Sony Pictures Technologies FY13 Three Year Plan Review · Sony Pictures Technologies – FY13 Three...

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Sony Pictures Technologies FY13 Three Year Plan Review 1 I. Group Overview Vision ………………………………..…...…………………………………………………………………………….. SPTech Showcases: Distribution Backbone, WPF Supply Chain, DECE, 3D, F65, 4K, Screening Room On-line SPTech Genesis, Content Life Cycle and Functional Organizational Chart …………………………………………. Departmental Overviews – Core Functions, Financials & Key Facts/Achievements: Colorworks …………………………………………………………………………………………………… Digital Media Group …………………………………………………………………………………………. Technology Development ……………………………………………………………………………………. WPF – Asset Management …………………………………………………………………………………… WPF – Global Logistics ……………………………………………………………………………………… WPF – Client Operations …………………………………………………………………………………….. Digital Policy Group …………………………………………………………………………………………. Corporate Alliances ………………………………………………………………………………………….. 3D Tech Center ……………………………………………………………………………………………… II. Three Year Plan SPTech EBIT Improvement (Revenue Enhancement & Cost Reduction) Actions .………………………………….. Proposed New Functional Org Chart …………………………………………………………………………………. Three Year Plan Headcount Roll ……………………………………………………………………………………… Other Strategic Opportunities & Considerations …..…………………………………………………………………. V. Appendix FY13 Budget Data ……………………………………………………………………………………………………. SP Technologies Organization Charts ………………………………………………………………………………… DMG Usage Chart …………………………………………………………………………………………………….. Territory Account Growth …………………………………………………………………………………………….. Agenda Page SPE Confidential

Transcript of Sony Pictures Technologies FY13 Three Year Plan Review · Sony Pictures Technologies – FY13 Three...

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I. Group Overview

Vision ………………………………..…...……………………………………………………………………………..

SPTech Showcases: Distribution Backbone, WPF Supply Chain, DECE, 3D, F65, 4K, Screening Room On-line …

SPTech Genesis, Content Life Cycle and Functional Organizational Chart ………………………………………….

Departmental Overviews – Core Functions, Financials & Key Facts/Achievements:

Colorworks ……………………………………………………………………………………………………

Digital Media Group ………………………………………………………………………………………….

Technology Development …………………………………………………………………………………….

WPF – Asset Management ……………………………………………………………………………………

WPF – Global Logistics ………………………………………………………………………………………

WPF – Client Operations ……………………………………………………………………………………..

Digital Policy Group ………………………………………………………………………………………….

Corporate Alliances …………………………………………………………………………………………..

3D Tech Center ………………………………………………………………………………………………

II. Three Year Plan

SPTech EBIT Improvement (Revenue Enhancement & Cost Reduction) Actions .…………………………………..

Proposed New Functional Org Chart ………………………………………………………………………………….

Three Year Plan Headcount Roll ………………………………………………………………………………………

Other Strategic Opportunities & Considerations …..………………………………………………………………….

V. Appendix

FY13 Budget Data …………………………………………………………………………………………………….

SP Technologies Organization Charts …………………………………………………………………………………

DMG Usage Chart ……………………………………………………………………………………………………..

Territory Account Growth ……………………………………………………………………………………………..

Agenda Page

SPE Confidential

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SPTech Group Overview

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Vision

SPE Confidential

Mission Statement:

Identify, develop and adopt technologies to enable the most creative and cost effective means of producing and distributing film and television product.

Recurring Themes: Protect long term asset value

Protect IP Capture and retain enough quality for future standards Protect and restore assets

Technology should be transparent Operating divisions shouldn’t have to worry about technology Should focus on what they do best Technology should be there when it’s needed

Faster, Better, Cheaper Used to have to pick two Now can achieve all three Need to be open to accept the opportunity

We’ve realized this vision for the benefit of SPE in many ways – some of the higher impact initiatives that showcase SP Technologies contributions include the Distribution Backbone,

WFP manufacturing savings, DECE and Colorworks Production Support ……

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Post Production

MarketingPhysical

ProductionLibrary

Distribution

3D Tech Center

Colorworks

Pre-Production

Digital Media Group

Operations

Digital Media Group

Operations

Tech Development

Colorworks

• Production and Post-

Production workflow Development• New Technology/

Format Education and

Training (3D, 4K, etc)• Workflow

Creation/ Automation

• Camera / Rig Tests• Digital Media R&D• Co-development of

Sony Professional/ Consumer Hardware

• Capture Support• Workflow

Implementation• Dailies• Digital Transfers• Content

Management• Digital Asset

Management• Sony Product

Placement• Digital Media R&D• Co-development of

Sony Professional/ Consumer Hardware

• Digital Intermediate

• Creative Editorial• VFX / Cosmetic

fixes• Feature & TV

Editorial• Feature & TV

Finishing • Trailer Finishing• Theatrical DCP

Creation• Home

Entertainment Versioning

• Acquisition Mastering

& Post Production• Digital Media R&D• Co-development of

Sony Professional/ Consumer Hardware

• New Feature Mastering

• Foreign Language Mastering• Stock Footage• Digital and

physical Screeners• Facilitate SPE

Promotional Content

use within Sony Hardware • Co-development of

Sony Professional/ Consumer Hardware

• DRM/Supply Chain/Fulfillment• Film, Disc, Digital Distribution• Metadata Procurement, Creation, Maintenance• Non-Theatrical Language

dubbing, Subtitling

• Negotiate content protection in all WW licensing deals• Next gen content/format dev’t e.g. UltraViolet • Video streaming, transcoding• Forensic Watermarking• Content fingerprinting• Digital Policy Development • New Format Copy Protection/Anti- piracy Standards creation • Represent SPE’s interests in

technology related industry and gov’t entities

• Restoration• Archive• Asset management protection and preservation• Data compliance management

Colorworks

WPF

3D Tech Center Digital Policy Group Digital Policy Group

WPF

Digital Media Group

Tech Development

Operations

Digital Media Group

Colorworks

3D Tech Center

Tech Development

Operations

Digital Media Group

WPF

Tech Development

SPTech and the Content Lifecycle

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SPTech Showcase: Distribution Backbone

SPE Confidential

The Challenge:

The costs of physical duplication and distribution labor, materials and transportation are increasing • The work is repetitive and mechanical

The market has changed from a few large customers to hundreds of customers in a wide range of sizes• Unit distribution volumes are increasing while individual unit market value decrease• Physical distribution systems do not scale economically• The costs of supplying the increased volume through traditional methods would be cost prohibitive

