Posts Tagged ‘Sony’

Of Phablets and 4K

Lately, trying to predict sales trends is like shooting at a moving target. And just when we think we have a market segment figured out, it turns in a new direction.

So it goes with the shipments of tablets, which most analysts had pegged to grow by 20% in 2014 over last year. But hold on – a recent report from IDC has dropped that number to 12% after Q1 shipment numbers came in.

In a January press release, IDC had predicted that tablet shipments would hit 270M units this year. At some point, that number was revised downward to 261M units. Now, IDC is forecasting 2014 shipments will drop to 245M units, based on lower-than-expected Q1 results.

What’s the reason for the fall-off? IDC states one obvious cause: People are keeping tablets longer than expected. Unlike smartphones, which are usually recycled every two years (the length of the typical service contract and phone battery), many older tablets are still in service. My wife still uses her iPad 2 daily, and I’ve gotten two+ years out of my Nook HD tablet.

IDC also found that older tablets are often “handed down” to another family member, which represents another lost sale. The vast majority of tablets are using conventional Wi-Fi connections to get data, which means they aren’t sold with annual contracts for LTE service.

But there’s another factor that IDC identified, and that is the growing popularity of large smartphones, or “phablets” as some wags have named them. Phablets are phones with screens larger than 5 inches, although IDC prefers to start the category at 5.5 inches. These gadgets can do everything a tablet can (plus make phone calls and send/receive texts), and many consumers find they’re large enough to stand in for a tablet screen.

The phablet category really took off when Samsung’s Galaxy smartphones broke the 5” screen barrier over a year ago. At the time, many analysts predicted that screen size would be too large for consumers. Guess what? They’ve been flying off the shelves. And now we’re starting to see 6” smartphones from the likes of LG and HTC. (LG even has a curved model, the G Flex.)

LG's new G-Flex curved phone has a 6-inch screen. Too big? Apparently not!

LG’s new G-Flex curved phone has a 6-inch screen. Too big? Apparently not!

IDC’s research states that smartphone shipments (30.1 million units) increased from 4.3% in Q1 2013 to 10.5% in Q1 2014. Consequently, shipments of larger tablets (8” – 11”) are expected to increase this year by 3% over 2013, while 7” – 8” tablets will see a decline of 5% in the same time period.

Even though phablets are pushing the limits of screen sizes, they’re finding a sweet spot with the public. The same thing appears to be happening on a smaller scale with 4K (Ultra HD) TVs, which IDC also tracks.

According to their research, worldwide 4K TV shipments reached over one million per month in March and are expected to hit 15.2 million for the full year. That’s better than most analysts expected, given the low awareness of 4K by the general public. IDC also found that the average selling price for Ultra HD TVs has fallen 86% since 2012 (when there were a handful of models) from $7,851 to $1,120 at the end of March.

According to a new report from Business Insider Market Intelligence, 4K TV sales are largely propelled by low prices in China, where many fabs are moving to 4K LCD panel production and leaving low-margin 2K panels behind. Indeed; the BI press release identified the Chinese market as “most accessible” for 4K TV.

In North America, BI predicts that 10% of all households will have at least one 4K TV by the end of 2018, and that worldwide shipments of 4K TVs will hit 11 million units by the end of 2016. We’ll no doubt see Korean manufacturers switch over to 4K LCD panels in larger sizes within two years, as the profit margins on 2K glass have dwindled to almost nothing.

There’s a precedent for the move to 4K, and that is the transition almost eight years ago from 720p/768p display resolution to 1080p. Now, history is repeating itself, and it’s likely that LCD TVs larger than 55” will all be Ultra HD in short order.

Have your doubts? At CES, Vizio announced a fall line-up of Ultra HD Smart TVs with eye-popping prices, such as a 50” model for $999, a 55-inch version of just $1,300, and a 65-inch offering for $2,200. Those prices aren’t much higher than what “loaded” smart 3D 2K LCD TVs command now. Vizio will even have a 70-inch 4K set for $2,600!

