Showing posts with label Company. Show all posts
Showing posts with label Company. Show all posts

Wednesday, 28 August 2013

Apple is the company most targeted by patent trolls


Apple, HP and Samsung have been attacked the most by so-called “patent trolls” within the last five years, a Silicon Valley lawyer said Tuesday. But recent legislative activity may be weakening their power.

Patents represented 5 percent of all U.S. exports in 2009, or $89.8 billion, Michael Brody, the vice chair of intellectual propert at Winston & Strawn, said during a presentation at the Hot Chips conference at Stanford University on Tuesday. That’s big business, and represents a jump in patent filings not seen since the Industrial Revolution.



Winston & Strawn
Perhaps not surprisingly, the number of patents filed by semiconductor and software firms have led that charge. Chip patents, as measured by Winston & Strawn, have grown from 15,000 annually to more than 65,000 since 1990, more than 25 percent of all filed. About 125,000 software patents are filed annually.

And that kind of meat has attracted sharks.

“Patent trolls,” also known as “non-practicing entities” or NPEs, don’t actually manufacture products based on their technology. Instead, they either develop technology themselves, patent it, or buy or license the patents from others. The key, however, is that NPEs amass a patent pool, then try to extract license fees from target companies through lawsuits. And that sort of business has arguably stifled the growth of new businesses in Silicon Valley, some have claimed.


Winstron & Strawn
“Ultimately, a patent is nothing more or less than a license to sue someone,” Brody said. “As a result, the generator of all the economic value that we’re looking at is simply that right, that right to create those lawsuits, and the value generated by those lawsuits.”

It stands to reason, then, that the largest tech titans have become the most frequent targets. Apple and HP, followed by Samsung. have become the most frequent targets of patent trolls throughout the last five years, Brody said. In 2012, more than 4,200 separate companies or individuals were sued by NPEs, he said.

Not surprisingly, the largest firms are the frequent target of suits; however, by the number of suits filed, the vast majority, or 63 percent, of those targeted have less than $100 million in revenue. Those smaller companies often pulled in just one or two suits, however, while the largest companies with over $50 billion revenue attracted an average of 7.3 suits in 2012 alone, Brody said.

(Most suits take 30 months to resolve, so that many are settled out of court; the average licensing cost for a case that goes to trial is $7.5 million; the average licensing cost for an out-of-court settlement is $29.75 million.)

Suits fled against larger companies also tend to demand higher amounts of damages; the mean resolution cost, including damages and the cost of the settlement, totaled $7.5 million for companies with over a billion dollars in revenue, and $7.8 billion for those over $10 billion in revenue.

That assumes the cost to defend each suit ranges from $800,000 per suit for startups to an average cost of $7.9 million for the those firms with over $50 billlion of annual revenue. (The median cost of those suits was much lower—$540,000—for the largest companies, indicating that the cost of just a few suits was over $10 million.)

Winston & Strawn


That can hurt smaller companies and larger companies alike, Brody noted. While the costs of suits to those with under $100 million in revenue were on the order of $200,000, those startups had far less revenue to work with.

In total, the annual cost or “troll tax” for defending NPE suits costs $1.04 million annually for those firms with annual revenue under $1 billion, to up to $57.67 million for those with revenues over $50 billion, Brody said.

That’s had a significant impact on smaller companies, with consequences that include product delays or revisions to the product itself, he said. Using a database compiled by RPX and analyzed by Brody, 13 percent of those companies polled either “pivoted” to another business model or closed up shop after an NPE suit.

So why would patent NPEs do what they do? Because it’s profitable. All told, an NPE has a 24.1 percent chance of “winning,” either by negotiating a settlement, winning at court, or at appeal. Even assuming the NPE has its own costs, Winston & Strawn estimated that the “net discounted value” of an NPE suit was $800,000—meaning that it was likely that the suit would itself would net at least that much just by being filed.

“That’s a good business to be in, and that’s why a lot of people are in it,” Brody said.

