Dolby Laboratories

Welcome to the Dolby Laboratories conference call discussing fiscal first quarter results. During the presentation, all participants will be in a listen-only mode. Afterwards, you will be invited to participate in a question and answer session. At that time, if you have a question, you will need to press star 1 on your telephone. As a reminder, this call is being recorded Wednesday, January 29, 2020. I would now like to turn the conference call over to Mr. Jason Deedy, Director of Investor Relations for Dolby Laboratories. Please go ahead, Jason.

Good afternoon. Welcome to Dolby Laboratories first quarter 2020 earnings conference call. Joining me today are Kevin Yeaman, Dolby Laboratories president and CEO, and Louis Chiu, executive vice president and chief financial officer. As a reminder, today's discussion will include forward-looking statements. These statements are subject to risk and uncertainties that may cause actual results to differ materially from the statements made today. A discussion of some of these risks and uncertainties can be found in the earnings press release that we issued today under the section caption, Risk Factors, as well as in our most recent report on Form 10-K. Dolby assumes no obligation and does not intend to update any forward-looking statements made during this call as a result of new information or future events. During today's call, we will discuss GAAP and non-GAAP financial measures. A reconciliation between the two is available in our earnings press release and in the Dolby Laboratories investor relations data sheet on the investor relations section of our website. As for the content of today's call, Lewis will begin with a recap of Dolby's financial results and provide our fiscal 2020 outlook, and Kevin will finish with a discussion of the business. So with that introduction behind us, I now turn the call over to Lewis.