Consider also that Chinese manufacturers are setting up shop to build LCD TVs close to the US market. Last month, TCL purchased Sanyo’s TV manufacturing facility in Tijuana, Mexico, giving it a big advantage over other Chinese brands in shipping and tariffs. And you can bet that 4K Ultra HD TVs will be rolling off that line in the not-too-distant future.

By the way, 4K and phablets have already intersected. At least five new smartphones support native 3840x2160p/30 video recording; among them Sony’s Experia Z2, Samsung’s Galaxy Note 3 and S5, LG’s Optimus G Pro, and Asus’ Liquid S2. And three of them fall squarely into the phablet category, providing me with an appropriate wrap-up to my story…

A Tale Of Two Companies, Part II: The Best-Laid Plans…

In a recent post, I talked about Panasonic’s impressive financial turnaround from its last fiscal year, booking a nice profit after doing some soul-searching and consequent house-cleaning of underperforming business units. And I contrasted Panasonic’s performance with the struggles of Sony, who continues to struggle with red ink. Let’s take a few moments to revisit both brands.

Coincidentally, Panasonic held a couple of press days this week in New York City to talk about its 2014 TV lineup. I attended the Thursday session and can say that it was much more low-key than previous Panasonic TV events.

For 2014, the emphasis was on two things – 4K, and cloud connectivity. Panasonic introduced a new concept, LifeScreen, which is yet another search engine combined with a clever graphical user interface.  You pre-set your preferences, and your Panasonic TV searches for content to match them.

And how, exactly, does the TV know it’s you? Thanks to a pop-up camera and face recognition software, the TV comes to life when you stand or sit in front of it and loads up your programs choices. A new remote control provides both swipe control and voice recognition (shades of Samsung 2011!), and seems to work reliably.

Jay Park Presents 600p

Panasonic’s Jay Park fills us in on the 2014 TV lineup details.

Panasonic’s cloud structure isn’t much different than other manufacturers. You can download photos and video and share them with connected tablets and phones in your house. And you can upload your own photos and videos to the same online storage.

Now, to the nitty-gritty. As expected, the 2014 TV lineup is 100% LCD. What’s unexpected, but ultimately not surprising, is that you’ll find a mix of IPS and PVA LCD panels in these new TVs, meaning that Panasonic (like everyone else) is shopping for the best price and performance combination in LCD panels for their new TVs.

Given the cutthroat pricing in the TV market, this isn’t surprising and in fact is a smart strategy: There’s plenty of good LCD glass coming out of Korean, Taiwanese, and Chinese fabs, so why bother with the costs of making it yourself?

Panasonic's 2014 LCD TVs (center) predominantly use PVA glass and are quite improved over the 2013 models (right), holding their own against last year's ZT-series plasma (left).

Panasonic’s 2014 LCD TVs (center) predominantly use PVA glass and are quite improved over the 2013 models (right), holding their own against last year’s ZT-series plasma (left).

 

You can operate the 2014 TVs from an iPad, iPhone, or Android device - even to the level of a full grayscale and color calibration.

You can operate the 2014 TVs from an iPad, iPhone, or Android device – even to the level of a full grayscale and color calibration.

Panasonic’s value-add for these TVs is to improve the spectral response of the white LEDs used in these new sets, and it’s impressive. They’re claiming 98% coverage of the minimum DCI color space and have improved the rendering of yellow.

Side-by-side demos with last year’s award-winning ZT60 plasma TV showed the difference dramatically. Aside from the usual issues with PVA and IPS LCD panels, the images had excellent contrast, great color saturation, and decent black levels – and you can clearly see why plasma has fallen by the wayside.

There will be six series of models in the 2014 TV line-up, starting with the entry-level A400 and moving all the way up to the new 55-inch and 65-inch Ultra HD AX800-series TVs. The new remote and camera system come with three of these lines, and some models now include a sound bar (smart move!) in the box.

HDMI 2.0 and HEVC decoding are standard on the AX800, which is interesting considering how few Broadcom HEVC decoder chips have been deployed by TV manufacturers to date. And you can operate the TV from your iPhone or iPad (or Android device), even to the point of doing a full color and grayscale calibration, thanks to a new app.

