Tag: competition

  • Innovation junction: Where competition, collaboration, and technology meet

    Innovation junction: Where competition, collaboration, and technology meet

    When we talk about innovation, there is a tendency to focus solely on the technological advancements and groundbreaking ideas that emerge from it. However, at its core, innovation is as much about the interactions between individuals, companies, and technologies as it is about the innovations themselves. It is about how competition drives companies to push the boundaries of what is possible, how collaboration allows them to combine their strengths and resources to achieve more together than they could alone, and how technology serves as the enabler that makes it all possible.

    The role of competition in innovation

    Competition fuels progress, drives companies to push boundaries, and fosters an environment where creativity and ingenuity thrive. Here is a look at some of the key reasons why competition is crucial for innovation:

    .  Encourages continuous improvement – In a competitive market, companies are under constant pressure to improve their products. It is always a race to try and outdo the others, and this drives innovation even more.

    .  Stimulates creativity – While a pressured environment might not always be great for thinking, competition is often what compels companies to come up with unique solutions and novel ideas to differentiate themselves from the competition. This stimulation of creativity is a cornerstone of innovation, as it often leads to the development of new technologies, products, and services.

    .  Drives efficiency – Competition forces companies to optimize their processes and reduce costs. Efficient operations not only lower prices for consumers but also free up resources that can be invested in research and development. This reinvestment can lead to further innovation, creating a virtuous cycle of improvement and advancement.

    Challenges of a competition driven innovation

    Now, let’s look at some of the challenges that come with this competitive mindset. While competition is a significant driver of innovation, it also presents several challenges that companies must navigate:

    .  Risk of short term focus – Intense competition can lead companies to focus on short-term gains at the expense of long-term innovation. The pressure to deliver immediate results can stifle creativity and lead to a risk-averse culture where only safe, incremental changes are pursued. Balancing short-term performance with long-term innovation is a critical challenge.

    .  Resource constraints – Competing companies often need to allocate significant resources to maintain their market position. This can lead to limited budgets for research and development, especially for smaller firms. Finding ways to innovate with constrained resources requires strategic planning and efficient resource management.

    Market saturation – In highly competitive markets, the saturation of similar products and services can make it difficult for new innovations to stand out. Companies must invest heavily in marketing and differentiation strategies to ensure their innovations capture consumer attention and market share.

    The power of coopetition

    Coopetition might seem like just a jumble of words, but it encapsulates a powerful strategy that combines the best aspects of competition and collaboration. This hybrid approach leverages the strengths of both collaboration and competition, fostering an environment where innovation can flourish. The benefits of coopetition are as follows:

    . Shared resources and expertise – Coopetition allows companies to pool their resources, including research and development capabilities, technological infrastructure, and market knowledge. By sharing these resources, companies can undertake larger, more ambitious projects than they could alone.

    Cost reduction and risk mitigation – Collaborative efforts can help reduce the costs associated with innovation, such as R&D expenses and production costs. This shared approach allows for bolder initiatives that might be too risky or expensive for a single company to undertake.

    . Accelerated innovation – When companies work together, they can shorten development cycles, quickly bring new ideas to fruition, and respond more rapidly to market changes. In other words, coopetition accelerates the innovation process by combining the strengths and capabilities of multiple organizations.

    Technology as the catalyst

    Competition and collaboration are necessary, but in the midst of it all is technology, acting as the driving force behind the intersection of competition and collaboration. It provides the tools and platforms that companies need to compete effectively while also fostering a spirit of cooperation and innovation. As technology continues to evolve and expand its reach, its role as the catalyst for change in the business world becomes increasingly evident, shaping the way we work, communicate, and innovate. That’s not all though. Technology and innovation go hand in hand, each fueling the other in a continuous cycle of advancement and is a symbiotic relationship in a way that extends to almost every industry.

    Concluding thoughts

    When competition, collaboration, and technology come together, it creates an exciting and fast-paced environment that sparks innovation and growth. Companies juggle the challenge of competing to make the best products while also working together to tackle common problems and improve industry standards. Technology acts as both a catalyst and an enabler in this process, providing platforms for real-time communication, data sharing, and joint development efforts. This fine line between competition, collaboration, and technology represents the delicate balance that companies must navigate to thrive in today’s rapidly evolving landscape. It’s a space where rivals become partners, where innovation is both a driver and a result, and where technology serves as the connective tissue that binds it all together.

