Philippine Industry Body Launched for Stronger Content Protection and Anti-Piracy Efforts

MANILA, Sep 29, 2022 – (ACN Newswire) – Today, leading Philippine industry players including, Globe, GMA Network, Inc., Cignal TV, Inc, KROMA Entertainment and Smart Communications, Inc, joined hands with the Asia Video Industry Association's (AVIA) Coalition Against Piracy (CAP) to announce the formation of the Video Coalition of the Philippines (VCP).

The VCP aims to push for stronger intellectual property protection in the Philippines that will protect both original content and users, as well as promote the Philippines creative and media industries, not only in the Philippines but around the world.

VCP convenors will build on the momentum of the presentation of the proposed Revised Intellectual Property Code in the Philippines' 19th Congress in July and the recent Protection of Online Content Summit held on September 2 in Manila.

House Bill No. 0799, filed by Albay 2nd District Rep. Joey Salceda, aims to update the Philippines' patent application system and make it "more attuned to the digital age." It also "provides for technologies and media that were not anticipated" at the time the intellectual property code was enacted.

Proposed revisions also give regulators greater authority to combat IP violations, including the power to issue "permanent blocking orders, takedown orders, cease-and-desist, or disable access orders" against websites, service providers, and online platforms, including social media. The current IP code does not cover electronic or online content in its definition of pirated goods and lacks clear provisions that would allow for efficient and effective site blocking, and other interventions against online IP violations.

CAP General Manager Matt Cheetham said, "With the presentation of Bill No. 0799, "An Act Establishing for the Revised Intellectual Property Code of the Philippines" to the House, the Philippines has a golden opportunity to not only update and future proof its intellectual property regime, but to act as a launching pad for intellectual property to protect consumers and advance the overall Philippine economy."

Cheetham further noted CAP's recent YouGov survey showed Philippine consumers believe a government regulation for Internet Service Providers (ISPs) to block pirated content would be the most effective measure to reduce piracy in the Philippines.

Globe, the Philippines' leading digital solutions platform, has been an advocate of anti-piracy through its #PlayItRight advocacy. Globe hopes to rally consumers and stakeholders behind original content creators by making online content affordable and accessible via content subscription.

"Revising the Intellectual Property Code will go a long way in protecting Filipino consumers from the dangers that lurk in pirate sites and improving cybersecurity in the country, especially as Filipinos now rely heavily on digital platforms," said Globe Chief Information Security Officer Anton Bonifacio.

Yoly Crisanto, Globe Group Chief Sustainability and Corporate Communications Officer, said revising the IP Code is necessary to improve the country's regulatory environment just as the government aims for greater digitalization.

"The use of digital technologies and platforms is expected to further expand in the years to come, whether it be for education, finance, health or recreation. It is, therefore, urgent that we provide better protection for the creative industry and give them a secure environment conducive to creativity and innovation," said Crisanto.

"Upholding intellectual property rights in the Philippines enables the creative industry to grow and thrive. KROMA, through the Video Coalition of the Philippines, is committed to collaborate with stakeholders to ensure that this is observed, for the industry's success and sustainability," said Jil Go, KROMA's Head of Broadcast and Publishing.

"GMA's participation in the Video Coalition of the Philippines presents an opportunity to further strengthen our existing anti-piracy initiatives by working with other players in the industry to push for the implementation of site blocking mechanisms and help protect our viewers and GMA content against unauthorized uploaders," said Joseph T. Francia, First Vice President and Head of Operations, GMA International.

Pointing to the impact of site blocking in Indonesia, where traffic to pirate sites has dropped by more than 75% since the government implemented their rolling site blocking procedures in 2019, Cheetham further noted, "The effectiveness of site blocking is backed up by CAP's most recent YouGov consumer surveys in which more than 50% of Indonesian consumers say that they have stopped or rarely access pirate services as a result of the highly efficient and effective blocking measures in place there."

"Perhaps more importantly, 76% of Indonesian consumers say they are accessing more legal content and pirating less, and 26% have subscribed to legitimate sources as a result of illegal streaming sites being blocked. Blocking as an educational tool may also be evident in 95% of Indonesian consumers agreeing that online piracy does have negative consequences – the highest in the region," said Cheetham.

When done efficiently and effectively, site blocking has a massive impact on combating piracy, changing attitudes and protecting consumers.

About the Asia Video Industry Association

The Asia Video Industry Association (AVIA) is the trade association for the video industry and ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. AVIA is the interlocutor for the industry with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry.

For media enquiries and additional background please contact:
Charmaine Kwan
Head of Marketing and Communications
Email: charmaine@avia.org
Website: www.avia.org

Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

AVIA Releases OTT Study in Singapore at its First OTT Upfront Showcase Presenting Premium Content at its Best

Singapore, Sep 12, 2022 – (ACN Newswire) – The Asia Video Industry Association (AVIA) has released a new research study entitled Premium OTT – Building its Rightful Place in the Digital Market, to understand the usage of different video services in Singapore and attitudes towards them. The independent research study conducted by Milieu Insight was unveiled to agencies, advertisers and brands at AVIA's first OTT Upfront Showcase where two of the region's top premium video services, iQIYI and Viu, presented previews and highlights of their upcoming slate of content to the audience at a closed-door event.