Okay, thanks, Jason, and good afternoon, everybody. I think we'll get right into the Q1 numbers. First quarter revenue was $292 million compared to $299 million in Q4 and $302 million in last year's Q1. Overall revenue for the quarter was in line with the guidance that we provided at the beginning of the quarter. And as a reminder, we were expecting Q1 revenue to be down year-over-year because of lower product revenue, which I'll expand upon in a minute, and lower recoveries. And this was offset partially by higher adoption of some of our adulting technologies. Having said that, we are expecting year-over-year growth in Q2 and for the full year, and more on that when I go over the outlook. So back to the Q1 revenue discussion. For the quarter, licensing was $258 million, while products and services were $34 million, and that's a breakdown of the $292, I said, if I can go. Here's my commentary on licensing revenue by end market. Broadcast represented about 40% of total licensing in the first quarter. Broadcast revenues were up by about 2% year-over-year. We saw some growth from higher adoption of Dolby Vision and Dolby Atmos, and this was partially offset by timing of revenue under contracts. On a sequential basis, broadcast was down about 13% due to lower recovery and from timing of revenue. Consumer electronics represented about 19% of total licensing in the first quarter. On a year-over-year basis, consumer electronics licensing increased by about 12%. This was driven by higher volume as we saw more adoption. On a sequential basis, CE increased by about 31%. This was helped by holiday seasonality along with higher volume from devices like VMAs and speakers. Mobile devices for the quarter represented about 13% of total licensing. And mobile was up about 1% over last year, but down about 24% sequentially. And this is due mainly to timing of revenue, as well as from lower recoveries. PC represented about 12% of total licensing in the first quarter. PC was up by about 38% year over year, and up about 29% sequentially over Q4. These were driven mostly by higher recoveries, along with some increased adoption of Dolby technologies. Other markets represented about 16% of total licensing in the first quarter. They were down by about 32% year-over-year, mostly due to lower recovery in automotive. On a sequential basis, other licensing was flat compared to Q4, as growth in Dolby Cinema was offset by lower revenue from gaming due to the console lifecycle. Product and services revenue was $34 million in Q1 and now similar to the $34 million we had in Q4 and compares to $42 million in last year's Q1. The year-over-year gap is attributable to hybrid deals in Dolby Cinema that we had in Q1 of last year that didn't repeat in Q1 this year. As a reminder, in limited instances, we have hybrid Dolby Cinema deals that involve large upfront amounts that are accounted for as product sales when the appropriate parameters are met. Let's move on to margins and operating expenses. Total growth margin in the first quarter was 87.2% on a GAAP basis and 87.7% on a non-GAAP basis. Products and services growth margin on the GAAP basis was 27% in the first quarter compared to 14.2% in Q4. And products and services growth margin on a non-GAAP basis was 29.7% in the first quarter compared to 18.9% in Q4. The improvement in both the GAAP and non-GAAP product margins was primarily due to lower inventory write downs. Operating expenses in the first quarter on the GAAP basis were $206 million compared to $201.6 million in Q4. Operating expenses in Q1 were about $8 million less than the low end of the range that we had guided. And a little over $4 million of that came from the resolution of a property tax dispute in our favor in Q1 sooner than we had anticipated. Spending was also lower than we had projected in certain legal areas and also in our marketing programs. A lot of this is timing. We still expect the activity to occur just later in the year. Operating expenses in the first quarter on a non-GAAP basis were $182 million compared to $177.5 million in the fourth quarter. The comments I made about GAAP expenses apply similarly here to non-GAAP. Operating income in the first quarter was $48.6 million on a GAAP basis or 16.6% of revenue compared to $68.7 million or 22.7% of revenue in Q1 of last year. Operating income in the first quarter on a non-GAAP basis was 74.1 million dollars or 25.4 percent of revenue compared to 92 million dollars or 30.4 percent of revenue in Q1 of last year. The effective income tax rate in Q1 was 10.8 percent on a GAAP basis and 18.3 percent on a non-GAAP basis. The GAAP tax rate was lower than guidance because of discrete items that benefited us during the quarter. Net income on a gap basis in the first quarter was $48.8 million or $0.47 per diluted share compared to $98.2 million or $0.93 per diluted share in last year's Q1. As we expected, EPS was below last year because of the year-over-year revenue decrease and also because last year's Q1, the net income in last year's Q1, that is, included a $35 million income tax benefit related to U.S. tax reform. Thinking about guidance though, GAAP EPS for the quarter was above our guidance as we benefited from lower than projected operating expenses and the lower taxes. Net income on a non-GAAP basis in the first quarter was $65.5 million or 64 cents per diluted share. That compares to $78.7 million or 74 cents per diluted share in Q1 of last year, with a decrease due to the revenue and the expense trends that I've already gone over. Non-GAAP EPS for the quarter was above our guidance, as we benefited from revenue being at the upper end of our range and from expenses being lower than we projected. During the first quarter, we generated about $31 million in cash from operations, which was below last year's Q1, driven by the lower income, as I discussed. We ended the first quarter with a little over $1 billion in cash and investments. And