business portfolios in the industry.

Our productions and network businesses are key growth areas for Sony Pictures. Our television productions business is not tied to one US television network, and this has given our team two distinct advantages.

First, it enables us to produce programming for all of the networks, broadcast and cable, and this means that our content can find a home where it has the best opportunity to succeed. As a result of this ability to find the best homes for our shows, we now have programming on nearly every major United States network.

Second, our independence enables us to be more nimble, and this has made us a key partner for new platforms.

We also know how to manage risk. Our new series production is balanced by our highly stable, profitable shows, like Wheel of Fortune and Jeopardy. These legendary shows are celebrating their 31st and 30th seasons, respectively, and remain at the top of the ratings. We also produce Days of our Lives and the Young and the Restless, two of the four daytime dramas on network television, each producing five new original episodes every week.

Although these shows have been with us for decades, we are constantly exploring ways to keep them fresh, find new audiences and leverage the power of the brands we have built over the years. Page 9 of 25 Sony Corporation Entertainment Business Briefing - Final

We have also built our off-network syndication pipeline, with shows like King of Queens, Community and Rules of Engagement, and we have new shows well on their way to joining that group. Growing our syndication pool drives margins and profitability over the medium term and counterbalances the natural risk inherent in the new production business.

Our current productions business is now operating at scale. As you can see, airing in the current fiscal year and beyond we have 38 ordered series, more than ever in our history, for 16 different United States networks. That's more than two and a half times the size of our slate 10 years ago.

Outside the United States, international markets have enabled Sony Pictures Television to expand into local productions all over the world. Over 18 production companies in 14 countries are hard at work, churning out fresh content for their own markets.

We are also finding great opportunity in exporting hit formats into new territories. Our non-scripted programs travel particularly well. Who Wants to be a Millionaire has been sold in 120 countries, and local versions of the Doctor Oz Show has been produced in 19 countries.

We have exported scripted formats as well, from local versions of Everybody Loves Raymond to Breaking Bad and many more. In fact, Sony Pictures Television is the industry leader in scripted format adaptation around the world.

Sony Picture Television's formats have generated content in 73 languages in over 100 countries, and those numbers are growing every year.

Next, let's turn to our second television business, media networks. Sony had an early focus in international networks. As a company incorporated in Japan, ownership of US broadcast stations was prohibited due to US regulations.

By making a virtue of necessity, Sony saw the potential in emerging markets like India and Latin America and elsewhere, and has been steadily creating a global portfolio of branded networks, delivering both targeted and general entertainment content. Over the past five years, we've invested hundreds of millions of dollars to increase our ownership in key network assets, in particular MSM India and our US cable channel, GSN.

In total, we have launched or acquired 34 new businesses, including channels, digital services and sales operations, to build and broaden our portfolio, and our bets are paying off. Today, our 127 channel feeds are viewed in more than 150 countries. That's up from 78 feeds in 83 countries just 10 years ago. Approximately 950m subscribers around the world now have access to our programming.

The expansion of our business has driven significant top-line growth, demonstrating a compound annual growth rate of 24% over the past 10 years. We are also a truly international business, with over 75% of our revenue generated outside the United States, of which 37% is generated in India.

As you can see, many of our networks exist in emerging international markets, where traditional pay television continues to grow, creating new opportunities for program channels. Meanwhile, in our more developed markets, we are capitalizing on increased demand for our content and services, with the proliferation of connected devices and digital platforms.

And we have not just launched channels; we have created a global portfolio of network brands. To TV viewers in many countries, Sony Entertainment Television, or SET, stands for world-class entertainment, from both local and US sources.

AXN represents high-adrenaline, action-oriented series and movies in over 60 countries worldwide. Our Animax channel builds on Sony's Japanese roots to deliver the best of the Japanese anime genre to audiences in 27 countries, and is expanding into new platforms with an SVoD service in the UK. Page 10 of 25 Sony Corporation Entertainment Business Briefing - Final

We continue to invest in these networks organically and we continue to make strategic content investments where we need to, like in India, where in 2008 we bought the long-term rights to the Indian Premier League cricket that will continue to drive immense profitability and value for the Sony brand in India.

These are important long-term investments. And as these markets mature and our networks scale up, this will further drive up our margins while delivering profitable growth.

Going forward, Sony's media networks will be a cornerstone of our growth strategy. In order to continue to drive profits and build asset value, our networks will work more closely with our production teams to create and deliver great programming. We will evaluate and potentially reduce our footprint in markets that show less opportunity for growth, and we will focus on building and expanding our businesses in Latin America and India.

That brings me to the strategy we will use to make Sony Pictures more successful and more profitable across the board. First, we are accelerating our investments in high-growth and high-margin businesses, with a particular focus on international and domestic television networks.

The expansion of pay television services and the growing ranks of the middle class in emerging markets help drive demand for well-programmed media networks. Sony Pictures Television will build on its already strong presence in this area, and in television productions as well. We are well positioned to create both the content and the means to deliver it to audiences worldwide and, as we do, our revenues and our margins will expand.

Second, all of our businesses are aggressively pursuing growth strategies in the digital space, as well as international markets. That means meeting the growing demand for premium content that has been generated by new digital distribution partners and international customers. It means continuing to expand and launch new commercial digital models, like UltraViolet, Crackle, and other new streaming and sell-through services.

We will continue to develop content with universal appeal, while also bolstering our ability to produce local language product and formats in emerging international markets. We are also exploiting the ancillary opportunities that digital brings to our own networks, particularly our GSN channel in the United States.

Third, we will maintain an innovative and entrepreneurial culture and make smart strategic investments to secure future growth. That is the spirit that brought us Breaking Bad and Crackle and the rebirth of Screen Gems and Sony Pictures Animation. It is what inspired the launch of the new TriStar and our Worldwide Acquisitions Group.

Fourth, we emphasize creative excellence, agility and risk taking. Let me just give a few recent examples of what that means.

We had great success with the first three Spider-Man films, but realized it was time to take a risk and reboot the franchise with new talent, and the bet paid off handsomely. We helped Eon and MGM launch James Bond, with a brand new actor to play 007, and brought the world three of the most profitable Bond films ever, including the billion-dollar box office hit, Skyfall.

Fifth, as I mentioned before, we are keeping financial discipline front and center. David Hendler will expand on this further in a moment.

Sixth, we continue to manage risk, which is especially important in this line of risk. Knowing how to navigate risk is something that has stood all of the studios well over the years. We manage Sony Pictures as a portfolio of businesses, and as we collaborate to leverage the mutual benefits of these businesses, we drive not only their individual success but also the collective success of Sony Pictures.

We also manage risk by continually keeping close watch on our mix of domestic and international businesses, helping to insulate ourselves against trends in any single region. Similarly, our diversified film portfolio balances big budget tent-poles with lower budget genre films.

We are also using third-party financing for certain films to reduce risk. Taking on the right film financing partners at the right time has the added benefit of smoothing the fluctuations of a hits-driven business. Page 11 of 25 Sony Corporation Entertainment Business Briefing - Final

And seventh, we are capturing the opportunities that can only be found in the power of One Sony. Sony Pictures and Music act as partners to create unique projects that leverage both of our capabilities. This includes creating film documentaries of Michael Jackson and One Direction, and hiring Adele to create the Academy Award winning theme song for Skyfall. It includes special bundles of Sony Pictures films for Sony's latest Xperia phone, to embrace and enhance the new world of mobile content.

With our colleagues from across Sony's businesses, we stay on the leading edge of how content is made, distributed and ultimately experienced by the consumer. No other studio can do that.

By pursuing this strategy in a consistent and thorough way, we expect strong top-line growth for Sony Pictures. We are also setting the path to higher operating margins, a metric which we have committed to improve. And we are being more transparent with you than we ever have before, both as a demonstration of our confidence in our approach and as a way of holding ourselves more accountable than ever for the results.

Thank you. And now I'm pleased to hand over to David Hendler, who will give you a financial overview of Sony Pictures Entertainment. David?

DAVID HENDLER, CFO OF SONY PICTURES ENTERTAINMENT, SONY CORPORATION: Thank you, Michael. I'm David Hendler, Chief Financial Officer of Sony Pictures Entertainment. I would like to take you through a detailed view of our plan to meet the goals that Michael laid out.

We will start with a review of our historical financial performance. Then I will go into more detail about our commitment to margin improvement, cost control and financial discipline. Finally, I will look at our future guidance.

As you can see here, year after year, SPE has been a major source of revenue and profit for Sony Corporation. In fact, we have met or exceeded the profit performance targets we have set in conjunction with Sony Corporation for 9 out of the last 10 years, which demonstrates that we maintain stability in a hits-driven business. We're able to achieve this record by balancing a highly diversified portfolio of business.

Note, however, that while our annual earnings have been fairly consistent, our quarter-to-quarter earnings have a much different pattern, based on the nature of our business. Here you see those same five years of operating income broken down by quarter. The variability in the quarter results is the normal course in a creative business.

Let me give you an example. Last year, we released The Amazing Spider-Man in the US on July 3. That means we took nearly the full expense of the film's theatrical marketing in our first financial quarter, ending June 30, while taking nearly all the box office revenue for the film in our second financial quarter, July through September. Next year, Spider-Man will be released on May 3, which means quarter four of the prior year will absorb much of the theatrical marketing costs, while quarter one will benefit from box office revenues.

Film release dates are driven by the optimal timing for each individual title. As you can see, no single quarter properly reflects our annual profitability.

We recently reported, on a yen basis, a second quarter that was down relative to last year's quarter two. However, we anticipate that our full-year operating income will be essentially flat to last year.

Entertainment is a year-round business and we manage it in 12-month cycles. One of our key strategies underpinning our annual performance is diversity. By maintaining a wide variety of income streams, Sony Pictures is able to manage the ebbs and flows of any single business or territory.

For example, let's look at the breakdown of our revenue by business line. Since fiscal year ending 2004, our television businesses, TV productions and media networks have grown from 28% of the studio's revenues to 39%, a trend that we think will continue. And given that the television businesses typically yield higher margins that have grown to represent an even greater proportion of our operating income, very, very significant.

There are two key points here. The first is that a substantial percentage of our profits are coming from our highest- growth businesses. That gives us great capacity to drive future profit growth. Page 12 of 25 Sony Corporation Entertainment Business Briefing - Final

The second is that this mix enables us to balance our high potential but riskier content businesses, such as motion pictures and broadcast television production, against our more stable, lower-risk businesses, such as media networks and cable television production.

In addition, our businesses become increasingly global. In fiscal year ending 2004, we were only deriving about a third of our revenue from international markets. By our last fiscal year, this had grown to over 50%. You've already heard from Michael that we expect this trend to continue, and SPE is shaping its business to capitalize on that opportunity.

At a more detailed level, we have seen further diversification across specific regions, which helps insulate SPE against variability in any single territory.

Our revenue by source depicts the same well-balanced picture. From fiscal year ending 2004 to 2013, newer revenue streams, namely advertising and television affiliate fees, have grown to balance our more traditional businesses of content licensing and home entertainment. This diversification provides further stability for our bottom line.

But we're equally focused on managing our operating margins. With our diversified portfolio of TV and film businesses, our approach to driving margins is twofold. First, we'll continue investing in our high-margin businesses which have capacity for growth and, second, we will further improve the economics of a more mature motion picture business.

Let's take a deeper look at both of these. Our plan to build on our high-margin businesses includes carefully targeting growth opportunities for our global networks. In addition to driving higher margins for the overall studio, the networks business itself can achieve operational efficiencies from greater scale over the long term.

We will also further leverage the success we've had in cable TV production, which requires moderate capital, pays back faster than media networks and generates relatively high margins. And building on our success in cable, we'll continue to invest in broadcast productions, which requires higher capital but can be extremely profitable when they hit big with audience and continue for a number of seasons.

Additionally, we will continue to invest in the growing animation business, where the production costs, particularly talent, are low relative to the potential payoff at the box office and in the downstream markets. We will also build on the strength of our Worldwide Acquisitions team and the repeated ability to identify small films and direct-to-video projects with the potential for breakout success.

This investment strategy is not new for Sony Pictures. From fiscal year ending 2007 to 2013, we have invested over $400m in our media networks and we've committed hundreds of millions more to increase our ownership of GSN and MSM India. In recent years, we've also invested nearly $1b in television production for broadcast and cable customers, over $750m building our animation business and over $1b in independently produced films through our Worldwide Acquisitions Group.

The second part of our margin improvement plan focuses on boosting the economics of our mature businesses, particularly motion pictures. To do this, we are optimizing the green-light process, focusing on absolute profit and risk management, maintaining cost -- and maintaining cost control and financial discipline.

Our green-light process is a key tool for selecting films that meet our requirements for profitability and return on capital. We continuously refine the green-light process to reflect current film economics and market conditions. Earlier today, you heard Michael describe how he evaluate our green lights on a line-by-line basis.

We're vigilant in driving down production, marketing and distribution costs, and we take a very, very hard look at every film's revenue potential. At the same time, we've raised the bar for expected profitability and slate return despite an increasingly competitive market for films. Page 13 of 25 Sony Corporation Entertainment Business Briefing - Final

Over the last several years, we've implemented more aggressive hurdle rates, a full allocation of all overhead and an analysis of each film for its expected impact on the overall slate profitability. This high standard for success requires not just the diligence of our own creative executives; it equally requires the collaboration of our partners.

