China bookstore growth fueled by visible enchantment, social media visitors

Visitors take photos and read books in Shenzhen on November 13, 2021 at a Zhongshuge bookstore, a chain known for interior design.

VCG | Visual China Group | Getty Images

BEIJING – Social media is so important to Chinese consumer goods companies that visual appeal tends to be a priority for a number of new bookstores.

Elaborate interior designs – sometimes reinforced by mirrors – not only have caught the attention of “Architectural Digest” but also young Chinese looking for new experiences.

“The Chinese consumer, especially the post-90s [generation]”They want convenience, they want new things,” said Derek Deng, partner at Shanghai-based Bain & Co. who heads the company’s consumer goods practice in Greater China.

“They covet the products [that] not only satisfying their functional needs, but also addressing their emotional needs, “he said,” whether it is something you can show your colleagues, something you always find joy in, or something you simply need makes it easier for you to blend in. “

Shopping malls noticed. Instead of signing contracts with large department stores to make them the main draw for customers, malls have turned to coffee and tea shops, finely crafted bookstores, Showrooms for electric cars and other trendy stores, said Jacky Zhu, research director for western China at JLL.

“You can increase pedestrian traffic. You can increase pedestrian traffic for a specific customer, ”he said. This is so much the case, he added, that malls make bookstores pay a third or a quarter of the rent of a clothing or cosmetics store.

In addition to visually appealing interiors, many bookstores in China sell coffee, stationery and gift items. Nostalgia for the China of past decades is a popular topic.

One of Mia Huang’s favorite bookstores is a shop in a traditional four-walled Beijing courtyard. The shop displays a lot of historical items like bicycles and door signs, and has a public reading area, she said.

Huang, of the post-90s generation, said she quit her job at an internet tech company in 2019 to become a full-time travel blogger – and share comments, photos, and videos about her experience.

This building in Beijing, China, was built in 1907 as the city’s first Anglican church, but has long since lost its religious functions and was converted into a bookstore before this photo was taken on June 21, 2019.

Jason Fan | Barcroft Media | Getty Images

Another of Huang’s favorite bookstores is one converted from a church building in Beijing.

“A lot of people go there to ‘check in,’” she said in Mandarin, referring to a trend where people visit places they’ve seen on social media and then take their own photos to prove they are were there.

Going to bookstores isn’t really intended for buying books, she said, noting that many of the stores have turned into tourist attractions or cozy places to take a break.

Some bookstores in China have become so popular that thousands of people are ready to go hike to remote areas, according to a report by the state-run online publication Sixth Tone from 2019. A village location of the hipster bookstore Librairie Avant-Garde brought, according to a. revenue of 1.5 million yuan ($ 234,375) for the year ended mid-November Report from the state newspaper China Daily.

Read more about China from CNBC Pro

What is less clear is whether the rising interest in visually appealing bookstores means that stores actually benefit from selling books.

Store stock selection often focuses on art and design, while non-book gift items can take up a significant portion of retail space, the reporter’s observations.

In China, tight government control means that titles published or sold in the country do not conflict with censorship. Books by or about Chinese President Xi Jinping are prominently displayed at many bookstore entrances, while the state operates its own nationwide chain of bookstores.

Locals read books at Xinhua Bookstore in Handan, Hebei Province, China on June 13, 2021.

Cost photo | Barcroft Media | Getty Images

Shops called bookstores are still open.

According to Qichacha, a company database, more than 40,000 new bookstore-related businesses have registered in the country every year since 2017. For that year through November, 39,000 new bookstores have registered – a 6% increase over the previous year, the data showed.

These new openings still outperform the annual closings of around 10,000 or more bookstore-related stores, the database shows.

A model walks the catwalk at the LEDIN collection show by Chinese designer Wang Dongyang during China Fashion Week 2020/2021 A / W Collection at Page One Bookstore on May 6, 2020 in Beijing, China.

Sheng Jiapeng | China Intelligence Service | Getty Images

However, in the digital age, bookstores have never been easy business, and the prestigious bookstore chain Yanyouji faced financial difficulties this fall Started an online discussion about the future of photogenic bookstores. It reflects the difficulty of running a business even after it has gained prominence on social media, and exemplifies a trend in the fast-growing Chinese consumer market.