The research shows that Premium OTT streaming services (OTT) are clearly differentiated from videos viewed on social media or video sharing sites. OTT was highly valued by consumers in Singapore for having the highest quality content. 58% of respondents indicated that they felt premium OTT services had high quality content, compared to only 36% for social media and video sharing services. Similarly, when asked which video services they generally felt captured the highest levels of attention while watching, 49% of respondents selected OTT streaming services, compared to only 35% who selected social media and video sharing services.

Levels of engagement were also entirely different with 51% of people feeling immersed when watching OTT content as opposed to only 39% for social media & video sharing. Top emotions elicited when watching OTT were happiness and amusement whereas for social media and video sharing, the top emotion was "nothing".

When looking at the impact of advertising, linear television remains the place where it is most noticed (76%) and ads are thought to be the highest quality (41%), although it is in social media where ads feel most intrusive (37%). Linear was again the winner when it came to prompting brand or product searches (25%) and prompting purchase (19%). Louis Boswell, CEO, AVIA, commented that this "Bodes well for the OTT industry. There is a clear link between linear television and OTT from a content perspective, and with more OTT services looking at advertising, I strongly suspect it is simply a matter of time before the effectiveness of ads on OTT matches that of linear television."

Dinesh Ratnam, Country Manager, Singapore, Malaysia and Brunei, iQIYI International, commented, "AVIA's research further cements the rise of OTT and the appreciation for the premium content on OTT platforms. As the OTT industry continues evolving and becoming more accessible, its audience is also looking for more diverse content. With the global success of shows such as iQIYI's original costume drama Story of Yanxi Palace drawing a global audience larger than that of Game of Thrones, the rise of Asian content is also drawing in larger, more diverse audiences. We are thrilled to be a part of AVIA's inaugural OTT Upfront Showcase in Singapore and to have the opportunity to showcase our exciting slate to advertisers and partners."

AVIA thanks its members Magnite, PubMatic, The Trade Desk, and Xandr for supporting the OTT Upfront Showcase and the same companies plus Index Exchange for supporting the research.

A link to the research study entitled Premium OTT – Building its Rightful Place in the Digital Market can be downloaded here (https://bit.ly/3L4lrMD).

About the Premium OTT Study

The study, Premium OTT – Building its Rightful Place in the Digital Market, was conducted in Singapore by Milieu Insight Pte Ltd, with online fieldwork using Milieu Insight's online panel. The sample size was n=1200 and was representative of the Singapore adult population aged 16+. Premium OTT Services listed in the study were as follows: Amazon Prime, Apple TV+, Disney+, HBO Go, iQIYI, meWATCH, Netflix, Singtel Cast, StarHub TV+, Viu and WeTV. Social Media and Video Sharing Services listed were: Daily Motion, Facebook, Instagram, Snapchat, Telegram, TikTok, Twitter, Vimeo, WhatsApp and YouTube.

About the Asia Video Industry Association

The Asia Video Industry Association (AVIA) is the trade association for the video industry and ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. AVIA is the interlocutor for the industry with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry.

For media enquiries and additional background please contact:
Charmaine Kwan
Head of Marketing and Communications
Email: charmaine@avia.org
Website: www.avia.org
LinkedIn: www.linkedin.com/company/asiavideoia
Twitter: @AsiaVideoIA

Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

Manila Protection of Online Content Summit Builds Off High Hopes for Efficient and Effective Site Blocking Measures in New House Bill

MANILA, Sep 2, 2022 – (ACN Newswire) – The Asia Video Industry Association (AVIA) and the Coalition Against Piracy (CAP) hosted a seminar earlier today in Manila to promote the protection of online content in a country that continues to have some of the highest levels of online piracy in Asia Pacific, levels that impede economic growth and pose serious risks to consumers. AVIA, and local industry partners involved in the seminar such as Globe and Kroma, held the event to highlight the need for the revised IP Code recently presented to the House to address rampant online piracy via the implementation of efficient and effective site blocking procedures.

The seminar brought together some of the leading content industry and government players in the Philippines, including the Intellectual Property Office of the Philippines' (IPOPHL) Deputy Director General, Teodoro C. Pascua, Congressman Joey Sarte Salceda, the Film Development Council of the Philippines and representatives from Globe Telecom, Disney, NBA and Kroma. Speakers at the seminar discussed the revised IP Code, the impact of online piracy in the Philippines, including the harm posed by piracy such as malware infections, as well as looking at best practices to combat online piracy, including reviewing what measures other countries in the region have taken to address online piracy.