The Solution:

Digital technologies have transformed the creation, distribution and consumption of entertainment media. A change to file-based media deliveries allows the opportunity for an automated workflow In partnership with Sony DADC, the Distribution Backbone was developed to automate the repetitive tasks,

eliminate physical media and transportation costs. • SPE businesses will deliver approximately 80K file-based media assets to our customers this year• Expected to grow to 180K by FY15 (60K related to UltraViolet)• To deliver these 180K files would cost approximately $35M existing 3rd-party offerings, even taking

into consideration the downward pressure on rates, vs. $11M with DBB• After FY16, the cost of using the DBB will drop by an additional $2.6M as the build costs will have

been completely amortized

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SPTech Showcase: Distribution Backbone

SPE Confidential

The Results: 80% of WPF deliveries are currently file-based SPE is on track to utilize the DBB for 35% of deliveries this year and that will grow to near 100% within 2 years The DBB’s ability to meet the shrinking timelines and increased volumes has helped SPT and SPHE fulfill the ever-

increasing demand for SPE product around the world Using the DBB, the cost for delivering 180K files in FY15 will be approximately $11M, saving the company $43M

in costs over the next two years!

* Assumes market rates fall by 10% each year

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SPTech Showcase: WPF Supply Chain Savings

SPE Confidential

The Challenge: Beyond distribution to clients, WPF purchases outsource services:

‒ Dubbing‒ Subtitling‒ Editing for airlines, broadcasting, etc.‒ Ingesting new assets for distribution – audio, video, metadata, rights management data, etc.

Volume and types of requests serviced by WPF are increasing

Technological advances in the industry have created opportunities to dictate workflows and drive cost savings

WPF manages a consolidated supply chain and workflows across divisions, allowing maximum leverage in defining workflows and, with SPE Procurement, leveraging purchasing power to identify potential time and cost saving opportunities

The Solution: Since FY10, WPF and Procurement have undertaken over 20 RFPs

RFPs are regularly renegotiated on a 1, 2 or 3 year cycle. On average, each RFP takes 2 to 5 months and are conducted on a global basis

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SPTech Showcase: WPF Supply Chain Savings

SPE Confidential

The Results: Of the 20 RFPS, 16 have resulted in annual savings of at least $1M Based on actual volumes, the cumulative savings to the title owner since FY10 has been $57M

$57.0

FY10 FY11 FY12 FY13$0.0M

$25.0M

$50.0M

$75.0M

$100.0M

$125.0M

$150.0M

7%

9%

11%

13%

15%

17%

19%

Manufacturing Spend

Actual Spend Total w/o RFP Savings Percent SavingsAnnual Savings Cumulative Savings

FY10 FY11 FY12 FY13 TOTAL

10

15

16

17

RFP Savings(in $ millions)

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SPTech Showcase: Shooting in 4K

Conception Development Operation

The GoalSony’s new F65 camera produces stunning imagery with 45% more pixels than its nearest competitor and a dynamic range of 14 stops

The Skills• Practical experience with shooting

and post for F35, Red Epic, Arri Alexa.

• Workflows for productions from TV to major motion pictures.

• Knowing how directors and DPs use cameras.

Camera Testing• Initial tests with Sony including two

shorts developed Colorworks capability

• Lens tests – spherical and anamorphic

• Comparison tests for SPETechnology Partners

• Work with Sony to improve camera operation.

• Work with FilmLight to produce tools for dailies and DI.

• Work with Otto Nemez (rental co.) on camera accessories and operation

“After Earth”• The Colorworks designed near-set

dailies system deployed in Costa Rica and Philadelphia

• Worked closely with production and Sony on F65 issues (e.g. data loss, fan noise)

• Footage managed and stored on PBB

“Smurfs 2”• Respond to production when

Technicolor near-set dailies had problems

• Footage managed and stored on PBB

The Challenge• New camera.• Large amount of data.• Needs image processing tools.• Develop the skills to assist

filmmakers

Workflow DevelopmentColorworks adds F65 support to near-set dailies systems, establishes workflow on Production Backbone.

EducationPartner with Production to train directors and DPs on the F65..

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SPTech Showcase: Better workflows for F65 productions

Conception Development Operation

The Skills• Extensive practical experience F65. • Workflows for productions from TV to

major motion pictures. • Knowing what a director and DP need

to view on set.

Partner with Screen GemsScreen Gems wanted to shoot with F65 because of camera characteristics and creating a 4k asset.

“No Good Deed”• xxx

“About Last Night”• Shoots in Los Angeles without a DIT• Production is more agile, camera

moves are quicker• DP reports it’s the best footage he’s

ever shot.

Workflow DevelopmentDetermine workflow without a DIT, for example design solution for simple “look” management.

The PropositionThe F65 has more latitude than film so you can shoot with the camera just like you would with film.• No need for a Digital Imaging

Technician (DIT) or a video village• Saves cost, less to move, less

reviewing on set• Reduce lighting costs using available

light.

Camera TestingWork with DP to characterize the camera for the lighting and locations.

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SPTech Showcase: Screening Room On-line(SRO) & Signal

The Challenge: Need to reduce the thousands of physical elements being created / distributed in order to reduce the risk of piracy and lower

costs. The proliferation of mobile devices such as tablets, iPads, iPhones, etc. only adds complexity that needs to be addressed as

end-users request content to be delivered to these devices

The Solution: Use our existing, internally developed digital media repository to supply content through a new interface

‒ The new interface only required a $XX investment The SRO system together with the Signal system can provide a complete screener solution and can be used with all types of

digital media: video, audio, pdf, etc.‒ SRO is a web based streaming application that allows end-users to view content on Pcs, Macs, iPads, and tablets while

connected to the internet.‒ Signal allows for the delivered content to be stored on the local device thus eliminating the need for connectivity

giving the user more freedom to view the content anywhere once it has been downloaded.

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SPTech Showcase: Screening Room On-line(SRO) & Signal

The Results: Screening Room On-Line (SRO)

‒ 600+ users and 6500+ views since June 2012 launch‒ Improved security – screeners are individually watermarked to the viewer to trace back if leaked; video watermarks

can survive camcorder recordings‒ Cost savings – eliminate $1.5M in costs for physical DVD screeners annually for SPT, SPHE, Marketing

Signal‒ Push encrypted content to user’s mobile devices that is controlled centrally with content protection ‒ Currently used by Publicity to provide content to various talk shows ‒ Currently rolling out to SPT Cable Sales clients(60+ users) for theatrical screener content.‒ Currently rolling out to SPT Sales executives(44 sales execs worldwide) for Television content.