Of the 46 Chinese consumer brands launched in 2018, only 17 are doing well this year, analysts at Bain and Kantar Worldpanel found in a report released earlier this month. In the makeup space, 30% of the brands launched in 2016 have been phased out, the report said.

China’s new consumer brands in recent years have tended to use online e-commerce and social media channels to make a first wave of traffic, Deng said. He found that digital data on consumer trends is helping new brands quickly test and customize their products.

A look inside TSUTAYA bookstore on March 29, 2021, Xi’an City, Shaanxi Province, China.

Cost photo | Barcroft Media | Getty Images

However, it is more difficult for these newcomers to find a second growth channel, which usually requires expansion into the more complicated world of physical business and local sales, Deng said.

“What has always been missing is once you’ve recruited [consumers] If they are first buying your product, how can you make sure they keep staying with you? “He said.” The repeat purchase rate has become a major factor for these insurgent brands on the first wave of successes to more sustained growth . “

For a novelty bookstore, that means the photographers will come back and spend money – even if they do Retail sales were sluggish.

Some are bringing in specialist supermarkets, hairdressers, and book authoring events to create a community that can cater to the needs of an entire family or a specific population group, said Zhu of JLL. “From my point of view, I believe the bookstore can survive,” he said. “They can survive because of their changing strategy to adapt to the changing retail market.”

VPM Media Corp. purchases Type Weekly

The weekly Richmond was closed by its owner in September

Released

November 18, 2021



from



Richmond’s Style Weekly ended on September 8, 2021 but was bought by VPM Media Corp., the parent company of public television and radio station VPM.

VPM Media Corp., the parent company of the Richmond-based public television and radio broadcaster VPM, announced Thursday that it has acquired Style Weekly, the Richmond publication that was bought by owner Alden Global Capital in September after nearly 39 years in print has been closed .

Financial terms were not disclosed, and a VPM spokesperson said he couldn’t say which former Style employees would be returning to the release. According to VPMs Notice, In the coming weeks, VPM will resume publishing art and culture and the local calendar of events on StyleWeekly.com and its Facebook, Instagram and Twitter accounts while evaluating the future of print publishing.

“This acquisition not only represents a strategic opportunity for VPM, it is also an opportunity for nonprofit media to innovate and experiment with new business models that could determine the future of local journalism,” said Jayme Swain, President and CEO of VPM , in a statement.

Style published its own announcement on Thursday Twitter: “With the support of VPM and its talented employees, we are ready to go back to work. You should start seeing stories on our website and social media channels from mid-December. “

Style was sold in 2018 by Norfolk-based Landmark Communications Inc. to Tribune Publishing Co. (then known as Tronc Inc.) along with The Virginian Pilot and Inside Business for $ 34 million. In May, Tribune Publishing was bought by hedge fund Alden Global Capital for $ 633 million. In September, Style Editor-in-Chief Brent Baldwin announced on Facebook that the September 8th issue of Style, already on the stands, would be the final. Started as a monthly publication in 1982, Style was later a free weekly newspaper that Richmond dealt with with its sale to Landmark from 1984 onwards.

It was known as an alternative to the two daily Richmonds newspapers – the Richmond Times-Dispatch and the now-defunct Richmond News Leader – and focused on the city’s food, arts and entertainment scenes. In the years that followed, Style also built a reputation for photojournalism and hard news, as well as popular “You’re Very Richmond If” and “Best of Richmond” features.

“Style Weekly has been an integral part of Richmond’s culture for nearly 40 years,” said Steve Humble, VPM’s chief content officer, in a statement. “Over the next six to eight months, we’ll take the time to listen to readers as we develop a long-term strategy and determine how Style Weekly can best serve the community.”

This is a breaking news item that will be updated.

Editor’s Note: Lori Collier Waran, editor of Virginia Business Associate, editor Richard Foster, art director Joel Smith, graphic designer Kira Jenkins, and account manager Toni McCracken have all previously worked at Style Weekly.

Edin Dzeko Has Already Proven That He Fits Inter’s Model Beneath Simone Inzaghi, Italian Media Report

The new Inter striker has already proven to fans and management that he fits in well with Inter’s philosophy and style, according to a report in Italian media today.