So Panasonic remains a player in the TV game, even though the company’s worldwide market share fell out of the top five in 2013. Panasonic’s return to corporate profitability will take a lot of pressure off the TV division, which has relocated to San Diego from New Jersey.

In contrast, Panasonic’s neighbor down the street in San Diego – Sony – continues to struggle with red ink. The company released its final numbers for fiscal year 2013 last Thursday, and things still don’t look good, even though the picture is lightening up a bit.

For 2013, Sony booked a net loss of -¥125B (about $1.23B USD) with operating income of ¥26.5B (about $265M USD). There were a couple of operating divisions that continue to drag down profit, most notably Sony’s discontinued PC business unit, battery manufacturing, and disc manufacturing (DVD, Blu-ray) outside Japan and the U.S.

Sony’s long-struggling TV operations are reported as part of the company’s Home Entertainment and Sound business unit, which recorded a loss of -$248M for FY 2013. That’s actually a 70% reduction from FY 2012, which is a silver lining. Overall, the TV division saw its sales increase 30% Y-Y, which is more good news.

Another bright spot for Sony is its Imaging Products and Solutions (IP&S) division, which booked $256M in operating income. That’s not enough, however, to offset the -$729M operating loss from PC operations and the -$78M loss from the Game division. And an impairment charge of -$250M was assigned to the disc manufacturing business, adding more red ink.

Getting rid of the unprofitable PC business will definitely help next year’s results. (Apparently, so will the sale of Sony’s New York City headquarters on Madison Avenue, which netted almost $700M, according to the company’s financial statement.) The operating loss reported for the Game division (-$78M) was a surprise, but Sony attributed it to costs involved in launching the PlayStation 4 console and a $60M write-off of PC game software titles.

There’s no question that Sony has quite a mountain to climb and get back on the “plus” side of the ledger. Unlike Panasonic, Sony’s worldwide share of television shipments held pretty steadily in 2013 (about 7%, down slightly from 2012), but that number either has to go up or further cost-cutting must take place to make TV retailing worth continuing.

Sony also has to make a decision about its optical disc business unit. The Blu-ray Disc Association (BDA) hasn’t released a standard for 4K yet, while the Digital Entertainment Group’s numbers have shown pretty consistently over the past four years that digital media consumption is shifting emphatically to digital downloads and streaming. Given this trend, it’s not likely that the disc manufacturing unit will ever return to profitability and might also be a candidate for the axe by year’s end.

You know that old saying about the best-laid plans oft going astray? Hmmm…

A Tale Of Two Companies, Revisited

It’s annual meeting time in Japan, and the final reports for fiscal year 2014 are trickling in. (In Japan, the fiscal year starts on April 1 and runs through March 31.)

Given all of the financial misery that Japan Inc. has been enduring for the past four years, you’d probably cringe before opening the latest consolidated financial statements. Yet, there was a surprise this time.

Let’s look at two of the dominant CE brands in Japan – Panasonic and Sony. The former company grabbed some headlines last year when it announced an exit from the plasma display panel (PDP) business, effective 12/31/13. For years, plasma displays and televisions were synonymous with Panasonic – they dominated the market and provided most of the technological breakthroughs that led to the (still to this day, IMHO) “best in class” televisions on the market.

Sometimes “best’ doesn’t always win. Plasma TV shipments and sales had been in steady decline for the past seven years as more and more consumers chose LCD TVs, particularly after 1080p resolution became widespread and national discounters like Vizio forced prices down to bargain-basement levels.

2013’s final numbers from NPD DisplaySearch show that plasma TV shipments from all brands (Panasonic, Samsung, and LG) accounted for slightly more than 4% of the global TV market. You don’t need a weatherman to know which way the wind blows, and Panasonic – who had been in the midst of a massive review of all 80+ of its business units – did the right thing and quickly cut its losses, however painful that may have been.

Now, it appears all of that aggressive restructuring and cost-cutting has paid off. For FY 2014, Panasonic posted a net profit of about ¥120.4 billion, or $1.18B USD. That represents a spectacular turnaround from a ¥754 billion loss in FY 2013, or about $7B USD.

