A digital media asset ecosystem for the global film industry
Edward Altman is head of the Tata Consultancy Services (TCS) Media & Entertainment practice and its Digital Media Lab in Burbank, and leads the company’s efforts in digital asset management (DAM) and digital asset distribution solution development. These solutions are targeted at the media and entertainment, telecommunications, and retail industries. Edward has 12 years’ experience in the entertainment and consulting industries, and 15 years in financial services. He was CIO at MGM and has worked at Twentieth Century Fox and Paramount Pictures. Earlier, Edward worked in IBM’s Los Angeles banking industry office and in the IT organizations of Security Pacific Bank and First Interstate Bank. He is a member of the Society for Information Management and is the past Chairman of its Southern California Chapter. He is also a member of the Information Systems Associates Program of the Anderson Graduate School of Business Administration at UCLA, where he served as Chairman for three years.
Sanjeev Goyal is solution lead at the TCS Digital Media Lab, and works on numerous solutions opportunities in the areas of digital media distribution, digital asset management, and digital rights management. Goyal has 12 years’ IT consulting experience and has worked in technology and business functions in various industry verticals.
S. Sahu is a writer on IT and business and works in global branding communications for TCS, where he previously created marketing and knowledge content, following six years in ghostwriting, internal branding communications, public relations and media communications. For the first 12 years of his career, Sahu worked as a print design and production consultant for Indian NGOs and SMEs.
Keywords: digital entertainment media assets, services, solutions, ecosystem, enterprise-wide integration, business model, convergence
Abstract This paper is addressed to business and technical decision-makers in the filmed entertainment business worldwide. Based on an analysis of recent and impending changes in the media and entertainment market, it presents the rationale for enterprise-wide digitization in the film industry, proposes that readers view the future from a broader, end-to-end ‘‘solutions’’ perspective rather than from a ‘‘products and packages’’ one, and suggests guidelines to keep in mind while using this information to implement IT systems for the unique needs of the organizations they represent. Tata Consultancy Services Ltd is an independent and neutral IT consultant. This paper therefore avoids making specific mention of the names of software and hardware vendors.
Edward Altman Head, Media & Entertainment Practice Tata Consultancy INTRODUCTION (M&E) industry, according to Services 303 North Glenoaks Some characteristics of the filmed PricewaterhouseCoopers (PwC), is at its Blvd, Suite #850 Burbank, CA 91502 entertainment industry don’t seem to strongest now and will enjoy a window USA Tel: +1 818 333 1655 change — the hallmarks of creativity, of opportunity for the next five years, if 1 Email: quality content and consumer focus. No not more. [email protected] wonder the media and entertainment One characteristic, however, has been
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changing over the years: how human television networks and television and technological subsystems distribution. Over the past five years, representing the creative, content internet penetration, through broadband generation and consumer interaction and related access spends, has grown functions communicate with each more than 22.8 per cent, after the world other.2 Today, the touchstone is discovered the power of the medium in ‘‘anytime — anywhere — any mode.’’ 2000. Globally, the video games market This is revolutionizing the industry and grew at 12.4 per cent in 2002 and, last beginning to affect larger supply chain year, at 11.1 per cent, and will show issues from film production to 16.5 per cent growth from now until distribution. 2009. As for television networks, except in Canada (which has registered positive A CHANGING LANDSCAPE growth throughout), all regional The new landscape is being shaped by six markets, after a three-year global developments. Technological convalescence, recorded very promising convergence is opening up alternative growth figures in 2004 and have set a possibilities for the film industry’s positive trend — a CAGR of 6.0 per growth.3 Some of these lead to mergers cent — that will last at least until the and acquisitions (M&As) which, in turn, end of this decade. For the period 2005– call for collaborative work styles within 9, the 7.4 per cent growth of the global and between the merging businesses and television distribution market will be their potential partners.4 What’s more, marginally lower than this year’s 7.7 per stakeholders in the distribution and cent. delivery of content are using technologies that have opened consumers FUNDAMENTAL CHANGES up to exploring new spending streams.5 In short, filmed entertainment is This has caused release windows to experiencing change at three shrink.6 While developed-world markets fundamental levels: technology, business mature, those in developing countries are conditions and consumer behavior. waiting with their vast population base.7 While technological advancements And, in many economies, which are manifest themselves in the phenomena relatively less exposed to mass of digital transformation and entertainment content, two parallel convergence, business conditions are cultural brands coexist — Hollywood, being forced to change because of and local film and video.8 collapsing release windows, new paradigms in retailing practices and SEGMENT ACTIVITY globalization. And, as the ubiquity of During this period, the global filmed immersive experience and the use of entertainment market, according to customer–consumer analytics to map PwC, is predicted to grow at a 7.1 per relationships become ubiquitous, cent compound annual rate (CAGR) to consumer behavior demands a close $119 bn in 2009. Interesting watch. opportunities will emerge in four closely related segments — internet advertising INDUSTRY TRENDS and access spending, video games, We foresee some critical industry trends:
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. Collapsing release windows will . The retail segment will derive maximum continue, leading to synchronized revenue share. Margins, however, will releases to cinema and home keep declining. entertainment networks in different parts . Filmed entertainment companies will of the world. Worldwide day-and-date find near-real time coordination in releases will similarly grow. marketing activities and swift . Enhanced movie experiences in the form distribution of marketing material of digital cinema will add a new around the world a must-have. dimension to theatrical projection. . Consumer relationship functions will . New avenues and modes of distribution need to practice sharp-shooting. will be devised that will offer the Measuring and forecasting customer consumer multiple options for preferences through deep-mined decision experience of entertainment. support systems will require constant, . Advertising and marketing campaigns dedicated effort. will shift from a mass media approach to . Business support systems with improved highly personalized. workflow, content management, . Advanced digital home technology and a coordination, and openness for digital media explosion will make emerging and future digital media entertainment content prone to piracy. technologies will be a key IT driver for . Lastly, a number of independent the industry. production houses will emerge. ANTICIPATING THE CHANGE BUSINESS CHALLENGES These developments will decide what Film and television companies will face M&E players should do about their business challenges in six major areas: marketing and distribution functions, operational efficiency, content content delivery, release windows, protection, retailing, coordinating digital media asset rights management, marketing and distribution, consumer business models, operational efficiencies, attention and business support. financing and branding. The way for a film production house to start this . Improving operational efficiency and journey — of what Venecia Liu, Gartner reducing cost from production to principal analyst, Media & distribution will be a prime factor on Communications, calls ‘‘understanding organizations’ maps. Today, many of current and future needs leading to an these organizations may be near the extensible open-standards approach for bottom of the corporate governance enabling new applications’’ — is by ladder9 and, without financial discipline, ensuring that IT seamlessly integrates its a high-tech industry like M&E could content management systems with the find financiers shying away from management of workflows, storage, investing in them, as they did with management information, customer telecoms.10 relationships, rights management and . Effective anti-piracy and content supply chains — in sum, to set up what protection measures will impact revenue Gartner has called an ‘‘ecosystem’’ for and profitability significantly, especially digital media assets).11 (To express ideas in international markets. as simply as possible, for the rest of this
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paper we will call these ‘‘digital assets’’ processes that let management, or ‘‘digital media assets.’’) employees, suppliers, partners and customers interact seamlessly — a business enabler that research shows is TAKING CUES FROM THE increasingly critical.13 EXTERNAL ENVIRONMENT For business users to decide on an IT ecosystem for the organization’s digital THE ‘‘PACKAGE’’ APPROACH media assets, therefore, a company’s Current thinking in IT systems for management needs to decide on its digital asset management (DAM) target markets, cultural contexts, follows package implementation. country regulations, organizational However, this approach, although alliances, distribution channels and simpler to execute at face value, allows business models. These help define the organizations to automate only certain critical stages of the lifecycle through functions, eg content creation, storage, which the media assets of the enterprise and cataloguing. Some questions are typically pass. Technology proves its never answered, such as: ‘‘How do I efficacy as an enabler, once the repurpose the same footage for theatres company’s business strategy is known. and mobile handsets in one go?’’, ‘‘Why An organization can then go about can’t editing staff bookmark stills from determining the IT strategy best suited the trailer for the ad campaign while to its needs. they’re at it in the studio?’’ or ‘‘When we know how big the televisions are, how come our cable guys complain that MOVING FROM SILOED TO the subtitles go off the screen?’’ REAL-TIME SYSTEMS Many filmed entertainment companies have at least two things in common THE ‘‘INTEGRATION’’ with knowledge organizations. Their APPROACH bread and butter come from ‘‘soft’’ Other questions have traditionally not assets. Yet their vital information is been asked. ‘‘Can I forecast cash flows scattered12 and not controlled, more for next year, based on the last three often than not, in desktop PC folders, years’ data on payments and emails, spreadsheets and text documents; receivables?’’ (Yes, you can.) ‘‘I have a filing cabinets filled with paper feeling this director and this studio are printouts; standalone high-end overcharging me.’’ (Sure. Your workstations, etc. Why? Simply because workflow should log time-spends on their IT systems don’t work together in footage, and your database queries real time: verticals (motion pictures, should show you computed dues.) television distribution, home video, etc) Spreadsheet-based tallies take intensive operate in silos. Pan-enterprise effort to be made comprehensive. integration, however, not only nudges Database applications that come bundled up the top line (revenues) but reduces with small-office software suites and are the bottom line (costs) as well. It enables made for individual users on a company collaboration through automated intranet do not cater to the multiple