Matthew Cheetham, CAP's General Manager, noted. "We know from a recent YouGov survey that the Philippines has some of the highest online piracy rates in the Asia Pacific, with more than 60% of consumers admitting they watch pirate content online." The same survey shows that site blocking is the preferred method of reducing piracy. Added Cheetham, "More than 49% of consumers believe a government or court order for ISPs to block pirate sites would be the most effective measure to reduce piracy in the Philippines."

However, the good news is that consumers are also being educated about piracy with more than 40% being aware of the negative impacts of piracy on the local creative industry, as well as the risks of malware infections from accessing pirate sites. Cheetham illustrated the stark reality of the consumer risks from pirate sites highlighted in their "Time to Compromise" report from earlier in the year with a video presentation showing a user being infected with fake ransomware within 30 seconds of searching for pirate Philippine movie content.

There is some hope that the revised IP Code bill, HB0799, filed in early July, will address the rampant online piracy. However, while the bill does provide the potential for the government to block sites due to copyright infringement, the procedures for doing so are not clear. Cheetham noted that "Malaysia has some of the best site blocking measures in the region and it's no surprise that Malaysia's online piracy rates have plummeted by 60% since the Malaysian government implemented its rolling site blocking measures in early 2020."

"The transformation brought about by the last two years has drastically changed the ecommerce landscape and technologies in all sectors have adapted accordingly. Protection and enforcement of intellectual property especially in the creative sector will perforce, adjust and adapt as the developments in ecommerce evolve and stabilizes. Failing to do so will drastically destroy the cadence of development already began and bring more loss than gains," said Teodoro Pascua, Deputy Director General, The Intellectual Property Office of the Philippines (IPOPHL).

"Revising the Philippines' intellectual property code is urgently necessary to ensure that we protect the Philippines' creative industry and content users. To complement regulatory efforts, Globe has been implementing its anti-piracy campaign #PlayItRight since 2017 to educate customers on how to become responsible users of online content across the film and music industries, and the areas of digital literacy and education. We also vigorously monitor, and block validated illegal piracy sites. Adding teeth to the law will further boost these initiatives," said Yoly Crisanto, Chief Sustainability and Corporate Communications Officer at Globe.

Added Ian Monsod, CEO of Kroma Entertainment, "Kroma is committed to develop world class entertainment as well as to elevate Filipino artistry and content to the world stage. We will continue to vigilantly work with industry stakeholders to uphold the IP rights protection as a backbone and path to the creator industry sustainability."

About the Asia Video Industry Association

The Asia Video Industry Association (AVIA) is the trade association for the video industry and ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. AVIA is the interlocutor for the industry with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry.

For media enquiries and additional background please contact:
Charmaine Kwan
Head of Marketing and Communications
Email: charmaine@avia.org
Website: www.avia.org
LinkedIn: www.linkedin.com/company/asiavideoia
Twitter: @AsiaVideoIA

Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

Korean Content Powerhouse Shaping the Entire Asian Video Landscape

Singapore, Sep 1, 2022 – (ACN Newswire) – The Asia Video Industry Association (AVIA) welcomed over 200 delegates from across the region for its first ever Korean focused conference and its first in market event since 2019, with Korea in View, which took place on 30 August at the Westin Josun, Seoul.

To set the scene, AVIA CEO Louis Boswell presented key highlights from AVIA's Korea in View 2022 Report. Ranking 10th among the world's largest economies and 4th in Asia, South Korea had risen from one of the poorest countries in the world to a developed, high-income country in just one generation. The pay TV market continued to show growth of 2.7% per year, now dominated by IPTV, while streaming services were accelerating at breakneck speed, seeing paid subscribers increasing from 20.4% of the population in 2020 to 34.8% in 2021.

In his opening speech, keynote speaker, Vice Chairman Ahn Hyoung-hwan of the Korea Communications Commission (KCC) shared that while OTT growth was an opportunity for the content industry to grow, it was also resulting in a sense of crisis for existing legacy media. Hence the KCC was preparing the Audio-Visual Media Service Act and was pushing for innovative deregulation of the existing regulations on advertising and programming.

The day spanned multiple conversations about the strength of Korean content and how that was fuelling the success of both Korean streaming platforms as well as international, with Marianne Lee, Chief of Content Acquisition and Development, Viu and Junbeom Jeon, Chief Leader, Wavve, both agreeing that this investment in local content was the key to survival. Such demand, however, was also clearly fuelling a rapid escalation in content costs and while Hyun Park, Senior Vice President, Global Division of Studio Dragon commented that from a Hollywood perspective Korea still presented great value for money, there needed to be a cap on costs before they got out of hand. He also noted, "We are definitely not at the peak of production, we are only at the beginning."