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The ResultThe Challenge The Solution

13SPE Confidential

SPTech Showcase: UltraViolet

The State of the Market EST launched but consumers were not

buying. Digital sell-through was broken.

Proprietary digital services (e.g. iTunes, Xbox, PlayStation), lock consumers into a brand diminishing value of EST.

Home Entertainment Electronic sell-through (EST)

transactions are the highest margin.

Open Standards Market needs open standards for digital

distribution similar to DVD and Bluray.

Cross-Industry Support Build consensus across multiple

industries, CE, IT and Content Providers, to support an open market ecosystem and drive proprietary services to an open platform.

The Brand Create a brand (UltraViolet) that offers

consumers a consistent and predictable experience accessing their collections across all UltraViolet services.

The Organization The Digital Entertainment Content

Ecosystem (DECE) was formed to fund the development of an open and interoperable rights locker service that allows consumers to access their digital collections from any Licensed service.

Open Standards Draft and license open specifications

allowing any third party service to offer UltraViolet services and devices

The Timeline• UltraViolet launched Oct 2011• Live in US, UK, and Canada• Live in Australia, New Zealand and

Ireland in 1st Q 2013

The Numbers• More than 45 companies licensed• 7,600+ titles from most major

Hollywood studios • 7 Retailers live including;

Walmart/VUDU, Barnes and Noble/Nook, Best Buy and Flixster

• More than 6.5 million household accounts, and growing

• Can be watched on 200M++ devices in US

Raised Capital Raised $8M in outside financing to

launch UV

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SP Technologies Genesis

Sony Pictures Technologies was formed in 2008 and was primarily created from existing operations / assets around SPE

As a consolidated entity, SPTech is able to provide improved vision, strategy and service to all areas of SPE while optimizing resources and reducing costs

From the original organization, SPTech Operations and WPF have eliminated 11 senior management positions and added only 4, resulting in an annual net savings of $3.3M (salary, fringe & bonus).

Department Former Alignment Original Dept. Head Current Dept. HeadNew Media &Technical Strategy Legal Mitch Singer Mitch SingerCorporate Alliances Corporate Operations Toshino Yuhaku Toshino YuhakuBusiness Affairs SPT Don Loughery Don LougheryTechnology Development Imageworks George Joblove Spencer StephensDigital Cinema Motion Picture Group Al Barton EliminatedBlu-Print SPHE Don Eklund EliminatedDigital Media Group IT Ben Masek Ben MasekWPF Corporate Operations Jeff Hargleroad Eliminated

SPTech Operations Staffing Changes (VP and above)Eliminations AdditionsGeorge Joblove (EVP) Spencer Stephens (EVP)Don Eklund (EVP) Scot Barbour (VP)Richard Berger (SVP) Tim Wright (promo to VP)

Al Barton (SVP)

WPF Staffing Changes (VP and above)Eliminations AdditionsJeff Hargleroad (EVP) Ryan Kido (VP)

Peter Ward (SVP)

Rich DeRosa (SVP)

Tony Beswick (SVP)

Nina Louie (VP)

Kerri Wilson (VP)

Ken Bartlett (VP)

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Chris Cookson,President SP TechnologiesExecutive Oversight

• Production & Post Production Technology Vision and Strategy• Administration of SP Technologies Division• Content Preservation and Distribution• Digital Strategy and Policy Development• Application Development• Sony Product Technology Strategy Alignment• Technology Partnerships / Business Affairs

Charlie FalcettiExecutive Vice PresidentProduction Services (Studio Ops, Sound, Colorworks)

• Digital Intermediate Services• Trailer Finishing• TV Finishing• Creative Editorial Services• Asset Restoration Services• VFX / Cosmetic Fixes• Theatrical & HE Deliverables

Toshino YuhakuSenior Vice PresidentCorporate Alliances

• Inter-Company Coordination and Communications• Sony Corp Strategy Alignment• Project Management

Ben MasekSenior Vice PresidentDigital Media Group

• Digital Asset Management • Digital Workflow Automation• Video Streaming & Transcoding• Forensic Watermarking & Content Fingerprinting• Digital Media Research & Development

Spencer StephensExecutive Vice PresidentTechnology Development

• Digital Media & Production Technology R&D and Deployment

• Media Format and Content Protection Standards• Studio-wide Technology Initiatives

Mitch SingerExecutive Vice PresidentDigital Policy Group

• Digital Licensing Policy and Strategy• Digital Entertainment Content Ecosystem (DECE)• Worldwide Anti-Piracy / Content Protection• Content Protection Technology Evaluation

Terri Davies,Executive Vice PresidentWPF Client Operations

• Manages physical & digital supply chain & fulfillment support

• Vendor & cost management• Manages non theatrical Feature & TV language creation• Manages metadata procurement, creation & maintenance

Current Functional Org Chart

SPE Confidential

Grover CrispExecutive Vice PresidentWPF Asset Management

• Asset Restoration & Preservation• Supply Chain Management• New Release & Catalog Mastering• Asset Storage and Global Logistics

Studio Services

( Gary Martin)

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Core Functions Key Facts & Achievements

Financial Summary

FY13 Budget: Revenue – $28.9M ● EBIT –

$5.9M FY13 Budget Headcount: 53

Colorworks

SPE Confidential

Digital Intermediate/Color Grading Services

TV Finishing Services

Creative Editorial Services

VFX/ Cosmetic Fixes Services

Trailer Finishing Services

Restoration Services

Theatrical DCP Creation

Home Entertainment Versioning

Final color correction of high resolution data with 46 feature titles completed and 6 underway, including: The Amazing Spiderman, Total Recall, Hotel T, Cloudy with a Chance of Meatballs, SALT, and Smurfs 1 & 2. Examples of integrated Studio services: The Amazing Spiderman utilized simultaneous 2-D and 3-D color correction theaters while Sound mixing next door. Total Recall Sound mixed during the day and color corrected at night in the facility for 27 straight days to meet the release date.

Working closely with SPT to streamline workflows for color finishing for network, cable and MOWs. 2011: 2 series, 2012: 6 series and MOWs, 2013: 10 series and MOWs.

Integrated Editorial into Colorworks and continued to broaden and provide quality theatrical and television versioning to multiple users throughout SPE.

VFX/Cosmetic Fixes - 150% growth in the last 2 years, offering a cost effective solution for cosmetic and VFX manipulation in place of traditional Digital Effects. Colorworks is working with the feature post department to begin End Credits creation to streamline the process and lower costs.