In particular, we've restructured our deals with talent so they fit with our own goals to maximize profits. With few exceptions, we negotiate talent deals so contingent compensations predominantly earn post-cash breakeven. And we penalize talent for budget overruns, so they were well incentivized to control costs.

While we continually seek ways to improve our margins, it's also important that we maintain a focus on absolute profit and risk management. One of the ways we drive incremental profit is by distributing content on behalf of third parties. In many of these deals we're required to report all of the revenue but only a portion of the profit. However, these distribution deals provide a low-risk way for the studio to leverage its existing operations and generate incremental operating income.

Moreover, our co-productions arrangements frequently require us to report all of a film's revenue against a share of the profits. While this can result in unattractive margins, these deals are strategically selected to bring us highly profitable films, such as the James Bond franchise.

Finally, by taking on third-party financing for our film slates, we're able to better manage both cash and risk, but at the same time they will dilute the operating margins as we share profit with our investors.

It's also important to note that our strategic investments, which will drive future profits and higher margins, are frequently margin dilutive in the near term. Perhaps the best example of this is the networks business. Networks are a long-term investment, which on average take four to five years to reach profitability. However, as these investments mature, their margins will naturally increase.

As we illustrate here, the average operating margin for networks up to five years old is negative. By contrast, the average operating margin of a network at least six years old is far more attractive. We launch new channels understanding that a negative short-term impact is often required to drive margins and build asset value for the future.

In order to achieve our aggressive targets, we're also committed to cost cutting and financial discipline. Cost-saving initiatives are not new to SPE. We've been restructuring our business since the decline of the DVD business in 2007.

Our previous initiatives were focused on operational efficiencies and overhead reductions. The next phase in our ongoing cost-reduction program was launched last year. We're now in the process of eliminating approximately $250m of costs from the business. These reductions have already started and will continue through our fiscal year ending 2016.

This plan was built from the bottom up and is focused on two key areas for cost savings. We have a wide range of overhead and operational efficiency initiatives, which are expected to collectively drive run rate savings of over $150m by the end of fiscal year 2016.

For example, we're continuing to streamline international operations with additional JVs and sub-distribution deals. We're driving down distribution costs, particularly for physical media. And we've taken a hard look at headcount to identify reductions.

Additionally, we're driving cost savings in procurement, where we anticipate run rate improvements of approximately $100m by the end of 2016. In addition to these two key savings categories, we're also undertaking further reductions in theatrical marketing, where we see opportunity in areas such as media, print and outdoor.

And we're not stopping there. As Michael mentioned earlier, we're kicking off another extensive overhead review with the support of an independent third party, to ensure that no opportunity is overlooked. Page 14 of 25 Sony Corporation Entertainment Business Briefing - Final

Now I'd like to walk you through our guidance. With respect to fiscal year ending 2014, on a yen basis, Sony Pictures' year-on-year sales are expected to increase and operating income is expected to be essentially flat.

Looking ahead to our fiscal year 2015, we project revenue of $8.4b, adjusted operating income before depreciation and amortization of $755m, with a corresponding margin of 9%, and operating income of $630m, giving us an operating income margin of 7.5%.

Taking a longer-term view, we expect Sony Pictures' annual revenue growth from our fiscal year 2013 to 2017 to be in the low to mid-single digits, which includes motion pictures flat to slightly down, television productions in the mid to high single digits and media networks in the low to mid-teens.

It's worth noting that our fiscal year 2013 was an extraordinary year for our motion picture group and gives us a very high base to calculate its anticipated growth rate.

We expect a growth rate for adjusted operating income before depreciation and amortization in the high single digits, and we expect the operating income growth rate in the high single to low double digits. All three categories in the pictures segment are profitable and we expect our profitability to improve going forward.

Thank you for your time. It's been a pleasure to share our business with you today, and I will now turn it over to Kevin Kelleher to give you an overview of our music segment.

KEVIN KELLEHER, CFO OF SONY MUSIC ENTERTAINMENT, SONY ENTERTAINMENT: It's a pleasure to be here today to present you a snapshot of Sony Music's operation, as well as give you direct insight into our forward- looking strategy. Today, I'll be discussing recorded music, music publishing and visual media and platform categories of Sony's music segment with you, and offer some insights into our financial performance and outlook in these areas.

Let me start by giving you a view on the current state of the industry. This is an exciting time of change and opportunities for music. We are more optimistic about the business now than at any time in the last 10 years.

We are seeing promising signs, early signs of real growth, driven by the emergence and expansion of new digital models that truly recognize the value of content. With this return to growth, we believe the future for music is bright and that profit and margin improvement will continue.

Let's first look at the recorded music category of the music segment. Our recorded music vision is to build the leading music company powered by the industry's most respected and innovative creative teams, focused on maximizing profits. To do this, we've developed multiple sources and channels to find and develop talent; we have also assembled an extremely talented leadership team to oversee these efforts.

To grow our business, we are pursuing a number of key strategic initiatives. Our number one strategy is to gain profitable market share. Having hit music is critical to our success and essential to our ability to grow profits. We achieve this by aggressively signing new artists, being the best in new artist development and by maximizing the exploitation of our existing artists and catalog.

Central to our strategy is being a leader in creative innovation. We need to have a strong creative vision and leadership to assemble all the ingredients required to create a hit. This includes identifying the right song, matching it with the right artist, the right production and the right marketing plan, all of which is done through our creative centers.

As you can see from this slide, at recorded music operations we develop talent across a number of channels. Our core labels, which include Columbia, Epic and RCA, are home to many of the industry's most accomplished and globally successful artists. We also develop talent through a number of important creative partnerships, which further broaden our artist reach.

In addition, we participate in the thriving independent music sector through Red distribution and the Orchard, which provide a range of services to independent artists and labels. Page 15 of 25 Sony Corporation Entertainment Business Briefing - Final

Having strong, diversified creative centers is absolutely vital to our success. Over the last two and a half years, Sony Music has been focused on growing and invigorating its creative centers. Through these efforts, we have enhanced our ability to sign, develop and break talent all over the world, and best position us to deliver our strategic goal of increasing profitability.

Now, turning to some of the other core strategies the recorded music business is pursuing. First, we are focused on growing our digital business. After more than 10 years of continuous decline, the global music market is showing some promising signs of stability driven by growing adoption of digital models. We believe that the industry is very close to the critical inflection point whereby the growth in digital revenues will soon more than offset the decline in physical.

In 2012, we saw 9 of the world's top 20 markets in 22 countries in total posting growth. Digital sales were $6b in 2012 and continue to grow at double-digit annual rates. In 2012, digital sales represented approximately 36% of total music sales, and we expect digital to surpass the 50% threshold within the next two years. We have already seen this threshold surpassed in some countries like the US, where the digital market is already over 60%.

From this slide, you can see the makeup of our global digital revenue base and how the composition is forecasted to change over the next four years. Currently, downloads make up 70% of the digital music business, but as this channel continues to mature we expect single-digit growth rates during the next few years, especially in the developed markets.

Conversely, we expect subscriptions to become the largest component of the digital market, with an annual growth rate exceeding 30%. We believe growth will be led by subscription services continuing their international expansion, offering bundled deals with telcoms and ongoing product improvements.

Online and satellite radio have gained critical mass to generate meaningful performance income for the recorded music industry. We expect revenues from these platforms to grow at compound annual rates of approximately 15% during the next few years.

Music video platforms are also providing the recorded music industry with a growing stream of revenues that didn't exist several years ago. Annual growth is also expected at approximately 15% for this revenue stream over the next few years.

We believe we are strongly positioned to take advantage of the opportunities in digital, as the business increases its transition to the digital platforms.

Another core strategy for the recorded music is to maximize our One Sony opportunities with the other Sony family companies. As part of that focus, we work on a variety of initiatives that simultaneously enhance the marketing, distribution, monetization opportunities for Sony Music and help drive exposure, awareness and sales for the other Sony products and services.

For example, we are collaborating with Sony Electronics and Sony Mobile on everything from custom music apps to product marketing campaigns featuring Sony Music artists. We look forward to continued collaboration with our sister divisions and view this as a very important element of our strategy going forward.

Moving on to another core strategy we are pursuing, is further broadening Sony Music's revenue streams. We do this through a number of key initiatives.

Where it relates to our artists, our goal is to be at the center of artist activity. This includes not only the production, marketing, promotion and exploitation of the artist's recorded music, but also the artist's touring, merchandising and brand sponsorships.

In addition, we are generating new revenue streams through the development of entertainment content. Syco Entertainment, our very successful partnership with Simon Cowell, has had great success with the X Factor and Got Talent TV formats. Sony Music participates in the revenue that these formats generate globally, and such revenues are included in the visual and media category of the music segment. Page 16 of 25 Sony Corporation Entertainment Business Briefing - Final

Got Talent, the world's number one TV format, is produced and broadcast in 42 countries. The X Factor is produced and broadcast in 30 countries. As part of the X Factor's continued expansion, they recently launched in Okinawa, Japan to very positive ratings.

Syco has also been very successful and a consistent source of talent for the Company. Artists developed off of X Factor and Got Talent include One Direction, Susan Boyle, Leona Lewis.

Another one of Sony Music's core strategies is effective cost management. During the past dozen years, we have been laser focused on reducing costs and maximizing efficiencies across all areas of our worldwide operation in response to the declining industry revenues.

Following the Sony/BMG merger, we consolidated, integrated, reorganized and streamlined our worldwide operations. Since then, we have continued each and every year to reduce costs by rationalizing our back office functions, outsourcing the non-core areas, consolidating and reducing our real estate requirements, consolidating and decommissioning IT systems and applications, and cutting back on all areas of discretionary spending. At the same time, we are continually instituting process improvements and best practices to further drive efficiencies across our operations.

As a result of these efforts, Sony Music's overall headcount and overhead are down approximately 50% since 2004. In addition, our annual marketing spend has been reducing by approximately $300m due to an increased focus on marketing effectiveness, as well as a shift in our spending from the traditional advertising channels to the more effective online networks and platforms.

Likewise, our supply chain costs have been favorably impacted as the businesses transition from physical formats to digital. Costs such as manufacturing, returns handling, obsolescence, warehousing, shipping, are all down. Bad debts have been reduced, and in turn profitability and margins have improved.

Overall, as a result of the ongoing focus and efforts to reduce costs, Sony Music has remained profitable and cash flow positive during this dramatic transition of the music industry. Continuously aligning our cost base to reflect the realities of the marketplace remains an ongoing process and fundamental to our strategy going forward.

International growth is another key strategy. Internationally, our success owes much to the fact that we follow the adage think global, act local. Developing local repertoire music that comes from and remains popular in particular markets is a core part of our business and growing in importance.

An example; in Japan, all the top 10 albums of 2012 have been from the local repertoire; in Italy 8 out of 10; in the UK, Germany and Spain 7 out of 10; in France 6 out of 10.

As you can see from this slide, globally the markets for music are in varying stages of development. The biggest revenue generators for Sony Music internationally are the mature markets. This includes Japan, the second-largest music market behind the US, where Sony Music has been the clear market leader for many years.

Mature markets also include the UK, Germany, France, Australia and Canada. For these markets, we are focused on all our global strategies, with the keys to continued success being artist development and maximizing digital transformation.

Meanwhile, we are seeing some of the biggest near-term growth in streaming-centric markets like Sweden, Norway, Denmark, Finland, Belgium and the Netherlands, where digital sales have surpassed physical. For example, Spotify in Sweden sells 60% of the country's music, streaming it to multiple devices such as smartphones, computers and tablets, and the Swedish music industry's revenues are back to where they were 10 years ago. Central to our strategy for these streaming-centric markets involves gaining profitable market share through maximizing our repertoire and streaming services through curation and playlists.

Some of the biggest opportunities for long-term growth, both as a company and an industry, reside in the emerging markets, where paid music consumption is currently low yet the possibility for future monetization is significant. This Page 17 of 25 Sony Corporation Entertainment Business Briefing - Final includes markets like Brazil and Mexico in Latin America, India and China in Asia, and numerous countries in Africa, all of which are experiencing growing demand for music driven by increased smartphone penetration.

To unlock the potential in emerging markets, our efforts include everything from investing in local repertoire, developing digital models tailored to succeed, given even the specific market characteristics, and develop various music related businesses that diversify revenues beyond recorded music.

Overall, we believe our multi-pronged strategy for the recorded music business focuses and well positions Sony as we enter the period of stability for the industry.

Now, let me turn to the music publishing category of the music segment. With a market share of 31%, Sony ATV is the industry's largest music publisher, significantly ahead of the 22% share that Universal has.

Sony ATV owns or administers over 3m songs and represents the world's most unique, comprehensive and diverse catalog. Formed in 1995 as a 50/50 joint venture between Sony and Michael Jackson, the Company includes the unparalleled Beatles catalog as well as songs by iconic artists like Bob Dylan, Joni Mitchell, and of course Michael Jackson.

As of last year, Sony ATV also manages EMI Music Publishing, which includes the extraordinary Motown catalog as well as all the songs from the glory days of the motion picture musicals from MGM and United Artists, like Singing in the Rain, Meet me in St. Louis and The Wizard of Oz.

The acquisition of an interest in EMI provides Sony Publishing business with several important opportunities and benefits, including access to the world's greatest catalog of music spanning many decades and genres. The deal also offers the ability to leverage the operating structure to service the EMI catalog in a very cost effective way.