The roles of international and Korean streaming platforms were also examined with Esther Ahn, Vice President, Streaming, Korea, Paramount, explaining the recent introduction of Paramount+ to the market in partnership with CJ-backed TVING. The partnership spanned making Paramount content available within the TVING service in Korea as well as co-producing Korean content with a view to Korean and international audiences. TVING CEO Jay Yang also talked about the desire to be able to take the best Korean content overseas and deliver it through a Korean streaming platform, although he did not believe Korean content should only be on Korean platforms. But as in the same way Korean content was on international platforms, the Paramount+ deal also saw international content on a Korean platform. Ultimately streaming platforms wanted the best content no matter its origin.

The advertising market was also seeing the traditional markets of TV, Print and Radio declining but there has been significant growth in digital. This was an opportunity that both Bong-Su Kim, Addressable TV Ad Team Leader, SK Broadband and Vijay Kunduri, Regional Vice President, OTT/CTV, APAC, PubMatic, felt needed to be exploited with the growth of ad supported VOD or streaming services, with both being confident that this space would evolve quickly in the next two years in Korea.

Rounding up the day's sentiments, Louis Boswell highlighted the importance of the Korean market not just because of the impressive growth it had seen for video content, but because of the influence Korean content has had across the region, and also the early stages of Korean streaming platforms looking to enter other Asian markets. "It is not possible to look at the Asian video industry without looking at Korea," added Boswell.

Korea in View is generously sponsored by Brightcove, BytePlus, Conviva, Google Cloud, Irdeto, NAGRA, Paramount and TV5Monde.

About the Asia Video Industry Association:

The Asia Video Industry Association (AVIA) is the trade association for the video industry and satellite ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. The AVIA is the interlocutor for these industries with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry.

For media enquiries and additional background, contact:

Charmaine Kwan
Head of Marketing and Communications
Email: charmaine@avia.org
Website: www.avia.org
LinkedIn: www.linkedin.com/company/asiavideoia
Twitter: @AsiaVideoIA

Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

Binasat Posts 55.0% Increase in FY2022 Revenue to RM83.51 Million

KUALA LUMPUR, Aug 29, 2022 – (ACN Newswire) – Binasat Communications Berhad, an all-round solution provider of network engineering and services, today reported revenue of RM83.51 million for the full-year ended 30 June 2022 (FY2022), a 55.08% increase compared with RM53.85 million for the corresponding period of the last financial year (FY2021) mainly attributable to higher revenue from civil mechanical and engineering works, recurring teleport services and revenue from transmission and distribution network facility services and engineering, procurement, construction and commissioning (EPCC) of solar farm facilities.


Binasat Communications' office in Technology Park Malaysia, Bukit Jalil, Kuala Lumpur


For the period under review, Binasat recorded a 50.74% gain in GP to RM18.22 million compared with the preceding year corresponding period on higher revenue from transmission and distribution network facility services and EPCC of solar farm facilities.

Binasat registered 63.53% increase in PBT for FY2022 compared with RM12.09 million in FY2021 mainly due to increase in GP and additional rental income of RM0.39 million The Group's PAT gained 123.27% to RM5.41 million compared with RM2.42 million.

The Group recorded RM14.96 million for the fourth quarter ended 30 June 2022 (4Q FY2022), a 15.20% decrease compared with RM17.64 million recorded in the corresponding quarter of the previous year (4Q FY2021) mainly attributable to lower revenue from civil infrastructure and fiber optic cabling works.

Binasat registered a 52.54% gain in gross profit (GP) to RM4.51 million in 4Q FY2022 compared with RM2.95 million in 4Q FY2021 on a reduction in the number of mobile network maintenance services sites although fixed costs continued to be incurred resulting in lower gross margin. Binasat's profit before tax (PBT) increased 145.72% to RM2.44 million compared with RM0.99 million in the same quarter of the previous year while profit after tax (PAT) gained 254.31% to RM1.55 million compared with RM0.40 million.

Executive Director cum Chief Executive Officer, Zulamran Bin Hamat, said, "We believe that with the reopening and gradual recovery of the economy, more telecommunications and satellite services will be needed by businesses and organisations. We are now focused on expanding satellite operations by targeting the maritime and oil and gas industries as these industries increasingly adopt the VSAT system."

"The Group intends to leverage on its Approved Supplier & Partner status with Ericsson (Malaysia) Sdn Bhd and Huawei Malaysia to win projects as Digital Nasional Berhad has announced a partnership with Ericsson for the national digital infrastructure initiative while Huawei is assisting major mobile network operators to upgrade their 4G network capacity."

"We are optimistic for the economic outlook as the Group is also participating in Phase 1 of the Point of Presence (PoP) fiber infrastructure project and we have tendered for Phase 2 of the PoP project. Both phases have a combined value of RM8.0 billion and have to be completed in three years. At the same time, we are also participating in the construction of 5G towers in Kuala Lumpur."