As reported by The Gazzetta dello Sport, the Bosnian striker immediately showed that he will be the center of Inter’s attacking game on the pitch as faster players run away from him.

This is what happened on Saturday night with Inter’s first goal in a 3-0 win over Dynamo Kiev. The ball was played with his back to the goal in Edin Dzeko and he instinctively put it to Nicolo Barella, who then scored.

This is a resemblance to the game played by Romelu Lukaku, who is wonderful at stopping the game and drawing others into battle.

Therefore, Edin Dzeko is a logical short-term solution for the sale of Romelu Lukaku to Chelsea.

Missouri begins new fiscal 12 months with file sum of money – Missouri Legal professionals Media

Missouri’s new budget is off to a roaring start, with more money in the bank than ever before.

The state began its 2022 fiscal year July 1 with a general revenue cash balance of nearly $2.4 billion, the state budget office said Wednesday.

That shattered the old record of nearly $1.5 billion for the fiscal year that started in July 1998, though the old high mark was still slightly larger when viewed as a percentage of state revenue received at the time.

State Budget Director Dan Haug said Missouri’s large intake was due partly to the coronavirus. Because of the pandemic-induced recession, the state delayed last year’s deadline for individual income taxes until July 15, 2020, meaning it received two tax payments during the 2021 fiscal year.

Haug said income and sales taxes collections also fared significantly better than expected. The 6.7% sales tax growth indicates that people were shopping more during the pandemic, he said.

“Revenues were really, really good — much, much better than we did anticipate,” Haug said.

In December, state officials had forecast 14% growth for the 2021 fiscal year that ended June 30, Haug said. Instead, revenues grew by nearly 26%.

Like this article? In print and online, Missouri Lawyers Media provides the latest in-depth coverage of the state’s legal community. Start your subscription here.

How the CFO function is reworking media and leisure

The following is a contribution from Stephen Blume, Vice President of Finance at Symphony MediaAI. The opinions expressed are your own.

Historically, media and entertainment CFOs were seen as leaders who managed expenses and always looked for ways to cut overheads. But these views are becoming obsolete.

Media and entertainment CFOs today prepare for tectonic changes in consumption as the pandemic subsides.

The pandemic accelerated the trend towards convenient in-home streaming services that offered a variety of choices. Many media and entertainment companies have acquired new customers at little cost. However, new content and affordable pricing options are required to keep these viewers’ subscriptions.

Media and entertainment companies also need to make sure they define their streaming strategies. Not all of them will have the same reach as Netflix. It will be important to serve niches and develop unique offerings in order to stay competitive in this area.

Stephen Blume

Courtesy Symphony MediaAI

These shifts are why six out of ten CFOs report that the demands on their role have increased since the beginning of the pandemic, requiring real-time forecasting and predictive analytics capabilities.

Technology as a differentiator

The role of CFO in media and entertainment has become increasingly complex. Ad-supported video on demand (AVOD) and other direct-to-consumer models have complicated sales management and data analysis workflows designed for traditional license and sales revenue. Binge and churn subscribers and general customer churn have shifted the organizational focus to KPIs like Customer Lifetime Value (CLV).

The good news is that as this complex ecosystem reacts to the end of the pandemic, revenues are unlikely to decline. They’ll grow at a much slower rate, however, as streamers gained so many subscribers last year. Unfortunately, that also means the cost of customer acquisition is likely to rise as media and entertainment companies compete for market share through promotions and prizes or through mergers and acquisitions, the latter of which have already started deals between them Amazon / MGM and Warner Bros. / Discovery.

This increasingly complex, competitive, and data-driven media and entertainment industry requires CFOs to take on more strategic roles in their companies. You can – and should – develop new skills to deliver strategic value in a landscape that changed dramatically just five years ago. This increasingly also includes a commitment to new technologies.

According to Ernst & Young, 58 percent of executives are from the media and entertainment sectors prioritize Process automation to optimize “low-value but necessary activities in labor-intensive corporate functions”. Gartner continues reported that 75 percent of CFOs expect to invest more time and effort into the implementation of artificial intelligence (AI) in 2021 than in previous years.