Worked closely with marketing to move Trailer Finishing from a third party vendor. Originally projected savings were in excess of $500,000. The volume of services have increased annually and will exceed $1,000,000 savings to SPE this year. Expanding into TV Spots that will drive further savings to SPE

Colorworks is the industry leader in 4K restoration, delivering the 50th anniversary of Lawrence of Arabia and the 35th anniversary of Taxi Driver. Notable third party projects included The Leopard for Fox/Film Foundation, The Spy who Loved Me for MGM, Tora Tora Tora for Fox, and Rosemary’s Baby for Criterion Collection.

Colorworks creates the digital cinema masters and all film elements for worldwide release along with text-less materials for the foreign language release.

Colorworks creates all Home Entertainment deliverables, with separate image and color manipulation as necessary for differing display technology.

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Core Functions Key Facts & Achievements

Colorworks – Technology

SPE Confidential

Develops and maintains Colorworks technical infrastructure

Consults with film makers, Theatrical Production and TV Production to

Develop content creation Workflows Evaluate and select camera systems Plan and choose post-production

technologies Advises WPF on streamlining methods for

handling, processing and delivering content Represents SPE in standards organizations to

improve technologies that benefit SPE Develops specifications for Asset Management

and SPE standards for post-production processes.

Works with PMC and Sound to develop efficient workflows for collaborative sharing of production content.

Collaborates with other Sony organizations as needed

ISO27001 cert

4k at less than outside cost for HD/2K

ACES workflow

Delivered 10 4K movies to SEL

Seamless 4K workflow for AE, etc.

Fixed Technicolor issues for Smurfs2

Positioned SPE to gain advantages of higher resolution cameras

Colorworks, and more specifically the Colorworks technology team, establish standards of post-production methods for maintaining the highest level of quality throughout the post-production process.

Working closely with Columbia, Screen Gems, SPA, SPI, SPTech, PPF, WPF, Asset Management, DMG, DMC and other groups, the Colorworks engineers help to establish technical workflows at the studio for the benefit of all involved.

Colorworks has, by utilizing the expertise of a technical staff that has over 100 years of combined post-production and production experience, partnered with the other post-production companies at the studio to establish technologies that benefit the studio at large; namely 4k and higher resolution post-production, Digital Cinema, the Production Backbone, high-quality YCM archives, the ACES colorspace, digital master archives and the Interoperable Master Format (IMF).

The Colorworks engineers also work with industry organizations like the American Society of Cinematographers (ASC), Society of Motion Picture and Television Engineers (SMPTE), the Academy of Motion Picture Arts and Sciences (AMPAS), Digital Cinema Initiatives (DCI), as well as Sony electronics and other technology vendors to help implement standards on behalf of the studio and the industry at large.

Working closely with Sony Pictures Technologies, the Colorworks engineering staff helps to develop and test various emerging technologies, such as Digital Cinema, 3D, high frame-rate 3D, 4K to the home, that eventually help the studio to create more compelling content.

Colorworks’ engineers are collaborating with many of the groups on the lot to help create the digital studio of the future, so that SPE can maintain a leadership position, while helping to lower costs through the application of technology.

This includes new 4k workflows for theatrical and HE distribution, as well as establishing new methods of mastering within the organization to help pave the way to the future.

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Core Functions Key Facts & Achievements

Financial Summary

FY13 Budget: $1.1M * FY13 Budget Headcount: 17 * $4.2M in operating costs offset by service charge-backs to

SPE LOBs and other Sony Entities

Digital Media Group

SPE Confidential

Digital Asset Management Digital Archive Content Management System High Speed Digital Transfers Digital Workflow Automation Video Streaming Video Transcoding Forensic Watermarking Content Fingerprinting Digital Rights Management Studio Screeners – Digital & Physical Digital Media Research and Development

The estimated cost avoidance for SPE due to implemented DMG solutions for FY13 is $10.5M

Generated nearly $400K in revenue by licensing EAGL (Entertainment Assets Global Library) to Sony Computer Entertainment and Sony DADC

The volume of digital assets managed by DMG continues to double year-over-year (see transfer volume slide in Appendix)

Implemented an integrated tape library storage solution to significantly reduce DMG operating costs

Actively pursuing ISO 27001 certification

New 4K watermarking of content which will be provided with the new Sony 4K 84” flat screen televisions

Implemented automated digital workflow solution for international digital distribution of Theatrical and Home Entertainment spots eliminating the creation and distribution of physical elements – annual savings over $4M

Rolled out new secure Digital Screeners application with support for tablets

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Core Functions Key Facts & Achievements

Technology Development

SPE Confidential

Provide business units with technology to improve processes from camera to screen. Provide hands-on expertise in new technology to

feature and TV productions. Develop new production workflows. Standards development

Content protection Provide and review content protection and usage rule

schedules for licensing deals. Further the development of systems and standards for

content protection, delivery and consumer offerings. Technical expertise for anti-piracy, government affairs

and litigation. Participate in the development of formats.

Improve the consumer experience and maximize value of SPE content

Technical working groups incl. Ultraviolet and BDA

Developed workflow that allowed Screen Gems to shoot faster and without a D.I.T.

Developing Content Finishing Platform, better version management by PMC, WPF, SPTI.

On-going contribution to the SPTI EMEA Media Center project.

Cost-effective workflow for shooting 3D on 2D schedules in partnership with 3D TC –Screen Gems and Left Bank productions shot in 3D to great success.

Getting early access to and contribute to new Sony production technology (e.g. F65)

Participated in production camera and lens tests (After Earth, No Good Deed, etc).

Trained over 300 DPs, directors and crew on the new F65 digital camera.

Content protection and usage rules for over 200 Home Entertainment and TV deals in partnership with Digital Policy.

Content protection for over 40 in-flight entertainment non-theatrical deals, helped institute contractual requirements in non-theatrical deals, and driving IFE industry standards.

Participation in development of enhanced content protection for 4k and premium offerings.

Negotiated with Fox content protection requirements in Crackle and channels deals.

Testified in a French regulatory case which could make content protection on Blu-ray meaningless.

Technical consultation for Government Affairs in a variety of EU Commission actions.

Working with anti-piracy and litigation to drive our agenda with search engines.

Contributed to industry discussions to make 4k better than HD in color and dynamic range.

Ongoing participation in UV and Movielabs interactivity working groups.

Participation in BDA next generation Blu-ray working group.

Project managed the technical component of the Sony F1 project, working to resolve differences between Sony’s approach and our expectations of industry requirements for 4k.