Binasat Communications Berhad: 195 [BURSA: BINACOM], https://www.binacom.com.my/

Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

Amazfit Launches GTS 4 Mini in Malaysia

KUALA LUMPUR, Aug 15, 2022 – (ACN Newswire) – Amazfit, a premium smart wearable hardware brand owned by Zepp Health Corporation (Zepp), launched the Amazfit GTS 4 Mini in Malaysia today with all the signature features packed into a lightweight and compact frame that challenges the limits of size.




The ultra-slim Amazfit GTS 4 Mini comes with heavyweight power in an aluminium alloy frame weighing-in at a mere 31.2 grams while the 70.2% screen-to-body ratio gives more screen. Powered by a 270-milliampere hour battery, the Amazfit GTS 4 Mini can last for 15 days from a single charge.

Other highlights of this mini smartwatch include five-satellite positioning system for outdoor activities, 5 ATM water-resistance to track water-sports and 120+ sports modes. The Amazfit GTS 4 Mini can also recognise seven sports activities and the PeakBeats Workout Status Algorithm monitors post workout recovery while wearers can assess and compare their previous running performance lap-data through the Virtual Pacer. Stress monitoring is included in the health reminders.

All this data is easily viewed through the Zepp App, which is powered by the Zepp operating system. The Amazfit GTS 4 Mini also has Alexa that can be accessed through the built-in microphone.

The Amazfit GTS 4 Mini's soft and skin-friendly silicone band comes in Mint Blue, Flamingo Pink, Midnight Black and Moonlight White. The curved bezel smartwatch allows the wearer to download dozens of watch faces, some are animated, with matching always-on display or customize with photos.

The Amazfit GTS 4 Mini comes with a one-year warranty and will retail at RM399 each.

A special Shopee launch price of RM379 is good until 22 August 2022, plus those who order will also receive a limited edition Amazfit T-shirt (while supplies last)!

Find out more about the Amazfit GTS 4 Mini smartwatch at https://www.amazfit.com/my or Amazfit's e-commerce partner platform https://bit.ly/MYAmazfit-SHOPEE.

Amazfit: www.amazfit.com/en

Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

‘Gumball Dreams’ to have its International Premiere at the 79th Venice International Film Festival

LOS ANGELES, CA, Aug 5, 2022 – (ACN Newswire) – Internationally premiering at the 79th Venice International Film Festival, brought to you by the award-winning virtual reality production company Ferryman Collective and Screaming Color, their fourth VR production, Gumball Dreams is an Official Selection of the oldest festival in the world after having won the SXSW Audience Award XR Experience Competition.

Organised by La Biennale di Venezia and directed by Alberto Barbera, the 79th Venice International Film Festival will take place at the Venice Lido from 31 August to 10 September 2022.

“In Gumball Dreams, our character Onyx has been blessed with the opportunity to explore worlds, and to experience the very best that those worlds have to offer. The delicious metapoetry is not lost on me that this work appears to be bringing me and my team similar opportunities,” states Christopher Lane Davis, aka Screaming Color, “I’m beyond thrilled that we will have almost two weeks to romp around one of the most beautiful cities in the world, meeting some of the most genius creators alive, and getting to experience their art. And I’m endlessly grateful to the founders and curators of the festival for bringing us together in this way.”

Gumball Dreams is a live, hour-long immersive experience in virtual reality that takes three audience members on a fantastical journey through a surreal landscape in space, dominated by a whimsical Gumball Machine, where Onyx, the main character sits on their throne waiting. A powerful and intimate experience that allows us to discover a mythic world beyond the reaches of our reality.

NARRATIVE SUMMARY

You have been called by an alien creature named Onyx to a mythical planet on which they are living out their final days. You, and two others, are asked to help them transition from this reality to the next. Each interaction with this majestic creature is illuminating and fascinating as you are asked to delve into your past and share stories with your fellow travelers in moments out of time.

But before Onyx can lay infinite wisdom at your feet, the weight of your spirit must be assessed. If found ready, you shall embark upon the journey of a lifetime, skipping among the stars, floating above the spheres, and remembering who you truly are.

Greetings, Traveler.

HOW IT WORKS

Gumball Dreams is performed live with one actor playing multiple roles. Through the magic of VR technology, participants feel fully immersed in our 3D world.

“There are things that can be done in VR that can only be seen in the movies, however, with VR, we allow the audience to be immersed inside these 3D worlds, in a way that 2D mediums cannot achieve,” says Stephen Butchko “there is a sense of awe about the scope and scale of things that can be accomplished in VR.”

PROJECT HISTORY

“This show was inspired by Club Gumball and Gumball Lounge, the existing worlds of Christopher Lane Davis, aka Screaming Color,” explains Deirdre V. Lyons, “with such beauty and grandeur, I felt this was the perfect environment to bring a new kind of story alive, almost as if it had been waiting for Onyx to step into the world and take a breath.”

Coming off the award-winning success of the festival darling The Severance Theory: Welcome to Respite, Ferryman Collective continues to trail-blaze in this new storytelling medium. Ferryman Collective is also known for PARA and Krampusnacht, a finalist for the PGA Innovation Award.

