Hindi
Sony Electronics in digital cinema deployment deal with Fox, Paramount, Sony Pictures
MUMBAI: US film studios Fox, Paramount Pictures and Sony Pictures Entertainment have entered into separate non-exclusive digital cinema deployment agreements with Sony Electronics‘ Digital Cinema Solutions and Services (DCSS) group.
The agreements relate to supplying exhibitors with feature motion pictures in digital form in order to promote the use of digital cinema projection systems.
The new agreements will provide certain operational and financial resources to encourage exhibitors to implement digital cinema systems that will feature Sony‘s DCI-compliant 4K SXRD(TM) projection technology.
The separate agreements vary among the companies and extend to digital cinema efforts in certain countries in the US, Europe and Asia.
The Sony DCSS group was formed to provide turn-key solutions for exhibitors that will enable them to efficiently convert their operations to digital technology.
In addition to digital projection system deployment, Sony‘s DCSS group will be in a position to offer critical services for exhibitors such as installation and maintenance, along with customised solutions and high-level service support — which can all be provided by a turn-key Sony DCSS solution.
In a joint statement, Fox president of domestic distribution Bruce Snyder and Fox International , co-presidents Paul Hanneman and Tomas Jegeus said, “Fox is committed to supporting the highest-quality solutions for exhibitors as they make their transition to digital cinema on a global basis. It is important that exhibitors worldwide have the widest choice of solutions available to them. By working with Sony and its range of available technology, experience and stability, our goal is to continue to make the transition to DCI-compliant digital projection systems as smooth as possible. We‘re proud to be working with Sony DCSS to further advance digital cinema on a global level.”
Paramount Pictures president of domestic theatrical distribution Jim Tharp says, “Paramount is committed to maximising new, creative opportunities to encourage the conversion to digital projection and to broadening the availability of high quality 3D cinema. Our collaboration with Sony‘s DCSS team is a great step toward that end. We look forward to continued cooperation in the future.”
Sony‘s 4K projection technology will also contribute to the deployment of alternative content — including gaming, sporting events and music concerts — in order to develop more revenue-generating opportunities for exhibitors as the industry transitions to digital delivery.
Sony Pictures Entertainment chairman, worldwide marketing and distribution Jeff Blake says, “As digital cinema programming becomes more prevalent in the marketplace, consumers will experience entertainment in bold and exciting new ways with superior state-of-the-art sound and picture quality, as well as the deployment of alternative forms of content.”
Sony Pictures recently launched The Hot Ticket, dedicated to exploring and creating alternative programming for digital presentation in theatres.
“We couldn‘t be more supportive of our colleagues at Sony DCSS who are offering exhibitors a compelling digital cinema experience. These agreements continue to push the evolution of our industry to 4K, from acquisition through to exhibition” adds Blake.
Hindi
New labour codes reshape rules for India’s media & entertainment sector
EY masterclass highlights unified framework, wage redefinition and expanded coverage.
MUMBAI: The new labour codes just rewrote the rulebook for India’s media and entertainment industry because when four old laws become four big codes, even the fine print needs a director’s cut. At the FICCI-EY Media & Entertainment Industry Report launch, EY partners Nirali Goradia and Lakshmi Ranganathan delivered a detailed masterclass on how the labour codes implemented in November 2025 are fundamentally changing the sector. The four consolidated codes Code on Wages, Code on Social Security, Industrial Relations Code, and Occupational Safety, Health and Working Conditions Code have replaced a fragmented set of central and state regulations that existed for decades.
The speakers explained that the new framework brings consistency across all types of establishments and workers. Previously, cine-workers, journalists and other media professionals were governed by separate, narrow laws. Now, definitions have been broadened: “audio-visual worker” now covers everyone involved in film, television, OTT, broadcasting and digital content creation, while “working journalist” extends to digital news platforms.
Key changes include:
- A uniform definition of wages, with at least 50% of total remuneration needing to qualify as wages for calculations like provident fund and gratuity.
- Expanded social security coverage for gig workers, platform workers and project-based freelancers.
- Unified working conditions, safety norms and leave entitlements.
- Simplified compliance through digital filings and a more principle-based approach.
Nirali Goradia emphasised that the codes aim to bring gig workers, freelancers and project-based talent under the social security net, though the exact contribution mechanism for platform workers is still being finalised. She noted that the intent is clear: no worker should be left out of basic protections such as provident fund, ESI, gratuity and safety standards simply because of the nature of their engagement.
Lakshmi Ranganathan highlighted that establishments in the sector must now carefully map their workforce—permanent employees, fixed-term contracts, freelancers and gig workers because different categories attract different obligations. She pointed out that gratuity vesting for journalists remains at three years, but the broader wage definition will impact calculations across the board. Organisations that previously computed contributions on basic salary (often 35-40%) will now need to move to at least 50% of total wages, potentially increasing costs by around 10% on a recurring basis. This change applies retrospectively for gratuity valuation as well, creating immediate balance-sheet implications for many companies.
The panel also discussed how the Occupational Safety, Health and Working Conditions Code has expanded the definition of “manufacturing process” to include digital printing and related activities. This brings more workers under safety and working-condition norms that were previously limited. Additionally, the codes introduce a clearer framework for fixed-term employment contracts, offering organisations flexibility while ensuring such workers receive benefits similar to permanent employees, including gratuity after one year.
One area still evolving is the treatment of platform and gig workers. The Social Security Code recognises this new category, but the exact funding mechanism and contribution structure are awaited. Industry experts expect a dedicated fund where platforms and employers will contribute, from which benefits can be extended to gig workers. Until the schemes are notified, organisations are advised to review their existing contractor and freelancer agreements to assess potential future obligations.
Both partners stressed the need for proactive steps. Companies should:
- Reclassify their workforce based on the new definitions of “employee” and “worker”.
- Review compensation structures to align with the 50 per cent wage threshold.
- Update contracts, especially for project-based and gig engagements.
- Reassess gratuity liabilities and payroll processes.
- Ensure compliance with expanded safety and working-condition requirements.
The speakers noted that while the codes bring much-needed unification and broader coverage, they also demand careful interpretation. The shift from highly prescriptive rules to a more principle-based regime means organisations must build internal frameworks to apply the codes consistently. This is particularly relevant for the media and entertainment sector, where project-based work, freelancers, short-term contracts and gig-style engagements are common.
In an industry that thrives on creativity and agility, the new labour codes are forcing a rewrite of the fine print. What was once a patchwork of rules is now a unified playbook and for media houses, the real plot twist will be how quickly they adapt to keep talent happy, costs manageable and stories flowing. The next few months, as states finalise their rules and schemes are notified, will be critical in determining exactly how this new framework reshapes hiring, compensation and workforce management across the sector.