Much of the media and entertainment industry has already migrated their infrastructures to the cloud and integrated advanced analytics into their products. Think about streaming platforms, content algorithms, and subscriber behavior tracking. By using the same Skills can accelerate CFOs’ financial intelligence. Those who are able to navigate records for new perspectives and insights can identify revenue opportunities, risks, and operational efficiencies that might otherwise not be visible.

Finance teams can use AI to reduce operational overhead, scale data analytics, and improve decision-making quality with continuously available information. AI-powered insights also empower finance teams to deliver value to stakeholder functions such as marketing, sales, product development, and customer experience.

According to IBM, CFOs in the top performing companies are better at using AI and analytics to perform tasks like earnings analysis, planning, and reporting. The provision of real-time, predictive and highly accurate data greatly increases the value of the CFO when it comes to making strategic business decisions.

Disruption brings opportunities

According to a Financial Management Magazine surveyare turning CFOs from stabilizing companies during the coronavirus pandemic to rebuilding revenue streams. For many businesses, investments in technology and data are vital when they recover. Legacy systems need to be replaced allegedly the number one IT priority among M&E executives in 2021.

Subscriptions shifted from a primary source of income to one of many potential moneymakers. AVOD is projected grow by 11 percent CAGR by 2025. Streaming platforms compete with traditional studios, claiming three of the eight images nominated for best motion pictures at the 2021 Oscars.

At the same time, new challenges have arisen for media and entertainment CFOs in terms of customer loyalty and expansion, contractual and legal matters, and sales and license fees. The pandemic accelerated the social and economic trends that fueled these changes.

A Conviva study found Americans spent 44 percent more time watching streaming content in the fourth quarter of 2020 than a year earlier. And in late 2020, Netflix found that of its more than 200 million subscribers worldwide, 37 million had been added in 2020 – including more than 8.5 million new viewers in the fourth quarter alone. More recently, however Netflix reports weaker than expected revenue growth for the first quarter of 2021 due to the easing of bans and tougher competition in the streaming space. The numbers show that even the most successful media companies need every tool imaginable to keep fickle customers after the pandemic.

Data-driven insights enable CFOs and their companies to determine the content that the most viewers are getting and then analyze those viewers in-depth, such as how many viewers prefer which genres and leads, and other analysis. Equipped with AI to sort mountains of data and generate that insight, CFOs can take control of discussions about actor payments and royalties, license distribution, and advertising fees. Going a step further, these insights will make it easier for CFOs to track new growth indicators. In addition to churning rates, they can and should pay attention to customer lifetime value, average revenue per user, average revenue per content, and the total number of hours spent on their service offering.

time to act

Industry conditions have created immense opportunities for CFOs who can use their data to gain future-oriented insights. Incorporating the same analytical skills into the finance functions of media and entertainment companies will speed time-to-insight and ensure that revenue streams across the organization – marketing, content creation, product development, and more – are aligned. It also provides an opportunity to find growth opportunities.

CFOs still have to play the role of company resource allocation, but now they can have more meaningful investment conversations. You just have to employ the right technology to get them where the insight goes.

International Media & Leisure Storage Market Is Anticipated to Attain $17.87 Billion by 2027: Says AMR

Growing popularity of 4K UHD content, increasing demand for the creation, distribution and conversion of video content, increasing shift from traditional to digital advertising channels, rapid advances in areas such as workflow collaboration, artistic creativity and new distribution models in the media and entertainment industries and the rising Media and entertainment storage demand due to COVID-19 pandemic is driving growth in global media and entertainment storage market.

Portland, OR, June 23, 2021 (GLOBE NEWSWIRE) – According to the report released by Allied Market Research, the global Media and entertainment storage market was set at $ 6.63 billion in 2019 and is valued at $ 17.87 billion by 2027, recording a CAGR of 13.7 percent from 2020 to 2027. The report offers an in-depth analysis of the top investment pockets, top winning strategies, drivers, and opportunities. Market size and estimates, the competitive landscape, and changing market trends.