“VR allows us to combine the centuries old traditions of theater and performance with exciting and boundary breaking technology to bring people into an entirely new world.” adds Whitton Frank.

THE TEAM

Gumball Dreams is produced by Ferryman Collective and Screaming Color and is directed by Deirdre V. Lyons, Artistic Director, World & Animation Design by Christopher Lane Davis, a.k.a Screaming Color with support from Ferryman Collective members: Brian Tull – Producer, Braden Roy – Producer, Whitton Frank – Producer and Andy Aloisio – VR Consultant and Prefabs.

Coding – SnugDad.

Avatar Designer and Creator – Braden Roy and Brian Tull.

Screaming Color – Original Music and Sound Design.

Story by Deirdre V. Lyons and Christopher Lane Davis, aka Screaming Color. Inspired by the VRChat Worlds Club Gumball and Gumball Lounge, created by @screamingcolor.

The production team includes Deirdre V. Lyons, Braden Roy, Whitton Frank, Stephen Butchko, Brian Tull and Christopher Lane Davis, a.k.a Screaming Color.

Cast members include Brendan Andolsek Bradley (Onboard XR: Below Deck and Cruise, Resident Evil Village, The Haves and the Have Nots), Stephen Butchko (PARA, Krampusnacht, Welcome to Respite), Whitton Frank (The Under Presents, Tempest, PARA, Welcome to Respite), Kelly B Jones (Strikeback, The Letting Go, The Marine 2), Dasha Kittredge (The Under Presents, Tempest, Onboard XR), Deirdre V. Lyons (The Under Presents, Tempest, Welcome to Respite), Jonathan David Martin (Finding Pandora X, Loveseat, War Horse), Melinda Dekay (The Willows, Ashes, Torment) and Ona Zimhart (Alien Convergence, Cages).

MEDIA SHOWINGS AND INTERVIEWS

Interviews and private showings of Gumball Dreams may be experienced by contacting the team directly with requests. (Meta Quest 2 or PCVR required for private showings.)

Website:
https://www.ferrymancollective.com/

Social Media Links:
https://www.facebook.com/FerrymanVR
https://www.instagram.com/ferrymanvr/

For questions please contact: Ferryman Collective info@ferrymancollective.com

Press Release and Images: Press Kit_Gumball Dreams – Google Drive



Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

Linmon Media Proposed Listing on the Main Board of the Hong Kong Stock Exchange

HONG KONG, Jul 29, 2022 – (ACN Newswire) – A leading drama series production company in China – Linmon Media Limited ("Linmon Media" or the "Company", together with its subsidiaries, the "Group", stock code: 9857.HK), today announced the proposed listing of its shares on the Main Board of The Stock Exchange of Hong Kong Limited ("Hong Kong Stock Exchange").

Linmon Media plans to offer 15,139,300 Shares (subject to the Over-allotment Option), of which 13,625,300 Shares will be International Offer Shares (subject to reallocation), representing 90% of the initial offer shares; the remaining 1,514,000 Shares will be Hong Kong Offer Shares (subject to reallocation and the Over-allotment Option), representing 10% of the initial offer shares. Offer Price is between HK$27.75 and HK$33.30 per Share. Linmon Media will open for Hong Kong Public Offering in Hong Kong at 9 a.m., July 29, 2022 (Friday), and close at 12:00 noon, August 3, 2022 (Wednesday). Dealings in shares of Linmon Media on the Main Board of the Hong Kong Stock Exchange is expected to commence on August 10, 2022 (Wednesday). The shares will be traded in board lot of 100 Shares each. The Company's stock code is 9857.HK.

Morgan Stanley Asia Limited and China International Capital Corporation Hong Kong Securities Limited are the Joint Sponsors, Joint Representatives, Joint Global Coordinators, Joint Bookrunners and Joint Lead Managers.

Mr. Su Xiao, Co-founder, Executive Director, Chairman of the Board and President of Linmon Media Limited, said, "Our drama series have achieved great success in terms of both commercial value and artistic value. We take the lead in the development of premium original IP in-house and have built an abundant reserve of original IPs and strong pipeline, allowing us to possess a competitive edge over many of our competitors. Furthermore, we are committed to our diversified growth strategies. We continue to explore new growth avenues such as content marketing, derivative licensing and overseas distribution, in order to maximize the commercial value of our proprietary IP rights. In the future, we will continue to uphold our mission and vision of "shaping content by people, and shaping people with content", and strengthen our position in the PRC drama series market and enhance our overall competitiveness."

About Linmon Media Limited
Linmon Media Limited is a drama series production company in China with a track record of creating premium content. The Company typically creates high viewership drama series based on its abundant reserve of original IPs. According to Frost & Sullivan, The Company ranked the fourth among all Chinese drama series companies in terms of revenue in 2021. Six of its eight original drama series broadcast from 2019 to 2021 were high viewership drama series, representing a high viewership drama series rate of approximately 75.0%, far exceeding the average high viewership drama series rate of its top five competitors by revenue at approximately 45.9% from 2019 to 2021.