Microsoft CanadaThat doesn’t mean that NPEs are a long-term trend, Brody said. The costs to defend patents have gone down, and litigation has been introduced in Congress to minimize the impact of NPE abuses. Patent aggregators and covenants not to sue have also emerged.

Perhaps the biggest sticks, however, have simply been the fact that injunctions barring the sale of products have been rarely obtained, as have orders barring the sale and import of products by the International Trade Commission.

The NPE phenomenon may in fact be a bubble, Brody suggested. But it’s a bubble with a bite. For Brody, patent litigation of all stripes means a large paycheck. But until NPEs are reigned in—or the patent system is changed—they’ll remain a potential threat. 

Thursday, 18 July 2013

Security company to release testing tool for SAP mobile access

As SAP invests heavily in mobile, a security testing company will release a tool next month to ensure mobile-accessible SAP systems are not vulnerable to hackers.

Boston-based Onapsis will release a new module for its X1 security suite, a product that performs automated security assessments, penetration testing and compliance audits for SAP’s ERP (enterprise resource planning) software, said Mariano Nunez, Onapsis’ CEO.

The module will focus in part on the SAP Mobile Platform, formerly known as the Sybase Unwired Platform Developer Center, which helps developers build SAP mobile applications for different devices and platforms. It also looks at the NetWeaver Gateway, an SAP server that links devices to back-end systems, Nunez said.

Exposing those back-end systems is complicated, and companies can face a risk of hacking if the systems are misconfigured or do not have up-to-date patches.

“We see that companies may not be paying enough attention to that and forgetting the devices,” Nunez said. “Our empirical experience shows those systems are usually left insecure because of people not applying the latest patches or not following SAP’s best security practices.”

SAP is focused on mobile access, device management and security as more companies embrace bring-your-own-device policies. SAP supports iPhone, Android, and Blackberry devices.

Sanjay Poonen, head of SAP’s mobile division, said at the Sapphire Now conference in May that the company has more than 1,000 people working on mobile-related projects in areas such as retail, banking and consumer package goods.

Last year, SAP reported more than €222 million ($293 million) in license revenue from its mobile-related business, a revenue stream that didn’t exist two and half years prior, Poonen said.

“We think this market is really poised for an even bigger opportunity if you go even beyond devices,” Poonen said. “This world is going to require us to think of mobile security in a whole new way.”
Nunez said companies faces risks if, for example, a CRM (customer relationship management) system is incorrectly configured for access by mobile devices, opening a door for hackers using attack tools for Web services.

X1’s mobile security module looks at what functions and processes are exposed in the back-end systems and not on the mobile application itself, Nunez said. It alerts users to security vulnerabilities and tells users how to fix the issues. The module is scheduled to be released next month, and will be free to X1 subscribers.

Onapsis is also scheduled to present two SAP security workshops at the Black Hat security conference in Las Vegas, which kicks off on July 27. The workshops, which are not product focused, will look at SAP security from an academic perspective, Nunez said. 

Wednesday, 10 July 2013

Bits Blog: Coursera, an Online Education Company, Raises Another $43 Million

Ramin Rahimian for The New York Times Daphne Koller, a co-founder of Coursera, at the company’s offices in Mountain View, Calif. Over the next few months, Coursera plans to double its employees to about 100.
Coursera, a year-old company offering free online courses, has raised another $43 million in venture capital from investors active in both domestic and international education.

The new investors include the International Finance Corporation, the investment arm of the World Bank, and Laureate Education, an international higher education company with dozens of profit-making universities around the world, as well as GSV Capital, Learn Capital and Yuri Milner, an individual entrepreneur.

“We hope it’s enough money to get us to profitability,’’ said Daphne Koller, a co-founder of Coursera. “We haven’t really focused yet on when that might be.’’

Coursera, based in Mountain View, Calif., previously raised $22 million from Kleiner Perkins Caufield & Byers; New Enterprise Associates; and the University of Pennsylvania and California Institute of Technology, two of its university partners.