Growing popularity of 4K UHD content, increasing demand for the creation, distribution and conversion of video content, increasing shift from traditional to digital advertising channels, rapid advances in areas such as workflow collaboration, artistic creativity and new distribution models in the media and entertainment industries and the rising Media and entertainment storage demand due to COVID-19 pandemic is driving growth in global media and entertainment storage market. On the other hand, the high cost of media and entertainment storage solutions is somewhat inhibiting growth. However, it is expected that the increasing demand for storage requirements will open up several possibilities in the near future.

Download sample report (150 pages PDF with insights) from

https://www.alliedmarketresearch.com/request-sample/9107

Covid-19 scenario

  • The worldwide broadcast adapts to the interruptions in the entire content supply chain.

  • On the other hand, however, the majority of the population worldwide are arrested in their homes in order to comply with the quarantine orders. This, in turn, has led to a sharp increase in the demand for streaming services and DVR recording, which has a positive impact on the global media and entertainment storage market. This drift is likely to continue after the pandemic.

Get In-Depth COVID-19 Impact Analysis In The Media And Entertainment Storage Market:

The story goes on

https://www.alliedmarketresearch.com/request-for-customization/9107

The global media and entertainment storage market is analyzed by component, storage solution, deployment type, storage medium, end user and region. By components, the solutions segment contributed more than three-fifths of the global media and entertainment storage market share in 2019 and is expected to be the leader by 2027. The service segment, on the other hand, would have the fastest CAGR of 15.5% in the forecast period.

Based on storage solutions, the direct-attach storage segment generated more than two-fifths of global media and entertainment storage market sales in 2019 and is expected to remain dominant through the end of 2027. Network-attached storage segment would have fastest CAGR of 16.9% recorded throughout the forecast period.

In terms of the region, North America had the highest share in 2019 and generated around two-fifths of the global market for media and entertainment storage. At the same time, the Asia Pacific market would report the fastest CAGR of 18.4% from 2020 to 2027. The other provinces discussed in the report include Europe and LAMEA.

Leading market players analyzed in the global Media and Entertainment Storage Market report include Cisco Systems, Western Digital, Dell EMC, IBM, Microsoft, NetApp, Oracle, Seagate Technology, Toshiba, and Amazon Web Services. These market participants have pursued various strategies including partnership, expansion, collaboration, joint ventures, and others to strengthen their status in the industry.

For purchase request: https://www.alliedmarketresearch.com/purchase-enquiry/9107

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Allied Market Research (AMR) is a full-service market research and management consulting arm of Allied Analytics LLP based in Portland, Oregon. Allied Market Research provides unmatched quality of “Market Research Reports” and “Business Intelligence Solutions” to global corporations as well as medium and small businesses. AMR provides focused business insights and advice to help clients make strategic business decisions and achieve sustainable growth in their respective market areas.

We have professional business relationships with various companies and this helps us unearth market data which will help us create accurate research data tables and confirm the highest accuracy of our market forecasts. All of the data presented in the reports we publish are extracted through primary interviews with top officials from leading companies in the domain in question. Our methodology for obtaining secondary data includes in-depth online and offline research and discussions with knowledgeable professionals and industry analysts.

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Uma Thurman courting Bloomberg Media Group CEO Justin B. Smith | Leisure Information

Uma Thurman dated Justin B. Smith, CEO of Bloomberg Media Group.

The “Kill Bill” star reportedly started a romance with the media mogul after their relationship was mentioned in a New York Times article describing a party at Justin’s home in the Kalorama neighborhood of Washington, DC. Is

The article listed Uma as a Bash participant and the article said she was “with Mr. Smith.”

She also told reporters, “I’m a news lover.”

Prior to his romance with Justin, Uma dated architect Peter Saves while his family was quarantined in the Hamptons last October.

According to a source, the horse met Peter and asked if he could see the dog swimming during his trip to Sag Harbor.

“At the time, Peter didn’t know who the horse was. He was walking on a beach near him that was locally called Long Beach, so he asked him to swim and see his dog.

“I saw his dog swimming and said the horse was fine and now, a few months later, they fell madly in love and wanted to buy a house in the Hamptons together. . “

The actress was also previously married to Gary Oldman and Ethan Hawke. Ethan Hawke has a 22-year-old daughter Maya and a 19-year-old son Levon.