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needs of a medium-sized production DAM IN FILMED house, far less the gargantuan ones of a ENTERTAINMENT TODAY: THE conglomerate. Clearly, the package NEW PARADIGM approach hinders decisions on larger The ‘‘anytime — anywhere — any issues, which can sink or save millions. It mode’’ paradigm in filmed assumes that departments in the same entertainment has resulted in significant company don’t need to communicate changes in the film and television collaboratively but only one-way, as the industry (Figure 1), which begs content moves from shoot to studio to exploring multiple business avenues for home video to the networks. content. Hollywood is rapidly going global. Sizeable revenue shares in cinema CREATING FRAMEWORKS releases now come from the international market. Home DAM ecosystems are derived from the entertainment is at the top of the charts. technology frameworks undergirding With fatter broadband pipes and the strategies and operations of the higher-speed mobile networks, new organization that is treated as a single distribution mechanisms are falling in enterprise. The frameworks constitute place. Digital media are fast carving a the architecture, design, programming, mainstream position in Hollywood. An implementation and support of the IT examination of the restructuring in the solution built and, in instances where filmed entertainment industry obviates legacy systems must be factored in, the need for enterprise-wide DAM reengineering and migration solutions by which media content, components also. whether video, audio, still image or text-based, may be securely ingested, ENTERPRISE DAM processed, cataloged, archived, The real value and return on investment managed, preserved, distributed and from enterprise DAM can be estimated integrated with different enterprise-wide when assets are tracked at every stage of systems so that IT yields the maximum the DAM eco lifecycle. What’s more, pay-offs. the valuation is not limited to content alone; it can be extended to include linkages and derivations between rules, YESTERDAY’S POINT rights, usage and financial value at each SOLUTIONS point. Companies that have invested in DAM used to constitute point solution- business process management (BPM) based implementation, ie independently software reasonably expect to achieve done by different departments within greater efficiencies, higher productivity, the same enterprise. Most digital asset improved service, reduced costs, initiatives were the lookout of the IT increased agility and adaptability.14 To function of the department. The starting these benefits, M&E companies looking point would willy-nilly be small, to use BPM software should add the tentative package implementations. The ability to keep pace with new regulatory result was that multiple DAM systems requirements, hitherto a deterrent for coexisted, sometimes with overlapping such investments. features.
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Departments/ Digital Asset Management Enterprise Application Users (Logical View) Stacks
Film Production - Assets Creative (Production Dailies, Stills, Services/Production Scripts, Rough Cut) Production Locations/ (Brand Assurance, Editing,
Post-Production- Facilities Mastering, Duplication)
Director/Producer N O I T E G R A T I O N Production Assistant Post-Production - Assets /Editor Rights Management (Editing, Special Effects, (Contracts Management, Animation, Dubbing) License & Rights
Film Studios Management, DRM, Executives Reconciliation) Production/Post-Production Motion Picture - Assets Marketing/Publicity (Marketing Content, Digital Legal/Accounting Marketing/Advertising Cinema, Physical Media) (Campaign Management,
Asset Usage Analysis, Marketing/Distribution Office Customer Analytics)
Marketing/Campaign team Home Entertainment Assets (DVD, VHS, Blu-Ray, Cable/TV, Sales & Distribution Marketing Content) (Billing, Customer Care, External Agencies Rights & Permissions, Talent Agencies Subscription Mgmt) DVD Authoring Facilities Digital Media - Assets
(Streaming/Download Media Broadband/Mobile Consumption)
Figure 1: The ‘‘anytime — anywhere — any mode’’ schema in filmed entertainment
TODAY’S LACK OF 1 Multiple DAM packages, instances INTEGRATION and technologies, which show up in Most current DAM products are more broken workflows and semi- self-contained and have most enterprise automated processes. How does one content management- and rich media- improve operational efficiency and related features. Automation in the reduce cost? M&E industry, however, is a very recent 2 Lack of digital rights management initiative. Therefore, no functional (DRM) system interoperability in product implementation demonstrates the face of multiple DRM systems true integration with other enterprise- and players in the market. How can wide systems such as rights new technologies be leveraged management, marketing and advertising quickly and efficiently? campaign management, customer 3 Industry consolidation through a relationship management, royalty corporate merger or acquisition. accounting, etc — the DAM ecosystem. Every M&A initiative means adopting new sets of IT and business ISSUES THE ECOSYSTEM processes and systems. How can we OPTION ADDRESSES quickly bring other IT systems and A digital media asset ecosystem business processes into the approach deals with five key areas: mainstream of the parent company?