during Q1, we bought back about 430,000 shares of our common stock. And we ended the quarter with about $330 million of stock for purchase authorization still available. We also announced today a cash dividend of 22 cents per share, which will be payable on February 20, 2020, to shareholders of record on February 10, 2020. So let's move on to the outlook. And I'll start with the full year. We're holding our outlook for the year unchanged from what we guided last quarter, except for a small tweak on the income taxes. So to reiterate, for fiscal 20, we anticipate the total revenue will range from $1,300,000,000 to $1,350,000,000. Within that total, we estimate that licensing will range from $1,160,000,000 to $1,200,000,000. while products and services are estimated to range from $130 million to $160 million. Here are factors that we've incorporated into the full-year outlook. We anticipate that broadcast revenues will benefit from more adoption of Dolby Atmos and Dolby Vision in TVs and set-top boxes, but we are projecting lower recoveries, which would largely offset this. In mobile, we expect revenues to grow above the company average, with contributions from our branding technologies and from our patent licensing programs. Consumer electronics is projected to grow primarily from VMAs, sound bars, and smart speakers. In TC licensing, we expect the benefit from higher recovery along with increased adoption of our newer technologies. And this will be partially offset by downward pressure from ASPs due to mix. In other licensing, we expect growth in Dolby Cinema as we plan to add a similar number of new screens in FY20 as we did in FY19. But also in the other category, we are projecting lower recoveries in automotive and lower gaming revenues because of the lifecycle of consoles. And my comments about Q1 reflect some of that happening already. And finally, in products and services, we are projecting cinema products to be relatively flat, while Golden Voice is expected to grow. Gross margin for the year on a GAAP basis is projected range from 87% to 88%. And for non-GAAP, we expect gross margin to range from 88% to 89%. Operating expenses are projected range from $829 million to $849 million on a GAAP basis and from $740 million to $760 million on a non-GAAP basis. Other income is estimated to range from $15 million to $20 million for the year for both GAAP and non-GAAP. The effective income tax rate for the year is expected to range from 17% to 19% on a GAAP basis, and from 18% to 20% on a non-GAAP basis. Based on the factors above, we estimate the full-year believing earnings per share will range from $2.64 to $2.74 on a GAAP basis, and from $3.40 to $3.50 on a non-GAAP basis. Now let me cover the second quarter numbers. For the second quarter of FY20, we anticipate that total revenue will range from $370 million to $390 million. Within that, we estimate that licensing will range from $345 million to $365 million, while products and services is projected to range from $25 million to $35 million. Last year's Q2 total revenue was $338 million, which means that our outlook anticipates that the Q2 year-over-year revenue growth would range from about 9% to 15%. This growth reflects a combination of positive drivers, including higher recovery, increased adoption of Dolby technologies, and timing of revenue under contract. Growth margin for Q2 on a gap basis is estimated to be around 89% plus or minus, and non-gap growth margin is estimated to be around 90% plus or minus. Operating expenses in Q2 are estimated to range from $213 million to $219 million on a gap basis, and from $191 million to $197 million on a non-gap basis. Other income is projected to range from $4 to $5 million for the quarter, And our effective tax rate for the second quarter is projected to range from 18% to 20% for both GAAP and non-GAAP. So based on a combination of the factors I just reviewed, we estimate that Q2 diluted earnings per share will range from $0.97 to $1.03, that's $1.03 on a GAAP basis, and from $1.15 to $1.21 on a non-GAAP basis. So now I'd like to hand it over to Kevin. Kevin? Thank you, Lewis, and good afternoon, everyone. We're off to a strong start in 2020, and we are well positioned for another year of mid to high single-digit revenue growth and even higher earnings per share growth. And we remain focused on the opportunity to accelerate that growth further. Our focus within the consumer entertainment ecosystem continues to be growing the number of devices that support Dolby Vision and Dolby Atmos, broadening the device categories that include our technologies by enabling new forms of content, like music, and increasing the value we bring to these devices with new innovations. This quarter, we made progress in all three of these areas. Buildy Vision and Buildy Atmos experiences are becoming increasingly available to hundreds of millions of consumers around the world, and at the same time, we believe the opportunity is still ahead of us, given the early stages of these adoption cycles. Over the course of 2019, we saw steady growth in the adoption rate of Dolby Vision within 4K TVs, as our partners like Vizio, Panasonic, and TP Vision added support of Dolby Vision deeper within their lineups. More recently at CES, we continued to see that momentum with Skywork, Sony, and Hisense, each adding support for the combined Dolby Vision and Dolby Atmos experience into additional models within their TV lineups. Over the last year, Dolby Vision TVs have become increasingly affordable across a wide range of price points and are now available below $250. Beyond TV, we remain focused on enabling Dolby Vision and Dolby Atmos across a broad range of devices. Last year in the PC space, sales shipped their first PCs that support Dolby Vision, and Apple began to support the combined Dolby Vision and Dolby Atmos experience within MacBook products, joining Lenovo. This year at CES, Lenovo increased the