    The article has been authored by first-generation serial entrepreneur, Assiduus founder & CEO and angel investor Somdutta Singh.
     

  • Netflix recovers with 2.4 mn subscriber gain in Q3

    Netflix recovers with 2.4 mn subscriber gain in Q3

    Mumbai: In the third quarter ending September 30, 2022, Netflix reported 2.41 million net new paid subscribers. It now has 223.1 million paid subscribers globally. Earlier, the expectation was to gain one million subscribers. The expectation for Q4 is 4.5 million paid net additions versus 8.3 million in Q4 2021.

    The company said that after a challenging first half, it believes that it is on a path to reaccelerate growth. The key, it says, lies in pleasing members. Its focus has always rested on winning the competition for viewing every day. When its series and movies excite members, they tell their friends, and then more people watch, join, and stay with the platform.

    Speaking about competition, it said that while competitors are investing heavily to drive subscribers and engagement, building a large, successful streaming business is hard. Netflix estimates that they are all losing money, with combined 2022 operating losses of well over $10 billion, versus Netflix’s five to six billion dollars annual operating profit.

    For incumbent entertainment companies, this high level of investment is understandable given the accelerating decline of linear TV, which currently generates the bulk of their profit. Ultimately, though, Netflix believes that some of its competitors will seek to build sustainable, profitable businesses in streaming—either on their own or through continued industry consolidation. While it’s early days, we are starting to see this increased profit focus—with some raising prices for their streaming services, some reigning in content spending, and some retrenching around traditional operating models which may dilute their direct-to-consumer offering. Amidst this formidable and diverse set of competitors, it believes that its focus as a pure-play streaming business is an advantage. Netflix explains that its aim remains to be the first choice in entertainment and to continue to build an amazingly successful and profitable business.

    Netflix said that it operates in a highly competitive industry where people have many different entertainment choices—from linear TV to streaming, YouTube to TikTok, and gaming to social media. The silver lining is that the opportunity is very large and growing, and Netflix is still very small relative to that opportunity (for example, eight per cent of total TV time in the US and the UK, two of its most established countries). Its annual revenue of $30 billion or more in the 190 countries in which it operates is roughly five per cent of the combined estimated $300 billion pay TV/streaming industry, $180 billion branded advertising market, and $130 billion consumers spend annually on gaming. So, Netflix believes that it has a long runway for growth if it can continue to improve its offering steadily over time.

    Netflix also stated that its six per cent year-over-year revenue growth in Q3 was driven by a five per cent increase in average paid memberships and a one per cent increase in average revenue per membership (ARM). Excluding the impact of foreign exchange (F/X), revenue and ARM grew 13 per cent and eight per cent year-over-year, respectively. The sequential decline in revenue was entirely due to F/X.

    In the third quarter of the fiscal year in the Asia Pacific region, revenue grew by 19 per cent, excluding F/X, as average paid memberships rose 23 per cent year-over-year. ARM fell three per cent year on year, excluding F/X, owing in part to lower ARM in India. This was somewhat offset by higher ARM in Australia and Korea. It added 1.4 million paid memberships in the region (versus 2.2 million in the last Q3).

    Excluding F/X, EMEA revenue and ARM grew 13 per cent and seven per cent, respectively. Paid net additions totaled 0.6 million, down from 1.8 million in the previous quarter. In Latin America, revenue increased 19 per cent year-over-year, supported by ARM growth of 16 per cent vs. the year ago quarter excluding F/X. It added 0.3 million paid memberships, in line with membership growth in Q3’21. ARM and revenue grew by 12 per cent and 11 per cent, respectively, in the US and Canada, which is its most penetrated market. Paid net adds totalled 0.1 million (similar to the 0.1 million in Q3’21).