Since the acquisition in June of 2012, Sony ATV's priority has been to devote all the necessary resources to integrate EMI into its business, and this [2014] transition remains on pace and to be completed in June of next year.

Using the state of our licensing and administration systems, Sony ATV expects to reduce EMI's pre-acquisition overhead costs by 66%. As part of the acquisition, Sony ATV administers EMI copyrights and receives a fee based on its earnings. Under this arrangement, Sony ATV participates in the growth of EMI as the Sony Corporation through its equity investment.

In order to maintain its industry leading position in publishing, Sony ATV has developed three basic strategies; first, continuing to proactively license and market its incredible catalog of popular music for all uses, including new and innovative digital services; second, maintaining its number one position through the strength of its artist and repertoire teams around the world, which lead the industry in discovering, signing and developing best new songwriters globally; and finally, as digital represents the best growth opportunity, continuing to grow digital earnings by entering into new deals with digital music providers and by renewing and enhancing existing deals wherever possible.

With these strategies in place and with its great catalog, fantastic roster of songwriters and the outstanding management team, the publishing business is well positioned to take advantage of a number of strategic and profitable opportunities to drive additional growth and success moving forward.

Let me now turn to the visual media and platform category of Sony Music segment. The ongoing evolution of the music industry has created unique opportunities to create new businesses and expand revenue streams, and Sony Music Japan is at the forefront of innovating in this area.

As you can see from this slide, the visual media platform category encompasses multiple businesses targeting various markets with connections to music. First is the solutions business, which provides important marketing services as well as vital manufacturing and distribution offerings to numerous recording artists and other companies in the music and entertainment eco-systems. It services over 1,000 clients and comprises more than 50% of the total of the visual medial platform revenues. Page 18 of 25 Sony Corporation Entertainment Business Briefing - Final

The solutions business clients include Sony Music Japan artists, artists from other recording labels and companies, and other businesses in film, gaming, broadcasting and the electronics industries. Sony see opportunities for growth in the solutions business driven by ongoing expansion of its client base to include non- entertainment companies.

Next is the visual business. This category includes Sony Music's Japan animation business, which leads the popular animation genre in the Japanese market. Sony Music Japan made a significant investment in Japanese animation a decade ago, in recognition of the wide popularity of animation in Japan across all age groups, and it's powered as a promotional platform for artists, for new music.

Today, the visual business is the second-largest contributor to the visual media and platform sales, accounting for a third of its revenues. It delivers 30 titles and 700 visual products each year. And since the initial investment in animation in 2003, visual business sales through 2012 have increased at a compound annual growth rate of 24%.

Sony Music's animation company, Anaplex, has emerged as the market leader and is a key distributor of animated content around the world, with Anaplex titles being shown in 73 countries globally.

Media is another component of the visual media platform. This grouping includes the leading music magazine publishing company in Japan, Music On! TV, the number one music television channel and the most influential music TV programmer in Japan, and a network media business which transmits live concerts all over the globe. The media business continues to leverage its combined strength in broadcast, magazine publishing and network media sectors to drive further growth.

Finally, there is the live entertainment business, the area within the visual media platform business with the biggest potential for growth. Sony owns and operates six live venues across five cities in Japan under the Zepp brand. Each venue is a medium-sized facility holding 2,000 people and specifically designed to serve the capacity demands of developing and new artists.

The Zepp concept appeals to artists of all different genres and a wide variety of fan groups, as evidenced by the high utilization rate. One important aspect of Zepp venues is that all locations have the same size stage, the same sound and lighting equipment, which makes it easy and cost efficient for artists to conduct tours where they play three to five days consecutively at the various Zepp venues. Based on overwhelming positive feedback from artists, Sony sees an opportunity to expand the Zepp venues outside of Japan into the Asian cities that lack high- quality, medium-sized venues.

As you can see, visual media platform is an important area of development for the music segment, and Sony is focused and committed to continuing to grow these businesses.

Now that you have a better sense for Sony Music's businesses and the key strategies for growth, let me provide you with an overview of the financials underlying the music segment. This includes results and outlook for the recorded music, music publishing, visual media and platform categories that we've been discussing.

As indicated earlier, we believe that after more than a decade of contracting revenues the music segment in particular has stabilized and is poised for steady revenues, driven by continued creative success and growth in digital revenues, partially offset by the continued decline in physical sales. We expect to continue to grow profits and improve margins.

During this session, I will review the historical financial performance of the music segment, our ongoing commitment to financial discipline and cost management, and our future financial targets and guidance.

As you can see from this slide, during the past five years the sales of the music segment have declined from $5.5b in fiscal year ending March 2009 to $5.3b in the fiscal year ending March 2013. This represents a compound annual rate of decline of 1%. Page 19 of 25 Sony Corporation Entertainment Business Briefing - Final

However, despite the decline in revenues, our operating income before depreciation, amortization and restructuring charges has increased at a compound annual rate of 4%. This was due to successful artist development, significant cost reductions and growth in our digital business and growth in new businesses.

With profitability increasing in a period of declining revenue, our adjusted OIBDA margins have increased over 200 basis points to 11.5% in the fiscal year ending March 2013.

As mentioned throughout the presentation today, the music industry is starting to turn a corner, and the outlook is more optimistic than it was a few years ago. Against the backdrop of ubiquitous music, emerging digital models and an explosion of interconnected devices and technology, the music segment is well positioned.

For the first half of this fiscal year, the music segment generated $273m of operating income before depreciation, amortization and restructuring charges. This represents a 9% increase over the first half of last year, which resulted in an adjusted OIBDA margin of approximately 12%.

Now, let's take a quick look at the breakdown of our revenues by category. In the fiscal year ending March 2004, the music segment was primarily reliant on recorded music sales, which represented approximately 79% of revenues. Today, through organic growth, strategic investments in music publishing catalogs such as famous Leiber and Stoller and the expansion into new platforms such as the artist linked animation in Japan, the music segment now generates almost 30% of its revenues from music publishing and visual media and platforms.

And it's worth pointing out that the 12% of revenues we derive from music publishing does not include the consolidation of revenues from EMI Publishing, as we account for this investment under the equity method.

As illustrated in this next slide, while we have diversified our revenues in the segment, the shift within recorded music is particularly noteworthy. In the fiscal year ending March 2004, our recorded music business derived 93% of its revenues from physical sales.

As a result of the decrease in physical sales, partially offset by the increasing consumption of music through digital downloads and music streaming services, physical sales accounts for only one half of the recorded music revenues. We expect that over the next few years digital revenues will soon become most of recorded music sales.

Our ongoing commitment to financial discipline and cost management is evidenced by both the transformation of the business that has taken place and how we are positioned today. Early on, we recognized the fundamental shift that was occurring in the music industry and aggressively realigned our recorded music business in response.

As I previously highlighted, our cost reduction initiatives on the recorded music front have resulted in $700m of gross savings and a headcount reduction of 4,500. In addition, we have shifted advertising dollars to more efficient channels. We have been able to reduce global marketing spend by approximately $300m, while driving improved reach, impression and impact.

Furthermore, as we continue to shift from physical to digital formats, we have reduced our global supply chain costs by 5%. And despite all these improvements today, we continue to look for cost reduction opportunities to further drive down our SG&A going forward.

So what does this all mean? Throughout this presentation, I've indicated that the music segment is well positioned for continued growth and profitability. For the fiscal year ending March 2014, we expect revenues to increase significantly and operating income to increase year on year, in yen, driven by positive operating performance and currency impacts.

Looking forward to 2015, we expect the following, based on $1 to JPY100 dollar to yen exchange rate; revenues of $4.8b; operating income before depreciation, amortization, restructuring charges of $625m, giving us an adjusted OIBDA margin of 13%, compared to our 11.5% margin for fiscal year ending March 2013; and operating income of approximately $450m, giving us an operating income margin of 9.5%. Page 20 of 25 Sony Corporation Entertainment Business Briefing - Final

Taking a longer-term view, we expect the music segment's annual growth from fiscal year ending March 2013 to fiscal year ending March 2017 to be as follows, based on a constant $1 to JPY83 dollar to yen exchange rate. Total segment revenue growth rate to be flat to slightly up, recorded music revenue growth rate to be essentially flat, with the continued decline in physical offset by the increased digital growth.

Music publishing revenue growth rate to be in the low single digits, through continued exploitation of our leading catalogs and iconic songs. Visual media and platform revenue growth rate to be flat to slightly up, with our new businesses such as Zepp providing modest growth to our mature stable businesses, which generate the majority of sales in this category.

Segment operating income before depreciation, amortization and restructuring charges growth rate to be in the mid- single digits and operating income growth rate in the mid to high single digits, driven by cost efficiencies. Based on the slight increase in revenues and the continued growth in operating income, we expect continued improvement in our margins.

That concludes the music segment.

YOSHINORI HASHITANI: (Interpreted). Thank you, Mr. Kelleher. So at this point, we would like to start the session Q&A. Let me give me how we're going to proceed. You can ask your questions either in Japanese or English, but the answers will be given in English. We'll translate these simultaneously into Japanese, so please avail yourselves of the use of the simultaneous translation equipment. There will be staff members to bring you microphones. Please identify yourselves by stating your name and affiliation. And I would like to accept as many questions as possible, so please limit yourselves to one question each.

By the way, One Direction on tour is presented here today. Sony Music discovered and created this artist group. Sony Pictures has recently produced a movie. Sony Music Japan, the visual media platform was responsible for the production of these tours. So it's part of our entertainment One Sony action -- symbiotic action being represented by these tours that are presented today.

Questions and Answers

YOSHINORI HASHITANI: (Interpreted). So, with that, we would like to field the questions. Please raise your hand if you have any. In the middle.

TAKASHI WATANABE, ANALYST, GOLDMAN SACHS: My name is Takashi Watanabe from Goldman Sachs. I have a question about your guidance, especially for Sony Pictures. I thought that your guidance is too conservative even -- because even -- you're seeing a $250m cost reduction and also mixture also improved by more growth from high-margin business, but why you're seeing only like a 10% profit growth in next four years?

And also, in addition to that, could you kindly -- could you tell us why your network business margin is lower than peers? I know that like Disney or Viacom is making 40% operating margin with network business, but obviously your margin is lower than peers. Is that because your size is not enough, or is there any more like a structural reason, other than that? And when do you think you can catch up with peers' margin? That's my question.

DAVID HENDLER: Everybody hear me okay? Yes. Regarding the projections out to 2017, one, you're right, they are definitely conservative projections. When we try to estimate our film release slate out through 2017, we're guessing, at best, in terms of the number of releases. But based on our development process and all the improvements that Michael outlined for you today, we think there's definitely some opportunity there.

In addition to that, keep in mind that the home entertainment market has still not rebounded. We're hopeful that it will. But the sell-through market continues to decline slightly and so does the catalog, so we built in some conservative assumptions. Although digital at some point in time, as you heard today, will I'm sure offset most of that decline, but it may be in the out years beyond 2017.

In addition to that, we've also put in more investment in our networks business because it's a high-growth, high- margin business. And particularly in 2017, we're anticipating that we're going to continue to be able to expand the Page 21 of 25 Sony Corporation Entertainment Business Briefing - Final networks, as you would want us to do, to increase our -- not only increase our margins but also grow the overall absolute profit.

And then also, as Michael mentioned, we have more cost savings that have not built into that forecast yet that will also improve the margins and the operating income going forward.

On the second part of your question, if you remember the chart that I had up there, we obviously have gone out and done the right thing and invested in new networks and started them up from scratch. And that requires an investment and it takes four to five years for them to mature.

So when you look at our margins versus our competitors, particularly when they have domestic channels versus international channels, it's really a state of maturity of the business. If you were to compare our mature channels to those international channels of our competitors, it would be absolutely around the same margins.

MICHAEL LYNTON: I just want to qualify one thing about the domestic or the US nature of the business. If you look at those media companies like the ones you mentioned, Viacom and Disney, who have predominantly US based networks, because of where the advertising market is in the United States and where subscription revenues are in the United States as compared to emerging markets, like the ones where we're mostly present in, by definition, even in a more mature state of network growth it's going to be a greater margin.

Now, it may well be in a market like India, where we're coming into digitization and we're actually getting paid more for our subscribers and the advertising market is improving, or rather growing and becoming more mature, we may find ourselves with improving margins as that happens, as well.

YOSHINORI HASHITANI: (Interpreted). Thank you. Next question. Yes, up in front.

KOTA EZAWA, ANALYST, CITIGROUP: (Interpreted). Can I speak in Japanese?

YOSHINORI HASHITANI: (Interpreted). Yes.

KOTA EZAWA: (Interpreted). Well then Citigroup is my name. This one is for Michael. One question, please. So these presentations that you gave us today, in terms of your approach to new businesses nothing major; I don't think anything major was announced. But if my understanding is correct, Sony Pictures is a content producing operation, therefore, in terms of content production, selling them to the networks, to pay TVs, and pay TVs distribute them to the consumers. That's a very long supply chain.

You have PlayStation and you have the consumer network business as well yourselves. You have the top end and the bottom end of this long chain. But you didn't make announcement about going to pay TV yourselves, for instance. People have been expecting that might happen. So is there a possibility in the future of filling all the elements of the channels from top to bottom, or upstream to downstream?

MICHAEL LYNTON: I'm happy to answer that question. So, a couple of quick comments around it. First of all, you're absolutely correct that the majority of our business is the content creation, but a significant part of our business, as we just mentioned, is the network side of our business, which actually isn't content creation but rather delivery.