Eight-year-old Luna ‘s mother, who is with ex-fiancé Arpad Busson, was single in her later years as she said it was related to the only character she played in the 2005 film “Prime”. I was talking about something earlier. “Because she knows what it’s like” to be alone. “

She said at the time, “I woke up ten years later, got single many times, and I know what it means to have a plan and think the plan has gone crazy.”

Uma Thurman is dating Justin B. Smith, CEO of Bloomberg Media Group | Entertainment news

Source link Uma Thurman is dating Justin B. Smith, CEO of Bloomberg Media Group | Entertainment news

Leisure Information Roundup: Field Workplace: ‘Within the Heights’ Disappoints With $11 Million Opening Weekend; Actor Ned Beatty has died at age 83 – media

The following is a summary of the latest entertainment news.

Box Office: In the Heights disappoints with $ 11 million opening weekend

“In the Heights”, the acclaimed adaptation of Lin-Manuel Mirandas Broadway show, didn’t hit all the right notes on its box office debut. The Warner Bros. Film generated a decrease of $ 11.4 million from 3,456 US Theaters in the first four days of release, below expectations for the weekend, which suggested the film would hit $ 20 million. “In the Heights” also opened up HBO max, the streaming service from the studio’s parent company WarnerMediaeven though the company didn’t report its digital viewership.

actor Ned Beatty died at the age of 83 – media

Hollywood actor Ned Beatty, known for roles in films liberation, Superman and Network, died at the age of 83, media reports said on Sunday. The Oscar-nominated actor died of natural causes in his The angel at home, told his daughter Blossom Beatty https://bit.ly/3vnpryj The Hollywood Reporter. His agency Shelter Entertainment Group later confirmed the news to other media outlets.

(This story was not edited by Devdiscourse staff and is automatically generated from a syndicated feed.)

International Media and Leisure (M&E) Video Transcoding Market Report 2021: COVID-19 Pandemic has Compelled a Shift to Cloud-based Video Workflows for Distant Manufacturing and Distribution

DUBLIN, 06/11/2021 – (BUSINESS WIRE)–The “The COVID-19 pandemic has forced a switch to cloud-based video workflows for remote production and distribution” Report was added to ResearchAndMarkets.com to offer.

This study analyzes the global media and entertainment (M&E) video transcoding market (the base year is 2020).

Video transcoders are used to convert content from a single input source to a variety of output formats, definitions, resolutions, and file or live formats. This enables video to be delivered to various networked and portable devices.

Video transcoding also refers to the process of converting uncompressed or compressed content to another compressed format or significantly reusing the content, typically in the context of a digital media workflow. M&E video transcoders are sold through direct sales as well as value-added resellers and system integrators.

For the purposes of this study, the editor has identified two main segments of video transcoding – production and multiscreen / video on demand (VoD). Video transcoding customers assigned to the production segment use video transcoding in post production and archiving applications, and the main customers are post production studios.

The Multiscreen / VoD segment comprises pay-TV operators, over-the-top (OTT) service providers, broadcasters and pure internet video services. Typically, multiscreen / VoD transcoding involves creating optimized video streams for unicast or multicast distribution of video to primary monitors, attached computers, devices, and second / third monitors. Video transcoding solutions can be found in hardware, software, and software-as-a-service (SaaS) form factors.

As the digital media ecosystem evolves to incorporate more content and video processing technologies across a wide variety of devices, many vendors are upgrading their video transcoding solutions from hardware to software and SaaS to stay agile and cost-effective, although some older hardware solutions persist consistently on top of that Market. The market saw sales decline due to the COVID-19 pandemic and the budgetary problems most content providers were facing due to global security measures such as social distancing and bans.

The story goes on

However, it is expected to recover over the next 2 years as video transcoding will remain a business critical technology in the M&E space. The fate of the marketplace is tied to improvements in workflow and deployment as an increasing number of formats and devices take shape in this mature domain. Due to mergers and acquisitions, the market has seen fierce competition and the entry and exit of providers.

The study also identifies 3 growth opportunities and discusses the trends and sales related to the Multiscreen / VoD and the product segments and breaks down the sales distribution by form factor.

Key topics covered:

1. Strategic imperatives

  • Why is it always harder to grow?