    For Q4 of 2022, it is expecting revenue of $7.8 billion, with the sequential decline entirely due to the continued strengthening of the US dollar vs. other currencies. On a constant currency basis, this equates to nine per cent year-over-year revenue growth. The revenue growth forecast is driven by the expectation of 4.5 million paid net ads (vs. 8.3 million in Q4 ’21) and ARM growth of six per cent year-over-year, excluding F/X. The paid net adds forecast assumes that it experiences its usual seasonality as well as the impact of a strong content slate, counterbalanced by macroeconomic weakness, which leads to less-than-normal visibility. While it is very optimistic about the new advertising business, the company does not expect a material contribution in Q4 2022 as it is launching its Basic with Ads plan intra-quarter and anticipates gradually growing its membership in that plan. Its aim is to give prospective new members more choice—not switch members off from their current plans.

    Members who don’t want to change will remain on their current plan, without ads, at the current price, the company explains. It has forecasted a Q4 2022 operating margin of four per cent compared to eight per cent in the year-ago period. The fourth quarter is typically its lowest operating margin quarter of the year as it is usually its largest quarter in terms of content and marketing spend.

  • Netflix launches ‘Take Ten’ initiative to support emerging filmmakers

    Netflix launches ‘Take Ten’ initiative to support emerging filmmakers

    Mumbai: Netflix on Monday announced the launch of ‘Take Ten,’ a short film workshop and competition, that aims to discover and support emerging filmmakers from diverse backgrounds in India.

    ‘Take Ten’ is sponsored by Netflix Fund for Creative Equity, which has dedicated $100 million a year over five years to support the next generation of storytellers from underrepresented communities.

    As part of this initiative, ten filmmakers will be given an exciting opportunity to attend workshops by the best in the creative industry and then to make a fully-funded short film with a $10,000 grant, a statement said. The films will be showcased on Netflix India’s YouTube channel.

    “Take Ten is a celebration of storytelling and originality. The workshop and competition aim to be inclusive and showcase the diverse voices behind and in front of the camera in India,” said film critic, author and Film Companion editor Anupama Chopra, who is leading the programme. “I hope Take Ten enables artists across India to find their footing and soar.”

    Applicants who want to apply for ‘Take Ten’ must be a citizen or resident of India and over the age of 18 years. The registrations will open on 7 February. To enter, applicants are to submit a film of up to two minutes based on the topic ‘My India,’ which should be shot with their phone and represent who they are as a filmmaker, said the statement. 

    The shortlisted participants will not only get to bring their short film idea to life but they will also get a chance to learn about writing, direction, production and more from award-winning talent including Abhishek Chaubey, Hansal Mehta, Juhi Chaturvedi, Neeraj Ghaywan and Guneet Monga, it added.

  • Dance India Dance USA edition finale on 7 December

    Dance India Dance USA edition finale on 7 December

    MUMBAI: Zee TV Americas together with Arya Dance Academy International is all set for the first ever Dance India Dance USA Edition. More than 5,000 contestants from 16 cities in North America auditioned, out of which 20 contestants were handpicked by industry professionals to participate in live competition at the State Theater in New Brunswick, New Jersey on Saturday, 7 December starting at 4:00 pm.  

     

    Each contestant will be performing a two-minute dance number. To conclude the competition, the final five contestants will compete in a dance-off.  Stunts, costumes, and bursts of talent will fill the stage as dancers battle it out for the winning title.

     

    Zee TV Americas GM Sameer Targe said; “Dance India Dance now in its fourth season continues to top the charts. This year we went a step further and decided to create a platform for South Asian youth here in America. This step is in continuation of our efforts to localise our programming and connect with our first generation as well as our second generation south Asian audiences.”

     

    The competition will be hosted by Punar Vivaah sensation Karan V. Grover and judged by DID 4 judge Feroz Khan, DID season 1 winner Salman Khan and the founder of Arya Dance Academy, Rupal Patel. The live audience will also get a chance to participate in voting for their favourite contestants via SMS.

     

    Founder of Arya Dance Academy, Rupal Patel said: “Arya Dance Academy is excited to work alongside Zee TV in bringing Dance India Dance to the North America and providing dancers across the US and Canada with the platform to compete at the highest level.  Throughout the audition process we have seen a great amount of talent with diverse dance styles ranging from Bollywood to contemporary to classical Indian dance.  We cannot wait to see self taught dancers to professionally trained dancers come together on the same stage on 7 December at Dance India Dance USA Edition!”