In certain parts of those networks, for example, there are in fact pay television networks in the middle of those, for example, in India. But I think what you're referring to more is what we're planning on doing with things like the PlayStation Network and the opportunity to do an over-the-top service potentially that customers would pay for our content through existing platforms that Sony is growing.

And the answer is we are having closer and closer collaboration now with PlayStation Network, now that -- in the PlayStation 4, now that the console is in the market, I think what you can expect to see in short order is the studio will be producing premium content for the PlayStation Network. Where that goes to, where Sony Video Unlimited goes to, Sony Music Unlimited goes to, all of those things are components of a pay service. Not that we're saying Page 22 of 25 Sony Corporation Entertainment Business Briefing - Final we're necessarily entering into them at the moment, but we are, as a studio, providing more and more content to the networks that other parts of Sony are operating over the Internet.

KOTA EZAWA: (Interpreted). Thank you very much. Let me supplement. So if those new businesses are related to PlayStation, for example, and if you're planning for it in the future, then the library contents and the live contents, I think they're two different kinds of contents. And regarding the live contents, are you going to get into that live contents area, over the top? Is that a possibility for the future?

MICHAEL LYNTON: Can you define live content for me?

KOTA EZAWA: (Inaudible - microphone inaccessible).

MICHAEL LYNTON: You mean like sport?

KOTA EZAWA: (Inaudible - microphone inaccessible).

MICHAEL LYNTON: We wouldn't get into news, no. We already are heavily into the sports business in India, so there is the possibility. And we have a fairly large sports channel in India, so the chance -- yes, we're already there and we may go further with that. But again, that's more of a Sony PlayStation decision as to whether -- in fact, I have no idea whether they want to go into that part of the business.

YOSHINORI HASHITANI: (Interpreted). Thank you very much. Now next question, please. Yes, the person over here.

MASAHIRO ONO, ANALYST, MORGAN STANLEY: (Interpreted). If I may speak in Japanese. Ono from Morgan Stanley. Regarding some financial figures, I would like to ask you some questions. Sony Pictures, between 2007 to 2013, $2.138b. Now, for 2014 through 2016, the amount of investment for pictures, what is the projection for investment between 2014 to 2016?

And also, you talked about the cost reductions. Now, you talk about $250m of cost reductions between 2014 to 2016. So there's a top line story and the margin story. You talked about that. But the restructuring costs, what is the amount of restructuring cost that you're anticipating? Could you talk about that, please? Thank you.

DAVID HENDLER: Yes. Our level of investments, around the -- there's three different places that we go. One is film production, the TV production area and our media networks.

On the film production side, we're going to continue -- ratchet back slightly, but continue with our investment in our film production business. On the TV production business, we're going to continue to invest in our broadcast series, looking for shows to move into syndication and generate very high margins for us and profits for us. And then, as we mentioned, on the media networks there's an incremental level of investments that will be in our media networks, particularly in the out years, as we continue to look for opportunities to expand that business.

MICHAEL LYNTON: Do you want to talk about the restructuring?

DAVID HENDLER: Yes. I'm sorry, yes. The second piece, on the restructuring, there are some costs built in for restructuring, but since this process is underway for not a significant period of time, we haven't determined how much restructuring cost there's going to be but it won't be material.

YOSHINORI HASHITANI: (Interpreted). Next question, please.

JUNYA AYADA, ANALYST, DAIWA SECURITIES: (Interpreted). Ayada from Daiwa Securities. Thank you for this opportunity. Concerning the music business, I should like to ask you a question. Earlier, in the material, you mentioned that the music so far centered on downloading, but real move to subscription and then the platform will be Spotify or Sony Group's Music Unlimited. Such platforms we can look to. But for Sony, currently, you have some interest in Spotify, but Spotify is not listed and we do not know their profit model, but it appears very difficult for Page 23 of 25 Sony Corporation Entertainment Business Briefing - Final them to become positive in terms of profit. So what about the future sustainability of streaming services? What's your view on that? That's one.

And then, for Sony, well, for Music Unlimited, this I think is part of the business of entertainment network. But on the entertainment side, in collaboration with Sony Entertainment Network and Sony Music Unlimited, for expansion of Sony Music Unlimited what sort of measures are you taking, or how are you working to collaborate, to expand such business?

KEVIN KELLEHER: Just on the streaming type of services, it's very, very early days with respect to streaming services. We're seeing some real encouraging signs, with the buildup of the premium subscriber base. And Spotify is probably the biggest -- it is the biggest streaming service right now. They have in excess of 7m premium subscribers on a worldwide basis, and that's grown nicely over the past 12 months. And they've got pretty ambitious goals. But again, it's really early days.

With respect to their model, we think that as they get -- reach the mass market and get more of a critical mass of people paying the monthly fee, I think that there's a lot of potential with respect to a streaming model going forward. They're not yet a public company. They're privately owned. But they're raising money at pretty high valuations.

And the prospects, I think, for that platform and other platforms in the marketplace -- Sony Music Unlimited, we work very closely with that group, in terms of the development of that service. We think the PlayStation Network is a great platform and network to offer a music service on. And we're optimistic that as streaming becomes more of an embraced model in the marketplace, that there's going to be more than just one service that survives. There's going to be many services that we think have potential, and Music Unlimited is one of those services.

YOSHINORI HASHITANI: (Interpreted). I'd like to see if there are more questions. All the way in the back.

UNIDENTIFIED AUDIENCE MEMBER: Just one question. In your music forecasts, how much of those numbers include assumption of increases in royalties, especially, for instance, mechanical royalties?

KEVIN KELLEHER: The music -- the basic assumptions is that whatever the royalty base is now is the continuation of that. So there is really not a big difference that we built in with respect to enhanced royalties in those models.

UNIDENTIFIED AUDIENCE MEMBER: You were able to -- I think ATV was able to secure royalty increases earlier this year. Do you see scope for increased royalties and performance fees in the next several years?

KEVIN KELLEHER: We're going to be looking at -- any time there is an opportunity in terms of licensing our content for different uses, we're going to try to maximize those royalty opportunities. So we're going to be pretty aggressive about it, and we have been in the past, both on the publishing side and on the recorded music side. So we're going to continue to be aggressive, to try to make sure that we get favorable economics back to the investors, the owners of the copyrights and the master recording rights.

UNIDENTIFIED AUDIENCE MEMBER: Thank you. Just one last question. On your television -- on TV productions, can you break up the revenues between broadcast and cable?

MICHAEL LYNTON: Let me just add one other thing to what Kevin said about -- and you're probably familiar with this already. But on the recorded side of our business, with conventional, terrestrial radio we were not being paid, as you know. And so now that affords us the opportunity in the digital world, whether that be with satellite radio or Internet radio, now we can be paid. So that's a significant opportunity.

You're asking, on the television production side of our business, to do a breakout between those television shows that are in broadcast and those television shows that are on cable. No, I don't think we do break -- I don't think we can break those out. Right now, certainly in terms of the shows on air, it's fairly equally split. But I can't get you the - - I don't have the figures for you that breaks it out by revenue.

UNIDENTIFIED AUDIENCE MEMBER: Do you see bigger growth in cable or broadcast in the next several years? Breaking Bad was obviously a big success for you. Page 24 of 25 Sony Corporation Entertainment Business Briefing - Final

MICHAEL LYNTON: It's an interesting question. I think, if we can get a comedy series to work on broadcast, I think there is enormous upside in terms of syndication, when you look at what's happened in the United States.

That being said, quality drama on cable, because of the SVoD services that are now secondary purchasers of the series, have demonstrated -- that particular area has demonstrated to be -- obviously, Breaking Bad is the high end of the curve, but that area has shown itself to be a significant growth potential for us so I'm pretty bullish about that.

UNIDENTIFIED AUDIENCE MEMBER: Thank you.

YOSHINORI HASHITANI: (Interpreted). Thank you very much. Maybe one last question, if you have any last question.

UNIDENTIFIED AUDIENCE MEMBER: Michael, you stated that next year OP margin is 7.5% and 8% to 9% going forward. Why you believe that this target OPM is reasonable for you? I think a subtle point is the question of the more higher OP margin over the long term. So please tell me why you decided to take this low number.

MICHAEL LYNTON: I'm going to allow Dave to comment on this as well. But basically, we looked at both the cost side of the business, where we're trying to rationalize and be efficient about the business, as well as the revenue side of the business. What we have not -- we've assumed good growth on the cable network side of the business. We have made some assumptions about which television shows are going to go into syndication and we've been, in my opinion, relatively conservative as to what the revenue side of the hit side of the business, so to speak, is for motion pictures.

To go beyond that right now I think is a little bit -- would be irresponsible, because we don't know which of those shows and which of those films are actually going to perform at that level. That's really the reason why, more than anything else.

David, do you want to --?

DAVID HENDLER: Yes. We acknowledge that our margins can be higher, and they will be higher, as you can see out in the out years for us. You have to keep in mind we have really two fundamentally different businesses. We have a motion picture mature business and we have a TV business that can be high growth and high margin on a go-forward basis.

On the motion picture business, we believe that versus the rest of the competitors that are out there our margins are all probably within about 2 to 3 percentage points of each other, depending on hits or misses on any one given year. And on the network side, as I mentioned, it's a matter of how mature we are in terms of our broadcast series going into syndication and our network businesses internationally moving to mature basis.

So, based on those two factors versus our competitors, on the network side we'll be there. And on the motion picture side, again, depending on any given year, we think we're there.

YOSHINORI HASHITANI: (Interpreted). Thank you very much. We should like to conclude this Investor Day at this point. Thank you for your attendance.

EDITOR: Portions of this transcript that are marked (interpreted) were spoken by an interpreter present on the live call.Â The interpreter was provided by the Company sponsoring this Event.

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Load-Date: December 28, 2013

End of Document

Exhibit 31 Sony's New Professional Wireless Microphone System

TechReleased.com January 15, 2014 Wednesday 8:54 PM EST

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Jan 15, 2014 (TechReleased.com:http://www.techreleased.com Delivered by Newstex)

Sony's New Professional Wireless Microphone System - Jan 15, 2014- Park Ridge, USA (Techreleased[1]) - With compact professional camcorders more widely used for electronic news gathering and field production, Sony's new UWP-D wireless microphone series delivers the right combination of form and function for pro shooters. http://techreleased.techreleased.netdna-cdn.com/wp-content/uploads/2014/01/UWP-D11-Bodypack-Transmitter- Portable-Receiver.jpg UWP-D11: Bodypack Transmitter, Portable Receiver

'Production professionals are using Handycam-style and palm-size camcorders more for mobile, 'run-and-gun' applications, and the wireless microphones need to match and easily mount to the cameras,' said Karl Kussmaul, senior product manager, professional audio, Sony Electronics. 'This new series can even fit interchangeable lens cameras to give shooters more options for capturing their content easily and in high quality.' The UWP-D series components are small and lightweight, making them suitable for a range of field production needs. Three packages of UWP-D series are available: • UWP-D11: Bodypack Transmitter, Portable Receiver

• UWP-D12: Handheld Microphone, Portable Receiver • UWP-D16: Plug-on Transmitter, Bodypack Transmitter, Portable Receiver The UWP-D series uses new hybrid digital processing techology to achieve high quality sound. This technology performs signal processing by digital companding, with transmission handled by conventional analog FM modulation. The result is improved transient response performance between the transmitter and receiver, and clear sound reproduction. The UWP-D components' display is twice the size of previous UWP series, with a white background making information easier to see. The new series employs wide frequency coverage, with a wide band of up to 72 MHz coverage available, so users can select from a broader range of operating frequencies. An Automatic Channel Setting mode lets users perform channel scan and channel setting functions easily. The Clear Channel Scan function detects unused channels and IR Sync enables easy channel setting by sending information from the receiver to the transmitter by infrared communication.

The series' receiver has an output level control, so even if the camcorder or camera does not have input level control, users can easily adjust to optimize recording levels. The UWP-D transmitters and receivers are compatible with Sony's WL-800 series and UWP series. The UWP-D series' components, except the handheld receiver UTX-M03, have a USB terminal for connection to USB external portable power sources. Users can also use nickel metal hydride rechargeable batteries. The new UWP-D series is planned to be available in February, at the following suggested list prices: Page 2 of 2 Sony's New Professional Wireless Microphone System

UWP-D11/D12 — $799 UWP-D16 — $1,029

[1]: http://www.techreleased.com/

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Exhibit 32 NBC Olympics' Production Of The 2014 Winter Games In Sochi To Utilize Sony HD Broadcast Equipment; F55 4K Cameras, XDCAM HD Camcorders and Decks, HDC Studio Cameras, MVS Switchers and HD Displays Support NBC's Coverage to the United States

PR Newswire February 10, 2014 Monday 7:12 PM EST

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Sony will provide a range of HD production technology to NBC Olympics, a division of the NBC Sports Group, during its production of the 2014 Winter Games in Sochi, Russia, from Feb. 6 to 23.

(Logo:http://photos.prnewswire.com/prnh/20140206/LA60150LOGO)

NBC Olympics is using more than 70 Sony HD studio and portable field cameras - a combination of the XDCAM and HDC models. For the Sochi Games, NBC will also use Sony's F55 4K camera to capture footage at various event venues. NBC crews will use the Sony cameras to capture events and record athlete arrivals, interviews, press conferences and other assignments that require studio and portable recording and capture.