  • The strategic imperative

  • The Impact of Three Top Strategic Imperatives on the M&E Video Transcoding Market

  • Growth opportunities drive the growth pipeline engine

2. Growth Opportunity Analysis, M&E Video Transcoding Market

  • Scope of analysis

  • Market segmentation

  • Main competitors

  • Important growth metrics

  • Distribution channels

  • Growth accelerator

  • Growth restraints

  • Forecast assumptions

  • Sales forecast

  • Price trend analysis

  • Percentage sales by form factor

  • Percentage sales according to workflow

  • Percentage revenue by form factor and workflow analysis

  • Competitive environment

  • Market share of the top participants

  • Market share analysis

3. Growth Opportunity Analysis, Production Video Transcoding Segment

  • Important growth metrics

  • Sales forecast

  • Sales forecast by region

  • Analysis of the sales forecast

  • Market share of the top participants

4. Analysis of growth opportunities, Multiscreen / VoD Transcoding segment

  • Important growth metrics

  • Sales forecast

  • Sales forecast by region

  • Analysis of the sales forecast

  • Market share of the top participants

5. Growth Opportunity Universe, M&E Video Transcoding Market

  • Growth Opportunity 1 – High-Density Transcoding for Streaming Live Events, 2020

  • Growth Opportunity 2 – Powerful Transcoding for AR / VR / 360 Video, 2020

  • Growth Opportunity 3 – Cloud-Based Video Workflows for Remote Production, 2020

For more information on this report, see https://www.researchandmarkets.com/r/x6vdpg

View source version on businesswire.com: https://www.businesswire.com/news/home/20210611005379/en/

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Rooster Soup for the Soul Leisure’s Display screen Media

COS COB, Connecticut, June 7, 2021 (GLOBE NEWSWIRE) – Chicken Soup for the Soul Entertainment Inc. (Nasdaq: CSSE), one of the largest operators of streaming advertising-supported video-on-demand (AVOD) networks, announced today announced the acquisition of all North American rights to the upcoming thriller GOLD from writer / director Anthony Hayes through Screen Media, in which he co-stars with Zac Efron (The Greatest Showman, Extremely Wicked, Shockingly Evil and Vile) and Susie Porter (The Ape Mask, Freight ). Hayes is known for memorable roles in Animal Kingdom, The Square and The Slap. After a bidding competition among many competitors at the AFM last year, Screen Media prevailed by purchasing the film, which was shot in South Australia late last year and is currently in post-production.

GOLD is about greed and the efforts people make to make a fortune. When two men traveling through the remote desert encounter the largest gold nugget ever found, they must devise a plan to protect and excavate the gold. One goes to secure equipment while the other stays behind to protect the discovery … at all costs. GOLD was written by Anthony Hayes and Polly Smyth and produced by John Schwarz, Michael Schwarz (Danger Close, Killerman) and Hayes. Executive producers are Andrew Mann, Peter Touche, Simon Williams, Paul Wiegard, Will Clarke, Andy Mayson, Nick Forward and Mike Runagall. Altitude Film Sales is handling the international sales for the project. GOLD will be shown in Australia on the Stan streaming service as “Stan Original Film” following a theatrical release by Madman Entertainment.

“It is always a filmmaker’s dream to make a movie and get a major North American release for that film, and bidding wars are even less common,” said Hayes. “It is testament to our film GOLD and to everyone who worked so hard to bring it to life that Screen Media will bring this film to theaters and beyond in North America. It proves that the indie film landscape is alive and well and that distributors and audiences alike have an insatiable appetite for films made outside of the studio system. “

“We can’t wait for audiences to discover GOLD when it hits the big screen next year,” Screen Media said in a statement. “Anthony and Polly have created a dark and unforgettable parable about the perils of the modern world and Zac is the perfect choice to bring this exciting and relentless story to life.”

The deal was negotiated on behalf of Screen Media by Seth Needle, SVP of Global Acquisitions and Co-Productions, Screen Media, with Mike Runagall, Managing Partner at Altitude Film Sales, on behalf of the filmmakers.