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4 New business models to cope with AN ENTERPRISE DAM compressed release schedules and ROADMAP FOR FILMED emerging distribution channels such ENTERTAINMENT as video-on-demand, digital cinema, Rather than looking at a single product and broadband access and mobile or package as a panacea, companies need streaming which, in turn, lead to to look at solutions that encompass the new players and more business enterprise. M&E organizations would models to strategize for. How logically examine classes of subsystems: securely and quickly may these new software components including shrink- opportunities and models be wrapped and custom-built applications, incorporated into the organization’s operating systems, interfaces, practice? middleware and databases; hardware 5 The pressure to stay competitive, components such as workstations, innovative and cost-effective. How servers and peripherals; and networking do you effectively manage, re- components such as cables, routers, etc. purpose and value-integrate among different enterprise applications like THE ECOSYSTEM market analysis and advertising, ARCHITECTURE rights management, creative services We propose a four-layer architecture and production, and sales and (Figure 2) that is tuned so that the DAM distribution? ecosystem drives operational efficiency,
LINES OF BUSINESS Motion Pictures Home Television Emerging Biz & & Production Entertainment Consumer Products Licensing
APPLICATION SERVICES ENTERPRISE BUSINESS SYSTEMS
Digital Daily Digital Rights – Contract Sales Workflow Distribution & Licensing Mgmt & CRM
Marketing Digital Supply Marketing & Billing & Asset Mgmt Chain Advertising Accounting
CORE DAM SERVICES
Security DRM Catalog Distribution THIRD-PARTY EXTERNAL Ingestion Metadata Logging Transformation SERVICES Library Workflow Search Watermarking
CONTENT INTEGRATION DAM REPOSITORY & STORAGE (Media Assets & Associated Business Data)
Figure 2: The DAM ecosystem architecture
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collaboration, business intelligence, a digital media and emerging business, wide range of value-added delivery eg online content, gaming, consumer services, rights access and protection of product licensing, etc. digital media content: BENEFITS OF THE DAM 1 The DAM repository and storage layer. ECOSYSTEM This layer comprises structured and . Improved operational efficiency and unstructured repositories: the core collaboration. Reduced internal costs, where media assets and data reside. effective IT infrastructure usage. The repository could be a . Flexibility — options: buy, rent, develop sophisticated centralized or a in a phased manner, develop based on distributed system. The key function business priorities, etc (an advantage of of this layer is to support content service-based systems). integration (enable disparate content . Integrate with other enterprise systems. sources to look and act as a single Constantly increase the value and repository) and long-term archival versatility of digital content. strategies. . Bring agility to the enterprise by adding 2 The core DAM service layer. This is new business services (eg mobile key to the overall solution map. It distribution) and technologies (eg DRM determines how the organization interoperability). should try to expose core DAM services. This layer is created by combining implementations of HOW DO YOU DECIDE? shrink-wrapped products, custom- Choosing the right ecosystem for your built packages or solutions developed digital media assets depends on your on external, third-party services, eg business goals and strategy, and transcoding, mobile distribution, determining the ‘‘as is’’ status of your digital certificates, etc. organization vis-a` -vis its ‘‘to be’’ state. 3 The application services/enterprise This requires analyzing your business business systems layer. This layer is the and operational needs, which are then backbone of the studio’s business interpreted in terms of functional and applications. It encompasses real technical specs, including the evaluation business systems and uses core digital of all computer-related equipment and asset services, and services from other the assessment of vendors. Because a enterprise business systems. detailed analysis would be beyond the 4 Lines of business. Hollywood studio scope of this paper, we present key businesses are based on revenue- objective criteria only, ie excluding supporting models — motion subjective criteria such as look and feel. pictures, domestic and international theatrical releases, home FUNCTIONAL AND TECHNICAL entertainment, eg DVD, VHS or ISSUES Blu-Ray, domestic or international . Management and administration of the television including ad sales, media asset lifecycle, eg coverage, degree syndication, cable, pay and of granularity, extensibility, ease of subscription television, and new importing content from (or exporting