NBC will use Sony's MVS production switcher technology -- both the MVS-6530 and MVS-7000X versions -- to handle feeds from each sports venue to the International Broadcast Center, and also to originate HD cable coverage on its various networks.

NBC will also use more than 500 Sony professional monitors, a combination of its professional LCD video production and public displays and hundreds of the TRIMASTER EL OLED monitors (BVM and PVM series) for critical evaluation.

"We are pleased to be working once again with Sony, and we are confident their HD production equipment and expertise will help NBC Olympics bring home the best images possible from the Games," said David Mazza, Senior Vice President, Engineering, NBC Olympics. "Sony's support is unsurpassed, and the best-of-class stability of Sony broadcast equipment allows our staff to focus on the task of bringing home the best stories to all our viewers watching the Games on the networks of NBCUniversal.

Enhancing the Sony camcorders' video capture qualities is Sony's professional audio products, including the ECM Series lavalier and electret condenser microphones.

To keep everything running smoothly until the Closing Ceremony, Sony's Professional Services Group is deploying an extensive network of resources to provide 24/7 support for all broadcasting equipment and operations for NBC Olympics' Sochi Games coverage. Sony's Systems Solutions team has once again been selected to integrate NBC's International Broadcast Center and its studios in Sochi.

This is the 8th consecutive Games that Sony has provided support for NBC. Page 2 of 2 NBC Olympics' Production Of The 2014 Winter Games In Sochi To Utilize Sony HD Broadcast Equipment; F55 4K Cameras, XDCAM HD Camcorders and Decks, HDC Studio Cam....

"For each Games, the production requirements increase and become more complex as TV viewers now expect a dynamic and immersive entertainment experience, especially when it comes to sports," said Alec Shapiro, president of Sony Electronics' Professional Solutions of America group. "The equipment we will have on the ground in Sochi, from our HD production technology and newest 4K cameras - is the perfect combination of technology to meet NBC's challenging schedules and deliver the highest-quality images and performance."

Key Sony equipment to be used at the Sochi Games includes:

Camcorders - XDCAM PDW-F800, PMW-400, PMW-200, PWM-320 Cameras - F55 (4K), HDC-2500, remote P/T/Z (BRC-H700, BRC-H900) Production switchers - MVS-6530 and MVS-7000X Displays - OLED (BVM-F170, BVM- F250, PVM-740, PVM-1741, PVM-2541, FWD and LMD Series Live production - NXL-IP55 IP live production unit

About NBC Olympics

A division of the NBC Sports Group, NBC Olympics is responsible for producing, programming and promoting NBCUniversal's Olympic coverage. It is renowned for its unsurpassed Olympic heritage, award-winning production, and ability to aggregate the largest audiences in U.S. television history. For more information on NBC Olympics' coverage of the Sochi Olympics, please visit:http://nbcsportsgrouppressbox.com/

About Sony Electronics

Sony Electronics' Professional Solutions of America group develops and manufactures video and audio technologies for a range of professional production applications - from 2D to HD to 3D to 4K and more. These include broadcast television and motion picture production, live event production, event videography, ENG/EFP, digital cinematography, digital cinema, videoconferencing, medical, visual imaging, digital signage, remote system diagnostics and monitoring, and IP surveillance and security. Sony professional technologies are used in a range of market segments including houses of worship, government, healthcare, education, and hospitality, among others. For more information, visit,http://www.sony.com/professional.

SOURCE Sony Electronics

CONTACT: Tom Di Nome, Sony Electronics, 201-930-6357, [email protected]

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Exhibit 33

Exhibit 34 At NAB 2014, Sony Unites Products, Systems and Services To Give Content Creators New Ways to Express Themselves; Sony provides end-to-end 4K solutions for professional production and content creation applications

PR Newswire April 6, 2014 Sunday 5:30 PM EST

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Sony NAB Booth# C1101 -- At NAB 2014, Sony is highlighting new and enhanced professional A/V solutions that deliver the highest performance and most dynamic viewing experiences. Sony is showcasing its latest developments in 4K, including new technologies that address professionals' needs in diverse content creation and production applications and highlight 4K as a reality, now.

"4K content creation is certainly on the rise and not just in traditional broadcast and production," said Alec Shapiro, president of Sony's Professional Solutions of America group. "It adds new dimensions to 2K sports broadcasting, providing greater detail to blow up shots for slow motion replay and it's the best way to future-proof the content you are distributing in 2K today."

At NAB 2014, Sony is showcasing its full range of professional 4K cameras, from the F65, F55 and F5, to the compact NEX-FS700 and PXW-Z100 4K camcorders. Sony also has 4K switchers, a 4K server, 4K production monitors, as well as an OLED 4K monitor in development, and 4K projectors for movie theaters and large venues.

"If you're considering large sensor acquisition technology, the obvious choice is a Sony 4K camera," Shapiro said. "And for any application and budget, Sony has a 4K solution. That's why we're expanding our NAB theme of Beyond Definition, adding 4K for 2K, 4K for 4K, 4K for all."

Sony 4K cameras are shooting dozens of TV shows including Rake, Masters of Sex, Mom, Community and The Blacklist. Upcoming motion picture projects shot with Sony 4K cameras include Spike Lee's newest movie, Screen Gems' "Think Like a Man, Too," Sony Picture's holiday release of the musical "Annie," "A Million Ways to Die in the West," and "Tomorrowland" -- all shot with Sony F55/65 cameras.

Online networks are also changing the way people enjoy their entertainment content, and Sony 4K cameras are again playing a leading role. Sony's own online network, Crackle, shoots many of its programming on F55s. Sony is outfitting YouTube's new production facility in New York and its facility in Los Angeles with F55s and other state- of-the-art equipment and Hulu's new original series "Deadbeat," premiering this week, is shot with Sony F55s.

Sony 4K technology is also used by the fashion world, for oil exploration, and for medical education and training.

Sony Technology News at NAB 2014

At NAB 2014, Sony is delivering significant upgrade capabilities to many of its products.

For the F55 and F5 4K cameras, Sony is announcing the addition of Apple ProRes on-board recording and the addition of the AVID® DNxHD® codec as future hardware upgrade options for its F5 and F55 CineAlta 4K cameras. The F5 and F55 already offer four choices of recording formats: HDCAM SR, XAVC, 50 MBPS 422, and RAW. Page 2 of 3 At NAB 2014, Sony Unites Products, Systems and Services To Give Content Creators New Ways to Express Themselves; Sony provides end-to-end 4K solutions for profe....

Customers will also have the choice of upgrading their F5 to an F55, with the same imager, color filter array and 4K on board recording and live signal output.

Version 4.0 firmware update for the F5 and F55 provides picture cache recording, user generated 3D LUT support, and many other requested features at no cost.

For the F5 and F55 cameras Sony is also introducing the ENG and documentary dock, a dockable shoulder mount with on board audio control, rear XLR inputs, wireless mic holder and much more.

The F65 also benefits from a powerful firmware update, Version 4.0, which adds wireless streaming to a tablet application, support for live color grading, and importing of 3D LUT's.

Sony's MVS-7000X and MVS-8000X production switchers now have real time 4K processing capabilities, and prior models can also be upgraded. The switchers have a new control panel with a flexible, modular design.

At NAB Sony is featuring Optical Disc Archive, a cartridge housing 12 optical discs and a specialized drive unit, an ideal solution for large-scale, long-term image data archiving. Sony is also introducing a tape digitizing server can facilitate the conversion of tape based assets into optical disc files. Sony is also announcing that the 2nd generation of Optical Disc Archive will achieve 3.6TB capacity, with the 3rd generation achieving high capacity of 6TB.

The Golf Channel is the first U.S. broadcaster to adopt Sony's Optical Disc Archive system.

Sony's "Ci" Media Cloud Services is addressing storage and workflow challenges at many organizations. Over the past year, Ci has been utilized by NBC Universal, The Weather Company, USC Annenberg School for Communication & Journalism, Raycom Media, Producers Guild of America, Turner Broadcasting, Locarno Film Festival, Crackle Productions, Sony Pictures Entertainment, Sony Computer Entertainment Europe, and more. Ci has been leveraged in a variety of ways - from uploading, storing, and sharing 100MB+ media files, review of dailies, and archiving of content to promo distribution, film submissions, and classroom work.

Sony's Vegas Pro 13 is the latest upgrade to its video editing family. Vegas Pro 13 adds a tablet app for remotely reviewing projects with clients and team members, the ability to work with XDCAM Proxy footage using Sony's wireless camera adapter, stronger archiving, and XAVC rendering among other features.

For Sony, NAB would not be complete without a mention of XDCAM. Already a standard from ENG to sports to reality TV, Sony is continuously enhancing its XDCAM line-up and evolving its workflow, in response to the ever- increasing demands of video production professionals, including:

Continued expansion of Professional Disc based products new codecs to match users' storage, bandwidth and quality needs new wireless workflows to move footage from the field to the edit suite faster; a 4K addition - the PXW-Z100 handheld camcorder

Two of Sony's widely used XDCAM memory camcorders -- the PMW-400 and PMW-300 -- will support XAVC this summer through a firmware upgrade that makes them even more flexible in news reporting to program production.

Sony is also enhancing its XDCAM products with wireless workflows and better audio performance. The CBK- WA100 wireless adaptor clips onto a camcorder for new levels of wireless freedom. The adaptor even records its own ultra-light proxy files, which users can transfer via wireless LAN. Sony is advancing wireless mic integration for XDCAM handheld cameras with the Multi Interface, or M.I. shoe, providing a simple, one-step connection between the wireless mic receiver and the camera.

Sony is adding new high performance XCAM products: the PDW-850 XDCAM HD 422 shoulder mount camcorder, PXW-X180 camcorder and the PDW-HD1550 recorder. The new products are equipped with a host of features for greater operational performance. The PDW-850 incorporates a newly-developed 2/3-inch CCD image sensor, and the PDW-HD1550 recorder supports both 3-layer (100 GB) and 4-layer (128 GB) high-capacity Professional Discs. Page 3 of 3 At NAB 2014, Sony Unites Products, Systems and Services To Give Content Creators New Ways to Express Themselves; Sony provides end-to-end 4K solutions for profe....

The PXW-X180 Handheld Solid-State Memory Camcorder features a newly developed 25x optical zoom Sony G Lens with 26 mm wide angle. The PXW-X180 records in MPEG HD422 at 50 Mbps, a format widely preferred by broadcasters and production houses today, and XAVC Intra 4:2:2 and Long GOP, which enables 10-bit sampling for high-definition recording with rich tonal expression. It can also record AVCHDTM and DV. Wireless file transfer of captured files is also enabled to help the workflow.

The PXW-X180 is the first Sony professional camcorder to feature a new variable neutral density (ND) filter. This new device has been developed to electronically control density and enable continuous setting adjustment from 1/4ND to 1/128ND with simple dial operation. Using the filter in conjunction with different iris and shutter speed settings, depth of field and brightness can be adjusted. This allows the use of shooting techniques such as slow shutter shooting as desired in daylight and other bright light conditions.

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SOURCE Sony

CONTACT: Tom DiNome, [email protected]

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Exhibit 35 Sony and WGBH Boston Launch Public Media Management; Revolutionary New System Created to Serve Public Broadcast Needs

PR Newswire April 13, 2015 Monday 3:27 PM EST

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Sony Electronics and flagship PBS station WGBH are launching Public Media Management (PMM), a first-of-its kind centralized media management and content distribution service that gives public TV stations new tools to engage with their communities now and into the future. The new cloud-based service went live on April 1, following a year-long pilot program between the two organizations.

"This new system is designed specifically by WGBH and Sony to allow public broadcast stations to serve their audiences with much greater efficiency and flexibility," said WGBH COO Ben Godley. "With PMM we can minimize the expenses of master control and focus on our mission of community engagement, providing content when, where and how audiences want it as we move into the future."

The PMM service uses the latest cloud computing and network services, and a range of proven Sony technologies including Media Backbone Enterprise Management System, Ci Cloud and Optical Disc Archive that have a track record supporting leading companies in broadcast, production, entertainment, sports, corporate and more.

"These technologies will be used together in new ways as part of PMM, empowering public TV stations to tap into more flexible, reliable and secure approaches to content management," said John Studdert, vice president, sales and marketing, Sony's Professional Solutions Americas. "It's a completely new way of looking at traditional programming models that has the potential to transform an organization."

PMM orchestrates the entire content management and distribution processes for a public broadcaster's programs -- from transcoding, ingest, and quality assurance to content distribution from the cloud to the local station's master control. The station retains control over vital daily operations like scheduling, branding and local programming decisions.

By distributing the full range of PBS content through the cloud, PMM gives users access to browse and manage media from any web-enabled device -- PC, tablet or smartphone -- through the Sony Ci media management platform.

"A great deal of thought went into designing and building this system to provide stations with solutions for today, but also to meet the challenges of tomorrow," said Stacey Decker, WGBH Chief Technology Officer. "We are thrilled to be working with Sony to create a system that will benefit public TV stations and enhance their service to audiences."