Financial Summary

FY13 Budget: $1.7M* FY13 Budget Headcount: 11* $700K in operating costs offset by service charge-backs to Sony

Corp. Center-of-excellence for a broad range of technology relevant to SPE’s business.

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Core Functions

Financial Summary

Asset Management

SPE Confidential

Key Facts & Achievements

FY13 Overhead Budget: $2.0M FY13 Manufacturing Budget: $27.1M FY13 Budget Headcount: 17** Includes WPF Management

Mastering Create new feature video masters Create foreign language masters for 19

Languages/Territories Create new assets as required to service library

titles

Restoration Research, identify and create elements as

necessary to preserve and restore titles where materials have deteriorated

Identify titles or assets needing upgrade (e.g. High Definition) to meet current market standards

Manage preservation policies and procedures Create back up elements to insure survival of

assets There are more than 3 Million videotape, audio,

film, and file elements and records in “GOLD” database inventory system

Increased restoration/preservation/mastering of titles to a full 4k Workflow from 2-4 titles per year to more than 80 in the next 12 months

The volume of data archived this year is 80% increase over 2011-2012. This is the result of more comprehensive data acquisition, the transition of production from 2K to 4K and increase in elements (i.e., multiple versions, 3D data) to be archived.

Reduction in costs in data archive expenditures through cost analysis and asset retention review

15 – 20 Studio new release features each year, for which Asset Management creates the servicing masters for all lines of business- including formatting and Quality Assurance of HD masters, home theater and extended version audio mixes, and localized versions for territories; as well as archiving the component pieces for these versions.

Data Integrity - Create and update records for servicing elements in “Gold” data base – more than 5,000 updates per year

Support Home Entertainment diversification via MOD (120 titles a year, since 2010) and sublicensing (300 titles in 2011-2012) , with additional 1,000 titles over next 3 years

Reduced number of audio M+E conforms due to revamp of the dubbing workflow for a 60% cost savings (24K).

Manage the digital archive ? titles produced digitally since 2004, establish and institute long-term data preservation policies

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Core Functions Key Facts & Achievements

Financial Summary

Global Logistics (Inwood)

SPE Confidential

FY13 Overhead Budget: $4.6M* FY13 Manufacturing Budget: $11.7M** FY13 Budget Headcount: 52* Excludes storage costs of $1.8M

** Includes freight

Asset Management Protection and Preservation Oversee maintenance of 3M+ assets across

multiple storage locations,

Inwood primary Iron mountain Protec

Supply Chain Logistics, Distribution and Inventory Management

Advertising and Publicity materials Film and TV elements

Quality control Creation and distribution of physical screeners Application of Corporate and Government

Standards and Regulations

TSA Certified

Responsible for Protection and Preservation of $662M of Corporate Assets Manage in excess of 3M physical media assets, 250K Blu-ray and 320K Digital text

assets Distributed 1M advertising and publicity materials supporting SPE Marketing efforts

across all BU’s Support SPT EU & APAC digital on-boarding efforts by managing product reverse

logistics, degaussing and client Cineshare screener delivery Collaborated with SPT and PMC to internalize SPT Marketing Library Digitization

Project Internalized SPC DCP trailer duplication and distribution to achieve $260K annual

savings Saved SPE $129K by internalized editing of syndicated TV series masters Initiated proactive vinegar assessment of 60K primary elements and collaborative plan

with Asset Management to triage affected units to increase their preservation Implemented import procedure across BU’s to adhere to US Customs ISF filing and

protect against Government penalties Manage $10M of Global Transportation and TSA Certified Cargo Screening Facilities

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WPF – Client Operations

SPE Confidential

Core Functions Key Facts & Achievements

Financial Summary

In support of all SPE Divisions (SPR, SPHE & SPT): Provides physical & digital Supply Chain &

Fulfillment including new technology evaluation & implementation, license negotiation, research, cost analysis & order, delivery & tracking of all materials

Vendor & cost management to aggressively leverage consolidated SPE volume & spend to procure best service & market rates

Manages Metadata procurement, creation & maintenance in GPMS & GOLD including development of new metadata schemas

Manages Feature & TV editorial for Airlines & TV including talent , legal & client approvals

Manages centralized evaluation & mastering of Theatrical & HE trailers & new TV Eps & MOWs for downstream distribution

Manages non-theatrical language dubbing & subtitling, repurposes existing language assets for downstream

WPF Client Ops has managed increased volume, rapid transition from physical to file based workflows plus accelerated timelines while reducing costs:

Examples of volume growth since FY10: File Volume increased as follows - SPHE Digital +286%, SPT +93%, Trailers increased by 443%, Airline/TV Editorial has increased by +76%

Digital Supply Chain: supported SPHE & SPT growth in EST & VOD by deployment of a 3 year strategy to implement & manage organizational & process change to transition from physical to file based distribution

Distribution Backbone: By end of FY13, 79% of all WPF file volume to be through DBB

Cumulative RFP strategy since FY10 resulted in overall $57M savings based on budgeted volumes

Non-theatrical language dubbing: reduced timelines by average 33% and costs by average 8%

Accelerated Next Day TV – successfully implemented secure, timely delivery of new TV product for next day exhibition to various worldwide clients

Ultraviolet: supporting SPHE Ultraviolet initiative by managing EIDR registration (23k titles),design & implementation of the digital supply chain for CFF rollout

SPHE Joint Ventures: supported SPHE JVs by managing creation of 25k 3rd party titles in GPMS in less than 9 months

Organisation:70% of WPF CO Management have been promoted from within. WPF CO utilizes DISC, MBTI & Emergenetics & are fully invested in staff development & growth

FY13 Budget: $TBA FY13 Headcount: FTE 88, Inplant: 17, Tentek: 9 PH: 9

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23

Core Functions Key Facts & Achievements

Digital Policy Group

SPE Confidential

Financial Summary

FY13 Budget: $1.4M FY13 Budget Headcount: 4

Establish digital policy across all SPE Business Units on a worldwide basis to protect content and deter piracy

Approve all SPE distribution deals on a worldwide basis

Maintain legal, regulatory, technical and contractual foundations to assure support from the Digital Millennium Copyright Act

Key lobbyist and SPE representative for copy protection initiatives in both government , the entertainment industry and across industry

Develop and review new technologies and standards to protect Sony Pictures Intellectual Property

UltraViolet Review and analyze disruptive trends 3 to 5 years

out and develop new business models

Negotiated and closed over 200 complex SPHE and SPT distribution deals covering different usage rules and content protection for early window, VOD, SVOD, EST, pay TV, free and basic TV, AVOD, and Internet streaming, in coordination with the Technology Development Group.