Over the next few months, Coursera plans to double its employees to about 100, and expand in several areas, including mobile apps and its Signature Track offerings, which charge a fee to students who want an identity-verified certificate upon successful completion of Coursera’s free courses. Since January, when the Signature Track option was first offered in five courses, Signature Track fees have produced more than $800,000, Ms. Koller said — and in the long run, she said, such revenue may be enough to make the company sustainable.

The company also plans to invest in international expansion, through localization, translation and distribution partnerships, and techniques for blended learning, in which Coursera’s online materials are used alongside classroom sessions with a professor.

“We see great potential for using some of the Coursera materials in our universities, so there is a strategic element to this investment,’’ said Douglas L. Becker, chairman and chief executive officer of Laureate. “The I.F.C. made the largest education investment they ever made in Laureate, and they’re joining us in this investment. Coursera allows us to invest in something we see as a rising technology impacting higher education, and gives us access to their content and curriculum.”

Coursera has grown with stunning speed since it began in April 2012, with four university partners. Now, the company works with 83 educational institutions on four continents, offering about 400 free college-level courses to more than four million students from every country in the world.

But after the initial burst of enthusiasm last year about massive open online courses, or MOOCs, and their potential for democratizing higher education worldwide, this year has brought some pushback. Faculty members at several institutions have expressed concern about how the courses may change higher education, how quickly university administrators signed on to work with MOOC providers, and whether the aim is more to save money than improve the quality of education.

So far, most of the students who have completed Coursera MOOCs have been college graduates, and it is still unclear how well the format will work to help students without degrees earn college credit for their online work. Coursera has recently started to market its materials for use by public universities in blended on-campus classes. Universities that use the materials will pay licensing fees, which Coursera will share with the universities that produce the courses.

Friday, 28 June 2013

Reese Witherspoon Sues Jewelry Company for Hijacking Her Face

Reese Witherspoon
Sues Jewelry Company
For Hijacking Her Face 0620-reese-witherspoon-tmz
Reese Witherspoon is a little preoccupied witherface -- because she just sued a jewelry company for using her mug in its ads.

Reese filed the lawsuit against Marketing Advantages International -- which runs the jewelry website Emitations.com -- claiming it exploited her name and face to sell jewelry and other stuff, including a knockoff of her engagement ring.

0620-reese-witherspoon-emitations
The deal breaker ... Reese insists she never gave the company permission to use her to hawk its wares.

She's suing for lots of dough ... it's just beyond.

 

Reese Witherspoon Sues Jewelry Company for Hijacking Her Face

Reese Witherspoon
Sues Jewelry Company
For Hijacking Her Face 0620-reese-witherspoon-tmz
Reese Witherspoon is a little preoccupied witherface -- because she just sued a jewelry company for using her mug in its ads.

Reese filed the lawsuit against Marketing Advantages International -- which runs the jewelry website Emitations.com -- claiming it exploited her name and face to sell jewelry and other stuff, including a knockoff of her engagement ring.

0620-reese-witherspoon-emitations
The deal breaker ... Reese insists she never gave the company permission to use her to hawk its wares.

She's suing for lots of dough ... it's just beyond.

 

Sunshine Sachs Creates Sister Company for Film and TV Production

Ken Sunshine Shawn Sachs Split - H 2013Ken Sunshine, left, and Shawn Sachs

Sunshine Sachs, a public relations firm whose clients include Ben Affleck, Leonardo DiCaprio and the Hollywood Foreign Press Association, is getting into TV and film production by way of launching a sister company called Madica Productions.


Sunshine Sachs principals Ken Sunshine and Shawn Sachs announced the formation of the new company Thursday, June 27, and said it will be run by managing director Jeff Tahler, who had spent six years as a senior vp with FremantleMedia.


Madica’s slate will include nonscripted content that will make use of some of the clients -- not only people but also corporations, brands, labor unions and nonprofit entities -- that Sunshine Sachs represents.