number of models that support the combined experience within their latest PC lineups. ASUS also announced their first gaming laptops that include support for Dolby Atmos. We have also seen growing adoption of Dolby Atmos within soundbars. All five of the best soundbars of CES 2020, named by Digital Trends, include support for Dolby Atmos. The content for these devices continues to expand. with the recent launch of Disney Plus and Apple TV Plus. Both services make the combined daily experience available at their standard pricing rather than reserving it for a premium tier. This gives consumers more reason to seek Dolby Vision and Dolby Atmos experiences within their devices. The impressive list of content available to consumers around the world continues to grow with the strong support of our partners like Netflix, Amazon, Rakuten, Tencent, and ITU. There are now over 2,800 pieces of content available in Dolby Vision and 1,800 pieces of content in Dolby Atmos. We continue to see our partners highlight Dolby Vision and Dolby Atmos with their high profile titles, such as Netflix's The Irishman and Apple's The Morning Show. Last quarter, we began enabling music content with Dolby Atmos, which enables us to bring additional value to devices and creates opportunities to increase our relevance in new device categories. This quarter we premiered a series of artist stories featuring some of today's biggest names in music, including Post Malone, Lizzo, Coldplay, and J Balvin. These stories highlight the emotional reactions from artists when they experience their music in Dolby Atmos. We also enabled live Atmos experiences at the American Music Awards, including performances from Post Malone, Lizzo, and Dua Lipa. There's been a strong positive reaction for music in Dolby Experience from both artists and consumers. It has clearly sparked a lot of interest, and this is exactly the type of innovation that gives our partners more reason to adopt our technologies. The Amazon Echo Studio and Amazon Music HD were the first smart speaker and streaming service to enable the Dolby Atmos music experience to consumers and has received highly favorable reviews after its first few months of being available in market. Tidal, an artist-owned music platform, became the second streaming service to support Dolby Atmos music. With Tidal HiFi, consumers are now able to enjoy the Dolby Atmos music experience on Atmos-enabled Android devices, including Samsung, Oppo, and Sony mobile phones. Tidal HiFi features full playlists available on Dolby Atmos, from artists such as The Weeknd, Ariana Grande, and Meek Mill. The Dolby Atmos music experience is bringing new value to mobile phones and smart speakers, which will give us the opportunity to increase the adoption of Dolby Atmos within these devices and create new opportunities in areas like automotive and headphones. We also remain focused on continuing innovation and increasing the value proposition of Dolby Vision and Dolby Atmos. At CES, we launched Dolby Vision IQ along with our partners LG and Panasonic. Dolby Vision IQ intelligently optimizes the picture on your TV at every moment by adjusting to the surrounding light and the type of content that you are watching as you switch channels. Named as Engadget's best home theater product of CES 2020, Dolby Vision IQ is providing another reason to adopt the Dolby Vision experience and brings additional value to each device. Let me shift now to Dolby Cinema. This past quarter, some of 2019's top blockbuster movies, Star Wars, Rise of Skywalker, Frozen 2, and Joker came to the big screen featuring Dolby Vision and Dolby Atmos. In 2019, all of the top 10 global box office titles were available in Dolby Cinema. We also continue to expand the global footprint of Dolby Cinema. Just last week, we entered into a new partnership with Shin Kong Cinemas, which will enable the first Dolby Cinema in Taiwan. Overall, we now have about 250 Dolby Cinema sites open globally across 11 countries and over 20 exhibitor partners. In addition to growing the number of Dolby experiences that people are enjoying through movies, TV, and music, we see compelling opportunities to enable more Dolby experiences beyond entertainment. We had a solid quarter for Dolby Voice as our rooms as a service offering is driving a growing number of Dolby Voice rooms. Beyond this, we are excited by the opportunity to broaden the availability of Dolby experiences. For example, we have created a platform for developers to access certain Dolby technologies that enable higher quality media and communications experiences within their applications and services. These initial examples can range from enhancing the quality of an online learning course or improving the communication within an app that connects you to a medical advisor. We believe these offerings can both reinforce our existing propositions as well as create new revenue opportunities. We're still in the early stages of these efforts and I look forward to updating you more as we progress. So to wrap up, this quarter we continue to make progress across each of our growth areas. The amount of Dolby Vision and Dolby Atmos content continues to grow, driving higher adoption of the Dolby experience within our partners' devices. We've received a strong reception for the Dolby Atmos music experience from artists and consumers, which gives more reasons for partners to adopt Dolby on more devices. We continue to bring new value to our partners and consumers with our latest innovations like Dolby Vision IQ. And at the same time, we are growing the ways that people can have a Goldie experience, including the expansion beyond entertainment. As the number of Goldie experiences available to people around the world grows, we continue to strengthen our opportunities to drive revenue and earnings growth through 2020 and beyond. I look forward to updating you next quarter, and with that, I will turn it over to Q&A.