PMM replaces the stations' existing master control with new technology for a low monthly fee, alleviating capital expenditure burdens for public broadcasting stations that struggle with limited resources. The PMM's monthly fee also includes labor, service contracts and software updates, further reducing expenses for the station. Page 2 of 3 Sony and WGBH Boston Launch Public Media Management; Revolutionary New System Created to Serve Public Broadcast Needs

The PMM service is made possible with the Network Operations Center (NOC) located at the WGBH facility in Boston. The NOC captures national PBS content, conducts automated quality control, adds necessary metadata and uploads the content to the cloud. The facility is equipped with high levels of redundancy to ensure no single point of failure. The NOC also provides 24/7 exception monitoring of low-resolution return video. In addition, Sony's SystemWatchsm network monitoring technology continuously monitors the health of a station's PMM hardware and software, as well as the environmental conditions affecting system performance.

At the node, the system's replacement master control technology at the station, the system automatically pulls national content down from the PMM cloud to the local station by simply entering the event into the station's Myers ProTrack traffic system. Local content stays local, assuring fast turnaround times and the ability to get on air quickly.

The Node technology includes new routing, automation and graphics tools to improve the station's on-air look. PMM also provides on-site storage for 10 terabytes of content (approximately 30 days of programming) to safeguard against data feed disruptions.

Cloud distribution for PMM is hosted by Amazon Web Services (AWS(TM)), with Sony's(TM) Ci cloud collaboration software operating as the front end.

The PMM service also includes technologies developed by leading players in the broadcast and content production industries, including:

Crispin automation Harmonic(TM) MediaDeck(TM) 7000 broadcast video server Myers ProTrack traffic software, familiar to many PBS stations Utah Scientific(TM) 3G/HD/SD SDI router with 20 inputs x 20 outputs, BPS panel control Aspera file acceleration 100 Mbps system for best-of-breed efficiency and intelligence in HD file transfer, hosted on redundant HP® ProLiant(TM) servers. Wohler(TM) audio/video monitoring with analysis tools and Dolby® support. Evertz(TM) remote STB monitoring. Evertz H.264/AVC Pro+ Alarm Monitoring. Cisco(TM) Catalyst(TM) redundant switches TRIPPLITE(TM) KVM System

About WGBH

WGBH Boston is America's preeminent public broadcaster and the largest producer of PBS content for TV and the Web, including Frontline, Nova, American Experience, Masterpiece, Antiques Roadshow, Arthur, Curious George and more than a dozen other prime-time, lifestyle, and children's series, reaching nearly 75 million people each month. WGBH also is a major supplier of programming for public radio, and oversees Public Radio International (PRI). As a leader in educational multimedia for the classroom, WGBH supplies content to PBS LearningMedia, a national broadband service for teachers and students. WGBH also is a pioneer in technologies and services that make media accessible to those with hearing or visual impairments. WGBH has been recognized with hundreds of honors: Emmys, Peabodys, duPont-Columbia Awards and Oscars. Find more information at http://www.wgbh.org.

About Sony Electronics

Sony Electronics' Professional Solutions Americas group develops and manufactures video and audio technologies for a range of professional production applications - These include broadcast television and motion picture production, live event production, event videography, ENG/EFP, digital cinematography, digital cinema, videoconferencing, medical, visual imaging, digital signage, remote system diagnostics and monitoring, and IP surveillance and security. Sony professional technologies are used in a range of market segments including houses of worship, government, healthcare, and education.

Logo -http://photos.prnewswire.com/prnh/20140206/LA60150LOGO

To view the original version on PR Newswire, visit:http://www.prnewswire.com/news-releases/sony-and-wgbh- boston-launch-public-media-management-300064937.html Page 3 of 3 Sony and WGBH Boston Launch Public Media Management; Revolutionary New System Created to Serve Public Broadcast Needs

SOURCE Sony Electronics

CONTACT: WGBH: Jeanne Hopkins, 617-300-4363, [email protected]; Sony: Tom Di Nome, 201-930- 6357, [email protected]

Load-Date: April 14, 2015

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Exhibit 36

Exhibit 37 SONY at NAB 2016 - Definition

https://definitionmagazine.com/features/sony-at-nab-2016/[2/10/2021 8:53:04 AM] SONY at NAB 2016 - Definition

https://definitionmagazine.com/features/sony-at-nab-2016/[2/10/2021 8:53:04 AM]

Exhibit 38 NAB Agreement With Sony Brings Flexibility Back to Music Streaming

JD Supra October 27, 2016 Thursday 6:31 PM EST

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Oct 27, 2016( JD Supra: http://www.jdsupra.com Delivered by Newstex) The NAB has negotiated a waiver agreement with Sony Music Entertainment that will once again enable radio stations to stream Sony-licensed music unhindered by certain restrictions established by the statutory music streaming license. Stations wishing to take advantage of the Sony waiver need to opt in on the NAB website[1], and (depending on the amount of streaming they do) may need to place a button on their websites or apps to enable listeners to click through to purchase Sony song downloads. A previous waiver agreement with Sony, as extended, expired on July 31, 2016, leaving stations without a waiver for the past few months.

NAB's new agreement with Sony will last until December 31, 2020. In a related action, NAB negotiated an extension of the existing waiver agreement with Warner Music. That extension will last until September 30, 2019. When it comes to music licensing, broadcasters generally are familiar with ASCAP, BMI and SESAC—performing rights organizations to which stations pay royalties to compensate songwriters and music publishers for the right to play music compositions over the air and via digital streaming. With respect to streamed music, however, stations must also pay royalties to the owners of the digital sound recording rights and to the recording artists. Under the Digital Millennium Copyright Act of 1998, a statutory license was created for the performance of sound recordings over the Internet (i.e., streaming). In addition to paying royalties through Sound Exchange, the statutory license imposes limitations on streaming that must be observed by stations streaming sound recordings if they have not entered into separate licensing agreements with the music labels. Under the new Sony waiver agreement, certain of those restrictions are lifted with respect to music for which Sony, one of the 'big three' music labels, holds the rights. Specifically:Programming Restrictions: The statutory license limits the number of times a webcaster may transmit music from a specific artist, album or boxed set during a three-hour period of time (known as the 'sound recording performance complement'). Generally, within a three-hour period, a station may stream (i) no more than three songs from a single album (and no more than two such songs consecutively), and (ii) no more than four songs by a single artist or from a boxed set of albums (and no more than three such songs consecutively). The new waiver agreement will allow radio stations to stream up to half of an album during a three-hour period. Prior Announcements: Under the statutory license, stations generally are prohibited from making announcements as to the time a particular song will be streamed. The Sony waiver will permit greater flexibility in making prior announcements as to music to be streamed. Although it does not permit a station to announce the specific time a song will be played or to set out a specific programming schedule, it does allow stations to promote a program featuring a specific artist or artists at a specific time where the program is recurring or is in the nature of a tribute or documentary. Identification of Song, Artist and Album: The statutory license requires that while a song is being played, the station must identify textually, by displaying on its website or the device used to play the music, the song, artist and album. This will still be required under the Sony waiver, but exceptions will be made for occasional or inadvertent failures to comply. Ephemeral Copies: Under the statutory license, ephemeral copies of sound recordings (i.e., temporary copies made to facilitate the streaming process) must be destroyed within six months. The Sony waiver eliminates this requirement.Stations that wish to take advantage of the Sony waiver and that stream more than 80,000 Aggregate Tuning Hours of music per month must place a prominent 'buy now' button on their website, player or app in order to allow music listeners to purchase a song through a Sony-authorized Page 2 of 2 NAB Agreement With Sony Brings Flexibility Back to Music Streaming download store (e.g., iTunes or Amazon), and in some cases may need to limit their streaming to the United States. An 'Aggregate Tuning Hour' is basically one hour of music streamed to one listener over one channel. The waiver applies only to 'AM/FM Streaming' by 'Broadcasters,' which consists, with a few exceptions, of simultaneous non- subscription transmissions over the Internet of over-the-air radio programming. In other words, Internet-only webcasters need not apply. The Sony waiver is the latest in a series of agreements NAB has entered into over the last several years under which music labels have agreed to waive certain of the provisions found in the statutory license. In this particular case, however, the agreement will not help you unless you proactively opt in at the NAB website[2]. [ 1]: http://www.nab.org/sites/sonywaiver/ [ 2]: http://www.nab.org/sites/sonywaiver/

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Exhibit 39 At NAB 2019, Sony Unveils Products, Solutions and Workflows That Are "Powering Today and Transforming Tomorrow"; Sony is Strengthening its Commitment to the Media Industry's Needs, Making 4K and 8K Resolution, High Dynamic Range, High Frame Rate, IP and Cloud Even More Accessible

PR Newswire April 7, 2019 Sunday 5:00 PM EST

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PR Newswire

NAB Show Booth #C11001 -- At NAB Show 2019, Sony is showcasing new solutions developed and designed collaboratively alongside media customers to creatively and cost-effectively bring their vision to life. From broadcast and sports to faith and content creation, Sony is championing the latest technology with the tools and support that empowers professionals. The most recent example is Sony's newly announcedHDC-55004K/HD HDR live camera system.

As the media industry undergoes a transformation, visitors to Sony Booth #C11001 will see a focus on two core areas: content value and workflow efficiency. Content value will be demonstrated through 4K, 8K, high dynamic range (HDR) and high frame rate (HFR) technology, which supports the creation of valuable, engaging assets. IP and media services offer workflow efficiencies that support interoperability, drive flexibility, provide automation, enhance collaboration and empower global distribution. Together, these solutions enhance creativity and increase options for professionals.

"To meet our clients' imminent demands during this time of significant change, our mission and guiding principle is to work hand-in-hand with our customers to create compelling solutions," said Theresa Alesso, Pro division president, Sony Electronics. "Our new tag line for Sony's professional business is 'Live Your Vision.' This demonstrates the company's commitment to working closely with creators to inspire and enable them to enrich their storytelling capabilities. Based on this vision, we are 'Powering Today, Transforming Tomorrow,' which is our theme for NAB 2019."

Additionally, as broadcasters get closer to deploying the next generation of over-the-air broadcast technology, Sony Electronics will continue to supply prototype televisions, demodulators and application development tools for the growing number of ATSC 3.0 market trials in the U.S.

Crystal LED Display System - "Seeing is Believing"The heart of the booth will be Sony'sCrystal LED display system. It will showcase immersive 8K x 4K imagery that proves "seeing is believing" and demonstrates why leading broadcast and global organizations have standardized on this dynamic visual experience for their most prominent spaces.

Intelligent Media Services- Transforming OperationsSony'sIntelligent Media Servicestransform traditional media chains, unlock more value for richer audience engagement, and provide OTT subscription services for additional digital and linear revenue streams through cloud collaboration, AI, IP, data analytics and software automation Page 2 of 4 At NAB 2019, Sony Unveils Products, Solutions and Workflows That Are "Powering Today and Transforming Tomorrow"; Sony is Strengthening its Commitment to the Med.... capabilities. At NAB, Intelligent Media Services will be shown in a variety of workflows for broadcast operations, as well as Sports and Production workflows.

Ci Media CloudIntegrated AI capabilities supporting object recognition, speech-to-text and facial detection in Sony's Ci Media Cloud to improve discoverability, searchability and provide enhanced transcription. Ci also offers live contribution, streaming and clipping for capturing and watching live streams anywhere. Crispin AutomationCrispin's LoadingDock and FARlink software provide stations with the ability to aggregate program and commercial content from various locations in the cloud and on-prem by using a centralized solution. Combining Crispin's traffic interface and FARlink integration with Sony Ci, station groups have the ability to manage and execute playback of all of their content from the cloud. Media Backbone NavigatorXA content and workflow management solution in on-prem, hybrid and cloud configurations. New features include an improved workflow editor with the ability to schedule workflow execution and native support for additional professional formats, including R3D, DNG, DPX and EPS. XDCAM airA cloud-based service that bridges field-based camcorders with facilities.XDCAM air integrates with Media Backbone Hive, Media Backbone NavigatorX and third-party systems to provide streamlined acquisition workflows. New features include support for audio intercom functionality, HEVC (H.265) streaming, and multi-point distribution streaming.Media Backbone HiveAn integrated news and sports production system, streamlining production workflows from planning to archive. New features include: ST2110 ingest and playout XDCAM air live- stream and file-based workflow integration Powerful HTML5 browser-based editing, including effects, subtitling, 16CH audio and waveforms.