Screen Media’s recent acquisitions include Megan Fox thriller Till Death and Mafia thriller The Birthday Cake starring Shiloh Fernandez, Ewan McGregor and Val Kilmer. Recent releases include the critically acclaimed documentary Street Gang: How We Got to Sesame Street, Senior Moment with William Shatner, Jean Smart and Christopher Lloyd, the Bella Thorne Thriller Girl, Simon West’s action-disaster film Skyfire and the Nicolas Cage- Hit Willy’s Wonderland.

ABOUT CHICKEN SOUP FOR SOUL ENTERTAINMENT, INC.
Chicken Soup for the Soul Entertainment, Inc. (Nasdaq: CSSE) operates streaming video-on-demand (VOD) networks. The company owns Crackle Plus, which owns and operates a variety of ad-supported and subscription-based VOD networks, including Crackle, Popcornflix, Popcornflix Kids, Truli, Pivotshare, Españolflix, and FrightPix. The company also purchases and distributes video content through its subsidiary Screen Media and produces long and short original content through Landmark Studio Group, Chicken Soup for the Soul Unscripted, APlus.com and Halcyon Television. Chicken Soup for the Soul Entertainment is a subsidiary of Chicken Soup for the Soul, LLC, which publishes the famous book series and produces super premium pet foods under the brand name Chicken Soup for the Soul.

ABOUT SCREEN MEDIA VENTURES, LLC
Screen Media Ventures, LLC, a Chicken Soup for the Soul Entertainment (Nasdaq: CSSE) company, has acquired the rights to high-quality, independent television series and feature films. Screen Media Ventures acquires worldwide distribution rights through cinema, home video, pay-per-view, free, cable and pay-TV, video-on-demand and new digital media platforms. The company acquires AVOD rights for third party networks and is the primary content supplier for Crackle Plus and other Chicken Soup for the Soul entertainment properties. With a library of over 1,500 television series and feature films, Screen Media Ventures is one of the largest independent providers of high quality television series and feature films to the US and international television markets, cable networks, home video channels and new media. For more information visit: www.screenmedia.net.

FORWARDING STATEMENTS
This press release contains forward-looking statements within the meaning of the federal securities laws. Forward-looking statements are statements that are not historical facts. These statements are based on various assumptions, whether or not mentioned in this press release, and management’s current expectations and are not predictions of actual performance. Forward-looking statements are subject to known and unknown risks and uncertainties including, but not limited to, the risks set forth in the Company’s Annual Report on Form 10-K for the year ended December 31, 2020. If any of these risks materialize or our assumptions prove incorrect, actual results could differ materially from the results implied in these forward-looking statements. These forward-looking statements are for date only, and the company expressly disclaims any obligation or obligation to publicly release any updates or revisions to any forward-looking statements contained herein to reflect changes in company expectations thereof or changes in events, conditions or circumstances which a statement is based.

ALTITUDE MEDIA GROUP
Altitude Media Group is the independent UK-based studio headed by Will Clarke Chairman and Joint CEO with Andy Mayson, consisting of Altitude Film Production, Altitude Film Distribution with managing director Mike Runagall, High-altitude film rental with managing director Hamish Moseley and Height information with managing director Paul Sowerbutts. In February 2020, the US investment group 30WEST acquired a significant minority stake in the group.

Altitude Film Sales’ list includes: ALI & AVA written and directed by Clio Barnard; Survival thriller come out Wolves by Canadian filmmaker Adam MacDonald, SAS: Red notice with Sam Heughan, Ruby Rose, Andy Serkis, Hannah John-Kamen, Tom Hopper, and Tom Wilkinson; son, Horror film by Ivan Kavanagh with Andi Matichak and Emile Hirsch; The power by BAFTA-nominated writer and director Corinna Faith and with Rose Williams; Great white Director: Martin Wilson with Katrina Bowden; Jet ski, directed by James Nunn; documentary Diana from Oscar nominee Ed Perkins; and Chaplin. to hunt BAFTA and Sundance nominated filmmakers Peter Middleton and James Spinney.
@AltitudeSales

INVESTOR RELATIONS
Taylor Krafchik
ellipse
csse@ellipsisir.com
(646) 776-0886

MEDIA CONTACT
Kate hair clip
RooneyPartners LLC
kbarrette@rooneyco.com
(212) 223-0561