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to) related enterprise or other Research15 indicates that digital applications and subsystems. technology will change the production . Architecture (languages and platforms process but not destabilize today’s power used, subsystems supported, servers, structures. In distribution, it will also middleware and interfaces required, etc). continue to outweigh costs. . Scalability, in terms of both processing Attempts at automation have power and extension of the network. addressed specific functions in the M&E . Performance, eg built-in optimization, industry till date. As filmed availability of toolsets to enhance entertainment companies beef up their performance without additional strategies for the next round, existing hardware procurement. computerization can be leveraged by . Security (existing frameworks that can consultants seasoned in large-scale, be applied with nominal customization, multi-location IT system integration. encryption algorithms, etc). Components that vendors have created . Implementation, including testing, need mere leveraging in the larger maintenance, enhancements, training and framework of a digital ecosystem for support. film and television media assets. Hollywood has never lacked VENDOR EVALUATION innovation. As PwC puts it, one of the . Financial stability. marks of the M&E industry is that it . Customer references. reinvents itself and capitalizes on new . Existence of global operations (if Yes, forms of consumer spending. In Viacom does the vendor operate in your target Chairman and CEO Sumner Redstone’s markets?) words, ‘‘technologies are always . Degree of technological expertise on changing. And we will adjust, as we different platforms. have in the past, to every new . Delivery model and cost, ie whether technology. The fundamentals will onsite, offsite, nearshore, offshore or a remain the same, though. What drives combination of these. our industry is content and creativity.’’16 . Acceptance of guarantee, warranty and It’s time once again to look at how film penalty clauses in contracts envisioned. and television studios can harness . Client servicing and relationship technology to glean a rich harvest from management ability. the promise of the future. . Use of tools in automating software engineering aspects of the work. # Tata America International Corporation CONCLUSION Halfway through the decade, the M&E References industry around the world, and 1 Information attributed to PwC in this paper is based on: Hollywood in particular, has recognized PricewaterhouseCoopers LLP (2005). the three ways in which the landscape is ‘‘Global Entertainment and Media changing — technology, business and Outlook: 2005–2009’’. consumer preferences. Rather than 2 See, for instance, Saul Berman et al. fragmenting the filmed entertainment (2004) ‘‘Media and Entertainment 2010’’ industry, this has caused consolidation. IBM Institute for Business Value Report.
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3 Technological convergence among the communications and entertainment information technology, telecoms and industries could stimulate further M&As. M&E industries has become a Mergers could take the vertical phenomenon to reckon with. Potent integration and corporate diversification digital film and video content, storage, routes. Merging companies will need to workflow, distribution, delivery and capitalize on certain trade-offs: unifying rights management technologies are the production, distribution and mushrooming. A few of these are purposing of their media assets but MPEG-21-enriched MPEG-4 leaving room for experimentation, compression, high-density DVDs, storage variation and diversity; improving profit area networks, broadband access, margins but satisfying the needs and streaming, P2P, 3G, WiFi, WiMAX, aspirations of groups and individuals Voice Over Internet Protocol, IPTV, through their media products; and triple-play (TV, broadband and fulfilling their own international interests telephony services), and quadruple-play but keeping local cultural sensitivities in (triple-play with cellular services). This, mind. (See Douglas Gomery on M&As, according to Ernst & Young (2005) in the Museum of Broadcast ‘‘Three Industries — One Home?,’’ is Communications website, and Parker, N. bringing new players into M&E, (2003) ‘‘The 30-Hour Day: On Demand spurring established studios to seek for Media and Entertainment’’ IBM additional routes for growth and making Institute for Business Value Report.) collaborative work styles and business 5 New spending streams are getting models imperative. Three years ago, Saul stronger. Subscription TV, home video, Berman forecast that megabrands would the internet and DVD sell-through leverage their reputation in other brought mass entertainment within markets. (See IBM Institute for Business everyone’s reach, thanks to Hollywood, Value, ‘‘Ten Strategies for Survival in always the world leader. And while these the Attention Economy.’’) This is streams will continue to be considerable, coming true. According to The Economist others