Live Production - For quality and efficiency

4K/HD HDR Live Camera SystemSony's new HDC-5500 is a multi-format live camera equipped with the world's first 2/3-inch 4K global shutter three CMOS sensor. The imager ensures superb image quality in 4K, HD and HDR live production applications. The camera is also capable of outputting 4K directly from the camera using a 12G-SDI interface, enabling 4K field monitoring and 4K / HDR wireless applications. Using with new HDCU-5500 camera control unit (CCU), the system offers Ultra High Bitrate (UHB) transmission, capable of sending two channels of full 4K signals simultaneously, allowing two signals to be sent to the CCU inputs or to send 4K images back to the camera for full monitoring 4K / HDR monitors capability. The new CCU provides 12G-SDI 4K output as standard and a SMPTE ST 2110 IP interface with a hardware option.The HDC-5500 also provides 4x High Frame Rate as standard and offers up 8x HD and 2X 4K with a future software option. The HDC-5500 system responds to the needs of 4K, HDR, HFR, IP and wireless requirements for today's and tomorrow's production needs and will take our customer well into the future. The recently announced HDC-5500 and HDC-3500 systems offer compelling options for flexible and cost-effective migration paths from last generation technology. Live Element Orchestrator and New SDI-IP Converter BoardsSony is enhancing its IP Live Production Solutions with the Live Element Orchestrator, its first system orchestration software to improve production system availability, increase workflow efficiency through more effective utilization of production resources, and to reduce system downtime, thereby improving productivity in content production. Resources can be shared across multiple locations and configurations. Sony's two new SDI-IP converter boards-the NXLK-IP50Y and NXLK-IP51Y (12G-SDI)-offer support for SMPTE ST 2110 standards with optional format conversion and HDR compatibility. At Sony's booth, visitors can see a complete complement of IP Live production products supporting SMPTE ST 2110 in HD and 4K. In addition, Sony's booth will be connected with HyperX eSports Arena, using a network provided by CenturyLink, for remote a production demonstration over SMPTE ST 2110 using Live Element Orchestrator. DWX Digital Wireless ReceiverSony's DWX series digital wireless microphone system is designed for various production types, including live, broadcast, theaters and events. The DWR-R03D two-channel digital wireless receiver includes new features via a firmware upgrade. Updates include: New auto frequency change mode to prevent audio drop outs Auto channel coordination for easy and simple channel setting Output swap function Graphical spectrum analyzer that shows the interference visually CODEC MODE4 for better sound quality

Cinema, CM and Program Productions - Maximum Creative Freedom

VENICE, Digital Cinema motion picture camera systemDesigned exclusively for high-end cinematography, VENICE continues to deliver not only exceptional images, but also complete flexibility, creative freedom and its established Page 3 of 4 At NAB 2019, Sony Unveils Products, Solutions and Workflows That Are "Powering Today and Transforming Tomorrow"; Sony is Strengthening its Commitment to the Med.... workflow to match filmmaker's shooting requirements. Newly released version 3.0 software added two new imager modes: 5.7K 16:9 and 6K (full-width) 2.39:1, as well as X-OCN XT and Cache REC. Version 3.0 software also enables the use of Sony's new portable and lightweight CBK-3610XS Extension System, which allows for cabled separation between the VENICE camera body and image sensor block.In addition, Version 4.0 firmware was recently announced, which adds High Frame Rate (HFR) shooting of 4K 120fps and 6K 60fps with an optional license. Version 4.0 firmware is planned to be available in June. VENICE has been used for principal photography for Sony Pictures' "Bad Boys for Life" and "Peter Rabbit 2" releasing in 2020.BVM-HX310, 31-inch Grade 1 Reference MonitorAnnounced at IBC last year, the BVM-HX310 is being showcase for the first time at NAB. It is ideal for 4K HDR color grading, shading and QC applications. The BVM-HX310 supports wide color gamut, including DCI-P3, ITU-R BT.2020, S-Gamut3.Cine and S-Gamut3. The advanced performance of the TRIMASTER HX panel enables the BVM-HX310 to achieve 1,000 nits of full-screen brightness with a 1,000,000:1 contrast ratio. With consistent and faithful color reproduction over the entire luminance range, it is an excellent tool for digital cinematography and post production workflows. In addition, the BVM-HX310 has useful functions such as User LUT, Quad View and automatic HDR setting by VPID for various workflows.Xperia(TM) SmartphoneSony's Xperia 1 is a 4K OLED smartphone with a 21:9 CinemaWide(TM) 6.5" display. Creator mode (ITU-R BT.2020 support and 10bit* tonal gradation) is inspired by Sony's Master Monitors for accurate color reproduction. Cinema Pro "Powered by CineAlta," provides natural cinematic shooting experiences with expression-based color management pre-sets. *8 bit display with 2 bit software smoothingLMD-A240, LMD-A220, LMD-A170 Professional MonitorsVersion 3 firmware for the LMD-A240, LMD-A220 and LMD-A170 offers HDR production enhancements supporting multiple EOTFs such as SMPTE ST 2084(PQ), ITU-R BT.2100(HLG), S-Log2, S-Log3, S-Log 3(Live HDR) and 2.4(HDR).Switching EOTFs, maximum brightness is automatically set. Already supporting ITU-R BT. 2020, the monitors are capable of accurate color reproduction in HDR with a lower cost than conventional 4K HDR monitors.

News and Documentary Production - New style and Expression

CBK-FS7BK ENG-Style Build-up Kit for FS7 and FS7llSony's popular PXW-FS7 and PXW-FS7 M2 XDCAM camcorders will be optimized for news gathering with the new CBK-FS7BK ENG-Style build up kit and an LA-EB1, B4 lens to E mount adapter. The build-up kit enables ENG like operator experience, while the LA-EB1 allows operators to shoot deep Depth of Field (DoF) with the high zoom ratio necessary for traditional news production. The build-up kit also features an extension unit with a wireless audio receiver slot and built-in wireless capability provides advanced network operation for broadcast usage.UWP-D Wireless Microphone systems With a new compact and lightweight design, the latest UWP-D wireless microphone series offer NFC sync for easy and fast channel setting and supports a Multi-Interface Shoe(TM) (MI shoe) with Digital Audio Interface that achieves high- quality sound with low noise for Sony's PXW-Z280 and PXW-Z190 XDCAM camcorders. The new UWP-D series provides advanced integration with the camcorders for enhanced usability. PXW-Z280 and PXW-Z190 XDCAM handheld camcordersThe PXW-Z280 and PXW-Z190 will enhance their capabilities with Version 3.0 firmware, which includes wireless file transfer with Dual Link connection, file transfer without the use of a mobile app, and support for a Multi-Interface Shoe(TM) (MI shoe) with Digital Audio Interface to enable superior sound and enhanced usability for the new UWP-D wireless microphone series.

Simple and Professional-quality Content Creation for Broadcast, Education, Corporate and Government

BRC-X400 4K Pan-tilt-zoom (PTZ) CameraSony's newest 4K pan-tilt-zoom (PTZ) camera, the BRC-X400, is ideal for cost-efficient content creation, including broadcast applications and shooting in large venues. The camera supports IP and is equipped with NDI®|HX capability with an optional license. When released in the fall, it is planned to be compatible with REA-C1000, Sony's first AI-based video analytics solution. HXR-MC88 HD Palm- sized CamcorderThe new HXR-MC88 palm-sized camcorder enables cost-effective and professional quality HD capture that responds to the growing demands for video content in various scenes including education, corporate and government environments. With a large 14.2 megapixel 1.0-type stacked Exmor RS CMOS sensor, users can capture high-quality images with less noise in both light and dark conditions. The camera also features a Fast Hybrid Auto Focus system for seamlessly capturing motion. Additional highlights include built-in 4 step ND filters and 12x optical zoom, which can be doubled to 24x with Clear Image Zoom while maintaining full resolution using Super Resolution Technology and 48x zoom with Sony's Digital Extender. Page 4 of 4 At NAB 2019, Sony Unveils Products, Solutions and Workflows That Are "Powering Today and Transforming Tomorrow"; Sony is Strengthening its Commitment to the Med....

New Technology for 4K Recording

PZW-4000 4K XAVC RecorderThe PZW-4000 4K XAVC recorder supports XAVC-L422 QFHD 200 recording/playback along with XAVC-I QFHD 300. It also allows for direct playout from SxS memory cards, without ingesting media into an internal SSD, in addition to simultaneous recording to the internal SSD and SxS card. A VTR-like, simple control panel is included, enabling professional users to easy-to-control operations by their familiar and experienced skills.SxS Memory Card and Reader/WriterThe SBP-120F (120GB) and SBP-240F (240GB) are the newest addition to Sony's durable and reliable SxS PRO X Card line-up. Both offer ultra-fast transfer speeds of up to 10 Gbps and enable stable capture of high bit rate content. Used in conjunction with the new reader/writer, SBAC-T40 equipped with Thunderbolt(TM) 3 interface*, enables the transfer of 240GB of video content in approximately 3.5 minutes.

For more information about Sony's latest professional technologies, please visit Booth #C11001 at NAB Show orpro.sony.

About Sony Electronics' Imaging Products and Solutions - AmericasSony Electronics' Imaging Products and Solutions - Americas group develops and manufactures video and audio technologies and solutions for a range of professional applications. These include broadcast television and motion picture production, live event production, ENG/EFP, digital cinematography, and more. Sony professional technologies are used in market segments including media solutions, imaging solutions, education, visual simulation and entertainment, theater, healthcare, and sports. Visit pro.sony for more information.

About Sony Electronics Inc.

Sony Electronics is a subsidiary of Sony Corporation of America and an affiliate of Sony Corporation (Japan), one of the most comprehensive entertainment companies in the world, with a portfolio that encompasses electronics, music, motion pictures, mobile, gaming, robotics and financial services. Headquartered in San Diego, California, Sony Electronics is a leader in electronics for the consumer and professional markets. Operations include research and development, engineering, sales, marketing, distribution and customer service. Sony Electronics creates products that innovate and inspire generations, such as the award-winning Alpha Interchangeable Lens Cameras and revolutionary high-resolution audio products. Sony is also a leading manufacturer of end-to-end solutions from 4K professional broadcast and A/V equipment to industry leading 4K and 8K Ultra HD TVs. Visithttp://www.sony.com/newsfor more information.

*Under certification. Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation or its subsidiaries in the U.S. and/or other countries.

View original content to download multimedia:http://www.prnewswire.com/news-releases/at-nab-2019-sony- unveils-products-solutions-and-workflows-that-are-powering-today-and-transforming-tomorrow-300825773.html

SOURCE Sony Electronics Inc.

CONTACT: Sony, Cheryl Goodman, Corporate Communications, [email protected], 858.942.4079; Allison Mandara, Imaging Products & Solutions, [email protected], 201.930.6032

Load-Date: April 8, 2019

End of Document

Exhibit 40 Sony Enhances "IP Live" Production Solutions with New Live Element Orchestrator and SDI-IP Converter Boards; Sony Empowers Resource Sharing across Multiple Locations to Support Broadcasters in Overcoming Budget and Productivity Challenges

PR Newswire April 7, 2019 Sunday 5:00 PM EST

Body

PR Newswire

At NAB 2019, Sony Electronics will highlight its continued commitment to efficient and powerful IP-based solutions with its range of "IP Live" solutions. Among the new additions to Sony's growing line up of IP-based products will be the company's Live Element Orchestrator, its first system orchestration solution designed to improve production system availability, increase workflow efficiency through more effective utilization of production resources, and to reduce system downtime. Sony is also launching two new SDI-IP converter boards-theNXLK-IP50YandNXLK- IP51Y-which both offer support for the SMPTE ST 2110 standard and optional HDR compatibility.

Sony will be exhibiting atNAB 2019, Booth #C11001 at Central Hall, Las Vegas Convention Center from April 8-11, 2019.

"The biggest challenge facing broadcasters is the pressure to create high-quality content while keeping production costs to a minimum," said Deon LeCointe, senior manager, IP Solutions for Sony Electronics. "Our Live Element Orchestrator unlocks the full potential of our IP solutions by giving broadcasters and content creators the ability to manage and control devices within a facility or across multiple locations, thereby minimizing downtime and maximizing output. With this new solution, we're demonstrating our active investment in next-generation, IP- enabled solutions and creating new ways for customers to take advantage of IP-based infrastructure."

Resource sharing across multiple locationsScheduled to be available in June 2019, the Live Element Orchestrator provides overall system management of an IP-based production system. By supporting major industry protocols, both Sony and third-party solutions will be equally supported. The solution enables a central point for configuration and monitoring with production resources shared across multiple locations.

Sony developed its Live Element Orchestrator in collaboration with Skyline Communications (Belgium). Sony adopted Skyline's DataMiner, an end-to-end management and orchestration solution, as a core technology. DataMiner has been adopted by numerous media companies and organizations globally.

Complete system supporting SMPTE ST2110 in HD and 4KTo support the industry's transition to IP, Sony continues to support open standards and interoperability. At Sony's NAB booth, visitors will see a complete IP Live production system that supports the SMPTE ST 2110 standard both in HD and 4K.

Other equipment supporting the SMPTE ST 2110 standard include: Sony's XVS series of production switchers with 100G IP interface boards; HDC series of cameras; as well as two new SDI-IP converter boards - the NXLK-IP50Y and NXLK-IP51Y. Page 2 of 3 Sony Enhances "IP Live" Production Solutions with New Live Element Orchestrator and SDI-IP Converter Boards; Sony Empowers Resource Sharing across Multiple Loca....

The NXLK-IP50Y provides 8x 1.5/3G-SDI ports (bi-directional) and 2x SFP28 ports for redundant network connection. Alternatively, the NXLK-IP51Y provides 2x 1.5/3G-SDI ports, 2x 12G-SDI ports (both bi-directional). Future upgrades of both converters will offer optional up/down conversion, as well as HDR/SDR conversion. The NXLK-IP50Y will be available in July. The NLK-IP51Y will be available by the end of 2019.

IP Live System Manager supports NMOS IS-04 and NMOS IS-05Sony also works with AMWA to support NMOS IS-04 and NMOS IS-05. Sony's IP Live System Manager supports both NMOS IS-04 and NMOS IS-05 in version 2.2, which is planned to be released in May. This allows NMOS-ready, third-party devices to be controlled through the IP Live System Manager. Sony's new camera control units* will also all support NMOS IS-04 and NMOS IS-05.

* HDCU-5500, HDCU-3500, HDCU-3170 & HDCU-3100

Remote production of eSports tournamentSony will demonstrate IP-enabled remote production of live e-sports competitions. Sony's Live Element Orchestrator will manage an HD IP production demonstration of a live e-sports tournament from the Luxor's eSports Arena in conjunction with a local 4K IP production environment located at the Las Vegas Convention Center. The remote production signals will be transmitted in SMPTE ST 2110 via 10GbE WAVE provided by CenturyLink.