At FremantleMedia, Tahler oversaw acquisitions for global distribution of shows including Project Runway, The Apprentice and Oprah’s Big Give.


Madica said it has begun development on three untitled projects, including a mid-budget feature film.


“We are eager to develop and produce the type of content that reflects our wide range of passions and interests,” said Tahler. “Today, that can be anything from a short-form digital series to a big-budget feature film, and we will be developing stories for all platforms."


Twitter: @sajilpl

Wednesday, 26 June 2013

Review: Company of Heroes 2 delivers classic RTS gameplay on the Eastern Front

Company of Heroes 2 $60.00 Company of Heroes 2 is a sequel with a few new tricks that plays almost identically to its predecessor, and that's not necessarily a bad thing.

Note: This review focuses on the single-player portion of Company of Heroes 2 because there were very few multiplayer matches running on the actual release code during our review period. If there are any huge problems we encounter after release, we’ll update this review accordingly.

Company of Heroes 2, the long-awaited sequel to Relic Entertainment’s critically-acclaimed World War II real-time strategy game, belies its name. Playing as the Soviets in the game’s main campaign, there are very few times you’ll feel like a hero.

The trials you’ll face along the Eastern Front, from Stalingrad through to Germany, are a far cry from the original game’s D-Day inspired rah-rah-palooza. The campaign in Company of Heroes 2 is a series of morally ambiguous situations where the guys you’re fighting for appear just as bad as the enemy you’re fighting against.

Even our protagonist, former Soviet lieutenant Lev Abramovich Isakovich, doesn’t agree with his country’s actions. The story is related as a series of flashbacks from his comfy home in a Siberian jail cell, presumably for rebelling against the Motherland. It’s a gloomy set-up for a discomfiting game.

Relic definitely tries to capture what made the Eastern Front so horrific. No matter what obstacle you're facing, the primary solution is to throw more men at the front lines. Squaring off against the Nazis, you definitely come to understand this war involved a smaller, more powerful German force on one side and a meat grinder on the other

The Russian Army relies on conscripts backed up by heavy-duty firepower.

Your main special ability involves calling up conscripts—fodder troops forcefully drafted into the Soviet army that you can merge into other units to replenish their numbers or treat as disposable forces. These conscripts make poor soldiers, but there are certainly a lot of them to go around—a seemingly infinite number, in fact.

Who cares if the Germans have a tank? You have a hundred men, and a hundred more after that, and a hundred more after that—this is a war of attrition in its rawest form. Unfortunately, the emphasis on this “throw-more-men-at-the-problem” tactic removes any sense of real desperation from the campaign.

In one of the game’s first cutscenes you see a line of Soviet grunts, many unarmed, charging a Nazi position. One of the Russian front-liners gets shot, and you see the man behind him scrounge the weapon from the corpse and continue charging.

The bleak cutscenes interspersed throughout Company of Heroes 2 belie the game's rote strategic gameplay.

Yet that never happens whie you're actually playing Company of Heroes 2. You’ll scrounge equipment from the battlefield occasionally, sure, but you’re never leading a group of unarmed, terrified, underfed Soviets straight into a German machine gun until their bodies form a wall of cover for your remaining soldiers.

In fact, considering you’re supposedly scraping penal colonies and other “undesirables” to make up the majority of your army, your soldiers follow orders remarkably well. Every time you call up conscripts, the game enacts Order 227—a real-life (though short-lived) edict by Stalin whereby retreating troops were shot on sight. While Order 227 is in effect, any of your troops—not just the conscripts you called up—who panic and flee will be executed.

It's a neat idea, but in practice it rarely has any negative consequences; in my time with the game I never saw anyone executed because of 227. It’s just another timer to pay attention to, one more example that the horrific images conveyed in the game’s scripted sequences rarely affect how you actually play—they’re just set dressing. Given how linear most of the campaign missions are, Company of Heroes 2 ends up playing out like a weird Call of Duty or Medal of Honor strategy game where you aimlessly follow the game’s directions with no real sense of why. Maybe that’s meta-commentary on Soviet High Command during World War II, but I doubt it.