Issued by Porda Havas International Finance Communications Group for and on behalf of Linmon Media Limited.
For further information, please contact:

Porda Havas International Finance Communications Group
Mr. Bunny Lee +852 3150 6707 bunny.lee@pordahavas.com
Ms. Angela Shi +852 3150 6778 angela.shi@pordahavas.com
Ms. Ivy Lu +852 3150 6788 Ivy.lu@pordahavas.com
Ms. Louise Liu +8621 3397 8796 louise.liu@pordahavas.com
Ms. May Yang +8521 3397 8725 may.yang@pordahavas.com

Important Disclaimers:
1. This press release is for information purposes only and does not constitute or include any recommendation or invitation or offer (nor is calculated to invite such a recommendation, offer or invitation) by any person for acquisition, purchase or subscription of the securities of the Company nor does it intend to act as a recommendation of the sale of securities or any invitation, solicitation or offer for acquisition, purchase or subscription of securities in any jurisdiction. This press release should accordingly not amount an advertisement or invitation within the meaning of section 103(1) of the Securities and Futures Ordinance (Chapter 571 of the laws of Hong Kong) or a prospectus or an extract from or abridged version of a prospectus (including within the meaning of sections 2 and 38B, respectively of the Companies (Winding Up and Miscellaneous Provisions) Ordinance). This press release has not been reviewed or approved by The Stock Exchange of Hong Kong Limited or the Securities and Futures Commission of Hong Kong. Investors should read the prospectus of the Company for detailed information about the Company and the proposed offering before deciding whether or not to purchase any securities of the Company. An application to subscribe for the shares referred to in this press release by any persons shall be made solely based on the prospectus and the application forms to be issued by the Company on July 29, 2022.

2. No application for the shares of the Company should be made by any person nor would such application be accepted without the completion of a formal application form or other application procedure that is issued with or in respect of the prospectus.

3. The directors of the Company collectively and individually accept full responsibility for the accuracy of the information contained in this press release and confirm, having made all reasonable enquiries, that to the best of their knowledge and belief, there are no other facts the omission of which would make any statement herein misleading.


Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

Evolve Your Instinct with the Launch of Amazfit’s T-Rex 2

KUALA LUMPUR, Jul 7, 2022 – (ACN Newswire) – Amazfit, a premium smart wearable hardware brand owned by Zepp Health Corporation, launched the T-Rex 2, in Malaysia today, an outdoor, tough and rugged smartwatch, with a demonstration of its durability and versatility by wall climbing professionals from Camp5, the climbing gym.



Amazfit recently sent the rugged outdoor GPS smartwatch Amazfit T-Rex 2 into space on a quest to prove its strength in extreme environments. The space journey began in the city of Sheffield in the United Kingdom, where Amazfit T-Rex 2 was sent off on a lightweight spacecraft equipped with fully functional tracking and control systems, as well as an on-board camera to capture the most exciting highlights during the two and a half hour round-trip.

The Amazfit T-Rex 2 has passed 15 military-grade tests and can remain functional in temperatures as low as -30 degrees Celsius through the ultra-low temperature operation feature. With a battery life that can stretch to 24 days, it comes with dual-band, 5-satellite positioning and route-import and real-time navigation for optimum outdoor use. Built for any terrain, the Amazfit T-Rex 2 can also resist heat up to 70 degrees Celsius, has a humidity resistance of 240h, 96h salt-spray resistance and shock-resistance.

Wearers can create their own training templates for 11 different sports through the Zepp app, which is powered by the Zepp operating system and includes a rich ecosystem of over 10 mini apps for seamless interactions. The Amazfit T-Rex 2 also has a huge selection of over 150 sports modes including the toughness-testing triathlon mode, the professional lap-data recording track run mode, with smart trajectory correction, and the more leisurely golf swing mode.

Mr. Benky Lin, Country Manager of Amazfit Malaysia, said, "There is no doubt that the Amazfit T-Rex 2 is one of the toughest smartwatches in the market. The military-grade tests ensures that it can withstand low and high pressure, extreme heat and cold, rain, salt, sand, dust, vibrations, shocks, acid and fungus. The Amazfit T-Rex 2 is built for durability and versatility and can be used for the great outdoors as well as for strength training in any condition."

"We are happy to introduce the Amazfit T-Rex 2 here in Malaysia. This is a smartwatch that is ready to evolve your instinct anywhere in the world. We have pushed it to the limit, going all the way to space, subjecting it to the most extreme conditions we can reach and that includes the heat of Death Valley in California and depths of the Pacific. The Amazfit T-Rex 2 is a smartwatch you can wear with confidence in any terrain condition."