Modified digital policy as required based on new technologies and user experiences. Implemented procedures and policies across all SPE business units to protect SPE’s intellectual property in all SPE distribution deals

Closed the royalty deal with HDBaseT that begins generating royalties paid to SPE in 2013. Anticipated royalty of $30K in 2013 increasing to $100K in 2014. Has potential for over $1M in royalties in 4-5 years.

Serves on the Board of Directors on HDBT, Verance, MovieLabs, DVD CCA, Entertainment Technology Center, and HQME, all focused on protecting Sony Pictures intellectual property and driving SPE’s digital strategy.

Initiated primary research in Kansas City to establish a baseline of media consumption and piracy levels prior to the launch of Google Fiber. This research will form the basis of Copyright policy around broadband deployment in the US.

National Academics: Appointed to a Committee on the Board of Science Technology And Economic Policy to draft and publish a report on the Impact of Copyright Policy on Innovation in the Digital Era.

Raised over $8M in outside financing and, after 4 years in development, launched UltraViolet, the new industry cloud service for digital distribution.

Collaborating with the National Venture Capitalist Association (NVCA) to find common ground in connection with supporting legislation to protect intellectual property.

Working with the Information Technology Industry Council (ITIC), an advocacy and policy organization for IT companies, to bridge the gap between content and technology and effectively advocate policy to protect intellectual property.

Coordinated legal and information security groups in drafting and implementing SPE’s Content Protection Manual, securing SPE’s intellectual property from point of capture through distribution.

Oversee Verance WM embedding in SPE motion pictures.

Prepared and testified before the U.S. Copyright Office to limit further exceptions to the Digital Millennium Copyright Act, resulting in a successful outcome for the motion picture industry.

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Core Functions Key Facts & Achievements

Financial Summary

FY13 Budget: $1.3M FY13 Budget Headcount: 5

Corporate Alliance

SPE Confidential

New Technology & Format Incubation New Technology Education Film / TV Production Workflow Documentation Coordination with Sony’s Professional and

Consumer Product development Promotion and facilitation of SPE Content for

Sony’s Global Sales and Marketing Activities Utilization of Sony products for SPE’s digital

content distribution & advertisement

Technology development and business model creation for new formats (3D, UltraViolet, 4K, etc.) w/ Sony Group and industry partners

Facilitated development of new Digital Production / Distribution Workflows Project managed Media Cloud Services to build secure, flexible, cost effective cloud-

based production tools and services. Initiated F65 seminar which trained over 300 industry professionals. Helped create and

successfully transferred workshop to become PSA’s Digital Motion Picture Center. Led collaboration between Sony and SPE to create Sony’s new Professional Products

(F65, F55, etc.) and Consumer Products (3DTV, 3D Handycam, etc.) Collaborated w/ Sony to enhance home cinema experience: “Cinema Mode” for Sony

TVs (8 mil units), “Digital Cinema Sound” for amplifiers (440K units), “Movie Mode” for Headphones (50K units)

Pre-installed SPE promotional content in Sony products. (17M units) Facilitated the promotion of SPE trailers/clips for Trade Shows (CES, NAB, IFA,

CEATEC, Tokyo Game Show, etc.) Supported all SPE initiatives that require coordination with other Sony group companies.

(Advanced product placement for Battle of The Year, About Last Night, Spiderman 3 Tokyo Premiere, etc.)

Support all SPE initiatives that require coordination with Japan such as Metal Gear Solid- Konami negotiations, Jeopardy! Japan shoot, Rights acquisition for Ultraman, Monkey Magic, Location negotiations for The International, etc.

Installed DMT/SIGNAL at Sony Tokyo HQ for more efficient, lower cost screening management

Create and distribute weekly “Eye-Openers” news summarizing key technology trends both internal and external to Sony Corp

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25

SPTech Three Year Plan

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SPTech EBIT Improvement Plan - Summary

SPE Confidential

SP Tech EBIT Improvement FY14 FY15 FY16

SP Tech Operations Savings $1.1 $2.2 $2.3

Colorworks Savings 1.6 1.6 1.6

Total $2.6 $3.8 $3.9

WPF Manufacturing Savings $27.4 $33.6 $34.8

Total SP Tech Incremental EBIT Contribution $30.1 $37.5 $38.7

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SPTech EBIT Improvement Plan – SPTech Operations

SPE Confidential

SP TECH OPERATIONS FY14 FY15 FY16

1. Re-structure Corp. Alliance Dept - Eliminate 2 FTEs and 1 SCA-covered HC, all remaining HC to moved Officers

$0.5 $0.5 $0.5

2. Eliminate 2 3DTC headcount 0.5 0.5 0.5 Less: 3D funding from Tokyo (0.5) (0.5) (0.5)

3. Eliminate Blu-print development team - 3 headcount 0.6 0.6 0.6 Less: Cost offsets from License sales, SCS and Tokyo (0.6) (0.6) (0.6)

4. Transfer 1 DMG headcount to the Media Cloud Services (MCS) Project 0.5 0.5 0.5 5. DMR contract labor trasfer to MCS 0.5 0.5 6. Transition EAGL infrastructure to cloud storage 0.1 0.7 0.7

Subtotal $1.1 $2.2 $2.3

SAVINGS

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SPTech EBIT Improvement Plan – Colorworks

SPE Confidential

COLORWORKS FY14 FY15 FY16

1. EBIT Improvements: Personnel Related

Down-grade Sales & Marketing postion $0.4 $0.4 $0.4 Eliminate Exec. Dir. of Project Mgmt. 0.3 0.3 0.3Replace "A-statused with "B"-statused Colorist 0.2 0.2 0.2Down-grade Sr. Editor 0.1 0.1 0.1Convert long-term temps/contractors to FTEs utilizing existing open head count 0.1 0.1 0.1Eliminate 1 vault staff due to consolidation/centralization 0.1 0.1 0.1

2. EBIT Improvements: Operations / Non-Personnel Related

Production bill-backs for LTO5 tape storage and recycling of tapes deemed duplicative 0.3 0.3 0.3Establish new in-source opportunity to create feature end credits/titles for all SPE films 0.1 0.1 0.1Use Infrared Technology to lower restoration costs 0.1 0.1 0.1

Subtotal $1.6 $1.6 $1.6

SAVINGS

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SPTech EBIT Improvement Plan – WPF Manufacturing