Combat in Company of Heroes 2 oscillates between wonderfully challenging and disconcertingly easy.

The AI difficulty is also frustratingly inconsistent. Playing on “Captain” difficulty (the game’s equivalent to Normal) I alternatively felt like I was squaring off against General George S. Patton himself and a lukewarm cup of tap water. At best the missions are an exciting push-and-pull of tactics; at worst, your Soviet squads will frolic down the road right next to a bunch of Nazi soldiers, neither group acknowledging the other exists.

All this aside, the campaign isn’t bad. There are a few stand-out missions, including an excellent scenario midway through the game where your small squad of infantry plays hide-and-seek with a German Tiger tank in a sleepy village, ineffectively chipping away at its armor with limited armaments. But that's the exception—most of the campaign is underwhelming.

There are very few set up a base, build troops, manage resources, attack scenarios in the main storyline; in fact, the extremely scripted and linear Company of Heroes 2 campaign gives you almost no idea how to jump into multiplayer with the exception of a few missions at the end.

Luckily, the Theater of War mode rectifies that shortcoming. Here you’ll find co-op scenarios, solo challenges, and regular battles against the AI. As far as I could tell, all scenarios are based off actual events during World War II, lending the battles a nice veneer of authenticity. Theater of War is also the only place you’ll be able to try out the German forces in single-player.

Theater of War mode is where Company of Heroes 2 shines, at least as far as single-player is concerned. multiplayer formula is essentially an adapted version of the system in Battlefield: each team has a certain number of tickets when the game starts, and various command points are scattered across the map. Control more of these areas than the enemy and their ticket count gradually decreases. When you run out of tickets, you lose.

It's a tried-and-true formula that still makes for great games—battles evolve into a literal arms race as you counter the enemy’s tanks with AT guns and build bunkers encircling your favorite regions, trying desperately to take one more point and expand your supply lines. Throw men in cover and wait for the enemy to fall into your trap, or funnel their tanks into your deftly placed minefield. Theater of War mode encourages the sort of tactical decision-making that isn't really required to complete the campaign.

Sure, capturing and holding points is a classic RTS trope, but it creates plenty of opportunities for challenging tactical decision-making.

And that's a shame, because it’s in those moments when you're quickly making difficult decisions that you really feel like a wartime commander. Battles are frantic and very deep, though newcomers may find it overwhelming to manage all this information at once.

Right now Theater of War mode contains 18 missions—nine Soviet, nine German—though Relic plans to expand this content later (through paid DLC). It looks like packs will be organized by year; the game ships with scenarios from 1941.

Relic adds a few new features to Company of Heroes with this sequel. Most touted is the new ColdTech system, which fits well with the Russian setting. Here's how it works: during certain matches troops fight in blizzard conditions. Your units will get cold over time, courtesy of “General Winter,” eventually dying from exposure if you don’t huddle near a bonfire or sequester them in a building.

Huddle your troops near bonfires to keep them from freezing to death during a blizzard.

Deep snow slows down your troops while also leaving tracks for the enemy to know where you’re headed. Frozen rivers and lakes can be blown open with mortars or mines, turning unlucky units into unwitting Titanic reenactors.

Relic also does an excellent job with its sound design, rivaling DICE (Battlefield series) for wartime audio. Everything sounds crisp here, from the tank rumbling through the silent, snowy village as your troops lie in ambush to the Stuka planes dive-bombing the battlefield.

A note on performance: the game runs fairly well on my PC—an i5 machine with 8 GB of RAM and a Radeon HD 7850 GPU— though I experienced some slowdown during especially busy or explosive sections of the game. I also had odd frame rate hitching during the game’s pre-rendered cutscenes. I’ll keep experimenting with my settings to see if I can find a solution.