that have made inroads include (2005) ‘‘The War of the Wires’’; 28th online and wireless video games, online July, companies like SBC, British subscription-based film rentals and Telecom, Verizon, India’s VSNL and downloads, licensed digital music and others may strike deals with Hollywood video distribution to mobile and fixed- in a bid to get out of a tight corner phone users and video-on-demand. PwC created by the likes of Comcast, Skype, predicts that these new spending streams Teleglobe and mobile phone operators. will make up a significant part of the 4 As Walt Disney, Time Warner, Viacom, 12 per cent increase in global M&E News Corp, New World Entertainment, spending in the next five years. DreamWorks SKG, MCA and Universal 6 Going by recent box office launches by — and, most recently, Sony-acquired Paramount, Fox and Warner Bros of a MGM — show, M&As have series of films like ‘‘War of the Worlds,’’ characterized the M&E industry in the ‘‘Star Wars Episode III: Revenge of the USA since the late 1980s. Together, these Sith,’’ ‘‘Mr & Mrs Smith,’’ and ‘‘Batman media conglomerates represent Begins,’’ international day-and-date Hollywood’s film business and releases, wide releases and holiday extraordinary political, economic, social weekend releases are becoming a trend and cultural clout. The technological with Hollywood majors. (The Indian film convergence in the telecoms, industry has staged nationwide releases for
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some years now.) The advantages, says property theft in those geographies will PwC, are several. Chances that pirated continue to affect business adversely, copies will cannibalize box office revenues their governments are taking legal and are limited. International box office technological measures to stem it. (In spending could be stimulated. Receipts fact, large multinationals are setting up are generated sooner. Theatrical runs are R&D centers in those countries, eg India shorter, and films enter the home video and China.) China, South Korea and rental market sooner. There are fewer bad Mexico encourage the Hollywood brand. word-of-mouth fallouts, and poor results Local films are making a sizeable in some markets have less adverse contribution to EMEA economies, too spillover in other markets. Hollywood’s — in France, Germany, the UK, Russia, international day-and-date releases have Poland, Turkey, Italy and Ireland. In worked well in Europe, the Middle India, Japan, Malaysia, China and South East and Africa. In Mexico, a wide-release Korea, local films are already playing a strategy proved successful in 2004. key role. In Singapore and Taiwan, they 7 PwC finds consumer spending in the are being encouraged. Latin America, in USA slowing, while in Eastern Europe, general, and Mexico, in particular, Latin America and developing countries encourages local films. This localization is in Asia, it will more than double in the backed by financial incentives from the next five years. Technology is pushing state in many of these countries. prices down. Developing economies are 9 See the presentation by Gistics (2004) thus becoming promising destinations. ‘‘Beyond the Repository: Key Investment in cinemas is increasing in Developments and Trends for Digital EMEA (Italy, Russia, Israel, and Asset Management.’’ Denmark), Asia/Pacific (India, Japan, 10 See Ernst & Young (2003) ‘‘Breaking Malaysia, China, South Korea, and Away: Leading the Telecommunications Singapore) and Latin America (Mexico, Turnaround.’’ Brazil, and Argentina). Asia/Pacific is 11 Liu, V. (2004) ‘‘The MAM Ecosystem: expected to be the fastest growing M&E Understanding the Framework for consumer base for the rest of the decade MAM Adoption.’’ Gartner, November. — and the proactive economies 12 See Kingstone, S. (2003) ‘‘Business mentioned are in fact investing in digital Reality of the Mid-Market Real-Time or high-end screen infrastructure. Ernst & Enterprise’’ Yankee Group Report. Young (E&Y) notes that the middle 13 Fontaine, M., Parise, S. and Millen, D. classes in India and China, for instance, (2003) ‘‘Using Collaborative who are consumer markets, are rapidly Environments to Transform Your swelling to 200 million and 60 million, Organization’s Business Processes’’ IBM respectively. (See Ernst & Young (2005) Institute for Business Value Study. ‘‘Promoting Entrepreneurship and 14 Quigley, P. (2005) report on Investment in the Emerging Markets.’’) AccountingAndFinance365.com. 8 Marketing established brands in these 15 Eliashberg, J., Elberse, A. and Leenders, growing economies, say PwC and E&Y, M. (2005) ‘‘The Motion Picture Industry: is pragmatic. Native companies in China, Critical Issues in Practice, Current Russia, India, Brazil and other countries Research & New Research Directions’’. are quickly evolving into global Draft research paper. competitors who cannot be ignored. 16 Accenture (2004) ‘‘The King of Although piracy and intellectual Content.’’ Outlook, June.
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