SPE Confidential

WORLDWIDE PRODUCT FULFILLMENT FY14 FY15 FY16

1. EBIT Improvements: Personnel-Related

Asset Management elimination1 - FY14 Reduce headcount by 1 FTEs $0.1 $0.1 $0.1 Client Operations eliminations - FY14 Reduce headcount by 6 FTEs 0.7 0.7 0.7 Client Operations eliminations - FY14 Reduce headcount by 6 contract hires 0.4 0.5 0.5 Client Operations eliminations - FY15 Reduce headcount by 5 FTEs 0.7 0.7 Client Operations eliminations - FY15 Reduce headcount by 6 contract hires 0.5 0.5 Client Operations eliminations - FY16 Reduce headcount by 5 FTEs 0.6 Client Operations eliminations - FY16 Reduce headcount by 5 contract hires 0.4

2. EBIT Improvement: Manufacturing Non-Personnel Related

DBB manufacturing cost benefits 19.0 24.0 24.0Planned RFP initiatives 7.0 7.0 7.0Other WPF operating and manufacturing initiatives 0.2 0.2 0.2

Subtotal $27.4 $33.6 $34.8

SAVINGS

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Chris Cookson,President SP TechnologiesExecutive Dept

• Production & Post Production Technology Vision and Strategy• Administration of SP Technologies Division• Content Preservation and Distribution• Digital Strategy and Policy Development• Application Development• Sony Product Technology Strategy Alignment• Sony Corp Strategy Alignment

Charlie FalcettiExecutive Vice PresidentProduction Services (Studio Ops, Sound, Colorworks)

• Digital Intermediate Services• Trailer Finishing• TV Finishing• Creative Editorial Services• Asset Restoration Services• VFX / Cosmetic Fixes• Theatrical & HE Deliverables

Spencer StephensExecutive Vice PresidentDigital Media Technology

• Digital Media & Production Technology R&D and Deployment

• Media Format and Content Protection Standards• Content protection and Anti-piracy Technology• Studio-wide Technology Initiatives• Digital Asset Management and Workflow Automation• Video Streaming & Transcoding• Forensic Watermarking & Content Fingerprinting

Mitch SingerExecutive Vice PresidentDigital Policy Group

• Digital Licensing Policy and Strategy• Digital Entertainment Content Ecosystem (DECE)• Worldwide Anti-Piracy / Content Protection• Content Protection Technology Evaluation

Terri Davies,Executive Vice PresidentWPF Client Operations

• Manage Content Preparation and Fulfillment• Supply Chain Management• Metadata Procurement, Creation & Maintenance• Content Protection• Quality Control

Proposed Functional Org Chart

SPE Confidential

Grover CrispExecutive Vice PresidentWPF Asset Management

• Asset Restoration & Preservation• Supply Chain Management• New Release & Catalog Mastering• Asset Storage and Global Logistics

Studio Services

( Gary Martin)

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Headcount

SPE Confidential

Category FY13

Budget FY14 FY15 FY16

SP Tech Operations

SP Tech Officers 3 6 (1) 6 6

Corporate Alliances 5 - (1) - -

Digital Media Technology (formerly Tech Dev) 11 27 (2) 27 27

Digital Media Group 17 - (2) - -

Digital Policy Group 4 3 (3) 3 3

Subtotal SP Tech Operations 40 36 36 36

Colorworks 53 51 (4) 51 51

Worldwide Product Fulfillment

Client Operations 86 80 (5) 75 (5) 70 (5)

Asset Management 16 15 (6) 15 15

Global Logistics 51 51 51 51

WPF Management 6 5 (7) 5 5

Subtotal WPF 159 151 146 141

Total SP Technologies 252 238 233 228

1) Transfer of 3 HC from Corp. Alliance to Officers; elimination of 2 HC

2) Transfer 16 HC from DMG into Tech Dev to become Digital Media Technology; elimination of 1 HC

3) Elimination of 1 HC

4) Elimination of 1 E.D. of Project Management and Vault employee

5) Elimination of 12 HC in FY14 (6 FTE & 6 contract), 11 HC in FY15 (5 FTE & 6 contract) and 10 HC in FY16 (5 FTE & 5 contract)

6) Elimination of 1 HC

7) Elimination of 1 shared HC

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Strategic EBIT Opportunities & Considerations

SPE Confidential

In addition to the aforementioned cost reduction opportunities, the following are other strategic opportunities

for management consideration that may provide additional cost reduction / profit improvement for SPE

These ideas are conceptual and will require further analysis and collaboration to determine their viability

The common foundation for these opportunities is the leveraging of SPTech infrastructure and competencies

across on-going SPE business activities Opportunity: Coordinated purchasing of dubbing services

Opportunity: Shoot Electronic Camera Like Film

• Feature dubbing is handled separately from TV dubbing• Historically more “creative” and can’t be purchased in the same way• Other studios (Fox, Disney< Warner) are now either buying or managing jointly• Recommendation: get purchasing involved and at least buy jointly

• When shooting film, you don’t see color corrected picture until dailies• Film had sufficient latitude• When we started to use TV cameras to shoot film, the cameras had a very narrow range – it was important to precisely

control the video as it was shot . A video engineer (DIT) was added to the crew and “video village” was added to the setup• Now, electronic cameras have greater latitude than film and can be managed in post like film• DITs persist, “video villages” have to be set and moved and time on set is spent doing things that can be done later (with a

lot fewer people)• Recommendation: Work with and train DPs who can work like they were still doing film.

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Strategic EBIT Opportunities & Considerations

SPE Confidential

Opportunity: Recognize that we don’t project film (much) anymore – International versioning

Opportunity: Recognize that we don’t project film (much) anymore – Projection

• International versions (titles, graphics, cuts, etc.) are usually done by an outside vendor working on elements usually provided by Colorworks

• Process for creating international versions grew out of film based processes• A separate based workflow is used to create and conform the international versions for TV distribution afterward• Theatrical distribution is increasingly file based as well• As single file based workflow to create both versions would save cost, speed delivery and create more uniform and

complete elements for the archive• Recommendation: Transition to a single centralized file based workflow

• A projectionist is needed when film is loaded and projected • Most screenings today are file or tape based on electronic projectors• Union issues • Recommendation: Investigate centralized projection control

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Strategic EBIT Opportunities & Considerations

SPE Confidential

Opportunity: No backup exists for 3,697 episodes of TV production that were shot on film and edited on standard definition videotape

• The single existing developed negative of the exposed film is on pallets in storage• Cost to go back and cut the negative so that a backup can be made is prohibitive• Using existing assets and new technology, scans can be made of the negatives and new software can find the relevant takes

automatically so that backups can be made• Out of pocket costs are limited to limited additional storage, direct scanning labor and data tape for storage – less than 1M

per year for 5 to 7 years • HD copies could be finished for approx 10% of the episode cost of converting Seinfeld

Opportunity: SPTI

• ….