This demonstration presents visitors with an opportunity to experience efficient production using one control system for several productions with minimal downtime. When switching between the two production sites, the Live Element Orchestrator can change the configuration of each respective production resource and seamlessly switch IP networks and system formats.

Global investment in Sony's IP Live Production SystemSony has seen rapid global adoption of its IP Live Production System, with adoption by more than 50 OB trucks/studio systems around the world.

They include the following:

Europe

Portuguese commercial broadcaster SIC (Sociedade Independente de Comunicação) has built Portugal's first IP Live production facility in Lisbon which is one of the earliest large-scale IP Live deployments in Europe - delivered by Sony and its partner Telefónica. The facility leverages the SMPTE ST 2110 suite of standards. The system includes program production, audio, intercom and other functions, plus the integration of Sony's Media Backbone Hive news system at SIC's Lisbon and Porto production centers.

Japan

In December 2018, FUJI TELEVISION NETWORK INC (FUJI TV) broadcast live a women's relay race from Fuji City, Shizuoka, at the foot of Mt. Fuji. With limited space and just a small set-up of IP equipment, FUJI TV's remote production went off smoothly. The system transmitted audio, video, incoming and control signals with a single IP cable to an OB van located in nearby City Hall. The OB van served as base operations for the live broadcast. Hokkaido Cultural Broadcasting Co., Ltd. (UHB) has built a new IP-based routing system that feeds ingest sources to a file-based system based on Sony's IP Live transmission technology - Networked Media Interface. UHB produced an expandable routing system with the capability of future migration from HD to 4K. UHB chose Sony based on the Sony's previous p system development and maintenance on UHB's current SDI-based routing system. UHB also implemented Sony's Media Backbone Hive news solution for an integrated and efficient news production workflow, while maintaining its SDI-based network routing operation.

China

Guizhou province TV built a 4K- and IP-capable OB Truck featuring 14 camera chains as standard and 20 chains as maximum. The system is capable of 4K/HDR production using an IP-based infrastructure that supports SMPTE ST 2110 standard. A simple system configuration and powerful control enabled by IP technology were the key factors in Sony's selection by Guizhou province. The OB Truck will hit the road in May 2019. GUANGDONG Page 3 of 3 Sony Enhances "IP Live" Production Solutions with New Live Element Orchestrator and SDI-IP Converter Boards; Sony Empowers Resource Sharing across Multiple Loca....

RADIO AND TELEVISION is implementing an IP-based studio system in its master studio room for large-scale live studio production. GUANGDONG RADIO AND TELEVISION chose Sony's IP Live Production System based on the system's flexibility to expand channels, its support for industry standard SMPTE ST 2110, cost-effective commercial off-the-shelf (COTS) system and ensured interoperability. The new studio system will begin operation in June 2019. CHINA CENTRAL TELEVISION (CCTV), China's national broadcasting station will have a new 4K/IP OB Truck in September 2019 with 22 camera chains in IP with support for SMPTE ST 2110. Six camera chains will be available with Sony HFR cameras. The OB Truck will be used to live broadcast nationwide programs such as news and other events.

About Sony Electronics Inc.

View original content to download multimedia:http://www.prnewswire.com/news-releases/sony-enhances-ip-live- production-solutions-with-new-live-element-orchestrator-and-sdi-ip-converter-boards-300825776.html

SOURCE Sony Electronics Inc.

CONTACT: Cheryl Goodman, Corporate Communications, [email protected], 858.942.4079; Allison Mandara, Imaging Products & Solutions, [email protected], 201.930.6032

Load-Date: April 8, 2019

End of Document

Exhibit 41 Sony Transforming Broadcast Stations | NAB 2019 - YouTube

https://www.youtube.com/watch?t=47&v=P9GezKn2OEo&feature=youtu.be[2/10/2021 11:16:42 AM]

Exhibit 42 KCRW Builds New State-of-The-Art Media Headquarters

Live Design November 1, 2019

Body

KCRW recently relocated from the basement of a building on the Santa Monica College main campus, to a new state-of-the-art $38-million headquarters at Santa Monica College’s new Center for Media and Design. This new facility is a culmination of 11 years of fundraising, designing, installing, integrating, and training by KCRW staff and the partners involved in the project. At the heart of the design was a $6 million dollar upgraded radio and broadcast infrastructure- built to increase collaboration and provide staff the necessary equipment to bring their station into the digital age.

“The facility included three floors of cabling, not including the rooftop, 1 master machine room, three supporting IDFs, and nearly 20 studio and interview spaces," commented Steve Herbert, Chief Engineer of Broadcast.

At the heart of the project, was VP of Technology at Key Code Media , Edward Locke . Ed and his team of engineers designed all audio-visual and media equipment necessary to satisfy the scope of the project. Each audio console, microphone, satellite transmitter, control room, server, and the studio had to be carefully thought out- ensuring adequate infrastructure was available in each room, that all systems were compatible, and each cable was defined.

“This was a massive project- involving a system integrator that had deep knowledge of a large variety of broadcast, post production, radio transmission, and audio-visual technology. Key Code Media was up for the challenge," commented Ed Locke.

Drawing of one of the three floors within the new KCRW radio station space. This floor alone has 10 on-air, interview, and production spaces used for music and news.

RADIO STATION DESIGN, FUNDRAISING AND INTEGRATION – AN 11 YEAR PROJECT

The preliminary technical design for the new KCRW radio station started in 2012, with Key Code Media winning the $6 million system integration project in 2014. However, it wasn’t until late-2017 that initial cabling and installation of broadcast and audio-visual equipment began. So, what took so long?

KCRW facility had been in their old facility for over 35-years- it was time for a move. General contractors, architects, electricians, and system integrators worked in unison to make sure each piece of the puzzle got configured correctly. Early in the construction process, significant issues arose that ultimately brought construction to a halt, and subsequently continued to introduce ongoing challenges that slowed progress. Page 2 of 4 KCRW Builds New State-of-The-Art Media Headquarters

“Throughout the construction project- even during the general contractor dispute- Key Code Media’s Ed Locke was onsite daily, assessing infrastructure, broadcast services boxes, and electrical conduit was installed properly. Any little mistake made by other contractors could have negatively impacted the network, the custom furniture design, and installation of equipment- there was a lot at stake at every step of this project," commented Steve Herbert.

Another challenge came from the delay in the project. Broadcast technology initially in the 2014 scope was discontinued by the time ordering began in 2017. Technology evolves quickly- delay measured in 'years' creates unique challenges.

“60% of the equipment in the initial design has to be rescoped by the time of the commissioning and installation. With over 1,200 line items involved in this project- each piece of equipment on the list needed to be proven in a connected workflow,“ Ed Locke mentioned with a chuckle.

AUDIO OVER IP (AoIP) NETWORKED FACILITY

Each of the 85+ KCRW employee workstations and audio consoles are networked for sharing and collaboration. The building has 25 studios spaces, including 2 On Air Control rooms, 3 Interview Room clusters, live Audio and Video control rooms, and over a dozen production rooms. Each room could be converted into a multipurpose space, using Audio Over IP (AoIP).

KCRW reporters and producers can all immediately access and manage any Pro Tools or Dalet project on the network from any room throughout the facility. This was a big transition.

“In the past, our on-air space was in one room. You would have our DJ ending a music set- but then immediately rushed out so our news team could start their 11 am talk show. With this new facility, every room is an on-air studio after just a couple of clicks."

There was, however, a problem during the AoIP setup- Avid Pro Tools running on Mac workstations were not natively compatible with the Axia Livewire AoIP network. Adding to the complexity, KCRW did not want to add a digital conversion step in their audio chain.

To address this concern, Key Code Media engineers worked with Axia and Ravenna to deploy a custom configuration that connected ProTools with up to 32 bi-direction audio channels over a single CAT6 cable. This not only enabled KCRW to ditch their legacy ProTools I/O, but it also expanded and enhanced overall workflow capabilities.

ROOFTOP TRANSMITTERS – DOING THE MATH

Of course, this is a radio station. Even with modern streaming, broadcasters still rely on line-of-sight microwave transmitters and calibrated satellite communications. On the roof of the new building, a crane crew was brought in to lift transmission equipment into the sky and get them aligned with transmitter sites and satellites.

“All the transmitters needed to have line-of-site to their sources or destinations. After all previous calculations were complete, we discovered that rooftop support equipment was installed on a platform that was two-feet higher than in the original drawings," commented Ed.

After the roof height change discovery, the Key Code Media team, in collaboration with the building architect, carefully generated 3D models to visualize every piece of equipment. The optimal heights and angles were defined to obtain stable links while avoiding physical conflicts with other rooftop hardware. Understanding the critical nature of this equipment and the need for heavy equipment to be coordinated while classes were in session, there was no choice but get this right the first time. Page 3 of 4 KCRW Builds New State-of-The-Art Media Headquarters

VIDEO AT A RADIO STATION

What is video equipment doing at the KCRW radio station? KCRW is a unique public radio station- providing news, music, and live performance programming. Morning Becomes Eclectic features live performances by a spectrum of well-known and local bands- including artist such as James Blake, Beck, Jungle, Hot Chip, and Leon Bridges. Each music act is streamed on the KCRW YouTube channel, which boasts an impressive 303K followers.

The station had to figure the best way to capture each live performance, with a tight video crew. The final setup- 4k-capable Sony cameras mounted throughout the studio, connected to a video room supported by a Ross Carbonite for switching, Ross Expressions for graphics, Ross Inception for social media feeds, backed by a Ross Ultrix video router. All video content from the performances space is stored on a Studio Network Solutions EVO storage network , where it can be edited in Adobe Premiere Pro or Final Cut Pro by the KCRW marketing team.

The performance studio space also includes grid and floor lights and speakers, mounted PTZ cameras, and a balcony for visiting fans and donors to enjoy the live performances.

A MILLION DOLLAR AUDIO ROOM

The backbone of all MBE music performances is a state-of-the-art audio control room backed by Pro Tools , an SSL C200 console, racks filled with audio processing equipment, Adam Audio speakers, and both MADI and Dante audio distribution. All the equipment in the room got wrapped in custom furniture to make the room feel like mission control for the USS Enterprise.

CONFERENCE ROOMS BUILT FOR COLLABORATION

“We were out of space out at our old basement facility. Each inch was used for an On-air control room or desk space. There was no place to meet. With the new location, we have an open desk layout with several state-of-the- art conference rooms. The ability for us to have small-to-medium size meetings has greatly improved our ability to collaborate," commented Steve.

Each conference room features a networked Crestron touch-screen system, audio systems, and a monitor. The KCRW team has the flexibility of inviting collaboratives to dial-in remotely and share their audio and screens via a zoom session. Each conference room is also in the Crestron network, allowing multiple rooms within the facility to be connected into a single meeting session.

A KEY CODE MEDIA COLLABORATION – FROM START TO FINISH

After six years of design (plus, re-designs), installing hundreds of audio-visual, broadcast, and audio post- production products- it was time to bring the 120 staff members into the new office. 120 staff needed to be trained on new workflows, software, and hardware, such as Dalet Galaxy and ProTools. This training is in addition to the more than a dozen different systems that KCRW engineers needed to learn.

Key Code Media spent several weeks with various KCRW departments providing custom-tailored onsite training on the tools and workflows inside the new facility. Page 4 of 4 KCRW Builds New State-of-The-Art Media Headquarters

“This was a big technology shift for our facility, and it wouldn’t have been successful without properly training the staff on every feature within each tool. What's great about Key Code Education, is that even after the onsite training day(s), we knew that we could pick up the phone and get questions answered quickly at any time. That’s not something you get from any manufacturer," commented Steve.

KCRW SYSTEM INTEGRATION RECAP

Santa Monica Came to Key Code Media with a challenge, to move their 35 year old out of their basement.

As part of a $11 million project, KCRW, the premiere NPR radio outlet in Southern California was moved up from the basement into newly built facilities. The scope of the several year project included full turn key design, engineering and integration services of A large Production Studio and Television Control room, an Audio Control Room, an ADR Studio, Two Radio Control rooms, Three Production Booths, Four Voice over Booths, Seven Edit Suites, Twenty-Eight Classrooms, Three Conference rooms, and a Hundred Eighty seat Auditorium. Integration services include cabling, installation, commissioning, training and an on-going support agreement. This multi-discipline installation has included a wide range of equipment in Live, Post, Automation and Audio.

Load-Date: November 7, 2019

End of Document

Exhibit 43 Member Opt-In | Sony Waiver

http://www.nab.org/sites/sonyWaiver/memberOptIn.asp[2/10/2021 11:06:47 AM] Member Opt-In | Sony Waiver

http://www.nab.org/sites/sonyWaiver/memberOptIn.asp[2/10/2021 11:06:47 AM]

Exhibit 44 Sony Professional Solutions Americas

https://www.youtube.com/c/SonyProfessionalUSA/videos[2/10/2021 03:15:28 PM] Sony Professional Solutions Americas

https://www.youtube.com/c/SonyProfessionalUSA/videos[2/10/2021 03:15:28 PM]

Exhibit 45 Studio Microphones - Sony Pro

https://pro.sony/ue_US/products/studio-microphones[2/10/2021 8:46:37 AM]