The Amazfit T-Rex 2's look is inspired by the spirit of nature and comes in Astro Black & Gold, Ember Black, Wild Green and Desert Khaki. It is rugged in style with HD AMOLED display that enables the wearer to download dozens of watch faces with matching always-on displays or images unique to the wearer.

The Amazfit T-Rex 2 comes with one-year warranty and retails at RM799 each. To commemorate the launch, Amazfit T-Rex 2 will be exclusive to Shopee Online Store with a store promotional price from 6 July to 8 July. At the promo, there are also one each of Powerbuds Pro, GTS 2 mini and Band 5 to be won. The first 100 buyers of the T-Rex 2 will get an Amazfit sport bottle and screen protector as a gift.

To know more on the Amazfit T-Rex 2 series of smartwatches, please go to www.amazfit.com/en or to Amazfit's e-commerce partner platform http://bit.ly/Amazfit-MY-SHOPEE.

Amazfit: www.amazfit.com/en

Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com

First In-Person Satellite Industry Forum After COVID Sees the Industry in Strong Shape and Geared for Growth

Singapore, Jun 3, 2022 – (ACN Newswire) – The Asia Video Industry Association was finally able to host its annual Satellite Industry Forum in-person in Singapore on 31st May 2022 after a two-year hiatus, bringing together over 120 delegates from around the world and some of the satellite industry's most foremost leaders.

Opening the Forum this year was keynote speaker, Steve Collar, Chief Executive Officer, SES, to address the issue of where future growth was coming from and kicked off the session with his views on demand and supply in the market. As platforms were getting longer to get built and become operational, it showed how difficult it was to get launches done, and how much the industry overestimated supply. Collar added that SES had always been a champion of multi-orbit, and not just having both MEO and GEO satellites, but also constructing a global network for customers to move seamlessly from one to the other to maximize the benefits of both. Collar also shared his excitement on demand, and the new applications and new services that could be run, with a sweet spot being the high throughput and high connectivity services which represented a significant market for SES.

Access to space was also what made the industry exciting, as technology continued to develop both in space and on the ground. However, he also highlighted that space sustainability was critical, with the industry having a duty and moral obligation to treat space in a sustainable way. "Our job is to make sure that space will be used by future generations, and the access to space is equivalent to what we enjoy today and hopefully more in the future," said Collar.

COVID also saw the resurgence of the linear broadcast, with video having done very well over the last two years. Collar remained committed and excited on the long-term aspects of the video business, particularly in Asia. And while it was not going to be the source of growth, it was still overwhelmingly the source of cashflow.

This sentiment was also shared by some of the largest satellite operators in the region during the Satellite Operators' Roundtable. Terry Bleakley, Regional Vice President, Asia Pacific, Intelsat, talked about the importance of satellite to video and how long-term agreements were still being signed with satellite operators. In terms of advertising in Asia Pacific, by 2024, $43.5 billion would come from broadcast and linear television, whereas OTT was only going to bring in $30 – 33 billion, hence linear was still generating more money. Patrick French, Executive Vice President, Global Business Development and Strategy, ABS, added that video still had a long lifetime ahead, and the core of Asia for the longer term. Software defined satellites were also going to be addressing all market segments and would de-risk the business case going forward.

From the manufacturer's perspectives, Vaibhav Magow, Vice President, International Division, Hughes Network Systems, also said this was the most exciting time for the satellite industry, as software defined satellites could change and swap the configuration of what was being offered to the customers, and easily adapted to the change of demand. Joe Bogosian, Vice President, Global Sales & Marketing, Boeing Commercial Satellite Systems International, also agreed that software defined satellites were going to drive much higher utilisation of CAPEX that was going up, and multi-orbits were going to enable more efficient use of this CAPEX and were able to serve different applications more efficiently for LEO and GEO.

Closing off the Forum was Bill Carlin, Senior Manager, Global Sales, AWS Aerospace & Satellite Solutions whose interest in space and satellite was on the vast amount of data that was being collected and created from space, and soon in space, with a future view of launching data centers on the moon and even on Mars. "I see the ability of moving the cloud to space. If we move high speed computing to space, we can do all the things that we do on earth that require high volumes of computing, storage or analytics," said Carlin.

The Satellite Industry Forum is generously sponsored by AsiaSat, AWS Aerospace & Satellite, Gilat, Hughes, Kymeta, Marsh, MEASAT, Milbank, SES, SpaceBridge, SpaceLogistics and Thaicom.

About the Asia Video Industry Association:

The Asia Video Industry Association (AVIA) is the trade association for the video industry and satellite ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. The AVIA is the interlocutor for these industries with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry.

For media enquiries and additional background, contact:
Charmaine Kwan
Head of Marketing and Communications
Email: charmaine@avia.org
Website: www.avia.org
LinkedIn: www.linkedin.com/company/asiavideoia
Twitter: @AsiaVideoIA

Copyright 2022 ACN Newswire. All rights reserved. http://www.acnnewswire.com