In addition to the money-losing plasma operations, Panasonic also jettisoned its mobile phone business. (Didn’t know they made mobile phones? Neither did most people.) Along with slimming down underperforming business units, finishing the acquisition of Sanyo and all costs associated with it, and shifting their focus to everything from energy storage solutions to Lumix cameras, the company realized an operating profit of ¥305 billion ($2.3B) for the fiscal year.

Now, on to Sony, who has struggled to maintain profitability for several years, thanks in part to the never-ending red ink generated by its television business unit. Sony won’t post its final numbers until May 15, but an advisory went out on May 1 saying that they won’t be pretty – and in fact will be worse than previous guidance suggested.

The company now is forecasting an operating income of ¥26 billion ($255M USD) for FY 2014 when all is said and done. That number represents a steep drop of 67% from the company’s original forecast of ¥80 billion ($783M USD). Sony identified two primary reasons for the drop in income. I’ll quote from the company’s press release:

“Sony expects to record approximately 30 billion yen in additional expenses in the fiscal year ended March 31, 2014 related to exiting the PC business. Since Sony’s announcement on February 6, 2014 that it will exit the PC business, PC sales for the fiscal year ended March 31, 2014 and expected PC sales for the fiscal year ending March 31, 2015 are underperforming the February expectation. Consequently, Sony expects to record write-downs for excess components in inventory and accrual of expenses to compensate suppliers for unused components ordered for Sony’s spring PC lineup. In addition, certain restructuring charges are expected to be recorded ahead of schedule.”

Okay, so the computer operations weren’t pulling their weight, which is why Sony decided to exit stage right and reportedly sell their VAIO operations to Lenovo (as announced in February). But there’s more:

Sony expects to record approximately 25 billion yen in impairment charges mainly related to its overseas disc manufacturing business. Primarily due to demand for physical media contracting faster than anticipated, mainly in the European region, the future profitability of the disc manufacturing business has been revised. Consequently, Sony has determined that it does not expect to generate sufficient cash flow in the future to recover the carrying amount of long-lived assets, resulting in an expected impairment charge. Primarily due to the reason mentioned above, the fair value of the entire disc manufacturing business also has decreased, resulting in an expected impairment of goodwill.”

Translation: The Blu-ray and DVD business is in the tank, particularly in Europe. Clearly, consumers are turning more and more to cloud storage and streaming of movies and TV shows, and not purchasing or renting optical discs. That’s definitely not good news in Tokyo, but it’s not like this trend snuck up and blindsided the company: I’ve been writing about it for several years now in Display Daily.

Given how aggressively Sony worked a few years ago to convince Warner Home Media and other studios to dump the nascent HD-DVD format in favor of Sony’s home-grown Blu-ray platform, this development must sting all the more. And talk about bad timing: The latest numbers from the Digital Entertainment Group (DEG) show that digital movie sales (streaming and downloads) during the first three months of 2014 totaled $330.25 million, while optical disc sales and revenue were down 13.7% to $1.82 billion from $2.1 billion in the first quarter of 2013, continuing a long-term steady decline that goes all the way back almost a decade.

We won’t have the final numbers from Sony for a few weeks. (Sharp and Toshiba also have yet to report their year-end results.) But you can clearly see what happens when one company faces reality and takes the bull by the horns, while another keeps stalling for time. I’ll check in again in two weeks with the rest of the numbers from Japan, Inc.

NAB 2014 In The Rear View Mirror

The 2014 NAB Show has come and gone, and although attendance was strong, this year’s edition didn’t have quite the buzz that I expected. Given all that is happening with UHDTV currently, that’s surprising: We are seeing a transformation of television into something very different from traditional models, including demonstrations of next-generation broadcast systems (ATSC 3.0), more powerful encoders (HEVC), and a migration to IP-based video production facilities (the cloud, AVB).

I spent three and a half days at the show, taking it all in while setting aside some time to present a paper at the Broadcast Engineering Conference on the current state of wireless AV connectivity and moderating a Wednesday Super Session on the future of video technology. If I really had to pick one word to characterize this year’s show, it would be “flux.”