Thank you, ladies and gentlemen. If you wish to register a question for today's question and answer session, you may do so by pressing the star key followed by the digit 1. If you'd like to withdraw your question, please press the star key followed by the digit 2. If you're using a speakerphone, please pick up your handset before entering your request. Please be sure to identify yourself and your phone at the outset. To be fair, to all the participants, we ask that you please limit yourself to one question and one follow-up question until all participants have had a chance to ask a question. If time allows, We'll then come back and answer any remaining questions. We'll take our first question from Stephen Frankel with Doherty & Company LLC. Please go ahead.

Good afternoon. Kevin, do you have any metrics you might be able to share with us about this increased penetration of vision and Atmos? I mean, I certainly noticed at CES a lot more TVs with the combined experience. I just wonder if you're able to quantify that for us at all.

Well, so first of all, as we said last quarter, for 2019, we were on about 10% of 4K TVs with Dolby Vision, and 4K TVs were about half of the overall TV market. And that was the third year in a row of doubling the number of units out there with Dolby Vision. So as we go into this year, we're looking to continue to – stay on that pace of getting to somewhere around doubling those numbers. And part of the foundation for that is, as I said, and it sounds like you've observed, during 2019, we had a number of partners that were expanding further into their lineup. So, of course, we came out of 2019 with a higher exit rate than the average for the year. And then at CES, we saw more partners expanding, like Sony, like Skywork, like Hisense. So metric-wise, Steve, we're looking to stay on the pace of continuing to double those volumes. And as it relates to the combined Dolby Vision and Dolby Atmos experience, Dolby Vision is on more TVs than Dolby Atmos, but it's a healthy portion of those TVs that also have the combined experience.

Okay. And then in music, What should we watch for? What's the next big event? Is it another label? Is it more smart speakers, more artists coming out in support of you? How should we judge the progress as we go through the year?

Well, I think it's all of those things, Steve. And I would hate to gloss over the point of just how strongly we've come out of the gate in this first quarter, because we've come from a standing start to our first smart speaker, Amazon Music HD streaming, adding Tidal Hi-Fi, and just a phenomenal amount of engagement and support from the artistic community, which is what has led to UMG and Warner coming on board. As we go forward, you want to see us continue that strength into an increasing amount of music available to continuing to stoke a fire that we've created with artists who want to create their music in this way and they want their consumers to experience it. I think our marketing efforts in Q1 were really effective at at highlighting that. And so we're seeing good reaction from consumers as well. And then ultimately, of course, you want to see revenue. And these are all the things that set the foundation for getting content streamed to more devices and to getting our technologies on those devices. That will include, by the way, working with our streaming partners to activate the Dolby Atmos music experience on Dolby Atmos devices that are in the market today as well as, of course, selling into more devices that enable this experience. As I said, I believe this opens up the possibility for a lot of new devices. It takes us deeper, I think, into mobile phone lineups where people want to have this experience on mobile devices. I think that it gives us a very compelling proposition in the automobile as a couple of examples.

Okay, great. And then a couple cash flow questions. So I understand the tough year-over-year comparison in cash flow, but just in general, free cash flow as a percentage of EBITDA was kind of at the low end of recent history. Was there anything in particular in this quarter that might have, in the short run, negatively impacted cash flow generation?

Yeah, in the short run, this is the quarter, Steve, where the one big notable item is that we have annual incentive plans that all pay out in the quarter. We don't do that quarterly. So you have a whole year's worth of that payout this quarter, which reflects in the pay down on some of our accruals. So yeah, I would say as a more macro comment, that now that we've completed our first annual lap on 606, we should go back to being a company where there's a very tight correlation between our earnings and our cash flow generation. And so this quarter specifically, though, of course, we have the payouts of all the annual incentives that show up in this quarter's cash flow, operating cash flow.

Okay, great. That's helpful. And then I couldn't help noticing that the buyback pace had slowed significantly in the quarter. Is that related to this same issue? Or have you kind of made a higher level decision that you might scale back the pace of the buyback?

