Positioning: GetTV is an ad-supported digital subnet offering classic television and movies to a heartland audience on a free-to-air and cable basis.

Demographic: Serving 40+ men and women.

Launch: February 2014.

Reach: National. 50 million homes. 100 DMAs.

The trick for launching a diginet is understanding bandwidth. Diginets travel on subdivisions of broadcast channel bands (the .1 and .2s) and we were facing the challenge of delivering branding on a deeply compressed signal. So we took the Sunset Sound approach. Sunset Sound is a famous recording studio in Los Angeles where seminal albums like The Doors debut and Led Zeppelin IV were recorded. In every marquee recording studio like Sunset Sound, between the twenty thousand dollar Westlake speakers, there is a clock radio patched to the board. After the art has been laid down, the engineer feeds the sound masters through the cruddy clock radio to hear what the music sounds like on the worst speaker imaginable. That is how we arrived at the simple colorway you see here. Compression pivots on the information in color density, so the more lush and frame-filling the color, the more crumbly and mosaic the signal after radical compression. We found that with the branding we developed, one could smash the GetTV signal all the way down to the worst feed, like single digit bites, and yet because the background was so spare, the branding came through strong everywhere. An added bonus was that in our research we discovered that all of the classic movies we were selling had these beautiful publicity photos. The Sony archive was bursting with them. Nothing says classic movies like the actual stills from the time they were made. And again- most of them were black and white. Once we saw the look and feel and authentic vibe of the fully constructed branding elements, we knew we had a winner on our hands. GetTV connected directly with the target demo of men and women 40+ and is the most profitable domestic network in the SPT portfolio.

Position: The #1 Spanish-language movie network in the US.

Demographic: General entertainment, targeting families and the 18-34 demo.

Launch: Launched August 2012.

Performance: Routinely captures a larger audience than networks 2x, 3x, and 4x its size.

Who could have imagined that a SD network featuring Hollywood movies with overdubbed dialogue would become the #1 Spanish language movie network in the US? Cine Sony Television was the brainchild of Superna Kalle, then GM of the US Networks group at SPT, and a total visionary. In an age of HD everything it seemed anachronistic to launch a network in this format but sometimes being underestimated has a powerful advantage. We targeted Latin families who co-watch multi-generationally. Family style. We focused on keeping the energy up, the Hollywood shine prominent, and the overall enjoyment of the best entertainment an invitation to the fastest growing market demo in America. Cine Sony Television isn't just the Little Engine That Could, it's the Little Engine That Ran Circles Around All The Big Engines. Cine Sony Television reached full market penetration almost immediately and has been a stone winner since.

Positioning: A premium movie network.

Demographic: Serving a 25-54 male audience.

Launch: October 2010

Reach: 6 million homes

Performance: Annual growth Year-Over-Year, with peak rates reaching 40%, despite modest gains in distribution.

Sony Movie Channel began as an idea at a meeting followed by a request to create a reel for a yet-to-be-determined domestic network that would be based on the Sony lot. It was to be the first American network bearing the storied Sony name and no one was sure whether it would work or yield success of any kind. To answer the call, we ran around the offices in Culver City with walkie talkies and faked that aliens arriving at District 9 was an event of equal magnitude. It worked. The reel (more importantly the deal-making muscle of seasoned executives with vision and persistence) did what it was supposed to do and the adventure began. Cut to a young executive sitting alone in an abandoned machine room that was the home of the new On Air department, with nothing but a laptop and his imagination. All of the work on this website followed.

Sony Movie Channel launched with positioning as a prestige offering for the movie lover, with the intention of leveraging the studio lot for an insider's look at the machinery behind a key pillar of our culture. It was to be friendly, informative and escapist. We inherited a graphics package from a project that had been put to pasture and set about creating everything a premium channel would need, from workflow to talent to promo formats to VOD to web. SMC was unique because it was ad-free, meaning the OA team had to create all of the media that would air on the channel, as well as all graphics, affiliate collateral, advertising, everything. We watched a lot of HBO and got to work. The first image spot that went to air received a Promax gold trophy and we were off to the races after that. Above are some of the earliest pieces to air on the Channel.

Sony Movie Channel grew rapidly, and with growth came an expansion of original content. We created a new logo in-house and refined the graphics package while continuing to offer a premium experience to our audience. We began posting striking year-on-year growth numbers and resources were made available to expand our offering. Original production started on Reel6 with the help of Gary Martin, President of Production for Columbia pictures. An interesting note is that Reel6 is the first time Columbia Pictures allowed the logo animation featuring the woman carrying the torch to be used in any property outside of one of their features. Reel6 expanded through partnerships with the Theatrical Marketing team. We produced Bollywood Masala, an original miniseries celebrating the world's largest movie making enterprise. We built all assets for our original programming and branding in-house. Key to refining the brand promise was to introduce programming blocks, allowing the executive team an opportunity to explore the edges of the network and to broaden the voice to include deeper library curation.