The best and worst thing I can say about Company of Heroes 2 is it feels like more Company of Heroes. That’s not necessarily a bad thing; in fact, it’s a testament to how ahead-of-its-time the original Company of Heroes was—or perhaps an indicator of the glacial pace with which the RTS genre evolves.

However, this is a sequel to a seven-year-old game that plays almost identically to its predecessor. Oh sure, it’s pretty and it sounds great, and the winter effects add a new tactical layer, but it’s essentially a big expansion pack.

If you’re a diehard fan and you’ve been waiting years for this game, great. I want to stress, Company of Heroes 2 is still objectively one of the best RTS games out there, and I certainly enjoyed my time with it. The formula was nearly perfect last time, and it’s just as good this time around.

It just feels kind of like the original Company of Heroes died, dropped its gun, and the sequel picked it up and kept running in the same direction.

 

Tuesday, 25 June 2013

Head of Russian Film Production Company Detained

MOSCOW – Denis Alexeyev, a Russian film director and co-owner of the film production company Triada-Film, has been detained in Moscow amidst accusations of misappropriating state funds slated for film production.


Alexeyev was detained late June 24 as part of a criminal investigation of an alleged misappropriation by Triada of nearly $1 million, released by the ministry of culture for the production of a feature titled Mister X, the online publication Gazeta.ru reported.


According to the report, Alexeyev was taken to the city’s investigative department, where he complained of health problems and was then escorted to a Moscow hospital. He refused to be treated, but while he was inside, a group of unidentified people gathered in front of the building and aggressively demanded that Alexeyev be released, the police said.


He was still taken back to the investigative department. The city police didn’t say if charges had been brought against him. If charges of “grand misappropriation” are brought against Alexeyev, he could face a prison sentence of up to five years.


Originally, investigators discovered the misappropriation of one million rubles ($31,700), but they later said that, although they couldn’t give a precise figure, the total amount of funds allegedly misappropriated by Triada is about 30 million rubles ($917,000).


Triada’s case comes as Russia’s first criminal probe into misappropriation of state funds in the film industry. It was opened last month, shortly after President Vladimir Putin called for tighter control over government funding at a meeting with filmmakers.


Triada, co-owned by stuntman Alexander Inshakov and lawyer Alexander Treshchev, is a relatively small player in the Russian film industry and doesn’t belong to the “big 10” production companies, which are entitled to the lion’s share of state cash for the film sector.


 

Monday, 24 June 2013

Stars Support 'Black Swan' Choreographer's Dance Company at Bel Air Fundraiser

Benjamin Millepied Natalie Portman - P 2013Benjamin Millepied and Natalie Portman

L.A. Dance Project took the stage on Solstice Eve at a private home in Bel Air to raise funds for the year-old dance company headed by Benjamin Millepied, the French dancer who also choreographed the ballet sequences in Black Swan.

Millepied thanked his wife (and Black Swan star) Natalie Portman for her “endless love and support,” adding “I’m so happy you still like dance after Black Swan.”

Portman admitted to The Hollywood Reporter that, despite her hands-on ballet work in the film, she’s no ballet expert. “Dancers know I’m not a pro, but a lot of others definitely make the mistake.”

PHOTOS: The Best (and Worst) Dance Movies: From 'Step Up' to 'Black Swan'

Supporters at the intimate summer soiree included Aaron Sorkin, Sony Entertainment CEO Michael Lynton, Reese Witherspoon and CAA’s Jim Toth, Giada de Laurentiis, artist Barbara Kruger, and Black Swan producer Mike Medavoy, who underscored his dance cred by noting he was one of Mikhail Baryshnikov's first friends when the Russian dancer moved Stateside.

After dinner and the performance by the LADP, revelers hit the dance floor themselves, including Rashida Jones, Millepied and Portman.

 

Sunday, 23 June 2013

Patrick Doyle, Hal David, 'Three's Company' Theme Honored at ASCAP Film & TV Awards

Paul Williams Patrick Doyle ASCAP Awards 2013 L

Tributes to the late Marvin Hamlisch and Hal David, an entertaining speech from composer Patrick Doyle and a performance of the theme from Three's Company were highlights of ASCAP's 28th annual Film & Television Music Awards at the Beverly Hilton Hotel on June 20.