Some trends were clear. The Japanese brands (aside from Canon) continue to down-size their booths as their business models shift away from traditional cameras, switchers, recording devices, and monitors. There were numerous companies showing cloud-based storage and media delivery over IT networks, and more than a few booths featured demos of HEVC H.265 encoding and decoding; most of it done with software.

Only a handful of booths emphasized monitors, and some of those had super-sized screens for digital signage out for inspection. In the north and central halls, you could find the traditional purveyors of broadcast transmitters, antennas, and coaxial cable, along with microphones and conventional audio products. But the emphasis seemed to be on “connected” anything – video, audio, cloud storage and delivery, and even wireless cameras for field acquisition and live events.

Given the sheer number of booths, it was difficult to compile a “pick hits” list, but I’ll give it a shot. To me, these companies/products/demos made the trip to Las Vegas worthwhile (and having traveled there over 70 times in the past 20 years, that’s saying a lot!).

Visionary Solutions may not be on your radar, but these clever folks are building some impressive hardware and software codecs at affordable prices. This year, they rolled out their PackeTV system, an end-to-end IP-based video delivery product with scheduling, recording, security, and delivery of real-time and recorded H.264 video, all rolled into one. The graphical user interface (GUI) for controlling the system was well-designed and easy to figure out.

Altera showed how easy it is to stream 12 G HD-SDI (4K) over a single piece of plain coaxial cable.

Altera showed how easy it is to stream 12 G HD-SDI (4K) over a single piece of plain coaxial cable.

 

LG and Gates Air demonstrated their vision for ATSC 3.0, using OFDM and HEVC in a standard TV channel.

LG and Gates Air demonstrated their vision for ATSC 3.0, using OFDM and HEVC in a standard TV channel.

LG and Gates Air had an impressive demo of an ATSC 3.0 concept broadcast. They combined Quad HD, 2K, and SD video programs into one 6 MHz channel, using HEVC encoding and decoding. The signals were encoded at 14, 1.6, and .98 Mb/s respectively, and the signal-to-noise threshold for the SD cast was just 1.5 dB. Multipath sets emulating mobile reception were also demonstrated with the 2K and SD streams holding up very well even at 50 mph.

Sony demonstrated a beautiful 30-inch OLED reference monitor that will soon take its place in the existing Trimaster series. This is a home-grown product and employs the same top-emission system with optical bandpass filters found on the 17-inch and 25-inch products. No price has been announced yet, and Sony has a real challenge in trying to figure out what that price should be as its customers aren’t willing to shell out 1990s bucks anymore for reference displays.

Altera had a clever demo of 12 Gb/s HD-SDI streaming over a piece of “conventional” coaxial cable. 3G HD-SDI has a nominal data cap of 3 Gb/s, so this demo used linked HD-SDI streams to hit the magic number (coincidentally, the data rate for a Quad HD video stream with a 60 Hz refresh rate and 4:2:2 coding). The coax link was 60 feet long and the transmission was flawless, aside from some hiccups on the PC playout server.

Ericsson showed there is more than one way to stream live 4K content. They set up a system that transported a live Quad HD video stream (3840x2160p/60) from a server in England, through satellite and fiber links, to the Ericsson and Intelsat booths at the show. But they used conventional H.264 encoding, breaking the 4K signal into 2K quadrants and using their Simulsync process to stich them together at the receiving end in a seamless presentation on an 84-inch monitor.

Ericsson stiched together four 2K image quadrants to stream this 4K image live from England.

Ericsson stiched together four 2K image quadrants to stream this 4K image live from England.

 

NHK's 4-pound Super Hi-Vision camera records video with 7680x4320 pixels @ 60 Hz and is a marvel.

NHK’s 4-pound Super Hi-Vision camera records video with 7680×4320 pixels @ 60 Hz and is a marvel.

NHK once again had their 8K Super Hi-Vision booth set up, but this time they were streaming live 8K (7680×4320) content from a new, compact 4-pound camera head. The signals were broadcast across the booth in two separate streams on a standard UHF channel, using 4096 QAM at 91 MB/s. Half of the data traveled as a horizontally-polarized signal and the other half as a vertically-polarized signal, both on UHF channel 36. (At that frequency, you can achieve about 20 dB separation between polarization angles.)