Opportunity: Inwood Restructure

• ….

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Appendix

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FY13 Overhead Budget: SPTech Operations

SPE Confidential

FY13 Budget

Salaries & Wages $9.0Fringe Benefits & Payroll Taxes 1.9 Employee Bonus 1.9 Travel & Entertainment 0.5 Maintenance & Repair 0.3 Equipment Service Charges 0.2 Telephone & Telex 0.1 Legal Fees - Corporate 0.1 Books, Subscriptions And Dues 0.3 Outside Services/Processing 0.5 Other 0.2

Total Operating Expenses 14.9

Operating Income Before Depreciation/Allocations (14.9)

Depreciation/Amortization 1.6 Allocations (4.9)

Net Operating Income (Loss) ($11.6)

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FY13 Budget: Colorworks

SPE Confidential

FY13 Budget

Revenues $28.9

Cost of Sales 12.6

Gross Profit 16.4

Salaries & Wages 3.8 Fringe Benefits & Payroll Taxes 1.0 Employee Bonus 0.5 Temp Employee Expenses 0.1 Travel & Entertainment 0.1 Maintenance & Repair 0.5 Rent - Machinery & Equipment 0.1 Equipment Service Charges 0.2 Telephone & Telex 0.1 Materials & Supplies 0.3 Outside Services/Processing 0.1 Other 0.1

Total Operating Expenses 6.8

Operating Income Before Depreciation/Allocations 9.6

Depreciation/Amortization 3.6 Allocations 0.1

Net Operating Income (Loss) $5.9

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FY13 Overhead Budget: WPF Consolidated

SPE Confidential

FY13 Budget

Salaries & Wages $11.7Fringe Benefits & Payroll Taxes 3.1 Pension/401K And Profit Sharing 0.2 Employee Bonus 1.4 Temp Employee Expenses 0.6 Travel & Entertainment 0.3 Maintenance & Repair 0.2 Rent - Machinery & Equipment 0.1 Telephone & Telex 0.2 General Insurance 0.4 Materials & Supplies 0.4 Messenger Services 0.1 Outside Services/Processing 2.1 IT Service Charges - Corporate 1.2 Other 0.1

Total Operating Expenses 22.0

Operating Income Before Depreciation/Allocations (22.0)

Depreciation/Amortization 0.4 Allocations (22.4)

Net Operating Income (Loss) $0.0

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39SPE Confidential

Overall DMG System Usage

3908

3

3923

4

3938

7

3953

9

3969

2

3984

5

4000

3

4014

8

4029

9

4045

2

4060

3

4075

6

4090

9

4106

10

20000

40000

60000

80000

100000

120000

140000

DMG Systems (monthly transfers in GB)

EAGL Downloads

EAGL Uploads

cSHARE Downloads

cSHARE Uploads

ACORN Downloads

ACORN Uploads

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SPE Confidential

Territory Growth Drives Growth in Content Protection Deal Negotiations for Home Entertainment

Jan-11 Jan-12 Jul-12 Nov-12 Q1 - 20130

20

40

60

80

100

120

140

160

180

Active Territories Home Entertainment

Active Territories

January

2011January

2012July2012

November2012

Q1 2013

Active Territories 14 44 73 132 163

Percent Growth -- 175% 66% 81% 270%

There is a similar growth in content protection deal negotiations for television

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SPE Confidential

39% increase across Q3 & Q4

CURRENT

TotalRegion EMEA US LAM/Carribean AU/NZ MID EAST AFRICA ASIA CANADA GLOBAL (ROW)

Product Features Features Features Features Features (BZ) Features Features Features Features Features TV TV # of Territories 27 10 1 15 1 2 0 0 15 2 2 6

# of Partners 24 1 22 3 2 5 0 0 6 8 2 11 Acct-Territories (by Territory) 116 10 22 18 2 8 0 0 19 16 4 29 Acct-Territories (by Manager) 116 22 18 10 0 0 19 20 29 234

NEW

TotalRegion EMEA US LAM/Carribean AU/NZ MID EAST AFRICA ASIA CANADA GLOBAL (ROW)

Product Features Features* Features Features Features (BZ)* Features Features Features Features* Features TV TV # of Territories 7 12 3 16 5 11 32 6

# of Partners 1 1 1 1 1 1 1 Acct-Territories (by Territory) 7 12 3 16 5 11 32 6 Acct-Territories (by Manager) 7 12 3 21 11 32 6 0 92

* includes YouTube/Google BZ, IN, RU

TOTAL

TotalRegion EMEA US LAM/Carribean AU/NZ MID EAST AFRICA ASIA CANADA GLOBAL (ROW)

Acct-Territories (by Manager) 123 34 21 31 11 32 25 20 29 326

Account-Territory Growth

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42SPE Confidential

SPTech Showcase: Shooting 3D on a 2D schedule and budget

Conception Development Operation

The Problem“The bottom line is, if you want to do good 3D, it’s very expensive. The camera equipment is expensive because it comes with a lot of techs, the labor. […] And there’s a lot of tech fixes -- it’s not easy shooting 3D.”

-- Michael Bay

The PropositionWith the right plan and the right equipment you can shoot 3D on the same schedule as 2D, with at most 3 additional crew and 3D post is primarily for adjusting depth to meet creative intent.

The Skills• Knowing what makes good 3D. • Experience with rigs. • Workflows for productions from TV to

major motion pictures

3D Systems Testing• Speed of initial set up• Ability to not need repeated

adjustments• Time to change lens• Resilience to real-world handling

Trial RunsSuccessfully shot episodes of “Happy Endings” and “Days of Our Lives” in 3D on the same schedule as normal. 2D version taken from one camera on each rig and aired as part of normal run.

Screen Gems“Planet B Boys” feature shoots in 3D on Screen Gems normal 2D schedule of 35 days. Average 40 set ups a day, three rigs in simultaneous use. Only incremental cost of 3D is rig and three crew members. Never waited for 3D. No 3D correction or conversion needed for rig footage.

SPT’s Left Bank ProductionsEpisode of BSkyB’s “Little Crackers” shoots in 3D in 4 days after one day training for crew. Incremental cost of 3D is rig and two crew members. Producers want to shoot more Sky shows in 3D.

WorkflowColorworks designs near-set dailies system for “Planet B Boys”, footage stored and managed on Production Backbone.