Doyle, who received the Henry Mancini Award for his achievements and contributions to the world of film and television music, was saluted via video by Kenneth Branagh and Emma Thompson. Julia Rinker Miller saluted Ray Charles, her singing partner on Three's Company, with a rendition of the classic theme song; Charles, 94, was honored for his vocal ensemble work with Perry Como, Your Hit Parade and Kennedy Center Honors.

Prior to songwriter Alan Bergman singing "The Way We Were," Marilyn Bergman saluted their collaborator Hamlisch by saying "working with Marvin was like being in a large sandbox."

PHOTOS: Scores That Rock: 10 Musicians Who Crossed Over to Movies

Performances included Graham Parker doing a song from This is 40 (see photo below), a Brazilian jazz-style medley of Oscar nominees, Kevin Odekirk singing Marc Shaiman's arrangement of Cole Porter's "Another Op'nin', Another Show" and Jack Wall and Kamar de los Reyes doing Wall's "Niño Precioso," composed for Call of Duty: Black Ops 2.

ASCAP president and chairman Paul Williams offered adulation for David's lyrics on Burt Bacharach tunes and turned serious about ASCAP's efforts to secure income for composers. He said the latest target is the Internet radio site Pandora. "The gloves are going to come off now," he said.

Those honored in the Top Box Office Films category were James Newton Howard (The Bourne Legacy, The Hunger Games and Snow White and the Huntsman), Hans Zimmer (The Dark Knight Rises and Madagascar 3: Europe’s Most Wanted), Howard Shore (The Hobbit: An Unexpected Journey), Marc Shaiman (Parental Guidance) and Carter Burwell (The Twilight Saga: Breaking Dawn – Part 2).

STORY: Dionne Warwick, Mike Myers, Sheryl Crow Salute Burt Bacharach and Hal David in Song

In addition, awards were presented to James Horner (The Amazing Spider-Man); 2013 ASCAP Henry Mancini Award recipient Patrick Doyle (Brave); Erran Baron Cohen (The Dictator); Cinco Paul (Dr. Seuss’ The Lorax); John Powell (Dr. Seuss’ The Lorax and Ice Age: Continental Drift); Michael Giacchino (John Carter); Alain Boublil, Herbert Kretzmer and Claude-Michel Schönberg (Les Misérables); Nathan Johnson (Looper); Jon Brion (ParaNorman and This Is 40); Marc Streitenfeld (Prometheus); Ramin Djawadi (Safe House); Paul Epworth (Skyfall); Seth MacFarlane and Walter Murphy (Ted); Graham Parker (This Is 40); Michael Brook (The Vow); Marco Beltrami (The Woman in Black); Yasushi Akimoto (JASRAC), Jamie Houston, Henry Jackman, Skrillex and Adam Young (Wreck-It Ralph).

Receiving awards for their network, local and cable television music in the category of themes and dramatic underscore for the 2012 survey year were Jack Allocco, Joel Beckerman, David Kurtz, James Levine, Jeff Lippencott, Walter Murphy, Didier Lean Rachou, Jeff Richmond, David Vanacore and Mark T. Williams.

Among the ASCAP composers who wrote the themes and underscore for the highest rated television series in 2012 were: Seth MacFarlane and Walter Murphy (American Dad and The Cleveland Show); Marc Fantini, Steffan Fantini and Scott Gordon (Army Wives and Criminal Minds); Matt Bowen, Devin Powers and Brad Segal (The Bachelor and The Bachelorette); John Lunn (Downton Abbey); Grant Geissman and Josh Kelley (Mike & Molly); Gabriel Mann (Modern Family); Zooey Deschanel (New Girl); Jay Ferguson (NCIS: Los Angeles); Jordan Sears and Rick Smith (The Voice); and Bear McCreary (The Walking Dead).