  • Jayesh Patil takes charge of Star Pravah’s programming

    Jayesh Patil takes charge of Star Pravah’s programming

    MUMBAI: A change of face will mark a change of programming strategy on Marathi GEC channel Star Pravah. Jayesh Patil has been roped in as the new programming head for the channel, filling in the shoes of Shrabani Deodhar who has been elevated to a higher position which is yet unknown.

    Patil was previously with Reliance Big Productions for nearly two and a half years where he led the programming as fiction head. Prior to that, he has been a writer for several popular shows starting off with Ek Mahal Ho Sapno Ka and continuing with trend setters such as Kumkum, Jassi Jaisi Koi Nahi, Laagi Tujhse Lagan and more recently with Bade Achche Lagte hain.

    Taking charge on 26 August, he has already got to work to study the market and to strategise new plans. “Marathi space is very attractive. There is lots of scope for experimentation and there will be a lot of focus on events,” says Patil. He says he has had enough of writing and now it is time for him to reinvent himself as well as the programming strategy of Pravah.

    As far as competition is concerned Patil says that it is always good to have competition. Marathi as a genre has been lagging as compared to other regional genres but Patil says that this was the case a few years ago, but not anymore.

    Pravah faces competition from Zee Marathi and E TV Marathi but as of now it is leading in the genre.

  • ‘Cable TV sector sees rapid consolidation and new competition in 2008’ : Hathway Cable & Datacom MD & CEO K Jayaraman

    ‘Cable TV sector sees rapid consolidation and new competition in 2008’ : Hathway Cable & Datacom MD & CEO K Jayaraman

    Cable TV companies have attracted private equity funding and used it for consolidation and digitalisation. But tight liquidity credit markets, intense competition to woo local cable operators, and rise in cost structures present a challenging 2009, says Hathway Cable & Datacom MD & CEO K Jayaraman

    2008 marked the emergence of new multi-system operators (MSOs) with pan India ambitions. This resulted in intense competition to woo the local cable operators. The year also marked subtantial private equity/mezannine funding to some of the existing and new MSOs. Some estimates say that the combined inflows during the year could have reached about Rs 7 billion.

    The substantial equity inflows resulted in furthering rapid consolidation of the industry with the independent cable operators (ICOs) partnering or entering into joint ventures with the larger MSOs. In fact some estimates put that almost 40 per cent of the total C&S (cable & satellite) homes could be the cumulative universe under the umbrella of the larger MSOs.

    A welcome fall out of the rapid consolidation and equity flow was the intensive pace of digital cable tv roll out. Incremental voluntary digital cable during the year could have touched one million, based on rough estimates.

    But this was again restricted to selective MSOs. Customers who opted for digital cable enjoyed 150 plus channels at the same price as of analogue. The digital boxes were also subsidised deeply by the MSOs. Digital cable was able to effectively combat the competition from satellite despite the latter companies having huge funding and high decibal advertisements. While the fob prices of cable digital boxes fell, the gain was lost due to 20 per cent rupee depreciation during the year.

    The year also saw spiraling salary costs in the cable TV companies, with each one outdoing the other, even as subscription income lagged. The raged optimism arising out of projected placement fees and new capital infusion fuelled the salary costs and other overheads too.

    Sadly towards the last quarter of the calendar year due to a combination of global meltdown and zero liquidity in the Indian banking system, the companies were sent scurrying for cover and control over these costs. While it may not be easy to cut these fixed costs, the situation can result in further profitability pressure for unorthodox business models in the year 2009.

    The intense competition to woo the local cable operators (LCOs) sucked a lot of funding and, therefore, the roll out of value added services like broadband through cable etc suffered, barring a few whose inherent business model comprise these services too.

    While the year saw rapid consolidation and new competition, sadly the core subscription business was forgotten. Subscription income from LCOs have dipped for the industry as a whole, except for business model where last mile also co-existed, as the chase for territory and placement fees gained predominance. Business models and enterprise valuations were being built around these non-conventional parameters. Cost structures increased rapidly including pay channel costs even as the LCOs dodged the MSOs.

    The last quarter meltdown and liquidity crisis, coupled with slowing down of advertisement income for the channels, did send ominous signals to the MSOs with non conventional parameters. Pressure had started building rather quickly, but the difficult signs are being ignored.

    Overall, the year ended on a sombre mood with a more challenging year 2009 in the offing.