Now, we consistently have said in the past that as a company, we have a phenomenal business model that not only generates a lot of profit from our operations and our innovations, but a significant portion of that goes into returning it in the form of dividends and buybacks. This quarter in particular, though, because it was Q4 and there's a protracted period for us, you may recall that when we announced Q4 earnings, it was later because with the year end and us filing decay almost concurrently with that. it gave us a shorter window to execute. Otherwise, no, we've not changed our philosophy on that. So we feel very comfortable that our overarching philosophy on returning cash and doing buyback is not changed at all.

Great. Thank you. Thank you. Thank you. And I'll take our next question from Paul Chung with JPMorgan. Hey, guys. Thanks for taking my questions. First, on the Amazon Echo Studio speaker, can you just expand on how you secured Atmos on the speaker, how long it took, et cetera? And is there a near-term opportunity to maybe expand across kind of the whole smart speaker space? Does your guidance kind of reflect potential wins or is this a function of existing wins and market demands?

Well, so first of all, as it relates to Amazon, I would say that we've had a strong relationship with Amazon that has evolved over many years, including their support of Dolby Vision and Dolby Atmos on their Fire TV devices, on Amazon Prime Video. And it's those relationships that evolved into the ability to kind of share with each other was possible. And in this case, there was, in one respect, a natural follow-on because you can pair two Echo Studios together to get the Dolby Atmos experience related to your Prime Video content. And then, of course, the ability to bring this entirely new music experience to life and being able to partner with not just the Echo Studio team but the Amazon Music HD team was just a great entree for this entirely new experience. So it's a combination of building that kind of a relationship over many years and then having the kind of relationship where we can introduce these new innovations together. Clearly, the opportunity is to expand that Building Atmos experience additional smart speakers and home speaker products to, and as I've said, areas like automotive and the next tier of mobile devices. I think you described it. I think you asked whether there's a near-term opportunity. I would say that we are absolutely engaged in a broad range of discussions across all those device types, and I think we've created a lot of interest and energy around them. In terms of timing of announcements and when they come to market, If we had our way, then everything would be near term. But obviously each partner has its own roadmaps. It's really schedules and how the cadence of how they want to go about those things. So we'll just keep doing what we do, which is Getting more content getting more of it available through more streaming platforms and and then you know we we think we know I think we know we have a roadmap for what we do when we have this much energy around experience like this and the kind of support we have from artists and partners. And so we're going to keep our heads down and keep doing that. And we think good things will happen.

Okay, great. And then just on cinema, I mean, when can we start kind of splitting out the segment, one, the licensing part, not the product sales, but, You've had a lot of locations running for quite a while now. Any clarity on current contributions, future contributions per screen, and how to think about the future pipeline and then any near-term impact from the coronavirus in the near term, particularly in China?

Hey, Paul. This is Lewis. There's a lot in that question, so I'm going to kick off the pieces one-on-one. As we said in our prepared comments, we're in the neighborhood of 250 screenings now. The business is doing well. I mentioned last quarter and the same is true this quarter because you can imagine each quarter, incrementally, the numbers don't go up significantly. that Dolby cinema revenues were still less than 5% of our company's revenue. So that's why we've not yet broken out separately, but we continue to look for ways to provide you as much information as we can. Kevin mentioned that we are continuing to expand our footprint. So that's really good too, because we're continuing to have more locations open up in areas we've not been before. And to your last point, yes, in terms of the coronavirus issues that are going on in China, To the extent that there are Dolby Cinema locations out there, those will be affected like everyone else. It's a pretty small piece of the company. Like I said, even with the business in total, I want to reaffirm that it's below 5% of the company. The China piece is a small slice of that. In fact, the majority of our 250 screens are not in China. They're just right around the world with the biggest chunk being in the U.S., which is over half that number, or about half that number, give or take. Did I answer everything you asked about cinema?

yes yeah you did um thank you very much all right thanks thank you we'll now take our next question from Jim Gauss with Barrington Research thanks uh before I get to what I was going to do just following up on what you were talking about you mentioned Dolby Cinema revenues about our Dolby Cinema about less than five percent of total revenues I'm wondering what share of your total revenues are touched by the technologies that comprise Dolby Cinema, you know, Vision and Atmos. Do you have any way of guessing about that? Because I think the payoff is not just in the Dolby Cinema, but that's been both pieces. I think that this is driving, it's got much greater importance than it by itself. Yeah.

