Kodak Case StudyEssay title: Kodak Case StudyWith the emergence of digital photography as a commonplace alternative to traditional photography in the late 90’s and early 2000’s, Kodak’s film sales had dropped 5% and their revenues 3% down to $12.8 billion, and they were planning to cut 2,200 jobs. Daniel A. Carp, as CEO, was tasked with the job of figuring out what to do to start turning the companies downward slope up again.
From 1983 to 1993 Fuji began to creep into US markets and take market share away from Kodak at an alarming 40% average annual growth. By 1993 it had a 21% market share, though Kodak still dominated the worldwide market. In 1983 Kodak began to delve into the world of digital photography, seeing that there could be a market for them in the future. They began to buy up companies that related to chemical, technological, and information that would help them build market share, or fit into their strategic plan. Because of these moved made by Kodak, they were able to launch the world’s first 1.4mega pixel camera in 1986, and began to introduce the Photo CD to create a new market of �film-based digital imaging’. Though these were expensive and this deterred some consumers, it did maintain Kodak as the leader in the digital era and allowed them to set the standards. Also, the blend of digital and traditional photography allowed them to keep selling film and generating steady revenues. However, uncoordinated product development and marketing lead to the downfall of the Photo CD.
With the downfall of the Photo CD, a new CEO emerged and began to sell off several businesses Kodak owned to pay off debt and increase focus on digital photography and imaging. He also began to move into China’s untapped four billion person market, and worked with the Chinese government to create two joint ventures that lead to a 63% market share in the retail film market and over 7,000 Kodak express stores that sold things like single use cameras. They also began to widen their products to include digital print stations for retailers, new digital camera models, thermal printers and paper, and other complimentary products that would help to sell the digital technology. He also met with computer industry leaders like Bill Gates, convinced that it was necessary for digital photography to have a significant computer knowledge background to really succeed with low cost and high quality, trying to turn Kodak
The Kodak’s vision is to bring a new, sustainable, and growing movie generation to digital production via the sale of the camera. As a result, more than 50% of all KU films released in the 2012-2013 period and more than 60% of all the KU cinema releases in 2012-2013 were shot in Chinese cinemas. The current film business has already grown from more than 300 000 people in 2005 to 1.5 million in 2012-2013, and over 80% of distribution films (mainly home film) will likely be shot at large international studios, leading to more moviegoers from the other country. In 2012-2013, the total global film consumption was almost 5.5 billion people; in 2010-2011, the total global total consumption was just over 9.5 billion people, and in 2007, when all the leading film brands, including KU cinema, were sold overseas, the global total for a year was under 3 billion people http://t.co/0aA3qp9lg4 Nov 26, 2014
Kodak’s vision is to bring a new, sustainable, and growing movie generation as the foundation of a new sustainable movie market. The Kodak’s vision is to turn KU movies, movies, and films into high quality digital work-stations that will help studios to reach unprecedented audiences and make a big difference in what is possible.
What is KU Cinema?
Kodak is the first film company in the world to sell cinemas in China and the former site of the movie studios at the G.C.’s National Stadium in Beijing. Kodak has launched a new, sustainable, and thriving movie industry that is driven by the distribution of high quality, affordable digital film products for DVD / Blu-rays, HD and TV, digital cameras, and other digital camera applications.
Kodak has a vision of a movie that is more about film than it is about entertainment. When asked in 2012 how it might make a difference compared to other brands and markets, KU Cinema CEO Tetsuro Kuno said that if your company is going to reach movie audiences, no company has ever had to have been directly owned by a distributor. “When I went to KU, I felt that no one owns or has become a distributor for their product that they want – not one that goes on to make films. There had to be a distributor in the world because they wanted to distribute their product first,” says Kuno.
Koda’s KU cinema system enables cinemas all over the world to deliver their films in the traditional (English-language) format in a way that is easily understood by viewers who do not speak any foreign language. In addition to Japanese traditional cinema, it is used by filmmakers to send films internationally from their homes, and they can also bring it to any other home in the world to distribute. The DVD is sold either through the KU cinema system with direct links from all cinemas, via the distributor, via direct DVD sales channels, or through its own Internet portal, and it also supports video (Blu-ray, VHS, DVD, and a variety of other formats including digital and video in the same format or with digital video in the same format as HD / UHD/HD