Haivision was demonstrating their Secure Reliable Transport (SRT) system over at the Renaissance Hotel. SRT is a hardware/software overlay for existing Haivision encoder/decoder products that is intended to better manage end-to-end streaming over public Internet connections. It offers adaptive streaming rates and two levels of encryption (AES 128-bit and 256-bit). SRT is positioned as an alternative to more expensive satellite backhaul links and dedicated MPLS point-to-point connections.

Korea’s Electronics and Telecommunications Institute (ETRI) had a small but intriguing demo of facial recognition linked to ad servers. The recognition system is built into a standard TV and has a range of about 10 feet, can discriminate between older and younger viewers, and will recognize a face turned 45 degrees to the right or left of center. An appropriate advertisement for the viewer is then displayed during a commercial break.

Fraunhofer HHI always has clever technology demos at NAB, and this year they spotlighted real-time software-based HEVC H.265 encoding and decoding at bit rates up to 40 Mb/s. They also showcased a real-time, hardware-based H.265 decoder using an Altera Stratix V FPGA. This decoder can handle bit rates to 80 MB/s and uses standard interfaces for set-top box designs. Fraunhofer also had an intriguing demo of surround sound playback for tablets in a nearby isolation booth.

BlackMagic's Ursa 4K camera costs only $6,000 (EF lens version)!

BlackMagic’s Ursa 4K camera costs only $6,000 (EF lens version)!

Sony's 30-inch Trimaster OLED looked great, but will its price tag break the bank?

Sony’s 30-inch Trimaster OLED looked great, but will its price tag break the bank?

No plasma? No problem for Panasonic, which showed new 84-inch and 98-inch 4K LCD monitors at the show.

No plasma? No problem for Panasonic, which showed new 84-inch and 98-inch 4K LCD monitors at the show.

BlackMagic Design continues to introduce powerful camera systems at bargain basement prices. Their new Ursa 4K field/studio camera has a huge 10-inch LCD monitor, touchscreen control, RAW and ProRes recorders, and upgradable Super 35mm shutter. The EF lens-compatible version lists at $5,995 while the PL-compatible version is $6,495. Their Studio Camera 4K, also equipped with the 10-inch LCD monitor and 12 GB HD-SDI connections, had an even more amazing price – $2,995.

Intel showed a clever use for Thunderbolt technology: Using a display interface for file exchanges. Thunderbolt runs on the DisplayPort physical layer and has a maximum speed of 20 Gb/s. By using a simple mini or regular DisplayPort cable; two MacBooks, two Windows laptops, or a MacBook/Win laptop can link together for file transfers, working just like a 10GigE network connection.

Panasonic showed it still has game after shutting down plasma manufacturing. Two new large digital 4K LCD displays were up and running in their booth – an 84-inch model (TH-84LQ7OU) and a 98-inch model (TH-98LQ7OU). We’ve seen the 84-inch LG Display LC glass cut before offered by other manufacturers, but the 98-inch hasn’t been in wide circulation. These will replace the 85-inch and 103-inch plasma monitors previously offered.

Finally, Christie had regular screenings to show off its new laser cinema projector system. This projector uses two sets of color primaries and matching eyewear, using wave division multiplexing to achieve a high degree of left eye/ right eye separation. According to a Christie rep, the system can achieve a brightness level of 72,000 lumens, and what was interesting to me was virtually no difference in image brightness through the glasses or without them.

Consumer Television: It’s Business As Usual (Or Maybe Not)

The official numbers haven’t been released yet, but a report in The Korea Herald, dated January 22 says that the final data will show Samsung dominated the global television business in 2013.

According to the story, Samsung was estimated to have sold 49 million units of flat-panel TVs last year. DisplaySearch had the totals at 32 million from January through September (the final DisplaySearch numbers for 2013 haven’t been compiled yet) and Yoon Boo-keun, Samsung’s consumer electronics division chief, stated at CES earlier this month that the company sold around 15 million TVs in Q4.