I think I'll give you the first piece, and then I'll hand it over to Kevin to add in color. But as this kind of question has been asked before, we don't break out a revenue per se by technology. So if you're saying, hey, Lewis, what's total revenue from Dolby Vision and Dolby Atmos? Of course, those technologies are now spreading into a lot of areas. As you pointed out, it's not just in Dolby Cinema, but it's in, of course, TVs. Mobile devices, some PCs, soon to be set-top boxes. So, yes, Dolby Vision and Dolby Atmos are the very core of the growth engine of this company. But unfortunately, what we don't have is a way to say, oh, here's X percent of our revenue to come from that because that's not how we break out of business. We try to do that more by end market, Jim. That's why I go through and try to give you some sense of, how much revenue is coming from broadcast versus PCs versus mobile phones. We think that's a little more useful. And as Kevin just said a second ago, with the advent of building Atmos for music, that's another example of technology that we hope will drive revenue in multiple vertical areas, including some areas we don't have a lot of presence in today like automotive. So I think that's where we'll continue to talk about our revenues more by the markets we address and things like that as opposed to saying here's what percent of our revenue comes from Adobe Vision and Adobe Atmos.

Are you finding your strategy in terms of Atmos and Vision, the branding and the exposure in the key markets, different in different markets in which you're dealing in terms of the impact on the categories they affect, the United States versus Europe versus wherever else? you might be able to be generating revenues?

Well, we certainly have teams in each of those markets. And I would say we have a combination of what we would consider to be global marketing efforts. You know, certainly when we're talking about title marketing initiatives with Dolby Cinema These are investments that we typically think of as being relevant to the world. Now how you actually reach people in each of those markets, we do have teams in each of those markets to either make the appropriate adaptations or in some cases to run programs that are more specific to those markets. The big development for us in marketing this quarter was the coming out party for Dolby Music. What you see with these artist stories around their experience with Dolby Atmos Music is having, I think, the intended effect, which is it's celebrating the artists and how excited they are. a number of impressions and engagement with consumers, which are higher levels than we've seen at Dolby. And then ultimately what it's doing is increasing engagement with partners and our customers so that they see the value it brings and that they have a story to tell their consumers about why this is important.

Okay. And maybe lastly, a little bit more on the Dolby Music since you just brought that up again. The Is the relationship of the artist in terms of celebrity sponsorship, or is there something more to it in terms of how they create the music, how the music might get played back, and what equipment you might sell and what royalties you might be able to generate to tie into this whole process?

Well, so first of all, it always starts with And this is true whether it's a movie director or a musician or any of the creatives that we deal with. It always starts with a passion for wanting to promote this experience because they, in fact, in these artist story videos, they speak about what Dolby Atmos does. does for them and the story that they want to be able to tell consumers. So it always starts there. Where are, to jump to the end of your question, in terms of our ultimate, you know, one of our goals is to, of course, get the experience license into additional devices. That really has nothing to do with the marketing and promotion arrangements. And, you know, in between it really depends on the on the program, whether we're looking to promote it through social media or we saw some work at the American Music Awards. There were some TV spots that ran selectively. So most of the marketing budget goes into our production and creative assets. the cost associated with that, and then spreading the word. But it's unrelated to licensing, if that's what you're asking.

Okay. I mean, all of these things have to ultimately come to the bottom line, and I'm just looking at how the pieces tie together.

Again, I think for us, it's first and foremost starts with a genuine passion for what we do. Our goal is to provide these creatives with a palette to tell stories in a more meaningful way. Each of our programs starts with that, and I think that it gives us opportunities to promote the experience in moments that can have big impact.

Okay. Thanks very much.

Thank you. And once again, as a reminder, that is star one if you'd like to ask a question. It appears that we have no further questions in the queue at this time. Mr. Haman, I'd like to turn the conference back over to you for any additional closing remarks.

Great. Well, thank you, everybody, for joining us today, and we look forward to keeping you posted on our progress. Thank you.

Thank you. And that does conclude today's conference. Thank you all for your participation. You may now disconnect.