That’s an impressive number by anyone’s standards and reflects the complete dominance Samsung has in the television business. Think back 20 years to when Samsung was an afterthought; perceived as a 3rd-tier “bargain” brand for electronics.

Now, they’re on top of the heap, and have been so for eight consecutive years. In the meantime, LG looks to maintain its grip on 2nd place, with a varying market share number in the low to mid-teens throughout 2013. Between the two companies, they control over 40% of the worldwide television business.

The Japanese, on the other hand, will no doubt be disappointed by the final numbers for ’13. In the third quarter; Sony, Panasonic, and Sharp were hovering around 8%, 6%, and 5% market share respectively – and those numbers are expected to drop when the final tally comes in.

As I noted in my last DD, Panasonic seems to be charting a course away from televisions, based on what they didn’t show at CES (a full line-up of 2014 models) and their emphasis on commercial sales of everything from cameras and storage devices to digital signs and batteries. And of course, Panasonic pulled the plug on plasma panel and TV manufacturing at the end of December.

The other remaining player in televisions – Toshiba – took a similar approach to their CES booth, choosing to show a wide variety of 4K (Ultra HD) display applications for home and office and skipping the TV line-up. Toshiba has already shut down two manufacturing plants and laid off over 3,000 employees because of continued losses in television and computer manufacturing.

That leaves Sony and Sharp. The former continues to stay the course in sales and marketing of consumer TVs, but I’d be surprised if they don’t turn in yet another year of red ink – the ninth in a row. Sharp, meanwhile, has chosen to emphasize their super-sized lineup of TVs, plus clever engineering tricks like the Quattron+ line and their ability to manufacture IGZO TFTs with decent yields.

The problem for both companies is their uninterrupted slide in television market share that has been going on for eight years. With a 5% share worldwide and 3% in the United States as of Q3 2013, Sharp can’t afford to stay in this game for much longer. Neither can Sony, if they are serious about returning a profit to shareholders.

It doesn’t help matters that television sales are expected to have declined worldwide by 2.2% from 2012 when the accountants are done. The double-digit boom in TV sales in China kept that number from being a lot worse.

Amid the flurry of post-CES news stories about curved, super-sized UHDTVs was another item that went almost unnoticed, except for the sharp eyes of analyst Paul Gagnon of NPD DisplaySearch. In his blog post of January 17, Gagnon revealed how three retailers in the United Kingdom are already discounting LG’s “first to market” 55-inch curved OLED TV (55EA980W) by £3,000 ($4,910).

This product, which launched on these shores in July of 2013 for nearly $15,000, saw its price drop in the U.S by nearly $6,000 one month later when Samsung rolled out their own curved 55-inch model for about $9,000. And now – just seven months later – the LG model is selling in the U.K. for £4,999 ($8,178), almost one-half of its original sticker price. (Perhaps they overestimated demand?)

And the cannibalizing of TV prices continues unabated. On the last day of CES, Vizio announced its prices for a line of full-array LED 4K (UHDTV) “smart” LCD models – and they aren’t much higher than conventional LED “smart” TVs from LG and Samsung.

Case in point: The 50-inch P502ui-B1 will retail for $1,000, while the 55-inch version will have a sticker price of $1,400. The P602ui-B3 is set at $1,800, and the 65-inch model will command $2,199. Finally, a 70-inch skew (P702ui-B3) will be offered at $2,600. Consider that Samsung and Sony are trying to peddle 55-inch 4K LCD smart TVs for about $2,900 right now and you can clearly see the train wreck coming.

Summing up: Samsung dominates the consumer television world – business as usual. Panasonic and Toshiba de-emphasize TVs at CES – maybe not. Sony and Sharp keep pouring money into consumer television manufacturing and marketing, even though they are incurring substantial losses – business as usual. LG and Vizio slashing prices on OLEDs and 4K TVs – definitely not!

EDITOR’S NOTE: The original version of this article mistakenly quoted the discount applied to the LG 55EA980W as the actual selling price. The article has been updated on January 29 to reflect the correct selling price and discount of this TV.